Inquiry as to the Probable Date of the Tara Brooch an Chalice Found near Ardagh

Inquiry as to the Probable Date of the Tara Brooch an Chalice Found near ArdaghAuthor(s): Margaret StokesSource: Proceedings of the Royal Irish Academy. Polite Literature and Antiquities, Vol. 2 (1879- 1888), pp. 451-455Published by: Royal Irish AcademyStable URL: http://www.jstor.org/stable/20651541 .

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Stokes?Probable Date of the Tara Brooch, 8fc. 451

LX.?Inquiry as to the Probable Date op the Tara Brooch an

Chalice found near Ardagh. By Margaret Stokes. (With a Chart.)

[Bead, June 28, 1886.]

It is much to be regretted that the date of two of the finest examples of goldsmiths' work of the Christian period in Ireland still remains undecided. They are the Tara Brooch and the Chalice found at Ardagh, in the county of Limerick. I hope this evening to bring before your notice, in as few words as possible, some points in both these relics which, when considered, may help us, if only approxi

mately, to determine the period at which they were executed. In dealing with such questions, the antiquary should, in the first

instance, learn the existence, as well as trace the history, of certain

laws, which he and all subsequent workers may apply, with more or less confidence, to the formation of a chronological classification of the objects they are dealing with. The first step in this direction should be to place in regular order the series of objects whose date has been already ascertained, so that they may serve afterwards as

landmarks?starting-points for the future classification of undated ones.

When we consider the numerous examples we possess of goldsmiths' work in Irish Christian art, it will be observed that certain variations take place, at certain periods of time, in those classes of antiquities among which some are to be found the date of which is fixed by the inscriptions that they bear: variations in the composition of the

metals, in the methods of working the metals, in the enamels, and

in the designing of the patterns and scrolls with which the surface is adorned. It is found, on a comparative study of the relics whose

date is more or less fixed, that such designs as are held to be peculiarly characteristic of Irish art are not common to every period in the

history of its development, but are confined to a more limited space of time than has been hitherto believed.

In order to present the argument as briefly as possible, allow me to

refer the reader to the Chart appended to this Paper, where he will find a chronological arrangement of those examples of Irish illu

minated manuscripts, metal-work, sculptured crosses, tombstones, and

architecture, the dates of which have been approximately fixed. This

Chart is seen to cover a period extending from the fifth to the twelfth century, and commences with the rudest example of metal-work we

can find?the iron bell of St. Patrick. It is remarkable that the primi tive Christian metal-work should have been of so barbarous a character, since we know that the Irish had already attained to great skill in the

R.I.A. PROC, SEK. II., VOL. II.?POL. LIT. AND ANTIQ. 3 A



452 Proceedings of the Royal Irish Academy.

art of design and the working of metals, as well as in various processes of enamelling, before the coming of Patrick. The bronzes of the Late Celtic period have never been surpassed in the metal-work of the Chris tian period in Ireland; and many of their processes appear to have been totally different from those introduced with Christianity. After this new system had had time to settle and bear fruit, we find the arts of filigree, damascening, mosaic, glasswork, and enamelling, are

brought to much excellence. Interlaced designs are introduced, which never appeared in the pre-Christian art of Ireland; and it would seem

to be the case that they came into Ireland with the first missionaries, since similar patterns characterize the early Christian art of the north of Italy, and were probably Roman in origin. Indeed, designs formed of knots and plaited bands are common in the primitive art of many and various races.

Still the advance of any decorative Christian art in Ireland was but gradual. Nothing can exceed the rudeness of those relics of the early teachers of religion, that have been preserved for us through the care

of their relic-loving successors in the eleventh and twelfth centuries. The rude iron and bronze bells of St. Patrick or of St. Columba, of the fifth and sixth centuries, are as inferior to the bronze bell of Cumascach M'Ailello (a.d. 904) as the uncemented stone oratory is to the Romanesque church of the twelfth: and we read of croziers, but find them to have been the oaken staff of the itinerant bishop, which is still visible through the chinks and openings of the metal case in which it was afterwards enshrined. Rut perhaps nothing helps the mind more vividly to realize the simple practices of these early Christians than the sight and touch of the rude stone chalices? such as have been preserved to the present date in a few of our most remote churches. Decorative Christian art grew to gradual perfection from the ninth to the tenth centuries; and it is interesting to see that it had been grafted on the pngan art of pre-Christian Ireland, and that certain designs (besides those interlaced patterns which we hold to have been of foreign importation), common in the native art and the bronzes of the Late Celtic period, were used by workers in metal of the

Christian period, arid carried to great perfection in the illuminations of manuscripts. These native designs, however, are not seen at so

late a date as the interlaced patterns ; and rarely, if ever, appear in the eleventh and twelfth centuries, which period was distinguished by the finest interlaced work.

In the ornament that enriches the surface of such examples of

architecture, sculpture, and metal-work, as bear evidence of having been executed before the year 1020, we invariably find one distin

guishing design, which fell into disuse after the date 1050: this has been termed the divergent spiral, or trumpet pattern. This design consists of two lines wound in a spiral, on leaving which the two lines

diverge ; and at the end of the space is a curve formed by the parting of the lines, like the mouth of a trumpet; then the lines converge again, whirling to a centre, where they turn, and, winding back again.



Stokes?Probable Date of the Tara Brooch, fyc. 453

diverge and converge as before; thus forming a design, tbe lines of which may be carried on in an infinite series of circles and curves, the opening spaces of which are filled with colour by the illuminator or with enamel by the goldsmith. This design is found on the Late Celtic and pre-Boinan works of Britain, i. e. between 200 years before the birth of Christ and a.n. 200. During the Boman occupation of Britain it seems to have become extinct in that country ; but it lived on in Ireland, and works in metal, marked by it, may belong to a

period bordering on that of the introduction of Christianity in Ireland, i. e> the third century. It must be remembered, also, that in Ireland there are two distinct modifications of this design?one appearing on the bronze and gold ornaments of apparently pre-Christian art, the other on decidedly Christian monuments, down to the eleventh and twelfth centuries; and there are stone monuments in Ireland where the transition from one to the other may be clearly traced. In the oldest variety, the large curves of the diverging lines form the essen

tial element in which the artist revelled ; in the second and later variety the curved spaces are treated as secondary to the spiral, and instead of one whirl round to the centre, you have twelve or more.

After the tenth, and perhaps the beginning of the eleventh century, this design disappears from Irish art; and its decay and death may be traced in monuments whose dates have been satisfactorily ascertained.

There is no trace of the divergent spiral upon the shrine of St. Manchan, circ. 1166; neither is there on the case or shrine of Dimma's Book, a.d. 1150; on the cross of Cong, a.n. 1123; on the stone cross of Tuam, a.d. 1123; on the crosier of Lismore, a.d. 1101; or on the shrine of St. Lachtin's arm, a.d. 1106. In works of the eleventh century it scarcely ever appears. It is not to be found on

the shrine of St. Patrick's bell, a.d. 1091 ; nor does it appear on the cathach of the O'Donneils.

The design is found?very sparsely used, and as if in its decay? upon the shrine of the Stowe Missal, a.d. 1023. It occurs, in a more

excellent form, on the shrine of Molaise's Book from Devenish, circ.

1000; and on the crosier of Maelfinnia of Kelts, a.b. 967, as well as the

top of the bell shrine of Maelbrigde of Ahoghill, circ. 954. Thirty sculptured and inscribed crosses and tombstones in Ireland have been

assigned, with tolerable certainty, to dates varying from the years 810 to 1123 : of these, three belong to the ninth century, which are orna mented with this peculiar spiral; seven to the tenth century; and it rarely, if ever, appears in the eleventh and twelfth centuries. The

trumpet pattern or divergent spiral is much used upon the high cross of Clonmacnois erected by Abbot Colman in memory of King Plann, and on the high cross of Monasterboice, erected for Abbot Muredach, circ. 923. It is not to be seen on the high cross of Tuam, erected for King Turlough O'Conor, a.d. 1123. It seems to have fallen into disuse before this date.

The testimony of the illuminated MSS., as to the decay of this design in the tenth century, is very remarkable. There is no trace of

ZA2



454 Proceedings of the Royal Irish Academy.

it in the MSS. of the thirteenth and fourteenth centuries, when inter laced patterns are still in use. It does not occur in the oldest copies extant of "Leabhar Breac," the "Book of Ballymote," the

" Book of

Lecan," the " Psalter na Bann,'' the

" Leabhar nah-Uidhri," the "Book

of Leinster," the Irish "Missal," in Corpus Christi College, Oxford, in the Irish "Psalter" (Brit. Museum), or the "Book of Hymns," a.d. 1150 (Trin. Coll., Dublin). Neither is it to be found in the " Psalter " of Bicemarch, in the same library, or in the " Chronicle of

Marianus Scotus," now in the Vatican Library, Borne. It is seen in its most perfect development in the illuminated books of the seventh, eighth, and ninth centuries, but seems to die out after the year 900. It appears in the greatest redundance in the oldest part of the "Book of Keils," the date of which, I begin to believe, must have been about the year 690. It also appears in the "Books of Durrow"; the "Gospels of Willibrord," a.d. 739; the "Book of Armagh," a.d. 750 to 807 ; the " Gospels of Thomas of H?nau," a.d. 750 to 808 ; the "

Gospels of Mac Bcgol," a.d. 820 ; the "Golden Gospels of St. Ger

mantis," a.d. 871 (now at Stockholm). The Tara Brooch and the Ardagh Chalice offer the most perfect

examples of the use of this peculiar spiral that have been found in the metal-work of Irish Christian art; and we are strongly reminded of the decoration of Irish MSS. from the "Book of Kells," circ. 690, to the "

Gospels of Mac Durnan," circ. 885, when we study them. That these two examples of goldsmiths' work are contemporaneous

there can be little doubt. They show not only perfectly similar develop ments of this spiral design, but many other points of agreement be sides?the same filigree wire-work; the same Trichinopoli chain-work; the same circles of amber and translucent glass; the same enamels, both cloisonns and champleves. The native character which distinguishes the art of these works has very much disappeared from the metal-work of the eleventh and twelfth centuries. The shrine of St. Patrick's bell and the cross of Cong belong to a time when the trumpet pattern had fallen into disuse, just as it disappears from the illuminated MSS. after the year 1000.

These considerations have led me to correct my former error, in

which, following a suggestion of M. Henri Gaidoz as to the probable history of this chalice, I was inclined to attribute it to the twelfth century. In the Christian Inscriptions of Ireland, vol. ii., p. 128, I brought forward Monsieur Gaidoz's theory, that this chalice might be identified with that which is spoken of by the Irish annalists, in the year 1129, as the work of Pinola, the sister of Turlough O'Conor? " a silver chalice, with a burnishing of gold upon it, with an engraving by the daughter of Boderic O'Conor." The annalists state further that this chalice disappeared in the year 1125, when a great robbery was committed by the Danes of Limerick ; and that Gillacomhgain, the chief person implicated, was afterwards executed at Cloonbrien, about fifteen miles distant from the spot in which this chalice was found concealed. However, as the annalists state that the objects



a.d. circa.

Manuscript. Name of Scribe,. &c. A.I circ

460

I 521-563 I 613

650-690

650-700

700

I 698-721 I 690

739

807

750-808

760-800

760-800

750-800

838

800-860

800-820

871

885

919

951

1066

Gospel of Patrick, . . in

Psalter of Columba, . . in

Commentary on Psalms, .

Book of Kells*,

Gospels of St. Chad *

Life of Columba, *

.

St. Cuthbert's Book of Durham*,

Book of Moling*, ,

Gospels of Willibrord, N. 693,

Book of Armagh*, .

Gospels of H?nau*, .

Latin Gospels, Codex 61*,

Gospel of St. John, Codex 60*

Book of Fragments*, No. 1,395:

Priscian (copy of), . .

Gospels, St. Germain des Pr6s,

Gospels*, ....

Golden Gospels*,

Gospels*, ....

Oath-book of Anglo-Saxon Kings,

Gospels*,

Chronicle of the World, .

Unknown. R. I. Academy*'

Unknown. B. I. Academy. -

Columbanus, Ambn. Lib., Milan.

Unknown. Lib., Trin. Coli.; Dub.

Unknown. Lichfield.

Dorbene?SchafEhausen.

Eadfrith and iEthilwald, Brit. Museum.

Unknown. Trin. Coll., Dublin. '

Biblioth. Nat., Paris. '

Ferdomnach. ?

Thomas, Abbot of H?nau. j

Unknown. St. Gall

Unknown. St. Gall. , x

Unknown. St. Gall.

Unknown. Leyden.

Unknown. St. Petersburg!*.

Mac Begol Nepos Magleni, Soriba.

.?Stockholm.

Maelbrith Mac Durnan.

Unknown. British Museum.

4C

7fi

90

Dubinse of Bangor. Coll. Corp. Xti., Ox.

95

96

10C

102

Marianus Scotus. Now in Rbme.



The asterisk (*) indicates examples ornamented with Trumpet pattern or divergent Spiral design.

A.n. circa.

Metal Work.

406 Patrick's Iron Bell.

767 Tassilo Chalice, Kremsm?nster.

904 Bronze bell, Cumascach mac Ailello.

954

967

1001

1023

Bell Shrine, Maelbrigde.*

Crozier of Maelfinnia of Kells.*

Cumdach of Book of St. Molaise,

Devenish.*

. Cumdach Stowe Missal.*

a.d. circa.

806

839

892

924

923

914

927

921

921

932

944

948

952

965

953

966

991

994

1002

1013

1025

1028

1032

1056'

1059

Sculptured Crosses and Tombstones.

"f of Tuathgal, Abbot of Clonmacnois.*

t of Berichtir, Tullylease. *

Suibine mac Maelhumai.*

j- of Cholman.*

High Cross, Monasterboice.*

High Cross, Clonmacnois.*

j- Maelmoicheirge Clonmacnois.*

-j- of Fiachra of Eagles Beg, Clonmaonoii.

f Muredacb, Abbot, Clonmacnois.

j- Uallach, Poetess, Clonmaonoii.*

f Guare, Priest of Clonmaonoii.

-j- Rechtar, Priest of Clonmaonoii.

j" Maelbrigde, Clonmacnois.*

Diarmait, of Glendalough.

+ Dunadach, Bishop of Clonmacnois.

-j- Muiredach, son of Fergus.*

j- Maelfinnia, Bishop of Clonmacnois.*

j- Odran Uah-Eolais, Clonmacnois.

+ Flanchad, Bishop, Clonmacnois.*

j* Corpre MacAthail.

*{ Muredach, Bishop of Clonmacnois.

-j- Maelphatraic, Priest of Clonmacnois.

+ Dubinse, Lector of Clonmacnois.

j- Maelfinnia, Bishop, Clonmacnois.

J- Conn na-m bocht,Jplonmacnois.*

a.d. circa.

Ahoi

807

904

917

919

921

952

952

1007

1007

1015

1027

Cohimba's House,

Cathedral, Clonma

Oashel and Belfry,

Belfry of Castledei

Temple Cillen, Clc

Churoh and Belfrj Church of Killaloe

Church of Iniscalt

Belfry of Kinneth,

Belfry of Aghadoe



Naattt Ml*.

King Flann 8inna and Abbot Colman.

Donnohadh, ton of Plann Sinna and Queen Saba.

Abbot Oairbre, ton of Foradaoh.

Corinac O'Cillen, Abbot of Clonmacnois and Tomgraney.

Cormac O'Cillen, Abbot of Clonmacnois and Tomgraney.

King Brian Boruma.

King Brian Boruma.

Abbot Mocholmog.

Maenach.



1056

1067

1090

1100

1138

1150

1160

1160

1160

1150

1300

1300

1390

Chronicle of the World,

Epistles of j?t. Paul, .

Psalter of Ricemarch.

Leabhar na h-TJidre.

Gospels and Commentaries,

Gospels, ....

Book of Hymns.

Psalter,

Missal,

Psalter na Eann.

Book of Lecan,

Book of Ballymote,

Leabhar Braec,

Marianus Scotus. Now in Bbme.

i

Marianus Scotus. Vienna.

Unknown. Trin. Coll., Dublin.

Maelmuiri MacCeilechair; JtTl.Acad.

Maelbrigte Hua Maeluanaigh.

Unknown. Brit. Mus., H?rl., No. 1,023.

108

109

110

110

112

Unknown. Trin. Coll., D|b.

British Museum. ViteUiu?, F., xi.

Corpus Christi College, Oxford.

Unknown. lib., Trin. Coll., Dublin.

115

116

Unknown. Bodleian Library.

Donogh and Gilla Isa Mac

Manus O'Duigenan. R. I

Mac Eoan. B. I. Acad.

IFirbis. T.C.D.

Acad.



1084

1091

1106

1101

1123

Cathach of O'Donnells.

Shrine, Patrick's Bell, Armagh.

Shrine of Lachten, Armagh.

Crozier, Lismore.

Cross of Cong.

1150

1166

Cumdach of Dimma's Book.

Shrine of St. Manchan.

iuoz

1056'

1059

1066

1079

1080

1086

1123

1403

j ?j uuiim?, jucouur ux viujuuiaumus.

*j- Maelfinnia, Bishop, Clonmacnois.

+ Conn na-m bocht, Clonmacnois.*

j- Fogartach, sage of Cf?nmacnois.

j- Mael-chiaran, Bishop, Clonmacnois.*

*} Muiredach, of Clonmacnois.*

*f" Gillachrist, Clonmacnois.*

f of Tuam, Turlough O'Conor.

Tomb of Finola 0'Conor, Knockmoy.

1089

1100

1123

1124

1126

1127

1134

1134 1142

1146

1148

1148

1161

1151

1151

1158

1164

1167

1168

1167

1166

1166

1238

Cathedral, Clonma<

Church and Belfry

King Murtogh O'l

Belfry, Clonmacno

SS. Peter and Pau

Cormac's Chapel, (

Lismore Churches,

Iveragh Monastery

Mellifont oonseeraf

Bective conseorate<

Baltinglass conseor

Knock na Sangean

Kilbarry Churoh,

Boyle consecrated.

Nenay in Limeriol

Aghadoe Church fi

Cathedral of Dorrj

O'Kelly Churoh, C

Churoh of Dervorg

Tempul Kieran, C]

Clonfert rebuilt,

12 Churches, Galv

Belfry of Annaghd



1, Clonmacnois, rebuilt,

md Belfry, Dungiven,

Lrtogh O'Brien's Tomb.

Clonmacnois, finished,

r and Paul's Church consecrated,

3 Chapel, Casbel,

Churches, .

Monastery,

t oonsecrated,

jonsecrated, ?.

iss consecrated, .

a Sangean Church,

Churoh, .

n8eorated.

l Limeriok,

Church finished,

il of Dorry built,

Churoh, Clonmacnoif,

>f Dervorgilla, Clonmacnois,

Eieran, Clonmacnois.

rebuilt, ....

ohes, Galway and Clare,

f Annagbdown.

Flaherty O'Longsy and Cormac mac Conn na mbocht.

The O'Cahane.

Abbot O'Malone.

Imar O'Aeducain, Tutor of St. Malachy.

King Cormac M'Carthy.

King Cormao M'Carthy.

King Cormac M'Carthy.

Donagh 0'Carroll and Malaohy.

Murchard O'Melaghlin.

Dermot M'Murrough.

St. Malaohy, and Bishop 0*Oeallaide, and Donogh 0'Carroll.

Cuoaillo MaoSoolaighe and Gillacoimde O'Anli.

Turlogh 0'Brian.

Aul?fo M6r O'Donoghoe.

TUthborl OUrolchan, and Murtogh M'Laughlin.

Conor O'Kaly, ohief of Hy Many.

Quocn Donrtrgilla.

Conor O'KeBy, chief of Hy Many.

Conor O'KaDy, chief of Hy Many.



Stokes?Probable Date of the Tara Brooch, fyc. 455

stolen by Gillacomhgain were afterwards "revealed against him," there is really no ground for identifying them with this find at Ardagh.

Another result of this inquiry has been the wish to correct the opinion expressed at the close of the work on the Early Christian Archi tecture of Ireland, that the national character of our art first died out in the twelfth century. It would appear now that, as early as the end of the tenth century, merely local and native designs were beginning to give place to others more in harmony with Continental art, just as the round arch decorated Eomanesque took the place of the primitive decorated style, with horizontal lintel and inclined jambs of the tenth century architecture of Ireland.



Inquiry as to the Probable Date of the Tara Brooch an Chalice Found near Ardagh

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