Celtic cross

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Celtic cross variants
CelticCross.svg
A Celtic cross
Crossed circle (bold, blue).svg
A Celtic wheel cross.
High Cross in Llanynys, North Wales Sant Saeran Llanynys Sir Ddinbych Denbighshire North Wales 09.JPG
High Cross in Llanynys, North Wales
Cross near Peebles, Scotland Celtic cross and reputed site of "St Gordian's Kirk" - geograph.org.uk - 181800.jpg
Cross near Peebles, Scotland
Kingswood war memorial in Surrey, England Kingswood War Memorial - geograph.org.uk - 7032.jpg
Kingswood war memorial in Surrey, England
A high cross at Monasterboice in Ireland Monasterboice 12.jpg
A high cross at Monasterboice in Ireland

The Celtic cross is a form of Christian cross featuring a nimbus or ring that emerged in Ireland, France and Great Britain in the Early Middle Ages. A type of ringed cross, it became widespread through its use in the stone high crosses erected across the islands, especially in regions evangelized by Irish missionaries, from the ninth through the 12th centuries.

Contents

A staple of Insular art, the Celtic cross is essentially a Latin cross with a nimbus surrounding the intersection of the arms and stem. Scholars have debated its exact origins, but it is related to earlier crosses featuring rings. The form gained new popularity during the Celtic Revival of the 19th century; the name "Celtic cross" is a convention dating from that time. The shape, usually decorated with interlace and other motifs from Insular art, became popular for funerary monuments and other uses, and has remained so, spreading well beyond Ireland.

Early history

Early forms: cross slab, St. Madoes, Perthshire, Scotland Celtic Art in Pagan and Christian Times, p185.png
Early forms: cross slab, St. Madoes, Perthshire, Scotland
Early forms: pillar stone, Gallarus Oratory, County Kerry, Ireland 032Galarus Oratory.JPG
Early forms: pillar stone, Gallarus Oratory, County Kerry, Ireland

Ringed crosses similar to older Continental forms appeared in Ireland and Scotland in incised stone slab artwork and artifacts like the Ardagh chalice. However, the shape achieved its greatest popularity by its use in the monumental stone high crosses, a distinctive and widespread form of Insular art. [1] These monuments, which first appeared in the ninth century, usually (though not always) take the form of a ringed cross on a stepped or pyramidal base. [2] The form has obvious structural advantages, reducing the length of unsupported side arms. [3] There are a number of theories as to its origin in Ireland and Britain. Some scholars consider the ring a holdover from earlier wooden crosses, which may have required struts to support the crossarm. Others have seen it as deriving from indigenous Bronze Age art featuring a wheel or disc around a head, or from early Coptic crosses based on the ankh. However, Michael W. Herren, Shirley Ann Brown, and others believe it originates in earlier ringed crosses in Christian art. Crosses with a ring representing the celestial sphere developed from the writings of the Church Fathers. The "cosmological cross" is an important motif in Coelius Sedulius's poem Carmen Paschale , known in Ireland by the seventh century. [4]

It is not clear where the first high crosses originated. The first examples date to about the ninth century and occur in two groups: at Ahenny in Ireland, and at Iona, an Irish monastery off the Scottish coast. The Ahenny group is generally earlier. However, it is possible that St. Johns Cross at Iona was the first high cross; Iona's influence as a center of pilgrimage may have led this cross to inspire the Ahenny group as well as other ringed crosses in Pictish stones. [3]

A variety of crosses bear inscriptions in ogham, an early medieval Irish alphabet. Standing crosses in Ireland and areas under Irish influence tend to be shorter and more massive than their Anglo-Saxon equivalents, which have mostly lost their headpieces. Irish examples with a head in cross form include the Cross of Kells, Ardboe High Cross, the crosses at Monasterboice, the Cross of the Scriptures, Clonmacnoise and those in Scotland at Iona and the Kildalton Cross, which may be the earliest to survive in good condition. Surviving, free-standing crosses are in Cornwall, including St Piran's cross at Perranporth, and Wales. [5] Other stone crosses are found in the former Northumbria and Scotland, and further south in England, where they merge with the similar Anglo-Saxon cross making tradition, in the Ruthwell Cross for example. Most examples in Britain were destroyed during the Protestant Reformation. By about A.D. 1200 the initial wave of cross building came to an end in Ireland.

Popular legend in Ireland says that the Christian cross was introduced by Saint Patrick or possibly Saint Declan, though there are no examples from this early period. It has often been claimed that Patrick combined the symbol of Christianity with the sun cross to give pagan followers an idea of the importance of the cross. By linking it with the idea of the life-giving properties of the sun, these two ideas were linked to appeal to pagans. Other interpretations claim that placing the cross on top of the circle represents Christ's supremacy over the pagan sun.

Notable high crosses with the Celtic shape in Ireland
Notable high crosses with the Celtic shape in Scotland
Notable Celtic crosses in India

Modern times

Celtic Revival

The Celtic Revival of the mid-19th century led to an increased use and creation of Celtic crosses in Ireland. In 1853, casts of several historical high crosses were exhibited at the Dublin Industrial Exhibition. In 1857, Henry O'Neill published Illustrations of the Most Interesting of the Sculptured Crosses of Ancient Ireland. These two events stimulated interest in the Celtic cross as a symbol for a renewed sense of heritage within Ireland.

New versions of the high cross were designed for fashionable cemetery monuments in Victorian Dublin in the 1860s. From Dublin, the revival spread to the rest of the country and beyond. Since the Celtic Revival, the ringed cross became an emblem of Celtic identity, in addition to its more traditional religious symbolism. [6]

Modern interest in the symbol increased because of Alexander and Euphemia Ritchie. The two worked on the island of Iona in Scotland from 1899 to 1940 and popularised use of the Celtic cross in jewelry. [7] Using the Celtic cross in fashion is still popular today.

Since its revival in the 1850s, the Celtic cross has been used extensively as grave markers. Straying from medieval usage, when the symbol was typically used for a public monument. The Celtic cross now appears in various retail items. Both the Gaelic Athletic Association and the Northern Ireland national football team have used versions of the Celtic cross in their logos and advertising. The Church in Wales since 1954 have used a flag with a Celtic cross in the centre.

White nationalism and white supremacy

White Nationalist Celtic cross Celtic Crosses.svg
White Nationalist Celtic cross

A version of the Celtic cross is used as a symbol by white nationalists and white supremacists. [8] It was used by Nazis in Norway in the 1930s and 1940s, and more recently it has been used by neo-Nazis, Klansmen, and other white supremacist groups. In general, white nationalists use a version of the symbol with a square cross as opposed to the traditional elongated cross. This symbol forms part of the logo of Stormfront. [9] This use is a type of cultural appropriation. [10]

White supremacist use of the long and short Celtic cross represents only a small minority of the symbol's use. [9] The symbol in both forms is used by non-extremists in contexts such as Christianity, neo-Paganism, [8] and Irish patriotism. The vast majority of uses of the Celtic cross are not associated with white supremacists. [9]

Unicode

There is no formal code point in Unicode for this symbol, though other symbols representing the Celtic cross are included. Symbols designed for other purposes, such as U+2316POSITION INDICATOR may be considered as alternatives.

See also

Related Research Articles

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<span class="mw-page-title-main">High cross</span> Free-standing Christian cross made of stone and often richly decorated

A high cross or standing cross is a free-standing Christian cross made of stone and often richly decorated. There was a unique Early Medieval tradition in Ireland and Britain of raising large sculpted stone crosses, usually outdoors. These probably developed from earlier traditions using wood, perhaps with metalwork attachments, and earlier pagan Celtic memorial stones; the Pictish stones of Scotland may also have influenced the form. The earliest surviving examples seem to come from the territory of the Anglo-Saxon kingdom of Northumbria, which had been converted to Christianity by Irish missionaries; it remains unclear whether the form first developed in Ireland or Britain.

<span class="mw-page-title-main">Pictish stone</span> Monuments erected by early Scottish tribes

A Pictish stone is a type of monumental stele, generally carved or incised with symbols or designs. A few have ogham inscriptions. Located in Scotland, mostly north of the Clyde-Forth line and on the Eastern side of the country, these stones are the most visible remaining evidence of the Picts and are thought to date from the 6th to 9th century, a period during which the Picts became Christianized. The earlier stones have no parallels from the rest of the British Isles, but the later forms are variations within a wider Insular tradition of monumental stones such as high crosses. About 350 objects classified as Pictish stones have survived, the earlier examples of which holding by far the greatest number of surviving examples of the mysterious symbols, which have long intrigued scholars.

<span class="mw-page-title-main">Clonmacnoise</span> Ruined monastery in County Offaly, Ireland

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<span class="mw-page-title-main">Migration Period art</span> C. 300–900 Germanic and Hiberno-Saxon art

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<span class="mw-page-title-main">Iona Abbey</span> Abbey in Argyll and Bute, Scotland, UK

Iona Abbey is an abbey located on the island of Iona, just off the Isle of Mull on the West Coast of Scotland.

<span class="mw-page-title-main">Ogham inscription</span> Primitive Irish writings on standing stones

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<span class="mw-page-title-main">Insular art</span> Post-Roman British and Irish style of art

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<span class="mw-page-title-main">Kildalton Cross</span>

The Kildalton Cross is a monolithic high cross in Celtic cross form in the churchyard of the former parish church of Kildalton (from Scottish Gaelic Cill Daltain, "Church of the Foster Son" on the island of Islay in the Inner Hebrides, Scotland. It was carved probably in the second half of the 8th century AD, and is closely related to crosses of similar date on Iona. It is often considered the finest surviving Celtic cross in Scotland, and is certainly one of the most perfect monuments of its date to survive in western Europe. The cross and the adjacent roofless medieval parish church are in the care of Historic Environment Scotland and are jointly a scheduled ancient monument. A simpler cross of late medieval date stands nearby.

<span class="mw-page-title-main">Origin of the harp in Europe</span>

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<span class="mw-page-title-main">Woodwrae Stone</span>

The Woodwrae Stone is a Class II Pictish Stone that was found in 1819 when the foundations of the old castle at Woodwrae, Angus, Scotland were cleared. It had been reused as a floor slab in the kitchen of the castle. Following its removal from the castle, it was donated to the collection of Sir Walter Scott at Abbotsford House. It is now on display at the Museum of Scotland in Edinburgh.

<span class="mw-page-title-main">Art in Medieval Scotland</span>

Art in Medieval Scotland includes all forms of artistic production within the modern borders of Scotland, between the fifth century and the adoption of the Renaissance in the early sixteenth century. In the early Middle Ages, there were distinct material cultures evident in the different federations and kingdoms within what is now Scotland. Pictish art was the only uniquely Scottish Medieval style; it can be seen in the extensive survival of carved stones, particularly in the north and east of the country, which hold a variety of recurring images and patterns. It can also be seen in elaborate metal work that largely survives in buried hoards. Irish-Scots art from the kingdom of Dál Riata suggests that it was one of the places, as a crossroads between cultures, where the Insular style developed.

<span class="mw-page-title-main">Christianisation of Scotland</span> Historical process bringing Christianity to Scotland

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<span class="mw-page-title-main">Ahenny</span> Village in County Tipperary, Ireland

Ahenny is a small village and townland in County Tipperary, Ireland. It is notable for its ancient Irish high crosses. Close to the village is the early Christian foundation of Kilclispeen monastery and in the adjoining graveyard stand two celebrated Irish High Crosses: the Ahenny High Crosses.

<span class="mw-page-title-main">Kilkieran High Crosses</span> High crosses in County Kilkenny, Ireland

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<span class="mw-page-title-main">Ringed cross</span> Cross enclosed in a circle

The ringed cross is a class of Christian cross symbols featuring a ring or nimbus. The concept exists in many variants and dates to early in the history of Christianity. One variant, the cruciform halo, is a special type of halo placed behind the head of Jesus in Christian art. Other common variants include the Celtic cross, used in the stone high crosses of Ireland and Britain; some forms of the Coptic cross; and ringed crosses from western France and Galicia.

<span class="mw-page-title-main">Insular crozier</span> Type of processional bishops staff

An Insular crozier is a type of processional bishop's staff (crozier) produced in Ireland and Scotland between c.  800 and 1200. Such items can be distinguished from mainland European types by their curved and open crooks, and drop. By the end of the 12th century, production of Irish croziers had largely ended, but examples continued to be reworked and added to throughout the Romanesque and Gothic periods. Although many of the croziers are associated with 5th- and 6th-century saints, the objects were not made until long after the saints had died. A majority originate from around the 9th century, and were often used as embellishment between the 11th and 13th centuries.

References

  1. Herren & Brown 2002, pp. 193–195.
  2. Herren & Brown 2002, p. 199.
  3. 1 2 Werner, Martin (1990). "On the Origin of the Form of the Irish High Cross". Gesta. 29 (1): 98–110. doi:10.2307/767104. JSTOR   767104. S2CID   192024681.
  4. Herren & Brown 2002, pp. 199–200.
  5. Langdon, Arthur G. (1896). Old Cornish Crosses. J. Pollard. OCLC   1008359745.[ page needed ]
  6. Stephen Walker, "Celtic Revival Crosses" Archived 1 October 2016 at the Wayback Machine , Celtic Arts website, accessed 22 November 2008
  7. "A Brief History of the Ritchies", Alexander Ritchie website, accessed 20 Nov 208
  8. 1 2 "A Look at Racist Skinhead Symbols and Tattoos". Southern Poverty Law Center. Retrieved 31 May 2020.
  9. 1 2 3 "Celtic Cross". Anti-Defamation League. Retrieved 31 May 2020.
  10. "The Racist Appropriation of Pagan (and Christian) Symbols". wildhunt.org. Retrieved 10 May 2022.

Bibliography