The Pericopes of Henry II is a luxurious medieval illuminated manuscript made for Henry II, the last Ottonian Holy Roman Emperor, made c. 1002–1012 AD. The manuscript, which is lavishly illuminated, is a product of the Liuthar circle of illuminators, who were working in the Benedictine Abbey of Reichenau, which housed a scriptorium and artists' workshop that has a claim to having been the largest and artistically most influential in Europe during the late 10th and early 11th centuries. An unrivalled series of liturgical manuscripts was produced at Reichenau under the highest patronage of Ottonian society.
A cumdach or book shrine is an elaborate ornamented metal reliquary box or case used to hold Early Medieval Irish manuscripts or relics. They are typically later than the book they contain, often by several centuries. In most surviving examples the book comes from the peak age of Irish monasticism before 800, and the extant cumdachs date from after 1000, although it is clear the form dates from considerably earlier. The majority are of Irish origin, with most surviving examples held by the National Museum of Ireland (NMI).
Clonmacnoise is a ruined monastery situated in County Offaly in Ireland on the River Shannon south of Athlone, founded in 544 by Saint Ciarán, a young man from Rathcroghan, County Roscommon. Until the 9th century it had close associations with the kings of Connacht.
Muiredach's High Cross is a high cross from the 10th or possibly 9th century, located at the ruined monastic site of Monasterboice, in County Louth, Ireland. There are two other high crosses at Monasterboice; in local terms Muiredach's cross is also known as the South Cross. Muiredach's cross is the most impressive surviving example of early medieval Irish stonework, and the crosses at Monasterboice have been said to be Ireland's greatest contribution to European sculpture.
Insular art, also known as Hiberno-Saxon art, was produced in the post-Roman era of Great Britain and Ireland. The term derives from insula, the Latin term for "island"; in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. Art historians usually group Insular art as part of the Migration Period art movement as well as Early Medieval Western art, and it is the combination of these two traditions that gives the style its special character.
Stephaton, or Steven, is the name given in medieval Christian traditions to the Roman soldier or bystander, unnamed in the Bible, who offered Jesus a sponge soaked in vinegar wine at the Crucifixion. In later depictions of the Crucifixion, Stephaton is frequently portrayed with Longinus, the soldier who pierced Jesus' side with a spear.
In the visual arts, interlace is a decorative element found in medieval art. In interlace, bands or portions of other motifs are looped, braided, and knotted in complex geometric patterns, often to fill a space. Interlacing is common in the Migration period art of Northern Europe, in the early medieval Insular art of Ireland and the British Isles, and Norse art of the Early Middle Ages, and in Islamic art.
The National Museum of Ireland – Archaeology is a branch of the National Museum of Ireland located on Kildare Street in Dublin, Ireland, that specialises in Irish and other antiquities dating from the Stone Age to the Late Middle Ages.
The Soiscél Molaisse is an Irish cumdach that originated from an 8th-century wooden core embellished in the 11th and 15th centuries with metal plates decorated in the Insular style. Until the late 18th century, the shrine held a now-lost companion text, presumed to be a small illuminated gospel book associated with Saint Laisrén mac Nad Froích, also known as Molaisse or "Mo Laisse". In the 6th century, Molaisse founded a church on Devenish Island in the southern part of Lough Erne in County Fermanagh, with which the cumdach is associated.
The Shrine of Saint Lachtin's Arm is an early 10th century Irish arm-shrine type reliquary made of wood and metal shaped as an outstretched forearm and clenched fist. St. Lachtin's dates to between 1118 and 1121 and is associated with his church in the village of Stuake, Donoughmore, County Cork, but probably originates from Kilnamartyra, also in Cork. It consists of a yew-wood core lined with decorated bronze and silver plates. The wood at the hand is hollowed out to create a reliquary cavity which once held the arm bone of St. Lachtin, but is now empty. The circular cap at its base contains a large transparent gemstone and is inlayed with silver decorated with filigree.
An Insular crozier is a type of processional bishop's staff (crozier) produced in Ireland and Scotland between 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.
The Clonmacnoise Crozier is a late-11th-century Insular crozier that would have been used as a ceremonial staff for bishops and mitred abbots. Its origins and medieval provenance are unknown. It was likely discovered in the late 18th or early 19th century in the monastery of Clonmacnoise in County Offaly, Ireland. The crozier has two main parts: a long shaft and a curved crook. Its style reflects elements of Viking art, especially the snake-like animals in figure-of-eight patterns running on the sides of the body of the crook, and the ribbon of dog-like animals in openwork that form the crest at its top. Apart from a shortening to the staff length and the loss of some inserted gems, it is largely intact and is one of the best-preserved surviving pieces of Insular metalwork.
Griffin Murray is an Irish archaeologist and art historian specialising in medieval Ireland and Insular art–especially metalwork–in the period between 400–1550 AD. His interests include identifying and contextualizing the social role of medieval craftsmen, Viking art and the relations between insular and Scandinavian craftsmen, and he is a leading expert on both house-shaped shrines and insular croziers.
The Lismore Crozier is an Irish Insular-type crozier dated to between 1100 and 1113 AD. It consists of a wooden tubular staff lined with copper-alloy plates; embellished with silver, gold, niello and glass; and capped by a crook with a decorative openwork crest. The inscriptions on the upper knope record that it was built by "Nechtain the craftsman" and commissioned by Niall mac Meic Aeducain, bishop of Lismore. This makes it the only extant insular crozier to be inscribed, and the only one whose date of origin can be closely approximated. It was rediscovered in 1814, along with the 15th-century Book of Lismore, in a walled-up doorway in Lismore Castle, County Waterford, where it was probably hidden in the late Middle Ages during a period of either religious persecution or raids.
The Rinnegan Crucifixion Plaque is a late 7th or early 8th century Irish gilt-bronze crucifixion plaque sculpture found in the 19th century in the churchyard of St. John’s on the head of Lough Ree in Rinnegan County Westmeath, and near Athlone, County Roscommon. It is one of the earliest extant representations of the crucifixion in Irish art, and outside of illuminated manuscripts, a rare example of both representation and a narrative scene in early Irish Insular art.
The River Laune Crozier is a late 11th-century Insular crozier, now at the Archaeology branch of the National Museum of Ireland. The object would have been commissioned as a staff of office for a senior clergyman, most likely a bishop. It consists of a wooden core decorated with fitted bronze and silver metal plates. Although the metalwork is somewhat corroded in parts, it is fully intact and considered one of the finest surviving Irish examples, alongside those found at Clonmacnoise and Lismore.
The Tully Lough Cross is an 8th- or 9th-century Irish altar or processional cross, discovered by divers in 1986 at the bottom of Tully Lough, County Roscommon. Although its origin is unknown, it may be associated with a church in Kilmore, County Cavan. It is made from a wooden core covered with bronze sheets, and contains spirals derived from the Iron Age Celtic Ultimate La Tène style. Its dating is based on its use of amber and style of ornamentation.
The Clonmacnoise Crucifixion Plaque is a late-10th or early-11th century Irish gilt-bronze sculpture showing the Crucifixion of Jesus, with two attendant angels hovering above his arms to his immediate left and right. Below them are representations of the Roman soldiers Stephaton and Longinus driving spears into his chest.
The Corp Naomh is an Irish bell shrine made in the 9th or 10th century to enclose a now-lost hand-bell, which probably dated to c. 600 to 900 AD and belonged to an early Irish saint. The shrine was rediscovered sometime before 1682 at Tristernagh Abbey, near Templecross, County Westmeath. The shrine is 23 cm (9.1 in) high and 12 cm (4.7 in) wide. It was heavily refurbished and added to during a second phase of embellishment in the 15th century, and now consists of cast and sheet bronze plates mounted on a wooden core decorated with silver, niello and rock crystal. It is severely damaged with extensive losses and wear across almost all of its parts, and when discovered a block of wood had been substituted for the bell itself. The remaining elements are considered of high historical and artistic value by archeologists and art historians.
The Shrine of St. Patrick's Bell is a bell shrine reliquary completed c. 1094–1105 in County Armagh, Ireland, to contain a c. 500 iron hand-bell traditionally associated with the Irish patron saint Saint Patrick. Inscriptions on the back of the shrine record that it was commissioned after 1091 by the Uí Néill High King Domnall Ua Lochlainn and completed c. 1105 by the metalworker Cú Dúilig, about whom nothing is known. Both objects are historically significant, with the bell being one of the few Irish very-early medieval artifacts with a continuous provenance lasting from around the 8th century to the present, and the shrine being a highpoint of Irish metalwork from the late Insular and early Romanesque periods.
