The River Laune Crozier (or Innisfallen or Dunloe 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.
Its drop plate (that is, the hollow box-like extension at the end of the crook)[1] shows a human figure in high relief with a long thin nose, spiral ears and a beard that radiates out and intertwines with the designs around him.
Detail of the crozier's drop-plate showing a human figure with a monk haircut and a long, thin nose. The Lismore Crozier is pictured to the right.
The River Laune Crozier is of especially fine workmanship and unusual in that its metalwork is mostly of silver rather than the more typical copper-alloy. Four panels contain elaborate gilded filigree.[3] The staff is 111.5cm (40in) long and the hook is 17cm (6.7in) wide. The crook was made from a single casting, onto which the drop-plate and openwork crest were attached. Considering it spent an estimated 500–600 years buried under water, it is in good condition and its structure is fully intact; some of the metal is corroded and parts of the decorative panels or inserts are lost.[4]
The shaft comprises three separate tubes of silver bent joined by four decorative and elaborate knopes.[5][6] The crest panels contain both zoomorphic and abstract patterns and are bordered by bands of niello with inlaid gilt wire.[7] Each side of the crook contains nine representations of imagined or fantastic animals rendered in low relief, with open mouths, front paws, and Ringerike styleinterlace patterns emanating from their heads before intertwining with their bodies.[8]
Similar to the Clonmacnoise Crozier, the drop (i.e., the plate at the front of the crook) shows a human head in high relief. The man has oval eyes, a long and thin nose, a beard and a handlebar moustache that radiates out and intertwines with the designs around him. He has spiral ears and a long, square chin.[8] The panel is decorated with abstracted interlaced filigree, while the base of the drop shows an animal with large ears, also in high-relief.[8] The insert below the drop is decorated with filigree and zoomorphic designs.[9]
Crest on the head of the crook
Middle knop
Tappering ferrule at crozier's base
Provenance
The crozier was discovered in 1867 buried in the bed of the River Laune, near Beaufort bridge and Dunloe Castle, in Killarney, County Kerry. The find was made by local man Denis O'Sullivan while boat fishing for salmon.[10] O'Sullivan said that the water was especially low and clear that day, and he at first mistook it for a salmon lying at the bottom of the river. After it did not move when he hit it with his rod, he realised it was inanimate, but was able to drag it out of the water. He at first thought it was a gun, but then realised it was a kind of "curious handstick".[11] When the object was identified as a highly valuable and rare early medieval crozier, O'Sullivan became a local celebrity, and sold the object to Moriarty for £18, declaring that "this was far and away the best salmon he ever landed".[2][4]
It passed to John Coffey and again to Charles O'Sullivan, both bishops of Kerry. It came to international prominence when displayed at the Victoria and Albert Museum (then the South Kensington Museum) in 1869, and for the Royal Society of Antiquaries of Ireland in 1891.[2] While displayed at the V&A, it was described as "one of the most perfect specimens of early Irish art... that has survived to this day".[4] More recently, the sophistication of its craftsmanship was compared to that of the Cross of Cong and the Shrine of St. Patrick's bell.[12]
It is dated to the late 11th century, and is not thought to have been reworked. Its origin is uncertain; it is likely to have been made at Aghadoe Cathedral (est. 939 AD by Finian Lobhar (St. Finian the Leper) and one of the most prominent ecclesiastical foundations in the county),[5] but is recorded in the Irish annals as held at the nearby abbey on Innisfallen island (Faithlinn's island).[13][14]
The art historian Griffin Murray describes it as "probably broadly contemporary with the earliest stone church on the island and obviously relates a period of wealth and investment in the monastery at the time. It was of great significance to the community, as... the staff of office of the abbot and handed on from one abbot to the next. It symbolised the power of the founding saint of the monastery, St Finian, and by association the power of the abbot and the monastery itself."[14]
Murray, Griffin. "Insular-type crosiers: their construction and characteristics". Making and Meaning in Insular Art: Proceedings of the Fifth International Conference on Insular Art, 2007
The Tara Brooch is an Irish Celtic brooch, dated to the late-7th or early-8th century, of the pseudo-penannular type. It is made from bronze, silver and gold, with a head formed from a circular ornate ring that is intricately decorated on both sides. Its upper half is hollow while the lower half is solid with fused terminals. The brooch was constructed from numerous individually made pieces, and its front and reverse sides are both decorated with around 50 inserted cast panels containing highly ornate filigree. The borders and terminals contain multiple panels holding multi-coloured studs, interlace patterns, filigree and Celtic spirals. It is widely considered the most complex and ornate of its kind, and would have been commissioned as a fastener for the cloak of a high ranking cleric or as ceremonial insignia of high office for a High King of Ireland.
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.
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 Kells crozier or British Museum Crozier is an early medieval Irish Insular crozier. It is often known as the "Kells Crozier", indicating an associating with the Abbey of Kells, although no evidence of this exists, and most historians accept that it is of uncertain providence. The crozier is fully intact, although some of the ornamentation is in poor condition.
The Roscrea brooch is a 9th-century Celtic brooch of the pseudo-penannular type, found at or near Roscrea, County Tipperary, Ireland, before 1829. It is made from cast silver, and decorated with zoomorphic patterns of open-jawed animals and gilded gold filigree, and is 9.5 cm in height and 8.3 cm wide. The silver is of an unusually high quality for Irish metalwork of the period, indicating that its craftsmen were both trading materials with settled Vikings, who had first, traumatically, invaded the island in the preceding century, and had absorbed elements of the Scandinavian's imagery and metalwork techniques.
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.
House-shaped shrine are early medieval portable metal reliquary formed in the shape of the roof of a rectangular building. They originate from both Ireland and Scotland and mostly date from the 8th or 9th centuries. Typical example consist of a wooden core covered with silver and copper alloy plates, and were built to hold relics of saints or martyrs from the early Church era; a number held corporeal remains when found in the modern period, presumably they were parts of the saint's body. Others, including the Breac Maodhóg, held manuscripts associated with the commemorated saint. Like many Insular shrines, they were heavily reworked and embellished in the centuries following their initial construction, often with metal adornments or figures influenced by Romanesque sculpture.
Saint Manchan's Shrine is a large 12th-century Irish house-shaped shrine dedicated to Manchán of Lemanaghan, now in Boher Roman Catholic Church, outside Ballycumber, County Offaly. Built to hold human remains, still intact and presumably of Manchán himself, the relic container consists of a wooden core made of yew, placed on four cast bronze feet, overlain by sliver plates containing gilt, cast copper alloy and bronze decorations, with large bosses.
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.
Raghnall Ó Floinn FSA is an Irish art historian and former director of the National Museum of Ireland (NMI), who joined its staff in 1976 and becoming its director in 2013.
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 Prosperous Crozier is a late 9th-century or early 10-century Irish Insular type crozier that would have been used as a ceremonial staff for bishops and high-status abbots. Its origins and medieval provenance are unknown until it was found fully intact by turf cutters c. 1831 near Prosperous, County Kildare. It but did not receive attention from antiquarians until 1851, but is today identified as one of the earliest fully extant and thus perhaps the most historically important European crozier.
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.
St. Fillan's Crozier is an 8th century Insular crozier crook traditionally associated with the Irish monk St. Fillan, who lived in the eighth century at Glendochart in Perthshire, central Scotland. Only the crook survives; the staff was lost at an unknown date. Sometime around the late 13th century it was encased in the Coigreach, a crosier-shrine of similar size and form built as a protective case, made from silver, gold and rock crystal and dating from the late 13th century, with additions c. the 14th or 15th centuries. The Coigreach was rediscovered in the mid-19th century by the archaeologist Daniel Wilson, who opened it and found St. Fillan's Crozier inside.
Crucifixion plaques are small early medieval sculptures with a central panel of the still alive but crucified Jesus surrounded by four smaller ancillary panels. consisting. of Stephaton and Longinus in the lower quadrants, and two hovering attendant angels in the quadrants above his arms. Notable examples are found in classical Roman and 8th to mid-12th century Irish Insular art.
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.
The Shrine of St Patrick's Tooth is a medieval reliquary traditionally believed to contain a tooth belonging to Patrick, Ireland's patron saint, who lived in the 5th century. The shrine comprises a wooden case lined with bronze and decorated with gold, silver and amber fittings, and was built in two phases. Its basic structure and the central ringed crosses on either side are 12th century, while the purse-shaped form and most of the metal work, including the saints, were added in the 1370s when the object was substantially refurbished.
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