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.
Irish high crosses are internationally recognised icons of early medieval Ireland. They are usually found on early church sites and can be either plain or decorated. High crosses served a variety of functions including, liturgical, ceremonial, and symbolic uses. They were also used as markers for an area of sanctuary around a church; as well as focal points for markets, which grew around church sites. [1] The "greatest", [1] or "classic", [2] Irish high crosses can be found at Durrow Abbey, the Abbey of Kells, and at Monasterboice. These high crosses are decorated with panels inscribed with biblical themes; and are thought to be influenced from late antiquity and early medieval Rome. Such 'classic' high crosses comprise the largest corpus of biblical sculpture in all of Europe, in the last quarter of the first millennium CE. The sculpted panels are thought to have been originally painted, though no traces of paint survive today. [2] On such high crosses, the east face tends to show scenes from the Old Testament and the Book of Revelation; while the west face shows scenes from the New Testament. High crosses can be dated from the inscriptions they bear; and it is difficult to date the majority of the plain and undecorated high crosses. The earliest Irish high crosses, at Kinnity, County Offaly, have been dated to 846–862 CE. Both Muiredach's cross and the Cross of the Scriptures at Clonmacnoise have been dated to about 900–920 CE. [1] High crosses are thought to have originated as stone versions of decorated wooden or metal crosses; and the stone crosses which survive today are considered to be the last phase of development of the high cross. Early forms are thought to have been made of wood, with ornamented panels of bronze sheeting; and would have been much smaller than the grand high crosses which survive today. Irish high crosses are considered to have been derived from stone crosses in Britain, where they became popular in the 8th century. [3]
Muiredach's High Cross is one of three surviving high crosses located at Monasterboice (Gaeilge: Mainistir Bhuithe, "Buithe's monastery"). The monastic site is said to be founded in the 6th century, by St Buithe. It is most famous for its 9th and 10th century high crosses—most notably Muiredach's High Cross. [4] These crosses are all made of sandstone and are referred to as the North, West, and South Crosses. It is not certain whether they stand in their original locations. The South Cross is commonly known as Muiredach's cross because of an inscription on the bottom of the west-face. The inscription reads ÓR DO MUIREDACH LAS NDERNAD IN CHROS, which translates from Gaeilge as "a prayer for Muiredach who had this cross made". It is thought that this Muiredach is likely Muiredach mac Domhnall (died 923), who was one of the monastery's most celebrated abbots; he was also the abbot-elect of Armagh and also the steward of the southern Uí Néill. There is, however, another abbot named Muiredach who died in 844. Another possibility is that Muiredach may refer to Muiredach mac Cathail (died 867); a king whose territory included the site of the monastery. [4]
The cross measures about 19 feet (5.8 m) high; including the base, which measures 2 feet 3 inches (0.69 m). The cross is made of sandstone which is yellow in colour. The main shaft of the cross is carved from a single block of sandstone; the base and the capstone on the top are carved from separate stones. The base is the shape of a truncated pyramid of four sides. It measures 2 feet 2 inches (0.66 m) high and 4 feet 9 inches (1.45 m) at the bottom; it tapers to 3 feet 8 inches (1.12 m) by 3 feet 4 inches (1.02 m) at the top. The main shaft is rectangular, measuring 6 feet 6 inches (1.98 m) high; 2 feet 2 inches (0.66 m) by 1 foot 8 inches (0.51 m) at the bottom. tapering to 2 feet 4 inches (0.71 m) by 1 foot 7 inches (0.48 m) at the top. The topmost stone, or capstone, is carved in the shape of a house, with a sloping roof; and has a crescent-shaped finial at each end. [5] It is thought that such house-shaped capstones may represent reliquaries, [6] which, like the Monymusk Reliquary, typically took this form in Irish Christianity.
Every piece of the cross is divided into panels which are decorated with carvings. The carvings are remarkably well preserved, however, they certainly would have originally had much finer detail. Even so, certain details about clothing, weapons, and other things, can still be clearly made out. Biblical themes dominate the carved panels; though there are pieces which feature certain geometric shapes and interlace ornaments. [4]
20th century Irish archaeologist Robert Alexander Stewart Macalister noted that there are 124 figures sculpted upon the panels of the cross—119 of which shown in some form of costume. The cross is not unlike other works of Insular art where the artist has represented people in contemporary costume. All, except one, of the figures is depicted bare-headed. The lone figure with headgear is Goliath, who wears a conical helmet. [7] Generally the hair is worn clipped in a straight line over the forehead, though in some cases it is shown to be distinctly curly. Many of the figures have no facial hair, though several of them wear very long moustaches, with heavy ends which hang down to the level of the chin. There are very few beards represented; those shown with beards are Adam, Cain, Moses and Saul. [8] Macalister considered that the artist excelled in the geometric and abstract patterns which appear on the cross. On the ring surrounding the head of the cross, there are 17 different patterns. Macalister stated that geometric patterns fall into three categories: spiral , interlace , and key-patterns. [9]
Recently there have been concerns raised over the safety and protection of the cross. In 2004 Barry McGahon, chairperson of the Monasterboice Tour Guides, stated to an Irish newspaper that it was not well protected; and suggested that a railing around the cross would temporally keep people from interfering with it. McGahon stated that the cross had begun to take longer drying out and that it seemed like rain was seeping into it. He added that acid rain and pollution from a newly opened M1 motorway would have adverse effects upon the cross. [10] In 2008, Peter Harbison, professor of archaeology, advised that they should be brought indoors to protect them from the elements. He stated that if they were not so-protected they would continue to decay—as sandstone decomposes easily. [11]
In about 2008 Harbison stated that the crosses at Monasterboice could probably be regarded as Ireland's greatest contribution to European sculpture. In April 2009 The Irish Times reported that the Government of Ireland was about to submit a list of sites—among them Monasterboice—to UNESCO to be considered a World Heritage Site. [11]
These panels appear on the under-side of the cross.
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.
The Monasterboice ruins are the remains of an early Christian monastic settlement in County Louth in Ireland, north of Drogheda. The ruins are a national monument of Ireland and also give their name to the local village.
A doubting Thomas is a skeptic who refuses to believe without direct personal experience – a reference to the Gospel of John's depiction of the Apostle Thomas, who, in John's account, refused to believe the resurrected Jesus had appeared to the ten other apostles until he could see and feel Jesus's crucifixion wounds.
Sueno's Stone is a Picto-Scottish Class III standing stone on the north-easterly edge of Forres in Moray and is the largest surviving Pictish style cross-slab stone of its type in Scotland, standing 6.5 metres in height. It is situated on a raised bank on a now isolated section of the former road to Findhorn. The stone is named after Sweyn Forkbeard, but this association has been challenged and it has also been associated with the killing of King Dubh mac Ailpin in Forres in 966. The stone was erected c. 850–950 but by whom and for what, is unknown.
In Byzantine art, and in later Eastern Orthodox art generally, the Deësis or Deisis is a traditional iconic representation of Christ in Majesty or Christ Pantocrator: enthroned, carrying a book, and flanked by the Virgin Mary and St. John the Baptist, and sometimes other saints and angels. Mary and John, and any other figures, are shown facing towards Christ with their hands raised in supplication on behalf of humanity.
The Bewcastle Cross is an Anglo-Saxon cross which is still in its original position within the churchyard of St Cuthbert's church at Bewcastle, in the English county of Cumbria. The cross, which probably dates from the 7th or early 8th century, features reliefs and inscriptions in the runic alphabet. The head of the cross is missing but the remains are 14.5 feet high, and almost square in section 22 by 21+1⁄4 inches at the base. The crosses of Bewcastle and Ruthwell have been described by the scholar Nikolaus Pevsner as "the greatest achievement of their date in the whole of Europe".
The Portinari Altarpiece or Portinari Triptych is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.
The Franks Casket is a small Anglo-Saxon whale's bone chest from the early 8th century, now in the British Museum. The casket is densely decorated with knife-cut narrative scenes in flat two-dimensional low-relief and with inscriptions mostly in Anglo-Saxon runes. Generally thought to be of Northumbrian origin, it is of unique importance for the insight it gives into early Anglo-Saxon art and culture. Both identifying the images and interpreting the runic inscriptions has generated a considerable amount of scholarship.
The Honan Chapel is a small Catholic church built in the Hiberno-Romanesque revival style on the grounds of University College Cork, Ireland. Designed in 1914, the building was completed in 1916 and furnished by 1917. Its architecture and fittings are representative of the Celtic Revival movement and evoke the Insular art style prevalent in Ireland and Britain between the 7th and 12th centuries.
Christ in Majesty or Christ in Glory is the Western Christian image of Christ seated on a throne as ruler of the world, always seen frontally in the centre of the composition, and often flanked by other sacred figures, whose membership changes over time and according to the context. The image develops from Early Christian art, as a depiction of the Heavenly throne as described in 1 Enoch, Daniel 7, and The Apocalypse of John. In the Byzantine world, the image developed slightly differently into the half-length Christ Pantocrator, "Christ, Ruler of All", a usually unaccompanied figure, and the Deesis, where a full-length enthroned Christ is entreated by Mary and St. John the Baptist, and often other figures. In the West, the evolving composition remains very consistent within each period until the Renaissance, and then remains important until the end of the Baroque, in which the image is ordinarily transported to the sky.
The Beaune Altarpiece is a large polyptych c. 1443–1451 altarpiece by the Early Netherlandish artist Rogier van der Weyden, painted in oil on oak panels with parts later transferred to canvas. It consists of fifteen paintings on nine panels, of which six are painted on both sides. Unusually for the period, it retains some of its original frames.
Ardboe High Cross is a high cross and national monument dating from the tenth century located in Ardboe, County Tyrone, Northern Ireland.
Christ treading on the beasts is a subject found in Late Antique and Early Medieval art, though it is never common. It is a variant of the "Christ in Triumph" subject of the resurrected Christ, and shows a standing Christ with his feet on animals, often holding a cross-staff which may have a spear-head at the bottom of its shaft, or a staff or spear with a cross-motif on a pennon. Some art historians argue that the subject exists in an even rarer pacific form as "Christ recognised by the beasts".
The resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends. The redemptive value of the resurrection has been expressed through Christian art, as well as being expressed in theological writings.
The Camus Cross, otherwise known as the Camuston or Camustane Cross, is an Early Medieval Scottish standing stone on the Panmure Estate near Carnoustie in Angus, Scotland. First recorded in the 15th century in a legal document describing the boundaries between Camuston and the barony of Downie, and described in the 17th century by Robert Maule, it is a freestanding cross, rare in Eastern Scotland.
The Last Supper of Jesus and the Twelve Apostles has been a popular subject in Christian art, often as part of a cycle showing the Life of Christ. Depictions of the Last Supper in Christian art date back to early Christianity and can be seen in the Catacombs of Rome.
The Transfiguration of Jesus has been an important subject in Christian art, above all in the Eastern church, some of whose most striking icons show the scene.
The Crucifixion and Last Judgement diptych consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil-on-panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion.
The Domnach Airgid is an 8th-century Irish wooden reliquary. It was considerably reworked between the 13th and 15th centuries and became a cumdach or "book shrine", when its basic timber structure was reinforced and decorated by elaborate silver-gilt metalwork. Its front-cover was enhanced by gilded relief showing Jesus in "Arma Christi", alongside depictions of saints, angels and clerics, in scenes imbued with complex iconography. It is thus considered a mixture of the early Insular and later International Gothic styles.
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.