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LC Art History > Early Christian Ireland > Flashcards

Early Christian Ireland Flashcards

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1
Q

Early Christian Ireland sections

A

metalwork
manuscripts
stone work

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2
Q

Relic

A

Object associated with a saint, can be body part

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3
Q

Reliquaries

A

vessels to hold relics

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4
Q

Shrine

A

decorated case for enclosing a relic that would be put on display in a monastery

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5
Q

True Cross

A

name for physical remnants which are believed to be from cross upon which Jesus was crucified

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6
Q

Motif

A

design/pattern used to decorate an artefact

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7
Q

Tapering

A

to gradually widen/become narrower

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8
Q

Zoomorphic

A

deco of stylised animal/beast forms

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9
Q

interlacing

A

decoration of intertwined lines that create an illusion of woven strands passing over + under each other (line basketry)

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10
Q

insular art

A

type of art found in Ireland, Scotland, England, Mediterranean + La Tene styles, contributed to Insular Art style

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11
Q

metalwork techniques

A 
casting
chipcarving (kerbshnitt)
enamelling
champleve
cloisonne
engraving/incision/die stamping
gilding/silvering
gold filigree
millefiori
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12
Q

casting`

A

3D form created by pouring molten metal into clay/stone mould left to harden

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13
Q

chipcarving / kerbschnitt

A

small chips of gold carved out from flat gold surface w/ fine chisels + knives.
creates patterns in high relief, imitate wood carving

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14
Q

enamelling

A

enamel - glaze made from powdered glass fused by intense heat to metal surface
colours achieved by mixing in minerals eg. cobalt. long-lasting gloss finish

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15
Q

two methods of enamelling

A

champleve

cloisonne

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16
Q

champleve

A

hollows made in metal + filled with paste of powdered enamel

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17
Q

cloisonne

A

method of enamelling that separates the colours w/ thin strips of metal

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18
Q

engraving/incision/die stamping

A

cutting lines into metal w/ pointed metal scriber

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19
Q

gold filigree

A

fine metal wires used to create geometric patterns or intertwined creatures + were delicately soldered to a sheet of same metal

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20
Q

gilding/silvering

A

done by overlaying copper/bronze w/ thin sheet of gold/silver

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21
Q

millefiori

A

millefiori glass produced by fusing glass rods of diff colours in intense heat.
Millefiori glass stretches into thin lengths.
Cross sections sawn out yielding flower like patterns

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22
Q

5th - 10th century artefacts

A 
Ballinaderry Brooch
Tara Brooch
Rinnegan Crucifixion Plaque
Ardagh Chalice
Derrynaflan Chalice
Derrynaflan Patten
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23
Q

11th - 12th century artefacts

A

Cross of Cong
St Patricks Bell Shrine
Lismore Crozier
St Lachtin’s Arm Shrine

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24
Q

Period in which 5th to 10th century artefacts were produced

A
  • St Patrick came to Ireland
  • Ireland gradually became Christian
  • Mediterranean, La Tene, Anglo Saxon art styles fused by Irish artists to create Insular Art style
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25
Q

Period in which 11th to 12th century artefacts were produced

A
  • Irish Artists adopted aspects of Viking decorative Urnes style which was typified by intersecting zoomorphic imagery
  • Vikings brought new metalwork techniques, large supply of silver, new brooch designs
  • Most of artefacts were commissioned by church or local kings/chieftanssz
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26
Q

Ballinaderry Brooch - LOCATION

A

Co. Offaly

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27
Q

Ballinaderry Brooch - FORM

A

-Pennanular brooch (has a gapped ring) with sharp pin through it

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28
Q

Ballinaderry Brooch - FUNCTION

A

ed to hold garment closed

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29
Q

Ballinaderry Brooch - DECORATION

A

-Decorated w/ bands of lines, hatchings, herringbone design

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30
Q

Ballinaderry Brooch - METALWORK TECH

A
  • Millefiori glass inlaid in little plate on terminals of brooch, along w/ sunken areas of red enamel
  • Millefiori -‘thousand flowers’ in Italian
  • Millefiori glass produced by fusing glass rods of diff. colours in intense head. Molten glass streatched into thin lengths. Cross-secions sawn out yielding flower-like patterns
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31
Q

Tara Brooch - LOCATION

A

Bettystown, Co. Meath

32
Q

Tara Brooch - FORM

A

-No gap in ring
-Three main sections:
•Pin w/ traingular head + swivel mechanism
•Ring w/ crescent-shaped decorative area on one side + empty space in remaining area
•Woven silver chain attached to stylised head

33
Q

Tara Brooch - FUNCTION

A
  • Decorative than functional
  • High quality brooches (like this) reserved for high social statues.
  • Woven silver chain shows - probably one of pair
34
Q

Tara Brooch - DECORATION

A

-Done in minute detail, only clearly visible when magnified

-Front shows:
•Gold filigree panels w/ zoomorphic interlaced animals
•Panels separated by amber, glass, enamel studs

-Reverse shows:
•Cast gold spirals + interlaced serpents
•Black + red cloisonne enamel studs
•La Tene triskeles

-Pin shows:
•Elaborately deco w/ filigree panels
•Cast head of creatures w/ spirals

-Chain swivel mech. shows:
•cast animal heads + human heads of moulded glass

35
Q

Tara Brooch - METALWORK TECH

A
  • Parts individually soldered to ring + pin
  • Techniques: filigree, enamelling, gilding, inlaying, casting
  • Materials: gold, silver, gilded bronze, enamel, amber, glass
36
Q

Rinnegan Crucifixion Plaque - LOCATION

A

Co. Roscommon

37
Q

Rinnegan Crucifixion Plaque - FORM

A
  • Metal plaque w/ Crucifixion scene in low relief

- Cut away copper alloy sheeting around shapes of Christ, angels, soldiers

38
Q

Rinnegan Crucifixion Plaque - FUNCTION

A

-Small holes show - originally attached to book cover/shrine/altar/wooden cross

39
Q

Rinnegan Crucifixion Plaque - DECORATION

A

-Use of La Tene spirals, trumpets, triskeles.
-Interlaced strapwork on Christ’s tunic.
-Herringbone pattern on angels’ wings
-Human figure:
•stylised figures
•Christ larger, emphasise importance
•soldiers’ heads tilted (sorrow?)

40
Q

Rinnegan Crucifixion Plaque - METALWORK TECH

A
  • Copper alloy sheet chased + engraved on front
  • Motifs applied using repousse
  • Finished plaque gilded w/ gold leaf
41
Q

Ardagh Chalice - LOCATION

A

Co. Limerick

42
Q

Ardagh Chalice - FORM

A 
-4 main sections:
•Broad bowl, nearly hemispherical
•2 looped handles
•central stem joining base + bowl
•broad conical base w/ foot ring for balance
43
Q

Ardagh Chalice - FUNCTION

A
  • Sacred altar vessel
  • Used for dispensing wine during Christian sacrament of Eucharist
  • Lavish ornamentation suggest only used on religious feast days
44
Q

Ardagh Chalice - DECORATION

A
  • Decorative panels contrasted against plain silver areas
  • Bands of ten gold filigree panels separated by coisonne enamel studs
  • Interlaced abstract patterns + stylised animal forms
  • Names pf apostles (excl. Judas) engraved below decorative band
  • Two circular medallions containing shape of Greek cross on each side
  • Crosses decorated w/ cloisonne enamel studs
  • Ring of La Tene triskeles at stem + around rock crystal
45
Q

Ardagh Chalice - METALWORK TECH

A
  • Over 250 parts
  • Materials: gold, brass, bronze, copper alloy, silver, silver gilding, enamel, malachite, amber, coloured glass, natural rock crystal
  • Bowl + base made of hammered silver polished on a lathe
  • Stem cast in copper alloy + gilded w/ gold foil
46
Q

Derrynaflan Hoard

A
  • Comprises: silver chalice, silver paten, paten stand. bronze wine strainer
  • Found buried under bronze basins in Derrynaflan monastery
47
Q

Derrynaflan Chalice - LOCATION

A

Co. Tipperary

48
Q

Derrynaflan Chalice - FORM

A
  • Taller than Ardagh Chaice, similar form + decorated similarly
  • Decorative panels on rim, handles, central stem, foot ring + underneath base
49
Q

Derrynaflan Chalice - DIFF BETWEEN DERRYNAFLAN + ARDAGH CHALICE

A
  • No ing
  • Amber studs instead of enamel
  • No circular medallions on each side
  • Underside not as lavishly deco
  • Filigree more free flowing, somewhat crudelu executed
  • Less complex animal motifs in filigree panels
  • Use of cast ornamental panels on foot-ring
50
Q

Derrynaflan Chalice - METALWORK TECH

A
  • Assembled from over 300 parts
  • Made using same techniques as Ardagh Chalice
  • Use of amber studs new development, shows viking influence
51
Q

Derrynaflan Paten - LOCATION

A

Co. Tipperary

52
Q

Derrynaflan Paten - FORM

A

-3 main sections:
•Silver dish
•Circle of gold panels encircling dish rim
•Supporting gilded bronze ring under dish

53
Q

Derrynaflan Paten - FUNCTION

A

-Sacred plate, used for distributing Communion bead, possibly only on religious feast days

54
Q

Derrynaflan Paten - DECORATION

A
  • Ring of gold filigree panels along rim of dish
  • Ring of panels framed by intricately woven silver wire
  • Filigree panels have interlaced stylised animals + snakes
  • Panels separated by circular blue, red, yellow enamel studs
  • Pairs of kneeling men w/ interlaced beards on some panels
55
Q

Impact of Viking invasions

A
  • After worst of Viking raids, monasteries became centres of learning + art again
  • 11th + 12th centuries - irish arts - adopted Viking decorative Urnes style (typified by intersecting zoomorphic imagery)
  • Vikings brought new metalworking techniques, large supply of silver, new brooch designs
  • Surviving metalwork consists: croziers, reliquaries, shrines
56
Q

Cross of Cong - LOCATION

A

Co. Mayo

57
Q

Cross of Cong - FORM

A

-Large cross decorated w/ zoomorphic interlacing + rock crystal in centre

58
Q

Cross of Cong - FUNCTION

A
  • Commissioned by High King of Ireland, to enshrine piece of True Cross
  • Used for outdoor processions + as altar cross
59
Q

Cross of Cong - DECORATION

A
  • Panels of cast bronze w/ Urnes-style fig-of-8 interlaced gold filigree animals
  • Deocrative glass + enamel studs
  • Large, polished rock crystal set into smeiconical mount on front
  • Head of biting creature - shaft joins cross
  • Ornamental animal heads cover nails attacking parts of cross to oak core
60
Q

Cross of Cong - METALWORK TECH

A
  • Strapwork intelacing - cast in bronze + gilded
  • Cross outlined by fluted silver edging
  • Used bronze, rock crystal, glass, gold, oak, silver, niello
  • Niello - black paste made from mix of silver, copper, lead, sulphur. Rubbed into engraved designs + after heating, leaves black line on metal
61
Q

St Patrick’s Bell Shrine - LOCATION

A

Co. Armagh

62
Q

St Patrick’s Bell Shrine - FORM

A
  • Sloping body w/ curved top (covers handle)
  • Front, back, sides - decorated panels
  • Rings on two sides (carring shrine)
63
Q

St Patrick’s Bell Shrine - FUNCTION

A
  • Commissioned by High King of Ireland

- Hold a bell said to belong to St. Patrick

64
Q

St Patrick’s Bell Shrine - DECORATION

A

-Mainly Viking Urnes-style
-Front:
•Panels of gold filigree
•Zoomorphic fig-of-eight deco
•Circular + oval amber studs
-Top, sides, back
•Curved, stylised peacocks on top
•Silver panel of hollowed-out crosses on back
•Inscription in Irish engraved on silver panel
•Zoomorphc fig-of-eight filigree panels w/ interlaced snakes, elongated beasts on sides

65
Q

St Patrick’s Bell Shrine - METALWORK TECH

A
  • Amber, bronze, gold, rock crystal, silver used
  • Body constructed from bronze
  • Bronze plates joined by fluted copper/edging
  • Decorative panels riveted to bronze body
66
Q

Lismore Crozier - LOCATION

A

-Found Lismore Castle

67
Q

Lismore Crozier - FORM

A
  • Similar to shepherd’s staff, ending w/ curved crook

- Name of Neachtain (craftsman) inscribed on crook

68
Q

Lismore Crozier - FUNCTION

A
  • Made for Bishop of Lismore

- Symbol for his high power + authority

69
Q

Lismore Crozier - DECORATION

A
  • Gilt w. fine gold sheet
  • Circular panels - blue, red, white millefiori glass
  • Cord pattern around panels
  • Animal head w/ blue glass eyes + 3 creatures w/ open mouths, forms decorative crest on crook
  • Zoomorphic deco - Viking influence
70
Q

Lismore Crozier - METALWORK TECH

A
  • Bronze, glass, millefiori, silver, wood used
  • Hollow crook cast in single piece
  • Cylindrical sheets bronze fixed around oak staff
71
Q

Shrine of St. Lachtin’s arm - LOCATION

A

Donaghmore, Co. Cork

72
Q

Shrine of St. Lachtin’s arm - FORM

A
  • Shape of forearm

- Extends from elbow to closed hand

73
Q

Shrine of St. Lachtin’s arm - FUNCTION

A
  • Hold bone of St. Lachtin’s forearm
  • Inscription on vertical bronze strip
  • Commemorate three kings of Munster
74
Q

Shrine of St. Lachtin’s arm - DECORATION

A
  • Hand section - interlacing on triangular silver panels
  • Fingers - silver nails
  • Arm- Urnes style interlaced beasts + serpents
75
Q

Shrine of St. Lachtin’s arm - METALWORK TECH

A
  • Cast bronze
  • Bronze plates held by cast decorative panels
  • Hand + plates secured to wooden core w/ riverts
  • Interlaced panels filled w/ black niello + made to stand out

LC Art History (17 decks)

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