+ HAC CRUCE TEGITUR QUA PASUS CONDITOR ORBIS. OR DO MUREDUCH U DUBTHAIG DO SENIOR EREND. OR DO THERRDEL U CHONCHŌ DO RIG EREND LAS AN DERNAD IN GRESSA.
OR DO DOMNULL McFLANNACAN U DUBD EPSKUP CONNACHT DO CHOMARBA CHOMMAN ACUS CHIARAN ICAN ERRNAD IN GRESSA.
OR DO MAELISU McBRATDAN UECHAN DO RIGNI IN GRESSA.
We gather from these inscriptions that the Cross was made to enshrine a particle of the true Cross, on which the Creator of the world suffered. Muireadhach O’Duffy, to whom we have already referred, is here described as senior of Erin, and one of those who co-operated in this work. He has been described by the Four Masters as “chief senior of Ireland in wisdom and chastity, and the bestowal of jewels and food.” He was afterwards promoted to the position of High-bishop of Connaught, but at this period we cannot say what office he held, if he were not abbot of the monastery and head of the School of Tuam. Of King Turlough, “for whom this shrine was made,” we have already spoken. Domhnall MacFlanagan O’Duffy, “under whose superintendence this shrine was made” at Roscommon, is described as successor of Coman and Ciaran, and Bishop of Connaught. We know from the Annals of Lough Cé that he was then Bishop of Elphin. Perhaps he was afterwards translated to Tuam, and then took the title of Bishop of Connaught. It is highly probable, too, that he brought this shrine along with him from Elphin to Tuam. Of this translation, however, there is no record. Lastly, a prayer is asked for Maelisu Mac Bratdan O’Echan (or Egan), the artist who made this shrine. He was comarb of St. Finnen of Clooncraff, County Roscommon.
It will hardly be contended that O’Echan was anything but a pure Roscommon Celt. The Mac Egans were from time immemorial Brehons in various parts of Connaught, and afterwards in Ormond, in the County Tipperary. It is not unlikely that the artist who made the “Cross of Cong” was a member of this most distinguished literary family.
The shaft of the cross is 2 ft. 6 in. high; the breadth across the arms is 1 ft. 6¾ in. It was made of oak, covered with eight copper plates, and one plate of brass, all adorned with a richly interwoven tracery. “On the central plate on the face, at the junction of the arms, is a boss surmounted by a convex crystal. Thirteen jewels remain of the eighteen which were disposed at regular intervals along the edges, and on the face of the shaft and arms, the spaces are visible for nine others, which were placed at intervals down the centre. Two beads remain of four settings which surrounded the central boss. The shaft terminates below in the grotesque head of an animal, beneath which it is attached to a spherically ornamented ball, surmounting the socket, in which was inserted the pole or shaft for carrying the cross.”[409]
Such is the description given by Miss Stokes of the Cross of Cong. But no description can convey an adequate idea of the rare beauty of this peerless cross. It must be seen to be appreciated. It has been conjectured that it was taken from Tuam to Cong either by Archbishop Muireadhach O’Duffy, who died in Cong A.D. 1150, as we have already seen, or, perhaps, by King Roderick O’Conor, who also ended his chequered life in the same holy retreat, nearly forty years later. It was found by Father Prendergast, P.P., the last Abbot of Cong, in an old oaken chest in Cong, and was purchased from his successor by Professor M‘Cullagh, who presented it to the Royal Irish Academy in 1839.
The Chalice of Ardagh, which has been pronounced to be “the most beautiful example of Celtic art ever yet found,” also appears to have been a product of the School of Clonmacnoise[410] during the abbacy of the O’Duffys.
It is a two-handed chalice, probably used for the Communion of the laity at a time when the Eucharist was still administered under both species of bread and wine. It is seven inches high, and nine one-half inches in diameter across the mouth; the bowl is four inches deep, and was capable of containing about three pints. The cup is composed of gold, silver, brass, bronze, copper, and lead. The upper rim is of brass, much decayed and split from some local action on that particular alloy; but the bowl itself is of silver, the standard value of which is four shillings per ounce. There is a beautiful band running round the bowl, which contains the names of the Twelve Apostles engraved in uncial letters of the eleventh century. No description can convey an adequate idea of the exquisite beauty of this chalice. It comprised no less than 354 different pieces, put together with the nicest ingenuity, and exhibiting almost every variety of Celtic ornamentation. Yet the leading impression produced by the view of this beautiful cup is chaste and classic elegance of design, combined with admirable beauty of form, and delicacy of execution.
The history of this wonderful chalice, now preserved in the Royal Irish Academy, is very curious, and points to Roscommon or Clonmacnoise as the place where it was wrought.