The same progress of artistic development is observable in the ancient swords as was noticed in the primitive celt—as the art advanced, the manufacturer began to exercise his artistic faculties in fanciful and costly decoration. The blade was adorned with either cast or engraved ornamentation, and the hilt inlaid or studded with gold. Thus, Brian Boroimhe is described as carrying a gold-hilted sword in his right hand at the battle of Clontarf.
It is very remarkable that, throughout the whole series, from the rudest to the most highly finished, a peculiar idea is traceable in the ornamentation, by which they can at once be recognized as Irish; and this idea seems to have travelled from Irish Paganism to Irish Christianism. The ornamentation on the sepulchral stones of New Grange is repeated on the stone celts; it is carried on into the age of Bronze; it decorated the swords and spears of the kings, as well as their costly diadems and ornaments of gold, and still continued to be traced, with a kind of loving fidelity to the ancient symbols, upon the manuscripts illuminated by priestly hands, so late as the tenth and eleventh centuries.
For the illustration of the costume of the early Irish, after it passed from primitive helpless barbarism to comparative civilization, by the aid of the knowledge of metals and the art of weaving, fortunately we are not left to mere theories; for, by a singular chance, the representative of the advanced period, like him of the barbaric age, arises also from the grave of the Past to bear witness for himself.
In 1824, a male body, completely clad in woollen antique garments, was found in a bog near Sligo, six feet below the surface; and so perfect was the body when first discovered, that a magistrate was called upon to hold an inquest on it. The garments also were in such complete preservation, that a photograph was made of a person clad in this antique suit, with the exception of the shoes, which were too small for an adult of our day, and a drawing from this photograph is one of the best and most beautifully executed illustrations of the Museum catalogue. The costume of this ancient Irish gentleman is exceedingly picturesque, consisting of trews of a plaid pattern, made wide above, like Turkish trousers, but fitting close to the leg and ankle; over them was a tunic of soft cloth, most elaborately gored and gussetted, showing high perfection in the tailoring art. The skirt of the tunic, which extends to the knee, is set on full, and measures eight feet in circumference at the bottom. The sleeves are tight, and open to the elbow, like an Albanian jacket; and over all was thrown the immemorial Irish mantle, so invariably worn, so indispensable a portion of Irish costume that it passed into a proverb among our neighbours, the Welsh, “like an Irishman for the cloak.”
This graceful garment, as found upon the hero of the bog, and now visible in our Museum, is composed of brown, soft cloth, made straight on the upper edge, which is nine feet long, but cut nearly into the segment of a circle on the lower. The form resembles closely that worn by the Calabrian peasant at this day. These cloaks were often of great value; kings were paid tribute of them. They were made of various colours, each colour being a symbol to denote the rank of the wearer. The number of colours also in a dress had a significant value, and was regulated by law. Thus, one colour only was allowed to slaves; two for soldiers; three for goodly heroes, or young lords; six for the learned men; five for a poetess; and seven was the regal number for kings and queens.
In the “Book of Rights,” the earliest accessible authority on the subject of costume prior to the Norman Invasion, we read of cloaks of various colours presented in tribute to the kings—cloaks of purple, red cloaks, green, white, black; in fact, cloaks of all colours. Some are mentioned as bordered with gold. The tunic is also described frequently, “with golden borders—with gold ornaments—with golden hems.” Another form of cloak was fashioned with a hood like the Arab bornous, and was bordered with a deep fringe of goat’s hairs.
Irish costume seems, in fact, to have been half-Oriental, half-Northern, like the compound race that peopled the island. The trews were the same as the Germanic braccœ; while the tunic was Albanian, and the mantle Eastern; as well as the high, conical head-dress, which is identical in form with the Persian cap of the present day. On this subject Sir William Wilde remarks—
“Every day’s observation and research bring to light new affinities with early Irish costume. In the great French work, ‘Herculaneum et Pompeii,’ there is a battle scene, copied from a mosaic at Pompeii, in which the arms and dress of the combatants are almost identical with those of ancient Ireland. The vanquished wear tight-fitting trousers, close tunics, several of which are plaided, and cloaks with the hood coming over the head precisely like the Irish cochall. The chief figures wear torques round the neck, and bracelets on the wrists, and the hood is retained in its place by a narrow frontlet, apparently of gold. The colours of the garments are also peculiarly Irish. In some, the cloak is yellow; the mantle, dark red; and the tunic, purple bordered with white; the latter spangled with triple stars of gold, precisely after the fashion figured in the ‘Book of Kells.’ The chariot in which the principal figure stands resembles some figured on our ancient crosses, and the charioteer wears a pointed cap, green tunic, and tartan vest. All the vanquished wear beards, and their hoods envelop their chins.”
The study of ancient costume has especial interest for the historian, as the culture, civilization, and commercial relations of a people can be readily deduced from it; and in the numerous and curious illustrations of the catalogue, taken from ancient records, illuminated manuscripts, and the ancient crosses and sepulchral monuments of the country, everything has been brought together that could throw light on this obscure subject. One most remarkable illustration is a full-length portrait of Dermot M’Morrough, king of Leinster, taken from an illuminated copy of Giraldus Cambrensis in the possession of Sir Thomas Philips, which portrait was very probably drawn from the life.
From all that is known on the subject, it would appear that linen and cloth of every degree of fineness, according to the rank of the wearer, were the principal materials used in ancient Irish dress. No remains of silk garments have been discovered; nor do the historical records, as far as we are aware, make any mention of silk being employed in personal wear. It is remarkable also, that while a traditional belief exists that linen has been known from time immemorial to Ireland, yet the Academy does not possess a single specimen of ancient linen. The linen shirts worn at the time of the Norman Invasion are said to have been of immense size, and dyed a saffron colour. But there is undeniable proof, that the tartan, or cloth of divers colours, which we are accustomed to associate only with Scotland, was worn universally in Ireland in ancient times. Portions of tartans are preserved in the Museum, and probably each grade of rank and clan possessed a characteristic plaid as well as a special dress. A love of variegated and glowing colours, and a tendency to gorgeous decoration, seem to have been always instinctive to the Irish nature.