Wakeman's handbook of Irish antiquities

by W. F. Wakeman

In the process of development of Christian art and architecture we find an advance in the work on the memorials of the dead. The design becomes more complicated, ornamentation more profuse; and there is a change to the minuscule form of the alphabet in the inscriptions. From the rude pillar-stone, marked with the symbol of our Faith enclosed within a circle, the emblem of eternity, the finely-proportioned and elaborately-sculptured crosses of a later period were developed. In the latter, the circle, instead of being simply cut upon the face of the stone, is represented by a ring, binding, as it were, the shaft, arms, and upper portion of the cross together. The top of the shaft is usually in the form of a roof with sloping sides, resembling the shrines of the period for holding the relics of saints. The spaces between the binding ring and the intersecting arms are pierced; and these are finely relieved by rounded bands across the corners of intersection, or on the inner surface of the ring. The whole sculpture thus forms the cross, and is in striking contrast to the Scotch type of memorial, which has the cross carved in relief upon an upright slab. The inscribed crosses were sepulchral, and principally used in covering the grave; but the free standing crosses were erected either to the memory of some famous ecclesiastic or king, or dedicatory, as in the case of the SS. Patrick and Columba Cross at Kells, or terminal, marking the bounds of a sanctuary. Of these ‘high’ crosses forty-five still remain, many of which are in a fair state of preservation. The striking feature of these crosses is the ornamental and pictorial work displayed in the carving. As in the manuscript and metal work, and in the general ornamentation of the churches, this is of a most elaborate character. There is a profusion of spiral pattern, Celtic tracery, and zoomorphic design found on these crosses. The whole body of Christian doctrine finds its expression in their sculpture, intended, no doubt, by means of symbolical representation, to be great object-lessons in the way of faith to every beholder. The central idea on the face of the cross is usually the Crucifixion, and on the back the Resurrection, or Christ in Glory; the remaining spaces in the panels and on the sides being filled with various sacred and other subjects. These highly-sculptured crosses appear to have been very generally erected between the tenth and thirteenth centuries; and there are few examples of a later date remaining, if we except a small number bearing inscriptions in Latin or English, which generally belong to the close of the sixteenth or to the seventeenth century, and which can hardly be looked upon as either Irish or ancient.

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Crosses at Monasterboice.​—​The beautiful remains of this class at Monasterboice, near Drogheda, are the finest now remaining in Ireland, though nearly equalled by some of the many others scattered over the whole island. In these crosses alone there is evidence sufficient to satisfy the most sceptical of the skill which the Irish had attained, in more of the arts than one, during the earlier ages of the Church. They may be regarded, not only as memorials of the piety and munificence of the founders, but also as the finest works of sculptured art of their period now existing.

Two of the crosses at Monasterboice remain in their ancient position, and are well preserved, though one of them, in particular, bears distinct evidence of a systematic attempt having been made to destroy it. A third has been broken to pieces, the people say by Cromwell; but its head and part of the shaft remaining uninjured, the fragment has been re-set in its ancient socket. The Great Cross, the largest of the two more perfect crosses, measures 27 feet in height, and is composed of three stones. A portion of the base is buried in the soil. The shaft at its junction with the base is 2 feet in breadth, and 1 foot 3 inches in thickness. It is divided upon the western side by fillets into seven compartments, each of which contains two or more figures executed with bold effect, but much worn by the rain and wind of nearly nine centuries. The sculpture of the first compartment, beginning at the base, has been destroyed by those who attempted to throw down the monument. The second contains four figures, of which one, apparently the most important, is presenting a book to another, who receives it with both hands, while a large bird seems resting upon his head. The other figures in this compartment represent females, one of whom holds a child in her arms.

Great Cross of Monasterboice.

Compartments 3, 4, 5, and 6 contain three figures each, evidently the Apostles; and each figure is represented as holding a book. The seventh division, which runs into the circle forming the head of the cross, is occupied by two figures; and immediately above them is a representation of our Saviour crucified, with the usual figures of a soldier upon each side, one piercing His body with a spear, and the other offering a sponge. To the right and to the left of the figure of our Saviour other sculptures appear. The figures upon the right arm of the cross are represented apparently in the act of adoration. The action of those upon the left is obscure; and, in consequence of the greater exposure of the upper portion of the stone to the weather, the sculpture which it bears is much worn, and almost effaced.

Ornament beneath Arm of the Great Cross, Monasterboice.

The sides of the shaft are ornamented with figures and scroll-work, placed alternately in compartments, one above the other. Of the circle by which the arms and stem are connected, the external edges are enriched; and as an example, the compartment beneath the left arm is here engraved. The eastern side is also divided into compartments occupied by sculptures, which may refer to Scripture history.