Wakeman's handbook of Irish antiquities

by W. F. Wakeman

Chalices.​—​Among the more singular relics in the Academy collection is a chalice of stone. Though formed of so rude a material, there is nothing in its general form or in the character of its decorations to warrant a supposition that it belongs to a very early period. Few chalices of an age prior to the twelfth century remain in Ireland; and any of a later date are not very remarkable as objects of antiquarian interest. Cups of stone appear to have been not uncommon among the Irish. An ancient vessel of this material, of a triangular form, was to be seen by the side of a holy well in Columbkill’s Glen, in the County of Clare; and another was found some years ago in the County of Meath, near the ruins of Ardmulchan Church.

The most remarkable object of the chalice class known to have been found in Ireland is the famous Ardagh Cup, or Chalice, which figures amongst the choicest examples of metal-work preserved in the collection of the Academy. It, together with a plain bronze cup and some fine silver brooches, was discovered in 1868 in a rath situated not far from Ardagh, County Limerick.

Chalice of Ardagh.

We take the following particulars from a description furnished by the late Mr. Johnson to Lord Dunraven:​—​The bowl is of silver; but gold, bronze, brass, copper, and lead are used in the fittings and ornament. The latter consists of an inscription, interlaced pattern terminating in dogs’ heads, and at the bottom a circular band with Greek pattern. The ornamentation is punched, as is shown by the raised edges. A band of two semi-cylindrical rings of silver ornamented with small annular dots runs round the cup. Twelve plaques of gold repoussé work fill the space between the rings, with beautiful ornamentation of fine filigree work of the usual interlaced pattern. Twelve round enamelled beads are set between the plaques. The handles are also ornamented with enamels and filigree work, but in different designs. On the sides of the bowl are two circular ornaments, with central enamelled bosses surrounded by gold filigree work. The stem and supports of the bowl are of gilt bronze engraved in interlaced pattern. The foot of the bowl is circular; the outer rim of the framework is divided into eight spaces, filled alternately with gold and bronze gilt plaques of open work, the designs of which are clearly shown by pieces of mica set as a background. The inside of the foot is also elaborately executed with a circular piece of crystal in the centre, enamelled spaces and fine filigree work.

There are no fewer than 354 pieces of metal, if we include twenty rivets, in the composition of this most remarkable Cup. The inscription, in peculiar square-formed letters, is a remarkable feature, and gives the names of the Twelve Apostles​—​St. Paul being included. It runs round the cup under the band already mentioned; the letters are not easily legible, as the outline is faint. ‘The spaces between are stippled so as to form a shaded background.’ The late Lord Dunraven in his interesting paper was inclined to attribute the Cup to the ninth or tenth century, taking into account the ornament, lettering, and style of workmanship.

We have already referred to the development of the bronze brooch and ring-pin (p. 237), and the process can be clearly traced from the numerous specimens arrayed in the National Museum. The earlier brooch had open and expanded ends between which the pin passed, and the brooch was made fast by twisting it round upon the pin. The ornamentation was Late Celtic, often with enamelled design. In time the enlarged ends were closed by a bar, and in the latest form the ends became a complete plate and the pin of great length, to which a chain was attached for safety. These were highly ornamented with filigree work and enamel; the design is varied and beautiful in elaborate Celtic pattern.

The Tara Brooch.

Of the many brooches of this class discovered, the finest without exception is that known as the Tara Brooch. It was found in 1850 on the sea-shore near Bettystown, Co. Louth, and was bought by Waterhouse, who gave it the name of ‘Tara’ on account of the beauty of its workmanship and the associations connected with the celebrated hill. It was purchased from him for the Academy by the Government in 1867. It is made of white bronze, a metal harder than silver and composed of copper and tin. It is gilt and divided into a number of panels, most of which are filled with filigree work in gold, with settings of amber, glass, and enamel. The fastening of the gold filigree is hardly perceptible to the naked eye, and a strong glass is needed to see the full beauty of the ornament of this work. ‘The Tara brooch,’ says Petrie, ‘is superior to any hitherto found in the variety of its ornaments, and in the exquisite delicacy and perfection of its execution.’ Attached to the brooch is a chain of the work known as ‘Trichinopoli,’ which was used to fasten the brooch when worn. The divergent spiral, or trumpet, pattern, which is so characteristic of the decoration of Early Christian Art in Ireland, is carried to great perfection on the reverse side of the brooch. If we are to judge by the general disappearance of this ornament about the beginning of the eleventh century, we get a probable date for this object.