The Glories Of Ireland Part 7

Among the Irish musicians of the last century the following names are typical: Thomas Moore, J. A. Wade, Balle (_Bohemian Girl_), Wallace (_Maritana_), Osborne, Sir Frederick Ouseley, Scotson Clarke, Howard Glover, Horncastle, J. W. Glover, Sir Robert Stewart, Augusta Holmes, R. M. Levey, Joseph Robinson, Forde, Lover, Kearns, Allen, Barker, Torrance, Molloy, Guernsey, Gilmore, Thunder, Harvey, Goodman, Sir Arthur Sullivan (_Pinafore, Mikado_), Miss Davis, Halliday (inventor of the Kent bugle), Latham, Duggan, Gaskin, Lacy, Pontet (Piccolomini), Hudson, Pigot, Horan, Marks, and W. C. Levey. Famous vocalists like Catherine Hayes, Mrs. Scott Fennell, Signer Foli (Foley), Barton McGuckin, Denis O'Sullivan, and William Ludwig deserve inclusion.

In our own day, it is only necessary to mention composers like Sir Charles Villiers Stanford, Dr. C. Woods, Victor Herbert, Mrs.

Needham, Dr. Sinclair, Norman O'Neill, and Arthur O'Leary; singers like Egan, Burke, Plunket Greene, John MacCormack, P. O'Shea, Charles Manners, and Joseph O'Mara; violinists like Maud McCarthy, Emily Keady, Arthur Darley, and Patrick Delaney; organists like Dr. Charles Marchant, Brendan Rogers, Dr. Joze, and Professor Buck; writers like Mrs. Curwen, Dr. Annie Patterson, Mrs. Milligan Fox, Professor Mahaffy, A.P. Graves, Dr. Collison, and G.B. Shaw; and conductors like Hamilton Harty and James Glover.

REFERENCES:

Walker: Irish Bards (1786); O'Curry: Lectures (1870); Hardiman: Irish Mistrelsy (2 vols., 1834); The Complete Petrie Collection (3 vols., 1902-1904); Grattan Flood: History of Irish Music (3rd ed., 1913), Story of the Harp (1906), Story of the Bagpipe (1911); Mrs. Milligan Fox: Annals of the Irish Harpers (1911); Mason: Song Lore of Ireland (1910); Armstrong: Musical Instruments (2 vols., 1904-1908); O'Neill: Irish Folk Music (1911), Irish Minstrels and Musicians (1913).

IRISH METAL WORK

By DIARMID GOFFEY.

From the earliest times in the history of western Europe Ireland has been renowned for her work in metal. The first metal used was copper, and copper weapons are found in Ireland dating from 2,000 B.C., or even earlier, the beautiful designs of which show that the early inhabitants of the country were skilled workers in metal. Fields of copper exist all along the southern seaboard of Ireland. Numbers of flat copper celts, or axes, have been found modelled on the still earlier stone implements. By degrees the influence of the early stone axe disappears and axes of a true metal type are developed. Primitive copper knives and awls are also abundant. The fineness of the early Irish copper work is seen at its best in the numerous copper halberd blades found in Ireland. These blades, varying from nine to sixteen inches in length, were fastened at right angles by rivets into wooden shafts. The blades show a slight sickle-like curve and are of the highest workmanship. Halberds somewhat similar in type have been found in Spain, North Germany, and Scandinavia.

Between the years 2000 and 1800 B.C. the primitive metalworkers discovered that bronze, a mixture of tin and copper, was a more suitable metal than pure copper for the manufacture of weapons; and the first period of the bronze age may be dated from 1800 to 1500 B.C. The bronze celts at first differed little from those made of copper, but gradually the type developed from the plain wedge-shaped celt to the beautiful socketed celt, which appears on the scene in the last, or fifth, division of the bronze age (900-350 B.C.). It was during the age of bronze that spears came into general use, as did the sword and rapier. The early spear-heads were simply knife-shaped bronze weapons riveted to the ends of shafts, but by degrees the graceful socketed spear-heads of the late bronze age were developed.

Stone moulds for casting the early forms of weapons have been found, but, as the art of metalworking became perfected, the use of sand moulds was discovered, with the result that there are no extant examples of moulds for casting the more developed forms of weapons.

The bronze weapons--celts, swords, and spear-heads--are often highly decorated. In these decorations can be traced the connection between the early Irish civilization and that of the eastern Mediterranean.

The bronze age civilization in Europe spread westward from the eastern Mediterranean either by the southern route of Italy, Spain, France, and thence to Ireland, or, as seems more probable, up the river Danube, then down the Elbe, and so to Scandinavia, whence traders by the north of Scotland introduced the motives and patterns of the Aegean into Ireland. Whichever way the eastern civilization penetrated into Ireland, it left England practically untouched in her primitive barbarity.

Of gold work, for which Ireland is especially famous, the princ.i.p.al feature in the bronze age was the lunula, a crescent-shaped flat gold ornament generally decorated at the ends of the crescent. These lunulae are found in profusion all over Ireland. A few have been found in Cornwall and Brittany, and a few in Scotland and Denmark.

One has been found in Luxemburg and one in Hanover.

Gold collars are numerous in Ireland and also date from the bronze age. The earliest form of collar is the "torc" of twisted gold.

Another type, later in date than the torc, is the gold ring-shaped collar. Two splendid examples of this latter type were found at Clonmacnois, the decoration of which, in _La Tene_, or trumpet, pattern, shows the connection between the Irish and continental designs.

A find of prehistoric gold ornaments in county Clare should be mentioned. An immense number was there discovered in 1854 hidden together in a cist, the value of the whole being estimated at over 3,000.

After the bronze age comes the iron age. The introduction of iron wrought a great change in metalworking, but, as iron is a metal very subject to oxidization, comparatively few early iron remains are found. There are some swords of an early pattern in the National Museum at Dublin.

It has been shown that the pre-Christian metalwork of Ireland is well worthy of attention, but it is to the early Christian metalworkers that Ireland owes her pre-eminent fame in this field. In early Christian Ireland metalworking was brought to a pitch rarely equalled and never excelled. The remains found, such as the Tara Brooch, the Cross of Cong, and the Ardagh Chalice, are among the most beautiful metalwork in the world. The wonderful interlaced patterns, which are typically Celtic, bewildering in their intricacy, and fascinating in the freedom and boldness of their execution, lend themselves readily to metal work.

The connecting link between the metalwork of the late pagan period and that of early Christian times is chiefly exemplified by the penannular brooches, of which great numbers have been found in Ireland. Examples of this characteristically Celtic ornament may be seen in all Celtic countries.

In its earliest form this brooch is simply a ring, with a gap in it, to which a pin is loosely attached by a smaller ring. Gradually the open ends of the ring, which need some enlargement in order to prevent the pin slipping off, became larger and ornamented. In time these became regular trumpet-shaped ends, generally ornamented with characteristic "trumpet" patterns. The next stage was to close the gap, leaving a ring with a crescent-shaped disc at one side. s.p.a.ce does not permit of the description of the numerous brooches found. It will be sufficient to describe the Tara Brooch, which is the crowning glory not only of the Irish but of any metalworker's art.

The Tara Brooch, whose only connection with Tara is its name, was found near Drogheda; it is about seven inches in diameter and the pin about fifteen inches long. It is made of bronze covered with the most elaborate interlaced ornament in gold. The fineness of the interlaced work may be compared with, and is quite equal to, that of the best illuminated ma.n.u.scripts; the freedom of its execution is amazing.

Besides panels of ribbon ornament, which include spirals, plaited work, human heads, and animal forms, the front of the brooch is decorated with enamel and settings of amber and colored gla.s.s. The back of the brooch is, as is often the case in Irish work, decorated in a bolder manner than the front, and the "trumpet" pattern is there very marked. The head of the pin is also elaborately decorated. The minute and intricate style of the work is strikingly shown by the fact that, even after prolonged study, some patterns escaped notice and have only lately been discovered. Further, each of the gold lines is made of tiny gold b.a.l.l.s, so small as only to be seen by means of a magnifying gla.s.s.

With the introduction of Christianity, the attention of artificers was turned to the manufacture of church vessels and shrines. Of these perhaps the most beautiful are the Ardagh Chalice, the Cross of Cong, and the Shrine of St. Patrick's Bell, though great numbers of other sacred ornaments, such as the Shrine of St. Lactan's Arm and the numerous bell shrines, are also fine examples of the work of an unsurpa.s.sed school of metalworkers.

The date of the Tara Brooch is not easy to determine, but it may probably be placed in the eighth century of our era. The Ardagh Chalice belongs probably to about the same date. It was found in a rath at Ardagh, county Limerick, in 1868. It measures 7 inches in height and 9-1/2 in diameter. Around the cup is a band of fine filigree interlaced ornament in the form of panels divided by half beads of enamel. Below this are the names of the twelve Apostles in faint Celtic lettering. The two handles are beautifully decorated with panels of interwoven ornament, and on the sides are two circular discs divided into ornamented panels. The under side of the foot of the Chalice is also very beautifully decorated.

The shrines of the bells of the Irish saints are interesting examples of Irish metal work. As is fitting, the finest of these is the Shrine of St. Patrick's Bell. This was made by order of King Domnall O'Lachlainn between the years 1091 and 1105 to contain St. Patrick's Bell, a square iron bell made of two plates of sheet iron riveted together. The shrine is made of bronze plates, to which gold filigree work and stones are riveted. The top of the shrine, curved to receive the handle of the bell, is of silver elaborately decorated. The back is overlaid with a plate of silver cut in cruciform pattern. Around the margin of the back is engraved the following inscription in Irish: "A prayer for Domnall Ua Lachlainn, by whom this bell [shrine]

was made, and for Domnall, successor of Patrick, by whom it was made, and for Cathalan Ua Maelchallann, the keeper of the bell, and for Cudulig Ua Inmainen with his sons, who fashioned it." The whole is executed in a very fine manner and is the most beautiful object of its kind in existence. Another beautiful shrine, known as the Cross of Cong, made to enshrine a piece of the true cross presented by the pope in 1123, was made for King Turlogh O'Conor at about that date.

It is 2 feet 6 inches high and 1 foot 6-3/4 inches wide. It is made of oak cased with copper and enriched with ornaments of gilded bronze. The ornamentation is of the typical Irish type, as on the Ardagh Chalice and the Shrine of St. Patrick's Bell. A quartz crystal set in the centre of the front of the cross probably held the relic.

It is clear from the succession of beautiful work executed from the eighth to the twelfth century, that there must have existed in Ireland during that period a school of workers in metal such as has seldom been equalled by any individual worker or guild before or since, and never excelled. The examples described are only the more famous of the remains of early Irish Christian art in metal, but they are surrounded by numerous examples of pins, brooches, and shrines, each worthy to rank with the finest productions of the metalworker.

The Shrine of St. Moedoc (date uncertain) ought perhaps to be mentioned. On it are found several figures, including three nuns, men with books, sceptres, and swords, and a lifelike figure of a harper.

Besides articles of ornament, articles of use, such as bits for horses and household utensils, have been found, which show that the Irish smiths were as well able to produce articles for every-day use as the artificers were to create works of art in metal.

With the landing of the English in 1169 the arts and sciences in Ireland declined. Indeed, from that time on and for long afterwards, almost the only metalworkers needed were makers of arms and weapons of offense and defense.

REFERENCES:

British Museum, Bronze Age Guide; Coffey: Bronze Age in Ireland; Allen: Celtic Art; Abercrombie: Bronze Age Pottery; Wilde: Catalogue of the Royal Irish Academy's Collection; Allen: Christian Symbolism; Stokes: Christian Art in Ireland; Petrie: Ecclesiastical Architecture in Ireland; Coffey: Guide to the Celtic Antiquities of the Christian Period perserved in the National Museum, Dublin; Kane: Industrial Resources of Ireland; O'Curry: Manners and Customs of the Ancient Irish; Coffey: New Grange and other incised Tumuli in Ireland; Dechelette: Manuel d'Archeologie pre-historique; Ridgeway: Origin of Currency and Weight Standards.

IRISH Ma.n.u.sCRIPTS

By LOUIS ELY O'CARROLL, B.A., B.L.

In the dark ages of Europe, whilst new civilizations were in the making and all was unrest, art and religion, like the lamp of the sanctuary, burned brightly and steadily in Ireland, and their rays penetrated the outer gloom. Scattered through the libraries of Europe are the priceless ma.n.u.scripts limned by Irish scribes. The earliest missionaries to the continent, disciples of St. Columba.n.u.s and St.

Gall, doubtless brought with them into exile beautiful books which they or their brothers of the parent monastery had wrought in a labor of love; or mayhap many a monk crossed the seas bearing the treasured volumes into hiding from the spoiling hands of the Dane. Yet, fortunately, in the island home where their beauty was born the most superb volumes still remain.

From almost prehistoric times the Irish were skilled artificers in gold and bronze, and, at the advent of Christianity, had already evolved and perfected that unique system of geometrical ornament which is known as Celtic design. The original and essential features of this system consisted in the use of spirals and interlacing strapwork, but later on this type was developed by transforming the geometrical fret into a scheme of imaginary or nondescript animals, portions of which, such as the tails and ears, were prolonged and woven in exquisite fancy through the border. The artistic features of Celtic book decoration consist chiefly of initial letters of this nature embellished with color. Amongst the ancient Irish there was a keen knowledge of color and an exceptional appreciation of color values. Thus it was that in the early centuries of Christian Ireland the learned monks, transcribing the Gospels and longing to make the book beautiful, were able to bring to their task an artistic skill which was hereditary and almost instinctive. The colors which they used were mostly derived from mineral substances and the black was carbon, made, it is conjectured, from charred fish-bones; but with them was combined some gummy material which made them cling softly to the vellum and has held for us their l.u.s.tre for more than a thousand years. It is noteworthy that neither gold nor silver was used for book decoration, and this would appear to be a deliberate avoidance of the glitter and glare which distinguish eastern art.

_The Book of Durrow _(in the Library of Trinity College, Dublin) is the oldest specimen of Celtic illumination and, if not the work of St. Columcille, is certainly of as early a date. Each of the Gospels opens with a beautiful initial succeeded by letters of gradually diminishing size, and there are full page decorations embodying such subjects as the symbols of the Evangelists. The colors are rich and vivid and all the designs are of the purest and most Celtic character.

_The Gospels of MacRegol _(now in the Bodleian Library, Oxford) is the work of an Abbot of Birr who died A.D. 820. It is a volume of unusually large size, copiously ornamented with masterly designs and containing illuminated portraits of Saints Mark, Luke, and John. The first part of the book with the portrait of St. Matthew is missing.

_The Book of Kells _(in the Library of T.C.D.) is the all-surpa.s.sing masterpiece of Celtic illuminative art and is acknowledged to be the most beautiful book in the world. This copy of the four Gospels was long deemed to have been made by the saintly hands of Columcille, though it probably belongs to the eighth century. Into its pages are woven such a wealth of ornament, such an ecstasy of art, and such a miracle of design that the book is today not only one of Ireland's greatest glories but one of the world's wonders. After twelve centuries the ink is as black and l.u.s.trous and the colors are as fresh and soft as though but the work of yesterday. The whole range of colors is there--green, blue, crimson, scarlet, yellow, purple, violet--and the same color is at times varied in tone and depth and shade, thereby achieving a more exquisite combination and effect. In addition to the numerous decorative pages and marvellous initials, there are portraits of the Evangelists and full-page miniatures of the Temptation of Christ, His Seizure by the Jews, and the Madonna and Child surrounded by Angels with censers. Exceptionally beautiful are these angels and other angelic figures throughout the book, their wings shining with glowing colors amid woven patterns of graceful design. The portraits and miniatures and the numerous faces centred in initial letters are not to be adjudged by the standard of anatomical drawing and delineation of the human figure, but rather by their effect as part of a scheme of ornamentation; for the Celtic illuminator was imaginative rather than realistic, and aimed altogether at achieving beauty by means of color and design. The Book of Kells is the Mecca of the illuminative artist, but it is the despair of the copyist. The patience and skill of the olden scribe have baffled the imitator; for, on an examination with a magnifying gla.s.s, it has been found that, in a s.p.a.ce of a quarter of an inch, there are no fewer than a hundred and fifty-eight interlacements of a ribbon pattern of white lines edged by black ones on a black ground.

Surely this is the ma.n.u.script which was shown to Giraldus Cambrensis towards the close of the twelfth century and of whose illuminations he speaks with glowing enthusiasm; "they were," he says, "supposed to have been produced by the direction of an angel at the prayer of St.

Brigid."

_The Gospels of MacDurnan _(now in the Archbishop's Library at Lambeth) is a small and beautiful volume which was executed by an abbot of Armagh who died in the year 891. A full-page picture of the Evangelist precedes each Gospel, and a composite border frames each miniature in a bewildering pattern of intertwining strapwork and wonderful designs of imaginary beasts. Ornamental capitals and rich borders give a special beauty to the initial pages of the Gospels.

_The Book of Armagh _(in the Library of T.C.D.) was carefully guarded and specially venerated through the ages in the erroneous belief that it was in part the handiwork of St. Patrick. It was written about the year 800, and would appear to have been copied from doc.u.ments actually written by the patron saint of Ireland. The book is exceptionally interesting by reason of the fact that it contains St.

Patrick's Confession, that beautiful story of how he found his mission, how the captive grew to love his captors, and how, after his escape, he came back to them bearing the lamp of Holy Faith. Although the ornamentation of the ma.n.u.script is infrequent, there are occasional beautiful examples which compare in richness with those in the Book of Kells.

_The Liber Hymnorum _(in the Franciscan Monastery, Dublin) contains a number of hymns a.s.sociated with the names of Irish saints. The ornamentation consists of colored initials, designed with a striking use of fanciful animal figures interlaced and twined with delightful freedom around the main structural body.

The _Garland of Howth_ and the _Stowe Missal_ (both in Trinity College Library) belong to the eighth century and are beautiful examples of early illuminative art. The former, which is very incomplete, has only two ornamental pages left, each containing figure-representations inserted in the decorative work.

The _Gospels of St. Chad_ (in the Cathedral Library at Lichfield) and the _Gospels of Lindisfarne_, which are "the glory of the British Museum", form striking examples of the influence of Celtic art. St.

Chad was educated in Ireland in the school of St. Finian, where he acquired his training in book decoration. The Gospels of Lindisfarne were produced by the monks of Iona, where St. Columcille founded his great school of religion, art, and learning. This latter ma.n.u.script is second only to the Book of Kells in its glory of illuminative design, and, from its distinctive scheme of colors, the tones of which are light and bright and gay, it forms a contrast to the quieter shades and the solemn dignity of the more famous volume.

_The Book of the Dun Cow, The Book of Leinster_, and the other great ma.n.u.scripts of the eleventh, twelfth, and thirteenth centuries are interesting as literature rather than as art, for they tell the history of ancient Erin and have garnered her olden legends and romantic tales. It is only the Gospels and other ma.n.u.scripts of religious subjects that are illuminated. In the apparel of the ancient Irish, the number of colors marked the social rank: the king might wear seven colors, poets and learned men six; five colors were permitted in the clothes of chieftains, and thus grading down to the servant, who might wear but one. All this the scribe knew well. We can picture the humble servant of G.o.d, clad in a coa.r.s.e robe of a single color, deep in his chosen labor of recording the life and teachings of his Master, and striving to endow this record with the glory of the seven colors which were rightly due to a King alone. As we gaze on his work today its beauty is instinct with life, and the patient love that gave it birth seems to cling to it still. The white magic of the artist's holy hands has bridged the span of a thousand years.

REFERENCES: