metalwork

metalwork. The period between c. ad 450 and c. ad 1200 marked the pinnacle of Irish fine metalworking. Metalwork objects were made under both ecclesiastical and secular patronage. Archaeological evidence suggests that metal workshops were attached to monasteries (Clonmacnoise) and royal sites (Clogher, Co. Tyrone), but also existed independently (Moynagh Lough, Co. Louth). The lack of inscriptions, particularly on earlier work, has led to difficulties in attaching specific dates to many pieces. Dating is often achieved by stylistic comparisons with other media such as decorated manuscripts and stone carving.

Objects were seldom made entirely from precious metals. A common base for smaller pieces was cast or sheet bronze gilded or plated with a more precious metal. Bigger objects, such as reliquaries, often consisted of a wooden core with applied metal plaques.

Metalwork objects made up to c.650 are recognized by style and object type. Curvilinear patterns reminiscent of the Celtic La Tène period are common, often set in red champlevé enamel or raised above a cut‐away background. Objects typical of this period are ‘latchet’ cloak fasteners, penannular (broken‐ring) brooches, small pins with hand‐shaped terminals, and escutcheons (small decorative mounts). Colours of enamel other than red, and polychrome millefiori glass, appear to have been a post‐c.650 innovation.

From the 7th century, increased contact with Anglo‐Saxon Britain and continental Europe introduced new techniques and motifs to Irish metalwork. Gold filigree (fine soldered wire) and granules, knitted wire, stamped foils, and engraving were applied to enliven surfaces. Coloured glass studs with metal inlay, amber, and enamelling added a dramatic polychromatic effect. Zoomorphic motifs and Christian symbols were mixed with purely abstract design. The ‘Tara’ brooch (c.700) and Derrynaflan paten (8th century) incorporate most of the techniques typical of the period.

During the 9th and 10th centuries polychromatic insets were replaced by amber studs (the Derrynaflan chalice) and later by metal bosses. The arrival of the Vikings led to an increase in the availability of silver, reflected in a number of cast silver penannular and kite‐shaped brooches.

The 11th and 12th centuries saw the repair and creation of a number of important reliquaries. Several showed the influence of Viking motifs, probably introduced via Danish England, and a revival of the polychromatic effects of the 7th and 8th centuries. Some of the reliquaries made during this period, such as the cross of Cong, carry informative inscriptions.

With the Anglo‐Norman invasion came a change in the style of Irish fine metalwork. Silver and gold alloys replaced bronze as the principal material, and sparing use was made of semiprecious stones such as rock crystal. The small body of material, mainly liturgical, from the later period that has survived the melting pot shows the influence of English fashion as well as a gradual awareness of broader European trends. Examples include the de Burgo/O'Malley chalice (1494), in the National Museum, and the mitre and crozier of Bishop Cornelius O'Dea of Limerick (1418), in the Hunt Museum, Limerick. The latter, although made by an Irishman, Thomas O'Carryd, demonstrates a full and competent adoption of current European style.

From the end of the 12th century English goldsmiths were recorded in Dublin and by the 15th century smiths both native and foreign were working from other towns. In 1637 came the complete organization of a company of goldsmiths in Dublin, with the issue of a royal charter and a new assay mark.

Church plate, some domestic silverware, and civic regalia remain from the 17th century. However it was during the 18th century that Irish domestic silver craftsmanship reached its peak, following English styles quite closely, but at the same time developing localized characteristics. Refinements due to Huguenot influence can also be seen in the work of the time. Silver dish rings, helmet‐shaped cream jugs, and three‐legged sugar bowls are considered to be peculiarly Irish. Centres of production thrived not only in Dublin but also in Cork and Limerick, and to a lesser extent in Galway, Kinsale, Youghal, and Waterford.

Following the Act of Union there was a decline in native silver production due to competition from mass produced English imports.

Bibliography

Ryan, Michael , Metal Craftsmanship in Early Ireland (1993)
Youngs, Susan (ed.), The Work of Angels: Masterpieces of Celtic Metalwork 6th–9th Centuries AD (1989)

Rachel Moss