Crucifixion plaques are a type of Irish Early Medieval bronze sculpture consisting of a central panel of the still alive but Crucifixion of Jesus, crucified Jesus. He is surrounded by four ancillary panels showing Stephaton and Longinus (the lance and sponge bearers) in the lower quadrants and two hovering attendant angels in the upper quadrants. The borders or frames have cavities that once held nails or rivets, indicating that the plaques were intended as attachments to larger ecclesiastical objects, perhaps Cumdach, book shrines, processional crosses or altarpieces.Johnson (1998), p. 98 Alongside high cross, high crosses, the plaques are among the earliest known examples of both Figurative art, figuration and the representation of the Crucifixion in the arts, Crucifixion in Irish art. Eight of the nine known examples survive, although many more would have been produced. All were found in Ireland in the 19th and 20th centuries; presumably they would have been hidden by Irish clerics from History of Ireland (795–1169), Viking or Norman invaders. They are all made from cast bronze and are similar in size. Apart from one, they of openwork (ie the figures were formed from holes or gaps punched through the metal).Johnson (1998), p. 97 They were found within a relatively small geographical area, with find spots ranging from the area between Clonmacnoise in County Offaly and Tynan, County Armagh.Murray (2014), p. 289 The plaques are all cast as single pieces and except for the early 8th century Rinnegan Crucifixion Plaque, Rinnegan and the Lismore Crucifixion Plaque, Lismore plaques, have a unifying border.Murray (2014), p. 286 Based on their ornamentation and iconography, apart from the very early Rinnegan Plaque, archaeologists dated them to the late 10th to early 12th centuries. Their format and iconography are based on designs found in Roman art, classical Roman sculpture and in Miniature (illuminated manuscript), miniatures in 8th and 9th century illuminated manuscript, illuminated manuscripts including the Book of Kells and Southampton Psalter.

Surviving examples

The following list of the nine known plaques is based on the titles, locations and dates established by the archaeologist Peter Harbison in 1980, refined and updated by the archaeologists Ruth Johnson in 1998 and Griffin Murray in 2014.Johnson (1998), p. 97 # The Rinnegan Crucifixion Plaque, Rinnegan (or Athole, or St. John's) Crucifixion Plaque, Rinnagan, near Athlone, late 7th or early 8th century. National Museum of Ireland – Archaeology, National Museum of Ireland (NMI), Dublin # The County Mayo Plaque (lost) # The Tynan Crucifixion Plaque, County Armagh, c. 1100. NMI # The Clonmacnoise Crucifixion Plaque, County Offaly, late–10th or early–11th century. NMI # The Anketell Plaque, County Monaghan. NMI # The Killaloe Plaque, County Clare, 11th century. NMI. # Irish, no locality # The Lismore Crucifixion Plaque, Lismore Plaque, County Waterford, c. 1090–1113. NMI # The Kells, County Kilkenny, Kells Plaque, County Kilkenny, 11th or 12th century. British Museum

Format and iconography

Most of the plaques are made from bronze and with the figures achieved through openwork. They are decorated on the front side only, indicating they were intended to be attached to larger ecclesiastical objects. The very early and larger Rinnegan plaque shows evidence of now lost gilding.Mitchell (1977), p. 91 Apart from the Rinnegan plaque, they are all square-shaped and measure approximately x . Johnson (1998), p. 96 The plaques consist of a central panel depicting the Crucifixion of Jesus, crucified Jesus on a cross within a square frame or border. He is surrounded by figures on each of the four surrounding quadrants. The upper two contain winged angels above his shoulders, the lower ones have the biblical figures Stephaton (the sponge-bearer) and Longinus (the lance-bearer) at either side of his feet. The ancillary figures assume various positions and poses in the different examples. The angels can be depicted as standing, hovering, or having two or three wings, while the soldiers can be shown standing or kneeling, on different sides, or adorned with different types of Celtic patterns.Murray (2014), p. 288 The Clonmacnoise plaque has a small cross on either side of Christ's head.MacDermott (1954), p. 35 As with contemporaneous depictions of the Crucifixion on early medieval high crosses, Christ is depicted on a much larger scale than the other figures. He is usually bearded and has large, open eyes, indicating he is still alive. Christ wears a loincloth in six examples, and a full-length long-sleeved tunic in the Rinnegan and Clonmacnoise plaques.Hamlin; Haworth (1982), p. 115 Apart from the Clonmacnoise plaque, his feet are turned away from each other. The figures and some of the frames are elaborately decorated with La Tène culture#Material culture, Ultimate La Tène, Insular art, Insular and 11th-century Viking Viking art#Ringerike Style, Ringerike designs, including spirals, Interlace (art), interlace, foliate and Lozenge (shape), lozenge patterns. The Clonmacnoise plaque is described by the archaeologist Ruth Johnson as "the most elaborate of the group".Johnson (1998), p. 102 The reverse panels are plain and unadorned. Many contain multiple rivet holes, some of which (including the Clonmacnoise plaque) still contain nails. The rivet holes indicate that they may once have been attached to larger metal or wooden including metal altar crosses such as the Tully Lough Cross, wooden altarpieces or Cumdach, metal book shrines (''cumdachs'').Plaque, 1983,0701.1
. British Museum. Retrieved 5 November 2024

Dating

The surviving plaques were rediscovered in varying circumstances during the 19th and 20th centuries, having presumably been hidden to protect them from invading History_of_Ireland_(800–1169)#Early_Viking_raids, Vikings or Anglo-Norman invasion of Ireland, Normans.Johnson (1998), p. 95 Johnson (1998), p. 99 Based on their iconography and lack of Viking art, Viking-influenced animal or Zoomorphism, zoomorphic designs, the majority are dated to the late 11th and early 12th centuries, based on elements such as vegetative decorations reminiscent of the Ringerike style.Raftery (1941), p. 152 The late 7th or 8th century Rinnegan Crucifixion Plaque is at least two centuries earlier than the other examples. It is so dated by its use of curvilinear designs reminiscent of the late Celtic art, Celtic style. The format of a crucified Christ surrounded by angels above each arm and soldiers below draws on earlier figurations in 7th to 9th century Insular illuminated manuscript, illuminated gospels, to the extent that it seems likely that the craftsmen had copies of these works. Examples include folio, f. 200Recto and verso, r of the Book of Kells, f.38v from the Southampton Psalter, and miniatures from the Irish Gospels of St. Gall,Moss (2014), p. 272 the Durham Gospels, and the spear-bearer on a long-side from the c. 1026 cumdach for the Stowe Missal.Johnson (1998), p. 101Mitchell (1977), p. 92 File:Cross of Kells–West–2 (3).JPG, Crucifixion panel on the Cross of St. Columba and St. Patrick, c. 9th century, Abbey of Kells File:Croce di tully lough, da tully, co. di roscommon, viii-ix secolo 02 uomo tra serpenti (cropped) (cropped).jpg, Panel on the upper arm of the 8th- or 9th-century Tully Lough Cross, NMI File:Southampton Psalter f.38v.jpg, Southampton Psalter, f.38v; 9th century or after. File:Contenitore del messale con iscrizione al 're' d'irlanda donnchad, 1030 ca., dal monastero di lorrha, co. di tipperary, 04 (cropped).jpg, Detail from a side of the cumdach for the Stowe Missal, 11th century, NMI File:Figure from the Stowe Missal (detail).jpeg, Detail of an illumination from the Stowe Missal File:Bastone pastorale di clonmacnoise, XI secolo 01.jpg, The Clonmacnoise Crozier, late 11th century, NMI

Function

Given that the plaques all have "original fixing holes" and are all of a similar size, archaeologists believe they were intended to decorate larger ecclesiastical objects. However, the specific type of object is unknown. Suggestions include wooden processional crosses, book shrines and altar frontals (''antependium''s).Mitchell (1977), p. 91 This theory is supported by the number of similar mounds and inserts on contemporary or earlier altars and crosses. A similarly sized mount is positioned on the lower part of the 8th or 9th century Tully Lough Cross,Moss (2014), p. 273 while similar compositions can be found on, amongst others, the Ullard Church, Ullard cross in County Kilkenny, the Cross of St. Columba and St. Patrick at the Abbey of Kells, the South Cross at Clonmacnoise, and etchings on a stone cross on the Calf of Man.Harbison (1984), pp. 1, 5 NMI director Joseph Raftery (1941) and Harbison favoured the idea that they were used as Pax (liturgical object), pax-plates (objects used for the Kiss of peace during Mass (liturgy), mass).Harbison (1980), pp. 25–26 Their conclusions were based mainly on the fact that the objects typically contain wear around Christ's head, perhaps indicating that they were passed around by the Church (congregation), congregation for this area to be kissed. Murray disputes this theory; although pax-plates were used in later medieval mass ceremonies, there is no evidence of their use in early medieval Ireland.Murray (2014), p. 290 Rafferty suggested that the plaques were produced by a single workshop, a theory refuted by Murray, who established both their relative geographical dispersion and differences when analysed under x-ray fluorescence.

Groupings

In 1980, Harbison proposed the plaques as a distinct type. At the time, there were six known plaques which he grouped based on their iconography and form, including the pose of the biblical figures and angels, their borders and Christ's pose and clothing. He established that, except for the c. 800 AD Rinnegan plaque, they all dated to c. 1100 AD, while earlier archaeologists had argued that they dated from anywhere between the 9th and 12th centuries. Harbison divided the plaques into two broad groupings based on their find-spots and style, and argued that these examples originated from two individual workshops or traditions: in Clonmacnoise, County Offaly and in Dungannon, County Tyrone (in border counties around Northern Ireland).Harbison (1980), pp. 24–38 Since Harbison's publication, the Dungannon Plaque is now localised to Tynan, County Armagh, near the find-spot of another plaque from Anketell, County Monaghan, while another example is now thought to originate from Lismore, County Waterford. Based on these findings, Murray further divided the plaques into the "Tynan", "Clonmacnoise", "Klllalon" (or "Kells, County Meath, Kells") groups and "others" (i.e. those unlocalised either by find-spot or style, and the very early and geographically distinct Rinnegan Plaque).Murray (2014), pp. 287–289

Clonmacnoise

Harbison placed three examples within the Clonmacnois group, based on stylistic proximity to the Clonmacnoise Crucifixion Plaque, which he believed to be the most accomplished of the extant Crucifixion plaques. That plaque takes its name from its find spot in the once important but now-ruined monastery Clonmacnoise, County Offaly. Based on similar iconography, technique and location, he associated it with both the now lost, so-called Mayo Plaque (today known only from a 1830's watercolour reproduction), and the unlocalised Academy Plaque. Assuming that all three were produced within a relatively narrow date range, Harbison speculated that they were produced by a single workshop that also made the Clonmacnoise Crozier.Murray (2014), p. 295 Mayo Crucifixion Plaque

The group shares distinguishing elements when compared to other surviving examples. In each example, the angels, Stephaton and Longinus are static. The angels stand upright on Christ's shoulders rather than kneel or hover.Harbison (1980), pp. 33 Unusually, in both examples, Longinus is to Christ's left while Stephaton to his right.Murray (2014), p. 296 Christ's eyes are formed from inlayed glass. Stephaton is shown in profile with a single arm and one large and oval eye visible. His hair is depicted in strands that end in a large curl. He wears a long robe with ends that curve inwards.Murray (2014), p. 304 Longinus looks directly outwards in the Clonmacnoise Plaque; the only other instance in the overall group where one soldier is in profile and the other looks out frontally is the Killaloe Plaque.

Killalon

The Killalon group consists of the 11th-century plaque found in Killaloe, County Clare and the 11th or 12th-century Kells Plaque in the British Museum, but which was found in County Kilkenny. Like those in the Clonmacnoise group, the figures stand upright rather than kneel or hover. In the Killalon group, Christ is bare-chested and wears a short and narrow loincloth. His stranded hair is centrally parted and extends horizontally onto the shoulders of the angels.Murray (2014), pp. 296—297 The soldiers are on opposite sides of the plaque compared to the other examples, and each is secured to the frame by two metal straps. File:Placchetta della crocifissione in lega di rame, forse da killaloe, co. di clare, xi secolo (cropped).jpg, Crucifixion plaque found in Killaloe, County Clare, 11th century, NMI. H: Harbison (1980), p. 28 File:The Kells Crucifixion plaque BM.jpg, The Kells Crucifixion Plaque, British Museum, 11th or 12th century. H:

Tynan

The grouping consists of the Tynan Crucifixion Plaque, Tynan and Anketell plaques are thought to have been produced by a workshop based outside of Armagh, Armagh town. The Anketell plaque was found in Emyvale, County Monaghan, around ten kilometres west of Tynan and 25 kilometres from Armagh. Both plaques are assumed to have been produced later than the other examples, given their resemblance to the figures on the crucified figure on St Mel's Cathedral, Saint Mel's Cross and other confidently dated late 12th-century artefacts.Murray (2014), p. 300 In both Christ's head, hands and feet extend over the outer frame, and he is emaciated with clearly visible ribs. Longinus is crouched and holds a spear diagonally against Christ's right side. The frames in both plaques are elaborately decorated and divided by semi-circular arches.Murray (2014), p. 310 The angels hover and the soldiers are crouched. Christ's body is long and slender and dressed in a small and according to Murray "tight fitting" loincloth.Murray (2014), p. 297

Others

Because of its early dating, large size and find spot on the east coast of Ireland, archaeologists consider the Rinnegan Plaque as separate from the other groupings. Harbison described the plaque as characterising the "Celtic artist's ornamental, stylised and mysteriously unrealistic approach to an otherwise naturalistically-represented theme of vital significance to Christian art" and as one of the "most frequently illustrated examples of early Irish art, along with the Book of Kells, the Tara Brooch and the Ardagh Chalice".Harbison (1984), p. 1 There are four plaques of unknown provenance, including the 12th-century Lismore Plaque, and two others similarly dated and also in the NMI.

References

Sources

* Cormac Bourke, Bourke, Cormac. "The Chronology of Irish Crucifixion Plaques". In: Higgitt, John (ed.). ''The Age of Migrating Ideas: Early Medieval Art in Northern Britain and Ireland''. Sutton Publishing, 1993. * Máire de Paor, de Paor, Máire. "An Openwork Crucifixion Plaque from Clonmacnoise". ''The Journal of the Royal Society of Antiquaries of Ireland'', volume 84, no. 1, 1954. * Hamlin, Ann; Haworth, R. G. "A Crucifixion Plaque Reprovenanced". ''The Journal of the Royal Society of Antiquaries of Ireland'', volume 112, 1982. * Peter Harbison, Harbison, Peter. ''The Crucifixion in Irish Art''. Dublin: Columba Press, 2000. * Harbison, Peter. "A lost crucifixion plaque of Clonmacnoise type found in County Mayo". ̄In: Murtagh, Harman. ''Irish Midland Studies: Essays in Commemoration of N.W. English''. Athlone: ''Journal of the Old Athlone Society'', 1980. * Françoise Henry, Henry, Françoise. ''Irish art during the Viking Invasions (800–1020 A.D.)''. London: Methuen, 1967. * Johnson, Ruth. "Irish Crucifixion Plaques: Viking Age or Romanesque?". ''The Journal of the Royal Society of Antiquaries of Ireland'', volume 128, 1998. * Máire de Paor, MacDermott, Máire. "An Openwork Crucifixion Plaque from Clonmacnoise". ''The Journal of the Royal Society of Antiquaries of Ireland'', volume 84, No. 1, 1954. * Marzinzik, Sonja. ''Masterpieces: Early Medieval Art''. London: British Museum Press, 2014. * George Francis Mitchell, Mitchell, G. Frank. "Foreign Influences and the Beginnings of Christian Art". In:
Treasures of early Irish art, 1500 B.C. to 1500 A.D: From the collections of the National Museum of Ireland, Royal Irish Academy, Trinity College Dublin
'. NY: Metropolitan Museum of Art, 1977. * Rachel Moss (art historian), Moss, Rachel. ''Medieval c. 400—c. 1600''. "Art and Architecture of Ireland" series. London: Yale University Press, 2014. * Griffin Murray, Murray, Griffin.
Irish crucifixion plaques: a reassessment
In: Mullins, Juliet; Ni Ghradaigh, Jenifer (eds): ''Envisioning Christ on the Cross: Ireland and the Early Medieval West''. Dublin: eds J. Mullins, J. Ní Ghrádaigh and R. Hawtree, 2014. * Murray, Griffin.
The provenance of an Irish Crucifixion plaque
. ''Archaeology Ireland'', volume 26, number 4, issue 102, 2012 * Raghnall Ó Floinn , Ó Floinn, Raghnal. "Schools of Metalworking in Eleventh and Twelfth-century Ireland". In: Ryan, Michael (ed.), ''Ireland and Insular Art, A.D.500-1200: Conference Proceedings'', Dublin: Royal Irish Academy, 1987. * Ó Floinn, Raghnal; Wallace, Patrick (eds). ''Treasures of the National Museum of Ireland: Irish Antiquities''. Dublin: National Museum of Ireland, 2002. * Timoney, Martin. "Two Stone Crucifixion Plaques from East Connacht". ̄In: Murtagh, Harman. ''Irish Midland Studies: Essays in Commemoration of N.W. English''. Athlone: Old Athlone Society, 1980. * Fintan O'Toole, O'Toole, Fintan.
A History of Ireland in 100 Objects
'. Dublin: Royal Irish Academy, 2013. * Raftery, Joseph. ''Christian Art in Ancient Ireland. Volume 2''. Dublin: Stationery Office of Ireland, 1941. ASIN: B00HN7OCBQ * Youngs, Susan. ''"The Work of Angels", Masterpieces of Celtic Metalwork, 6th–9th centuries AD''. London: British Museum Press, 1989.

External links

Rinnagan Crucifixion Plaque
A History of Ireland in 100 Objects, 2013. ''The Irish Times'', National Museum of Ireland and Royal Irish Academy {{Insular art Celtic art Irish art Medieval European metalwork objects Crucifixion plaques