| Clonmacnoise Crucifixion Plaque | |
|---|---|
 | |
| Material | Bronze,giltopenwork,repoussé[1] |
| Size | Height: 8.0 cm (3.1 in) Width: 7.3 cm (2.9 in) |
| Created | 10th century |
| Period/culture | Early Medieval,Insular |
| Place | Clonmacnoise monastery,County Offaly, Ireland |
| Present location | National Museum of Ireland |
TheClonmacnoise Crucifixion Plaque is a 10th century Irishgilt-bronze sculpture showing a disproportionately large,crucificified but still alive Christ, surrounded by two attendant angels in the upper quadrants and the Roman soldiersStephaton (the sponge-bearer) andLonginus (the lance-bearer) in the lower quadrants.
The sculpture is 8.0 cm (3.1 in) in height and one of eight exantearly medieval Irishcrucifixion plaques, which after representations onhigh crosses, are the earliest surviving Irish representations of the Crucifixion.[2] It's closely observed detail, especially around the figure's clothing, was described by the art historianMáire de Paor as the "most charming of the series".[3] Its modern rediscovery and provenance is unknown. It was acquired by theNational Museum of Ireland in 1935 and is on permanent display.[4]
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The Clonmacnoise Crucifixion Plaque is made fromgilt-bronze and is hollow-cast (ie liquid bronze was poured into a mold). The outline of the figures was achieved viaopenwork, that is, by creating holes or gaps in the metal to produce the shapes. The frame is almost square with an outermost height of 8.0 cm (3.1 in) and width of 7.3 cm (2.9 in). The frame is decorated by a series oflozenges (diamond orrhombus-shaped patterns) separated by horizontal bars.[5]
As with each of the eight survivingCrucifixion plaque, here Christ is depicted with open eyes, indicating that he is still alive.[6] As is typical for the group, his head and outstretched arms are disproportionally large compared to the rest of his body.[7] He wears an adornedchasuble (a liturgicalvestment) that reaches to his knee and is divided laterally into three highly decorated vertical segments, under which is an elaborately decoratedhem. He has rather stubby legs.[8]
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Christ's arms are in low relief and adorned with bilateral patterns.[8] He is smiling despite thenial wounds in his palms and chest,[8] the latter of which are inflicted from spears thrust by the biblical soldierStephaton (in the lower left quadrant) andLonginus (in the lower right quadrant).[7][9] The angels standing on his arms have diagonallyhatched wings that coil inwards to resolve in a pair of large spirals. Like Christ, the angel's feet turn outwards. These figures are in poorer condition than the central figure.[8] on the lower left quadrant, Stephaton is shown in profile with feet turned towards Christ while stabbing him with a long spear. Stephaton wears a long garment, possibly ofchain mail, and decorated with herringbone patterns. He is given a face with a short nose, a protruding chin, and a gaping mouth.[8]
The figures are surrounded by a continuous rectangular frame on which Jesus, Stephaton and Longinus stand on its lower border. Because Christ is much larger than the frame, the cross is not visible.[4]
Archaeologists believe that it was built as an attachment to a larger metal or wooden object, given that the reverse is flat and unadorned, and that it contains eight rivet-holes (only one rivet –or nail– remains) on the outer borders.[10] It is unknown as to what the precise intention was; the plaques may have adorned book covers,crosses oraltar frontals.[2][11][12]
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Archaeologists date the plaque to the mid-10th century as it shares several motifs with other objects securely dated to that period. In particular, it contains elements of the VikingRingerike style. In addition, the representations of Stephaton and Longinus bear similarities to figures on the borders of thecumdach—a metal casing intended as a bookshrine—built for theStowe Missal and dated to c. 1045–1052. A warrior on one side of the Stowe cumdach holds alance that merges into the left and right sides of the frame, as do both soldiers on the Clonmacnoise plaque.[9] The Stowe warrior's hair curves in a distinctive manner around the back of his neck before merging with the frame, a visual motif near identical to the depiction of Stephaton in the Clonmacnoise plaque.[9]
The art historianPeter Harbison grouped the plaque with a now lost example rediscovered inCounty Mayo, known only from a 19th-century drawing in watercolour, and suggested a single workshop based in the major artistic center atClonmacnoise monastery.[13]
Crists's depiction resembles an earlierManks stone cross found on theCalf of Man island off the southwest coast of theIsle of Man.[14] In that work, he also wears a moustache, forked beard and long hair, but is more similar (and closer in date) to Christ in the Rinnegan plaque, while bearing a resemblance to the cleric on the side panel of the 11th-century imagery added to theSoiscél Molaisse cumdach.[15]
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| Extant |
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|---|---|---|
| Lost | Mayo Plaque | |
| Related | ||
