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| St. Patrick in Stained Glass Unknown origin, 19th-early 20th Century Location Unknown
In spite of not knowing the origin or location of this window I am drawn to the image of St. Patrick that it presents -- an intense man in the prime of life. This is probably how he might have looked at the start of his Irish mission.
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Christ in me, Christ beneath me, Christ above me,
Christ on my right, Christ on my left,
Christ when I lie down, Christ when I sit down, Christ when I arise,
Christ in the heart of every man who thinks of me,
Christ in the mouth of everyone who speaks of me,
Christ in every eye that sees me,
Christ in every ear that hears me.
I arise today
Through a mighty strength, the invocation of the Trinity,
Through belief in the threeness,
Through confession of the oneness,
Of the Creator of Creation."
(Excerpt from the Lorica, or Breastplate, of St. Patrick)
On March 17th, in many places around the world, special celebrations take place. In the United States the city of Chicago dies its river green, while in New York Fifth Avenue is transformed into a parade ground over which thousands of people parade in front of thousands of other people. All the events purport to honor the memory of a man who lived in the 5th century. His name was Patrick (actually Patricius) and he is the patron saint of Ireland and of the Irish.
The story of Patrick is fairly well known. Born in what was still Roman Britain, he was kidnapped by Irish slave raiders while still a teenager and brought to then-pagan Ireland. There he was sold as a slave to a landowner who put him to work as a shepherd. After six years of slavery, during which Patrick spent much of his time in prayer, he had a dream in which he was told that a ship awaited that would take him home. Patrick followed the dream message and fled his slavery. He did find a ship and reached home.
After a short time at home Patrick again had a dream. In this dream he heard what he called the “voice of the Irish” calling to him to come back and bring them the Gospel. He again followed the dream message, became a priest and then a bishop and returned to Ireland. The rest, as they say, is history.
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| Jeanne de Montbaston, Saint Patrick Preaching From a Vies de saints French (Paris), c. 1325-1350 Paris, Bibliotheque nationale de France MS Francais 185, fol. 186v |
Patrick was not the only missionary to the Irish, there were others as well, including some who were native Irish, but it is he who is remembered best. His mission field appears to have been located between the north of the country and the midlands, while the south appears to have been evangelized by others. Patrick is credited with some of the most high profile conversions among the Irish. He is also credited with an elegant demonstration of the Holy Trinity, using the native three-lobed clover, called 'seamróg’, to demonstrate the doctrine of the Three in One.
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| Richard de Montbaston, Saint Patrick and the King From a Legenda aurea by Jacobus de Voragine French (Paris), 1348 Paris, Bibliotheque nationale de France MS Francais 241, fol. 83r |
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| Richard de Montbaston, Saint Patrick and the King From a Legenda aurea by Jacobus de Voragine French (Paris), 1348 Paris, Bibliotheque nationale de France MS Francais 241, fol. 83r |
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| Workshop of Diebold Lauber, Saint Patrick Accidentally Stabs the King's Foot From a Legenda aurea by Jacobus de Voragine German (Alsace), c. 1435-1444 Augsburg, Staats-und-Stadtbibliothek MS Cod. 158, fol. 211v |
Medieval Images -- Saint Patrick's Purgatory
Patrick also was the inspiration for one of the foremost pilgrimages of medieval Europe, one that continues to this very day. This is the very seriously taxing pilgrimage to what is known as "Saint Patrick's Purgatory". The location is on an island in the middle of Lough Derg in County Donegal. Here the pilgrim endures a really soul-touching experience of fasting, prayer and endurance under adverse conditions.
The object of the pilgrimage is penance. The story of the shrine is that Christ himself showed Saint Patrick a cave on the island in which he could see the tortures of the damned. People initially came to the island to see the cave and to see for themselves the tortures they hoped to escape through their penitence. The cave has been sealed since an attempt was made during the Reformation era to close the shrine (in 1632). However, the pilgrimage has continued unabated.
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| Guillaume Vrelant, Christ Showing Purgatory to Saint Patrick From the Speculum historiale by Vincent of Beauvais Flemish (Bruges), c. 1455 Paris, Bibliotheque nationale de France MS Francais 310, fol. 161 |
During the three-day pilgrimage, the pilgrim eats very little, goes at least one night without sleep and follows a prescribed route around the island, praying barefoot in whatever kind of weather conditions prevail for that day. It is not for the faint of heart.
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| Master of the Roman de Fauvel, Saint Patrick Blessing a Pilgrim About the Enter the Purgatory From Vies de saints French (Paris), c. 1300-1350 Paris, Bibliotheque nationale de France MS Francais 183, fol. 242v |
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| Saint Patrick's Vision of Purgatory From a Legenda aurea by Jacobus de Voragine French (Strassbourg), 1362 Munich, Bayerische Staatsbibliothek MS Cgm 6, fol. 79r |
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| A Penitent Entering Saint Patrick's Purgatory From Purgatoire de Saint Patrick French (Paris), c. 1380-1400 Paris, Bibliotheque nationale de France MS Francais 1544, fol. 105r |
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| Alsatian Workshop, Saint Patrick's Vision of Purgatory From a Legenda aurea by Jacobus de Voragine Alsatian, c. 1418 Strassburg, University Library MS Cod. Pal. germ. 144, fol. 338r |
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| Chroniques II Workshop, Saint Patrick Blesses a Man About to Enter the Purgatory From a Legenda aurea by Jacobus de Voragine Flemish (Bruges), c. 1445-1465 New York, Pierpont Morgan Library MS M 673, fol.178 |
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| Jacques de Besancon, A Pilgrim Named Nicolas at Saint Patrick's Purgatory From the Legenda aurea by Jacobus de Voragine French (Paris), c. 1480-1490 Paris, Bibliotheque nationale de France MS Francais 244, fol. 104v |
Two friends of mine made the pilgrimage in 2018. They joined a long line of pilgrims going back to the late fifth or early sixth century.
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| Jeanne de Montbaston, Pilgrims at Saint Patrick's Purgatory From Vie de saints French (Paris), c. 1325-1350 Paris, Bibliotheque nationale de France MS Francais 185, fol. 190 I particularly enjoyed finding this illumination because of the fairly accurate representation of that uniquely Irish structure, the round tower. Round towers were especially associated with monasteries and one wonders how Jeanne de Montbaston learned about them. Perhaps she or one of her family members made the pilgrimage themselves. |
Later Works of Art -- Hagiography and History
Following the end of the medieval period the images of Saint Patrick became more focused on hagiography and historical subjects (or pseudo-historical ones). Hagiography is the study of the lives of the saints, but in a way that is more involved with legends than with facts. This is largely the type of artworks that have been associated with Saint Patrick since the Reformation. Such subjects as Patrick casting the snakes out of Ireland (there never were any snakes to begin with) had great vitality, overwhelming any actual historical realities.
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| Saint Patrick and the Snakes Italian, 17th-18th Century Rome, pontifical Irish College |
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| Saint Patrick Preaching Italian, 17th Century Rome, Church of Sant'Isodoro, Convent |
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| Saint Patrick Italian, c. 1650 Rome, Church of Sant'Isidoro |
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| Saints Patrick and Brigid of Kildare Venerating an Image of the Virgin Mary Italian, c. 1650-1700 Rome, Pontifical Irish College |
However, in more recent years there has been a return to interest in Patrick's unusual history of kidnap, enslavement, conversion and successful mission have regained some prominence.
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| Saint Patrick Sent to Ireland by the Pope Irish, c. 1920s Kilkenny, Saint Mary's Cathedral (Catholic) |
Patrick's Effect on the Arts of Ireland
Aside from the medieval illustrations of the pilgrimage and the later hagiographical and history works, Patrick’s contribution to art is not direct. He did not create any art that we know of and there are few images of him that are not very late and derivative. BUT, the impetus given by Patrick and the other Christian missionaries to the arts in Ireland is immeasurable. In the centuries following their conversion Irish artists created a unique merger of the old Celtic La Tène art forms with the narrative forms inherent in the late antique Christian images which came to them from the Continent. This fusion produced some of the most impressive works of the early middle ages.
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| Ruins of the monastery of Clonmacnoise Clonmacnoise, Co. Offaly |
Among the great works of art produced during this golden age were:
The Insular Style of manuscript painting, most famously the amazing Book of Kells1 The book contains the four Gospels of the New Testament and includes some of the most detailed works of interlaced ornament in northern Europe, predominantly clustered in the Gospel of Matthew. It blends elements of abstract La Tene and Viking ornament with figures inspired by classical antiquity into something quite distinctively unique to Irish culture. Although probably produced in an Irish monastic settlement off the coast of Scotland, it was carried to Ireland by monks seeking refuge from the Viking invasions. The various episodes in the life of this book may have caused the loss of pages. Indeed, it is almost miraculous that this book has survived for so long, given the sometimes perilous nature of the years through which it has passed.
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| Madonna and Child From the Book of Kells Irish, 6th century Dublin, Trinity College Library MS IE TCD MS 58, fol. 7v |
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| Breves causae, Matthew 1 to 3 From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 8r |
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| Evangelist Matthew From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 28v |
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| Christ in Majesty From the Book of Kells Irish, 6th Century Dublin, Tinity College Library MS IE TCD MS 58, fol. 32v |
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| Chi Rho at the beginning of the Gospel of Matthew from Book of Kells Irish, 6th century Dublin, Trinity College Library MS IE TCD MS 58, fol. 34r |
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| Matthew 26:30, Christ in Gethsemeni From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 114r |
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| Matthew 27:38, Jesus is Crucified Between Two Theives From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 124r |
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| Symbols of the Four Evangelists, placed between the Gospels of Matthew and Mark From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 129v |
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| Opening Page of the Gospel of Mark From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 130r |
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| Mark 15:25, "And it was the third hour: and they crucified him" From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 183r |
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| Mark 16:19, The Ascension From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 187v |
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| Opening Page of the Gospel of Luke From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 188r |
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| Luke Chapter 4, The Temptation of Christ From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 202v |
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| Luke 4:1,"The Spirit led Jesus into the desert" From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 203r |
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| Luke 24:1, The Resurrection From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 285r |
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| Symbols of the Four Evangelists, placed between the Gospels of Luke and John From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 290v |
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| Evangelist John From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 291v |
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| Opening Page of the Gospel of John From the Book of Kells Irish, 6th Century Dublin, Trinity College Library MS IE TCD MS 58, fol. 292r |
The High Crosses of Irish monasteries, such as those at Clonmacnoise and Monasterboice
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| Cross of the Scriptures (replica) Irish, 10th century Clonmacnoise, Co. Offaly
Here you can get an idea of the scale of the high crosses.
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| Center image of Cross of the Scriptures (original) Irish, 10th century Clonmacnoise, Co. Offaly
The original cross is now preserved indoors at the Clonmacnoise Interpretive Center. |
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| Cross of Muiredach Irish, 10th century Monasterboice, Co. Louth |
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| Central Image of Cross of Muiredach Irish, 10th century Monasterboice, Co. Louth |
Amazingly intricate metalwork, including
The Ardagh Chalice
The Derrynaflan Chalice
The Clonmacnoise Crozier
The Ardagh Chalice
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| Ardagh Chalice Irish, 8th century Dublin, National Museum of Ireland The chalice is much larger than the typical chalice used for liturgy in later periods. |
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| Ardagh Chalice (detail) Irish, 8th century Dublin, National Museum of Ireland |
The Derrynaflan Chalice
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| Derrynaflan Chalice Irish, Early 9th century Dublin, National Museum of Ireland |
The Clonmacnoise Crozier
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| Crozier of Clonmacnoise Irish, Late 11th century Dublin, National Museum of Ireland |
This is probably the most complex and beautiful metal object produced in Ireland in the early middle ages. It is also the climax of the style. During the second half of the 12th century Ireland came more and more under English control and lost much of its unique and separate artistic identity.2
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| Cross of Cong Irish, 1123 Dublin, National Museum of Ireland |
The cross was made around the year 1123 to house a relic of the True Cross which is recorded to have been presented to Turlough O'Conor, the High King of Ireland at the time, in 1122. Recent conservation work on the cross has revealed the oak wood core into which a small receptacle was carved to contain the fragment of the True Cross. The core was clad in a composite brass shell and the receptacle was covered with a dome of rock crystal, which has miraculously survived. The exterior decoration is "golden filigree, gilding, silver sheeting, niello and silver inlay, and glass and enamel settings".3
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| Central section, Cross of Cong Irish, 1123 Dublin, National Museum of Ireland The central crystal ornament once covered a small fragment of the True Cross. |
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| Portion of the upright section, Cross of Cong Irish, 1123 Dublin, National Museum of Ireland |
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| Cross of Cong, Base of the Cross Irish, 1123 Dublin, National Museum of Ireland |
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| Detail of Cross of Cong showing details of filigree work, casting, enameling and jewel setting |
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| Further details of the rock crystal, filigree in gold and silver and enamel work from the center of the cross. |
On a small personal note -- It is interesting to me that two of the four names inscribed on the cross belong to two people with my own last name: Muiredach Ua Dubthaig (Muiredach O'Duffy) and Domnall mac Flannacain Ui Dubthaig (Donal mac Flanagan O'Duffy), both of whom were important churchmen. The other inscribed names are those of the High King of Ireland, Turlough O'Conor, and of the craftsman who made it. The inscription is in Latin and Irish and runs around the edges of the cross.
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| Edge of the Cross of Cong, showing part of the inscription. |
The translated inscription reads:
1. Obtaining free images of the illustrations in the Book of Kells that are decent quality has previously been very difficult. Understandably Trinity College Library has been very protective of their prize possession and of their copyright privileges. However, highly detailed images of the entire book are now available on the Trinity College Digital Collections website at http://digitalcollections.tcd.ie/home/index.php?DRIS_ID=MS58_003v I have taken advantage of this wonderful new opportunity to capture images and to understand the book as a whole and have, hence replaced all the former images on this blog.
2. https://www.museum.ie/en-IE/Collections-Research/Irish-Antiquities-Division-Collections/Collections-List-(1)/Late-Medieval
3. https://www.museum.ie/en-IE/Collections-Research/Irish-Antiquities-Division-Collections/Collections-List-(1)/Early-Medieval/The-Cross-of-Cong/Materials,-Workmanship-Recent-Discoveries
+ By this cross is covered the cross on which the creator of the world suffered (in Latin)________________________
A prayer for Muiredach Ua Dubthaig, senior ecclesiastic of Ireland (in Irish)
A prayer for Tairdelbach Ua Conchobair, king of Ireland, by whom was made this ornament (in Irish)
A prayer for Domnall mac Flannacáin Uí Dubthaig from the borders of Connacht, successor of Commán and Ciarán, by whom was made this ornament (in Irish)
A prayer for Máel Ísu mac Bratáin Uí Echach, who made this ornament (in Irish)
+ By this cross is covered the cross on which the creator of the world suffered (in Latin).4
1. Obtaining free images of the illustrations in the Book of Kells that are decent quality has previously been very difficult. Understandably Trinity College Library has been very protective of their prize possession and of their copyright privileges. However, highly detailed images of the entire book are now available on the Trinity College Digital Collections website at http://digitalcollections.tcd.ie/home/index.php?DRIS_ID=MS58_003v I have taken advantage of this wonderful new opportunity to capture images and to understand the book as a whole and have, hence replaced all the former images on this blog.
2. https://www.museum.ie/en-IE/Collections-Research/Irish-Antiquities-Division-Collections/Collections-List-(1)/Late-Medieval
3. https://www.museum.ie/en-IE/Collections-Research/Irish-Antiquities-Division-Collections/Collections-List-(1)/Early-Medieval/The-Cross-of-Cong/Materials,-Workmanship-Recent-Discoveries
© M. Duffy, 2012 and 2016, with major revisions 2021 and 2024.