architectural sculpture from the twelfth century at ardmore
TRANSCRIPT
Irish Arts Review
Architectural Sculpture from the Twelfth Century at ArdmoreAuthor(s): Peter HarbisonSource: Irish Arts Review Yearbook, Vol. 11 (1995), pp. 96-102Published by: Irish Arts ReviewStable URL: http://www.jstor.org/stable/20492815 .
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ARCHITECTURAL SCULPTURE FROM THE TWELFTH CENTURY AT ARDMORE
The external west wall of the
ruined cathedral at Ardmore in Co Waterford preserves for us the most extensive collection of architectural sculpture to survive anywhere in Ireland from the twelfth century. This takes the form of twenty-three panels, each bear ing between one and five figures,
which are all now jumbled together in two semi-circular lunettes, and in nine out of the thirteen arches, forming an arcade above them (the two at each end being empty). The panels are such an awkward fit, and make so little sense as arranged today, that they were clearly not designed for their present positions and must, therefore, have once been
mounted more coherently elsewhere in or near the cathedral, though not necessarily all within their existing arched frame
work. This article is an attempt to reconstruct the identity of the subjects and personages displayed in that original location,
wherever it may been have been. Almost a century ago, Canon
Power' and T J Westropp2 identi fied a few biblical subjects among the carvings - The Scales of the Last Judgment in the upper arcade, Adam and Eve in the left-hand lunette and, in the right-hand lunette, The Judgment of Solomon as
well as a Dedication of Solomon's Temple (Power) or Three Magi (Westropp) and a Madonna and
Child, though others have grouped the latter two subjects together into an Adoration of the Magi.
Additionally, the large figure in the centre of the upper arcade was tentatively identified as Christ in two recent studies - one by Sue McNab3 and the other by Tadhg O'Keeffe4 - which, however, leave many of the other figures still unidentified. My own interest in trying to unravel the subjects of these more obscure panels was given a new impetus when the renowned American photographer Paul Caponigro sent me a set of his
Peter Harbison argues that the extensive array of carvings on the ruined County Waterford
cathedral derive their subject matter from the psalms.
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ARCHITECTURAL SCULPTURE FROM THE TWELFTH CENTURY AT ARDMORE
majestic black-and-white prints of Ardmore, some of which (Figs 1, 3, 5, 6, 7, 8) are reproduced here with his kind permis sion. Exposed over a two-day period in different lighting condi tions and thereby revealing interesting details through the vary ing degrees of light and shadow, these photographs have helped
me greatly in figuring out the identifications proposed here, which will be seen to fit remarkably well into the context of the most diagnostic of all the Ardmore carvings - The Judgment of Solomon in the upper portion of the right-hand lunette.
There (Fig. 3), we see the wise king seated on the left and raising his sword as he pronounces judgment on the biological
mother of the babe held up to him by one of the two women approaching from the right. Behind the women is another seat ed figure playing a harp who, in a biblical context, must surely be David. But the Third Book of Kings in the Old Testament tells us that David was already dead when Solomon made his famous judgment, so that the Ardmore panel appears to com bine two scenes which must once have been distinct - David playing his harp and The Judgment of Solomon. Along with Adam and Eve, these two images are occasionally illustrated close to one another - though never actually as part of the same scene -
in English and, to a lesser extent, French Psalters of the thir teenth and fourteenth centuries.5 While being later than the presumed data of the Waterford carvings, these Psalters depict a number of other David and Solomon scenes which, through comparison, offer some possible explanations for the more obscure panels at Ardmore.
One of those scenes is David's battle with Goliath, which Ardmore may show on two widely-separated panels. The first of these is on the extreme right of the left-hand lunette, where a figure kneeling with bowed head is shown with a spear, which I Samuel 17, 45 informs us was one of the weapons borne by Goliath into battle. The other was a sword that could have been shown in the hand of the lost figure of David which may once have faced him. The upright shape of the panel may have prevented Goliath from being shown prostrate on the ground, as would have been more biblically correct. On the second panel, in the same position in the right-hand lunette, a small figure carries a possible sling on his back and a bag at the waist,
1. ARDMORE CATHEDRAL, Co Waterford: sculptures on the exterior of west wall. The fact that the carvings are not in their original positions has for long impeded
the correct identification of the different scenes.
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ARCHITECTURAL SCULPTURE FROM THE TWELFTH CENTURY AT ARDMORE
2. ARDMORE, Co Waterford. The sculptures discussed in this article are on the west wall of the Cathedral, to the left of the Round Tower.
which could be the scrip (I Samuel 17,40) in which David stored his sling-stones. Because he walks to the left and carries something in front of him, this could be David bringing the head of Goliath to Jerusalem (I Samuel 17,54), a scene also portrayed, along with Adam and Eve, on the Romanesque church at Kilteel, Co Kildare,6 suggesting that both churches may have had a com mon iconographical theme.
David and Solomon may make another appearance at Ardmore in the fourth arch from the left in the upper arcade. We see there (Fig. 6) a seated man placing his hand on the head of a younger person who kneels reverential ly before him with a sword at his side - the only other existing sword-bearer at Ardmore other than Solomon in the Judgment panel. This, then, could represent David's charge to Solomon (III Kings, Chapter 2) to walk in the ways of the Lord, illustrated in the second medallion from the left at the bottom of fol. 7vo of the early fourteenth-century Psalter of St Omer in the British
Library.! There, it is depicted along side Solomon riding David's mule8 (III Kings 1,38), which may also be pre sent at Ardmore in the shape of the equestrian rider to the left of Adam and Eve in the left-hand lunette.
Shown next to The Judgment of Solomon at the top of fol. 124ro of a late fourteenth-century Psalter, lat. 8846 in the Bibliotheque Nationale in Paris (Fig. 4), is a depiction of The Building of Solomon's Temple, where we see small-scale figaures at
work constructing the temple on the right, as the larger-scale figures of the king and his attendants watch their progress with interest from the left. The details of this illustration can help us to reconstruct the same scene at Ardmore9 by combining a number of panels scattered throughout the upper arcade and which may be tentatively identified as follows:
1. The third niche from the left (Fig. 5), showing a small fig ure beneath the vaulted roof of the temple (or part thereof);
It is the most extensive collection of architectural
sculpture to survive anywhere in Ireland from
the twelfth century.
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ARCHITECTURAL SCULPTURE FROM THE TWELFTH CENTURY AT ARDMORE
2. The top of the fifth niche from the right (Fig. 7), - three 'masons' bent low as they work on the stones of the temple (the three upright panels beneath them may also have fitted into this scene);
3. The third niche from the right (Fig. 8) with (a) a lady on the left, small in stature, handing up build ing material to the working level and, facing her, (b) the larger figure of
Solomon seated on the right, surveying the construction work and, finally, perhaps
4. the fifth arch from the left containing two equally large attendant(?) figures with outstretched hands.10
These panels, with both larger and smaller figures, may origi nally have been fitted together like a jigsaw puzzle and, because they bear no apparent relationship to the niches now contain ing them, they may once have formed a larger-format (unframed?) composition set apart from those now in the lunettes beneath. Such a suggestion may help to explain why it
was not possible to re-arrange them in their primary grouping when it came to their secondary re-location in the narrow arches of the upper arcade. Nevertheless, if the numbered iden tifications suggested above be correct, a certain symmetry could be seen to manifest itself, in that the second and fourth panels on either side of the central figure in the arcade may be associ ated with The Building of Solomon's Temple."
It is questionable whether this symmetry applies to the panels of the third niches from the centre respectively, as there would appear to be no obvious connection between The Scales of Judgment'2 on the right and the scene in the corresponding niche on the left, tentatively identified above as David's charge to Solomon. But the sym metry would seem to apply to the two figures flanking the central panel, as they are almost identical - though one was appar ently inserted into its present position by the Board of Works towards the end of the last cen tury." The volute staffs or croziers which they carry would suggest an identification as ecclesi astics'4 which could, in turn, argue in favour of identifying the central figure (Fig. 1) as the church patron, Saint
Declan. particularlv as he may possiblv bear a mitre on his head. However, the other attributes of this central figure - a chalice bearer on the left, a bird on the figure's right shoulder and a pos sible child on its left arm - find no clarification in the roughly contemporary Life of St Declan.' Yet they are equally difficult to associate with the iconography of Christ"6 who, other than as an element of the Madonna and Child group, is strikingly absent at Ardmore, or of Soloonn, who is vital to an understanding of other panels in the upper arcade.
While St Declan seems the most plausible, a final identification is best left open for the moment.
Returning to the right-hand lunette beneath the arcade, we find three figures walking towards the left who have generally been identified as Magi. But, almost a century ago, Canon Power'7 suggested that they repre sented those attending The Dedication of Solomon's Temple, a long-ignored identification which now deserves greater respect in view of the number of other Solomon scenes possibly present at Ardmore. Though the figures do bear gifts,'8 they also carry mace-like staffs which are not appropriate to the Magi and, as the front figure neither kneels nor even bends the knee in ven eration before the Christ child,'9 an identification as The Magi becomes more implausible. The Madonna and Child group towards which they walk does not belong to an Adoration of the
Magi scene, as the Virgin faces us and not them, as would have been expected in the circumstances, so that The Virgin and Child must have been an independent group of statuary. The figure to the right of Adam and Eve in the left-hand lunette may possibly hold a child but, as it is standing, it cannot have been a Virgin and Child group forming part of an Adoration scene.
The comparisons made above with thir teenth- and fourteenth century Psalter illustra tions suggest a thematic framework of Solomon and David subjects which would encom pass, and make sense of, most of the panels now jumbled together on the
west wall of Ardmore Cathedral, and bring us closer to a reconstruc tion of their primary composition. While it would be understand able that St Declan would have belonged to that scheme from the
3. ARDMORE CATHEDRAL: The Judgement of Solomon From the upper sec tion of the iight-hand lunette. Solomon is on the left but as King David, who was dead by the time Solomon made his wise judgement, is shown playing
his harp on the right the author concludes that two different scenes, which once must have been distinct, are depicted.
4. PSALTR, lat fourteenth centur (fol. 24ro). The Judgment of Solomon (top left), The Building of Solomon's Temple (top right), The Magi questioning Herod (bottom Left) and The Adoration of the Magi (bottom right). (CoU: Bibliotheque Natonale, Paris). By comparing this illustration with the sculptures at Ardmore, the author has identified the various components of a group showing The
Building of Solomon's Temple.
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ARCIIITECTURAL SCULPTURE FROM THE TWELFTH CENTURY AT ARDMORE
5. ARDMORE CATHEDRAL: Detail of the third arch from the left of the upper arcade. The figure is here identified as originally forming part of a larger scene of The
Building of Solomon's Temple.
IL~~~~~~
6. ARDMORE CATHEDRAL: Detail of the fourth arch from the left of the upper arcade. The author identifies this panel as David's charge to Solomon.
beginning in order to impress visiting pilgrims,20 the main emphasis at Ardmore would nevertheless appear to have been on the pre sentation of subjects illustrating, or related to the Psalms, and par ticularly those involving Solomon, the wise temple builder. Yet, clearly, these Psalters are too late to have provided the inspiration for the Ardmore carvings. But the much rarer twelfth-century Psalters are unlikely to have done so either, as they do not offer the same combination of biblical material. Irish Psalters of the period2' are devoid of narrative pictures, and because the cen turies-earlier Irish High Crosses provide only some,2' but by no
means all, of the scenes likely to have been present at Ardmore, it is not easy to concur with the general consensus that Ireland was the likely source of the Ardmore iconography. However, it is equally difficult to suggest any other convincing alternative out side the country, although the Psalters might point towards England."3 One can only hope that future research may shed some light on the problem.
While more than one hand may be traced in the style of the carvings, it is quite likely that they were all roughly contempo
rary. But when are these sculptures likely to have been execut ed, and how should they be related to the various building phases apparent in the masonry of the Cathedral? In his detailed examination of its building history, J T Smith24 saw a part of the present chancel as the initial, pre-Romanesque, Phase I, the building of the adjoining part of the nave to just short of the pre sent north doorway as Phase II, and the extension of that nave
westwards to its present length as Phase III. With Smith, I would tend to connect his Phase III with the following entry in the Annals of Inisfallen25 for the year 1203: 'Mael Etain Ua Duib
Ratha, noble priest of Ard M6r, died after finishing the building of the church at Ard Mor.' But Smith thought that his Phase II should also be dated to shortly before 1203, because he was under the mistaken impression that Mael Etain was also the first bishop (see below). Should we not interpret the annalistic entry as saying that Mael Etain was a priest completing, or adding an extension (Phase III) to, a cathedral (Phase II) which we would expect to have been built earlier by a bishop, and for which The Building of Solomon's Temple would have been an apposite sub
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ARCtIITECTURAL SCULPTURE FROM THE TWELFTH CENTURY AT ARDMORE
7. ARDMORE CATHEDRAL: Detail of the fifth arch from the right of the upper arcade. The figures in the upper section appear to be masons at work on The Building of
Solomon's Temple.
8. ARDMORE CATHEDRAL: Detail of the third arch fromn the right of the upper arcade. Two separate carvings show a lady lifting some building material (on the left) and
Solomon (seated on the right).
ject for external architectural adornment? Smith saw the carv ings as having initially decorated the former west wall of Phase II; if so, when that wall was demolished some time later to make
way for the extension of the nave in Phase III, the sculpted pan els would presumably have been carefully extracted for subsequent re-setting in the Phase III west wall we see today.
But who, then, was the bishop who may have been responsi ble for that primary scheme in Phase II? Ardmore was not counted as a bishopric at the Synod of Rath-breasail in 1111 but, according to Aubrey Gwynn,26 it had some claim to be recognised as a bishopric among the list of bishoprics approved by the papal legate, Cardinal Paparo, at the Synod of Kells in 1152. An unnamed bishop of Ardmore is known to have done fealty to King Henry II at Cashel in 1171/72, and Gwynn sug gests that he is probably to be equated with the bishop Eugene who witnessed a charter in Cork c. 1172/79 and who, according
27 to Westropp, wrote a Life of St. Cuthbert.
If Phase II were built to mark the elevation of Ardmore to the status of diocesan cathedral, then it would have been built
after 1152, yet probably closer to 1171/79 when a bishop is recorded. This could roughly correspond in time with two rare instances of the application of architectural sculpture to other Irish Romanesque cathedrals at the other end of the country -
Raphoe in Co Donegal and Maghera in Co Derry - which, as has been suggested recently,28 may have been erected c. 1150 1175 when their respective bishops would have been vying with one another for the succession to the archiepiscopal see of Armagh. If I am correct in associating the sculptures with the construction of Phase II as the cathedral of the fledgling diocese of Ardmore by its first bishop Eugene then, as author of a Life of St. Cuthbert, he may have had one eye on (northern?) England29 as a potential source of ideas for his sculptural scheme, and the other on France, which most authors30 would see as the inspiration for the arrangement of arcades and lunettes found at Ardmore.
DR PETER HARBISON is Editor of Ireland of the Welcomes. His most recent publication is The High Crosses of Ireland, (3 vols. Bonn, 1992).
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ARCHITECTURAL SCULPTURE FROM THE TWELFTH CENTURY AT ARDMORE
1. Rev P Power, 'Excursion Guides. II -
Ardmore', Jn. Waterford & South-East of Ireland Archaeological Society IV, 1898,
pp.153-62. 2. T J Westropp, 'Notes on the Antiquities of
Ardmore', Jn. Royal Society of Antiquaries of Ireland 33, 1903, pp.353-80, with good bib
liography of earlier works.
3. S L McNab, 'The Romanesque sculptures of Ardmore Cathedral', Jn. Royal Society of
Antiquaries of Ireland 117, 1878, pp.50-60. 4. Tadhg O'Keeffe, 'Romanesque Archi
tecture and Sculpture at Ardmore', in (ed. William Nolan and Thomas P Power)
Waterford History & Society (Dublin 1992) pp.73-104, with good photographs of
details.
5. As an example, one may quote fol. 8vo of
the mid thirteenth-century English Psalter
in the Library of the Duke of Rutland at
Belvoir Castle, illustrated in Eric G Millar,
English Ittuminated Manuscripts from the xth
and the Xlllth century (Paris/Brussels 1926),
pi. 79(a). 6. H.G. Leask, 'Carved stones discovered at
Kilteel, Co. Kildare', Jn. Royal Society of
Anaquaries of Ireland 65, 1935, p.5 with
Pl.I, Fig. 3; Conleth Manning, 'Excavation
at Kilteel Church, Co. Kildare', Jn. County Kildare Archaeological Society 16(3),
1981/82, p.210 with pl.ll. 7. Ms Yates Thompson 14. Illustrated in
Henry Yates Thompson, Facsimiles in pho togravure from a psalter, written and illumi
nated about 1325 A.D. for a member of the
St. Omer family in Norfolk, subsequently (c.1422 A.D.) the property of Humphrey,
Duke of Gloucester, fourth son of King Henry IV, and now in the library of Henry Yates
Thompson, 19 Portman Square, London
(London/Chiswick 1900), p.III. 8. This scene is also depicted on fol.27ro of a
later thirteenth-century English psalter, lat. 1.77(2397) in the Marcian Library in
Venice, illustrated in Rachel Meoli
Toulmin, 'Origini e Data di un Codice
inglese della Marciana', Saggi e Memorie di
Storia M'Arte, 8, 1972, 43-65 with 199,
Fig. 16.
9. The subject was known earlier in Ireland, as witness the 'Kearnaghan of Sollamon's
Temple', presumably a shrine, stolen from
the great altar at Clonmacnois in the year
1108, according to Connell
Mageoghagan's seventeenth-century trans
lations of The Annals of Clonmacnoise (ed. D. Murphy), Dublin 1185, 190.
10. There must be some doubt about the iden
tification of these figures as Solomon's
attendants, because they would have been
facing him, rather than standing beside
him, as in the Psalter illustration. The
pleats of their garments resemble those of
the figure no. 8 above, identified through
the Psalter depiction as a lady but, while we might have expected her representa tions of the two main ladies in the story of
Solomon, Bathsheba and the Queen of
Sheba, these two would normally be illus
trated separately and are, therefore,
unlikely to be the subject of this panel. 11. This symmetry, and the placing opposite
one another in the third niche from the
right (no.8 above) of two differently-sized
figures belonging to the same scene, could
suggest that a memory of the primary arrangement of the sculptures may still
have lingered when they were inserted sec
ondarily into their present position. 12. Scales are held by Christ Logos in a num
ber of medallions illustrating the Creation
story on fol. 8vo of the Rutland Psalter in
Belvoir Castle, referred to above in note 5, but these are unlikely to be connected
with the Ardmore scales.
13. Westropp, op cit. (n.l) p.368, who notes
that it seems nevertheless to fit the series.
It may even have belonged here at the ear
lier stage before it was brought into the
Cathedral, where the Board of Works
found it.
14. McNab, op. cit. (n.3) p.63 rightly com
pared them to the ecclesiastical figures on
twelfth-century High Crosses, and
O'Keeffe, op. cit. (n.4) p.97 suggested that one of them might represent St. Dec?an.
15. Carolus Plummer, Vitae Sanctorum
Hibemiae (Oxford 1910) Vol. I, lx-lxii and
Vol. II, pp.32-59; Rev. P. Power, Ufe of St.
Dec?an of Ardmore and Ufe of St. Mochuda
of Lismore, Irish Texts Society, Vol. XVI
(London 1914), pp. 1-73. However, a large
figure in relief, normally taken to be St.
Cron?n, stands above the doorway of the
Romanesque church of St. Cron?n, in
Roscrea (see Liam de Paor, 'Cormac's
Chapel: The beginnings of Irish
Romanesque', in [ed. Etienne RynneJ North Munster Studies, Essays in commemo
ration ofMonsignor Michael Moloney [Limerick 1967] p.135, Fig. 1), and the
central figure above the door of the
'Priest's House' in Glendalough, flanked by a staff- or crozier-bearer on one side and a
person bearing a bell on the other, may well represent St. Kevin (see Peter
Harbison, Pilgrimage in Ireland, The
Monuments and the People [London 1991]
pp. 120-21, with Fig.46) so that an identifi
cation of large figure in the central niche at Ardmore as St. Dec?an would be quite
appropriate under the circumstances.
16. An identification tentatively favoured by both McNab and O'Keeffe, as noted
above. A figure normally identified as
Christ on the head of the west face of the
'Doorty' Cross at Kilfenora, Co Clare
(Peter Harbison, The High Crosses of
Ireland, Bonn 1992, Vol. 1, p.l 15 and Vol.
2, Fig. 369) apparently has a bird on the
left shoulder, which could support the
identification of this Ardmore figure as
Christ.
17. Power, op. cit. (n.l) p.157. 18. Compare the representation on the bottom
right of Fig. 5.
19. Compare the illustrations in Gertrud
Schiller, Iconography of Christian Art, Vol. I
(London 1971) Figs. 274-81, and the rep resentation on Muriedach's Cross at
Monasterboice - see Harbison, op. cit.
(n.l6),Vol.3,Fig.805. 20.. For more recent pilgrimage activity at
Ardmore, see Harbison, op. cit. (n.15)
pp.136 and 230.
21. Compare Fran?oise Henry and G L
Marsh-Micheli, 'A Century of Irish
Illumination (1070-1170)', Proceedings of the Royal Irish Academy 73 C, 1973, partic
ularly pp.243ff. 22. Adam and Eve, David and Goliath and, pos
sibly, The Adoration of the Magi -
compare
Harbison, op. cit. (n.l6). 23. McNab, op. cit. (n.3) pp.66-67 pointed out
an English parallel for the Judgment of Solomon scene on a capital of c. 1120 in
Westminster Abbey, illustrated in George Zarnecki, Janet Hold and Tristram
Holland, English Romanesque Art 1066
1200 (London 1984) p.158, no. 10, where
various elements of the story are allocated to different faces of the capital. It is, how
ever, not a very exact parallel for
Ardmore.
24. J T Smith, 'Ardmore Cathedral', Jn. Royal
Society of Antiquaries of Ireland 102, 1972,
pp. 1-13. Compare also the differing schemes worked out by McNab, op. cit.
(n.3) and O'Keeffe, op. cit. (n.4). 25. (ed. Sean Mac Airt) The Annals of
Inisfallen (MS RawUnson B.503) (Dublin
1951),pp.332-33. 26. Aubrey Gwynn, 'Some notes on the history
of Ardmore', Ardmore Journal 10, 1993,
pp.13-16. 27. Westropp, op. cit. (n.l) p.358. 28. Peter Harbison, 'The Romanesque Passion
Lintel at Raphoe, Co. Donegal', in (ed.
Agnes Bernelle) D?cantations, A Tribute to
Maurice Craig (Dublin 1992) p.72-77. 29. Compare the sculptures of the Yorkshire
school as exemplified in St. Cuthbert's
church at Fishlake of c. 1160-70, illustrated in George Zarnecki, Later English
Romanesque Sculpture 1140-1210 (London
1953) pp.37, 59 and Figs. 83-84. 30. De Paor, op. cit. (n. 15) p. 136; Smith,
op.cit.. (n.24) p.8; O'Keeffe, op. cit. (n.4)
pp.91-93; O'Keeffe, 'La fa?ade romane en
Irlande', Cahiers de Civilisation M?di?vale
XXIV, 1991, pp.363-34.
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