International studio (82.1925)

mtERfiAOOnAL

SHRINE OF LOUGH ERNE

similar style is seen at the base
of the shrine, the motifs includ-
ing winged grotesques. Belief
that it was executed during the
twelfth century, however, is
strengthened by the fact that
about this time the bodies of
St. Patrick, St. Brigid and St.
Columcille were disinterred and
entombed in the interior of the
cathedral then newly erected at
Downpatrick. The hand of St.
Patrick was kept in the taber-
nacle of the church, but van-
ished during the fourteenth cen-
tury. This is apparently the
reliquary which reappeared cen-
turies later and is now in pos-
session of the Archbishop of
Down and Connor. It is inter-
esting to note that the Morgan
Collection of the Metropolitan
Museum includes two fifteenth-
century French shrines of simi-

filigree knotwork still occupies seventeen of the Iar form.

thirty-one compartments on the lower front face, A memorial typical of the genius of Celtic
the border retaining four of the original eight red design and execution finds expression in the Shrine
glass settings. A central oval crystal framed in of St. Lachtin's Arm, once the repository of a relic
silver and an adjacent stud evidently typify the of the seventh-century founder of a religious colony
incongruity of "restoration." The design of the in southwestern Ireland. Gaelic inscriptions on
handle is most distinctive, embodying fine inter- copper fillets extending lengthwise of the arm,
lacing figures in silver relief, filigree panels and though illegible in places, determine the date of
settings of glass and cloisonne. A novel note is the work as between the years 1118 and 1127, the
introduced on the back of the handle, where inter- requests for prayers including the name of Cormac
woven lines form a framework for two convention- MacCarthy, who later became king. The hand
alized birds resembling peacocks, ancient Chris- proper consists of a framework of silver set with
tian symbols of immortality. Perhaps the artist's panels of numerous shapes and sizes, the silver and
most praiseworthy endeavor was concentrated on copper plaques including interlacing, knotted and
the side panels, which feature a Celtic cross with spiralform devices, some inlaid. Rare charm
background of delicate gold filigree, the device invests the slender bronze arm panels, originally
placed midway between graduated upper and inlaid with gold, silver and niello, the zoomorphic
lower patterns of intertwining reptiles. designs reminiscent of the Clonmacnois Crozier.

A silver treasure of exquisite workmanship and A pierced copper band occurs half way up the
dignified design, probably of the twelfth century, arm, the elbow being encircled by narrow jeweled
is represented by the Shrine of St. Patrick's hand, rings of silver, interwoven animal patterns, as
The reliquary exhibits an upright hand, possibly well as a row of lacelike openwork and silver fili-
gloved, and the lower part of a sleeve, artistically gree. The top of the elbow is capped by an orna-
wrinkled to simulate natural drapery. Thumb mental disc, the center alight with a large round
and first two fingers are raised in benediction. An crystal mounted in relief.

episcopal ring, set with a large red stone, adorns The Temple of Jerusalem as depicted in the
the second finger, the back of the hand aglow with Book of Kells is supposed to have been the inspi-
a long, slender, white crystal. Embroidery on the ration for the model of the Shrine of Lough Erne,
sleeve is indicated by repousse displaying natural a theory reasonable enough in view of the fact
animal forms in various positions, the design fur- that old Gaelic manuscripts long proved a fertile
ther enriched by red stones alternating with source of supply for the medieval designer. Little
smaller settings of white crystal. A wider band of or nothing seems to be known of the history of the

one thirty-eight

NOVEMBER I 9 2 5