International studio (82.1925)

inceRnAcionAL

object, but likely in
former times it con-
tained a sacred relic.
One surmises that dur-
ing the age when all
things of the sort were
banned by law some
devoted person, deter-
mined to spare it from
desecration, hurled the
shrine into the depths
of Lough Erne, from
which it was fished up
in 1891. The shrine
was built, like many
similar things, on a
foundation of yew
covered with bronze
plates, the whole en-
closed by an outer sil-
ver case, shaped like a
little church, which
measured seven inches
by three and one-half
at the base, the height
being about six inches.

morphic plaques. In
addition to bands of
bronze and enamel at
top and bottom, he
has created intricate
serpentine interlace-
ments for the pierced
side borders. Similar
decoration is observed
on the recessed trian-
gular ends, where two
panels, divided by an
elongated monster
with carved head, are
surrounded by mar-
gins of attractively en-
graved devices.

The ten human
figures in relief on the
front face are all that
remain of an original
fifty or sixty affixed to
both sides. Evidently
they portray military
chieftains of twelfth-
century Ireland, per-

The ornamentation is shrine of st. Patrick s tooth sonaj differentiation
confined to interlacing being denoted in the
bands in relief at summit and eaves of roof and richly embroidered kilted garments and girdles,
to kindred motifs in circular medallions on the as well as by the fashion of wearing hair and beard,
sides. Rigid poses and unnatural length of face and form
The general effect of the Lough Erne relic is characterized the portrayal of human beings in
also reflected in the Shrine of St. Manchan, which much of the art of the Middle Ages, yet this Irish
is of large size, the base measuring twenty-three modeling falls far short of what might be expected
by thirteen inches. The remains of a revered of him who produced the other obviously fine
abbot of southern Ireland are reputed to rest work on the shrine. Doubt exists as to the precise
within the treasure, which was equipped for pro- date of the reliquary, but this may have been
cessional purposes as indicated by the heavy brass indicated on a cresting thought to have once sur-
rings through which staves were inserted. The mounted the gabled roof. Some authorities in-
boards of yew which form the foundation of the dine to the opinion that the patron was Roderick
shrine are still in good condition, being exposed O'Conor, last of the native kings of Ireland, and
on the sloping sides, originally covered with thin son of the great Turlough, immortalized by the
sheets of decorative silver. The main feature of lovely twelfth-century Cross of Cong. The shrine
back and front is a large carved Celtic cross, cast now reposes in Boher Chapel, Lemanaghan.
from a single piece of bronze with grotesques ter- Fourteenth-century craft comprises most of
minating the corners, the paneled compartments the adornment of the Fiacil Phadruig or Shrine of
filled with yellow enamels inlaid with various red St. Patrick's Tooth, some of the less important
"T" motifs. The openwork metal bosses, or work being attributed to an earlier period. Accord-
miniature domes, at ends of arms and center are ing to one of the inscriptions, to Thomas de
in effect characteristic of the sculptured stone Braminghem (Bermingham), Lord of Athunry,
crosses scattered throughout Ireland even at the is due credit for the construction of the reliquary,
present time. While adhering to the principles of which once held a tooth said to have fallen as
symmetry and balance, the artist has invented a Ireland's apostle was visiting a certain church,
separate pattern for the framework of each boss, The treasure, which has suffered from rough hand-
likewise fitting the many shapes and sizes of inter- ling, is constructed of silver, shaped not unlike a
spaces with a wonderful assortment of tiny zoo- tooth.

november i 9 2 5

one tbirty-nine