page_title: Insular art
section_title: Insular metalwork
hierarchical_section_title: Insular art / Insular metalwork
context_page_description: Insular art, also known as Hiberno-Saxon art, was produced in the post-Roman history of Ireland and Britain. The term derives from insula, the Latin term for "island"; in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. Art historians usually group insular art as part of the Migration Period art movement as well as Early Medieval Western art, and it is the combination of these two traditions that gives the style its special character.
  Most Insular art originates from the Irish monastic movement of Celtic Christianity, or metalwork for the secular elite, and the period begins around 600 with the combining of Celtic and Anglo-Saxon styles. One major distinctive feature is interlace decoration, in particular the interlace decoration as found at Sutton Hoo, in East Anglia. This is now applied to decorating new types of objects mostly copied from the Mediterranean world, above all the codex or book.
  The finest period of the style was brought to an end by the disruption to monastic centres and aristocratic life caused by the Viking raids which began in the late 8th century.
context_section_description: Christianity discouraged the burial of grave goods so that, at least from the Anglo-Saxons, we have a larger number of pre-Christian survivals than those from later periods. The majority of examples that survive from the Christian period have been found in archaeological contexts that suggest they were rapidly hidden, lost or abandoned. There are a few exceptions, notably portable shrines ("cumdachs") for books or relics, several of which have been continuously owned, mostly by churches on the Continent—though the Monymusk Reliquary has always been in Scotland.
  In general it is clear that most survivals are only by chance, and that we have only fragments of some types of object—in particular the largest and least portable. The highest quality survivals are either secular jewellery, the largest and most elaborate pieces probably for male wearers, or tableware or altarware in what were apparently very similar styles—some pieces cannot be confidently assigned between altar and royal dining-table.  It seems possible, even likely, that the finest church pieces were made by secular workshops, often attached to a royal household, though other pieces were made by monastic workshops. The evidence suggests that Irish metalworkers produced most of the best pieces, however the finds from the royal burial at Sutton Hoo, from the far east of England and at the beginning of the period, are as fine in design and workmanship as any Irish pieces.
  There are a number of large brooches, including several of comparable quality to the Tara brooch.  Almost all of these are in the National Museum of Ireland, the British Museum, the National Museum of Scotland, or local museums in the islands.  Each of their designs is wholly individual in detail, and the workmanship is varied in technique and superb in quality.  Many elements of the designs can be directly related to elements used in manuscripts.  Almost all of the many techniques known in metalwork can be found in Insular work.  Surviving stones used in decoration are semi-precious ones, with amber and rock crystal among the commonest, and some garnets.  Coloured glass, enamel and millefiori glass, probably imported, are also used.
  The Ardagh Chalice and the Derrynaflan Hoard of chalice, paten with stand, strainer, and basin (only discovered in 1980) are the most outstanding pieces of church metalware to survive (only three other chalices, and no other paten, survive).  These pieces are thought to come from the 8th or 9th century, but most dating of metalwork is uncertain, and comes largely from comparison with manuscripts.  Only fragments remain from what were probably large pieces of church furniture, probably with metalwork on wooden frameworks, such as shrines, crosses and other items. The Cross of Cong is a 12th-century Irish processional cross and reliquary that shows insular decoration, possibly added in a deliberately revivalist spirit. The gilt-bronze "Athlone Crucifixion Plaque" (National Museum of Ireland, perhaps 8th century) is much the best known of a group of nine recorded Irish metal plaques with Crucifixions, and is comparable in style to figures on many high crosses; it may well have come from a book cover.
  The fittings of a major abbey church in the insular period remain hard to imagine; one thing that does seem clear is that the most fully decorated manuscripts were treated as decorative objects for display rather than as books for study.  The most fully decorated of all, the Book of Kells, has several mistakes left uncorrected, the text headings necessary to make the Canon tables usable have not been added, and when it was stolen in 1006 for its cover in precious metals, it was taken from the sacristy, not the library.  The book was recovered, but not the cover, as also happened with the Book of Lindisfarne.  None of the major insular manuscripts have preserved their elaborate jewelled metal covers, but we know from documentary evidence that these were as spectacular as the few remaining continental examples. The re-used metal back cover of the Lindau Gospels (now in the Mo
caption: The Derrynaflan paten, 8th or 9th century.
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