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The Muiredach Cross
Muiredach Master, Muiredach Cross, c. 923 C.E., sandstone, 18 feet high, Monasterboice (Mainistir Bhuithe), County Louth, Ireland. A conversation between Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker. Created by Smarthistory.
Video transcript
(upbeat piano music) - [Narrator] We're at the site
of Monasterboice in Ireland, standing in front of this
monumental-sized cross known as the Muiredach Cross. And this is one of about
300 made in Ireland between the eighth to 12th centuries and it is one of the most famous, in part because of the
exceptionally high quality of its carving and also its size. These are the largest free-standing
sculpture that we have from the fall of the Roman Empire until artists create
monumental sculpture in Italy. in the early Renaissance. - [Historian] This was
a monastic compound. There were a number of
buildings and open spaces where the monks could meditate. - [Narrator] The monks who lived here developed a center of great
intellectual learning. Pilgrims were also coming here because stored inside the
round tower, most likely, were relics. So, when this cross was constructed in the early 10th century, it would've been a monumental feat. It is made of sandstone in three parts, the base, the cross
itself, and the capstone. - [Historian] These crosses are out, they're exposed to the weather and sandstone is relatively soft stone, and so they have rounded,
they have weathered, they have lost detail. Art historians are
confident that originally, these crosses were painted. Different colors would've
picked out different forms and this would've been far
more legible than it is today, although they are
remarkably legible even now. - [Narrator] Which is a
testament to this skill of the carver or carvers who created this. What is immediately striking
to me is how much bigger it is than what I've seen in photographs. It's on this trapezoidal base, and then the cross rises upwards. And at the crossing, you see
this distinct circular element that connects the arms of the
cross to its vertical portion. - [Historian] This has become identified with Irish crosses. - [Narrator] Often referred
to these Celtic crosses, these are not specifically associated with the Celtic peoples. It's better to refer to
them as high crosses. - [Historian] At the center of the cross, we see a representation
of the crucifixion. We can see a figure whose
arms are outstretched, whose legs dangle, and who's
being tortured by two soldiers. - [Narrator] Below we see scenes associated with the arrest of Christ and doubting Thomas, among others. At the base of this west face of the cross are two adorable cats, one licking a kitten and one
that's about to eat a bird. Wedged in between them is the inscription that helps us to identify
this particular cross with an abbot who was at Monasterboice. And so the inscription roughly reads, "A prayer for a Muiredach
who had the cross erected." That particular abbot
was here at Monasterboice in the early 10th century,
which is how we date this. - [Historian] I'm struck
by how clearly structured the narrative scenes are
separated by framing. This is the lavish abstract
forms, interlace patterns. There are spirals, there
are interwoven snakes. - [Narrator] Those decorative panels call to mind the filigree
designs that we see on things like the Ardagh Chalice or the interlace designs that we see throughout the "Book of Kells." I can't help but also be struck by how much attention to detail the artist gave to the figures. We see details of the textiles. We see broaches that fastened cloaks. We see curly hair and mustaches. - [Historian] At the center
of the cross on the other side is what may be the earliest
carved representation that we have from Medieval
Europe of the Last Judgment. A representation of the end of time when Christ sits as judge over all of the souls
that have ever lived. - [Narrator] And so, we
see Christ in the center as souls are being judged below him. We have St. Michael weighing
the souls of the dead, determining where they're going
to go, to hell or to heaven. - [Historian] And you can actually see that he's holding scales. And in the left side of the balance, you can see a little figure
which is meant to represent a soul whose goodness
or evil is being judged. - [Narrator] One of my favorite details is a demon to Christ's left. His knee is bent upwards, and he looks like he's kicking or pushing one of the souls into hell. - [Historian] And so, it
is the figures on the right that are damned and
the figures on the left who are the elect who have
been chosen for heaven. - [Narrator] The narrative scenes below include the three Magi coming
to visit the Christ child, Adam and Eve and Cain and Abel where we see Eve picking
an apple from the tree. This moment of original sin that causes sin in the world
that humans have to atone for. - [Historian] And Christ
takes on earthly form in order to relieve mankind
of that original sin. And so, in a sense, the entire history of mankind is summed up in this cross. - [Narrator] We don't know exactly how this high cross functioned, but it likely had some type of
didactic or educational role, to help people learn about the narratives in the Christian Bible in the Old Testament
and the New Testament. It could have also served
as a devotional aid helping the monks or the
pilgrims who came here to reflect and to think more deeply about
how to achieve salvation. - [Historian] But it
also likely functioned as a way of marking this
space as a sacred one by creating visual echoes and
references to the Holy Land, specifically to Jerusalem. - [Narrator] Some art
historians have argued that this cross, this
form that seems to develop almost out of nowhere,
relates to a jeweled cross that was on Golgotha in Jerusalem. - [Historian] The hill that by tradition, Christ was crucified upon. - [Narrator] When that
jeweled cross was erected, it had stairs that led up to
it, so people have suggested that maybe the stepped base
is replicating those stairs, that the various bosses and
the elaborate decoration could mimic jeweled crosses
from late antiquity, and then the capstone of the cross looks like a small house or a shrine. - [Historian] And we think
that that's an attempt to replicate the shrine that
was built atop Christ's tomb. - [Narrator] Here in Ireland,
in a monastic community, having these elements
associated with the Holy Land could have vicariously
transported monks or pilgrims thinking about Christ's passion and the final days of His
life and His resurrection. - [Historian] It is this lavish, monumental sculptural effort
that marked this place as one of the great
centers of Christianity. (upbeat piano music)