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Cross of Cong

The Cross of Cong is a masterfully crafted processional and altar cross from 12th-century Ireland, designed to encase a holy relic fragment of the True Cross, and renowned as one of the finest surviving examples of early medieval Irish metalwork.^[1] Commissioned in 1123 by Toirrdelbach Ua Conchobair (Turlough O’Conor), the High King of Ireland, it was created to honor the relic acquired the previous year and transported across the country for veneration.^[1] The cross features an oak core overlaid with cast bronze plates adorned in the intricate Urnes style, depicting ribbon-like intertwined animals in openwork, and culminates in a large polished rock crystal set within a conical mount embellished with gold filigree, niello inlays, and blue and white glass bosses.^[1] Forged by the skilled craftsman Máel Ísú mac Bratáin Uí Echach, the Cross of Cong bears a bilingual inscription in Irish and Latin: the Irish text names the royal patron and artisan, while the Latin declares, “by this cross is covered the cross on which the creator of the world suffered,” underscoring its sacred purpose as a reliquary.^[1] It was likely intended for the prominent ecclesiastical center at Cong in County Mayo, a site patronized by the O’Conor dynasty and elevated to cathedral status at the Synod of Ráith Bressail in 1111, where Turlough later founded an Augustinian abbey following a 1137 fire.^[2] For centuries, the cross remained in Cong, cared for by the Augustinian friars; it was documented there in 1680 by antiquarian Roderick O’Flaherty and in 1822 by artist George Petrie, before passing through private hands and dramatic attempts at repatriation in the 19th century.^[2] Today housed in the National Museum of Ireland in Dublin, the Cross of Cong stands as a pinnacle of pre-Norman Irish artistry, blending Romanesque influences with native traditions and symbolizing the interplay of royal power, religious devotion, and technical virtuosity in medieval Gaelic society.^[1] Its preservation highlights the enduring legacy of Ireland’s monastic metalworking heritage, which produced elaborate reliquaries to safeguard and display sacred artifacts amid a landscape of political upheaval and cultural flourishing.^[1]

Physical Description

Form and Dimensions

The Cross of Cong is a cusped processional cross, crafted as a reliquary to house and display a fragment of the True Cross during religious processions. Its design features expanded, pointed terminals at the ends of the arms and shaft, forming a distinctive cruciform shape suitable for elevation on a staff, with a socket at the base allowing it to be mounted for carrying.^[3]^[4] The object measures 76 cm in height from the base socket to the top terminal, 48 cm in width across the arms, and approximately 3.5 cm in thickness, though the latter varies slightly due to the layered application of metalwork over the core. These dimensions reflect its portability for ceremonial use while providing a substantial surface for ornate decoration.^[5]^[4] Structurally, the cross consists of an oak wood core that forms the basic cross shape, reinforced and encased by U-shaped sheets of brass fitted around the edges and secured with cast brass plates on the faces. At the center, where the arms intersect the shaft, a prominent circular boss protrudes slightly, enclosing the relic compartment originally containing the True Cross fragment; this is sealed by a large, polished rock crystal disc set within a conical mount. The oak core shows evidence of an incised cross motif internally, symbolizing the relic it enshrines, while the metal encasing provides both protection and aesthetic enhancement through gilding and inlays of gold and silver.^[5]^[4]^[3]

Materials and Construction

The Cross of Cong is constructed around a solid oak wood core that forms the fundamental cross-shaped structure, providing structural integrity despite a historical fracture below the intersection that has contributed to its fragility.^[5] This core measures approximately 76 cm in height and 48 cm in width, encased in thin sheets of copper alloy, including both sheet brass and cast decorative brass plates, which form the primary protective and ornamental layer over the wood.^[4]^[5] The metal encasing is further embellished with gilded silver sheeting applied over the copper alloy surfaces, along with panels featuring intricate gold filigree work composed of twisted wire and granules for fine detailing.^[4]^[6] Niello inlays provide sharp black contrasts in decorative borders and lines, often combined with silver wire spirals for added texture, while champlevé enamel and glass settings introduce vibrant colors and highlights.^[4]^[6] These elements are assembled onto the core primarily through nailing and attachment methods typical of pre-Norman Irish metalworking, ensuring the panels adhere securely while allowing for the complex layering of materials.^[6] At the center, a large rock crystal panel covers a dedicated compartment designed to protect a relic fragment, with the underlying oak core bearing an incised Cross of Lorraine motif and evidence of an earlier circular lining or container for secure relic housing.^[5]^[4] This construction reflects advanced 12th-century Irish goldsmithing techniques, balancing durability for processional use with elaborate surface decoration.^[6]

Iconography and Decoration

Motifs and Symbolism

The front of the Cross of Cong features a prominent rock crystal boss at the intersection designed to house a fragment of the True Cross relic, evoking themes of salvation and Christ's redemptive sacrifice on the cross, with an incised cross of Lorraine on the underlying oak core.^[7]^[4] Surrounding this focal point are ornate panels featuring intricate animal interlace, where stylized beasts and serpentine forms intertwine in dynamic patterns, blending Insular artistic conventions with Christian symbolism to represent the triumph of divine order over chaos and the spiritual interconnectedness of creation.^[7] The projecting bosses on the arms and ends are decorated with enamel in rich colors, enhancing the relic's luminous quality and underscoring motifs of eternal light and protection associated with the True Cross.^[4] In contrast, the back emphasizes abstract geometric designs and Celtic knotwork, characterized by endless, looping ribbons that symbolize eternity, the infinite nature of God's love, and the interwoven fabric of the spiritual realm.^[8] These patterns, devoid of overt figurative elements, draw from longstanding Insular traditions to convey divine unity and protection, harmonizing with the front's relic-centered iconography to affirm the cross as a conduit for salvation.^[4] Overall, the motifs on the Cross of Cong fuse Christian relic veneration—epitomized by the True Cross evoking redemption—with Insular interlace and knotwork that embody spiritual interconnectedness, creating a layered symbolism of faith, eternity, and divine safeguarding.^[4] The use of techniques like enamel and niello in these decorations heightens their sacred aura, illuminating the object's role as a processional emblem of ecclesiastical power and piety.^[7]

Stylistic Influences

The Cross of Cong exemplifies a fusion of Insular artistic traditions, rooted in Irish monastic metalworking, with Viking-influenced techniques, particularly evident in its intricate filigree work and zoomorphic motifs derived from Norse contacts. This blend is characterized by the Hiberno-Urnes style, where Irish Insular elements like panel divisions and animal interlace integrate seamlessly with Scandinavian Urnes motifs, such as ribbon-like beasts forming figures-of-eight loops, reflecting cultural exchanges facilitated by Viking settlements in Ireland.^[9]^[10] Emerging Romanesque influences appear in the cross's engravings, including rounded arch forms and strapwork patterns, signaling the adoption of continental European architectural motifs in early 12th-century Irish ecclesiastical art.^[4] Continental European influences further enrich the Cross of Cong's design, with enamel methods for decorative panels that may draw from broader traditions, though these are likely local adaptations.^[4] Anglo-Saxon manuscript illumination provides additional stylistic precedents, seen in the cross's detailed niello inlays and figural compositions that echo the intricate line work and beast symbolism found in 11th- and 12th-century English metalwork and books.^[10] These external elements underscore the cross's role as a product of broader artistic dialogues across medieval Europe, mediated through trade and ecclesiastical networks. In its regional context, the Cross of Cong aligns closely with 12th-century Irish high crosses and shrine chests produced in Connacht workshops, sharing decorative motifs and construction techniques that highlight a localized school of craftsmanship. For instance, its Hiberno-Urnes ornamentation mirrors that of the Market Cross at Tuam, a contemporaneous sandstone high cross featuring similar zoomorphic interlace and panel layouts, suggesting shared artisanal traditions in the province under royal patronage.^[11]^[10] This alignment positions the cross within a vibrant Connacht metalworking milieu, where reliquaries and monumental sculptures evolved in tandem to serve liturgical and political functions.

Inscriptions

Content and Translation

The inscriptions on the Cross of Cong consist of a primary Latin phrase and accompanying Irish prayers, executed in a continuous band running around the sides of the cross, starting at the bottom left, to emphasize the authenticity of the encased relic from the True Cross.^[12] The main Latin inscription, repeated twice for reinforcement, reads: Hāc cruce crux tegitur quā pasus conditor orbis.^[12] This translates to "By this cross is covered the cross on which the creator of the world suffered," directly referencing the fragment of the True Cross housed within the cross's core.^[4] Integrated into the same edge band, starting at the bottom left side and proceeding around the reverse, are several Irish-language prayers invoking divine mercy for the souls of patrons, ecclesiastics, and craftsmen associated with the cross.^[12] These include: OR[ÓIT] DO MUREDUCH U DUBTHAIG DO SENÓIR ÉREND ("A prayer for Muiredach Ua Dubthaig, senior ecclesiastic of Ireland"); OR[ÓIT] DO THERRDEL[BUCH] U CHONCHO[BAIR] DO RÍG EREND LASA NDERRNAD IN GRES SA ("A prayer for Tairdelbach Ua Conchobair, king of Ireland, by whom was made this ornament"); OR[ÓIT] DO DOMNULL M[A]C FLANNACÁN U DUB[THAIG] DE IMLIB CONNACHT DO CHOMARBA CHOMMAN ACUS CHIARÁN ICA N[D]ERRNAD IN GRES SA ("A prayer for Domnall mac Flannacáin Uí Dubthaig from the borders of Connacht, successor of Commán and Ciarán, by whom was made this ornament"); and OR[ÓIT] DO MAÉL ÍSU M[A]C BRATDAN U ECHA[C]H DORIGNI IN GRES SA ("A prayer for Máel Ísu mac Bratáin Uí Echach, who made this ornament").^[12] Together, these texts blend Latin references to the relic's sanctity with Irish supplications, forming a devotional framework that links the object's spiritual significance to its historical makers.^[4]

Makers and Patrons Named

The inscriptions on the Cross of Cong, rendered in Irish using insular majuscule script and integrated into the decorative borders along the sides, invoke prayers for several key figures associated with its creation. These texts emphasize spiritual intercession, framing the named individuals as patrons and contributors whose souls warrant remembrance.^[4]^[6] The primary patron identified is Tairrdelbach Ua Conchobair, King of Connacht and claimant to the High Kingship of Ireland, described in the inscription as the king of Ireland for whom the cross was made. The prayer reads: "Pray for Tairrdelbach Ua Conchobair... by whom this cross was made," highlighting his role in commissioning the reliquary to house a fragment of the True Cross acquired in 1122.^[13]^[6]^[4] Two prominent ecclesiastical figures are also named, underscoring the collaboration between royal and church authorities in twelfth-century Ireland. Muireadhach Ua Dubhthaigh, Archbishop of Tuam and described as the "senior of Ireland," is invoked with the prayer: "Pray for Muireadhach Ua Dubhthaigh... by whom this cross was made." Similarly, Domnall mac Flannacáin Uí Dubthaig, from the borders of Connacht and successor of Commán and Ciarán, receives the entreaty: "Pray for Domnall mac Flannacáin... by whom this cross was made," reflecting his oversight in the project's religious and institutional dimensions.^[6]^[14]^[15] The craftsman credited is Máel Ísu mac Bratáin Uí Echach, whose technical expertise is honored in the inscription: "Pray for Máel Ísu mac Bratáin Uí Echach... by whom this cross was made." As a metalworker from a family possibly linked to ecclesiastical workshops, his name attests to the high level of specialized artistry involved, aligning with the object's intricate bronze casting and ornamentation.^[13]^[6]

Historical Context

Commission and Patronage

The Cross of Cong was commissioned around 1123 by Tairrdelbach Ua Conchobair, King of Connacht and aspirant High King of Ireland, as a processional reliquary associated with Tuam Cathedral but kept at the ecclesiastical center of Cong.^[16] This act of patronage underscored Tairrdelbach's strategic use of religious artifacts to project royal authority and secure ecclesiastical support amid his efforts to unify Ireland under his rule.^[17] The commission aligned with Tairrdelbach's extensive church-building initiatives in Connacht, including the rebuilding of Cong Abbey in 1135 and support for Romanesque-style constructions that symbolized the Ua Conchobair dynasty's consolidation of regional power.^[18] These projects, often funded through royal resources, fostered alliances between the monarchy and the church, enhancing Tairrdelbach's legitimacy as a pious ruler while advancing reforms like the establishment of an archbishopric at Tuam.^[19] Archbishop Muireadhach Ua Dubhthaigh of Tuam played a key role in the ecclesiastical approval and oversight of such commissions, as the primary church authority in Connacht during Tairrdelbach's reign (c.1101–1156), with the archbishop serving from c.1128 to 1150.^[20] The cross's creation thus represented a collaborative prestige project between secular and religious leaders, with inscriptions explicitly naming Tairrdelbach among the patrons.^[4]

The Relic of the True Cross

The Cross of Cong was crafted as a reliquary to enclose a fragment purported to be from the True Cross, the wood of the cross upon which Jesus Christ was crucified. This relic, a small piece of wood, was positioned at the center of the cross behind a large rock crystal cover, allowing it to be visible during processions or liturgical use.^[1]^[21] The relic was acquired in 1122 by Tairdelbach Ua Conchobair, King of Connacht and aspirant High King of Ireland, likely as a gift from Pope Callixtus II. The relic arrived in Ireland in 1122 and was carried throughout the country for public veneration before being enshrined in the cross the following year. This papal donation, sent to encourage Irish participation in the Crusades, traced its origins to the Holy Land through established European ecclesiastical networks that facilitated the distribution of sacred fragments. Upon arrival in Ireland, the relic was enshrined in the Cross of Cong to legitimize royal authority and enhance the spiritual prestige of the Connacht church, linking Irish rulers to the sacred lineage of Christian emperors like Constantine and Charlemagne.^[1]^[4]^[21] By the 19th century, the relic had been removed or lost, and the central compartment of the Cross of Cong now remains empty, protected only by the original rock crystal. The absence of the fragment does not diminish the cross's historical value as a testament to medieval relic veneration.^[1]^[21]

Creation and Attribution

Dating and Workshop

The Cross of Cong was crafted between 1123 and 1127, a timeframe established by its inscriptions and contemporary annals recording the arrival of the True Cross fragment in Ireland in 1123 during the reign of Tairrdelbach Ua Conchobair, King of Connacht.^[1] The primary inscription, in Latin, states that the cross enshrines the wood of the True Cross on which Christ suffered, while a secondary inscription invokes prayers for Tairrdelbach as the patron and names the bishop Muiredach Ua Dubthaig of Tuam and Domnall mac Flannacáin Uí Dubthaig, successor of Commán and Ciarán, linking it to ecclesiastical patronage in Connacht.^[12] This dating aligns with the start of construction on Tuam Cathedral in 1128, reflecting Tairrdelbach's broader program of architectural and artistic patronage to elevate Tuam's status as an archdiocesan center.^[22] The workshop responsible for the Cross of Cong is attributed to a specialized metalworking center in County Roscommon, likely near Roscommon town or Athlone, within a broader Connacht school of craftsmen active in the early 12th century.^[16] This attribution stems from stylistic and technical parallels with other artifacts from the same period, such as the Shrine of Manchan (c. 1129–1132) and the Aghadoe crosier, which share filigree techniques, Urnes-style interlace motifs, and niello inlays indicative of a unified Roscommon-based production.^[23] The Connacht school drew influences from earlier centers like Clonmacnoise, evident in the continuity of high-relief figural panels and animal ornamentation that echo 10th–11th-century works such as the Cross of the Scriptures (c. 901), though adapted to a more refined Romanesque aesthetic suited to royal commissions.^[24]

Craftsman and Techniques

The Cross of Cong was crafted by Máel Ísú mac Bratáin Uí Echach, an engraver whose name appears in an inscription on the sides of the cross, requesting a prayer for him as the maker of the ornament.^[12] He belonged to the Uí Echach lineage, a notable Irish family active in the region during the 12th century, suggesting a background in specialized metalworking traditions.^[25] The construction employed a range of advanced metalworking techniques typical of high medieval Irish craftsmanship. The oak core was encased in hammered sheet brass and adorned with cast brass plates for structural and decorative elements, such as bosses that provided raised ornamental details.^[26] Inscriptions were engraved using punch tools to incise precise Latin and Irish text into the metal surfaces, while cloisonné enamel was applied by forming wire cells to contain ground glass mixtures fired in place for vibrant, compartmentalized designs.^[25] Notable innovations included the strategic use of niello—a black metallic alloy inlaid into engraved lines—to create high-contrast detailing against the gold and silver elements, enhancing visual depth. Additionally, a central rock crystal boss was incorporated to allow visibility of the enclosed relic fragment, demonstrating sophisticated optical and preservative techniques in 12th-century Irish metallurgy.^[25] These methods reflect the pinnacle of pre-Norman goldsmithing, blending functionality with intricate artistry.^[26]

Provenance and History

Medieval Ownership

The Cross of Cong was commissioned by Tairrdelbach Ua Conchobair, King of Connacht and High King of Ireland, possibly for the Cathedral Church of Tuam in County Galway, though it was likely intended for the ecclesiastical center at Cong; it served as a processional reliquary during liturgical ceremonies.^[8]^[1] This placement aligned with Tuam's elevation as a key ecclesiastical center under Archbishop Muiredach O'Dubhthaigh, emphasizing the cross's role in royal patronage and religious display.^[8] As a symbol of Ua Conchobair legitimacy, it was carried at the head of processions, enshrining a fragment of the True Cross to invoke divine authority during rites that reinforced the king's high kingship aspirations.^[4] Following regional instability and Anglo-Norman invasions in the late 12th century, the cross was transferred to Cong Abbey in County Mayo around 1200, where it came under the care of the Augustinian canons.^[27]^[8] Cong Abbey, founded by Tairrdelbach in the 1120s and reformed as an Augustinian priory after a 1137 fire, provided a secure monastic setting patronized by the Ua Conchobair dynasty.^[2] The transfer, possibly initiated by Archbishop O'Dubhthaigh or the king himself, ensured the relic's protection while maintaining its ceremonial prominence.^[8] At Cong, the cross continued as a central reliquary in pilgrimages, royal inaugurations, and liturgical processions through the late Middle Ages, embodying the enduring Ua Conchobair claim to sovereignty until the dynasty's waning influence in the 16th century.^[1]^[4] The Augustinians venerated it in rituals that highlighted its True Cross fragment, fostering devotion and political symbolism amid Ireland's turbulent feudal landscape.^[27] Its ornate design, with provisions for mounting on a staff, facilitated such uses, underscoring its dual function as devotional object and emblem of power.^[1]

Rediscovery and Modern Acquisition

During the 17th century, amid the enforcement of the Penal Laws that suppressed Catholic practices and possessions in Ireland, the Cross of Cong remained under the care of the Augustinian community in Cong, where it had been transferred in the medieval period; it was documented there in 1680 by antiquarian Roderick O’Flaherty, who copied its inscription, allowing it to evade destruction or seizure during this era of religious persecution.^[2]^[14] Artist George Petrie also examined and documented the cross in 1822 while it was in the possession of Fr. Patrick Prendergast at Abbotstown near Cong.^[2]^[14] The cross was brought to wider attention in the late 1820s following the death of Fr. Patrick Prendergast, the last Augustinian abbot of Cong and serving parish priest, in 1829.^[2] His successor, Fr. Michael Waldron, found the cross among Prendergast's personal belongings and arranged for it to be mounted in a protective case.^[2] It was then publicly displayed in the parish for several years, attracting local interest before Waldron sold it to mathematician James MacCullagh in 1839 for 100 guineas.^[2] MacCullagh promptly donated the cross to the Royal Irish Academy later that year, where it became a prized item in their collection.^[2] In the 1880s, it was transferred to the National Museum of Ireland, following the establishment of the institution to house national antiquities.^[2] The cross continues to be owned by the museum, with occasional loans for exhibitions, such as its return to Mayo County in 2010 for display at the National Museum of Ireland - Country Life in Turlough, where it was shown for one year under heightened security.^[28]

Significance and Legacy

Religious and Cultural Role

The Cross of Cong served as a processional reliquary designed to house a fragment of the True Cross, acquired in 1122 by Toirrdelbach Ua Conchobair, thereby promoting devotion to this supreme Christian relic among the faithful in medieval Ireland.^[1] Its inscription in Latin declares, “By this cross is covered the cross on which the creator of the world suffered,” underscoring its role in invoking divine protection during religious ceremonies.^[4] As a portable object intended for attachment to a staff, it was carried in processions, Masses, and pilgrimages, where the relic's spiritual power—believed to embody Christ's suffering and offer redemption—drew worshippers to public displays of piety and communal prayer.^[1] A central rock crystal boss allowed the relic to be visible, magnifying its sacred aura and symbolizing Christ as the "new light" of salvation in the context of 12th-century Irish Christianity.^[4] In its cultural dimension, the Cross of Cong functioned as an emblem of Gaelic kingship, commissioned by Toirrdelbach Ua Conchobair to legitimize his aspirations as High King of Ireland and demonstrate royal piety intertwined with political authority.^[4] The object's lavish craftsmanship, blending Irish traditions with continental influences, reflected the 12th-century Romanesque revival in Ireland, a period of artistic and ecclesiastical renewal that sought to align Gaelic church practices with broader European norms while asserting cultural distinctiveness.^[1] It symbolized the unity between secular rulers and the church, as evidenced by its patronage involving prominent ecclesiastics, fostering a shared identity amid the reforms of the Synod of Kells in 1152.^[4] Today, the Cross of Cong endures as a potent symbol of Ireland's national heritage, housed in the National Museum of Ireland since its rediscovery in 1830 and celebrated as one of the nation's most iconic medieval artifacts.^[1] Its prominence in museum exhibitions and cultural narratives has positioned it within broader stories of Irish resilience and identity, attracting tourists and scholars who view it as a testament to the enduring legacy of Gaelic artistry and devotion.^[4]

Artistic Influence and Recent Scholarship

The Cross of Cong has exerted a notable influence on subsequent artistic movements, particularly the 19th- and 20th-century Celtic Revival, where its rediscovery in the early 1800s fueled a surge in nationalistic interest in Irish heritage and prompted the creation of replicas by silversmiths seeking to revive medieval metalworking techniques.^[29] This revival, driven by figures in the Anglo-Irish community after the cross's acquisition by the Royal Irish Academy in 1839, emphasized its intricate filigree and interlace patterns as emblematic of Ireland's artistic legacy, inspiring broader efforts to recreate Insular metalwork.^[10] In modern contexts, the cross's distinctive interlace motifs—featuring interwoven straps and animal forms—continue to inform contemporary jewelry design, with artisans producing scaled replicas and pendants that echo its elaborate bronze and silver embellishments for wearable art.^[30] These pieces, often handcrafted in sterling silver, adapt the original's processional form into personal adornments, maintaining the geometric precision and symbolic depth of the 12th-century original while appealing to global audiences interested in Celtic aesthetics.^[27] Recent scholarship has advanced understanding of the Cross of Cong through comprehensive studies, notably Griffin Murray's 2014 publication The Cross of Cong: A Masterpiece of Medieval Irish Art, which integrates archaeological evidence with historical analysis to contextualize its creation amid 12th-century Irish ecclesiastical patronage.^[31] The book employs X-ray fluorescence (XRF) spectroscopy to examine metal sourcing, revealing that the bronze and silver components likely originated from local Irish deposits blended with imported alloys, thus clarifying trade networks in pre-Norman metalworking.^[32] Further contributions address longstanding gaps, such as the operations of craftsman Máel Ísú mac Bratáin Uí Echach's workshop, with Murray attributing a series of surviving reliquaries to this Roscommon-based atelier and highlighting its role in synthesizing native Insular styles with continental influences.^[33] Post-2010 conservation efforts, including non-invasive scans during the cross's temporary display in County Mayo, have provided new insights into its construction, confirming the oak core's medieval origins and the use of brass sheets alongside cast elements.^[1] These findings underscore the cross's enduring value as both an artistic and devotional object, prompting reevaluations of reliquary production in medieval Ireland.^[10]

References

[1]
The Cross of Cong | National Museum of Ireland
The Cross of Cong was made in 1123 to encase a fragment of the True Cross that was brought to Ireland and displayed in different places around the country.
[2]
Cong and the Cross | National Museum of Ireland
It is possible that the Cross was made for Cong. Cong was an important church patronised by the O'Conors in the twelfth century.
[3]
Cross of Cong | National Museum of Ireland
The Cross of Cong was made in 1123 to encase a fragment of the True Cross that was brought to Ireland and displayed in different places around the country.
[4]
The Cross of Cong - Smarthistory
The Cross of Cong (commissioned by Tairdelbach Ua Conchobair king of Connacht and high king of Ireland), 1123, oak core within cast bronze, rock crystal, gold ...
[5]
Materials, Workmanship & Recent Discoveries
The cross is 760 mm high, 480 mm wide and 35 mm in thickness. The Cross of Cong is an exquisite work of art. It is one of the greatest expressions of Irish ...
[6]
The Cross of Cong and some aspects of goldsmithing in pre ...
A BS TRA CT: Th e Cross of Co ng is the most imp ortant reliq uary surviving from early medieval Ireland and belon gs to a large co rp us of pre-Norman, ...
[7]
https://www.museum.ie/en-IE/collections-research/irish-antiquities-division-collections/collections-list-(1)/early-medieval/the-cross-of-cong/materials,-workmanship-recent-discoveries
[8]
Cross of Cong: History, Description - Visual Arts Cork
The Cross of Cong measures 30 inches in height, 19 inches in width, and is roughly a quarter inch thick. It is made of solid oak, encased in plates of bronze ...Missing: form dimensions
[9]
The art of politics: the Cross of Cong and the Hiberno-Urnes style
This paper examines the identity of the zoomorphic art style that was used in the decoration of the Cross of Cong and related works of twelfth-century Irish ...
[10]
16.04.07, Murray, The Cross of Cong | The Medieval Review
Associated with the O'Duffys, it is called after Cong, a small town in what is now County Mayo, in the west of Ireland, but it may not have been made there.
[11]
[PDF] The establishment of Tuam as an archdiocesan capital in ... - CORA
It is also decorated in the Hiberno-Urnes style that is such a feature of both the Cross of Cong and the Market Cross. The production of illuminated manuscripts ...
[12]
The Inscription | National Museum of Ireland
The inscription is in Latin and Irish. It runs around the side of the cross, beginning at the bottom on the left side: + HÁC CRUCE CRÚX TEGITUR QUÁ PÁSUS ...
[13]
https://www.museum.ie/en-ie/collections-research/irish-antiquities-division-collections/collections-list-(1)/early-medieval/the-cross-of-cong
[14]
The Cross of Cong | A miscellany of topics - Our Irish Heritage
Nov 1, 2011 · A Medieval Treasure. The Cross of Cong | National Museum of Ireland ... Some Headstones with symbols of Death and Resurrection · Some Thoughts ...<|control11|><|separator|>
[15]
Cong Abbey Ireland - Visit Galway
One of them, Muireadhach Ua Dubhthaigh, died at Cong in 1150 and his name is inscribed on the famous Cross of Cong, a processional cross that was made to ...
[16]
Why the Cross was Made | National Museum of Ireland
He was acting as a patron of the church; The Cross of Cong is a processional cross that would be carried before an archbishop – O'Conor was claiming that ...Missing: commission Tairrdelbach Conchobair<|control11|><|separator|>
[17]
Ua Conchobair, Tairdelbach (O'Conor, Turlough)
Galway), for the bishop of which he commissioned the superb processional Cross of Cong, manufactured between 1123 and 1127, one of the finest examples of ...Missing: commission patronage
[18]
Cong Abbey - IrishStones.org
The abbey was burned in 1114, but Tairrdelbach Ua Conchobair (Turlough Mor O'Connor, 1088–1156), the High King of Ireland, had it rebuilt in 1135. The abbey was ...
[19]
Toirrdelbach Ua Conchobair and the politics of church reform in ...
Aug 6, 2025 · Toirrdelbach's acquisition at the 1152 synod of Kells of an archdiocese at Tuam for Connacht was not an unqualified success, as the largely ...Missing: Tairrdelbach | Show results with:Tairrdelbach
[20]
[PDF] Gill Abbey and the 'Rental of Cong'
Dec 24, 2016 · 'Mauritius' is obviously Muireadhach Ua. Dubhthaigh, but it is not at all clear who. Gregorius is. He could hardly be the abbot of. Cong who ...
[21]
NMI
### Summary of the Cross of Cong and Relic of the True Cross
[22]
https://hdl.handle.net/10468/11174
[23]
CATHOLIC ENCYCLOPEDIA: Abbey and School of Clonmacnoise
To this period and to this school we owe the stone crosses of Tuam and Cong, the processional cross of Cong, and perhaps the Tara Brooch and the Chalice of ...
[24]
[PDF] Title Irish church metalwork of the Romanesque period from the Day ...
Its closeness in style and technique to the Cross of Cong, dated to 1123, leaves one in no doubt that St Manchan's Shrine is a product of the same craftsman ...
[25]
The Cross of Cong and some aspects of goldsmithing in pre ...
Nov 12, 2021 · Abstract. The Cross of Cong is the most important reliquary surviving from early medieval Ireland and belongs to a large corpus of pre-Norman, ...
[26]
Materials, Workmanship & Recent Discoveries
### Summary of the Cross of Cong
[27]
Irish Treasures: The Cross of Cong - Claddagh Design
Jul 21, 2017 · The Cross of Cong is a 12th-century processional cross, made for a king, with a wooden core covered in metals, and a relic of the true cross.Missing: oak niello<|control11|><|separator|>
[28]
Local history: Cross of Cong dates from 1123 | Connaught Telegraph
Apr 10, 2021 · The cross was made in 1123 to encase a fragment of the True Cross that was brought to Ireland and displayed in different places around the ...
[29]
Cross of Cong to be transferred to Mayo - RTE
The Cross of Cong is to be transferred from the Museum of Archaeology to Co Mayo where it will be put on display for the next year.Missing: loan | Show results with:loan
[30]
Imagining an Irish Past: The Celtic Revival 1840-1940
Following the discovery of the Early Christian Ardagh Chalice, Cross of Cong, and the Tara Brooch, a renewed sense of patriotism and national identity arose ...Missing: replicas silversmiths
[31]
The Cross of Cong: A Masterpiece of Medieval Irish Art
€45.00 Out of stockThe Cross of Cong: A Masterpiece of Medieval Irish Art. €45.00. Griffin Murray ... This book explores the political, religious, cultural and artistic ...
[32]
Online Lecture: Cross of Cong: art, archaeology, history
This lecture will explore the origins of the cross, its art and archaeology in the context of what was happening in Ireland nine centuries ago.
[33]
Griffin Murray - University College Cork - Academia.edu
This is the first detailed study of the Cross of Cong, one of Ireland's great national treasures.... more. Made to enshrine a relic of Christ's Cross in the ...<|control11|><|separator|>
[34]
The Cross of Cong: A masterpiece of Medieval Irish Art
The book contains the first comprehensive analysis of the design and construction of the cross and some readers may find the detail of this heavy going, but it ...Missing: materials | Show results with:materials<|control11|><|separator|>