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Ardagh Hoard
Ardagh Hoard
Ardagh Hoard
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The Ardagh Hoard, best known for the Ardagh Chalice, is a hoard of metalwork from the 8th and 9th centuries. Found in 1868 by two young local boys, Jim Quin and Paddy Flanagan, it is now on display in the National Museum of Ireland in Dublin. It consists of the chalice, a much plainer stemmed cup in copper-alloy, and four brooches – three elaborate pseudo-penannular ones, and one a true pennanular brooch of the thistle type; this is the latest object in the hoard, and suggests it may have been deposited around 900 AD.[1]

Key Information

The chalice ranks with the Book of Kells as one of the finest known works of metal Insular art, indeed of Celtic art in general, and is thought to have been made in the 8th century AD. Elaborate brooches, essentially the same as those worn by important laypeople, appear to have been worn by monastic clergy to fasten vestments of the period.

Find

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The Ardagh Chalice, centrepiece of the hoard

The hoard was found in late September 1868 by two boys, Jim Quin and Paddy Flanagan, digging in a potato field on the south-western side of a rath (ring fort) called Reerasta, beside the village of Ardagh, County Limerick, Ireland. Flanagan remained in Ireland and is buried in the Pauper's Graveyard in Newcastle West. Quin emigrated to Australia, spending his later years in Melbourne. He is buried in Fawkner Memorial Park in the city following his death there in 1934.

The chalice held the other items, covered merely by a slab of stone; the pieces must have been interred in a hurry, probably temporarily, as though the owner probably intended to return for them at a later time. The age of the brooches found with the chalice is evidence that it was not buried until the Viking period. It was sold to George Butler, Catholic Bishop of Limerick, by Quin's mother.

Chalice

[edit]
The chalice seen from below

The chalice is a large, two-handled beaten silver cup, decorated with gold, gilt bronze, brass, lead pewter and enamel, which has been assembled from 354 separate pieces; this complex construction is typical of early Christian Irish metalwork. The main body of the chalice is formed from two hemispheres of sheet silver joined with a rivet hidden by a gilt-bronze band and sits at 7 inches high.[2] The width across its rim is 7.5 inches (190 mm).[3] The names of the apostles are incised in a frieze around the bowl, below a girdle bearing inset gold wirework panels of animals, birds, and geometric interlace.[4] Techniques used include hammering, engraving, lost-wax casting, filigree applique, cloisonné and enamel. Even the underside of the chalice is decorated (photo above).

According to the art historian Lawrence Stone (writing before the discovery of the Derrynaflan Hoard): "Here the Irish artist has shown a capacity for classical restraint by a deliberate decision to prevent the ornamentation from spreading so copiously as to blur the proportions... contrasting markedly with the lavish ornamental spread of the almost contemporary Tara Brooch and the still more elaborate systems of the later period. The bulk of the decoration consists of exquisitely drawn spiral or interlace patterns, given depth by the soldering of two layers of gold thread one on top of the other. At intervals are set cloisonné enamel bosses of blue and red, the complicated manufacture of which shows direct continuity with the Anglo-Saxon jewelers' craft of the preceding century. But apart from the extraordinary perfection of execution of this elaborate decoration, what gives to the Ardagh Chalice its outstanding position in Irish metalwork is the strictness of the relationship between the simple swelling lines of the cup and its base and the arrangement of the glittering studs, bands, and roundels that adorn its surface."[5] The standard monograph is L.S. Gógan, The Ardagh Chalice.

The chalice is similar to the only other major early Irish example to survive, the Derrynaflan Chalice, found in the neighboring County Tipperary. That was found with a paten and liturgical strainer. At that time the ruling dynasty in Tipperary and most of Munster were the Eóganachta, while their allies and possible cousins the Uí Fidgenti ruled in the Limerick area (see Byrne 2001; Begley 1906). Although the early suggestion that the chalice was fabricated at Clonmacnoise and stolen from there by a Limerick Dane is widely circulated, this is unprovable. A Munster origin is just as likely if not more so given the 1980 discovery of the sister Derrynaflan Hoard. A Clonmacnoise origin is not mentioned at the National Museum of Ireland website.[6]

The chalice was featured on a £1 value definitive postage stamp issued by An Post between 1990 and 1995 as part of the series Irish Heritage and Treasures designed by Michael Craig.[7] Two Gaelic Athletic Association trophies are modelled on the Chalice: the O'Duffy Cup and the Sam Maguire Cup.

Notes

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References

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Further reading

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Ardagh Hoard

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The Ardagh Hoard is a renowned collection of early medieval Irish ecclesiastical metalwork, discovered in 1868 near the village of Ardagh in County Limerick, Ireland, and consisting of an elaborately decorated silver chalice, a simpler bronze chalice, and four silver-gilt brooches. The hoard, dating primarily to the 8th century AD with some elements from the 9th or 10th century, exemplifies the pinnacle of Insular art and craftsmanship during Ireland's "Golden Age," showcasing advanced techniques such as filigree, cloisonné enameling, and intricate animal motifs. The hoard was unearthed by two local teenagers, Jimmy Quinn and Paddy Flanagan, while they were digging for potatoes in a at Reerasta, just west of Ardagh. The artifacts were found buried under a , likely hidden for safekeeping during Viking raids that plagued from the late onward. Initially sold to a local bishop for £50 and later acquired by the Royal Irish Academy for £100, the items entered the collection of the in , where they have been on public display since 1875. At the heart of the hoard is the Ardagh Chalice, a calix ministerialis used for dispensing Eucharistic wine during in the early Irish Church. Standing 18 cm high with a 24 cm diameter bowl, it is constructed from over 350 components using silver, , , , , and lead, adorned with filigree panels, blue and red enamel studs, insets, and a rock crystal base. The chalice bears inscriptions of the names of eleven apostles and Saint Paul in Latin, along with intricate zoomorphic designs and geometric patterns that highlight the fusion of Christian with Celtic artistic traditions. The accompanying chalice is plainer, serving a similar liturgical function, while the four brooches—three elaborate pseudo-penannular types and one simpler true penannular type—demonstrate variations in Viking-influenced and native Irish styles from later periods. The Ardagh Hoard's significance lies in its representation of the sophisticated artistry and religious devotion of early medieval , comparable to illuminated manuscripts like the . It provides invaluable insights into the material culture of monastic communities and the spread of Christianity, while its discovery spurred interest in art in the 19th and 20th centuries. Today, preserved in the National Museum of 's Treasury exhibition, the hoard remains a cornerstone of Irish heritage, symbolizing the enduring legacy of Insular metalworking.

Discovery

Circumstances of the Find

The Ardagh Hoard was discovered in late September 1868 in Reerasta, near the village of Ardagh in County Limerick, Ireland. Two young local boys, Jim Quin and Paddy Flanagan, uncovered the artifacts while digging for potatoes in a field on the south-western side of a ringfort known as Reerasta rath. Lifting a large stone slab, they revealed a small pit containing the hoard. The site, a typical of early medieval Irish settlements, consisted of earthen banks enclosing domestic areas and was situated in a landscape of small farms and fields by the . The had been buried in a shallow pit beneath the slab, likely for temporary safekeeping or ritual deposition, as evidenced by similar early medieval finds hidden during periods of instability, such as Viking incursions. Soil conditions in the area, characterized by fertile but stony ground, facilitated the accidental exposure during agricultural work. In the immediate aftermath, the boys extracted the items from the pit and initially concealed them to avoid attention, before sharing the discovery with their ; Paddy Flanagan, a farm laborer employed by the Quin family, brought the objects to the Quin household.

Acquisition and Initial Documentation

Following the discovery, the Ardagh Hoard remained in private hands initially due to the absence of formal in Ireland at the time, which relied instead on principles granting prerogative rights to over gold and silver artifacts found hidden with intent of recovery, though enforcement was inconsistent and often allowed for private transactions without rewards to finders. Jim Quin's mother negotiated the sale of the hoard to George , the Catholic Bishop of Limerick, for £50—a sum equivalent to approximately €8,500 in 2025 purchasing power—reflecting the undervaluation typical of 19th-century Irish dealings. Bishop Butler subsequently transferred the hoard to the Royal Irish Academy in 1874 through a sale reported at £100, though some accounts suggest a higher figure of £500; this acquisition marked its entry into a national scholarly collection, with the Academy assigning accession numbers beginning that year (e.g., 1874:99 for the silver chalice). The items underwent initial cleaning and examination by Academy members, including President William Stokes, who oversaw early assessments during his tenure from 1874 to 1876, as documented in Academy proceedings that highlighted the hoard's significance. The hoard received its first public display at the Royal Irish Academy in 1874, coinciding with its acquisition, and early photographic documentation was produced to record the artifacts for scholarly purposes, aiding subsequent studies in Irish antiquarian circles. In 1890, the collection was transferred from the Royal Irish Academy to the (established in 1877), where it has remained part of the permanent holdings.

Artifacts

The Ardagh Chalice

The Ardagh is a two-handled silver measuring 18 (7.1 inches) in and 19.5 (7.7 inches) in diameter at the rim, featuring a broad mouth suitable for holding Eucharistic wine during early Christian liturgical ceremonies. As the centerpiece of the Ardagh Hoard, this chalice exemplifies Insular metalwork craftsmanship, designed for practical use in religious rituals while allowing portability for safeguarding during times of threat. Structurally, the chalice comprises three primary components: a hemispherical silver , a gilt-copper-alloy stem, and a silver foot, assembled together using a central pin that secures the bowl to the stem and base. The is reinforced by two gilt- girdle bands that encircle it horizontally, providing stability and attachment points for the handles, which are small, cast silver elements affixed via riveted hinges inlaid with enamel and studs. In total, the chalice consists of 354 individually crafted and riveted pieces, highlighting the intricate assembly techniques employed by its makers. The core of the dates to the AD, around 750–800, with its design reflecting early medieval Irish artistry. It contrasts with the slightly later Derrynaflan Chalice from the early , which shares a similar overall form and banded structure but lacks the Ardagh example's prominent circular medallions on the bowl. Upon its discovery in 1868, the chalice was found intact within the hoard but encrusted with soil and affected by corrosion, particularly lead deposits at the bowl-foot joint and decay along the upper rim, necessitating careful cleaning and minor repairs to restore its condition.

The Other Items

The Ardagh Hoard includes a simpler bronze chalice and four brooches in addition to the chalice. These artifacts were discovered together in 1868 at Reerasta Rath, near Ardagh, County Limerick, Ireland, suggesting they formed a deliberate collection rather than a haphazard accumulation. The bronze is a simple, undecorated vessel dated to the , serving as a functional liturgical item that contrasts sharply with the elaborate silver . The four es comprise three pseudo-penannular examples in with knot-like terminals, and one thistle-type penannular in silver featuring floral terminals. All are equipped with pins for fastening cloaks or garments, reflecting their role as personal jewelry. These pieces display design elements influenced by Viking styles, such as looser forms and motifs adapted from Scandinavian metalwork traditions.

Craftsmanship and Design

Materials and Techniques

The Ardagh Hoard showcases early medieval Irish through its use of diverse high-quality materials, primarily silver for the chalice's main body, alloyed primarily with , along with trace elements, reflecting advanced capabilities. Gold adorns decorative panels, while gilt forms the stem and structural pins; and lead appear in bases and inlays across the items. Enamels in blue, red, and white provide vibrant inlays, and imported gemstones such as and rock crystal serve as polished studs for added luster and contrast. Manufacturing techniques emphasize precision and complexity without reliance on solder, as evidenced by the chalice's assembly from 354 riveted components, secured by bronze pins that join the spun silver bowl to the foot and stem. Filigree wire work involves drawing, twisting, and granulating fine gold threads into intricate interlace patterns, appliquéd onto surfaces for ornamental bands encircling the bowl. Inlaid polychrome glass is cut to fit within cells formed by thin gold wires, creating vibrant effects on studs and panels. Repoussé hammering raises relief motifs from the reverse of thin silver sheets using specialized punches, while lost-wax casting produces detailed elements like brooch terminals and handle escutcheons, allowing for fine sculptural features. Scientific examinations, including , metallographic studies, and spectrographic analysis conducted during conservation, reveal tool marks from hammering and filing, as well as evidence of ancient repairs such as reinforced rivets on the 's foot, underscoring the durability of these methods; the artifacts continue to undergo conservation in the 21st century at the . The hoard's brooches employ parallel techniques, with silver-gilt frames featuring gold and enamel inlays, and the plain copper-alloy demonstrating simpler spinning and for its stemmed form. These approaches highlight innovations in contrasting metals for visual depth, foreshadowing techniques in later Celtic metalwork traditions.

Iconography and Symbolism

The of the Ardagh Hoard artifacts prominently features a fusion of and pre-Christian Celtic elements, evident in the elaborate decorations of the chalice and accompanying brooches. The Ardagh Chalice, the hoard's centerpiece, bears an inscription around the rim of its silver bowl listing the names of the twelve apostles in Latin, with replaced by St. Paul, executed in square lettering inlaid with gold wire against a stippled background. This apostolic directly ties to the chalice's Eucharistic function, symbolizing the foundations of the early and the communal aspect of the . The chalice's decorative motifs further blend religious and artistic traditions, including intricate interlaced knotwork in gold panels, which in early medieval often represents eternity, the interconnectedness of life and faith, and the Christian through their endless, interwoven loops. Animal forms, such as stylized birds, beasts, and possible griffin-like heads, appear in the filigree and incised engravings below the handles, evoking protective and zoomorphic themes from Celtic heritage adapted to a Christian context. Spirals and geometric patterns adorn the stem and foot, contributing to a symmetrical that draws from Celtic Insular styles while echoing Mediterranean influences in form and balance. The hoard's four silver-gilt brooches, dating from the 8th to 10th centuries, exhibit enamel bosses with geometric patterns and interlacing, alongside Viking-inspired thistle motifs on one example, suggesting cultural exchange during the in Ireland. These thistle designs, characterized by spiky, foliate forms, symbolize resilience and fusion between Norse and Irish artistic vocabularies, while the knotwork reinforces themes of . Overall, the iconography underscores a sophisticated synthesis of Celtic abstraction, , and external influences, highlighting the hoard's role in early medieval religious and cultural expression.

Historical and Cultural Context

Insular Art Tradition

encompasses the distinctive artistic traditions of early medieval and Britain, flourishing primarily from the 7th to the 9th centuries CE as a fusion of Celtic, Anglo-Saxon, and broader European influences. This period, often termed the "Golden Age" of (c. 650–900 CE), saw the production of exceptional works in metalwork, illuminated manuscripts, and stone , primarily within monastic scriptoria that served as centers of learning and craftsmanship. Characteristics include intricate patterns, animal motifs, and the use of materials like gold , enamel, and polychrome , reflecting a highly stylized, abstract aesthetic that emphasized surface decoration over realism. The Ardagh Hoard exemplifies key parallels within this tradition, sharing stylistic elements with artifacts such as the , which features similar and enamel work, and the , where comparable and enamel techniques adorn manuscript pages. These connections highlight the hoard's integration into the broader Insular repertoire, where metal objects like chalices and brooches mirrored the decorative complexity of high crosses and illuminated books, all produced during this era of artistic innovation. Regional variations within are evident, with the hoard's enamel techniques suggesting possible origins in , a region known for advanced and champlevé methods influenced by Pictish and Anglo-Saxon imports. Such styles blended local Irish curvilinear designs with external motifs, like spirals from , creating a hybrid aesthetic unique to the insular context. Much of Insular art, including metalwork like the Ardagh pieces, was likely crafted in ecclesiastical workshops attached to monasteries, underscoring the church's wealth and role as patron amid the Viking raids of the late 8th and 9th centuries. These institutions not only preserved classical knowledge but also commissioned lavish items to symbolize spiritual authority, with treasures often concealed for safekeeping during periods of instability.

Possible Origins and Deposition

The Ardagh Hoard is believed to have been crafted during the 8th and 9th centuries, with the dating to around 750 CE and the brooches dating to the 9th and early 10th centuries, reflecting a progression in Insular traditions. Scholars suggest a possible origin in a workshop, given the hoard's discovery in and stylistic affinities with nearby finds like the Derrynaflan Hoard in Tipperary, which shares similar high-quality ecclesiastical metalwork. Alternative theories suggest a connection to the monastery at , though unproven. The silver used in the and brooches likely derived from recycled sources, incorporating both native Irish materials and imported influences from Mediterranean traditions, as evidenced by the object's construction techniques and decorative motifs. The makers remain anonymous, with no identifying signatures beyond the chalice's Latin inscription listing the apostles' names, pointing to skilled monastic metalsmiths or high-status church artisans working under . These craftsmen employed advanced techniques such as , enameling, and , possibly influenced by traveling artisans or broader European exchanges, though the core style is distinctly Irish. The hoard was likely deposited around 900 CE as a protective measure during the height of Viking invasions, when monasteries and churches were frequent targets for looting across . Buried hastily without protective containers in a rural at Reerasta, the site served as a secure, defensible cache for church treasures, suggesting it was intended for later retrieval that never occurred due to ongoing turmoil. The absence of associated human remains or further supports this interpretation of temporary concealment rather than a or funerary deposit.

Significance and Legacy

Artistic and Cultural Importance

The Ardagh Hoard stands as a pinnacle of early medieval Irish metalwork, showcasing unparalleled technical sophistication and artistic achievement within the Insular tradition. The , its centerpiece, is assembled from 354 distinct components—including beaten silver, gold , enamel, and 20 rivets—demonstrating a level of intricate construction that highlights the era's mastery of techniques like and . This complexity, combined with the hoard's survival as one of the few intact assemblages of treasures, underscores its exceptional status among surviving artifacts from the . Scholars regard it as one of the finest examples of Celtic metalwork, rivaling illuminated manuscripts in its blend of form and decoration. Culturally, the hoard symbolizes Ireland's "Golden Age" of monastic learning and artistry in the centuries preceding the Viking invasions, evoking a romanticized era of spiritual and creative flourishing preserved in and . As a liturgical vessel likely used in Eucharistic rites, it embodies the wealth and piety of early Irish church communities, reinforcing narratives of a pre-Norman golden period that contrasted with later historical declines. In scholarly terms, the Ardagh Hoard provides crucial evidence for dating and characterizing , with the chalice's stylistic features anchoring the chronology of 8th-century metalworking to monastic workshops. Comparisons to the contemporaneous Derrynaflan Hoard, which includes a similar paten and chalice, illuminate broader patterns in the production and deposition of church treasures, revealing a shared aesthetic and functional context across Irish sites. Recognized as a and icon of Irish heritage, the hoard profoundly influenced the movement of the 19th and early 20th centuries, inspiring jewelry designers to emulate its motifs in modern works that revived traditional Celtic aesthetics.

Exhibitions, Conservation, and Recent Studies

Following its acquisition, the Ardagh Chalice received initial conservation treatment at the , including cleaning to remove accumulated corrosion and stabilize its composite structure of silver, gilt , and enamel. In , a comprehensive scientific examination was conducted by conservator Robert M. Organ at the , employing non-destructive techniques such as hardness testing, metallographic analysis, spectrographic examination, and X-ray diffraction to assess the object's materials and assembly. This study confirmed the chalice's primary silver construction (with an alloy composition of approximately 90% silver, 5% , and trace elements including and lead), identified ancient repairs to the bowl using lead-tin , and revealed hidden construction details beneath the without requiring disassembly. The hoard has been on permanent display at the since the institution's establishment in 1890, initially in Kildare Street and later in the dedicated "" gallery at Collins Barracks since 1997, where it forms a centerpiece of the early medieval Irish metalwork collection. It was temporarily loaned to the in New York for the 1977 exhibition Treasures of Early Irish Art, 1500 B.C. to 1500 A.D., allowing international audiences to view the alongside other Insular artifacts like the . In 2018, issued a definitive featuring the as part of its "Irish Antiquities" series, highlighting its cultural significance through high-resolution imagery on a €1 denomination. Recent scholarship has focused on refining understandings of the 's fabrication and cultural context through targeted analyses. A 2017 study by metalworker Stephen Walker examined the chalice's chip-carved stem using high-magnification microscopy and comparative craft replication, concluding that the intricate geometric patterns were likely produced via a specialized technique adapted from continental influences, rather than freehand . Post-2000 publications have revisited debates on the 's deposition, incorporating metallurgical to argue for a native Irish monastic origin over potential Viking involvement, based on the absence of Scandinavian markers in the silver. Today, the remains securely housed in climate-controlled conditions at the , with high-resolution photographs and descriptive records accessible via the museum's online collection database for scholarly and public virtual engagement. In May 2025, local advocates called for a temporary of the chalice to Limerick ahead of the 2027 to highlight regional heritage.

References

  1. https://www.museum.ie/getmedia/55d10409-f00a-4107-925f-512cb7a98bac/NMI-LC-Art-History-Pres-Notes.pdf
  2. https://www.irishtimes.com/opinion/national-treasure-an-irishman-s-diary-on-the-ardagh-chalice-1.3634482
  3. https://www.museum.ie/en-IE/Collections-Research/Collection/The-Treasury/Artefact/The-Ardagh-Chalice/ac53e68e-76a4-4560-a624-c87647c57a00
  4. https://www.worldhistory.org/Ardagh_Chalice/
  5. https://www.limerickpost.ie/2018/09/27/ardagh-treasure-finder-lives-on-in-song/
  6. https://www.rte.ie/brainstorm/2023/0119/1349561-ireland-treasure-trove-discovery-law-ethics-history/
  7. https://oconnorbergin.ie/treasure-trove-legislation-in-irealnd-and-the-uk/
  8. https://www.independent.ie/irish-news/ardagh-chalice-shines-light-on-golden-age/37314647.html
  9. https://www.in2013dollars.com/uk/inflation/1868?amount=50
  10. https://www.museum.ie/collections/collection/antiquity-84300/?return=%252Fcollections%252Fnmi_story%252Farchaeologicalhoards%252Fthe-ardagh-hoard%252F
  11. https://www.ria.ie/about/history-of-the-academy/
  12. https://www.museum.ie/en-ie/collections-research/collection/the-treasury/artefact/the-ardagh-chalice/ac53e68e-76a4-4560-a624-c87647c57a00
  13. https://smarthistory.org/the-ardagh-chalice/
  14. https://www.ganoksin.com/article/ardagh-chalice/
  15. https://www.claddaghdesign.com/blogs/jewelry/irish-treasures-ardagh-chalice
  16. https://www.ancient-origins.net/artifacts-other-artifacts/ardagh-chalice-0017603
  17. https://aata.getty.edu/primo-explore/fulldisplay/GETTY_AATA9934096898401551/AATA
  18. https://heritageireland.ie/articles/irish-school-of-illumination-c-650-1100/
  19. https://www.irishexaminer.com/lifestyle/artsandculture/arid-40943774.html
  20. https://repository.si.edu/bitstream/handle/10088/42974/mci36621.pdf
  21. http://resources.metmuseum.org/resources/metpublications/pdf/Treasures_of_Early_Irish_Art_1500_BC_to_1500_AD.pdf
  22. https://www.limerickleader.ie/news/home/294849/stamp-of-approval-for-ardagh-chalice-as-artefact-gets-definitive-treatment-from-an-post.html
  23. https://www.walkerscelticjewelry.com/blogs/celticjewelry/my-research-on-the-ardagh-chalice-is-now-published
  24. https://www.limerickpost.ie/2025/05/27/bring-the-ardagh-chalice-back-to-limerick-call/
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