Beruflich Dokumente
Kultur Dokumente
Grotesque figure. Female figure with bulging cheeks and crossed legs, naked except for a round-
necked cape covering the upper part of the body. It could be interpreted as an illustration of Lust and
a warning to the monks against the sins of the flesh. The crossed legs, recalling the squatting Buddhic
posture of pagan gods, suggests once again the survival of earlier traditions in this locality. A further
clue to the meaning of this statue is to be found in Muiredach's Cross, where a somewhat similar
female figure with splayed legs is shown in its magnificently composed judgement scene, where she
is significantly placed among the Damned.
Christ holding gospel book. Seated figure holding a rectangular object on his knees, probably a
copy of the gospels, perhaps within a box shrine. He wears a short-sleeved collared 'leine' with a front
seam between the waist and the hem. This statue probably represents christ, although
the evangelists are sometimes portrayed in a similar manner in illuminated manuscripts.
Statue with bell and crozier. Christ abbot of the world? The veil-like hood has been
interpreted as evidence that this figure was a nun or abbess. However, the presence of bell and crozier
would suggest that the hood identifies the figure as either a travelling abbot or bishop or as an
anchorite abbot or bishop. In the Irish Early Christian period these episcopal items were used to
identify both abbots and bishops, though the inward pointing crozier was more usually an indication
of an abbot. Hickey notes that the term Abbot of the world is applied to Christ in a number of Irish
texts & the description would fit with the symbolism. She adds that it is also possible, but less likely,
that the figure is St Anthony of the Desert, the first abbot. Anthony was frequently depicted on High
Crosses, including Muiredachs Cross, where he holds a similar form of hooked crozier. His popularity
is linked to the origins of Irish monasticism in the anchorite tradition of Egypt.
David. The hand gesture to the mouth is a reference to Davids role as author and performer of
psalms. This identification is further bolstered by the form of his staff, which is similar to two 10th
and 11th century psalter illustrations. In 1 Samuel (17: 40) David is described as confronting Goliath,
armed only with a shepherds staff and his sling. This ammunition, five smooth stones, hung in a bag.
The item hanging from the waist of this figure may be interpreted either as the bag of ammunition, or
the sling itself. Although others have argued that the somewhat unusual hairdo of this figure is a form
of Irish clerical tonsure, Hickey is unsure. Instead she notes that the tonsure theory is presented
without much evidence and may, instead, be a representation of a cap, helmet, or crown.
The Tetramorph or Christ with Griffins. This figure has the same curly-fringed coiffure as its
partner the Christ as warrior figure. Both wear the same form of tunic and both show similar facial
expressions. This figure holds two beasts. Hickey argues that the heads, claws and wings are of an
eagle, and rear legs may be those of a lion. In this way they may be interpreted as griffins, symbolising
the dual nature of Christ. However, if the hind legs of one of the animals are interpreted as those of a
calf, the whole could be a representation of the four evangelists: Matthew = Man; Mark = Lion; Luke
= Ox; John = Eagle.
Christ in warrior attire. As noted above, this appears to be a direct partner to the Tetramorph or
Christ with Griffins figure. The figure is armed with a short sword and small, round shield. He is
seated and also wears a penannular brooch on his left-hand side. Hickey suggests that the brooch may
be of Viking Thistle type and date to the period from the 9th to the 10th centuries, though it may
easily be of earlier type and date to the 8th to 9th centuries. Based on the work of Helen M Roe, Hickey
identifies the figure as Christ in the guise of King of Glory as part of the second coming. Depictions
of a warrior christ are known from the Tall Cross at Monasterboice, Co. Louth, and on the Market
Cross at Kells, Co. Meath.
Possible unfinished carving, indicating that the carving were created on the island, and not brought
in from elsewhere.
Carved head. This piece was found in 1928, built into the east gable of the 12th century church.
Although often considered to be later than the other carvings, its reuse in the Romanesque church
suggests that it is of similar date and origin to the others.
Chapple - tired and sweaty, but just delighted to have gotten the opportunity to see this marvelous
site.
Note
For anyone who would like to see the site in 3D, Ive added two panoramic overviews
of the church on a separate page. Just grab your home made 3D glasses (or go buy
some) and enjoy! Here!
Suggested reading:
Du Noyer, G. V. 1860 Remarks on ancient Irish effigies sculptured on the walls of the
ancient church on White Island, Lough Erne, Parish of Magheraculmoney, County of
Fermanagh Journal of the Royal Society of Antiquaries of Ireland 6.1, 62-69.
Hickey, H. 1976, 1985 Images of stone: figure sculpture of the Lough Erne Basin.
Enniskillen.
Wakeman, W. F. 1879 White Island, Lough Erne Journal of the Royal Society of
Antiquaries of Ireland 15.1, 66-69.