CHAMPAIGN, Ill. — High-quality reproductions of medieval Irish metalwork – acquired by the University of Illinois 100 years ago – are the centerpiece of a new exhibit at Spurlock Museum of World Cultures.
The metalwork pieces, as well as reproductions of medieval Irish manuscripts, are part of the exhibit “Medieval Irish Masterpieces in Modern Reproduction.” An opening celebration for the exhibit will take place from 7:30 to 9 p.m. Sept. 23. The exhibit runs through April 2.
Among the artifacts are reproductions of some of the best-known examples of Irish medieval art, including the Ardagh Chalice, a large silver cup decorated with gold filigree and enamel and dating to the 8th century; the Tara Brooch, a 7-inch-long elaborate brooch with an intricate design, also from the 8th century; and the Book of Kells, an illuminated manuscript produced by Irish monks around the year 800.
These artifacts have become “icons of Irishness,” said Charles D. Wright, the curator of the exhibit and a professor of English and medieval studies with an interest in medieval Celtic literature.
Elaborate brooches were used to fasten woolen cloaks in medieval Ireland.
The reproductions of the metalwork pieces were acquired by the U. of I. in 1916 at the urging of Gertrude Schoepperle, a Celtic scholar in the English department. A Dublin silversmith, Edmond Johnson, made reproductions of 184 pieces for the 1893 Chicago World’s Fair. The reproductions from the World’s Fair were sold to a Chicago museum, but the U. of I. purchased 25 other pieces that were made to order by Johnson’s firm.
Johnson used a technique called electrotyping that could make exact copies of the shape of an original piece of metalwork, Wright said.
The more wealthy and prominent the person, the larger and more ornate the brooch he or she wore.
In addition to the reproduction of the Ardagh Chalice and the Tara Brooch, the other items in the collection at Spurlock include reproductions of personal ornaments and jewelry, including a number of brooches from the medieval period. They were used to fasten woolen cloaks, and the more wealthy and prominent the person, the larger and more ornate the brooch that he or she wore, Wright said.
The metalwork reproductions also include reliquaries – ornate containers to hold relics of saints, such as remains, pieces of clothing or books believed to have been owned by a saint.
This example of a reliquary shows the filigree and jewels with which they were decorated. Reliquaries were made to hold the relics of saints. Behind this reproduction of a reliquary is the reproduction of the Ardagh Chalice.
“They are some of the most fabulous artistic objects from the Middle Ages,” Wright said. “These Irish reliquaries are incredibly ornate, with all kinds of decorations – filigree, jewels, amber, cloisonné. They really are deluxe pieces.”
Schoepperle also encouraged the U. of I. to purchase facsimiles of Irish manuscripts. A 19th century Irish scribe, Seosamh Ó Longáin, made exacting handwritten copies of medieval manuscripts, and a limited number of photolithograph facsimiles were made of his copies by the Royal Irish Academy. Some of the lithograph facsimiles are among the reproductions of manuscripts in the exhibit. It also includes a more recent color facsimile of the Book of Kells. The manuscript facsimiles are on loan from the University Library.
Wright said the reproductions in the exhibit are not only significant as museum-quality pieces, they also symbolize the Gaelic Revival, a period of renewed interest in medieval Celtic heritage and Irish nationalism. Wright noted the exhibit coincides with the centennial of the 1916 Easter Rising, a rebellion against British rule in Ireland.
The exhibit considers the question of the significance of cultural reproduction. Wright said much of the impetus for reproducing artifacts is commercial. They are made to be sold. For example, the symbol of the Irish harp is famously used as a trademark by Guinness.
“That’s an example of a reproduction that is both cultural and commercial,” Wright said.
Reproductions can serve as political symbols as well. The harp is also reproduced on the Irish coat of arms The exhibit includes an early 20th century photo of two women leaders of the Irish nationalist movement wearing brooches signifying their membership in the Daughters of Ireland organization. The brooch of that organization was a copy of a medieval Irish brooch, Wright said, and “they were making a statement about their Irishness and Irish independence.”
Reproductions also promote culture to a wider audience.
“For every person who has seen the actual Book of Kells, thousands of people have seen photos of it. The Book of Kells represents Irish culture for so many people,” Wright said.
Studying reproductions can provide information about the crafts of the time in which the reproductions themselves were made, such as metalworking or bookmaking, he said.
“They are not just copies and only of interest because you can think of the original through them,” Wright said. “They have their own inherent significance and interest.”
Spurlock Museum will host a symposium related to the exhibit on Oct. 1, featuring scholars speaking about medieval Irish metalwork and manuscripts and about their modern reproduction. It is free and open to the public. Contact Wright at cdwright@illinois.edu for more information.
Wright will lead tours of the exhibit at 2 p.m. on Dec. 3 and on March 5. Contact Kim Sheahan at ksheahan@illinois.edu to reserve a spot.
Editor’s notes: To reach Charles D. Wright, email cdwright@illinois.edu. Information about the exhibit “Medieval Irish Masterpieces in Modern Reproduction” is available online at http://www.spurlock.illinois.edu/exhibits/profiles/medieval-irish.html.
