The Abbey, Clare Island: A Portrait

Author(s): Chris Corlett

Source: Archaeology Ireland, Vol. 19, No. 3 (Autumn, 2005), p. 25
Published by: Wordwell Ltd.
Stable URL: http://www.jstor.org/stable/20559079
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 The Clare Island
Abbey;
?a
portrait

Picture, if you will, a medieval stone church, once on the of to an ecclesiastical context such as a medieval church, but Karena
edge
the known world, still standing today despite suffering the full force Morton discusses these images in terms of Christian iconography that

of Atlantic storms for hundreds of years. This is not the context in helps to explain this apparent paradox.
which one would expect to find the remains of Ireland's finest In general, there is a well-balanced series of papers, in terms of the
surviving
medieval wall Nor are such sophisticated and of the site and the more detailed accounts of the
paintings. accomplished general description
we would tend to associate with the O'Malleys, who results of the conservation and the themselves. There are
paintings something images
founded this church?a family conventionally painted as treacherous plenty of illustrations,but Iwould be critical of the quality of the
on land and sea. reproduction of many of the photographs of the wall paintings, which
pirates
on from the original scientific survey of Clare Island are unnecessarily dark, making both the detail and colour tones
Following
(1909-11), the Royal Irish Academy have returned in more recent years unclear.

to carry out what has become known as the New of Clare Island. Having had the privilege of seeing at first hand the conservation
Survey
Several volumes of results have been and the latest volume, works, Ican appreciate the tedious nature of the process involved and
published,
No. 4, is dedicated to a variety of aspects of the medieval the stamina over several years to see a project
such
exclusively required through
church known as the Abbey*. to completion?the term 'watching paint dry' doesn't even come

The volume is divided into two main sections, with a concluding close to capturing the painstaking process. However, the investment

paper by Roger Stalley placing the site in itsGothic context. The first of all this effort has helped to preserve one of the wonders of

section is devoted to a historical and architectural of the building medieval Ireland, and there can be no doubting the incredible value
analysis
and the graveyard, Ian of that investment. The attention to detail that the conservators have
supplied by Conleth Manning, Paul Gosling,

Cantwell, Fergus Gillespie and Miche?l ? Com?in. The second part is lavished on these wall paintings, in terms of stabilising, conserving
dedicated to the wall in terms of both their conservation and and recording them, is a fitting tribute to the artists who deliberated,
paintings,
their iconography, and is supplied by Christoph Oldenbourg, Karena composed and executed their designs. Of course, we are also

Morton and Ann indebted to the original patron(s) of these artists, and the more
Buckley.
There can be no doubt that these are the in the crown inspired choice to see them restored. We can now all share in
paintings jewel recently
of the Clare Island Survey. In a country where this kind of artwork is such the of this O'Malley treasure.
spoils
a rare survival, the Clare Island paintings are a national treasure. Indeed, Chris Corlett
are a treasure trove of images and and Ann Buckley
they iconography,
pays special attention to the musical instruments depicted, including a *New Survey of Clare Island Volume 4: The Abbey. Edited by Conleth
unique and fascinating ?mage of a medieval church organ. At first glance,
Manning, Paul Gosling and JohnWaddell. Published by the Royal
warriors on horseback, dragons and griffins would appear inappropriate IrishAcademy 2005. ISBN 1 904890 059.

Archaeology Ireland Autumn 2005 25