Lying at Europe's remote western edge, Ireland long has been seen as having an artistic heritage that owes little to influences beyond its borders. This publication, the first to focus on Irish art from the eighth century AD to the end of the sixteenth century, challenges the idea that the best-known Irish monuments of that period-the high crosses, the Book of Kells, the Tara Brooch, the round towers-reflect isolated, insular traditions. Seventeen essays examine the iconography, history, and structure of these familiar works, as well as a number of previously unpublished pieces, and demonstrate that they do have a place in the main currents of European art. While this book reveals unexpected links between Ireland, Late-Antique Italy, the Byzantine Empire, and the Anglo-Saxons, its center is always the artistic culture of Ireland itself. It includes new research on the Sheela-na-gigs, often thought to be merely erotic sculptures; on the larger cultural meanings of the Tuam Market Cross and its nineteenth-century re-erection; and on late-medieval Irish stone crosses and metalwork. The emphasis on later monuments makes this one of the first volumes to deal with Irish art after the Norman invasion. The contributors are Cormac Bourke, Mildred Budny, Tessa Garton, Peter Harbison, Jane Hawkes, Colum Hourihane, Catherine E. Karkov, Heather King, Susanne McNab, Raghnall Floinn, Emmanuelle Pirotte, Roger Stalley, Kees Veelenturf, Dorothy Hoogland Verkerk, Niamh Whitfield, Maggie McEnchroe Williams, and Susan Youngs.

In the first major work on the subject for over 30 years, Nancy Edwards provides a critical survey of the archaeological evidence in Ireland (c. 400-1200), introducing material from many recently discovered sites as well as reassessing the importance of earlier excavations. Beginning with an assessment of Roman influence, Dr Edwards then discusses the themse of settlement, food and farming, craft and technology, the church and art, concluding with an appraisal of the Viking impact. The archaeological evidence for the period is also particularly rich and wide-ranging and our knowledge is expanding repidly in the light of modern techniques of survey and excavation.

More wide ranging, both geographically and chronologically, than any previous study, this well-illustrated book offers a new definition of Celtic art. Tempering the much-adopted art-historical approach, D.W. Harding argues for a broader definition of Celtic art and views it within a much wider archaeological context. He re-asserts ancient Celtic identity after a decade of deconstruction in English-language archaeology. Harding argues that there were communities in Iron Age Europe that were identified historically as Celts, regarded themselves as Celtic, or who spoke Celtic languages, and that the art of these communities may reasonably be regarded as Celtic art. This study will be indispensable for those people wanting to take a fresh and innovative perspective on Celtic Art.

From majestic Celtic crosses to elaborate knotwork designs, visual symbols of Irish identity at its most medieval abound in contemporary culture. Consdering both scholarly and popular perspectives this book offers a commentary on the blending of pasts and presents that finds permanent visualization in these contemporary signs.

No country is as rich in field antiquities as Ireland, and this work gives an account in simple language of the origin, purpose, date and distribution of all classes of monuments with the exception of ecclesiastical remains and medieval castles. It provides the general reader with all the information he is likely to need on such monuments as forts, megalithic tombs, crannogs and stone circles and is an exceptionally useful book for the student. Published in 1979, this fifth edition was thoroughly revised and updated to include more recently discovered sites and new interpretations. Includes map and chronological table.

This 1982 collection of essays examines Ireland's relations with the rest of western Europe between AD 400 and 1200. They show the idiosyncratic ways in which Ireland responded to external stimuli and illustrate the view that early Irish history, religion, politics and art should be seen not in isolation but as vital contributors to the development of European culture. This was the firmly held opinion of Kathleen Hughes, to whose memory these essays, specially commissioned from leading scholars in the field, are dedicated. The range of essays reflects the diversity of early Ireland's history and the extent of her influence upon other cultures. The ecclesiastical tradition and hagiography form one area of study; political expansion and diplomatic history, as well as literary and artistic influences, are also discussed. The subjects are variously introduced as they affect Ireland's relations with Scotland, Anglo-Saxon England, Merovingian Gaul, the Scandinavians and the Welsh.