2. filling the void, I hope that this very rushed presentation can go some way towards an
understanding of its construction. Students of the Prof. will also recognise his oft-repeated
(and terribly misogynistic) anecdote about women wearing their conference name badges
upside-down. I have to say that, since hearing that story, I have always kept an eye out for its
occurrence at conferences. I’ve only observed it a few times, and always by men rather than
women. This recording nicely demonstrates the verbal backlash he received (and expected) for
uttering it in public!
Again, I’ve included a rough timeline through the lecture, giving the order of the topics he
covered and some of his quips and anecdotes.
Video also available: here
0:18 Tara Brooch: ‘it’s on chocolate boxes and it’s on Dancing Girls’ breasts … or it used to be’
0:42 Tara Brooch is different from everything else
1:01 Penannular & pseudo penannular
1:28 tied on with woven silver wire
1:50 illuminated manuscripts
2:02 ‘The Tara Brooch about 700 ... 725’
2:38 not made of gold! ‘There is only one god brooch in Ireland at this time – the Dalriada
Brooch from Lachan, Co. Derry’
3:22 ‘you can get the measurements yourselves quite easily, I can never remember them!’
3:43 Tara one of the earliest known brooches
3:53 ‘it was cast in the cire perdue method, or the lost wax method’
4:44 ‘it took me four lectures ... or five lectures I think for my ordinary students’
4:53 Bettystown 1850
5:42 sent to the Great Exhibition in London in 1862 & returned missing some filigree
6:09 how they held these panels in place
6:18 ‘just a little detail to show you’ … the dog that only the wearer can see
7:42 ‘If you don’t see the reason for this … next time you go to a conference … and I know I’m
going to have P------- B----- and others giving out now that I’m being a male chauvinist pig
and all the rest … I’m not! … I’m just telling you a fact … women don’t as often go to conferences
as men … and often they come along with the husband … just shows they’re not as used to it …
and when you go to conferences and things, you’re given your name on a little label and your
3. name could be P------- B-----, or something … and I challenge any of you to go to any
conference … and you’ll see … and nine times out of ten it will be women … who will have …
because they’re not used to it … or don’t think the same way … you put it on upside down …
quite often you’ll see people walking around with their name and it’s as proud as punch, and
their name is upside down … because when they read it, they read it upside down’
8:48 [over loud disagreement] ‘I am just stating that [inaudible] [audience member: ‘very
brave’] don’t blame me, I have no [] It’s the same idea’
9:24 [problem with slide projector] ‘why is this not working?’
9:45 missing panel & how they’re held in place
11:05 gilded
13:00 amber
13:15 decoration on the back
14:13 Niello
15:55 ‘So you can see – the Tara Brooch is pretty fine’
16:14 lost wax method
16:26 ‘chip carving … or kerbschnitt to be more correct’
16:42 mercury gilding
17:01 ‘it’s a marvellous piece, but let us move on from the Tara Brooch to the [indistinct] du
temps, the greatest piece of work metallurgical, artistical, probably ever done in the world …
it’s Benvenuto Cellini or any of them couldn’t have done the Ardagh Chalice’
17:34 found in hoard in 1868
18:03 probably never used
18:19 ‘it’s a marvellous piece … the proportions are beautiful … I think it’s about seven-and-a-
half inches high … [utters list of possible dimensions in quick succession] … it doesn’t matter!
It’s elegant!’
18:41 the bowl
19:06 how it’s held together
19:28 handles
19:45 raised glass studs
20:31 moulds for casting glass studs found at Lagore crannog (with glass stud still in it)
20:58 how they were held together
22:40 the bowl girdle
22:00 description of the panels
24:11 Audience member: ‘is that lettering down at the bottom?’
ER: ‘Holy Lord! [audience giggling] there’s the bowl … obviously, somebody has seen
something! … but the number of people that go in [to the National Museum of Ireland] and
look at the Ardagh Chalice and DON’T see! … that’s one thing you learn from archaeology … I
keep telling you … [] I tell my students – if they learn nothing else, they learn to see, not just
to look!’
24:44 ‘I’ve brought people into the museum and I’ve brought them … borrowed from the
museum the big magnifying glass and they still couldn’t bloody well see!’
25:04 inscription on the bowl ‘the names of the twelve apostles … minus Judas … I think I say
in the hand-outs that St Paul replaced Judas … most people say that … I’ve been looking into
it later and according to the gospels it was Mathias who replaced Judas … and I’m going to
have to check to see … check these bloody names and see whether Paul is included at all’
25:48 ‘same sort of letters as the Book of Lindisfarne
26:00 ‘how did they get the girdle on to hold it?’ … note of ER travelling to the British Museum
to see it taken apart
28:04 the foot mount
28:54 silver-topped rivets to hold the handles
29:08 Brass rim
29:25 the bottom
30:56 ‘I think the projector is not one I’ve used locally … usually’
31:44 upper & lower foot girdles
32:07 blue glass studs that the chalice stood on when in use
4. 33:17 ‘those are copper and silver wires … probably done like Mr [indistinct] through a hole
[indistinct] in a spool … put thread through it and you get a long hollow string and then they
cut it and opened it out’
33:36 ‘and these are very interesting … and I know … you could lick your finger and just wipe
them you could see for a minute, but in the British Museum they actually put oil on them and
they were able to get them so you could see through them ... or translucent … just long enough
to take a photograph before it dried out … and if you look you can perhaps notice … a pattern
behind … [indistinct] but here is the silver panel that’s behind them all … there’s a stamped
silver panel’
34:27 ‘and I’m finishing with Derrynaflan … I forgot to bring down … I should have brought
down the slide with the chalice of Derrynaflan and the chalice of Ardagh next to one another
… because I’m going to tell you that [] the chalice of Derrynaflan is a second rate object! I know
if we hadn’t got the Ardagh Chalice we’d say it was terrific … and any other museum or country
in the world would give its eye teeth for it … but it’s a very poor imitation’
35:20 Derrynaflan & Ardagh hoards thieves’ hoard vs. custodian’s hoard
36:10 Paten
36:36 strainer
36:40 covered by bowl
36:48 paten & stand are the prize pieces
37:00 possibly made by same person/workshop who made the Ardagh Chalice
37:17 strainer
37:30 Ardagh Chalice was take/given & replaced with Derrynaflan Chalice
37:40 Derrynaflan 50 to 60 years later than the Ardagh Chalice
38:00 the strainer
38:14 The tape stopped in the recorder at this point – apparently due to an oily residue on the
tape.
ER continues on the strainer: ‘It would make an awful mess! … in other words … and
furthermore … this is bronze … this handle is too springy and light … if you filled it up with
wine it’d go woop like that … clearly … this was not meant to be used … neither were the other
objects … they were for presentation on an altar for special occasions … feast days … like the
Ardagh Chalice … like the Book of Kells … like all these objects … Do socair glór Dé agus a
onóir, mar sin de [to the peaceful glory of God and his honour, and so on] … there is the chalice
… it looks lovely ... it isn’t … it’s [indistinct] it’s a poor effort! It really … It’s missing the rim …
brass rim which take the bare look off the other one …’
After a little more explaining how awful the Derrynaflan Chalice is, the tape quality degrades
markedly as the lecture ends