W

WALL PAINTINGS
Medieval interiors were far more ornate than one might
envisage from what survives of them today. One aspect
of this decoration, wall painting, was used to ornament
not just the walls and ceilings but also the carved
details of the interior, such as capitals and tomb sur-
rounds.
Approximately sixty-five medieval sites both eccle-
siastical and secular, principally abbeys and castles,
have extant and/or recorded wall paintings. Most of
these buildings retain just a few small traces of the
original decoration surviving in sheltered positions, as
in the transept niches at Muckross Friary, County
Kerry, and the double sedilia in the chancel at Fore
Abbey, County Westmeath. Fragments from archaeo-
logical excavation also contribute to the number of
surviving examples. A few wall paintings are known
only from earlier records. Nothing survives today of
the Trinity recorded in 1886–1887 by drawings and
photographs at St. Audeon’s, Dublin.
Lime-wash or plaster layers, accidental accretions,
and microbial growth often conceal wall paintings. In
addition to stabilization, conservation at a number of
sites has revealed details of the imagery and subject
matter, and aspects of materials and technology and
dating. Information on patronage and ecclesiastical
matters and details of weaponry and dress are gleaned,
contributing greatly to the multidisciplinary study of
the medieval period.
Most wall paintings are applied to one or more lime-
plaster layers. This is tapered to a thin lime-wash prep-
aration for painting of finely carved features such as
tomb surrounds or window details. A guide or prelim-
inary drawing was often mapped out into the still-damp
plaster with a sharp implement. The pigments were
applied onto either wet plaster (
fresco
) or a lime-wash

layer overlying the plaster. Further colors could be

added using a binding medium to the dry surface

(

secco

additions). Yellow, red, and brown ochres, lime

white, and bone or charcoal black colors have been

identified visually. More costly pigments of cinnabar,

lapis lazuli

, and gold have been identified by analysis

at a few sites.

The imagery includes imitation masonry patterns,

consecration crosses, boats, and at a number of sites

quite extensive figurative narratives. Associated

with the O’Kelly burial monument (

c.

1401–1403) at

Abbeyknockmoy, County Galway, is the popular

morality theme of the Three Living and the Three Dead

Kings. With the message “we have been as you are,

you shall be as we are,” the skeletons admonish the

kings for their vanity and encourage them to consider

their own end. Below is a damaged Trinity alongside

the Martyrdom of St. Sebastian. St. Sebastian (also

found at Ballyportry Castle, Co. Clare, with an arch-

bishop) is one of the patron saints of the plague, and

here he reaffirms the theme of death and is in keeping

with the commemorative role of the O’Kelly tomb.

St. Michael Weighing the Souls is found at Arda-

mullivan Castle with a bishop and scenes from the

Passion cycle, and at Clare Island Abbey (Phase Two

paintings) with diverse imagery. Set between painted

imitation ribs, apparently secular and some aristocratic

activities of musicians, fishing, hunting, and cattle

raiding occur with fabulous beasts, dragons, and ser-

pents alongside scenes of obvious religious meaning.

Stag hunting, occurring with a Gaelic horseman, is also

found on the earlier painting at Clare Island Abbey,

and is recorded on the paintings at Urlan More Castle,

County Clare (now collapsed) and Holycross Abbey,

County Tipperary.

K

ARENA

M

ORTON