A Spectacular Revelation: Medieval Wall Paintings at Ardamullivan

Irish Arts Review

A Spectacular Revelation: Medieval Wall Paintings at ArdamullivanAuthor(s): Karena MortonSource: Irish Arts Review Yearbook, Vol. 18 (2002), pp. 104-113Published by: Irish Arts ReviewStable URL: http://www.jstor.org/stable/25488314 .

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A Spectacular Revelation

Medieval Wall Paintings at Ardamullivan

Karena Morton

has made an exciting discovery

At

the beginning of The Irish

Chieftains or A Struggle for the

Crown,1 Charles Blake-Forster's nov

elised story of Ireland between the years

1689 and 1770, Roger O'Shaughnessy, the chief o{ the clan calls on his brother,

Charles, who lived at 'Ardemilevan'

Castle, county Galway.

'"You have come just in time," said

Charles - a tall handsome man who did not

take much part in the politics of his time, but lived pleasantly, "for dinner is ready, and I never enjoy it without company."'

Ascending the narrow stone stairs of

the castle, he ushered his brother into

the principal apartment, which was used

as the parlour from time immemorial.

Part of the walls were tapestried, while

other portions were ornamented by

fresco paintings bearing a strong resem

blance to those in Knockmoy Abbey and were probably executed by the same

artist. It was furnished with antique

chairs, tables, and firearms...'

Blake-Forster's novel was published in

1872. Little more than thirty years later,

the members of the Galway Archaeological and Historical

Society, on their summer excursion, visited the castle.2 'This

Castle', ran their report of the day, 'has lately been restored by

Lord Gough, and he deserves for his judicious expenditure the

thanks of all antiquarians. It comprises a low vault over the first

storey with a very high vault superimposed. Some frescoes were

discovered in the Castle about twenty-five years ago, however

we saw no trace of these...'

Ardamullivan is a rectangular six-storey tower house3 situated

on an imposing hillside site ('a precipice which overhung a deep

valley' according to Blake-Forster); and when the members of

the Galway Archaeological and Historical Society noticed that

'it was evidently built at two dates, the door side and smaller

vaults, about a third of the whole, being constructed separately

from the larger part..' they were observing a detail common to

many tower houses in the area4. What they failed to notice how

ever, is that there is another later construction phase evident at

Ardamullivan Castle which included the erection of the upper most floor, with the attic above and the battlements. When

their guide informed them that it was

built immediately before the reign of

Elizabeth -

the earliest mention of it is

in 1567' that information was probably

2. Ardamullivan Castle. The large chamber on the second floor. The discovery of some very small areas of

colour on the walls prompted a programme of

investigation and conservation which has resulted in some spectacular finds.

based on the Calendar of State Papers which records that the castle was in the

hands of Darby O'Shaughnessy in that

year.5 As Blake-Forster goes to some

pains to mention 'frescoes' which, at the

time of his writing, must have been

newly-discovered, how can it be

explained that the members of the

Archaeological Society 'saw no trace of

them' at all? Was it a case that on the

day of their visit the lighting conditions

within the painted room were

unfavourable or was it a case that Lord

Gough, as part of the restoration, had

them painted out? Whichever, it seems

that the paintings were lost to view for

almost a hundred years until, in 1992, some small traces of red colouring were

discovered on the western end of the

north wall of the large chamber on the

second floor. This revelation prompted

the then Board of Works (now Duchas

-The Heritage Service) to initiate a pro

gramme of investigation with a view to

uncovering and conserving the paint

ings as part of a restoration of the castle

itself. The results of the programme have been quite spectacular.

Paintings have been found on all four walls of the large chamber on the second storey, applied to the plaster rendering that cov

ers the rubble masonry. The rectangular room, which is entered

from the stairs through a door in the south end of the east wall,

is fairly dark, being lit by single ogee-headed windows in the

south, west, and north walls. The paintings had to be fitted

around various features in the room. A fireplace and chimney in

the south-west corner of the room, which is later in date, con

ceals and partially blocks one of two wall-cupboards on the

south wall. The window opening on the west wall has also been

partially blocked. There is a recess with a hole and a slop-stone

in its external face at the eastern end of the room's southern

wall while an opening in the north-west corner leads to a small

auxiliary mural chamber lit by a single angle-loop.

Over the years the paintings were somewhat protected by the

fortunate circumstances of there being a stone vault in the room

above the painted chamber but, nevertheless, the plaster on

which they are painted had become completely water-laden

resulting in substantial physical, chemi

cal, and biological deterioration. In

appearance the walls had a dark-green

to black hue caused by microbiological

(Opposite) 1. Ardamullivan Castle, Co Galway. Aerial view from south west. The castle, a rectangular tower

house is of at least two construction phases. The latest construction phase probably dates to the 16th Century.

105

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A Spectacular Revelation: Medieval Wall Paintings at Ardamullivan

growth while layers of later lime wash and/or plaster together with calcite deposits and soil-staining further concealed the

paintings underneath. They, in turn, were in a very precarious

condition as large areas of the plaster on which they were

painted had collapsed or become detached.

The first task of the conservation team was to treat by irradia

tion the damaging and disfiguring surface growth.6 When this

was eliminated, it was possible to see that the paintings were in a

state of virtual collapse and reattaching them to the wall became

a primary concern. This is being achieved by the use of a liquid lime-based adhesive which is injected into the voids between

the plaster and the wall. Next, in order to be certain that there

was no painting from a later phase (there is none), the overlying

layers of lime-wash, plaster, and microbiological growth were

analysed before being removed. The conservation programme

(under the direction of the author) has been ongoing since 1994

and during that time the castle itself has been roofed.

Because it might be expected that the paintings, which are

after all in a house rather than a religious establishment, would

be secular in nature and perhaps depict hunting or feasting

scenes, it came as something of a surprise when one of the first

images to be uncovered was seen to represent St Michael. His

head, high up between the corbels on the south wall, is inclined

towards his left, his eyes cast downward and his hair, in yellow

and black, enhanced by a salmon-pink headband. The face has

been given definition by red highlights. These are the dominant

colours in all the paintings. Analysis of the colour establishes

that the red is red ochre with 0.25% cinnabar (vermilion). Cinnabar or vermilion (mercuric sulphide) was a costly pigment

and its presence is an indication of the fine quality and impor

tance of these paintings. Below the head some traces of the fig

ure's clothes have been uncovered and, in the same area, some

traces of the balance with which St Michael weighed the souls

are evident.

Further along the same wall, and at the same level, the

remains of what may be a Christ Child with St Christopher can

be discerned.

On the west wall, between the window and the arrow-loop,

the figure of a bishop is being revealed. (Fig 7).

Apart from a few small test areas, uncovering on the north

wall has been confined to the area above the window but else

where on this wall the appearance has improved since conserva

tion began due to the removal of some of the treated

microbiology. Already sufficient amounts can be made out to

suggest that the painting on this wall is part of one scene or a

continuous narrative. Several figures, all apparently with haloes,

are placed between architectural detailing. Below is an inscrip

tion between two parallel black lines positioned at about dado

level, and this together with the 'architectural setting' can be

made out along the wall at either side of the window opening.

On the western end of the north wall in the space between

the arrow-loop and the window evidence of at least eight figures

has already come to light. The first three figures are set in a

group beneath a pediment structure. Currently the most visible

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(Opposite above) 3. Ardamullivan Castle: The South Wall Shown after the 1998 conservation season, the face of St Michael is top left.

(Opposite below) 4. Ardamullivan Castle: The South Wall Detail of the face of St Michael. What has emerged is breathtaking. The sandy coloured material that

surrounds the face is the conservation mortar repair.

(Top) 5. Ardamullivan Castle: The South Wall. Pre-conservation detail showing the section of the wall where the face of St

Michael (Fig 4) was uncovered. There were just vague traces of colour here

(indicated on the illustration by arrows) hidden by surface deposits.

(Bottom) 6. Ardamullivan Castle: The South Wall, prior to conservation.

Uncovering began in the area between the corbels seen in the top left of this

photograph. Very little plaster survived in this area of the south wall and there were no great hopes for what might be revealed in uncovering.

107

Irish Arts R e v i e w



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A Spectacular Revelation: Medieval Wall Paintings at Ardamullivan

of these figures is dressed in a red robe, is bearded, has a halo

and his eyes are highlighted in white. Either side, the plaster is

extensively damaged, but the remains of two heads can be made

out. Further along this wall, a kneeling (?) figure has a hand

raised towards the hands of another figure. The latter holds an

octagonal object in his hands. Three other figures, all but one

bearded, appear to be jostling for space to get a clearer view oi

the proceedings. The inscription beneath this group of eight fig ures is rather damaged by graffiti and paint loss.

Another group of at least three figures is being uncovered

above the north wall window. This area of the painting is full of

images, a feat, given the confined space available, located as it is

between two corbels and so close to the ceiling. The two figures

currently most obvious (Fig 10) are shown, one, with hands

bound together with a rope and the other with his left hand,

palm outwards, held up in a gesture of judgement. A blossoming rod separates these two figures from a third figure, seen to the

right but considerably damaged by plaster loss. The figure has

both red hair and robes.

To the right of the window uncovering has generally only been carried out to facilitate other conservation processes.

However, a hand of one figure, the arm o( another, and a very

small leg and foot of a third figure are already emerging. (Fig

10). Again the figures appear to be framed by architectural ele ments - a series of columns and floral elements and, in one

area, a scallop shell moulding (Fig 16) suggests a canopied niche. The inscription, which is visible on the other side of the

window was also detected at the eastern end of the wall.

Limited uncovering has been carried out in this area and the

results are exciting. A series of words painted in black lettering but with the first letter in red can be made out. The base of a

column, which forms part of the scene above, interrupts the

flow of the words and rests on the lower of the two black lines

of the inscription (Fig 9). To the right of this column base the

word 'Jesus' has already been deciphered. The figures on either side of the north wall window are linked

and framed by architectural elements as a backdrop and the

inscription to be seen at dado level below. It seems likely, there

fore, that there is some connection between the scenes on either

side of the window. The exact iconography remains uncertain

but the presence of the word 'Jesus' and the use of rubric script

suggests a liturgical theme.7 The figures to the left o( the window

opening may form part of a Last Supper. This suggestion is based

on the grouping and gestures of the figures, the possible repre

sentation of the sop in the hands of the figure in red robes and

possibly Judas shown kneeling before the group. Above the win

dow may be Christ before Pilate (with red hair and robes); there

may also have been a reference to the Trinity; but much more

work must be done in this area before any definitive iconography can be established.

The painting on the east wall has suffered considerable dam

age with only a small percentage of the original plaster layers surviving. Nevertheless, some architectural detailing and the

remains oi at least three figures are evident and, albeit very

damaged, this scene may be a Pieta. The fragmentary remains of

a figure (?Christ) whose head, with halo and red curly hair is

horizontally positioned, and with one arm hanging down loosely, appears to be lying on and supported by another figure (?Mary).

Only fragmentary traces of the eyes of this latter figure survive.

A third figure, perhaps the Magdalen, with yellow hair and traces of a headdress or halo can be seen to the left of these two

figures on another fragment of plaster.

Although painting has come to light in a number of tower

houses, the work at Ardamullivan is exceptional both in quality and in the choice of subjects. The discovery of Christian

iconography in what appears to be a domestic chamber is a sur

prise, raising questions about the use of the castle and the devo

tional practices of its owners. The discoveries give a hint of just

how much may have been lost in other castles if, as seems

likely, it was common practice to paint internal walls. The

Ardamullivan painters were artists of high calibre, operating in

a late Gothic idiom, and their work represents a major addition to our knowledge oi late medieval painting in Ireland. Until

more progress has been made, it is difficult to offer any firm conclusions about the date oi the paintings

- they may date

from the 15 th or first half of the 16th century - and the back

ground oi the artists; nor is it clear which member of the

O'Shaughnessy family commissioned them.

Karena Morton is a graduate of Archaeology & History of Art, and Urban and Building Conservation, University College Dublin and of Archaeological Conservation, University of Wales, College of Cardiff. She is a free-lance conser vator of archaeological finds and wall paintings.

ACKNOWLEDGEMENTS 1 am grateful to Diichas - The Heritage Service in particu lar Con Brogan (photographic unit) for kind permission to reproduce some of the illustrations used in this paper. I would like to thank my conservation colleagues

Christoph Oldenbourg and Barbara Schick for their great contribution in so many aspects of this project. I would also like to thank Professor Roger Stalky, Trinity College Dublin and my husband Dr. Kieran O'Conor, NUI, Galway for their

support and many discussions. I am very grateful to John Power at Irish Arts Review for his layout.

1 C F Blake-Forster, The Irish Chieftains or A

Struggle for the Crown (Dublin 1872). 2 J P Nolan, The Summer Excursion of the

Galway Archeological Society', Journal of the

Galway Archaeological and Historical Society, vol

5,nol (1907), pp 35-37. 3 For a recent reference to Ardamullivan, see

David Sweetman, The Medieval Castles of Ireland (Cork 1999), pp 171, 176.

4 T McNeill, Castles in Ireland. Feudal Power in a

Gaelic World (London & New York 1997)

pp214-15.

5 Calendar of State Papers Relating to Ireland, 1509-73. 24 vols (London 1860-1912).

6. The Conservators of the wall Paintings at

Abbeyknockmoy, Co Galway, Madeleine Katkov and Christoph Oldenbourg pioneered the use

of germicidal Ultra-violet irradiation for the elimination of microbiology on wall paintings. This technique was chosen, as it does not

introduce foreign chemicals into the wall as

with the standard range of fungicides. The

potentially damaging effects of fungicides on

the underlying pigments and other materials

were to be avoided. Germicidal ultra-violet

light was used at Ardamullivan Castle for the same reason.

7 While conducting a tour of Ardamullivan Castle and the wall paintings Dr. Raymond

Gillespie, Department of History, NUI,

Maynooth was able to decipher the word 'Jesus' on the inscription there and he commented that the presence of a red letter (Rubric script) at the beginning of the words would suggest liturgical subject matter.

109

Irish Arts Review



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Documents

A Spectacular Revelation: Medieval Wall Paintings at Ardamullivan