Bell Shrine of St. Mura
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- Height: 15.5 cm (6.1 in)
- Width: 8.7 cm (3.4 in)
- Depth: 6.7 cm (2.6 in)
| Bell Shrine of St. Mura | |
|---|---|
.jpg) Bell Shrine of St. Mura | |
| Material | Bronze with silver, gild-silver and rock crystal additions |
| Size |
|
| Created | 11th to 16th centuries[1] |
| Present location | Wallace Collection, London |
| Identification | J498 |
The Bell Shrine of St. Mura is an 11th-century Irish shrine traditionally associated with the Abbey of Fahan, County Donegal, Ireland, founded by Saint Mura (c. 550–645). It consists of a handbell enshrined in a copper container (or shrine), later embellished with silver, gild-silver and rock crystal additions in four phases ending in the 16th century.[2] The first and most significant of the later phases introduced interlace, openwork and filigree patterns.[1]
The shrine is traditionally thought to relieve pain and suffering; in some accounts pregnant women would drink from it in the hope of a painless birth.[3] It was in the possession of hereditary keepers until the mid-19 century, and has been in the Wallace Collection, London, since 1879.
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The shrine is 15.5 cm (6.1 in) in height, 8.7 cm (3.4 in) wide, and has a depth of 6.7 cm (2.6 in).[3] The main body of the front is made up of four quadrants or panels with a large, oval rock crystal stone at the centre, which is likely of the final phase. The quadrants are positioned on a silver plate secured to the core with rivets. The quadrant plates are arranged to suggest the shape of a Latin cross.[1]
The frontispiece is capped by a semi-circular crest placed over the handle of the original bell. The crest consists of three high relief animal heads, each lined by openwork patterns,[4] and is usually dated by archaeologists to the shrine's first phase, in the second half of the 11th century.[5]
During the second phase, dated to roughly the 14th century, additional gilt-silver ornamentation and animal heads were introduced, as well as the openwork on the lower right-hand quadrant. The craftsmen working on the third phase introduced die-stamped foils, the central rock crystal cabochon, and the filigree to the two upper panels.[2]
During the third and final phases, craftsmen added die stamp herringbone patterns and additional filigree to the two upper front panels.[2]
