Holger C. Lönze - Sculptor
Replica of a Class 1 medieval iron bell, 8” high. Dimensions and details loosely based on the St. Patrick’s Bell in the National Museum of Ireland, Dublin. The bell body is hot-forged 2mm and 3mm Corten steel, other parts mild steel, weathered and waxed. Thanks to Cormac Bourke for advice.
The bell is held at St. Patrick’s Church, Fayetteville, NC, USA
The Bell of Fenagh, Clog na Rígh or St. Cillín’s Bell
The Bell of Fenagh dates from the mid 11th or early 12th C. CE and was originally kept at Fenagh, Co. Leitrim and loaned to St. Mel’s since the 1930s. It was associated with St. Caillín (c. 5th/6th C. CE) despite being of much later date. It was destroyed in the fire of St. Mel’s Cathedral, Longford on Christmas Day 2009, only the iron support survived. The bell was examined and recorded by Cormac Bourke in 1997 and drawings produced by Ursula Mattenberger. The bell is unusual as it does not fall into the usual folded iron or cast bronze bell categories. Instead it was raised from flat sheet and given a fine openwork collar and rather rough iron bar, possibly to be held in a timber frame (a modern support also existed in the early 20th C.). A description is in The Cross of Cong by Griffin Murray, 2014, p.228f.
Observations while Making the Bell
The bell body was made by raising, the usual thickness for raising tends to be 0.9-1.5mm. Cormac Bourke confirms a thin feel to the bell with a thickened rim (typical for raising) and dull, unsatisfactory ring (as with the replica).
From old photographs, it appears that the collar had a higher tin/zinc content than the body. This seem to have received regular polishing (causing the white deposits in recesses?) which led to the abrasion of the fine chased detail in the openwork, which is still visible near the handle: leaves, circular patterns on the rim, possible lettering (?). The openwork on the original was more detailed in places - a scaled copy of Mattenberger’s drawing was used for the replica which led to the loss of some detail. Both Cormac Bourke and G. Murray (2014), however, assume casting as the manufacturing process.
The iron handle is a post-medieval addition, riveted onto an already existing bronze handle. This method of attachment appears rather crude while the shape of the underlying bronze handle is in keeping with the proportions of the bell. All other parts are bronze (body, collar, handle frame, rivets and clapper support). The bar appears to be inconvenient for the use as a handbell and the historic purpose (see below). As confirmed by Cormac Bourke, the iron handle appears to be a re-appropriated post-medieval drawknife. The clapper is likely to be secondary, possibly a handmade square-shank 5” nail?
The Replica
The body of the replica was fabricated during a residency at the Heinrich Böll Cottage, Achill Island, February 2020. The replica is 103mm high, the mouth 117-118mm wide (w/o handle); the volume is 700ml/24floz. Raising was used as the manufacturing process, which would have been available in the 11th C. Only hand tools were used, similar to those available at the time. Lighter 1.5mm gilding metal (90/10 CuZn) was used, the mouth was folded over and doubled up (unlike the original). Raising the body and planishing took c. 20hrs, preparation 3hrs, openwork collar drilling, piercing and fitting c. 20hrs, finishing 3hrs; but less for a more experienced copper/silver smith. The body was not thoroughly planishing to keep an aged appearance.
Thanks to the Achill Heinrich Böll Association who enabled me to dedicate valuable time to this project through the residency and the funding support by Mayo Co. Co. And The Arts Council of Ireland.
Context
”This ancient bell also called Clog-na-Riogh or the bell of the kings was said to have been given by St Patrick to St. Caillin . It is made of bronze. It was in the custody of the parish priests of Fenagh – now the traditional explanation of the name Clog-na-Riogh is that the bell was used at the baptism of Nineteen Kings – which seems to mean that it was inverted to hold the baptism water on these occasions. It holds one and a half pints.Among the Kings baptized out of it were Fergus and Domhnall joint Kings of Ireland. Conall Gulban, Aengus Mac Natfraich King of Cashel and Branduff King of Leinster.Reference in Irish Literature to the Bell of Fenagh or Clog-na-Righ is referred to the Annals and in the Book of Fenagh. In the Annals it is stated that in 1244 three times the full of Clog-na-Righ of Gold along with thirty horses were given as an offering for the soul of Manus, son the Murtough Muimhneach. The Book of Fenagh contains a poem of 168 lines dealing with Clog-na-Righ. It mentions the bell rightly belongs to Cinel Connaill and makes some statements regarding the bell.
When carried from one place to another it must be carried by a man in Holy orders who must be accompanied by twelve men. Cinel Conaill will be protected from any sudden danger that may threaten them if the bell be borne round them three times. If a King sees the Bell borne towards him he is bound to go to meet it, and if the bearers of the bell go to his residence he is bound to pay the custodians of the bell tribute. The fulfillment of these obligations will be rewarded with blessings and the non-fulfillment will be attended with misfortune. If the Bell is rung in anger and for good reasons against any Tribe great misfortune will befall that Tribe. It was rung at Tara by Ruadhan against Diarmuid and as a result Diarmuids reign came to an end.
The foregoing statements are probably legendary, however they do show that the bell was greatly respected and revered. It was carried by Caillin’s Coarbs and that they were given generous donations because of it.
Date of the Bell : It did not belong to St Patrick or St. Caillin. It is older than the Annals of the Four Masters written in 1244 which has reference to it. The circular form of its mouth makes it probable that it is later than the Bell of Armagh which is dated at the beginning of the 10th century. The nature of its decoration indicates that it is later than the Tara brooch and the Ardagh Chalice which were made around the middle of the 9th century. The Bell of Fenagh was probably made between 1050 and 1150.
The Bell passed down through the centuries by the O’Rodachain’s Coarbs of St. Caillin and then on to the parish priests of Fenagh.It is presently in St Mell’s cathedral Longford.”
Unknown author; https://www.fenagh.com/history/the-bell-of-fenagh/
A detailed drawing by Ursula Mattenberger commissioned by Cormac Bourke. This is used as the work drawing for making the replica.
The top of this unusual raised bronze bell is a post-medieval iron bar over a fine collar of cut (or cast) bronze openwork. (Photo courtesy of Cormac Bourke).
The bell body and collar as of 1st Mar. 2020. The handle just added, the clapper and iron support bar are still to come.
Starting with a 220mm diameter disk of 1.5mm gilding metal (90/10 CuZn, CZ109) concentric lines are marked on the disk after annealing - heating to dull red heat and air/water cooling.
Using the process of synclastic raising, the disk is hammered from the centre outwards, moving the metal towards the edge of the disk. This process uses a stainless steel stake and a raising hammer.
Fretz repoussé/chasing hammer and raising hammers. Home-made stainless steel raising and spiculum stakes.
Heating to red hot and holding for 20 seconds then cooling in air/water softens the bronze.
Half way through the course. The metal is 1mm bronze, the edge will thicken by 20% to 1.2mm. The original was 3mm, thickened to 3.6mm. This is typical for raising.
This is after during the third course of with annealing in-between. Note the change of angle half way, which is moved along to the lower edge by the raising process. Each course takes about an hour.
About six hour’s work at this stage, the diameter has reduced fron 220mm to 175mm, about 80mm high. The finished bell body will be 110mm x 105mm. A bit of planishing (smoothing the surface) was done at the deeper reaches of the bell.
Diameter now about 165mm
Three intermediate courses focussed on the lower half only, limiting the effect of flaring out, keeping a convex ‘belly’. Occasional rough planishing smoothens the curve and the higher-up areas.
The raising process is finished after sixteen courses, about 16 hours of work. Rim now 11.5mm diameter.
The original had a thickened rim due to the raising. The replica uses 1.5mm bronze, thickened to 1.8-2mm at the rim. To keep the feel of the original, the excess of the rim was folded in, thickening it to c. 3.0mm. Diameter and size of the replica are within 2mm of the original at this stage.
Rim now 11.5mm to 11.7mm diameter. In the background is the superb detailed drawing by U. Mattenberger.
The form of the bell is finished, time to get the bumps out and smoothen the surface with a planishing hammer.
Smoothing out the surface by planishing. It will increase dimensions by an extra 1-2mm.
In absence of proper planishing stakes during the residency, pebbles from Mulranny beach are used instead…
The open work collar is next. The drawing is glued on 1mm gilding metal. The original was 0.5mm cast bronze, according to Griffin Murray (?). Casting, however, would prove almost impossible given thickness and detail, hence piercing was employed instead for the replica.
Drilling the filigree in preparation for piercing saw work with a 1mm drill bit and pump drill.
Piercing the open work with a jeweller’s saw. The blade need to be inserted and removed into the drilled holes for every segment to be cut.
Eight hours and five sawblades later… The medieval maker would have used 1mm drill bits and a supply of fine size (2 or 3 equivalent) iron saw blades.
Using a small repousse liner to soften the edges of the openwork together with a wire brush.
Annealing to shape the crown by sinking.
A more appropriate way (for the next one…) is to lay out the pattern on a disk, pierce and then sink it. However, this will require to work out and to re-draw the pattern afresh.
Shaped by sinking into pitch and fitted by planishing onto the bell body. Dimensions according to G. Murray (2014) 69mm x 21mm x 0.5mm, replica 70mm x 23mm x 1.0mm
The matched collar is drilled on the body, using a 1.6mm bit.
Using a cut-off from a 1.6mm bronze welding rod as rivets.
After polishing with fine stone dust (from the planishing stones…) and toothpaste in absence of proper polishing compounds. Note the white deposits in the recesses. Incised lines added at the base, using an engineer’s scribe and spacers while turning the bell on a flat tabletop.
While not actually part of the original fabrication process, forced ageing the bell quickly for appearance is next. Using a sealed environment of air and hard boiled egg yolks (for sulphur) over night creates a light penny-brown patina.
The body has already developed a penny-brown patina, the collar is polished and a build up of white deposits are developing. The handle is fitted with 1.6mm domed bronze rivets. The copper washer and lead assembly for the suspension loop is to come next.
cross pattern - this is my mis-interpretation of the drawing - all arms of the cross should be solid!
refining of the openwork needed, with solid cross.
replace 1mm bronze collar with (0.6mm?) 0.9mm brass; work from whole disk and sink into impression made by the bell in pitch.
attempt collar as was intended at the time incl. chasing detail and without breakages
increase depth of incised lines at the base (into the annealed metal)
Reproduction of two of two replica bells commissioned for display by North Down District Council at North Down Museum, fabricated with authentic medieval methods. The bells are full size and a half size replicas of the 9th century Bangor Bell.
Thanks to Karen Hendy (detail work and mould making), Cormac Bourke (historic advice) and Donagh Carey.
5min video of making the replica of the Bangor Bell in 2015
Ireland had no tradition of towerbells, instead handbells were used throughout the middle ages, of which more than seventy were found. Over the centuries many of these bells were safeguarded by families of hereditary keepers, erenaghs, passed down through generations and often used for keening. Holger has been commissioned produced facsimile replicas of the 12th century Drumholm Bell from Donegal, St. Senan's Bell and the 9th C. Bangor Bell (North Down Museum, Bangor, see video below). Handbells are masterpieces of early metalwork although their casting methods remain speculation. Holger has been working with the experimental archæology group Umha Aois and historian Cormac Bourke to resolve many of their mysteries.
A six-minutes video of the complete process of making a replica of the 9th century Bangor Bell, using authentic moulding methods and the lost wax process. The finished bell weighed 10kg and is 40cm high.
Holger uses Bronze Age technology to cast bronze sculptures with clay moulds in combination with the lost-wax process and charcoal-fired furnaces. Using local materials, sustainably produced charcoal and recycled bronze makes the process carbon neutral, offering sculptors and crafts people an environmentally sustainable, inexpensive and low-tech approach to produce sculpture. Holger has been working with Umha Aois experimental archaeology group since 1997 and has given papers and demonstrations (TAG 2010, EXARC 2015 and WAC 2008) and research workshops for the University of Cambridge.
In the Bronze Age carved stone moulds were used alongside wooden patterns pressed into a mix of clay, sand and horse dung. Recent finds indicate the use of lost-wax technology in the Iron Age, a technique which remains in use for casting artwork to the present day. After the base metals are extracted from the ore by smelting, they are blended into base metal ingots of 90% copper and 10% tin. These are heated in a crucible within a small clay-built pit-furnace. Charcoal is used in combination with hide bag bellows to reach the required temperature of 1,200ºC. Once molten, the metal is poured into the prepared moulds, which are then broken open.
A 5 minute video of casting a small MBA socketed axe head, using a charcoal horseshoe furnace and leather bellows at the Umha Aois symposium in 2012.
Irish Bronze Age horns are masterpieces of early metalwork although much of their casting methods remain speculation. Holger has been working with the experimental archæology project Umha Aois since 2008 to resolve many of their mysteries. As no archaeological artifacts of the process itself have been found to date, a definite conclusion about the method of casting has yet to be established. While some researchers (Holmes, 1978 and O'Dwyer, 2004) maintain an approach with a two-part moulds, a successful experiment to proove this method has yet to be concluded. The lost wax process appears to be possible, but any successful outcomes need to establish if they display the unique characteristic details of the originals. Simon O'Dwyer (Prehistoric Music Ireland) produces satisfactory results using lost wax with contemporary ceramic shell moulds. He has demonstrated clearly the surprising range of styles with which these instruments can be played to produce astonishing sound. The horn in the photographs - based on the Dunmanway horn - was cast in 2013 and more information about its history and the process can be found here.
Chasing the La Tene style bell plate using 1mm bronze plate and repoussé tools on a pitch bed.
Using a bending jig, made by Billy Mag Fhloinn at Umha Aois 2018 to bend the straight section of a Trumpa.
Ireland retains an understanding and knowledge of seafaring skills which can help to create to a more sustainable way of life. By preserving and developing the skills, future generations can make the most of Ireland's unique position and heritage, upholding and nurturing long established links with the sea and other communities across Europe's Atlantic seaboard. Holger has been making curachs since 2001 and has built a 25' Kerry Naomhóg, several Dunfanaghy, Tory Island and Bunbeg curachs. He also offers curach making courses for communities and organisations, resulting in more than fourty currachs to date. In 2005, Holger initiated Lough Neagh Boating Heritage Association, a group dedicated to researching and building traditional Irish boats on Lough Neagh.
Traditional Boats of Ireland (2008) chapter on materials
