Tomb — chest tomb in Gardens (kilkenny City By., St. John's Par.)

At St Mary's parish church (KK019-026115-) in Kilkenny. Chest tomb of Nicholas Walsh (d. 1551) and Helena Lawless (d. 1599) (L 2m; Wth 1.05m; H 0.93m) in-situ in the SW corner of the 'Bryan vault' adjoining the E wall of the S transept of St. Mary's parish church (KK019-026115-) (Carrigan 1905, Vol. 3, 97; Phelan 1996; Cockerham and Harris 2001, 186; Stone 2014, unpublished). Tomb signed by Walter Kerin. Fossiliferous limestone from the Lower Carboniferous. The Bryan family 'vault' (in reality a mausoleum) probably modified part of the medieval Lady Chapel of St. Mary's in the 18th century. The Walsh Lawless chest tomb would have occupied the SW corner of the Lady Chapel, beside a (now blocked) entrance arch in the E wall of the S transept. The mensa shows a small straight cross pattée above a large stylised ‘IHS’ monogram. The ends of the ‘I’ and ‘H’ of the monogram are bifurcated, split and curved back to meet each other. The centre of the ‘I’ contains a spiral interlaced design that gives the letter a chalice-like appearance. The ‘S’ contains the same interlaced design found in the centre of the ‘I’ and terminates with a zoomorphic design, which may be the heads of water birds. The ‘H’ is dissected by the stem of the cross shaft which rises from a three stepped base. The first and second steps are inscribed with the name of the sculptor Walter Kerin: OPIFICE ME WALTERO KERIN I was made by Walter Kerin. A marginal inscription in false relief Latin blackletter reads: HIC. JACET. NICHOLAUS. WALSHE. QUONDA. BURGENSIS. VILLAE. KIL KENIAE. Q. OBIIT X DIE. SEPTEMBRIS. 1551. ET. HELENA. LAWLES. UXOR EI’. Q. OBIIT. X DIE. AUGUSTI. 1599. It translates as, Here lies Nicholas Walsh once burgess of the town of Kilkenny who died 10th September 1551 and Helena Lawles[s] his wife who died 10th August 1599. The left (E) side panel shows a delicately incised family at prayer scene of a man kneeling, facing his wife, who is also kneeling and holding a cross and rosary. There are two children behind each of them and they are separated by a Renaissance-style pillar. The front (N) panel is divided onto four scenes partitioned by five ornate Renaissance-style pillars. The first scene (from right to left) depicts implements and symbols of the ‘Flagellation of Christ’ by the Romans. In the centre stands the column to which Christ was tied using rope which lie to the left. Crossing behind the column are two instruments of flagellation (either clubs, reed bunches or birch) which are flanked on both sides by whips of knotted cord. A cockerel perched on the top of the column symbolises the ‘Denial of Christ’ by Peter. The second scene is a representation of the ‘Crucifixion of Christ’ and contains symbols and instruments that were used leading up to and during the event. The central image is of the crucifixion itself. In the image Jesus is nailed to a simple Latin cross. At the foot of the cross a skull is depicted in reference to Calvary or ‘Golgotha’, Hebrew for place of the skull. The top of the cross shows an INGLORIA sign. Either side of the cross are shield-like symbols mounted on poles. These may represent both Dismas and Gestas who were crucified with Jesus, the two censing angels present during the crucifixion represented in art collecting Christ’s blood or Mary and John witnessing the event. Surrounding the crucifixion scene are other implements of the Passion narrative. The reed sceptre given to Christ as mockery by the Romans, the hammer used to crucify him, the vessel containing vinegar and gall, the spear of Longinus used to pierce the side of Christ and the pincer and ladder used to remove the nails and take Christ’s body from the cross. Also depicted in this scene although out of sequence is the sword of St. Peter and the severed ear. The third scene contains further images based on the crucifixion narrative. The central and largest symbol is the seamless robe worn by Christ. Encircling the robe are symbols including the jug and basin used by Pilate to wash his hands, the dice used to cast lots to decide ownership of the seamless robe, thirty pieces of silver paid to Judas for his betrayal, three vessels used to collect Christ’s blood and the open hand that struck Jesus. The final niche contains two separate depictions. The first is a large representation of the five wounds Christ sustained on the cross. The sacred heart lies at the centre surrounded by the hands and feet. Beside this, underneath a Renaissance-style arch is a depiction of St Patrick dressed in the style of an archbishop. The figure is clean shaven with a mitre on his head. His right arm is outstretched, his hand raised in blessing and in his left hand he holds a long patriarchal cross staff. Underneath his feet and behind his back are serpent creatures beautifully detailed with scaly skin, beady eyes and claws. Between the monument frontal and the tomb top is a frieze carved with an elaborate foliage design. Regularly spaced along the frieze between the centres of the spirals of foliage are an abundance of small incised symbols. These symbols represent animals, plants, flowers and fruits, in a rustic style. Compiled by: Cóilín Ó Drisceoil Date of upload: 4 January 2023