In addition, it houses a substantial collection of medieval metalwork, Viking artefacts including swords and coins, and classical objects from Ancient Egypt, Cyprus and the Roman world.

[9] Many of these pieces had been found in the 19th century by agricultural labourers when population expansion and new machinery led to the cultivation of land that had not been touched since the Middle Ages.

George Petrie of the RIA and others who were members of the Royal Society of Antiquaries of Ireland intervened to prevent these metalwork artifacts from being melted down and repurposed as mere metal.

The columns around the entrance and the domed rotunda are made from Irish marble and bear influence from both 18th century neoclassical design[3][12] and the Pantheon in Rome.

The wooden doors were carved by either William Milligan of Dublin or Carlo Cambi of Siena, Italy, while the fireplaces contain majolica tiles by the UK-based Burmantofts Pottery.

[14] The balcony of the central court is held by rows of thin cast-iron columns containing ornate capitals decorated with groups of cherubs.

The collection includes numerous stone implements created by the first hunter-gatherer colonists from around 7000 BC, as well as tools, pottery and burial objects left by Neolithic farmers.

[3] Some notable artefacts include four rare Jadeite axeheads imported from the Alps of Neolithic Italy, and the unique ceremonial macehead discovered at the tomb of Knowth.

By the middle Bronze Age new goldwork techniques were developed; from around 1200 BC a great variety of torcs were produced from twisting bars of gold.

[27] The withy hoop found around Gallagh Man's neck was probably used as a garrotte to strangle him;[10] Although he may have been a criminal who was executed,[28] the willow rope strongly suggests ritual sacrifice as they often appear for this purpose in early Irish mythological stories.

The impact of the Viking invasion can be seen in Irish metalwork after the early 10th century, both in an expansion of the available materials such as silver and amber, and the absorption of Scandinavian techniques and styles.

Produced as clothes fasteners for the elites of Ireland and Scotland, they were usually worn singly at the shoulder by men and on the breast by women.

[42][43] Brooches are the most significant objects in high-quality secular metalwork from Early Medieval Insular art, and were later worn by the emerging middle-classes, more often by men than women.

The most elaborate examples were clearly significant expressions of status at the top of society, and also worn by clergy,[44] probably to fasten copes and other vestments rather than as everyday wear.

[56] Cumdachs (or book shrines) are elaborate ornamented metal reliquary boxes or cases used to hold Early Medieval Irish manuscripts or relics.

Several were carried on a metal chain or leather cord, often worn off the belt, or suspended around the neck, placing them next to the heart and thus offering spiritual and perhaps medical benefits.

[61] Although most of the extant book-shaped protective shrines are mentioned in Irish annals, they were not properly described until the early 19th century, when antiquarians and collectors such as Petrie began to seek them out from heredity collections.

Most are badly damaged, including due to general wear and tear over the centuries, fires at their holding location, or more usually, having elements such as their gemstones removed for sale by their owners.

[74] The earlier style largely came to an end after the mid-12th century Church reform movement, the Norman invasion of 1169–1170 and the subsequent wide adoption of Romanesque art.

According to Kelly, by the late Middle Ages, "much of the material on display [in the museum] illustrates lifestyles, trades and activities that were common to much of medieval Europe".

[76] The English colonisation of Ireland resulted in the island having two separate identities through the last Middle Ages, each with their own language, laws and cultures, a fact that can be discerned from contemporary objects in the museum's collection.

[75] The museum defines the late period as extending from c. 1150 to c. 1550, but allows for a lot of cross-over with the earlier "golden age" of Irish art (including some of the later croziers, bell-shrines and cumdachs).