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The Claddagh ring belongs to a group of European finger rings called fede rings. [4] [5] The name derives from the Italian phrase mani in fede ("hands [joined] in faith" or "hands [joined] in loyalty"). This group dates to Ancient Rome, where the gesture of clasping hands meant pledging vows.
The crafting of jewellery or fictional items that could have been embellished to create a form of jewellery has a history in Scotland dating back to at least 300BCE, with the emergence of the "Celtic" style of decoration. [23] The Celtic style and the Pictish style are very similar and both have an influence in Scottish jewellery today.
One very basic form of Celtic or pseudo-Celtic linear knotwork. Stone Celtic crosses, such as this, are a major source of knowledge regarding Celtic knot design. Carpet page from Lindisfarne Gospels, showing knotwork detail. Almost all of the folios of the Book of Kells contain small illuminations like this decorated initial.
Svíagriss, Adils' prized ring in the Hrólfr Kraki's saga. (Norse mythology) Stone and Ring of Eluned the Fortunate, a cloak of invisibility owned by Merlin. (Welsh mythology) Angelica's ring, a ring possessed by Angelica, princess of Cathay in the legends of Charlemagne. It rendered its wearer immune to all enchantments, and renders the user ...
Johnstone studied cubism, surrealism and new American art. He moved towards abstraction, attempting to utilise aspects of landscape, poetry and Celtic art. His most significant work, A Point in Time (1929–38), has been described by art historian Duncan Macmillan as "one of the most important Scottish pictures of the century". [96] [99] [100]
Celtic Revival jewellery become fashionable in the 1840s. [44] Utilising this trend, Waterhouse later placed the Tara Brooch as the centerpiece of his replica Celtic brooches in his Dublin shop, and exhibited it at the Great Exhibition of 1851 in London, the Great Industrial Exhibition of 1853 in Dublin, and Exposition Universelle of 1855 in Paris.