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The brooches were worn by both men and women, usually singly at the shoulder by men and on the breast by women, and with the pin pointing up; an Irish law code says that in the event of injury from a pin to another person, the wearer is not at fault if the pin did not project too far and the brooch was worn in these ways by the sexes. [1]
Reverse of the brooch. The Tara Brooch is an Irish Celtic brooch, dated to the late-7th or early-8th century.It is of the pseudo-penannular type (with a fully closed head or hoop), [n 1] and made from bronze, silver and gold.
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.
The triquetra is often used artistically as a design element when Celtic knotwork is used, especially in association with the modern Celtic nations. The triquetra, also known as a "Irish Trinity Knot", is often found as a design element in popular Irish jewelry such as claddaghs and other wedding or engagement rings.
Assorted shillelaghs. A shillelagh (/ ʃ ɪ ˈ l eɪ l i,-l ə / shil-AY-lee, -lə; Irish: sail éille or saill éalaigh [1] [ˌsˠal̠ʲ ˈeːlʲə], "thonged willow") is a wooden walking stick and club or cudgel, typically made from a stout knotty blackthorn stick with a large knob at the top.
The Celtic leaf-crown (German: Blattkrone) is a motif of Celtic art from the early La Tène period. A leaf-crown is composed of two broad lobe-shaped elements. The crowns adorn the heads of anthropomorphic figures, almost always male and often bearded. The lobes have been identified with mistletoe leaves. The interpretation of this motif is ...
Later Viking jewelry also starts to exhibit simplistic geometric patterns. [27] The most intricate Viking work recovered is a set of two bands from the 6th century in Alleberg, Sweden. [26] Barbarian jewelry was very similar to that of the Vikings, having many of the same themes. Geometric and abstract patterns were present in much of barbarian ...
The Gaelic revival was the late-nineteenth-century national revival of interest in the Irish language (also known as Gaeilge) and Gaelic culture [75] (including folklore, sports, music, arts, etc.) and was an associated part of a greater Celtic cultural revivals in Scotland, Brittany, Cornwall, Continental Europe and among the Celtic Diaspora ...