History Celtic_brooch

1 history

1.1 roman , insular period
1.2 golden age
1.3 later brooches, , vikings
1.4 celtic revival

history
roman , insular period

small , simple penannular brooches in bronze, iron, and, rarely, silver common in roman period practical fastener, not used high-status objects, , decoration limited bands around ring or other simple patterns. thickness @ terminal, necessary prevent pin falling off, achieved turning ends of ring. in late roman period in britain in 3rd , 4th centuries, type of penannular brooch zoomorphic decoration terminals appeared, human or animal heads, still not wider rest of ring. examples had enamel decoration, , pin did not extend beyond ring. these found in southwestern britain , wales, , seem have developed in these areas. type fell favour in southern britain 5th century, developed in ireland 6–7th centuries. these types considerably extended size of terminals, presented flattish area decorated enamel or glass inlay, using abstracted patterns zoomorphic decoration. length of pin twice diameter of ring. irish cultural zone in period included of western scotland, , in pictish east scotland similar development took place, though forms different here. decoration paralleled on other metalwork fittings such pieces of harness-tackle, , few remaining christian reliquaries , other pieces of church metalwork.

golden age

tara brooch, rear view.

by shortly after 700, highly elaborate, large brooches in precious metal , gems being produced. these expressions of high status wearer, , use full repertoire of goldsmith s techniques @ high level of skill. continued produced 200 years; pictish brooches more homogeneous in design irish ones, may indicate shorter period of production, possibly mid-eighth beginning of ninth centuries . each surviving design unique, range of types established in more modest earlier brooches developed , elaborated upon. there no previous tradition of ornate brooches in ireland, , development may have come contact continental elites wore large fibulae marks of status. such contacts made, travelling monks.

archaeological, , literary, evidence suggests brooches in precious metal mark of royal status, along wearing purple cloak, , such worn christ on high cross @ monasterboice , virgin mary on another. surviving examples, numbering on 50 (not complete) in case of irish ones, have been recovered excavation, or @ least finding in ground, detailed circumstances of find known, few graves, , finds in hoards more common. when in graves, burials later date of brooch, in brooch in irish 8th century style found in norse burial in westray, orkney, , possibly kilmainham brooch. elaborate brooches have 1 or more names—presumed of owners—scratched on reverse, in runes. plainer brooches in bronze , similar alloys continue found in larger numbers.

the elaborate irish brooches pseudo-penannular, while scottish ones retain true penannular forms. silver-gilt, gilding partial. gilded base metal, of bronze or copper-alloy; 1 solid gold irish brooch known, 9th-century 1 loughan, county londonderry, less elaborate of series, though standard of work high. however, brooches have hidden recess may have contained small lead weights make precious metal used seem more valuable was.

in ireland, head of pin might turned focus decoration, using kite -shaped plate, such on tara brooch; in scotland, pin-heads simple circles formed bending pin on itself. scottish terminals more distinct lobed or square shapes extending beyond circle of ring on both sides, while in irish examples, terminals typically extend inside ring forming curve, not outside it, or form straight line across interior of ring. irish brooches may join 2 terminals narrow strips, or not eliminate gap entirely, have central zone of decoration gap between terminals have been; brooches found ardagh chalice show both types.

detail of londesborough brooch

the main body cast, , number of elements of two-piece moulds have been found. many brooches have cells studs or bosses round hemispheres, may square, lozenges or other shapes; studs missing. these in variety of materials including glass, enamel, amber, , gemstones found locally, although not including of classic modern precious stones , or garnets found in anglo-saxon jewellery. millefiori glass rods used appear have been imported italy, used in anglo-saxon jewellery sutton hoo; examples of rods have been excavated in both ireland , england.

like insular chalices , other metalwork, ornate irish brooches made in many pieces pinned or slotted together. filigree decoration made on trays fitted main ring — on tara brooch many of these missing (most still in place when found in 1850).

the breadalbane brooch, irish 8th century, converted original pseudo-penannular form in 9th century scotland.

techniques include chip-carving, cast imitation chip-carving , filigree, engraving, inlays of various types including niello, glass , champlevé enamel, , various hammering , chasing techniques: range of materials , techniques full range known man. 2 techniques not appear true pierced openwork interasile, used in byzantine jewellery , , cloisonné work typified western european jewellery, , large fibulae, @ time, whether in enamel or stone inlays garnets used @ sutton hoo , in anglo-saxon staffordshire hoard. in gilded brooches, enamel restricted studs punctuate composition gems; larger areas of champlevé found on flared terminals of earlier types perhaps continue in simpler types, though dating difficult.

on brooches decoration detailed appreciated when brooch being worn, , of elaborate brooches have backs, invisible when worn, decorated elaborately fronts. tara brooch shows both features, , in addition, shares others difference in decorative styles between front , back, celtic triskeles , other spiral motifs restricted back, while front has more interlace , zoomorphic elements. these features shared ornate brooches in london , edinburgh, respectively londesborough , hunterston brooches. may because decoration on backs relies more on engraving filigree, risk wires getting caught in clothing on brooch worn.

few of major brooches, or indeed other metalwork, have been found in contexts can dated, , of dating of @ least earlier ones comes comparison insular illuminated manuscripts, though dating of these far certain. tara brooch has long been recognised having clear stylistic similarities lindisfarne gospels, thought date 698–715. many of similarities carpet pages, highly detailed ornamental pages filled decoration, share brooch horror vacui leaves no area unembellished, , complex decoration extremely small , executed, , best appreciated when seen @ larger actual scale, whether in original or in photographs. both combine elements many stylistic origins style distinctly insular: la tène celtic art, germanic animal style, , classical , other mediterranean styles.

later brooches, , vikings

viking period pennannular brooches penrith hoard, 3 of thistle type.

the vikings began raid ireland 795, catastrophic effect monasteries in particular. however, although vikings established several longphorts, fortified encampments over-wintering, , later towns dublin, wexford, cork, , waterford (the first real urban centres in ireland), native irish more successful english , scots in preventing large-scale viking takeovers of areas settlement farmers. year 1000, situation relatively stable, mixed population of norse-gaels in towns , areas close them, while gaelic irish, elite had formed political alliances, trading partnerships , inter-marriages viking leaders, remained in control of great majority of island, , able draw tribute viking towns.

the period characterised increased availability of silver, presumably result of viking raiding , trading, , brooches made silver throughout, gilding , decoration in other materials disappears. brooches large , relatively massive, plainer elaborate earlier ones, neither using older local decorative styles nor viking styles adopted in other media. continues trend can detected in later brooches preceding period, before viking influence can have made felt. 9th century roscrea brooch 1 of number of transitional brooches; though form highly ornate, large flat triangular pin head, ring thick plain silver, gold filigree panels occupy relatively small areas, , workmanship coarse or crude imitation of of earlier works. kilamery brooch comparable example, marked emphasis on plain flat silver surfaces. there rare exceptions in highly decorated brooch shows scandinavian stylistic , technical influence, notably irish brooch rathlin island, areas stamped irish tradition have used casting.

the brooches appear have been made native metalworkers, worn both vikings , gaels. popular thistle brooches have terminals , pin-heads thistle flowers, ball topped round projection, flared; called term regardless of whether or not ball brambled —that is, formed regular pattern of small tapering projections, 2 lowest brooches penrith hoard illustrated here. these, , other globular endings terminals , pin-heads, common, flattened terminals continued made, ornamented round silver bosses amid simple repeated patterns, or interlace larger in scale in earlier ornate badges. in these, ring ends in gripping beast biting terminal plate. mixture of types seen in 10th century penrith hoard typical.

brooches made in scandinavia, in base metal

insular brooches had been taken scandinavia, , began produced there in 10th century wearing singly men @ shoulder; viking women wore pairs of characteristic oval brooches on upper breast. simpler insular examples, , several hundred examples in tinned bronze rather silver known. 10th century danish møllerløkken brooch elaborate example known, simple overall design ball terminals , pin-head, rich detailing such interlace panels on ring , filigree sections on balls. other insular types produced in viking areas of england, scandinavian york. penannular brooch fell common use end of 11th century, time when ireland , scotland, , scandinavia, adopting general western european styles in many areas of both art , life.

a distinctly irish type of brooch found @ end of viking period kite brooch, name derives almond shape called kite in heraldry, though shapes of heads highly variable. apparently worn, larger brooches, singly pin pointing upwards. half dozen exist in silver, including examples larger average, pins 7.9 cm long. in these, there no ring, elaborate head connected pin of variable length short tab of metal can move on joints @ both ends; there cord winding round pin secure it. 14 of these brooches have been found date in ireland, many incomplete, , none elsewhere; 5 of these dublin, earliest 940s. appear further 2 centuries; around 1200, typical medieval ring brooches have little distinctively irish them found instead.

celtic revival

early medieval irish brooch, bronze , glass; note pin lies entirely in front of ring in example.

the brooches have today have been discovered since 17th century, , odds on survival once found have increased on period, value artefacts has overtaken scrap value. in 19th century, part of celtic revival, many brooches copying or inspired earlier styles made.

much of responsibility fashion high-quality celtic revival jewellery belongs george waterhouse, jeweller sheffield, england, moved dublin in 1842. before end of decade, , long-established dublin firm west & son of college green (later moving grafton street) finding necessary register designs prevent copying. of various types of objects made, brooches both resonant , sold least alteration original form , design, although jewellers reduced size , fitted them conventional pins , catches behind, though kashmir shawls fashionable @ time loosely woven , not unsuitable fastening in original way. different versions made @ different price levels, though expensive struggled recreate full intricacy of originals.

the national museum of ireland not correct in saying fashion began after queen victoria presented replica of cavan brooch on visit dublin see great industrial exhibition in 1853; royal collection has 2 brooches prince albert bought west & son in 1849 on earlier visit dublin, being made in editions. albert presented them in november , @ christmas year: ...such beautiful souvenirs, both made after curious old irish ornaments saw in college in dublin, 1 silver shawl brooch, in smaller size original reaction november gift. later gift albert included setting of cairngorm had picked when walking in scottish highlands, more authentic type of gem brightly coloured foreign stones used in celtic revival jewellery.

morrocan amazigh woman wears tazerzit brooches on both sides of shoulders. notice similarities in gaelic jewelry. 20 century

the discovery of tara brooch in 1850 therefore not have been better timed in terms of attracting public interest. brooch recognised culminating masterpiece (though in date) of irish development of large , superbly worked ornate brooches, status has retained ever since. brooch acquired george waterhouse, used centre of displays of replicas , imitations of celtic brooches in dublin shop, exhibiting @ great exhibition in london in 1851 , paris exposition universelle (1855), dublin exhibition visited queen in 1853 (victoria had seen it; had been specially sent windsor castle inspection).

waterhouse had invented brooch s name; in fact, has nothing hill of tara, true circumstances of find still remain unclear (essentially avoid claim landowner), , waterhouse chose link site associated high kings of ireland, aware feed irish middle-class fantasy of being descended them . time brooch passed national museum of ireland in 1870s, tara brooch had become generic term celtic revival brooches, of being made indian workshops export europe. replicas, accurate, , imitations of celtic brooches have continued made present day, @ varying levels of quality.