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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
Interlace, which is still seen as a "Celtic" form of decoration—somewhat ignoring its Germanic origins and equally prominent place in Anglo-Saxon and Scandinavian medieval art—has remained a motif in many forms of popular design, especially in Celtic countries, and above all Ireland, where it remains a national style signature.
Victorian web, gallery of "Victorian Jewelry: Celtic Revival Work in Ireland" Treasures of early Irish art, 1500 B.C. to 1500 A.D. , an exhibition catalogue from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Penannular brooches (cat. no. 40, 41, 42, 46–52)
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.
A resurgence of Celtic and medieval style Scottish jewellery occurred in the 19th century, [27] as did the popularisation of agate pieces, also known as "pebble jewellery". [28] During this period there was a rise in creation and wear of brooches and bracelets set with Scottish stones due to Queen Victoria's interest in agates, cairngorms ...
Celtic torcs disappeared in the Migration Period, but during the Viking Age torc-style metal necklaces, mainly in silver, came back into fashion. [2] Similar neck-rings are also part of the jewellery styles of various other cultures and periods.
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