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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 Paris.
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 ...
The Jewels of the Order of St Patrick, commonly called the Irish Crown Jewels, were the heavily jewelled badge and star created in 1831 for the Grand Master of the Order of St Patrick, an order of knighthood established in 1783 by George III to be an Irish equivalent of the English Order of the Garter and the Scottish Order of the Thistle.
The Jewellery of Roman Britain: Celtic and Classical Traditions, Routledge, 1996. ISBN 978-1-85728-566-6; Laing, Lloyd Robert. The archaeology of late Celtic Britain and Ireland, c. 400–1200 AD. Taylor & Francis, 1975. ISBN 978-0-416-82360-8; Moss, Rachel (2014). Medieval c. 400—c. 1600: Art and Architecture of Ireland.
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.
The Crown jewels design was influenced by Eastern and Western European Art. The Karađorđević crown jewels of Serbia were created in 1904 for the coronation of King Peter I. The pieces were made from material that included bronze of Karađorđe's cannon. This gesture was symbolic because 1904 was the 100th anniversary of the First Serbian ...
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