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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 Victoria and Albert Museum has many examples of Scottish jewellery from the later half of the 19th century, both pebble styles and Celtic designs. [30] The modernist period of jewellery making began in Britain in the 1950s, inspired by the sleek, simple style of Scandinavian designs from earlier in the 20th century. [31]
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.
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.
Bronze 4th-century BC buffer-type torc from France The Dying Gaul, a Roman statue with a torc in the Capitoline Museums in Rome. A torc, also spelled torq or torque, is a large rigid or stiff neck ring in metal, made either as a single piece or from strands twisted together.
The interlace design motif remains popular in Celtic countries, above all Ireland where it is a national style signature. In recent decades, it had a re-revival in 1960s designs (for example, in the Biba logo) and has been used worldwide in tattoos and in various contexts and media in fantasy works with a quasi-Dark Ages setting.
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