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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]
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.
The position of ancient Celtic women in their society cannot be determined with certainty due to the quality of the sources. On the one hand, great female Celts are known from mythology and history; on the other hand, their real status in the male-dominated Celtic tribal society was socially and legally constrained.
The Irish bullae date to the Late Bronze Age, about 1150–750 BCE. They were presumably worn suspended round the neck with a cord running through the hole below the flat top. The body of the bulla has roughly vertical sides before making a semi-circle or inverted pointed arch at the bottom.
It identified the wearer, apparently usually female until the 3rd century BC, thereafter male, as a person of high rank, and many of the finest works of ancient Celtic art are torcs. Celtic torcs disappeared in the Migration Period, but during the Viking Age torc-style metal necklaces, mainly in silver, came back into fashion. [2]
The penannular brooch, with an incomplete ring and two terminals, originally a common utilitarian clothes fastening, normally of base metal, in Iron Age and Roman Britain developed in the post-Roman period into highly elaborate and decorative marks of status in Ireland and Scotland, made in precious metals and often decorated with gems, and ...
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