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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 extant Irish examples have silver rather than bronze bases, as well as more decorated pinheads, a wider variety of inlay material such as red gold, amber, enamel, millefiori and glass, and larger terminals which had become the focal point for decoration. [2] Goldsmithing was a prominent craft in prehistoric Irish society.
"Annular" means formed as a ring and "penannular" formed as an incomplete ring; both terms have a range of uses. "Pseudo-penannular" is a coinage restricted to brooches, and refers to those brooches where there is no opening in the ring, but the design retains features of a penannular brooch—for example, emphasizing two terminals.
Anne of Denmark, depicted with a diamond aigrette and pearl hair attire, by John de Critz, 1605. The jewels of Anne of Denmark (1574–1619), wife of James VI and I and queen consort of Scotland and England, are known from accounts and inventories, and their depiction in portraits by artists including Paul van Somer. [1] A few pieces survive.
Gold jewelry (necklaces, bracelets, rings) were worn as symbols of social class and were often of high craftsmanship and artistic quality. Girls of the Hallstatt and early La Tène culture wore amber chains and amulets as individual chains or multiple string colliers; the colliers had up to nine strings and over a hundred amber beads. [80]
The Coggalbeg hoard is an Early Bronze Age hoard of three pieces of Irish gold jewellery dating to 2300–2000 BC. [1] It is now in the National Museum of Ireland – Archaeology in Dublin, where it is normally on display.
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