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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.
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]
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The finest period is from the 8th and 9th centuries, before the Vikings disrupted the societies. Ornate Irish examples in the period are usually "pseudo-penannular"; in fact closed rings, but imitating the penannular form. Examples like the Tara Brooch are among the most spectacular pieces of jewellery of the Early Medieval period. When the ...
Certain attributes of Celtic jewellery, such as inlaid millefiori glass and curvilinear styles have more in common with ancient brooches than contemporary Anglo-Saxon jewellery. [18] The jewellery of Celtic artisans is renowned for its inventiveness, complexity of design and craftsmanship. The Tara Brooch is a well-known example of a Celtic ...
Barbarian jewelry was very similar to that of the Vikings, having many of the same themes. Geometric and abstract patterns were present in much of barbarian art. [28] Like other barbarian women Viking women needed jewelry to keep their clothes on, and were probably rarely seen without it.
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