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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 ...
In the early Anglo-Saxon era, the circular brooch type included the saucer, the applied saucer, the button, the annular (circular ring form), the penannular (incomplete ring), and the quoit (double ring, one of each of the previous types) brooches. The circular was the most common brooch form during the middle to late Anglo-Saxon era, with the ...
The Strickland Brooch, a mid-ninth century silver and niello inlay disc brooch is similar in design to the Fuller Brooch. Both pieces of jewellery are made from sheet silver and inlaid with niello and gold. The Strickland Brooch's lively open-work design is elaborately carved with collared dog-like beasts and animal heads. [19]
The thistle brooch is a simpler version of the penannular brooch, with less surface decoration, which gained popularity around 1100. The thistle is the national flower of Scotland and acts as an emblem. Today, thistle brooches are often made of silver and contain a thistle motif, and are not necessarily a penannular brooch. [citation needed]
The Fantail fibula, which have a short bow that flares into a flat, wide fan-shaped foot, were common in Britain and on the European continent. The Fantail design lasted into the 2nd century AD. A common and widespread design was the Augen (or Eye) fibula, which has a longer bow and a long, flat, wide foot. It has a short bilateral spring.
Common elements between the Hunterston and Tara brooches and the Lindisfarne Gospels include curvilinear patterns and renderings of animal and birds in interlace. [19] Archeologists think the workshops behind these objects were in contact and sharing techniques and design ideas. [17]
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