The Celtic broiler, more correctly called penannular brooch , and its closely related type, pseudo-penannular brooch , is a type of brooch fasteners, often rather large. They are primarily associated with early early medieval periods in the British Isles, although they are found in other times and places - for example, forming part of traditional women's clothing in areas in modern North Africa.
Starting as utilitarian fasteners in the Iron Age and Roman period, they are mainly associated with highly ornate brooches produced in precious metals for Irish and Scottish elites from about 700 to 900, known as Celtic brooches or similar terms. They are the most important objects in high-quality secular metal from early Celtic medieval art, or the art of the Insular, as art historians prefer to call it. This type continues in simpler forms such as the thistle bros into the 11th century, during what is often known as the Viking Age in Ireland and Scotland.
The penannular and pseudo-penannular brooch has a long pin attached to its head to the ring; pins can move freely around the ring as far as the adjacent terminal. In a true penannular type, the ring is not closed; there is a gap between the terminal which is wide enough for the pin to pass. In the pseudo-penannular type, the ring is closed, but there are still two separate terminals, which are joined by the next element. The penannular type is a simple and efficient way to tighten loose fabric (where the pins will not leave permanent holes), but the pseudo-penannular type is less efficient.
The brooches are worn by men and women, usually on the shoulders by men and on the chest by women, and with pins pointing upwards; Irish legal codes say that in case of pin injury to another person, the wearer is innocent if the pin does not project too far and the brooch is worn in this way by sex. The most complicated example is a significant expression of status at the top of society, which is also worn by ministers, at least in Ireland, although it is possible to speed up efforts and other robes rather than everyday wear. The Senchas Mhor, an early Irish legal treaty, mentions that the sons of the great kings, when nurtured, must have a "gold brooch inserted in it," while the little monarchs need to wear just a silver brooch.
Video Celtic brooch
Terminology
"Annular" means formed as a ring and "penannular" is formed as an incomplete ring; both terms have various uses. "Pseudo-penannular" is a currency limited to the brooch, and refers to the brooches where there is no opening in the ring, but the design retains the features of the penannular brooch - for example, emphasizes two terminals. Some pseudo-penannular brooches are very similar in design to other penannular brochures, but have small sections connecting two terminals. Others have fully joined the terminal, and emphasize in their design a central area where the gap will be - eg Tara Brooch. The pseudo-penannular brooch can also be described as "annular", or as a "brooch ring". The term "open brooch" or "ring open ring" is also sometimes used for penannular brochures. There was an originally established classification scheme, in relation to the previous type, by Elizabeth Fowler in the 1960s, which has since been extended in various versions to cover later types.
The brochure is of the penannular or annular type, where the pin is very large in relation to the ring, so the ring can not play any part in the binding of the brooch, it can be called "brooch ring", "pin brooch" or "brooch-pin"; or, especially where the rings are small and plain, the "pin rings". In this case, the head pin design usually indicates that the pin is meant to sit under the ring (visible from the front), rather than on it like on a larger brooch.
"Celtic" is a term avoided by specialists in describing objects, and especially the artistic style, from the Early Middle Ages of the British Isles, but remains in popular minds. The term Insular art is used to describe different art styles originating from the British Isles and combining Germanic, Celtic, Pictish and Mediterranean elements. Although some of the simpler and relatively early pennown brochures are found in the Anglo-Saxon context, and some of the sub-types are primarily, as far as the Anglo-Saxons are concerned, they do not use these brooch styles for elite prestigious jewelry. However, there are elements in Irish and Scottish brooch styles derived from the Anglo-Saxon art, and associated with the work of Insular in other media, especially illuminated manuscripts.
Fibula is Latin for "brooch" and is used in modern languages ​​to describe many types of brochures of the Early Medieval Romans and post-Romans with pins and catches behind the main face of the brooch. The brochures discussed here are sometimes also called fibulae, but rarely by English-speaking specialists.
Maps Celtic brooch
Tighten the brooch
With a penannular brooch, the pins are pushed through the folds of fabric, which are then drawn back into the ring; free end of the pin through the gap in the ring. The pin is then rotated around the ring by 90 degrees or more, so that as long as the pin is pressed with little pressure, it can not get out of the terminal, and the binding is secure.
With pseudo-penannular bros, things that are not so simple and how they are used are debatable; this method may not be the same for all brooches. One possible method is to pull the fabric fold through the ring until they can be punctured by the pin, and then pull the cloth back until the pin rests on the ring. This will work best with a brooch with pins that are no longer than the diameter of the ring, which some have, but others do not. The second method may be just to embed the fabric vertically, leaving the hanging ring unattached to the fabric; this does not seem too safe. The third method depends on the length of the chain or the cable attached to the ring near the "terminal" (which in the pseudo-penannular brooch does not really end), which is used to secure the pin by tying it, perhaps with a small pin in the end, which is also inserted through the fabric that. The Tara Brooch may be tied in this way. In some cases the pin is mounted with a bolt or rivet to make it removable. A further complication is that in some pseudo-penannular brooch, the pin is mounted in front of the ring, as in Londesborough Brooch (below), but on the other it crosses through the ring, beginning with the head end in front of the ring, but the center of the pin in rear of the ring at the point where it passes on the other side; Bros Tara has been featured in two ways. This latter arrangement seems to be more common in later brooches, in the 9th century.
It is fair to say that scholars remain somewhat puzzled that an effective and simple penrosular bros developed in this direction, although it is suspected that the reunification of the terminal-a partial pseudo-penannular brooch sheet to reinforce the brooch. In many penannular brochures, the gap between the terminals is now too narrow for the pin to pass; whether this always happens uncertain.
History
Roman and Early Insular Period
Small and simple pennies brochures in bronze, iron, and, rarely, silver are common in Roman periods as practical binders, but are not used for high-status objects, and any decoration is usually confined to bands around a ring or other simple. pattern. Often the extra thickness in the terminal, which is necessary to prevent pin drops, is achieved only by turning the edge of the ring back. In the late Roman period in England in the 3rd and 4th centuries, the kind of pennosal brooch with zoomorphic decorations to the terminals appeared, with human or animal heads, still not much wider than the rest of the ring. Some examples have enamel decorations, and the pins do not extend far beyond the ring. These are found mainly in southwest England and Wales, and appear to have been developed in these areas. This species fell out of favor in southern England in the 5th century, but developed in Ireland in the 6th-7th century. These types greatly expand the size of the terminals, which are now presented flat areas often decorated with enamel or glass inlay, mostly using abstract patterns but sometimes zoomorphic decorations. The pin length is now often about twice the diameter of the ring. The Irish cultural zone of this period encompassed most of western Scotland, and in Pictish East Scotland a similar development took place, although the shape is somewhat different here. The ornament is parallel to other metal objects such as pieces of armor, and some remnants of the early Christian relics and other pieces of church metal.
Golden Age
Immediately after 700, very complicated, large brooches in precious metals and gems are being produced. It is a clear expression of high status for the wearer, and uses the full repertoire of goldsmith techniques at a very high skill level. They continue to be produced for about 200 years; The Pictish brooch is much more homogeneous in design than the Irish, which may indicate a shorter production period, perhaps from the "mid-eighth to the beginning of the ninth century". Each surviving design is unique, but the various types established in the simpler brooch previously developed and elaborated. There was no previous tradition of highly ornate brooches in Ireland, and this development probably came from contact with the elite Continental who wore the great fibulae as a sign of status. Such contacts are certainly made, especially by traveling monks.
Archaeological evidence, and some literature, indicate that the brooch in precious metals is a sign of the status of the kingdom, along with wearing a purple robe, and that is probably because they are imposed by Christ on the high cross at Monasterboice and by the other Virgin Mary. All surviving examples, numbering over 50 (not all complete) in the case of the Irish, have been found by excavations, or at least found on the ground, but where detailed circumstances of the findings are known, only slightly from graves, and found in hoarding is much more common. When they are in the cemetery, the cemetery is often much slower than the date of the brooch, as in a brooch in the 8th century Irish style found in Norse burials in Westray, Orkney, and perhaps Kilmainham Brooch. Elaborate brochures often have one or more names - regarded as belonging to the owner - scratched otherwise, often in runes. Retained bronze and similar alloys continue to be found in much larger quantities.
The most complicated Irish leaflet is pseudo-penannular, whereas most Scots maintain a true penannular form. Most of the silver-gold, gilding is often partial. Some precious metals are gilded, of bronze or copper alloy; only one well-known Irish pure brooch comes from the 9th century from Loughan, County Londonderry, which is less complicated than most of the series, although the standard of work is very high. However, some brooches have a hidden niche that may contain small lead weight to make the precious metal used look more valuable than it really is.
In Ireland, the pinhead may turn into a focus for decoration, sometimes using a "kite-shaped" dish, as in the Tara Bros; in Scotland, pin-heads are simple circles that are formed by bending the pin back on itself. Scottish terminals more often have different curved or square shapes that go beyond the ring circles on both sides, while in Irish examples, the terminal usually extends inside the ring to form another curve, but not much outside, or sometimes form a straight line across the inside of the ring. Irish brooches can only join two terminals with narrow strips, or not only eliminate the full pause, but have a decoration center zone where a gap between the terminals will occur; The brooch found with Ardagh Chalice shows both types.
The main body is usually cast, and a number of two-part molding elements have been found. Many brooches have cells for studs or tops that are most commonly round hemispheres, but may be square, lozenges or other shapes; very often the buttons themselves disappear. These are a variety of materials including glass, enamel, amber, and locally found gemstones, though not including any of the classic modern "precious stones", or even garnets found in Anglo-Saxon jewelry. The sometimes occasionally used glasses of glass that are used, however, seem to have been imported from Italy, as used in Anglo-Saxon jewelry from Sutton Hoo; stem samples have been excavated in Ireland and England.
Like Insular slices and other metal crafts, the highly ornate Irish brooches are mostly made in many embedded or shared sections. Garland decorations are often made on "trays" mounted on the main ring - the Tara Bros. many of these are now missing (most still present when discovered in 1850).
Techniques include chip-carving, cast "chip-carving imitations", filigree, engraving, inlay of various types including niello, glass and champlevÃÆ'  © enamel, and various hammering and chasing techniques: "almost full range of materials and techniques known to man." Two techniques that do not appear are "true piercing interasile , widely used in Byzantine jewelry," and the work of cloisonnà © that symbolizes many Western European jewelry, and especially the large fibula, at that time, whether in enamel or garnet-like stones are used very effectively at Sutton Hoo and at Anglo-Saxon Staffordshire Hoard. In a gold brooch, enamel is limited to buttons that emphasize compositions such as gems; a larger area of ​​champlevÃÆ'  © found in a terminal blazing of earlier types may continue in a simpler type, although dating is difficult.
In some brooches, the decoration is too detailed to be appreciated when the brooch is worn, and some of the most complicated brooches have their backs, not visible when worn, decorated almost as complex as their fronts. The Tara Brooch shows both features, and in addition, shares with several others the difference in decorative style between front and back, with the "Celtic triskeles" and other spiral motifs limited to the rear, while the front has more interlacing and zoomorphic elements. These features are also shared by the most ornate brooches in London and Edinburgh, respectively Londesborough and Hunterston Brooches. This may be because the ornament on the back is more dependent on the carvings than the filigree, which will harm the cord attached to the clothes where the brooch is worn.
Some large brooches, or indeed other metals, have been found in contexts that can be easily dated, and many of the marriages have at least come from comparisons with illuminated Insular manuscripts, though these are often far from certain. The Tara Brooch has long been acknowledged to have a clear style similarity with the Lindisfarne Gospel, which is estimated to date around 698-715. Much resemblance to the carpet pages, the very detailed decorative pages are filled with decorations, which share a horror vacui brooch that leaves no area, as well as very small and perfect complex decorations. executed, and most appreciated when viewed on a larger scale than the actual one, both in the original photo and in the photo. Both combine elements from many styles of origin into a distinctly Insular style: La TÃÆ'¨ne Celtic art, Germanic animal style, and classic and other Mediterranean styles.
Later, and Viking
Vikings started attacking Ireland from 795, with catastrophic effects for monasteries in particular. However, although Viking founded several longphorts, the camps were initially fortified for excessive winter, and then cities like Dublin, Wexford, Cork, and Waterford (Ireland's first real urban center), the native Irish were more successful than English and Scottish in preventing large-scale Viking takeovers from areas for settlements by farmers. In about the year 1000, the situation was relatively stable, with a mixed population of Norse-Gaels in towns and areas close to them, while Gaelic Irish, whose elite often formed political alliances, inter-venture trade and intermarriage with Vikings. the leaders, kept control of most of the island, and were able to attract tributes from the Viking cities.
This period is marked by an enormous increase in silver availability, possibly the result of robbery and Viking trade, and most of the brooches are made of silver, because the gilding and decorating on other materials is almost gone. Brooches are often large and relatively massive, but clearer than the most complicated before, not using the older local decorative styles as well as Viking styles adopted in other media. This continues to be a detectable trend in subsequent brooches from earlier periods, before much of the Viking influence can be felt. The 9th century Roscrea Brooch was one of a number of transitional brooches; although the shape is very ornate, with large flat triangular pin heads, the rings are plain thick silver, gold filigree panels occupy a relatively small area, and their work is a "rough" or "rough" replica of the previous work. The Kilamery Brooch is a comparable example, with a clear emphasis on flat flat silver surface. There are rare exceptions where highly decorated brooches show Scandinavian style and technical influences, especially an Irish brooch from Rathlin Island, with stamped areas where Irish traditions will use casting.
The brooch was apparently made by "native" metal workers, but was worn by Vikings and Gaels. The very popular thistle brooch has terminals and often pin-heads like thistle flowers, with balls ending in rounded projections, often blazing; they are called in terms regardless of whether the ball is "crushed" - that is, formed with a regular pattern of small oval projections, such as the two lowest brooches of Penrith Hoard illustrated here. These, and other rounded ends to the terminal and pin-head, are common, but the flattened terminal continues to be made, now embellished by a round silver boss in the middle of a simple repetitive pattern, or interweaving on a larger scale than in the previous decoration badge. In this case, the ring often ends with "gripping the beast" biting the terminal plate. The type mix seen in 10th century Penrith Hoard is typical.
Insular brooches have been brought back to Scandinavia, and began to be produced there in the 10th century because they were singly worn by men on the shoulders; Viking ladies wear a pair of distinctive oval brooches on the upper breast. Most are simpler than the Insular example, and several hundred instances in "tinned bronze rather than silver" are known. The 10th century Danish MÃÆ'¸llerlÃÆ'¸kken Brooch is the most accurate example known, with a simple overall design with ball and pin-head terminals, but with rich detail such as interlaced panels on the ring and filigree parts of the ball. Other Insular Types are also produced in the UK Viking region, especially Scandinavia York. Penannular brooers fell from general usage at the end of the 11th century, when Ireland and Scotland, and Scandinavia, adopted Western European styles generally in many areas of art and life.
The type of Irish brooch found at the end of the Viking period is the brooch kite , whose name comes from an almond form called "kite" in the emblem, although the shape of its head is actually very variable. They are apparently worn, like a bigger brooch, the only one with a pin pointing up. Only "about half a dozen" are in silver, including examples much larger than average, with pins up to 7.9 cm. In this case, there is no ring, but the elaborate head is connected to a pin of varying length by short tabs of metal that can move on joints at both ends; there is usually a cable to rotate the pin to secure it. Only 14 brooches are found in Ireland, many are incomplete, and nowhere else; five of which are from Dublin, the earliest of the 940s. They appear about two centuries further; circa 1200, a typical medieval ring brooch that has little Irish characteristic about them found instead.
Celtic Revival
The broo that we have today has been discovered since the 17th century, and their chances of survival once discovered have greatly improved over that period, because their value as an artifact has exceeded their scrap value. In the 19th century, as part of the Celtic Revival, many brooches that were imitated or inspired by previous styles were made.
Most of the responsibility for fashion for high quality Celtic Revival jewelry belongs to George Waterhouse, a jeweler from Sheffield, England, who moved to Dublin in 1842. Before the end of the decade, he and the Western & amp; ; Son of College Green (later moved to Grafton Street) felt the need to register their designs to prevent copying. Of the various types of objects that are made, the brooch is "the most resonant" and that can be sold with little change to the original shape and design, although jewelry generally reduces its size and wears it with conventional pins and catches behind it. , although Kashmiri scarves are also fashionable at that time often woven loosely and not fit to be tied in the original way. Different versions are made at different price levels, although the most expensive ones struggle to create the full hassle of the original documents.
The National Museum of Ireland is clearly incorrect in saying that fashion begins after Queen Victoria is presented with a replica of "Cavan Bros" on his visit to Dublin to see the Great Industrial Exhibition in 1853; The Royal Collection has two brooches that Prince Albert bought for him from West & amp; Son in 1849 on a previous visit to Dublin, which had already been made in the edition. Albert presented it in November and at Christmas that year: "... such beautiful souvenirs, both made after the strangest old Irish decorations we see at the College in Dublin, a silver scarf brooch, in a size smaller than the original "is his reaction to the November prize. The next prize from Albert included the arrangement of the water tray he took while walking the Scottish Highlands, a more authentic gem type than the brightly colored alien stones used in many Celtic Revival jewelry.
The discovery of Tara Bros. in 1850 therefore can not be better timed in terms of attracting public interest. The brooch was instantly recognized as a masterpiece that culminated (albeit early on) from the Irish development of the large and extraordinary decoration brooch being worked on, a status that has been maintained ever since. The brooch was soon acquired by George Waterhouse, who used it as a replica display center and a replica of a Celtic brooch in his shop in Dublin, also displayed it in The Great Exhibition in London in 1851 and the Paris Exposition Universelle (1855), as well as the Dublin exhibition visited by the Queen in the year 1853 (Victoria already saw it, it has been specifically sent to Windsor Castle for his examination).
Waterhouse had found the brooch's name; in fact, it has nothing to do with Bukit Tara, but the real state of the invention remains unclear (essentially to avoid claims by the landowners), and Waterhouse chooses to link it to sites linked to the Supreme Kings. Ireland, "are fully aware that this will feed the Irish middle-class fantasy derived from them". As the brooch switched to what is now the National Museum of Ireland in the 1870s, the "Tara brooch" has become a generic term for Celtic Revival brooches, some of which are now being made by Indian workshops for export to Europe. Replicas, very rarely are fully accurate, and Celtic brooch impersonations continue to be done to this day, with varying degrees of quality.
Modern North Africa
The penannular brooch is part of traditional clothing to this day among the Berber women in the Maghreb, usually worn in pairs and apparently pinning the strap of the dress to the corset, with pins pointing straight up. They are usually large, fairly plain, brooch, unlike some Viking examples, though other styles have very elaborate heads for pins, which can dwarf the ring. The thick necklace often hangs between two brooches, sometimes attached to a ring hanging on the pin's head. Most women are identified as Berber. The local names for the brochure include melia , melehfa , bzima , kitfiyya , and khellala in Arabic, and tabzimt , tizerzay and tazersit in Berber. This style is believed to have been used since pre-Islamic times.
Note
References
- Dickinson, Tania M., Fowler's Type G penannular brooch reconsidered , 1982, Medieval Archeology, PDF
- Edwards, Nancy. Early Irish Archeology , Routledge, 1996, ISBNÃ, 0-415-22000-9, ISBNÃ, 978-0-415-22000-2
- Gere, C. and Rudoe J., Jewelry in Queen Victoria's Era: Mirror for the World , 2010, British Museum Publications, ISBN 0-7141-2819-8
- Johns, Catherine,
Roman Jewelry: Celtic and Classical Traditions , Routledge, 1996, ISBNÃ, 1-85728-566-2, ISBNÃ, 978-1-85728-566-6, Google books - Laing, Lloyd Robert. <<> Archaeological final of Celtic Britain and Ireland, c. 400-1200 AD , Taylor & amp; Francis, 1975, ISBNÃ, 0-416-82360-2, ISBNÃ, 978-0-416-82360-8, google book
- Youngs, Susan (ed), "The Work of Angels", Celtic Metal Works 6th century to 9 M , 1989, British Museum Press, London, ISBN 0-7141- 0554- 6
- "NMI": Wallace, Patrick F., O'Floinn, Raghnall eds. Treasure from the National Museum of Ireland: Irish Antiquities , 2002, Gill & amp; Macmillan, Dublin, ISBNÃ, 0-7171-2829-6
- "Ships": Larsen, Anne Christine (ed), Viking in Ireland , 2001, Viking Ship Museum, Roskilde, ISBN 87-85180-42-4, online text
- Whitfield, Niamh (2001), Bros "Tara" , in Hourihane, Colum (ed), From Ireland came: Irish art from early Christian to late Gothic period and European context- his , Princeton University Press, 2001, ISBNÃ, 0-691-08825-X, 9780691088259
- Whitfield, Niamh (2005), "A brooch fragment from Dublin", in Bork, Robert Odell and Montgomery, Scott, De re metallica: medieval metal use, 2005, Ashgate Publishing, Ltd., ISBN 0-7546-5048-0, ISBN 978-0-7546-5048-5, google book
Further reading
- Fowler, Elizabeth. The origins and developments of European penrosular brochures, Proceedings of Prehistorical Society, XXVI, 1960, Cambridge, 149-177 (with subsequent papers initiated the typology of Fowler).
- Fowler, Elizabeth. Celtic Metalwork of the fifth and sixth centuries A.D.: A Reappraisal , Archeology Journal 120 (1963), 99160
- Graham-Campbell, J., Some of the Viking-Age weavers brochures from Scotland and the origins of 'thistle-brooch' From the stone age to 'forty-five: the study presented to RBK Stevenson, former Keeper, National Museum of Antiquities of Scotland (Edinburgh, 1983), pp.Ã, 310-23
External links
- Irish Bros of the Early Medieval Celtic Period, Exhibition by Alisa Petti
- Londesborough Brochure
- Hunterston Bros. National Museum of Scotland
- St. Ninian's Isle Treasure, National Museum of Scotland
- Victorian-style Web, gallery "Victoria Jewelry: Celtic Revival Work in Ireland"
- The early Irish art treasure, 1500 BC. up to 1500 A.D., exhibition catalog from The Metropolitan Museum of Art (available online as complete as PDF), containing material about the Penannular brooch (cat No.40, 41, 42, 46-52)
Source of the article : Wikipedia
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