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Celtic Revival.
Style rooted in 19th-century antiquarian studies of ancient Celtic art in Britain and Ireland. It was a mainly decorative style and first appeared in the 1840s, remaining fashionable from the 1890s to c. 1914 and lingering on through the 1920s. Derived from the complex, intertwining, linear motifs of ancient Celtic ornament, it was employed in metalwork, jewellery, embroidery, wall decoration, wood inlay, stone-carving and textiles. The Celtic Revival was closely related to the English Arts and Crafts Movement’s aim of social and artistic reform and was part of the general upsurge of Romantic interest in the Middle Ages. Its chief characteristics were raised bosses, tightly enmeshed roundels and bands of sinuous, criss-crossing lines, similar to but more abstract than Art Nouveau designs. Sources of inspiration were such Celtic antiquities as the Tara Brooch (see INSULAR ART, fig. 1) and the Ardagh Chalice (both 8th century AD; Dublin, N. Mus.), the Battersea Shield (c. 2nd century BC; London, BM) and the BOOK OF KELLS (7th–8th centuries AD; Dublin, Trinity Coll. Lib.), which was published in facsimile in Dublin in 1892.
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