Celtic knots are a variety of knots and stylized graphical representations of knots used for decoration, used extensively in the Celtic style of Insular art. These knots are most known for their adaptation for use in the ornamentation of Christian monuments and manuscripts, such as the 8th-century St. Teilo Gospels, the Book of Kells and the Lindisfarne Gospels. Most are endless knots, and many are varieties of basket weave knots.
The Lindisfarne Gospels is an illuminated manuscript gospel book probably produced around the years 715–720 in the monastery at Lindisfarne, off the coast of Northumberland, which is now in the British Library in London. The manuscript is one of the finest works in the unique style of Hiberno-Saxon or Insular art, combining Mediterranean, Anglo-Saxon and Celtic elements.
A high cross or standing cross is a free-standing Christian cross made of stone and often richly decorated. There was a unique Early Medieval tradition in Ireland and Britain of raising large sculpted stone crosses, usually outdoors. These probably developed from earlier traditions using wood, perhaps with metalwork attachments, and earlier pagan Celtic memorial stones; the Pictish stones of Scotland may also have influenced the form. The earliest surviving examples seem to come from the territory of the Anglo-Saxon kingdom of Northumbria, which had been converted to Christianity by Irish missionaries; it remains unclear whether the form first developed in Ireland or Britain.
The Book of Durrow is an illuminated manuscript dated to c. 700 that consists of text from the four Gospels gospel books, written in an Irish adaption of Vulgate Latin, and illustrated in the Insular script style.
The triquetra is a triangular figure composed of three interlaced arcs, or (equivalently) three overlapping vesicae piscis lens shapes. It is used as an ornamental design in architecture, and in medieval manuscript illumination. Its depiction as interlaced is common in Insular ornaments from about the 7th century. In this interpretation, the triquetra represents the topologically simplest possible knot.
The Tara Brooch is an Irish Celtic brooch, dated to the late-7th or early-8th century. It is of the pseudo-penannular type, and made from bronze, silver and gold. Its head consists of an intricately decorated circular rings, and overall its'front and reverse sides are equally decorated; each holds around 50 inserted cast panels packed with filigree. The brooch was constructed from numerous individually made piece; all of the borders and its terminals contain multiple panels holding multi-coloured studs, interlace patterns, filigree and Celtic spirals. The brooch is widely considered the most complex and ornate of its kind, and would have been commissioned as a fastener for the cloak of a high ranking cleric or as ceremonial insignia of high office for a High King of Ireland.
Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages.
Anglo-Saxon art covers art produced within the Anglo-Saxon period of English history, beginning with the Migration period style that the Anglo-Saxons brought with them from the continent in the 5th century, and ending in 1066 with the Norman Conquest of England, whose sophisticated art was influential in much of northern Europe. The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the Viking invasions. By the time of the Conquest the move to the Romanesque style is nearly complete. The important artistic centres, in so far as these can be established, were concentrated in the extremities of England, in Northumbria, especially in the early period, and Wessex and Kent near the south coast.
Migration Period art denotes the artwork of the Germanic peoples during the Migration period. It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in Britain and Ireland. It covers many different styles of art including the polychrome style and the animal style. After Christianization, Migration Period art developed into various schools of Early Medieval art in Western Europe which are normally classified by region, such as Anglo-Saxon art and Carolingian art, before the continent-wide styles of Romanesque art and finally Gothic art developed.
Viking art, also known commonly as Norse art, is a term widely accepted for the art of Scandinavian Norsemen and Viking settlements further afield—particularly in the British Isles and Iceland—during the Viking Age of the 8th-11th centuries. Viking art has many design elements in common with Celtic, Germanic, the later Romanesque and Eastern European art, sharing many influences with each of these traditions.
British Library, Egerton MS 609 is a Breton Gospel Book from the late or third quarter of the ninth century. It was created in France, though the exact location is unknown. The large decorative letters which form the beginning of each Gospel are similar to the letters found in Carolingian manuscripts, but the decoration of these letters is closer to that found in insular manuscripts, such as the Book of Kells and the Lindisfarne Gospels. However, the decoration in the Breton Gospel Book is simpler and more geometric in form than that found in the Insular manuscripts. The manuscript contains the Latin text of St Jerome's letter to Pope Damasus, St. Jerome's commentary on Matthew, and the four Gospels, along with prefatory material and canon tables. This manuscript is part of the Egerton Collection in the British Library.
A carpet page is a full page in an illuminated manuscript containing intricate, non-figurative, patterned designs. They are a characteristic feature of Insular manuscripts, and typically placed at the beginning of a Gospel Book. Carpet pages are characterised by mainly geometrical ornamentation which may include repeated animal forms. They are distinct from pages devoted to highly decorated historiated initials, though the style of decoration may be very similar.
Insular art, also known as Hiberno-Saxon art, was produced in the post-Roman era of Great Britain and Ireland. The term derives from insula, the Latin term for "island"; in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. Art historians usually group Insular art as part of the Migration Period art movement as well as Early Medieval Western art, and it is the combination of these two traditions that gives the style its special character.
Moresque is an obsolete alternative term to "Moorish" in English, and in the arts has some specific meanings. By itself, the word is used to describe the stylized plant-based forms of tendrils and leaves found in ornament and decoration in the applied arts in Renaissance Europe that are derived from the arabesque patterns of Islamic ornament. Like their Islamic ancestors, they differ from the typical European plant scroll in being many-branched and spreading rather than forming a line in one direction. The use of half-leaves with their longest side running along the stem is typical for both.
Lacertines, most commonly found in Celtic, Anglo-Saxon, and Insular art, are interlaces created by zoomorphic forms. While the term "lacertine" itself means "lizard-like," its use to describe interlace is a 19th-century neologism and not limited to interlace of reptilian forms. In addition to lizards, lacertine decoration often features animals such as birds, lions, and dogs.
In the early Middle Ages, there were distinct material cultures evident in the different federations and kingdoms within what is now Scotland. Pictish art was the only uniquely Scottish medieval style; it can be seen in the extensive survival of carved stones, particularly in the north and east of the country, which hold a variety of recurring images and patterns. It can also be seen in elaborate metal work that largely survives in buried hoards. Irish-Scots art from the kingdom of Dál Riata suggests that it was one of the places, as a crossroads between cultures, where the Insular style developed.
Insular illumination refers to the production of illuminated manuscripts in the monasteries of Ireland and Great Britain between the 6th and 9th centuries, as well as in monasteries under their influence on continental Europe. It is characterised by decoration strongly influenced by metalwork, the constant use of interlacing, and the importance assigned to calligraphy. The most celebrated books of this sort are largely gospel books. Around sixty manuscripts are known from this period.
The Soiscél Molaisse is an Irish cumdach that originated from an 8th-century wooden core embellished in the 11th and 15th centuries with metal plates decorated in the Insular style. Until the late 18th century, the shrine held a now-lost companion text, presumed to be a small illuminated gospel book associated with Saint Laisrén mac Nad Froích, also known as Molaisse or "Mo Laisse". In the 6th century, Molaisse founded a church on Devenish Island in the southern part of Lough Erne in County Fermanagh, with which the cumdach is associated.
House-shaped shrine are early medieval portable metal reliquary formed in the shape of the roof of a rectangular building. They originate from both Ireland and Scotland and mostly date from the 8th or 9th centuries. Typical example consist of a wooden core covered with silver and copper alloy plates, and were built to hold relics of saints or martyrs from the early Church era; a number held corporeal remains when found in the modern period, presumably they were parts of the saint's body. Others, including the Breac Maodhóg, held manuscripts associated with the commemorated saint. Like many Insular shrines, they were heavily reworked and embellished in the centuries following their initial construction, often with metal adornments or figures influenced by Romanesque sculpture.
The Lismore Crozier is an Irish Insular-type crozier dated to between 1100 and 1113 AD. It consists of a wooden tubular staff lined with copper-alloy plates; embellished with silver, gold, niello and glass; and capped by a crook with a decorative openwork crest. The inscriptions on the upper knope record that it was built by "Nechtain the craftsman" and commissioned by Niall mac Meic Aeducain, bishop of Lismore. This makes it the only extant insular crozier to be inscribed, and the only one whose date of origin can be closely approximated. It was rediscovered in 1814, along with the 15th-century Book of Lismore, in a walled-up doorway in Lismore Castle, County Waterford, where it was probably hidden in the late Middle Ages during a period of either religious persecution or raids.
