Celtic Revival in the context of "William Butler Yeats"

Tudric is a brand name for pewterware made by W. H. Haseler's of Birmingham for Liberty & Co. of London, the chief designer being Archibald Knox, together with David Veazey, Oliver Baker and Rex Silver. The gold and silver ranges were known as Cymric (pro: Kumric). Liberty began producing Tudric in 1899, and continued to the 1930s. The designs use Art Nouveau and Celtic Revival styles, and remain popular with collectors.

Tudric pewter differentiated from other pewters with better quality, it had higher content of silver. Pewter is traditionally known as "the poor man's silver".

Archibald Knox (9 April 1864 – 22 February 1933), was a Manx designer of Scottish descent. He is best known as being Liberty's primary designer at the height of their success and influence upon British and International design. Knox's work bridged the Arts and Crafts Movement, Celtic Revival, Art Nouveau, and Modernism. He is seen as a leading figure of the Modern Style movement.

Knox's hundreds of designs for Liberty made his style widely known, though not his name, as Liberty kept their designers anonymous. Most of his work for Liberty was for the Tudric (pewter) and Cymric (precious metals) ranges. The gravestone of Liberty founder, Arthur Lasenby Liberty, was designed by Knox.

The Tara Brooch is an Irish Celtic brooch, dated to the late 7th or early 8th century. It is of the pseudo-penannular type (with a fully closed head or hoop), and made from bronze, silver and gold. Its head consists of an intricately decorated circular ring, 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 pieces; all of the borders and terminals contain multiple panels holding multi-coloured studs, interlace patterns, filigree, and Celtic spirals. It 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.

The Tara Brooch was hidden on the east coast of Ireland sometime during the 11th or 12th century, most likely to protect it from Viking or Norman invaders. It was rediscovered around 1850, but the exact find-spot and circumstances are unclear. Despite its title, it was not found at the Hill of Tara but on or near the beach around Bettystown on the coast of County Meath. The name by which it became known was chosen by its first commercial owner, the Dublin-based jeweller George Waterhouse, as a marketing ploy for selling copies during the height of the 19th century Celtic Revival. For this reason, many art historians describe it with inverted commas as the "Tara" brooch.

The Celtic cross is a form of ringed cross, a Christian cross featuring a nimbus or ring, that emerged in Ireland and Britain in the Early Middle Ages. It became widespread through its use in the high crosses erected across Ireland, Britain and parts of France, especially in regions evangelised by Irish missionaries, from the 9th through the 12th centuries.

A staple of Insular art, the Celtic cross is essentially a Latin cross with a nimbus surrounding the intersection of the arms and stem. Scholars have debated its exact origins, but it is related to earlier crosses featuring rings. The form gained new popularity during the Celtic Revival of the 19th century; the name "Celtic cross" is a convention dating from that time. The shape, usually decorated with interlace and other motifs from Insular art, became popular for funerary monuments and other uses, and has remained so, spreading well beyond Ireland.

Picturesque is an aesthetic ideal introduced into English cultural debate in 1782 by William Gilpin in Observations on the River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770, a practical book which instructed England's leisured travellers to examine "the face of a country by the rules of picturesque beauty". Picturesque, along with the aesthetic and cultural strands of Gothic and Celticism, was a part of the emerging Romantic sensibility of the 18th century.

The term "picturesque" needs to be understood in relationship to two other aesthetic ideals: the beautiful and the sublime. By the last third of the 18th century, Enlightenment and rationalist ideas about aesthetics were being challenged by accounts of the experiences of beauty and sublimity that involved non-rational elements. Aesthetic experience was not just a simply deliberate, conscious rational decision based on principles of, e.g., symmetry, proportion, and harmony. It could come, for instance, more naturally as a matter of instinctual response involving the non-rational appetites. For instance, Edmund Burke in his 1757 A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful argued that the soft gentle curves appealed to the male sexual desire, while the sublime horrors appealed to our desires for self-preservation.