The Celtic Revival

Folk often look to the past as a "Golden Age," or even just as having facets that fascinate the current era. There was a "Celtic Revival" that started in the 19th century that became enamored of a highly polished view of the stories and artifacts of the distant past. (There was a similar Gothic Revival that started in the 18th century, extended into the next century by Pugin.)

A large part of this was "insular art"; that is, arts and crafts of Early Medieval Ireland, Britain, and Wales. Archaeology was becoming a popular pastime—alas, without the rigor of modern scholars: sites were frequently simply "bulldozed" to reveal treasure, and careful mapping and cataloguing was unknown—and the artifacts discovered were sought after and duplicated, as mentioned in yesterday's post on Irish Treasures.

One lasting effect of this is the ubiquity of the High/Celtic/Irish cross (pictured), with knotwork inscribed in the verticals and horizontals. That knotwork found its way into some Art Nouveau designs by Irish-American designers, such as are found in Old Saint Patrick's Church in Chicago, and the designs of Chicago Architect Louis Sullivan [link], whose father was a traditional Irish musician.

Another lasting effect was created by Welsh antiquarian and author Iolo Morganwg (Edward Williams, 1747 - 1826), a collector of Welsh literature who portrayed himself as an expert on Welsh culture and a reviver of druidism, although after his death it was discovered that he had forged many documents he passed off as historical.  The idea of druidism, however, is still with us, and we should talk about that a little more.