International studio (82.1925)

mceRnACionAL

obverse and reverse of the killamery brooch

might be termed an annular brooch, representing surface is covered with an amazing variety of
that class of fibulae characterized by broad, flat- ornament, no less than seventy-six designs appear-
tened terminal plates meeting or joined together ing in the decoration. Filigree, enameling, niello,
by means of ornamental work that eliminated the carving and engraving, in addition to settings of
division in the hoop. Goldsmiths and connois- amber and colored glass, contribute to the en-
seurs are unanimous in pronouncing it the finest trancing effect, well nigh every process known to
piece of jewelry ever produced in any country, ancient goldsmiths being represented in the exe-
emphasizing the fact that it reflects that spirit cution. The filigree is as remarkable as it is ad-
which has created every masterpiece of art the mirable, the slender wires of the interlacements
world over. featuring beading so minute as to be scarcely

This magnificent brooch has no connection visible to the naked eye. Displayed on the gold
with Tara, the ancient meeting place of the pagan ribbon used on the central interlacements, this
kings of Ireland, but received its name from a magical effect occurs also on the head of the pin.
jeweler who conferred upon it

the romantic title as a tribute to the cavan brooch

the splendor of the workman-
ship. He had purchased the pin
from the mother of a child who
had found it as she played on
the strand at Betaghstown,
County Meath. The history of
the brooch prior to its discovery
in 1850 is unknown, as is that
of the Chalice of Ardagh, which
was unearthed eighteen years
later. Both are in the collection
of the National Museum of
Dublin.

The main body of the Tara
Brooch, which measures be-
tween three and four inches in
diameter, is of white bronze, a
metal resulting from an alloy
of copper and tin. The entire

october I925

fifty-seven