• AcknowledgementsList of ContributorsList of IllustrationsAbbreviationsIntroduction: Introduction: Relics, Revivals and Replicas in the Gaelic World - Rachel Moss and Heather PulliamArts, Belief and Politics in Scotland and Ireland c. 500 – c. 1900 - Rachel Moss and Heather PulliamPart 1 New Landscapes: Monuments, Place and PermanenceRemaking the Gaelic Christian Landscape: Devotion, Iconoclasm and Tourism in Post-Reformation Ireland and Scotland - Rachel MossInsular Motifs and Traditions in Late Medieval Monumental Sculpture in the West Highlands and Islands - David CaldwellThe Tuam Crosses: A Legacy of Fragmentation and Dislocation - Ana DolanPart 2 Heirlooms and Heritage: Broken, Mended and GiftedOn Insular Bells and Shrines - Cormac BourkeRemaking and Remembering the Monymusk Reliquary - Alice BlackwellIrish Medieval Book-shrines: Repairs, Recycling and Restorations - Paul MullarkeyEarly Irish and Scottish Crosiers in the Later and Post-medieval Periods: Relics and Reliquaries - Griffin MurrayLate Medieval Metalworking in Fifteenth- and Sixteenth-century Gaelic Ireland and Scotland - Raghnall Ó FloinnA Leg (or Two) to Stand on: Rethinking the Drinking Horn - Carol Neuman de VegvarPart 3: Imitation and Authenticity: Claiming the PastScribe and Limner in the Late-medieval Gaelic Manuscript Tradition - Pádraig Ó MacháinA Basis for Celtic Revival Art in Scotland - Murdo MacdonaldReproduction of the Hunterston Brooch in Scotland and Ireland, c. 1850–1900 - Tara KellyDruids and Mistletoe: A Case Study of Authenticity and Identity in the Celtic Revival - Heather PulliamPostscriptChanging Perceptions and the Future of Insular and Gaelic and Celtic Material Culture - Rachel Moss and Heather PulliamGlossary of termsBiblipgraphyIndex

The features of Insular art produced in Ireland and Scotland are broadly recognisable: monumental ring crosses, energetic animal ornament, interlace, distinctive end elegant lettering. Their moments of glory were around the 9th and late 19th centuries with an efflorescence in the late middle ages too.What happened in between those high moments and caused the revivals? This richly developed book provides a nuanced explanation of the political, religious and social factors which sustained Insular art not only as a distinct style but also through a range of revered objects. It demonstrates how these artefacts perpetuated belief, opinion, ancient knowledge, social status and national identity.

• AcknowledgementsList of ContributorsList of IllustrationsAbbreviationsIntroduction: Introduction: Relics, Revivals and Replicas in the Gaelic World - Rachel Moss and Heather PulliamArts, Belief and Politics in Scotland and Ireland c. 500 – c. 1900 - Rachel Moss and Heather PulliamPart 1 New Landscapes: Monuments, Place and PermanenceRemaking the Gaelic Christian Landscape: Devotion, Iconoclasm and Tourism in Post-Reformation Ireland and Scotland - Rachel MossInsular Motifs and Traditions in Late Medieval Monumental Sculpture in the West Highlands and Islands - David CaldwellThe Tuam Crosses: A Legacy of Fragmentation and Dislocation - Ana DolanPart 2 Heirlooms and Heritage: Broken, Mended and GiftedOn Insular Bells and Shrines - Cormac BourkeRemaking and Remembering the Monymusk Reliquary - Alice BlackwellIrish Medieval Book-shrines: Repairs, Recycling and Restorations - Paul MullarkeyEarly Irish and Scottish Crosiers in the Later and Post-medieval Periods: Relics and Reliquaries - Griffin MurrayLate Medieval Metalworking in Fifteenth- and Sixteenth-century Gaelic Ireland and Scotland - Raghnall Ó FloinnA Leg (or Two) to Stand on: Rethinking the Drinking Horn - Carol Neuman de VegvarPart 3: Imitation and Authenticity: Claiming the PastScribe and Limner in the Late-medieval Gaelic Manuscript Tradition - Pádraig Ó MacháinA Basis for Celtic Revival Art in Scotland - Murdo MacdonaldReproduction of the Hunterston Brooch in Scotland and Ireland, c. 1850–1900 - Tara KellyDruids and Mistletoe: A Case Study of Authenticity and Identity in the Celtic Revival - Heather PulliamPostscriptChanging Perceptions and the Future of Insular and Gaelic and Celtic Material Culture - Rachel Moss and Heather PulliamGlossary of termsBiblipgraphyIndex

The features of Insular art produced in Ireland and Scotland are broadly recognisable: monumental ring crosses, energetic animal ornament, interlace, distinctive end elegant lettering. Their moments of glory were around the 9th and late 19th centuries with an efflorescence in the late middle ages too.What happened in between those high moments and caused the revivals? This richly developed book provides a nuanced explanation of the political, religious and social factors which sustained Insular art not only as a distinct style but also through a range of revered objects. It demonstrates how these artefacts perpetuated belief, opinion, ancient knowledge, social status and national identity.

• AcknowledgementsList of ContributorsList of IllustrationsAbbreviationsIntroduction: Introduction: Relics, Revivals and Replicas in the Gaelic World - Rachel Moss and Heather PulliamArts, Belief and Politics in Scotland and Ireland c. 500 – c. 1900 - Rachel Moss and Heather PulliamPart 1 New Landscapes: Monuments, Place and PermanenceRemaking the Gaelic Christian Landscape: Devotion, Iconoclasm and Tourism in Post-Reformation Ireland and Scotland - Rachel MossInsular Motifs and Traditions in Late Medieval Monumental Sculpture in the West Highlands and Islands - David CaldwellThe Tuam Crosses: A Legacy of Fragmentation and Dislocation - Ana DolanPart 2 Heirlooms and Heritage: Broken, Mended and GiftedOn Insular Bells and Shrines - Cormac BourkeRemaking and Remembering the Monymusk Reliquary - Alice BlackwellIrish Medieval Book-shrines: Repairs, Recycling and Restorations - Paul MullarkeyEarly Irish and Scottish Crosiers in the Later and Post-medieval Periods: Relics and Reliquaries - Griffin MurrayLate Medieval Metalworking in Fifteenth- and Sixteenth-century Gaelic Ireland and Scotland - Raghnall Ó FloinnA Leg (or Two) to Stand on: Rethinking the Drinking Horn - Carol Neuman de VegvarPart 3: Imitation and Authenticity: Claiming the PastScribe and Limner in the Late-medieval Gaelic Manuscript Tradition - Pádraig Ó MacháinA Basis for Celtic Revival Art in Scotland - Murdo MacdonaldReproduction of the Hunterston Brooch in Scotland and Ireland, c. 1850–1900 - Tara KellyDruids and Mistletoe: A Case Study of Authenticity and Identity in the Celtic Revival - Heather PulliamPostscriptChanging Perceptions and the Future of Insular and Gaelic and Celtic Material Culture - Rachel Moss and Heather PulliamGlossary of termsBiblipgraphyIndex

The features of Insular art produced in Ireland and Scotland are broadly recognisable: monumental ring crosses, energetic animal ornament, interlace, distinctive end elegant lettering. Their moments of glory were around the 9th and late 19th centuries with an efflorescence in the late middle ages too.What happened in between those high moments and caused the revivals? This richly developed book provides a nuanced explanation of the political, religious and social factors which sustained Insular art not only as a distinct style but also through a range of revered objects. It demonstrates how these artefacts perpetuated belief, opinion, ancient knowledge, social status and national identity.