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The
Celtic
knot
has
woven
its
way
through
artists’
imaginations
for
more
than
a
thousand
years.
Pictish
stonemasons
working
at
Rosemarkie
in
the
700s
and
800s
decorated
their
church
and
monuments
with
carved
patterns
using
flowing
interlace,
jagged
key
patterns
and
stylized
birds.
They
were
part
of
a
movement
of
scribes
and
metalworkers
across
Britain
and
Ireland
who
used
this
insular
style
of
art.
Artists
across
the
centuries
and
the
world
have
been
inspired
by
the
art
of
the
Picts.
Since
the
1700s
people
have
used
the
term
“Celtic”
for
this
work.
Celtic
artists
fused
the
historical
style
with
artistic
trends
from
their
own
times
to
create
exciting
new
art.
Celtic
art
has
also
been
used
by
artists
and
craftspeople
to
explore
ideas
about
identity,
creativity
and
the
past.
What
does
the
Celtic
knot
represent
for
you
today?
Click
on
the
picture
above
to
start
your
tour,
or
click
on
the
overview
of
the
exhibition
to
your
left
to
navigate
your
own
way
around
Tracing
the
Celtic
Knot
Leave
exhibition
Tracing
the
Celtic
Knot
Follow
our
virtual
tour
of
our
2023
exhibition:
Click
on
“Take
the
tour”
to
follow
our
sequence
of
exhibits
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move
your
mouse
over
the
picture
to
see
what’s
in
the
exhibition,
and
click
on
any
part
that
you
want
to
see
in
more
detail
Or
use
the
layout
map
to
click
to
see
more
detail
To
introduction
Take
the
tour
Colouring
table
-
colour
your
own
brooch
Video
Wall
display
-
George
Bain
Display
case
-
George
Bain
Interlace
table
Victorian
Bling
and
Iona
Celtic
art
Alcove
-
Iona
Celtic
art
Stamp
a
Pictish
design
Use
the
mouse
to
browse
through
the
panorama
of
the
exhibition
above,
or
use
the
map
to
the
left
-
click
on
the
black
bars
to
select
items
for
closer
view
Take
the
tour
and
be
guided
round
the
exhibition
step
by
step
-
just
follow
the
arrows
Leave
exhibition
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Victorian
Bling
and
Iona
Celtic
art
Back
to
intro
Move
mouse
over
the
picture
above
for
detail
of
each
item;
click
on
the
display
case
to
see
the
contents
in
more
detail.
Victorian
Bling
Wealthy
Victorians
loved
to
wear
statement
jewellery
inspired
by
insular
art.
This
trend
was
part
of
the
Celtic
Revival
Movement.
Craftspeople
in
Scotland
and
Ireland
used
the
Celtic
style
as
a
way
of
claiming
their
national
identity.
Elsewhere,
people
wore
this
jewellery
to
express
a
Romantic
view
of
Highland
history.
Jewellers
and
goldsmiths
were
excited
by
the
discovery
of
finds
like
the
Hunterston
and
Tara
brooches.
They
made
scaled-down
replica
brooches
and
created
new
designs
in
similar
style.
Artists,
writers
and
other
craftspeple
also
used
the
Celtic
past
to
make
new
creative
work
Iona
Celtic
art
In
1899
Euphemia
and
Alexander
Ritchie
set
up
a
craft
shop
on
Iona.
They
blended
the
historic
art
of
Iona
with
the
latest
ideas
of
the
Arts
and
Crafts
Movement.
Members
of
the
Movement
reacted
against
mass
production
and
valued
handmade
objects.
They
thought
that
beautifully
decorated
objects
made
people’s
lives
better.
Euphemia
and
Alexander
were
inspired
by
free
standing
crosses
and
gravestones
made
on
Iona
between
the
700s
and
the
1500s.
They
used
local
styles
to
make
work
that
was
both
original
and
rooted
in
the
history
of
Iona.
Pilgrims
and
tourists
visited
the
RItchies’
craft
shop.
They
bought
souvenir
jewellery
and
furniture
in
the
Iona
Celtic
Art
style.
The
flowing
designs
suited
fashionable
Arts
and
Crafts
or
Art
Nouveau
homes.
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Victorian
Bling
-
display
case
To
Victorian
Bling
intro
Queen’s
brooch
(West
&
Son)
Cavan
brooch
(West
&
Son)
Replica
Tara
brooch
(Waterhouse
&
Co)
Replica
Hunterston
Brooch
(Williiam
Acheson)
Clarendon
brooch
(Waterhouse
&
Company)
Move
mouse
over
the
display
above
for
information
on
each
item.
Click
on
an
item
to
see
it
in
more
detail.
Pseudo-annular
brooch
set
with
agates
Hunterston-inspired
brooch
set
with
faux
Skye
marble
Citrine
plaid
brooch
(L
G
&
Co)
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Back
to
case
1.
Replica
Hunterston
Brooch
Silversmiths
cast
the
sumptuous
Hunterston
brooch
in
the
early
eighth
century.
After
labourers
found
the
brooch
in
North
Ayrshire,
in
the
1830s,
William
Acheson
made
this
half-size
version
in
Dublin
in
1850.
Acheson
had
to
choose
how
to
change
the
decoration
enough
to
fit
while
staying
true
to
the
original.
He
made
the
filigree
animals
less
complex
but
kept
the
runes
from
the
900s
on
the
back.
William
Acheson,
1850
ROMGH.2012.11.1
Back
to
case
2.
Replica
Tara
brooch
In
1850,
local
people
found
the
eighth-century
“Tara”
brooch
on
a
beach
near
Bettystown,
County
Meath.
The
silversmith
Samuel
S.
Waterhouse
made
up
the
link
between
the
brooch
and
the
ancient
royal
site
of
the
Hill
of
Tara
to
make
his
replicas
more
valuable.
Queen
Victoria
and
Prince
Albert
enjoyed
the
romantic
ties
with
Ireland’s
heroic
past
and
bought
two
replicas.
Waterhouse
&
Co,
after
1851
ROMGH.2010.14
Back
to
case
3.
Queen’s
brooch
West
&
Son
of
Dublin
made
a
range
of
brooches
loosely
based
on
the
late
700s
brooch
found
in
Lough
Ramor,
County
Cavan.
Buyers
could
choose
designs
to
suit
their
taste
and
price.
West
&
Son
presented
an
example
of
the
high-end
gold,
pearl-studded
version
to
Queen
Victoria
in
1853,
after
which
the
design
was
called
the
“Queen’s
brooch.”
The
Museum
of
Manufactures
bought
two
different
“Cavan”
brooches
from
West
&
Son
at
the
Great
Exhibition
in
London
in
1851
as
examples
of
good
design.
West
&
Son,
design
registered
1849
ROMGH.2010.12
Back
to
case
4.
Cavan
brooch
West
&
Son
of
Dublin
made
a
range
of
brooches
loosely
based
on
the
late
700s
brooch
found
in
Lough
Ramor,
County
Cavan.
Buyers
could
choose
designs
to
suit
their
taste
and
price.
West
&
Son
presented
an
example
of
the
high-end
gold,
pearl-studded
version
to
Queen
Victoria
in
1853,
after
which
the
design
was
called
the
“Queen’s
brooch.”
The
Museum
of
Manufactures
bought
two
different
“Cavan”
brooches
from
West
&
Son
at
the
Great
Exhibition
in
London
in
1851
as
examples
of
good
design.
West
&
Son,
1900-1910
ROMGH.2010.13
Back
to
case
View
reverse
View
front
5.
Clarendon
brooch
Waterhouse
&
Company
combined
two
brooches
from
the
900s
to
make
this
design
which
they
named
after
the
Countess
of
Clarendon.
They
copied
the
front
of
the
brooch
from
a
brooch
found
in
Virginia,
County
Cavan.
The
Ogham
writing
on
the
back
was
copied
from
a
brooch
from
Ballyspellan,
County
Kilkenny.
Waterhouse
&
Company,
design
registered
1849
ROMGH.2009.16
Back
to
case
6.
Pseudo-annular
brooch
set
with
agates
The
designers
of
this
brooch
joined
together
two
Victorian
trends.
They
took
the
pseudo-annular
shapes
and
knotwork
motifs
from
early
medieval
brooches.
Then
they
added
colourful
agates
and
crystals
from
fashionable
Scottish
“pebble”
jewellery.
After
Queen
Victoria
popularised
a
romantic
idea
of
Scotland,
tourists
bought
jewellery
made
with
semi
precious
stones
from
around
Scotland
as
souvenirs.
These
types
of
brooches
remained
popular
throughout
the
1900s.
Maker
unknown,
1873
ROMGH.2010.11
Back
to
case
7.
Hunterston-inspired
brooch
set
with
faux
Skye
marble
The
designers
of
this
brooch
joined
together
two
Victorian
trends.
They
took
the
pseudo-annular
shapes
and
knotwork
motifs
from
early
medieval
brooches.
Then
they
added
colourful
agates
and
crystals
from
fashionable
Scottish
“pebble”
jewellery.
After
Queen
Victoria
popularised
a
romantic
idea
of
Scotland,
tourists
bought
jewellery
made
with
semi
precious
stones
from
around
Scotland
as
souvenirs.
These
types
of
brooches
remained
popular
throughout
the
1900s.
Maker
unknown,
date
unknown
ROMGH.2012.12.2
Back
to
case
8.
Citrine
plaid
brooch
The
designers
of
this
brooch
joined
together
two
Victorian
trends.
They
took
the
pseudo-annular
shapes
and
knotwork
motifs
from
early
medieval
brooches.
Then
they
added
colourful
agates
and
crystals
from
fashionable
Scottish
“pebble”
jewellery.
After
Queen
Victoria
popularised
a
romantic
idea
of
Scotland,
tourists
bought
jewellery
made
with
semi
precious
stones
from
around
Scotland
as
souvenirs.
These
types
of
brooches
remained
popular
throughout
the
1900s.
L
G
&
Co,
1909-1910
ROMGH.2010.24.2
Colouring
table
An
area
of
the
exhibition
where
young
and
old
can
try
their
hand
at
colouring
in
a
Celtic
design
-
and
can
even
pin
them
up
for
others
to
see
and
admire.
Follow
the
tour
-
click
on
the
arrow…..
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Back
to
overview
Move
mouse
over
the
picture
above
for
detail
of
each
item;
click
on
the
display
case
to
see
the
contents
in
more
detail.
Iona
Celtic
art
In
1899
Euphemia
and
Alexander
Ritchie
set
up
a
craft
shop
on
Iona.
They
blended
the
historic
art
of
Iona
with
the
latest
ideas
of
the
Arts
and
Crafts
Movement.
Members
of
the
Movement
reacted
against
mass
production
and
valued
handmade
objects.
They
thought
that
beautifully
decorated
objects
made
people’s
lives
better.
Euphemia
and
Alexander
were
inspired
by
free
standing
crosses
and
gravestones
made
on
Iona
between
the
700s
and
the
1500s.
They
used
local
styles
to
make
work
that
was
both
original
and
rooted
in
the
history
of
Iona.
Pilgrims
and
tourists
visited
the
RItchies’
craft
shop.
They
bought
souvenir
jewellery
and
furniture
in
the
Iona
Celtic
Art
style.
The
flowing
designs
suited
fashionable
Arts
and
Crafts
or
Art
Nouveau
homes.
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Back
to
case
9.
Brass
tray
The
Ritchies
often
used
the
boat
designs
that
medieval
sculptors
carved
on
Iona
grave
slabs.
The
sculptors’
patrons
and
ancestors
had
used
this
type
of
boat
to
control
the
west
coast
of
Scotland.
The
Ritchies
anchored
their
work
to
the
place
it
was
made
by
re-using
a
style
distinctive
to
this
part
of
Scotland.
Alexander
Ritchie,
first
half
of
1900s
ROMGH.2009.37
Back
to
case
10.
Brass
blotter
cover
The
Ritchies
often
used
the
boat
designs
that
medieval
sculptors
carved
on
Iona
grave
slabs.
The
sculptors’
patrons
and
ancestors
had
used
this
type
of
boat
to
control
the
west
coast
of
Scotland.
The
Ritchies
anchored
their
work
to
the
place
it
was
made
by
re-using
a
style
distinctive
to
this
part
of
Scotland.
10.
Brass
blotter
cover
Iona
Celtic
Art,
first
half
of
1900s
ROMGH.
2009.39.11
Back
to
case
11.
Viking
ship
brooch
Tourists
and
pilgrims
flocked
to
Iona
every
summer.
The
Ritchies
and
their
apprentices
sold
jewellery
and
small
souvenir
ornaments
based
on
the
history
and
historic
sculpture
of
the
island.
These
small
tokens
spread
the
Celtic
art
of
Iona
far
and
wide
beyond
the
West
Highlands.
Iain
McCormick,
after
1947
ROMGH.2012.7.4
Back
to
case
12.
Pewter
charms
inspired
by
St
Columba’s
pillow
Tourists
and
pilgrims
flocked
to
Iona
every
summer.
The
Ritchies
and
their
apprentices
sold
jewellery
and
small
souvenir
ornaments
based
on
the
history
and
historic
sculpture
of
the
island.
These
small
tokens
spread
the
Celtic
art
of
Iona
far
and
wide
beyond
the
West
Highlands.
Iain
McCormick,
after
1947
ROMGH.2011.20.7.5
and
6
Back
to
case
13
and
14.
Replica
St
John’s
Cross
and
Replica
St
Martin’s
Cross
Tourists
and
pilgrims
flocked
to
Iona
every
summer.
The
Ritchies
and
their
apprentices
sold
jewellery
and
small
souvenir
ornaments
based
on
the
history
and
historic
sculpture
of
the
island.
These
small
tokens
spread
the
Celtic
art
of
Iona
far
and
wide
beyond
the
West
Highlands.
Replica
St
John’s
Cross(left)
Iain
McCormick,
after
1947
ROMGH.2011.20.5.1f
Replica
St
Martin’s
Cross(tight)
Iain
McCormick,
after
1947
ROMGH.2011.20.5.2e
Back
to
case
15.
Candle
sconce
The
Ritchies’
household
objects
reflected
the
ideals
of
the
Arts
and
Crafts
Movement.
The
owners
of
these
beautiful
objects
would
have
used
them
in
their
day-to-day
life.
Like
the
Ritchies,
William
Morris
and
John
Ruskin,
leaders
of
the
Arts
and
Crafts
Movement,
were
often
influenced
by
medieval
art.
Alexander
Ritchie,
around
1920
ROMGH.2012.25
Back
to
case
Show
view
2
Show
view
3
16.
Napkin
ring
The
Ritchies’
household
objects
reflected
the
ideals
of
the
Arts
and
Crafts
Movement.
The
owners
of
these
beautiful
objects
would
have
used
them
in
their
day-to-day
life.
Like
the
Ritchies,
William
Morris
and
John
Ruskin,
leaders
of
the
Arts
and
Crafts
Movement,
were
often
influenced
by
medieval
art.
Alexander
Ritchie,1923
ROMGH.2009.4
Show
view
1
Back
to
case
17.
Letter
opener
The
Ritchies’
household
objects
reflected
the
ideals
of
the
Arts
and
Crafts
Movement.
The
owners
of
these
beautiful
objects
would
have
used
them
in
their
day-to-day
life.
Like
the
Ritchies,
William
Morris
and
John
Ruskin,
leaders
of
the
Arts
and
Crafts
Movement,
were
often
influenced
by
medieval
art.
Alexander
Ritchie,
date
unknown
ROMGH.2009.39.8
Back
to
case
18.
Reproduction
Iona
Nunnery
“Anointing”
Spoon
Labourers
repairing
the
Iona
nunnery
church
in
1923
found
fragments
of
three
medieval
long-handled
silver
gilt
spoons.
Alexander
Ritchie
copied
one
of
the
spoons
and
also
creatively
adapted
parts
of
the
design
to
a
set
of
forks.
Alexander
Ritchie,
1931-1932
ROMGH.2009.15
Back
to
case
19.
Set
of
6
forks
Labourers
repairing
the
Iona
nunnery
church
in
1923
found
fragments
of
three
medieval
long-handled
silver
gilt
spoons.
Alexander
Ritchie
copied
one
of
the
spoons
and
also
creatively
adapted
parts
of
the
design
to
a
set
of
forks.
Alexander
Ritchie,
1936
ROMGH.2011.8.1-6
Back
to
case
20.
Tea
caddy
Euphemia
and
Alexander
Ritchie
met
in
the
1890s
at
the
Glasgow
School
of
Art.
At
this
time,
artists
and
designers
such
as
Margaret
MacDonald
and
Charles
Rennie
Mackintosh
were
developing
what
became
known
as
the
“Glasgow
Style.”
They
fused
influences
such
as
the
Arts
and
Crafts
Movement
and
the
Celtic
Revival
into
a
style
that
influenced
the
international
Art
Nouveau
Movement.
The
Ritchies
and
their
apprentice
Helen
MacPhail
used
the
curving,
sinuous
forms
from
their
local
monuments
to
create
pieces
for
the
Art
Nouveau
home.
Helen
MacPhail,
1900s
ROMGH.2012.23
Something
for
the
young-at-heart
-
use
the
stamps
to
make
Celtic
designs
on
the
blank
book-marks
provided.
Become
an
instant
Celtic
artist!
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
George
Bain
Move
mouse
over
the
case
above
for
detail
of
each
item;
click
on
items
to
see
more
detail.
George
Bain
was
an
artist
and
teacher
who
published
Celtic
Art:
The
Methods
of
Construction
in
1945.
He
wanted
everyone
to
be
able
to
create
Celtic
designs
using
simple
methods.
He
felt
that
people
should
use
Celtic
art
to
be
creative,
sell
craftwork,
and
to
feel
national
pride.
Bain
found
examples
of
insular
art
on
Pictish
stones,
illuminated
manuscripts
and
metalwork.
He
made
detailed
drawings
and
showed
how
they
could
be
drawn
in
a
series
of
simple
steps.
His
pupils
at
Kirkcaldy
High
School
tested
out
his
teaching
methods.
Bain
thought
that
just
copying
designs
from
the
past
was
pointless.
He
strongly
believed
that
craftspeople
should
be
innovative
with
Celtic
art.
He
imagined
ordinary
people
making
everyday
objects
decorated
with
modern
Celtic
art.
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Back
to
overview
George
Bain
display
case
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Back
to
overview
21.
Plates
1
and
2
of
the
“Elementary
Knotwork
Borders”
section
of
Celtic
Art:
The
Methods
of
Construction.
Bain
worked
out
a
simple
process
for
designing
Celtic
knotwork.
He
started
with
a
double
row
of
dots
that
he
joined
together
into
a
zig-zag
line.
Then
he
added
curves
above
and
below
the
dots
and
erased
some
of
the
joins
to
create
pretzel-shaped
knots
made
of
a
single
line.
He
drew
lines
on
either
side
of
this
line
to
form
a
thicker
band.
In
the
final
stage
he
added
lines
back
in
to
create
the
illusion
of
a
band
weaving
over
and
under
itself.
George
Bain,
1940s
ROMGH.2006.205
22.
Paste
up
of
plate
3
of
Celtic
Art:
The
Methods
of
Construction.
Key
patterns
Bain
gathered
together
examples
of
different
motifs
used
in
insular
art.
In
this
plate
for
his
book
on
key
pattern,
he
took
examples
from
across
the
insular
world:
Rosemarkie
in
Pictland,
Lindisfarne
in
Northumbria
and
Ireland.
Bain
also
chose
examples
from
sculpture,
manuscript
illumination,
and
metalwork.
George
Bain,
before
1945
ROMGH.2006.225
Back
to
overview
23.
Greetings
card
Bain
based
this
greeting
card
design
on
a
panel
of
interlaced
birds
that
he
found
in
the
Lindisfarne
Gospels.
He
broke
down
the
process
of
drawing
these
birds
into
simple
steps.
The
overall
shape
of
the
chalice
was
probably
inspired
by
the
shape
of
the
panel
at
the
bottom
of
the
opening
page
of
the
Gospel
of
St
Luke
where
he
found
the
birds.
George
Bain,
date
unknown
ROMGH.1998.139.12
Back
to
overview
24.
Plate
1
of
Celtic
Art:
The
Methods
of
Construction.
Zoomorphics
Bain
based
the
greeting
card
design
on
a
panel
of
interlaced
birds
that
he
found
in
the
Lindisfarne
Gospels.
He
broke
down
the
process
of
drawing
these
birds
into
simple
steps.
The
overall
shape
of
the
chalice
was
probably
inspired
by
the
shape
of
the
panel
at
the
bottom
of
the
opening
page
of
the
Gospel
of
St
Luke
where
he
found
the
birds.
George
Bain,
before
1944
ROMGH.2006.171
Back
to
overview
25.
The
New
Era
in
Home
and
School
Bain
strongly
believed
that
everyone
should
be
able
to
take
part
in
Celtic
art.
He
used
his
pupils
at
Kirkcaldy
High
School
both
to
test
and
demonstrate
his
methods.
Jane
Lundie,
the
needlework
teacher,
was
a
keen
collaborator.
When
Bain
published
or
exhibited
work
by
pupils,
he
often
included
their
ages
to
prove
how
easy
his
methods
were
for
people
of
all
abilities
to
create
Celtic
designs.
Cover
design
by
Rena
Fraser,
1935
ROMGH.2005.5.15.13
Back
to
overview
26.
Decorated
wooden
box
labelled
on
base
as
“by
Pupil
Kirkcaldy
High
School”
Bain
strongly
believed
that
everyone
should
be
able
to
take
part
in
Celtic
art.
He
used
his
pupils
at
Kirkcaldy
High
School
both
to
test
and
demonstrate
his
methods.
Jane
Lundie,
the
needlework
teacher,
was
a
keen
collaborator.
When
Bain
published
or
exhibited
work
by
pupils,
he
often
included
their
ages
to
prove
how
easy
his
methods
were
for
people
of
all
abilities
to
create
Celtic
designs.
Maker
unknown,
first
half
of
1900s
ROMGH.1998.101
Back
to
overview
27.
Embroidered
cloth
similar
to
that
pictured
as
a
“design
by
young
pupil”
in
Bain’s
1934
article
“The
Teaching
of
Celtic
Art”
Bain
strongly
believed
that
everyone
should
be
able
to
take
part
in
Celtic
art.
He
used
his
pupils
at
Kirkcaldy
High
School
both
to
test
and
demonstrate
his
methods.
Jane
Lundie,
the
needlework
teacher,
was
a
keen
collaborator.
When
Bain
published
or
exhibited
work
by
pupils,
he
often
included
their
ages
to
prove
how
easy
his
methods
were
for
people
of
all
abilities
to
create
Celtic
designs.
Embroidered
by
a
member
of
Bain’s
family,
1930-1968.
ROMGH.1998.35
Back
to
overview
28.
Lena
Meiklejohn
Trophy
Competition
design
in
Scottish
Home
and
Country,
the
magazine
of
the
Scottish
Women's
Rural
Institutes
In
1953,
Bain
created
the
design
for
the
Scottish
Women’s
Rural
Institutes
Lena
Meiklejohn
Trophy
embroidery
competition.
Members
of
the
SWRI
could
order
a
transfer
of
the
pattern
and
then
choose
the
colours
and
stitches
that
they
wanted
to
use.
This
work
built
on
Bain’s
growing
fame
as
an
artist
and
educator
and
allowed
him
to
introduce
Celtic
art
to
even
more
people.
George
Bain,
1952
ROMGH.1998.120
Back
to
overview
29.
Design
labelled
“Aberlemno”
from
Celtic
Art:
The
Methods
of
Construction
1951
Bain
was
often
inspired
by
the
spiral
design
on
the
Pictish
cross
slab
from
Aberlemno
churchyard.
These
designs
and
craftwork
show
his
artistic
process.
First,
he
worked
out
how
to
draw
the
designs
and
compared
them
with
other
examples
from
insular
art.
Then
he
used
the
designs
to
decorate
craftwork
and
to
inspire
new
patterns
in
the
Celtic
style.
George
Bain,
before
1951
Private
Collection
Back
to
overview
30.
Celtic
Art:
The
Methods
of
Construction.
Spirals
Bain
was
often
inspired
by
the
spiral
design
on
the
Pictish
cross
slab
from
Aberlemno
churchyard.
These
designs
and
craftwork
show
his
artistic
process.
First,
he
worked
out
how
to
draw
the
designs
and
compared
them
with
other
examples
from
insular
art.
Then
he
used
the
designs
to
decorate
craftwork
and
to
inspire
new
patterns
in
the
Celtic
style.
George
Bain,
1940s
ROMGH.2005.5.7.4
Back
to
overview
32.
Leather
handbag
Bain
was
often
inspired
by
the
spiral
design
on
the
Pictish
cross
slab
from
Aberlemno
churchyard.
These
designs
and
craftwork
show
his
artistic
process.
First,
he
worked
out
how
to
draw
the
designs
and
compared
them
with
other
examples
from
insular
art.
Then
he
used
the
designs
to
decorate
craftwork
and
to
inspire
new
patterns
in
the
Celtic
style.
George
Bain,
1900s
ROMGH.1998.94
Back
to
overview
Back
to
George
Bain
display
Another
one
for
the
young
at
heart….
.
Try
your
hand
at
creating
a
Celtic
knot….
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Video
Meet
a
few
of
today’s
Celtic
artists
and
craftspeople,
and
hear
what
they
have
to
say
about
Celtic
art.
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Landing
area
Celtic
felted
hanging
in
Celtic
style,
created
by
local
volunteers
under
the
guidance
of
a
felting
artist.
Landing
-
Feltwork
Video
Wall
display
-
George
Bain
Victorian
Bling
and
Iona
Celtic
art
Colouring
table
Alcove
display
-
Iona
Celtic
art
Tall
display
case
-
George
Bain
Stamp
a
Pictish
design
Interlace
table
Before
you
go…..
We
have
a
wonderful
range
of
Celtic
artwork
and
work
by
local
craftspeople
in
our
shop.
Next
time
you
are
in
the
museum,
don’t
forget
to
take
a
look
.
Or
if
you
are
looking
for
that
special
and
slightly
different
present,
our
shop
has
lots
to
offer.
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exhibition
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exhibition