Transcriber's Note:
1) Page 91 contains a footnote, however there is no associated
marker. The footnote has been left in place, with a note to
this effect.
2) A letter following ^ is superscripted. Where more than one
letter is superscripted, each is preceded by the ^ symbol.
3) [.A] = dot above A [h.] = dot below h [=a] = macron above a
4) [Symbol: cross pattée] (also known as a "cross pattee",
"cross patty", "cross formée" or "cross formy" or in German
"Tatzenkreuz") is a type of cross that has arms which are narrow
at the center, and broader at the perimeter. The name comes from
the fact that the shape of each arm of the cross was thought to
resemble a paw (French patte).
* * * * *
JEWELLERY
BY
H. CLIFFORD SMITH, M.A.
[Illustration: The Connoisseur's Library]
NEW YORK: G. P. PUTNAM'S SONS
LONDON: METHUEN & CO.
1908
[Illustration: _PLATE I_ SIXTEENTH-CENTURY PENDENT JEWELS OF
ENAMELLED GOLD]
CONTENTS
PAGE
LIST OF ILLUSTRATIONS, ix
PREFACE, xxxiii
INTRODUCTION, xxxvii
EARLY JEWELLERY
CHAPTER I. EGYPTIAN JEWELLERY, 1
PHOENICIAN JEWELLERY, 7
" II. GREEK JEWELLERY, 11
" III. ETRUSCAN JEWELLERY, 20
" IV. ROMAN JEWELLERY, 27
" V. BYZANTINE JEWELLERY, 33
" VI. PREHISTORIC (CELTIC) JEWELLERY, 39
ROMANO-BRITISH JEWELLERY, 44
" VII. THE BARBARIC JEWELLERY OF EUROPE
(THE GREAT MIGRATIONS), 49
" VIII. ANGLO-SAXON JEWELLERY
(FIFTH TO SEVENTH CENTURIES),
MEROVINGIAN JEWELLERY, 56
" IX. LATE ANGLO-SAXON JEWELLERY
(SEVENTH TO NINTH CENTURIES), 65
" X. THE CELTIC BROOCH, 75
THE JEWELLERY OF THE MIDDLE AGES
(TENTH TO FIFTEENTH CENTURIES)
CHAPTER XI. MEDIÆVAL JEWELLERY
(INTRODUCTION), 80
" XII. MEDIÆVAL ENGLAND, 91
" XIII. THE MYSTERY OF PRECIOUS STONES, 99
" XIV. HEAD-ORNAMENTS, 105
NECKLACES, 113
" XV. PENDANTS, ROSARIES, AND POMANDERS, 118
" XVI. BROOCHES--THE RING-BROOCH, 127
" XVII. BROOCHES (_contd._)--PECTORALS, 135
" XVIII. RINGS AND BRACELETS, 147
" XIX. BELTS AND GIRDLES, 159
RENAISSANCE JEWELLERY
CHAPTER XX. ITALY, FIFTEENTH CENTURY, 166
" XXI. SIXTEENTH-CENTURY JEWELLERY (GENERAL), 177
" ITALY, SIXTEENTH CENTURY, 183
" XXII. GERMANY, THE LOW COUNTRIES, HUNGARY, 187
" XXIII. FRANCE--SPAIN, 199
" XXIV. ENGLAND (HENRY VIII--ELIZABETH), 206
" XXV. HEAD-ORNAMENTS, ENSEIGNES,
AIGRETTES, HAIR-PINS, EARRINGS, 222
" XXVI. NECKLACES, NECK-CHAINS, AND COLLARS, 236
" XXVII. NECK-PENDANTS, 242
" XXIX. GIRDLES AND GIRDLE PENDANTS
(MIRRORS, BOOKS, WATCHES,
SCENT-CASES, AND POMANDERS), 270
LATER AND MODERN JEWELLERY
CHAPTER XXX. SEVENTEENTH-CENTURY JEWELLERY (GENERAL), 276
" XXXI. SEVENTEENTH-CENTURY JEWELLERY (_contd._), 290
ENGLAND, SEVENTEENTH CENTURY, 299
" XXXII. EIGHTEENTH-CENTURY JEWELLERY, 307
" XXXIII. NINETEENTH-CENTURY JEWELLERY
--THE MODERN REVIVAL, 325
" XXXIV. PEASANT JEWELLERY, 341
" XXXV. JEWELLERY IN PICTURES, 348
" XXXVI. FRAUDS AND FORGERIES, 355
" XXXVII. MEMENTO MORI, 363
BIBLIOGRAPHY, 371
INDEX, 381
LIST OF ILLUSTRATIONS
B. M. = British Museum.
V. and A. M. = Victoria and Albert Museum.
_A page-number appended to a description indicates
place of reference in the text._
I. SIXTEENTH-CENTURY PENDENT JEWELS OF ENAMELLED GOLD _Frontispiece_
1. Pendant in the form of a Triton. Italian.
(Marquess of Clanricarde.) _p. 249._
2. Pendant in form of a winged dragon. Spanish.
_p. 249._ (Louvre.)
II. PHOENICIAN JEWELLERY _p. 8._
1-8. From Cyprus and Sardinia. (B. M.)
1-4. Four gold earrings. _p. 9._ 1. Chrysalis form.
2-3. A pair: birds perched above a bushel of grain.
4. Long oval ring terminating with a cross.
5-6. Two necklaces with pendent heads in the Egyptian
style, from Tharros in Sardinia. _p. 10._ 5. Beads
of glass and gold. 6. Carnelian bugles.
7-8. Two seal pendants of silver, set with sard scarabs.
9. Ibero-Phoenician stone bust, known as the "Lady of
Elché." _p. 9._ (Louvre.) (_Photo, Giraudon._)
III. EARLY GREEK JEWELLERY _p. 12._
1. Three gold plates or discs from Mycenæ. _p. 11._
(National Museum, Athens.)
2-7. Gold ornaments of the Mycenæan period. _p. 12._ (B. M.)
2. Pendant from Ægina: figure in Egyptian costume
grasping geese.
3. Plaque from Kameiros: winged goddess, with two
lions in the round, and owls at the top.
4. Diadem of spiral ornament, from Enkomi (Salamis),
Cyprus.
5-6. Pair of leech-shaped earrings, from Enkomi.
7. Pendent pomegranate of granulated gold, from Enkomi.
IV. GREEK JEWELLERY (EARRINGS, NECKLACE AND HAIR-PIN). (B. M.) _p. 16._
1-3. Three earrings. _p. 15._ 1. Head of a goat with
garnet eye. 2. Pendent Cupids and Victories (Kyme,
in Æolis). 3. Eros with a jug (Crete).
4. Gold necklace with pendent tassels in form of
pomegranates (Kyme).
5. Pair of gold earrings set with garnets and emeralds,
connected by a plaited chain. (Tyszkiewicz Collection.)
6. Gold pin from Paphos, Cyprus. _p. 17._
V. GREEK JEWELLERY (CROWN, NECKLACES, BRACELET, RINGS). (B. M.) _p. 18._
1. Gold crown from Magna Græcia, second century B.C.
(Tyszkiewicz Collection.) _p. 17._
2. Necklace with enamelled rosettes and filigree.
(Blacas Collection.)
3. Enamelled gold necklace from Melos. _p. 17._
4. Gold bracelet with bulls' heads. (Blacas Collection.)
5. Four rings. 1. Gold, demon with Sphynx and panther
(early Ionic). 2. Silver, surmounted by gold fly
(Cyprus). _p. 10._ 3. Gold, engraved with figures of
Aphrodite and Eros. 4. Gold, with busts of Serapis
and Isis (Græco-Roman).
VI. ETRUSCAN JEWELLERY (PINS, NECKLACES, EARRINGS). (B. M.) _p. 22._
1. Hair pins and balls of granulated gold, from Etruria.
2. Primitive necklace of amber, gold, and electrum, from
Præneste. _p. 24._
3. Necklace hung with pendent vases and heads of Io.
4. Necklace with pendent head of a faun. _p. 24._
5. Chain with pendent head of a negro. _p. 24._
6. Necklace of plasma and gold beads, with basalt amulet
pendant. _p. 25._
7-8. Earrings. _p. 23._ 7. Saddle-shaped, with fine
granulation.
8. Pendent cock in white enamel.
VII. ETRUSCAN JEWELLERY (BROOCHES, DIADEM, BRACELET, RINGS).
(B. M.) _p. 24._
1. Early fibula from Cervetri, surmounted with
figures of lions. _p. 25._
2. Gold diadem of ivy leaves and berries. _p. 23._
3. Fibula from Tuscana, with meander pattern in fine
granulation.
4. Early bracelet from Cervetri, with minute granular
work. _p. 25._
5-8. Four rings. 1. Bezel mounted with intaglio, gold
border with tendril pattern (Chiusi). 2. Cartouche
with figures of shepherd and dog (Chiusi).
3. Intaglio bezel supported by lions. _p. 25._
4. Large oval bezel bordered with dolphins and
waves (Bolsena). _p. 26._
VIII. ROMAN JEWELLERY _p. 30._
1-6. (B. M.)
1. Gold necklace set with garnets, and a pendant
in form of a butterfly.
2. Gold necklace, with a pendent aureus of
Domitian. _p. 30._
3. Gold hair-pin from Tarentum surmounted by a
figure of Aphrodite. _p. 28._
4-6. Three gold rings. _pp. 31-32._ 4. Serpent form.
5. Open-worked, set with a nicolo intaglio--a mask
of a Satyr. 6. Eye-shaped, with open-work shoulders,
set with a nicolo.
7-15. (V. and A. M.)
7-10. Earrings. _pp. 28-29._ 7. Porphyry drop. 8. Two
pearls (_crotalia_) suspended from yoke. 9. Basket
of fruit set with garnet, a carnelian bead, and an
emerald pendant. 10. Large hook set with sapphire,
an emerald below, and three pearl drops.
11. Gold bracelet in form of a serpent. _p. 30._
12-15. Four rings. 12. Gold: tragic mask in high relief.
13. Gold: quintuple, set with two sapphires and
three garnets. 14. Gold: raised open-work bezel set
with a sapphire and a chrysoprase. 15. Gilt bronze:
bust of Serapis in relief. _p. 32._
IX. BYZANTINE JEWELLERY, AND ENAMELLED JEWELLERY IN
THE BYZANTINE STYLE _p. 36._
1-7 and 9-11. (B. M.) 8. (V. and A. M.)
1-2. Pair of gold loop earrings: a cross patée
between two peacocks confronted. About seventh
century. _p. 35._
3. Gold pectoral cross with a text from Galatians
vi. 14. Eleventh century. _p. 36._
4-5. Pair of gold and enamelled loop earrings. Twelfth
century. _p. 35._
6. Nielloed gold wedding ring: Christ and the Virgin
blessing a bride and bridegroom. About tenth century.
7. Engraved gold signet ring. About fifth century.
8. Beresford-Hope cross: cloisonné enamel. About eighth
century. _p. 36._
9. The Castellani brooch: portrait in cloisonné enamel.
North Italian, seventh century. _p. 70._
10. Gold inscribed key ring. Fourth century. _p. 37._
11. Townley brooch. Probably Rhenish work, with Byzantine
cloisonné enamels. Tenth or eleventh century. _p. 70._
X. PREHISTORIC GOLD ORNAMENTS OF THE BRITISH ISLES (B. M.) _p. 40._
1. Ring, found at Bormer, near Falmer, Sussex.
2. Plaited ring, found near Waterford, Ireland.
3. "Ring Money" of gold and silver, found at Rustington,
Sussex.
4. Torque fastened by a ring, found at Boyton, Suffolk.
5. Disc, found at Castle Treasure, near Douglas, Co. Cork.
6. Dress fastener, found at Crif Keran Castle, Co. Armagh.
7. Bracelet, found at Bexley, Kent.
XI. ANGLO-SAXON AND ROMANO-BRITISH BROOCHES, ETC. (B. M.) _p. 60._
1-5. Anglo-Saxon inlaid jewellery.
1. Gold brooch, from Sarre, Kent. _p. 61._
2. Silver brooch, from Faversham, Kent. _p. 60._
3. Gold pendant, from Faversham. _p. 58._
4. Bronze brooch, from Wingham, Kent. _p. 60._
5. Gold brooch, from Abingdon, Berks. _p. 61_, note.
6-7. Romano-British brooches.
6. Bronze brooch set with slices of Roman millefiori
glass, from Pont-y-Saison, near Chepstow, Mon. _p. 46._
7. Enamelled bronze brooch, found in London.
(Hastings Collection.) _p. 46._
XII. ANGLO-SAXON AND FRANKISH JEWELLERY
(FIFTH TO SEVENTH CENTURIES) _p. 62._
1-6. (B. M.)
1. Gold necklace with garnets, from Desborough,
Northants. _p. 74._
2. Gold bracteate, from Ash, near Sandwich,
Kent. _p. 59._
3. Saucer-shaped brooch, bronze gilt, from East
Shefford, Berks. _p. 61._
4. Square-headed brooch, from Chessell Down, Isle
of Wight. _p. 62._
5. Cruciform brooch, bronze gilt, from Sleaford,
Lincs. _p. 61._
6. Inlaid and jewelled gold buckle, from Taplow,
Bucks. _p. 63._
7. "Radiated" brooch of silver, enriched with gold
and inlay of garnets. The back inscribed with the
name UFFILA. Seventh century. From Wittislingen
on the Danube. 6½ inches long. _p. 62._
(Bavarian National Museum, Munich.)
XIII. LATE ANGLO-SAXON JEWELLERY
(SEVENTH TO NINTH CENTURIES) _p. 68._
1-2. The Alfred Jewel. _pp. 68-69._
(Ashmolean Museum, Oxford.)
3. St. Cuthbert's cross. _p. 68._ (Durham Cathedral.)
4. Dowgate Hill brooch: cloisonné enamel and pearls.
_p. 69._ (B. M.)
5. Ethelwulf's ring. _p. 72._ (B. M.)
6. Nielloed gold ring with two bezels, found in the
Nene, near Peterborough. _p. 72._ (B. M.)
7. Ethelswith's ring. _p. 72._ (B. M.)
8. Gold ring, found in Garrick Street, London. (B. M.)
9. Alhstan's ring. _p. 71._ (V. and A. M.)
10. Nielloed gold ring. _p. 73._ (Lord Fitzhardinge.)
11. Silver ring found in the Thames at Chelsea. _p. 73._
(V. and A. M.)
XIV. THE TARA BROOCH. _p. 78._
(Collection of the Royal Irish Academy,
National Museum, Dublin.)
XV. THE JEWELS OF WILLIAM OF WYKEHAM.
NEW COLLEGE, OXFORD. _p. 96._
1. Monogram of the Virgin: gold, enamelled, and set
with rubies, emeralds and pearls.
2. Silver-gilt decorations of the mitre: comprising
two quatrefoils set with turquoises, two rosettes
set with pastes, and hinged bands of brasse-taille
enamel set with pearls and crystals. English, late
fourteenth century. _pp. 96-98._
XVI. ANTIQUE CAMEOS IN MEDIÆVAL SETTINGS. _p. 102._
1. The Jewel of St. Hilary. _p. 103._
(Bibliothèque Nationale, Paris.)
2. The Schaffhausen onyx. _p. 104._
3. The cameo of Charles V of France. _p. 103._
(Bibliothèque Nationale, Paris.) (_Photo, Giraudon._)
XVII. MEDIÆVAL HEAD-ORNAMENTS. _p. 110._
1-4. Pilgrims' signs of lead. _p. 110._ (B. M.)
1. Head of St. Thomas with swords, within a cusped
border.
2. Ampulla for blood of St. Thomas.
3. St. George within a border.
4. Head of St. John the Baptist.
5-8. Retainers' badges of lead. _p. 110._ (B. M.)
5. Hart lodged (Richard II).
6. Crowned ostrich feather (Duke of Norfolk).
7. Rose and fetterlock (Edward IV).
8. Collared hound (Talbot, Earl of Shrewsbury).
9. Silver-gilt crown or circlet, set with pearls
and coloured pastes. French, fourteenth
century. _p. 106._
(Musée du Cinquantenaire, Brussels.)
10-12. Three fifteenth-century gold enseignes.
10. Antique onyx cameo, outer frame set with rubies.
Spanish. _p. 111._ (V. and A. M.)
11. "Pelican in her Piety," set with a ruby and diamond.
Flemish (found in the Meuse). _p. 111._ (B. M.)
12. Figure of a dromedary in white enamel in frame set
with pearls. Flemish. _p. 146._
(Museo Nazionale, Florence.) (_Photo, Alinari._)
XVIII. MEDIÆVAL PENDANTS (RELIQUARIES, ETC.) _p. 120._
1. Silver reliquary set with crystal. German,
fifteenth century. _p. 121._
(Bavarian National Museum, Munich.)
2. Silver-gilt reliquary, from the treasury of Enger,
near Herford, in Westphalia. Fifteenth century.
(Kunstgewerbe Museum, Berlin.)
3. Silver-gilt pomander opening into four sections.
German, about 1480. _p. 126._
(Bavarian National Museum, Munich.)
4. Gold Reliquary of Charlemagne, containing a fragment
of the True Cross. German, ninth (?) century _p. 118._
5. "Reliquary of St. Louis," gold, enriched with translucent
enamels, containing a thorn from the Crown of Thorns.
French, fourteenth century. _p. 119._ (B. M.)
6. Gold bracelet. German, twelfth century. _p. 157._
(Bavarian National Museum, Munich.)
XIX. MEDIÆVAL PENDANTS _p. 124._
1. Silver-gilt pendant containing figures of saints
and angels, surmounted by the Virgin and Child.
German, fifteenth century. _p. 120._
(Bavarian National Museum, Munich).
2-3, 5-8, and 10. German fifteenth and sixteenth
centuries. (V. and A. M.)
2. Coronation of the Virgin, silver gilt.
3. _Agnus Dei_, silver gilt. Inscribed: IECUC (JESUS)
MARIA JOHANNES ANNUS (AGNUS). On the back:
JESUS MAIRA (MARIA) JOHANNES MARIA HILF. _p. 122._
4. Nielloed pendant, silver gilt: with the Annunciation
on one side, and the sacred monogram on the other.
Italian, fifteenth century. _p. 173._ (V. and A. M.)
5. St. Sebastian, silver gilt.
6. The Crucifixion, silver gilt.
7. Figures of four saints, silver gilt.
8. Gold cross, set with rubies and pearls. Fifteenth
century.
9. The Devil of Temptation, silver gilt. Flemish or German,
fifteenth century. _p. 120._ (Mrs. Percy Macquoid.)
10. Rosary of boxwood, with emblems of the Passion in
silver. _p. 124._
XX. MEDIÆVAL BROOCHES (RING-BROOCHES, ETC.) _p. 130._
1-6. GOLD RING-BROOCHES (_fermails_).
1. Set with pearls and precious stones, and with
four bosses of animals. Fourteenth century.
_p. 129._ (B. M.)
2. Enamelled blue and white, and inscribed with a
text from St. Luke iv. 30. French, fourteenth
century. _p. 130._ (Museo Nazionale, Florence.)
(_Photo, Alinari._)
3. Set with rubies and sapphires, the back nielloed.
French, thirteenth century. _p. 130._ (V. and A. M.)
4. Heart-shaped, inscribed. French, fifteenth century.
_p. 139._ (V. and A. M.)
5. Circular: inscribed, and set with two rubies and
four small emeralds. English (from Enniscorthy Abbey),
fourteenth century. (B. M.)
6. Set with rubies and emeralds. French, thirteenth
century. _p. 130._ (Museo Nazionale, Florence.)
(_Photo, Alinari._)
7. Silver-gilt brooch in form of St. Christopher.
English (from Kingston-on-Thames),
fifteenth century. _p. 142._ (B. M.)
8-12. FLEMISH-BURGUNDIAN GOLD BROOCHES (_nouches_).
Fifteenth century.
8. Two standing figures, enamelled, and set with a
ruby, diamond, and pearls. _p. 146._
(Imperial Art Collections, Vienna.)
9. Seated female figure with golden rays behind:
enamelled and set with pearls. _p. 144._
(Essen Treasury.)
10-12. Brooches found in the Meuse. _p. 143._ (B. M.)
10. Enamelled and set with a ruby and diamond.
11. A female figure, set with a sapphire, diamond,
and three rubies.
12. Set with a ruby amidst foliage, with traces of enamel.
XXI. MEDIÆVAL SCOTTISH BROOCHES. THE GLENLYON AND LOCH BUY BROOCHES.
(B. M.) _p. 132._
1. The Glenlyon brooch. Silver gilt, set with amethysts,
pearls, and rock crystal: the back inscribed.
Fifteenth century. _p. 132._
2. The Loch Buy brooch. Silver, set with rock crystal
and pearls. About 1500. _p. 133._
XXII. MEDIÆVAL BROOCHES (PECTORALS AND MORSE) _p. 136._
1. The "Eagle Fibula"; gold and cloisonné enamel.
Early twelfth century. _p. 135._ (Mainz Museum.)
2. Gold brooch in form of an eagle, set with emeralds,
lapis-lazuli, a sapphire, and a ruby. Thirteenth
century. _p. 136._ (Baron von Heyl.) From an etching
in _Kunstgewerbe-Blatt_, III.
(By permission of the artist, Prof. P. Halm, of Munich.)
3. Silver-gilt morse, made in 1484 for Albert von Letelin,
Canon of Minden, by the goldsmith Reinecke van Dressche
of Minden. _p. 139._ (Kunstgewerbe Museum, Berlin.)
XXIII. MEDIÆVAL AND LATER RINGS _p. 148._
1-2. Episcopal rings of William of Wykeham.
Fourteenth century. (New College, Oxford.)
1. Gold set with a ruby. _p. 149._
2. Silver gilt, with representation of the
crucifixion, set with a crystal.
3. Gold, episcopal, set with a sapphire. English,
fourteenth century. (V. and A. M.)
4-5. The Coventry ring (two views). Gold, engraved with
the five wounds of Christ and their names. English,
about 1457. _p. 150._ (B. M.)
6. The Godstow Priory ring: a gold love-ring, with
legends and forget-me-nots. English, fifteenth
century. _p. 150._
7. Gold, episcopal, projecting bezel set with a sapphire.
French, fourteenth century. (V. and A. M.)
8. Gold, episcopal, of complex design, set with a
sapphire. Italian, fifteenth century. (V. and A. M.)
9. Silver, set with a toadstone. German, sixteenth
century. _p. 151._ (V. and A. M.)
10. "Papal" ring. Gilt metal with cardinal's hat and
crossed keys. On shoulders Virgin and Child and Saint.
Inscription on hoop: EPISC. LUGDUN--Cardinal de
Bourbon (?), Archbishop of Lyons, 1466-1488. Italian,
fifteenth century. _p. 148._ (V. and A. M.)
11. Antique gem in red jasper, set in gold Italian mount
of the fourteenth century, inscribed:
S. FR. DE COLUMPNA. _p. 154._ (V. and A. M.)
12. Gold, set with a wolf's tooth, and inscribed with
the charm motto:
+BURO+BERTO+BERNETO+CONSUMMATUM EST.
English, fourteenth century. _p. 152._ (V. and A. M.)
13. Gold ornamental ring, chased, enamelled, and set
with emeralds. Italian, sixteenth century. (B. M.)
14. Gold signet ring with the arms of Mortimer. English,
seventeenth century. (V. and A. M.)
15. Silver-gilt wedding ring, set with two teeth. North
German, seventeenth century. _p. 262._ (V. and A. M.)
16. Fede ring, nielloed silver. Italian, fifteenth
century. _p. 173_ (V. and A. M.)
17. Ornamental ring of silver gilt, set with a foiled
crystal. German, sixteenth century. _p. 356._
(V. and A. M.)
18. The Percy signet. Gold. Inscribed: "NOW YS THUS."
From Towton Field, W. R., Yorks. English, fifteenth
century. _p. 153._ (B. M.)
19. Ornamental ring of silver gilt, with stag and foliage
in open-work. German, late fifteenth century.
(V. and A. M.)
20. Gimmel rings, enamelled gold. German, sixteenth
century. _p. 261._ (B. M.)
XXIV. PICTURE, KNOWN AS THE "LEGEND OF ST. ELOY AND ST. GODEBERTA,"
REPRESENTING THE INTERIOR OF A GOLDSMITH'S SHOP IN THE FIFTEENTH
CENTURY. By PETRUS CHRISTUS, OF BRUGES. _p. 155._
(Baron A. Oppenheim, of Cologne) _p. 156._
XXV. FIFTEENTH-CENTURY PENDANTS, ETC. (ITALIAN AND FLEMISH) _p. 170._
1. The "Felicini" jewel, by Francia. Reproduced from
a picture in the Bologna Gallery. _p. 170._
2. Enamelled gold pendant, figured with the Annunciation.
Italian, fifteenth century. _p. 173._
(Mr. J. Pierpont Morgan.)
3. Pendent jewel of Charles the Bold, Duke of Burgundy,
set with three rubies ("the Brethren"), a diamond,
and four pearls. _p. 209._
4. Two silver-gilt girdle-plates, with figures of Samson
and St. Michael. Flemish, fifteenth century. _p. 163._
(Herr James Simon, of Berlin.)
XXVI. DESIGNS FOR JEWELLERY BY DÜRER AND HOLBEIN. (B. M.) _p. 190._
1. Drawings for two ring-shaped pendent whistles
by Dürer. _p. 190._
2-3. Etchings for (2) a buckle and buckle-plate and
(3) a girdle-end, by Hollar, from lost originals
by Dürer. _p. 191._
4-9. Drawings by Holbein. _p. 212._
4. Jewelled pendant: a monogram of the letters R and E.
5. A pendant of open goldwork with ribbon ornament;
a diamond in the centre, surrounded by six pearls,
and a pearl below.
6. Pendant formed in a monogram of the letters H and I.
7-8. Two pendants each formed of two stones, one above
the other, set in goldwork, with three pearls below.
9. Pendant: a bust of a woman holding before her a large
stone, on which are the words _Well Laydi Well_.
XXVII. DESIGNS FOR JEWELLERY by SOLIS, WOEIRIOT,
HORNIC, AND BROSAMER _p. 194._
1-2. Engravings for pendants by Virgil Solis.
_p. 194._ (B. M.)
3. Engraving for a pendant by Pierre Woeiriot,
dated 1555. _p. 201_ (B. M.)
4-6. Engravings for pendants by Erasmus Hornick:
Neptune and Amphitrite, and St. George and the
Dragon. _p. 194._ (B. M.)
7. Drawing for pendent whistle by Han Brosamer,
fitted with toothpick, etc.
_pp. 193, 250._ (Mr. Max Rosenheim.)
XXVIII. RENAISSANCE JEWELLERY OF ENAMELLED GOLD.
(His Majesty the King) _p. 218._
1. Painted enamel back of a "lesser George" of
the Garter, belonging to Charles II. English,
seventeenth century. _p. 292._
2. Enamelled gold enseigne, with figures of St. George
and the Dragon. Venetian, sixteenth century. _p. 224._
3. Enamelled gold pendant, with figures of Apollo and
Daphne: inscribed: DAPHNEM PHEBVS AMAT, etc.
Italian, sixteenth century.
4. The Lennox or Darnley Jewel. Scottish, sixteenth
century. _pp. 217 and 257._
5. Miniature case of enamelled gold, open-worked and
set with diamonds and rubies. English, late sixteenth
or early seventeenth century. It contains a lock of
hair of Charles I taken from his coffin. _p. 257._
From the _Connoisseur_ (1903). By permission of
Mr. J. T. Herbert Baily.
XXIX. RENAISSANCE ENSEIGNES OF ENAMELLED GOLD _p. 226._
1. Head of John the Baptist on a charger. Italian,
sixteenth century. _p. 226._ (V. and A. M.)
2. Bust of Helen. Italian, sixteenth century.
(Poldi-Pezzoli Museum, Milan.)
3. Battle scene. Italian, sixteenth century. _p. 225._
(Bibliothèque Nationale, Paris.)
4. Head of a negro in agate. German, sixteenth
century. _p. 228._ (Bibliothèque Nationale, Paris.)
5. Leda and the Swan. By Cellini. _p. 228._
(Antiken Kabinet, Vienna.)
6. Cameo bust of Nero on sardonyx, in enamelled mount
set with diamonds and rubies. French, sixteenth
century. (Bibliothèque Nationale, Paris.)
(Photo, Giraudon.)
7. Cameo of Diana on sardonyx in enamelled setting.
French, sixteenth century. (B. M.)
8. Onyx cameo, winged female head in enamelled setting.
French, sixteenth century. (B. M.)
XXX. HAT-ORNAMENTS (AIGRETTES, ETC.). LATE SIXTEENTH AND EARLY
SEVENTEENTH CENTURIES _p. 230._
1. Two coloured drawings for jewelled aigrettes.
By Arnold Lulls, jeweller to James I.
_pp. 231 and 302-3._ (V. and A. M.)
2. Gold enseigne of Sir Francis Drake: enamelled and
set with diamonds, rubies, and opals. _p. 230._
See also Plate XXXIV, 3. (Sir F. Fuller-Eliott-Drake.)
3. Socket for an aigrette, enamelled gold set with rubies:
initials D. M.--Dorothea Maria, wife of Otto Henry,
Count Palatine of Neuburg. _pp. 230-1._
(Bavarian National Museum, Munich.)
4. Enamelled gold aigrette set with emeralds, pearls, etc.
S. German, early seventeenth century. (Formerly
the property of Sir T. D. Gibson Carmichael.)
XXXI. GERMAN AND FRENCH RENAISSANCE PENDENTS _p. 244._
1. Necklace and pendant of enamelled gold set
with diamonds, rubies, and pearls.
German, late sixteenth century. (Lady Rothschild.)
2. Pendant of enamelled gold. In the centre a table-cut
emerald with a triangular emerald above. French,
sixteenth century. (Bibliothèque Nationale, Paris.)
3. Gold pendant: on the front two raised shields of arms;
on the back the initials D. A. German, about 1530.
_p. 248._ (V. and A. M.)
4. Cameo bust of a woman, the head carnelian, with amethyst
drapery, jewelled gold crown; gold background and black
enamelled frame. German, sixteenth century.
(His Majesty the King.)
5. Pendant in the shape of a Sphynx. The body formed of
a large baroque pearl. Head, breast, and arms are
flesh-coloured enamel; the claw opaque white with gold
scales; the tail green, set with diamonds. On the breast
is a ruby. The base mounted with a row of diamonds on
white enamel, the creatures at each end being green.
The chains, of white enamel set with diamonds, hang from
a ruby, from which is suspended a heart-shaped pearl.
German, late sixteenth century. (Lady Rothschild.)
6. Portrait cameo in agate. Gold mount enamelled black
and white and set with four rubies and two diamonds,
with a pendent pearl. The portrait (unidentified)
is represented on a contemporary medal by a north
Italian artist. The mount, French, sixteenth century.
(Bibliothèque Nationale Paris.)
7. Gold pomander case: enriched with brilliant blue, red,
and translucent green enamel, and opaque white.
Set with rubies and pendent pearls, German, late
sixteenth century. (Lady Rothschild.)
XXXII. THREE PENDENT JEWELS _p. 246._
Gold, enriched with polychrome enamels, set with
precious stones and hung with pearls. German,
about 1600. (Lady Rothschild.)
XXXIII. PENDENT JEWELS BY HANS COLLAERT, ETC. _p. 248._
1. Enamelled gold pendant: in centre a figure of
Charity with three children, on each side a
pilaster set with diamonds and rubies
alternately, with a cupid above, and beyond
each pilaster a figure of Faith on one side
and Fortitude on the other. German, sixteenth
century. (B. M., Waddesdon Bequest.)
2. Design for a pendant by Hans Collaert (1581).
_p. 196._ (Mr. Max Rosenheim.)
3. Pendant in the style of Collaert: enamelled gold,
in the form of a ship, with figures of Antony
and Cleopatra. _pp. 197, 247._ (Mr. Charles
Wertheimer.)
XXXIV. RENAISSANCE PENDANTS, ETC., OF GOLD, ENAMELLED
AND JEWELLED. SPANISH (1-2) AND ENGLISH (3-6). _p. 254._
1-2. SPANISH PENDANTS, LATE SIXTEENTH CENTURY.
From the Treasury of the Virgen del Pilar,
Saragossa. 1. Jewel in form of a parrot:
translucent green enamel, the breast set
with a hyacinth. _p. 249._ 2. Jewel of
enamelled gold: a dog standing on a scroll,
set with diamonds, rubies, and an emerald.
(V. and A. M.)
3-4. THE DRAKE JEWELS: presented to Sir Francis Drake
by Queen Elizabeth. 3. Enseigne of enamelled
gold set with diamonds, rubies, and opals; the
centre ruby engraved with the Queen's orb and
cross. _p. 230._ 4. Enamelled gold pendant,
containing a miniature of Elizabeth by Hilliard.
_p. 253._ (Sir F. Fuller-Eliott-Drake.)
5-6. THE ARMADA JEWEL. Believed to have been presented
by Queen Elizabeth to Sir Francis Walsingham.
Possibly the work of Nicholas Hilliard. 5. Front:
Gold bust of the Queen. 6. Back: Ark resting
peacefully on troubled waves. Inside: Miniature
of Elizabeth by Hilliard. _p. 255._ (Mr. J. Pierpont
Morgan.)
XXXV. ELIZABETHAN JEWELLERY _p. 256._
1. The Phoenix Jewel. _p. 255._ (B. M.)
2. Drake pendant in the form of a ship. _p. 253._
(Lord Fitzhardinge.)
3. Pendent miniature case, with carved medallion in
mother-of-pearl. _p. 256._ (Poldi-Pezzoli Museum,
Milan.)
4. The Barbor Jewel. _p. 254._ (V. and A. M.)
5. The Hunsdon Armlet. _p. 265-6._ (Lord Fitzhardinge.)
6. Onyx cameo in gold mount, presented to Queen Elizabeth
by Archbishop Parker. (Described in _Arch.
Journ._ Vol. XIX.) (Mr. G. E. Lloyd Baker.)
7. Edward VI's Prayer Book. _p. 274._ (Lord Fitzhardinge.)
XXXVI. RENAISSANCE AND LATER RINGS. (V. and A. M.) _p. 262._
1. Gold wedding ring: open-work hands (_fede_),
inscribed within: QVOD DEVS CONIVNVIT HOMO NON
SEPARET. Florentine, sixteenth century. _p. 262._
2. Jewish wedding ring of enamelled gold. Italian,
sixteenth century. _p. 262._
3. Gold wedding ring, set with rose diamond between
enamelled hands. English, dated 1706. _p. 321._
4. Gold, set with a pointed diamond. English,
seventeenth century. _p. 260._
5. Jewish wedding ring of enamelled gold in form of
a temple. German, sixteenth century. _p. 262._
6. Enamelled gold, set with a diamond. Italian,
sixteenth century.
7. Enamelled gold, figure of Cupid with a garnet on
the breast. Seventeenth century.
8. Gold, set with a miniature portrait of James Stuart,
the Old Chevalier.
9. Giardinetti ring: a basket of flowers composed of
diamonds, rubies, and emeralds. English, eighteenth
century. _p. 295._
10. Giardinetti: set with diamonds and rubies in the form
of a vase of flowers. English, late seventeenth
century. _p. 295._
11. Memorial: chased with death's head in white enamel,
and having diamond eyes. English, seventeenth
century. _p. 367._
12. Memorial: with enamelled skull. Inscribed: BEHOLD
THE ENDE. (Said to have belonged to Charles I.)
_p. 366._
13. Memorial: bezel enclosing painted female figure,
bearing inscription: NOT LOST BUT GONE BEFORE.
English, dated 1788. _p. 369._
14. Memorial: bezel enclosing funereal urn in hair
and gold. English, dated 1781. _p. 369._
XXXVII. RENAISSANCE BRACELETS _p. 266._
1. Gold bracelet of circular fluted links with
enamelled clasp. German, late sixteenth
century. _p. 266._ (V. and A. M.)
2. Bracelet of enamelled gold. French, seventeenth
century. _p. 294._ (V. and A. M.)
3-4. Bracelet of Diana of Poitiers, enamelled gold,
set with cameos. _p. 266._ (Bibliothèque
Nationale, Paris.) (Photo, Giraudon.)
5. Gold bracelet of Otto Henry, Count Palatine of
Neuburg (d. 1604), with his wife's initials--
D M P B R G H Z W V T (Dorothea Maria Pfalzgräfin
bei Rhein geborne Herzogin zu Wirtemberg und Tek.)
Compare _p. 230._ (Bavarian National Museum, Munich.)
XXXVIII. RENAISSANCE GIRDLES _p. 272._
1. Italian, fifteenth-century girdle of gold
tissue with gilt metal mounts. _p. 163._
(V. and A. M.)
2. Silver gilt chain girdle. German, late sixteenth
century. (Mrs. Percy Macquoid.)
3. Nuremberg girdle of leather, with silver-gilt
mounts. Seventeenth century. _p. 272._
(V. and A. M.)
XXXIX. ENGRAVED DESIGNS FOR JEWELLERY BY DANIEL MIGNOT.
_p. 280._ (Mr. Max Rosenheim.) _p. 280._
XL. ENGRAVED DESIGNS FOR JEWELLERY BY GILLES LÉGARÉ
AND PAUL BIRCKENHULTZ _p. 282._
1-2. Designs for pendants, seals, and rings; from
Gilles Légaré's _Livre des Ouvrages d'Orfévrerie_.
_p. 282._ (B. M.)
3. Seal in the style of Légaré. The upper part gold
with painted enamel; below, engraved on steel,
the Royal Arms of the Stuarts, with bâton sinister,
of Anne Fitz Roy (b. 1661, d. 1721, married 1674,
Lord Dacre, created Earl of Sussex), daughter of
Barbara Villiers, Duchess of Cleveland, and
Charles II. (Col. Croft Lyons.)
4. Design for a pendant by Paul Birckenhultz.
_pp. 280-1._ (Mr. Max Rosenheim.)
XLI. ENGRAVED PATTERNS FOR JEWELLERY, AND ENAMELLED JEWELS
EXECUTED FROM SIMILAR DESIGNS. LATE SIXTEENTH AND EARLY
SEVENTEENTH CENTURIES _p. 284._
1. Design for enamelled jewellery by Hans Hensel, of
Sagan (1599). _p. 284._ (Mr. Max Rosenheim.)
2. Gold ring set with flat heart-shaped garnet: design
on shoulders reserved in gold on white enamel.
Early seventeenth century. _p. 295._ (B. M.)
3. Design for jewellery in champlevé enamel, by Guillaume
de la Quewellerie, of Amsterdam (1611). _p. 284._
(V. and A. M.)
4. Gold ring: the shoulders enamelled in the champlevé
manner with design in black and white. Late
sixteenth century. (V. and A. M.)
5. Design for an enamelled ring by Hans van Ghemert
(1585). _p. 284._ (V. and A. M.)
6. Design for enamel-work by Jean Toutin (1619).
_p. 285._ (Mr. Max Rosenheim.)
7. The Lyte Jewel, containing a portrait of James I
by Isaac Oliver. Reverse side, with "silhouette"
pattern in gold and ruby champlevé enamel on white
ground. English, about 1610. _pp. 303-4._
(B. M., Waddesdon Bequest.) (Enamel-work of identical
design occurs on the back of a miniature-case,
containing a portrait of Charles I by Peter Oliver,
dated 1626, in the collection of Mr. J. Pierpont Morgan.)
8. Design for enamel-work in the "niello" or "silhouette"
manner, by Stephanus Carteron (1615). _p. 285._
(Mr. Max Rosenheim.)
XLII. SEVENTEENTH-CENTURY ENAMELLED PENDANTS, ETC. _p. 290._
1. Gold pendant, containing an onyx cameo surrounded
by ribbon-work and flowers of coloured enamel,
set with rose diamonds. French. (Mr. Jeffery
Whitehead.)
2-3. Pair of earrings _en suite_ formed of a hand holding
a bow and bunch of flowers.
4. Pendant: an interlaced monogram of turquoise enamel
suspended from a crown-shaped ornament, enamelled
and set with diamonds. French. (Mr. Jeffery
Whitehead.)
5. Gold pendant of variegated enamel (translucent and
opaque) in form of a basket filled with fruit, with
flowers above, and a bird on the top. (H. C. S.)
6. Small aigrette of silver in form of a bunch of flowers
springing from a vase, set with rose diamonds, and
bearing traces of enamel. (H. C. S.)
XLIII. SEVENTEENTH-CENTURY ENAMELLED MINIATURE-CASES,
LOCKETS, ETC. _p. 292._
[A]1. Gold miniature-case by Jean Toutin: the design
reserved in gold on a ground of black enamel.
_p. 293._ (Mr. J. Pierpont Morgan.)
2. Gold miniature-case, translucent green enamel,
with pattern in white, from a design by Pierre
Firens. _p. 293._ (V. and A. M., Dyce Collection.)
[A]3. Gold miniature-case of translucent green enamel
(_émail en résille_) with "pea-pod" design in green
and red; enclosing miniature of Charles II by
Samuel Cooper. _p. 293._ (Mr. J. Pierpont Morgan.)
[A]4. Crystal reliquary mounted in enamelled gold and set
with a plaque of _verre églomisé_. Spanish, about
1600. _p. 203._ (Mr. J. Pierpont Morgan.)
[A]5. Gold locket of purple enamel with floral design in
white, yellow, and green on gold (_émail en résille_).
French. (Mr. J. Pierpont Morgan.)
6. Pendant, set with a cameo of Lucrezia de' Medici in
open-work floral border of painted enamel. French.
_p. 292._ (Bibliothèque Nationale, Paris.)
[A]7. Gold miniature-case of open-work design enamelled in
green, blue, and white; containing a miniature of
James I. English. (Mr. J. Pierpont Morgan.)
8. Gold locket with painted ("Louis-Treize") enamel of
various colours in relief on blue ground. English.
_p. 293._ (Mrs. B. Spring-Rice.)
[A] Reproduced by permission of Dr. Williamson, acting on behalf
of Mr. J. Pierpoint Morgan. Copyright reserved.
XLIV. RINGS, SLIDES, AND PENDANTS (CHIEFLY MEMORIAL). SEVENTEENTH
AND EARLY EIGHTEENTH CENTURIES _p. 294._
1. Memorial ring, black enamel: set with crystal
over a skull and cross-bones; dated 1740.
2. Gold memorial locket with faceted crystal
enclosing hair; inscribed behind: "_Of such
is the Kingdom of God_." English, late
seventeenth century. _p. 368._
3. Memorial ring, black enamel; dated 1777.
4. Memorial ring, white enamel; dated 1739.
5. Memorial ring, white enamel; dated 1793.
6. Memorial ring, black enamel; set with faceted
crystal enclosing minute pattern in gold wire.
English, early eighteenth century.
(1--6--H. C. S.)
7. Back of a gold slide: painted enamel with initials
E. J. beneath a coronet. (Viscount Falkland.)
8. Gold ring: open-work floral pattern in painted
enamel; inscribed with a posy. _p. 295._
(Viscount Falkland.)
9. Silver locket surrounded by pearls, with faceted
crystal enclosing monogram in gold wire. English,
late seventeenth century. _p. 368._ (Mrs. Stewart
King.)
10-14. Memorial slides, with various devices and initials
in gold wire over hair or ribbed silk beneath
faceted crystal. English, late seventeenth and
early eighteenth centuries. _p. 368._ (Mr. Jeffery
Whitehead.)
15. Gold pendant set with an antique Roman cameo in
open-work floral border of painted enamel. English,
seventeenth century. _p. 292._ (His Majesty the King.)
16. "Memento Mori" jewel of enamelled gold; inscribed
round the sides: "_Through the resurrection of
Christe we be all sanctified_." English, about 1600.
_p. 365._ (V. and A. M.)
17. Gold pendant set with a cameo of Lucius Verus, in
border of "pea-pod" ornament. From a design by
Pierre Marchant. French, early seventeenth century.
_p. 292._ (B. M.)
XLV. PAGE FROM THE LEDGER OF SIR FRANCIS CHILD, JEWELLER TO WILLIAM III.
About 1674. Preserved at Child's Bank, No. 1 Fleet Street,
London, E. C. _p. 306._
(By permission of Mr. F. G. Hilton Price.) _p. 304._
XLVI. EIGHTEENTH-CENTURY JEWELLERY, FRENCH AND ENGLISH _p. 316._
1-3. Pendant, and two earrings _en suite_ containing
paintings _en grisaille_ on mother-of-pearl, in
gold frames set with rubies, diamonds, and
strings of pearls. French, Louis XVI.
(Mr. Jeffery Whitehead.)
4. Rosette-shaped brooch pavé with white paste of
fine quality. English, early eighteenth century.
(Col. Croft Lyons.)
5-6. Pair of _girandole_ earrings with paste sapphires.
Formerly the property of Madame du Barry. French,
Louis XV. _p. 217._ (Lady Monckton.)
7. Necklet and pendant of pink paste and marcasite.
English, about 1760. (Col. Croft Lyons.)
XLVII. EIGHTEENTH-CENTURY NECKLACES, ETC.
(Mr. Jeffery Whitehead) _p. 320._
1. Necklet and pendant of paste in silver setting.
English.
2-3. Pair of oval memorial clasps containing _grisaille_
paintings within pearl borders. English.
_p. 369._
4. Necklace of cut steel with Wedgwood cameos in
white on blue. English.
LXVIII. EIGHTEENTH-CENTURY CHATELAINES
(Mr. Jeffery Whitehead) _p. 322._
1. Chatelaine (equipage) of cut steel mounted with
Wedgwood ware in white cameo on blue jasper
ground, hung with a watch and two watch keys.
English, about 1780.
2. Chatelaine (equipage) of gold formed of a hook
with five pendants--a scissor-case, two thimble
or scent cases, and two needle or bodkin cases.
French, Louis XV. _p. 323._
3. Oval memorial clasp of blue enamel with minute
design in carved ivory and pearl work, mounted
in paste frame. English. _p. 369._
XLIX. EMPIRE HEAD-ORNAMENTS _p. 326._
1. Empire tiara of rose diamonds set in silver,
on gold mounts. (Mrs. Kirby.)
2. Empire head-ornament (_bandeau_) of gold, enriched
with blue enamel, and set with twenty-five
carnelian intaglios. Formerly the property of
the Empress Josephine. (Mr. M. G. Lloyd Baker.)
3. Empire comb _en suite_ set with four carnelian
intaglios. (Mr. M. G. Lloyd Baker.)
L. EARLY NINETEENTH-CENTURY JEWELLERY _p. 328._
1-2. Pair of earrings in form of baskets of flowers,
enamelled, and set with turquoises and pearls.
(Mr. Jeffery Whitehead.)
3-4. Pair of bracelet clasps of beaded goldwork set with
various coloured stones, with Crown and Royal
cypher in enamel. Formerly the property of Queen
Charlotte. (Mr. Jeffery Whitehead.)
5. Necklace and pendent cross, with brooch and earrings
_en suite_: of beaded gold and filigree, set with
pink topazes and pearls. English. (Lady Ramsay.)
6. Necklace, with brooch and earring _en suite_, of
coloured gold set with amethysts and pearls.
English. (Lady Ramsay.)
LI. BUCKLES AND NECKLACES. LATE EIGHTEENTH AND EARLY
NINETEENTH CENTURIES _p. 330._
1-2. Pair of steel buckles partly plated with silver.
Signed W. Hipkins. _p. 315._ (H. C. S.)
3. Girdle-clasp of faceted steel. English (Birmingham),
late eighteenth century. _p. 315._ (V. and A. M.)
4. Gold shoe-buckle. English, eighteenth century.
_p. 322._ (V. and A. M.)
5. Silver girdle-buckle. English, eighteenth century.
(H. C. S.)
6. Silver shoe-buckle. English, eighteenth century.
(H. C. S.)
7. Necklace of delicate gold filigree enriched with
blue enamel and set with sapphire pastes. Early
nineteenth century. (Mrs. Holman Hunt.)
8. Necklace of cast iron mounted with gold: the oval
plaques, in open-work, alternately a spray of
flowers and a figure subject in the style of an
antique gem. Prussia (Berlin), early nineteenth
century. _p. 330._ (V. and A. M.)
LII. MODERN FRENCH JEWELLERY. (V. and A. M.) _p. 338._
1. Enamelled gold brooch. By Georges Fouquet.
2. Neck-ornament (_plaque de collier_): carved horn,
set with pink baroque pearls. By René Lalique.
3. Pin for the hair, gold, set with opals and diamonds.
By Gaston Laffitte.
4. Gold pendant set with diamonds and an opal, and
enriched with open-work translucent enamel in high
relief. By Comte du Suau de la Croix.
5. Enamelled gold pendant, set with diamonds, opals, and
emeralds. By G. Gautrain.
LIII. SPANISH, PORTUGUESE, FLEMISH, AND FRENCH PEASANT
JEWELLERY, ETC. _p. 342._
1. Bow-shaped breast-ornament of gold set with
emeralds, and having large emerald pendant.
Spanish, seventeenth century. _p. 204._
(Mrs. Close.)
2. Earring of gold filigree hung with pendants.
Portuguese. _p. 347._ (Lady Cook, Viscondessa
de Monserrate.)
3. Gold pendant set with rose diamonds mounted on
silver rosettes. Flemish, eighteenth century.
_p. 345._ (H. C. S.)
4. Silver cross set with crystals. French (Normandy).
_p. 342._ (H. C. S.)
5. Pendent badge of brass, enamelled black, white,
and blue, containing a crowned monogram of the
Virgin. Spanish (Barcelona), seventeenth
century. _p. 204._ (H. C. S.)
LIV. "ADRIATIC" JEWELLERY. _p. 346._
1. Pendant in form of a ship, enriched with
coloured enamels and hung with clusters of
pearls. (Mr. Jeffery Whitehead.)
2. Ship pendant of gold filigree hung with pearls.
(Mr. Jeffery Whitehead.)
3-4. Pair of enamelled earrings hung with clusters
of pearls. (Mr. Jeffery Whitehead.)
5. Long earring of gold filigree mounted and hung
with pearls. (Mr. Jeffery Whitehead.)
6-8. Pendant and pair of earrings, of gold filigree
enriched with coloured enamels. From the Island
of Patmos. (Mr. Cecil H. Smith.)
ILLUSTRATIONS IN THE TEXT
Safety-pin xli
Romano-British brooch or fibula with bilateral
spring xlii
Brooch formed of double spiral discs of concentric
wire ("Spectacle" fibula) xlii
Celtic brooch xliii
Ring-brooch (Tomb of Queen Berengaria of Navarre,
wife of Richard Coeur de Lion, at Le Mans) xliii
Buckle, with buckle-plate and tag. German, about
1490. (Victoria and Albert Museum) xlvi
Bronze fibula. (Ireland) xlvii
Collar of the Order of the Golden Fleece, made in
1432 by John Peutin, of Bruges, jeweller to Philip
the Good, Duke of Burgundy. (From the portrait of
Baldwin de Lannoy by John van Eyck at Berlin) 90
Interior of a jeweller's shop. From _Kreuterbuch_.
(Frankfort, 1536) 98
Gold ring engraved and enamelled with figures of
the Virgin and Child and St. John the Evangelist.
Scottish, fifteenth century. (Nat. Museum of
Antiquities, Edinburgh) 104
Necklace worn by the daughter of Tommaso Portinari
in Van der Goes' triptych in the Uffizi Gallery,
Florence 117
Pomander. From _Kreuterbuch_. (Frankfort, 1569) 126
A mediæval lapidary. From _Ortus Sanitatis_.
(Strasburg, about 1497) 134
Mantle clasp (portion) on effigy of Henry IV.
(Canterbury Cathedral) 140
Brooch of the Virgin in Lochner's "Dombild."
(Cologne Cathedral) 145
English gold ring, fifteenth century. Engraved with
the "Annunciation," and the words _en bon an_.
(Mr. E. Richardson-Cox) 150
French gold ring, fourteenth century. (Louvre) 154
A goldsmith in his workshop. From _Hortus Sanitatis_.
(Strasburg, 1536) 158
"Luckenbooth" brooch of silver. (Nat. Museum of
Antiquities, Edinburgh) 165
Pendant worn by one of the Three Graces in
Botticelli's "Primavera." 169
Jewel, in Ghirlandaio's portrait of Giovanna
Tornabuoni 170
Brooch worn by the Virgin on fifteenth-century
Florentine picture (No. 296, National Gallery,
London) 174
A fifteenth-century jeweller. From _Ortus
Sanitatis_. (Strasburg, about 1497) 176
Design for a pendent whistle by Hans Brosamer 198
Design for a pendant by Hans Brosamer 205
Earring, from Portrait of a Lady by Sodoma.
(Frankfort Gallery) 233
Design for a pendant by Jacques Androuet Ducerceau 241
The Penruddock Jewel 252
Triple rings set with pointed diamonds. Device of
Cosimo de' Medici. From Paolo Giovio's _Dialogo
dell' imprese_. (Figured in Botticelli's "Pallas"
in the Pitti Gallery) 260
Rings on a roll of parchment. From _Kreuterbuch_.
(Frankfort, 1536) 263
Design for a bracelet by Jacques Androuet Ducerceau 269
Jean Toutin in his workshop, firing an enamelled
jewel 289
Design for a pendent miniature-frame by Pierre
Marchant 306
PREFACE
The term Jewellery is used generally in a very wide sense, and it has
been necessary to impose certain limitations upon its meaning for the
purpose of the present work. Jewellery may be defined as comprising
various objects adapted to personal ornament, precious in themselves or
rendered precious by their workmanship. The jewel worn as a personal
ornament may be merely decorative, such as the aigrette or the pendant,
or it may be useful as well as ornamental, such as the brooch or the
girdle. Gems and precious stones are not jewels, in the present sense,
until the jeweller's skill has wrought and set them. This definition
will be found to correspond with the term _minuteria_ adopted by
Italian writers on the goldsmith's art for objects in precious
materials employed for the adornment of the person, as distinct
from _grosseria_--those fashioned for household use or ornament.
With the exception of a chapter dealing with Egyptian jewellery, I
have confined myself solely to Europe. The work falls into four main
divisions. The first deals with the jewellery worn during classical
times, and until the ninth century of our era. The second treats of the
jewels of the Middle Ages. The third is devoted to the jewels of the
Renaissance, and the fourth includes those of subsequent times. In the
chapters dealing with Renaissance and later jewellery I have endeavoured
to utilise the valuable evidence, hitherto generally overlooked or
neglected, which may be derived from the engraved designs and working
drawings of jewellers, from personal inventories, and from pictures by
the old masters. Perhaps too generous a share of attention has been
bestowed on English work; but this may be pardoned when it is remembered
that the previous literature of jewellery has been almost entirely from
the pens of French and German writers. While fully appreciating the
importance and interest of the recent revival of artistic jewellery,
I have not thought it necessary, in a book intended mainly for the
connoisseur, to give more than a rapid review of the main features of
the modern movement, with a brief mention of some prominent craftsmen
therein employed. For similar reasons no general account is given of the
processes of manufacturing articles of jewellery, though references are
made to technical methods when they serve to explain points of artistic
importance.
Assistance has been supplied by numerous works. The largest debt is due
to the learned art historian Ferdinand Luthmer, whose standard work
_Gold und Silber_ has afforded most important aid. From Rücklin's
_Schmuckbuch_ I have constantly derived instruction; and Fontenay's
_Bijoux anciens et modernes_ has been a storehouse of information. Other
books which have been of service are included in the Bibliography.
It is now my duty and pleasure to express my obligations to all those
whose unvarying kindness has facilitated my researches. Special thanks
are due: to Lady Rothschild, who has presented me with photographs,
specially taken for the purpose, of some of her choicest jewels; to Lady
Fuller-Eliott-Drake, who at considerable personal inconvenience brought
the Drake jewels to London; to Mr. Jeffery Whitehead, who despatched
for my use a number of jewels from his collection; to Mr. Max Rosenheim,
who, besides placing at my disposal his unrivalled series of engraved
designs for jewellery, has read through and corrected the portion of the
subject dealing with engraved ornament; to Sir John Evans, K.C.B., who
has guided me personally through his splendid collections of early
jewellery; and to Dr. Williamson, for assisting me in many ways, and for
the loan, on behalf of Mr. J. Pierpont Morgan, of copyright photographs
of the finest enamelled miniature-cases from his catalogue of Mr.
Morgan's collection, with leave to describe and reproduce such of them
as I might select for this volume.
Among those who have favoured me with permission to publish the
treasures in their possession I must gratefully mention Lady Cook
(Viscondessa de Monserrate), Lady Ramsay, Lady Monckton, Mrs. Holman
Hunt, Mrs. Percy Macquoid, the Marquess of Clanricarde, Viscount
Falkland, and Lord Fitzhardinge; also Herr James Simon, of Berlin, and
Lieut.-Col. G. B. Croft Lyons, who have presented me with photographs of
their jewels. Thanks are also due to Dr. Kitchin, Dean of Durham, for
the photograph of St. Cuthbert's Cross; to Dr. Spooner, Warden of New
College, for permission and aid in photographing the New College jewels;
to Dr. J. Anderson, Director of the National Museum of Antiquities of
Scotland, for the loan of blocks of two jewels in the Edinburgh Museum;
to Mr. F. G. Hilton Price, who enabled me to photograph the old ledgers
in Child's Bank; and to Mr. J. T. Herbert Baily, for leave to reproduce
illustrations to my articles on the King's gems and jewels at Windsor
Castle in the "Connoisseur" (1902-3). The names of many others, who
have kindly lent me jewels or photographs, will be found, attached to
the individual objects, in the List of Illustrations.
I would especially thank, amongst others, the following officers of the
Continental museums who have generously presented me with photographs of
articles of jewellery in the collections under their charge, or have
aided me with their advice:--Sir Henry Angst, K.C.M.G., British
Consul-General for Switzerland, late Director of the Zurich Museum; M.
E. van Overloop, Conservator of the Royal Museums, Brussels; Dr.
Lindenschmidt, Director of the Mainz Museum; Dr. Hermann J. Hermann,
Keeper of the Imperial Art Collections, Vienna; Dr. Wilhelm Behncke,
late of the Kunstgewerbe Museum, Berlin; Dr. H. Graf, Director of the
Bavarian National Museum, Munich; Dr. L. Curtius, of the Antiquarium,
Munich; and M. J. de Foville, of the Cabinet des Médailles, Bibliothèque
Nationale, Paris.
Grateful acknowledgment is also due to the officers of the British
Museum for the help they have given me, particularly to Mr. Cyril
Davenport for numerous valuable suggestions. To my colleagues in the
Victoria and Albert Museum I owe cordial thanks for much encouragement
and help, particularly to Mr. A. Van de Put for his aid in reading
through the proofs of this volume; and above all to Mr. Martin Hardie,
A.R.E., who, besides executing the pen-drawings which illustrate the
text, has assisted me in various ways, and throughout the whole course
of the present work has favoured me with constant advice and
suggestions.
H. CLIFFORD SMITH
INTRODUCTION
The love of ornament prompted by vanity is inherent in the human race. A
most primitive instinct of human beings is to make their persons more
beautiful, more imposing, or more striking by ornamentation. This
inclination is as old as dress itself, nay, perhaps, dates even further
back. For there are tribes to whom climate and civilisation have not
yet suggested the necessity of clothing the body, but who nevertheless
possess ornaments of some degree of development. From the rudest of
beginnings up to the last refinements of art, jewelled ornaments have
ever the same purpose in view--to give prominence to individual parts of
the body by means of glittering, beautiful objects which involuntarily
draw the eye of the spectator in the desired direction.
Jewellery is not only worn with the purpose of attracting attention and
setting off the beauty of the person, but satisfies the desire, not less
deep-rooted in humanity, of establishing a distinctive mark of rank and
dignity. In fact the wearing of certain kinds of ornaments has at times
been fixed by legislation.
Among savages, and races not far removed from barbarism, it may be
observed that the love of ornament is chiefly characteristic of men. As
civilisation advances it is displayed more and more by women alone. Yet
even a century ago, among the most civilised nations of Europe, the
"beaux" and "macaronis" adorned themselves with jewellery of all kinds.
To-day, however, it is confined, and with greater propriety, almost
entirely to women. Desirous always of pleasing, the gentle sex has
ever sought to add to its charms by adorning itself with jewels.
Two methods of dealing with the history of the present subject
present themselves. One method consists in taking individual classes
of jewellery, tracing their complete development, and following the
changes they undergo during the various periods of civilisation. By the
other--the historical method--all types of jewellery in existence at a
particular time are examined side by side within the historical period
to which they belong. The general changes that take place at one epoch
find an echo in every piece of jewellery that belongs to that epoch. The
different classes of jewellery during every period all bear a distinct
relationship of style. For instance, the changes which take place in the
aspect of the necklace at a particular epoch will be found to occur at
the same time in that of the bracelet and girdle. But there may exist
the widest divergence in style and idea between a particular piece of
jewellery and its successor of a subsequent period. For these reasons
an historical and chronological mode of treatment has been adopted,
which will allow more completeness of observation, and fuller and more
scientific investigation of style and craftmanship. Certain difficulties
are nevertheless encountered, because periods and fashions naturally
overlap. This is particularly the case in times when communication was
not easy; since some people would cling to an old form of jewellery,
while others, more travelled or more fashionably minded, would prefer
a new.
In proceeding towards a systematic classification of personal ornaments
it may be advisable, instead of dealing with the separate ornaments of
each period according to their relative importance or prominence, to
follow a simpler and more natural plan. Thus, the ornaments dealt with
in each succeeding epoch will in every case be those worn: (1) on the
head--diadems, tiaras, aigrettes, hair-pins, jewels for the hat and cap,
and earrings; (2) on the neck--necklaces and neck-chains hung with
numerous varieties of pendants; (3) on the breast--brooches, clasps,
buttons; (4) on the limbs--armlets, anklets, bracelets, rings; and
(5) on the body and waist--girdles and their various attachments,
chatelaines, and miscellaneous pendent ornaments, such as pomanders,
scent-cases, rosaries, etc.
A few preliminary words may be said respecting the evolution of some of
the various ornaments employed on the different parts of the body.
The custom of decorating the head with jewelled ornaments was probably
suggested by the natural idea of encircling it with flowers in token of
joy or triumph. The use of diadems was in early times generally reserved
for those of noble birth. From the fillets employed for binding the
hair, developed circlets, which with the addition of precious stones
assumed the dignity of crowns.
The use of earrings as personal ornaments seems to have originated in
the East, where they have always been in favour. Earrings formed an
important article of jewellery during the classical ages, but they were
not commonly worn again in Europe until the seventeenth and eighteenth
centuries. At the present moment fashion does not decree their general
use.
The necklace--one of the most primitive of ornaments--is worn either
close round the throat, loosely round the neck, or low down upon the
breast. Occasionally, as among savage peoples, it takes the form of a
ring; but as a rule it is formed either of a simple cord, or a chain
formed by the appropriate linking together of rings, perforated discs,
or pierced balls. Artistic effects are produced by a regular alternation
of these details, as well as by the tapering of the chain from the
middle towards the ends. Neck-chains with symbolic elements are those
worn as orders and as signs of dignity.
The necklace may be further ornamented by a row of pendants, or more
generally a single pendent ornament. The pendant thus employed has
become, perhaps, the most beautiful of all articles of adornment. It
occupies a conspicuous position upon the person, and possibly for this
reason has evoked the greatest skill and refinement of the jeweller's
art. Its varieties are manifold--from the primitive charm, and the
symbolic ornaments of the Middle Ages, to the elaborate pendant, for
the most part purely decorative, dating from Renaissance times.
Next comes the important group of ornaments worn chiefly on the breast,
comprising brooches, clasps and pins, employed for fastening the dress.
All have their origin in the simple pin. To this class belongs the
hair-pin, of which the most handsome and varied examples are to be found
in ancient work. Unlike modern hair-pins which are provided with two
points, they have a single cylindrical or slightly conical stem,
pointed at one end, and terminated at the other with a knob or some
other finial.
A simple pin for the dress was uncommon in antiquity, and its general
use for this purpose belongs to comparatively recent times. Its place
was always taken, especially in early periods, by a brooch--an outcome
of the pin--which supplied the want of buttons. The brooch, an ornament
of very considerable importance, can be traced down from the earliest
civilisation, and is a valuable criterion in questions of ethnic
movements. The story, however, of the growth of each of the different
classes into which primitive brooches may be divided, the periods at
which these ornaments made their appearance, and the deductions of
ethnographical interest that may be drawn therefrom, must of necessity
lie outside the scope of the present work.
[Illustration: Safety pin.]
All brooches, as has been said, originated from the simple pin, which
itself was preceded by and probably derived from a thorn. At an early
period this pin, after having been passed through the garment, was for
greater security bent up, and its point caught behind the head. Later,
in order that the point might be held more securely in the catch, the
pin was given a complete turn, which produced the spring, as seen in the
common form of our modern safety-pin. Thus constructed, the brooch,
though in one piece, may be said to consist of four parts; (_a_) the
acus or pin; (_b_) the spring or hinge; (_c_) the catch or locking
apparatus, which forms the sheath of the pin; and (_d_) the bow or
back--the framework uniting the spring with the catch.
[Illustration: Romano-British brooch or fibula with bilateral spring.]
From this primitive safety-pin, which is the foundation form of all
brooches with a catch, developed the numerous varieties and patterns of
the brooch or fibula of succeeding ages. Amongst these is the Roman
fibula, which instead of being made of one piece of metal, is of two
pieces--the bow and the acus. The pin here works on a hinge--the result
of gradually extending the coils of the spring symmetrically on each
side of the pin into what is known as the double-twisted or bilateral
spring, and placing a bar through the coils thus made. From the brooch
hinged in this manner originated the Roman provincial fibula of the
#T#-shaped type common in France and Britain, and later the cruciform
brooch of Anglo-Saxon times. The brooch with with a hinge was
exclusively used until the revival of the "safety pin" with a spring,
patented as a new invention in the nineteenth century.
[Illustration: Brooch formed of double spiral discs of concentric wire
("Spectacle" fibula.)]
In addition to the above brooches or fibulæ (group 1)--all developments
of the safety-pin type--there are three other large groups of brooches:
(2) the circular disc type; (3) the penannular or Celtic brooch; and
(4) the ring-brooch. The first of these--the type generally worn at the
present day--may be described as a flat disc fitted with a hinged pin.
In cemeteries belonging to the Early Iron Age in Southern Europe
circular plates have been found fitted with a pin. These plates
appear[1] to have been developed by the conversion of a primitive disc
of spiral concentric wire into a circular plate. From the brooch of this
type sprang the circular brooch of the Roman period, often inlaid with
enamel, as well as the splendid circular brooches of Anglo-Saxon times,
and all other disc-shaped brooches. In all early periods, and even in
Roman times, the bow or safety-pin type of brooch was commoner than the
disc and also more practical, as it offered room for the gathered folds
of the garment. In modern times the disc-shaped brooch fitted with a
hinged or sometimes with a spring pin has been principally used.
[1] Ridgeway (W.), _Early Age of Greece_, p. 437.
[Illustration: Celtic brooch.]
[Illustration: Ring-brooch (Tomb of Queen Berengaria of Navarre,
wife of Richard Coeur de Lion, at Le Mans).]
The two remaining groups of brooches--(3) the Celtic brooch and (4) the
ring-brooch--are both developments of the simple pin in combination with
a ring--in the former case penannular and in the latter annular. The
Celtic brooch, with penannular ring and long pin, is apparently the
result of fitting a pin to a prehistoric form of fastening for the
dress--a penannular ring terminating with knobs, known as a mammillary
fibula. The ring-brooch with complete ring, and pin of the same length
as the diameter of the ring, which was popular in mediæval times, is
the outcome of fitting a complete ring of wire to a pin to prevent the
head of the pin from slipping through the material--which ring in course
of time became the more important member. It is improbable that the
Celtic brooch originated in the same way, from the union of a long pin
with a small ring. Nor is it likely that these two forms of brooches
were evolved the one out of the other by the shortening or lengthening
of the pins. As a matter of fact the two appear to have arisen
independently side by side.
Bracelets and armlets may be considered together, for though the
bracelet is properly only a decoration for the wrist, the term has
become descriptive of any ornament worn upon the arm. The bracelet,
together with the necklace, were the earliest ornaments used for the
decoration of mankind. Amongst savage tribes both were worn in some
form or another--the necklace as an ornament pure and simple, but the
bracelet serving frequently a practical purpose, sometimes as a shield
for the arm in combat, sometimes covered with spikes, and used for
offensive purposes. While used universally by women in the form of a
band, closed, or open on one side, or else in the shape of a spiral, or
fashioned like a chain, the bracelet has been worn from the earliest
times in the East by men also, especially by princes as one of the
insignia of royalty, and by distinguished persons in general.
Of all jewels the simplest and at the same time perhaps the most
interesting and important is the finger ring. It is universally employed
as an article of personal ornament, and has been worn by both sexes at
almost all times, and in nearly every country. Sometimes it is an
object of use as the signet ring, or a token of dignity as the bishop's
ring. Sometimes it has a symbolical significance, as the wedding-ring.
Sometimes it is purely ornamental. Most finger rings may be said to be
formed of two parts--the circular portion which surrounds the finger,
known as the hoop or shank, and the enlarged or upper portion which is
called the bezel. This latter term, applied to the upper side of the
ring, which is broadened to receive an ornament of some kind, generally
a stone, seems to have originally designated the basil or projecting
flange, that retained the stone in its setting. The term _collet_, also
used for the whole top including the stone or seal, is similarly derived
from the flange or collet in which the stone is set. From its box-like
shape this part of the ring is also called the _chaton_.
[Illustration: Buckle, with buckle-plate and tag. German, about 1490.
(Victoria and Albert Museum.)]
The belt or girdle was worn round the waist by men as a means of
suspending weapons, by women sometimes merely as an ornament, and
generally by both sexes for the practical purpose of confining the
clothing. It is commonly formed of a band of leather or textile
material. The part as a rule which receives particular attention is
the fastening. This is either in the form of a clasp, or more often a
buckle. The clasp consists of two parts, generally symmetrical, one of
which can be hooked into the other. The buckle, another combination of
a ring with a pin, is similar to the mediæval ring-brooch, but differs
from it in that while the pin of the brooch pierces the material twice,
that of the buckle pierces it only once. It may be described as a
rectangular or curved rim having one or more hinged pins or spikes
attached on one side of it or on a bar across its centre, and long
enough to rest upon the opposite side. The buckle is made fast to one
end of the girdle; whilst the other end, drawn through on the principle
of a slip knot, is kept fast by pushing the point of the pin or tongue
through a hole made in the material of the girdle. The girdle is
attached by means of sewing a fold of it round the bar or round one side
of the rim of the buckle. As a great strain was put upon the doubling of
the leather or stuff, this soonest gave way. Consequently a plate of
metal was passed round the bar or edge of the buckle, and the two
portions of it received the end of the strap between them. The whole was
then made fast with rivets. The plate is known as the buckle-plate. One
end of the girdle being thus furnished, the other was frequently made to
terminate with a metal chape to enable it to pass easily through the
ring of the buckle in the process of buckling and unbuckling. This chape
is known also as the _mordant_. The chief point of the girdle to be
decorated was the buckle-plate, which was often in one piece with the
buckle, or hinged to it. The _mordant_ or tag was commonly decorated
too, while ornaments of metal of similar design, sometimes jewelled,
were applied at regular intervals to the strap or band of the girdle. In
later years the girdle often took the form of a chain, on which, as in
the case of chains for the neck and wrists, artistic effects were
produced by a regular sequence of links. Fastened by a clasp, it was
worn by women chiefly as an ornament, or to carry small objects for
personal use. For the latter purpose it was subsequently supplanted by
the chatelaine.
[Illustration: Bronze fibula (Ireland).]
JEWELLERY
EARLY JEWELLERY
CHAPTER I
EGYPTIAN AND PHOENICIAN JEWELLERY
Most of the forms met with among the jewellery of the civilised nations
of later times are found represented in the ornaments of the Egyptians.
It is fortunate that important specimens of all descriptions of these
have come down to our days. This we owe to the elaborate care which the
Egyptians bestowed on the preservation of the dead, and to the strict
observance of funeral rites, which induced them to dress and ornament
their mummies with a view to future comfort both in the grave and in the
after life. The ornaments, however, buried with the dead were frequently
mere models of what were worn in life, and the pains taken in making
these depended on the sums expended by the friends of the deceased after
his death. While those who were possessed of means and were scrupulous
in their last duties to the dead purchased ornaments of the best
workmanship and of the most costly materials, others who were unable or
unwilling to incur expense in providing such objects were contented with
glass pastes instead of precious stones, and glazed pottery instead of
gold. With the exception of many finger rings worn by both sexes and
some female ornaments, the greater number of jewels discovered in the
tombs are of inferior quality and value to those which the deceased had
worn when living.
A peculiarity of the jewellery of the Egyptians is that, in addition to
its actual purpose, it generally possesses something of the allegorical
and emblematic signification, for which their mythology offered
plentiful material. Among the emblems or figures of objects which
symbolise or suggest the qualities of deities, the most favourite
is the _scarab_ or beetle, type of the god _Khepera_. The use of
scarabs in burial had reference to the resurrection of the dead and
immortality. Other important emblems include the _uza_ or _utchat_,
the symbolic eye--the eye of _Horus_, the hawk-god; the cobra snake,
the _uræus_--emblem of divine and royal sovereignty; the _tet_, the
four-barred emblem of stability, endurance, and lastingness; the
human-headed hawk, emblem of the soul. These and many others, as well as
figures from the animal world, were worn as ornaments, and especially as
amulets to bring good fortune or to ward off evil.
Colour plays an important part in Egyptian jewellery. This love of
colour was displayed in the use of glazed ware, incorrectly termed
porcelain, but properly a faience, much employed for all articles, as
necklaces, scarabs, and rings, and particularly for the various kinds of
amulets which were largely worn as personal ornaments. The most usual
and beautiful was the cupreous glaze of a blue or apple-green colour;
yellow, violet, red, and white are also met with, but less frequently,
and chiefly at later periods. But colour showed itself above all in the
surface decoration of jewellery, produced by the application of coloured
stones and the imitation of these inserted in cells of gold prepared for
them. The chief materials employed for the purpose were lapis-lazuli,
turquoise, root of emerald or green felspar, jasper, and obsidian,
besides various opaque glasses imitating them.
With the exception of enamel upon metal, which is only found in Egypt in
quite late periods, the Egyptians appear to have been acquainted with
all the processes of jewellery now in use. Chasing and engraving they
preferred to all other modes of ornamenting metal-work, as these methods
enhanced the beauty of their jewels while retaining a level surface.
They were also highly skilled in soldering and in the art of repoussé
work. The great malleability of gold enabled them to overlay ornaments
of silver, bronze, and even stone with thin leaves of this metal; while
ornaments were also composed entirely of plates of gold of extreme
thinness. In articles where frequent repetition occurs, for instance,
in necklaces, patterns were produced by pressure in moulds, and then
soldered together.
Examples of jewellery furnished by the Egyptian tombs are to be found in
the museums of almost every country. Undoubtedly the finest collection
is in the Viceregal Museum of Egyptian Antiquities at Cairo. It contains
jewels of the earliest dynasties, very few of which are to be found
outside it. Dating from the great Theban dynasties, the eighteenth and
nineteenth, when the jeweller's art reached its highest level, are many
beautiful examples, notably the famous set of jewels discovered in the
tomb of Queen [.A][=a]h-[h.]etep (1600 B.C.). Fine collections are also
preserved in the British Museum, in Berlin, Munich, and in the Louvre.
Following the sequence of ornaments from the head downwards, mention
must first be made of diadems or frontlets. These were composed either
of ring ornaments, set with precious stones and strung in a variety of
ways, which hung down over the temples, or of gold bands ornamented in
cloisonné inlay with the favourite allegorical representations of
animals in various arrangements. In the case of royal personages there
is a uræus in front.
Among all Oriental nations of antiquity of whom we have any accurate
knowledge, earrings have always been in general use by both sexes; but
as far as can be judged from monuments, these ornaments appear in Egypt
to have been worn by women alone. M. Fontenay[2] claims that the holes
visible in the ears of statues of Rameses II--such as the colossal
head in the British Museum, cast from the original in the temple of
Ipsamboul--have been pierced for earrings. But even so, earrings had
probably only a sacerdotal or sacred significance, and were worn by the
sovereign only, and on very exceptional occasions. Earrings, however,
found very little favour even among women until what in Egyptian
chronology are comparatively late times. Those that do occur are of the
simplest kind, formed of a ring-shaped hook for piercing the lobe of the
ear, hung with a blossom-shaped or symbolical pendant. Large penannular
rings of various materials were occasionally employed as ear ornaments;
the opening in them enabling them to be fitted on to the upper part of
the ear.
[2] Fontenay (E.), _Les bijoux anciens et modernes_, p. 98.
Necklaces appear to have played a very prominent part in Egyptian
ornaments. No tomb seems to be without them, and the wall paintings also
prove their very general use. Most frequent is a chain consisting of
various materials strung together, generally with a large drop or figure
in the centre, and pendent motives introduced at definite intervals. The
latter, of every imaginable variety of design, occur in rhythmical
alternation, and are occasionally introduced between two rows of beads.
The peculiarly severe and regular decorations of the Egyptians--more
particularly the various charming adaptations of open and closed
lotus flowers--are here found in the finest forms of application.
Especially is this shown on the ornament called the _usekh_ collar,
which figures on every mummy and mummy case. Formed of rows, generally
of cylinder-shaped beads with pendants, strung together and gathered up
at either end to the head of a lion or hawk or to a lotus flower, this
collar or breast decoration covered the shoulders and chest, and is
found in that position on the mummy, attached frequently to the
winding-sheet.
One of the most important Egyptian ornaments is the _pectoral_, which,
as its name implies, was worn on the breast, suspended by a ribbon or
chain. In all probability it formed a portion of the everyday costume of
men and women, but its symbolism points to its chief use as a mortuary
ornament, and it is found on almost every mummy. Pectorals are usually
in the form of a _pylon_ or shrine, in the middle of which is often a
scarab, the emblem of transformation and immortality, adored by the
goddesses _Isis_ or _Nephthys_.
These ornaments were made of metal--rarely gold, more often gilded
bronze--and very frequently of alabaster, steatite, and basalt
sometimes glazed, and of earthenware always glazed. In the Cairo
Museum is a pectoral of pure gold inlaid with carnelian, lapis-lazuli
and turquoises, which was found at Dashûr in 1894 in the tomb of the
Princess Set-Hathor (twelfth dynasty). Discovered at the same time was a
pectoral having at the top a vulture with outspread wings and below the
name of Usertsen III supported on either side by hawk-headed sphinxes.
The open-work pectoral of Queen [.A][=a]h-[h.]etep, of solid gold, also
at Cairo, is one of the most beautiful of all specimens of Egyptian
jewellery. Another golden pectoral, found in the tomb of Kh[=a]-em-uas,
son of Rameses II, is in the Louvre.
Somewhat similar to the pectorals are jewels in the shape of
conventional hawks. As emblems of the soul, they are found placed upon
the breast of the mummy. The finest are made of pure gold decorated with
cloisons shaped according to the natural formations of the body and
wings of the bird. The talons grasp a pair of signet rings. Allied to
these are ornaments known as _ægides_, which were occasionally also worn
on the breast. A very beautiful specimen, the _ægis of Bast_, is in the
Louvre.
Sculptures and paintings represent bracelets by bands of red or blue
colour on the arms, and show that the Egyptians wore four--one on the
wrist and one above the elbow of each arm. Some of the earliest are
composed of glass and gold beads threaded so as to form various
patterns. The more solid forms of bracelet are ornamented with inlaid
work. Rings for the arms, as well as the ankles, are generally of plain
gold--both solid and hollow--sometimes bordered with plaited chain-work.
Bracelets of thick and occasionally twisted wire, found as early as the
twelfth dynasty, usually have the ends beaten out into a thin wire,
which is lapped round the opposite shank so as to slip easily over the
wrist. Bracelets in the form of serpents belong to the Ptolemaic and
early Roman periods.
The commonest ornament is the finger ring. The ring was not only an
ornament, but an actual necessity, since it served as a signet, the
owner's emblem or badge being engraved either on the metal of the ring
or on a scarab or other stone set in it. There are three main types of
Egyptian rings. The first and simplest, composed of a seal stone with a
ring attached, is formed of a hoop with flattened ends, each pierced,
which grasp the scarab. Through a hole made in the scarab was run a
wire, the ends of which, passing through the extremities of the ring,
were wound several times round it. The revolving scarab exhibited its
back when worn on the finger and the engraved side when necessary to
use it as a seal. The general outline of the ring is like a stirrup, a
form which of course varied in accordance with the size of the scarab.
In a second type of ring the swivel disappears, and the ring is in one
piece. Its outline retains the stirrup form, but the inside of the hoop
is round and fits closely to the finger. Of this type are rings, dating
from the eighteenth to the twentieth dynasty, formed of two hoops united
at the top and having the names and titles of the owner deeply sunk in
hieroglyphics on oblong gold bezels. A third type, almost circular in
outline, is of similar form to the signet-ring of the present day. In
addition to those which were actually worn in life, are models of real
rings employed solely for funeral purposes to ornament the fingers of
the wooden model hands which were placed on the coffins of mummies of
the eighteenth and nineteenth dynasties. The model rings are made of
faience with fine glazes of blue, green, and other colours, with various
devices, incuse or in intaglio, upon the bezels, which are generally of
oval form.
PHOENICIAN JEWELLERY
As the inventors of methods and the creators of models which exercised
a widespread influence in the development of subsequent types of
ornaments, Egypt, and in a lesser degree Assyria also, occupies a
position of considerable importance. The chief agents in the spreading
of these methods and models were the Phoenicians, the first and
foremost navigators of the ancient world, who imported jewels among
other articles of trade, into Italy and into the islands and mainland of
Greece. Not by nature creative, but always copying those nations with
whom in their wanderings they came in touch, the Phoenicians produced
a native jewellery of composite type in which there is a perpetual
mixture of Egyptian and Assyrian forms. As they had imitated Egypt and
Assyria, so they began to imitate Greece as soon as they came into
contact with her. The Greeks in return made great use at first of
this composite style, but subsequently shook off its influence and
incorporated it only after many modifications into their own developed
art. The amphora--a form of ornament in goldsmith's work which can be
traced to Assyria--is one among many motives borrowed by the
Phoenicians, and transmitted by them to Greece.
From Egypt the Phoenicians acquired a high degree of technical skill
and mastery over materials. This finish was transmitted to the finest
Greek jewellery, and to the personal ornaments of the early Etruscans.
The art of soldering gold to gold, which was known in Egypt at an early
period, was greatly perfected and developed by the Phoenicians; and it
is generally believed that they were the inventors of the process of
decorating jewellery by granulation, that is by affixing to the surface
minute globules of gold--a process which attained its perfection in the
skilful hands of the Etruscan goldsmiths.
The jewellery of the Phoenicians must be sought for from one end of
the Mediterranean to the other, rather than in Phoenicia itself. It
occurs chiefly in their settlements on the shores and islands of the
Eastern Mediterranean, at Sardinia, Crete, and Rhodes, and on the
southern coasts of Asia Minor, but the best and most numerous specimens
have been found in Cyprus.
In addition to the actual ornaments, special value attaches also to
Phoenician sculptures, principally busts, both from Phoenicia itself
and from its colonies, owing to the care with which personal ornaments
and details of dress are represented. Several striking examples of these
are preserved in the galleries set apart for Cyprian and Phoenician
antiquities in the British Museum. The most famous of similar works,
which include the sculptures from the "Cerro de los Santos," near Yecla
in the province of Albacete in Spain, now in the museum at Madrid, is
the remarkable stone bust of a woman in the Louvre, known as the "Lady
of Elché," from a town of that name in the province of Alicante, where
it was discovered in 1897 (Pl. II, 9). The majestic character of this
figure, its sumptuous coiffure with clusters of tassels suspended by
ten chains, the wheel-like discs cover the ears, the triple row of
necklaces with their urn-shaped pendants--all unite to produce an effect
unequalled by any known statue of antiquity. Especially noticeable among
these ornaments is the diadem which encircles the forehead and hangs
down from each side in long pendants upon the shoulders. With this may
be compared the chains hung at the ends of the golden fillet at Berlin,
discovered by Schliemann at the pre-Mycenæan city of Hissarlik in the
Troad, the ornate tasselled appendages at St. Petersburg, found with the
famous Greek diadems in the tombs of the Crimea, and the elaborate head
ornaments with pendent ends worn by Algerian women at the present day.
The Phoenicians, as seen also by their sculptures, were addicted to
the barbaric practice of piercing the upper parts of the ears, as well
as the lobes, and attaching to them rings bearing drop-shaped pendants.
Rings were also attached to the hair on each side of the face. They
consist of a double twist which could be run through a curl of the hair,
and are ornamented at one end with a lion's or gryphon's head.
Of ordinary earrings worn by the Phoenicians the simplest is a plain
ring. In the majority of cases the simple ring was converted into a hook
and served to suspend various ornaments, of which baskets or bushels
with grain in them afforded favourite motives. Examples of earrings of
this kind, from Tharros in Sardinia, are in the British Museum.
[Illustration: _PLATE II_ PHOENICIAN JEWELLERY]
Statues, like the Lady of Elché, show that Phoenician women wore three
or four necklaces at the same time, one above the other; these vary in
the size of their elements, from the small beads about the throat, to
the large acorn-shaped pendants which hang low upon the breast. They
display a striking admixture of Greek and Egyptian motives. Gold beads
are often intermixed with small carnelian and onyx bugles, to which hang
amphoræ formed alternately of gold or crystal. The Phoenicians were
particularly skilled in the manufacture of glass: occasionally the sole
materials of their necklaces are beads of glass. A necklace from Tharros
in Sardinia, now in the British Museum, is formed of beads of glass and
gold; of its three pendants, the centre one is the head of a woman with
Egyptian coiffure, and the two others lotus flowers.
Finger rings are of all materials--gold, silver, bronze, and even glass.
They are usually set with a scarab or scaraboid, fixed or revolving on a
pivot. Silver is less common than gold; but in the British Museum is a
ring of almost pure Greek workmanship from Cyprus which is entirely of
silver, save for an exquisitely modelled golden fly that rests on the
bezel.