L I TTL E B OOK S ON A R T

GENERAL EDITOR : CYRIL DAVENPORT

JE WELLE RY L I TT LE B OOK S O N A R T

D m 1 02 23 6d. net e y 6 0. . .

S U B J E C T S

BOOK S DWAR D ALMACK PLATE . E G E K B A LTE R R E ART . H . . W S I I M W BRA DLE Y D SS . LLUM NATE . J . R MAN TE R B . AL O ART . H . W S S F APAN O BE RT CARE THE ART O J . R Y CYR IL DAVE N P RT JEWELLER . O C IS IN MRS E N N E R HR T ART . . H . J Y IN MRS E N N E R O D . UR LA ART . H . J C IS I SYMBO IS E N N E R HR T AN L M . H . J S MRs E L ON AW O N ENAMEL . . N S D S F I A N MEw URN TURE . EG MI I LI oR R N ATURES. A CE C x AN

A R T I S T S

Y GE OR E PA TON ROMNE . G S E S E LLE N DURER . L. J S I A Y S ME RE NOLDS. J . I MIs s K E T LE Y S. . D S C H WATT R E . .

’ ‘ H PPN . K SKIP I ON O ER . H P . .

FR AN CE YRRE LL- GILL TURNER . S T

B - O S FORTUN EE DE LE URNE J NE . LIS I O L CE COR KR AN LE GHT N . A I B MRs SHARP REM RANDT . . E . A .

V S Z LF R ID ILBE RF OR CE and A. R . G LBE R T ELA QUE . WI W I Y LLW V D CK. . SMA OO D AN M G. O B I BE ATR C FORTE CUE H L E N . I E S ‘ ‘ M P LL R CO O T H E L BIR N S I ING L and Rs . . O A D R T . E A MI N w A E A O K LLET. P C C

G Z D BO C L Z A F. PO LLA R D REU E AN U HER . E I DR Y ’I‘ RAPHAEL. A . R . HURS G A N ME w HO ARTH . EG C LLON LAUDE . E . DI PLA TI: 1

' ‘ \ - U P I H S I ‘ I I- F \ TH C 8 5 1 R\ I TA LI AN PE D \ N l I:. C U

‘ - “HT” E N A M E I S { N D l l A R I Q. j E W E L L E R Y

C Y R I L D AV E N P O R T ‘

W ITH A F R ONTISPIECE IN COLOU R AN D F OR TY - ON E OTHER ILLUSTR ATION

ME THUE N CO .

6 E SSE X STR E E T w 3 . c . LON DON

C O N T E N T S

CHAPTER I

I N T R O D U CT O R Y — — — Saint Eligius Theophilus Benvenuto Cellini EarlyJewellery in o sia truria Gr c and o — recious ston s Egypt , Rh de , E , ee e , R me P e — Solder Enamels page

CHAPTER II NECKLACES

ar l discov ri s n ar nton — Berri s seeds sh lls and t th E y e e e Me e e , , e , ee — Tor nes— truscan Gr k and o an or n lo- Saxon q E , ee . R m w k A g — necklaces Renaissance designs and necklaces in France and Italy

CHAPTER III PENDANTS — — Etruscan bulls The Ashantis and wire work Egyptian amu lets — — — New Z ealand jade amulets Scandinavian bracteates R e — naissance w ork Pendants in England

CHAPTER IV

DIADEMS — Disc overies at Troy and Mycena The Crowns of Lombardy and — H ungary and the Crown of Charlemagne The Crown of — Scotland The Imperial Crown of England CONTENTS

CHAPTER V

— — EARR I NGS NOSE - R I NGs LABRETS pagt 78

CHAPTER VI

BRACELETS — — Primitive bracelets Fine work found in Egypt Assyrian scu lp — — ture Discoveries at Troy and Mycena Roman snake brace — — lets Indian work with enamels Anklets worn in India

CHAPTER VII FINGER R I NGS — — Classification Anglo- Saxon gold and niello rings Jewish rings — — Papal rings Posy and marriage rings Mourning and portrait — rings Signification of stones

CHAPTER VIII P I N S A N D B R OO C H E S — — — Thorns and fish bones Metal pins Lake villages Celtic and rovin ian rooc s— c ne an Gr and o an fi u a Me g b he My e , eek, R m b l — Circ u ar rooc s— Gl n on rooc the ara rooc l b he The e ly b h , T b h , — and the Hunterston brooch Anglo- Saxon brooches

BIBLIOGRAPHY

I NDEX INDEX TO THE PLATES

PLATE I I I PE OF O I S . TAL AN NDANT G LD W TH ENAMEL ’ ' TH a 8 Fr ontzs zece AND PEARLS. 1 6 CENTURY (p ge 5 ) p TO F ACE PA GE NECKLACE OF HUMAN TEETH FROM THE SOLO MON ISLANDS (page ETRU SCAN NECKLACE OF GOLD W ITH G RAN U

O . 6TH B . C a e LAR W RK CENTURY . (p g 39)

S N S O I S ETRU CA NECKLACE OF G LD W TH ENAMEL .

OTH B C . CENTURY .

I I I S E N ELs TAL AN NECKLACE W TH JEWEL AND AM . I 6TH A D CENTURY . . I H S S FRENCH NECKLACE W T JEWEL AND ENAMEL ,

T . I 7 H CENTURY A. D

P O O R D GREEK ENDANT FR M TAMAN , AB UT 3 ” B c a 6 CENTURY . . (p ge 5 ) NORWEGI AN BRACTEATE OF SI LVER G I LT OF H a O T E I I D. 6 AB UT TH CENTURY A. (p ge 5 ) Two NORWEG IAN RI NG CROSSES (page 57) I I P I H O I 6TH TAL AN ENDANT W T AGATE CAME . C a A . D ENTURY . (p ge 59)

GERMAN JEWELLE D AND ENAMELLED PENDAN T

OF GOLD . 1 GTH CENTURY viii INDEX TO THE PLATES PLATE To P ACE PA C IS P I S AN D S 7. ENGL H ENDANT W TH JEWEL ENAMEL AN D A TURQUOISE CAM EO PORTRA IT OF QUEEN ELIZABETH (page 59) ENGLISH PENDANT WITH JEWELS AN D ENAMELS AN D AN ONYX CAMEO PORTRAIT OF QUEEN ELIZABETH (page 60)

BRO H E I O 8. ETRUSCAN NZE LMET W TH G LDEN H 600 WREAT . B . C. H N O H O R D SCYT IA G LDEN ELMET . AB UT THE 3

B . c CENTURY . I S O IS O S O FOR THE ANC ENT C TT H CR WN , RE T RED ES I N I 0 a JAM v . 54 (p ge 74) ' VIC O I S I P I O I N QUEEN T R A M ER AL CR WN , MADE 1 838 (page 76) GREEK EARRI NG OF GOLD W ITH JEWELS AND ENAMELS (page 81 ) O I I I I I O S M DERN ND AN EARR NG , W TH D AM ND AND EMERALDS (page 85) MODERN INDIAN NOSE - RI NG (page 86)

MODERN TOE - RI NG FROM CENTRAL I NDIA (page 87) MODERN LABRETS WORN BY THE ESQU I MAU X OF ALASKA (page 89) BR ITISH GOLD TORQUES OF ABOUT THE 9TH

A. D a 8 CENTURY . (p ge 3 ) ’ MODERN ARMLET OF BOARS TUSKS FROM TH E HAWA IIAN ISLANDS (page 94) ARMLET OF GOLD FROM THE TREASURE OF THE

OX S. O TH E R D B . C U AB UT 3 CENTURY . ROMAN SNAKE BRACELET OF ABOUT THE I ST a 8 CENTURY A D. (p ge 9 ) MODERN I ND IAN BRACELET W ITH JEYPORE ENAMELS (page 1 00) INDEX TO THE PLATES PLATE TO F A CE 1 P P I TH E I TH a 5. A AL R NG OF 5 CENTURY (p ge GERMAN JEWISH WEDDING R ING OF THE I 6TH CENTURY (page 1 1 4)

O I O THE 2 N D A. D. R MAN R NG , AB UT CENTURY (Page 1 1 9) MODERN BURMESE RUBY R ING (page 1 2 4)

' 1 6 THE O O IO I W ILLIAM IV. a 1 1 1 . C R NAT N R NG OF (p ge ) “ ” ANC IENT EGYPTIAN PORCELAIN OUZ A R ING (page 1 1 6) ITALIAN ENAMELLED R ING OF THE I 6TH CENTURY (page 1 2 1 )

1 . IS I I I o6 a 1 1 7 ENGL H WEDD NG R NG , 7 (p ge 4) I TALIAN DIAMOND R I NG OF TH E I 6TH CENTURY (page 1 2 2 ) ENGLISH D IAMOND WRITI NG RI NG OF THE I 6TH CENTURY (page 1 2 6)

8 IS I H - I I . ENGL H F FTEENT CENTURY DECADE R NG (Page 1 07) ANC I ENT EGYPT IAN SIGNET RI NG OF CARNELIAN (page 1 1 6) ROMAN BRONZE KEY - R I NG OF ABOUT THE I ST

a 1 1 CENTURY A . D . (p ge 9) ROMAN DOUBLE R I NG OF ABOUT THE 3R D

N A D a 1 2 0 CE TURY . . (P ge ) “ ” S B ROOCH I R ISH O O THE ARBUTU , W RK OF AB UT

I I E A. D. a 1 THE T CENTURY , (p ge 34) HUN TERSTON OO S O IS O THE BR CH , C TT H W RK

O I OTH A. D a 1 OF AB UT THE CENTURY . (p ge 37) “ TH E O OO S O ISH O GLENLY N BR CH . C TT W RK OF THE I STH CENTURY (page 1 40) I I H S S I O TEUTON C BROOCH W T WA T KA . AB UT

TH D a 1 1 THE 9 CENTURY A. . (p ge 4 ) x INDEX TO THE PLATES PLATE TO F ACE PA

- 2 1 . O S XO OO I S AN D ANGL A N BR CH W TH GARNET , AN ANGLO- SAXON PENDANT W ITH TR ISKELE I N

GARNETS. BOTH ABOUT THE 9TH CE NTURY

A. D

I - ON TH E HAM LTON BROOCH . ANGLO SAx O D O G LD, JEWELLE , AND ENAMELLED W RK

O TH . D a 1 OF AB UT THE 9 CENTURY A . (p ge 45) ANGLO - SAXON ENAMELLED BROOCH OF ABOUT

THE TH N A D. a 1 6 9 CE TURY, . (p ge 4 )

“ LOCHB UY OO S O ISH O THE BR CH , C TT W RK OF

O I 00 A. D AB UT 5 .

S I V I OO OF O ER IV CAND NA AN BR CH BR NZE , D ED FROM TH E ROMAN TAU F I BULA SCYTH IAN SI LVER FIBULA OF ABOUT TH E 3RD

B C . CENTURY .

- 2 . O SAxON IP PI N O AN D 5 ANGL TR LE OF BR NZE, AN A N GLO- SAxON BUCKLE OF GOLD W IT H I N LAYS OF FLAT GAR N ETS AND BLUE COM POSIT ION OF

O TH E TH A D. AB UT 9 CENTURY . J USTRATIONS IN THE TEXT

A AN D TRISKELE

I SATA

)WN OF LOMBARDY

)W N OF HUNGARY

) WN OF CHARLEMAGNE

BRONZE PIN

INANN ULAR BROOCHES

OMAN ANNULAR BROOCH

“ ’ AV IAN BOAR S H EAD B ROOC H

I AI N ED PI N

‘AN FIBULA

FIBULA

TAU FI BULA

JEWE LLB RY

C H A P T E R I

INTRODUCTORY

Saint Eligius Theophilus Benvenuto Cellini Early ewe er in E t R o es a Etrur a Greece and j ll y gyp , h d i , i , , — o s— r— Ena e R ome Preci us stone Solde m ls.

HE Eli ius patron saint of jewellers is g , under whose protection the French j e wel lers and goldsmiths founded a guild in the e thirteenth c ntury . Eli iu s g was born in the sixth century, and e lived to about the middle of the seventh c ntury. Chatelat He was a native of , near Limoges , and from a very early age showed unmistakable evidences of gre at manual dexterity . He was u apprenticed to Abbo , a medallist of Limoges , e e when quit young , and never lost his tast for Eli ius k work of that kind . At Paris g wor ed B n with the royal treasurer and medallist obbo , and he quickly gained royal favour and much

B 2 JEWELLERY renown by reason of a beautiful j ewelled thro ne which he designed and made for King C lo taire I I . In reward for this and other fine pieces o f r Eli iu s e e the Offi o j ewelle y , g r c ived cial p st d Of tres orier or me allist to the king , a position he held during the succeeding reig ns

Clotaire . his Of Dagobert , Clovis I I . , and I I I , name occurring on gold coins made during all

these reigns . Numbe rs Of fine gold jewelled cups and ecclesias tical vessels are also recorde d as having

been made by the saint . iu O m um Elig s was moreover a man f uch ac e n , as he was entrusted by King Dagober t with l r r po itical missions , all of which he ca ied m a through with succe ss . He was also a n at m and f u uch piety and philanthropy, o nded e c e abb ys , churches , monasteries , and onv nts ;

and seve ral miracles are credited to him . 6 0 Eli iu s e of o In 4 g was el cted Bishop N yon, e m re rese n V r and , and Tournay , and in p tatiOI in painting or sculpture he may be recognise: e r n : as b a ing a hammer, working at an a vil a e f e e n a jewell r , orging a horsesho , or pr senti g I to shrine King Dagobert . f e the Eli ius E A t r sainted Bishop g , or lo i he me l is so times called , came many ecc esias trcs INTRODUCTORY 3 who we re also devotees Of the beautiful art of the jeweller . Bridnothu s Elsinus Of El and , both abbots y, ’ e e for so w re not d their goldsmith s work , and

was Richard , Abbot of St . Albans and abroad e e m Of th r were nu bers skilled workmen , many O e e me f whom v ntually beca painte rs . e Francia , Ghirlandajo , Bottic lli , and Ver rocchio all acquired their taste for art as jewellers ; and one result Of this is that any working j eweller could reproduce any Of the e jewellery shown in the pictures of thes masters . The careful rendering of personal jewelle ry by e e e thes mast rs , and by oth rs also , is , indeed , a s trong testimony to the high esteem in which s uch beautiful objects were held in medi e val

t imes . With common consent the place of foremost e e j weller is conceded to Benvenuto C llini , a f in m pupil o Michael Ange lo . Of course , ost c ases a goldsmith is bette r known by his work f — e — m o a large kind cups , vas s , reliquaries s all pe rsonal jewelle ry not being of the same im

portance or value . But with all the great e e j ew llers , small work , when ver undertaken , w as treated with the same loving care as large t o w ork . Th ere are w or thre e small enamelled s e ttings Of cameos in the Paris Cabinet des

INTRODUCTORY 5

e skilled French jewellers . In Spain numb rs

of beautiful jewels have been made , especially in the matter of pendants ; the same may be said of the German and Flemish jewellery of the E th ao e . e sixt enth century In ngland , when e cession of Henry VI I . mark d the end of a long

period of unrest , jewellery became once more ’ ’ possible , and goldsmith s and silversmith s work with enamels reached a high degree of excel U v lence . nder the succeeding Tudor so ereigns t jewellery flourished . A glance a any of the

portraits of Henry VI I I . and his successors will show this ; jewels were worn in hats and a in clothing , to say nothing of belts , d gger e hilts , and the like . Sev ral of these were

designed by Hans Holbein , and not only was e th re a profusion of small personal jewellery , but the royal tables were covered with richly E wrought silver plate , often gilt . Queen liza beth allowed her subjects to make presents to

her , and these usually took the form of some

beautiful piece of jewellery . w Like many other arts , je ellery has in the main suffered by the dying ou t of the mediaeval

u guilds . These g ilds , although they were to re mischievous in many ways , still tended p

serve valuable artistic tradition , which without

them tends to decay . 6 JEWELLERY Th f E e growth o tec hnical schools in ngland , f in under the care o compe tent masters , will time largely supply the most valuable effec ts i which arose from the existence of the gu lds , but there will never be quite the same co n f tinu ity of membership or fraternity o interest . These schools should not keep Up the old spi r it

' of w s u fi e rs e fu narro ness . No art by b ing lly understood and practised by any one that car es for tai it , and there are still in London cer n classes in technical schools supported by the s public to which the public has not free acc e s . Un on This is utte rly wrong , and if Trade i s think they improve their position by foste ring e mis any such exclusiveness , they are quit e m tak n , and I feel sure that the best and ost enlightened Of their leaders are quite in acco rd cl : ance with this opinion . Let all technical be ope n to eve ry one who will pay the fees id n e rs n subscribe to the rates , and then ma y p o s who are now ignorant of the real beauties of a e x u lovely silver hammered goblet , or an q u h wirework pendant , would learn just eno g to ’ fully appreciate the artist s S kill and lo ving e n labour , and the d mand for true ha dwork n re would in all likelihood increase a hu d dfold. now e is We are just , as far as jew llery or is m e e . u c rn d , in a transition stage There c h INTRODUCT ORY 7

n now m k and in ha dwork done , both in etal wor e ame s n ls , as well as the signs of a true r ta te in j e wels but the purchasing public are not yet quite attuned to the lack of trade finish which n ea is otable in such pieces . So we get ch p c s k a t work instead of expensive handwor . The cast work is much cheaper and can be m e e the e d or asily finished , and so it holds fi l

for the so e . present , far as large custom go s All trade of this sort depends really upon the of the the e taste purchaser, and unless tast o f E the nglish public can be improved , we shall still see replicas of such objects as the America Cup or nine - tenths of the race cups no m w e s w ade , as well as the little je ell d bit

- et motor cars , cycles , bats and balls , croqu mallets , Badminton bats , and other popular models , which , as brooches and pendants , find e e s a ready sale . It is hard for the fine d sign r e who are we hav among us , not always F o or F ou u et to able , like René Lalique , y, q , ' make their names known until , alas it is too late . The subject of personal jewelle ry is a large m one , and can be approached from any sides .

Pe rhaps the most obvious side is the historical . e e I hav , how ver , avoided this , and shall deal h e e with t e subj ect piecemeal , by obj cts , and giv 8 JEWELLERY

f wt de an outline o the inception , gro h , and velOpm e nt of each of the classes of jewels as on e I know them . I must premise that any of thes e subdivided subjects would itself make a oc e s large study . Necklaces , Rings , and Bro h a each deserve a book to themselves , and I d re ff a say some day it will be a orded . Rings h v e already been much written about by Sir J o h n

E n . . als va s and Mr W Jones , who has o written a very valuable book on Cr owns a

' Cor onatzons c e , but there is little else ex pt magazine articles about jewellery in Engl My own Cantor lec tures hardly count as i e al val publ cation . There are , however , sev r o ad able books on the subject written , abr ,

c . E . Les B espe ially those by M Fontenay , ijoux

' mode m es c umens et . . , and M H Havard, ' ’ ' H zls'toz r e de l or 21 rre r ze r an azke w j f p , both of hich r w a treat the subject in a gene al y. There are r r many other valuable wo ks in French , Ge m an, a i and It l an , which devote themselves to a consideration of the jewellery of partic ular e of p riods , and others again which treat par ular tic styles or objects of jewellery .

is No doubt tattooing , which almost uni ve r sal s tr i in some form or other among avage bes , is one of the earliest forms of human o r na t ment ; one , however , which is nearer o je wel INTRODUOTOR Y 9

[c r y and is still very ancient , is the curious liking for ornamenting , or , at all events , dealing with the e teeth in a manner never intended by natur , which has prevailed , and still does prevail , of among many savage tribes . An instance this can Alacam es be seen on a skull found at , in E cuador , in which each of the five front teeth has a gold disc set in the middle of it . Except some recently discovered Egyptian work from Abydos , the earliest ornamental work that can fairly be termed jewellery is ,

I suppose , that found at Ialysos , in Rhodes . H ere we have necklaces with small gold set t ings , with variously cut beads of amber , a e m thyst , agate , crystal , sometimes polished , b u t more usually left unpolished , carnelian , a s lways polished , gla s very cleverly moulded and fi gured , and an abundance of small and most d - e ecorative moulded head p ndants of porcelain , ofte n glazed . From Mycenae come small rare carvings e in am thyst , used as seals , gold work usually a w lone , but sometimes associated ith small n s i lays and bead of glass , amethyst , and car nelian . Cut stone intaglios were sometimes set in gold . E E a arly trusc n , as well as early Greek work , is as a rule of gold only , but it is also found JEWELLERY now and then with small inlays of glas s

m m k ean s all ena el wor , and also with b m e a be r , carnelian , figur d and opaque J handed e s onyx , plasma , and agate ; p arl are of tas s c made use , both as small , T e for . ec tl p ndants , and heads of pins

m l - c onsideI s a l flint arrow heads , probably

l m are . ta is ans , often found It seems probable that the m edia vz chemists who spent their lives in the of m the O e of n i on che istry , with bj ct fi d ng d to transmute commoner metals into gol , not so far from the truth as is s upp Rec ent discoveries tend to Show that s up elements are more largely di visible e to fu e r ' th y are thought be , and , with rth be rOC I ledge , gold may well prove to p from substances now considered free fr t e a r c Inde d , as I write , I find on my table p tus of a company formed to extract gold

- I c all l sea water. wish it suc ess , but th contained in a ton of sea- water is only w

small fraction of a penny . The gold ornaments made by the As hant e s o f pe rhaps , the best available instanc

a are t tive work in that met l . The forms pe except where they are copied from n s or of e nufac object , pieces W stern ma tu re INTR ODUCTOR Y I I

e e of as watch wheels , and ther is a cl ver use w — c ire urled , twisted , and arranged in elaborate ne me e e twork . This network is so tim s left op n , and sometimes solde red down on to a plate of T g old . he rich colour of the Ashanti gold w to ork is remarkable , and is probably due s o e The m artificial surface treatme nt . curious a ggry beads are found in Ashanti in the soil . They resemble the work of early Ve netian

- O g lass workers . They are paque , with patterns , m f one ostly rings , upon their sur aces . No k n how ot ows they g to Africa , but they are

w - orth their weight in gold dust . Among the archaic remains recently dis C o e of e e vered in Rhodesia , evid nces consid rabl s k ill in metal working , especially in gold , have n f e b e e ound . Beads of gold in all stag s of m e anufactur , and finished beads , facetted , or

w ith geometric designs chased upon them , are e of No ther , and are the greatest interest . s e to old ring seems have been used , as far as is

th n - yet known , e ma y ring heads being only

- e e . s o pr ss d into form Wire work particularly , dear to the savage as well as to the modern e e j well r, is found in plenty in Rhodesia . B of angles gold , silver , iron , and copper , made into e g wir , and also of solid form , are found , a e s well as beads of ivory and silver . The b ads

’ ‘ INTRODUC I ORY 1 3

m e ans of a twisted wire , laid down in the same

- direction . The Anglo Saxon goldsmiths of a later period used the same device . The E truscans knew the art of vitreous enam elling u pon metal , an art which , curiously enough , w as E not practised by the ancient gyptians , m aste r workers though they were in glass . V e Small pieces of carnelian , amethyst , agat , and onyx were carved and cut for making seals a E t a very early date . arly instances of such w ork are to be met with in the case of the E sc arab asu s gyptian , the Assyrian cylinders f o hematite , or the Mycenean seals cut in am ethyst. k e But it seems li ely that cut j ewels , or g ms , e e e ith r intaglio or cameo , were us d set in r e e ings , brac lets , or necklac s , before such s t nes p were cut , polished , and set in jewellery , fo r f the sake of their own beauty. In act , here , a s in so many other instances , the useful pre e c ed d the beautiful . After the exquisite taste of the Greek and E e truscan jew llery , Roman work appears at a disadvantage ; the gold work is heavily d e esigned and heavily worked , but th re is a e e c rtain pow r , which is wanting in the more

refined work of the Greeks . In Roman work t he u se w of coloured je els is general , and most I 4 JEWELLERY of the in lc ordinary coloured stones occur p ty. z z and i Garnet , topa , sapphire , lapis la uli , p t e r are common , and there are many o h s t as e as l us d we l .

Anglo- Saxon jewelle ry is remarkable fo r ve ry u of m all fiat beautif l enamel work , inlays s te r n garnets , delicate gold work with pat ou t fi ne w e or re o t in t ist d wire , stamped p é. n e n The Scandi avian styles are preval t , k e ll Merovingian wor is very similar . Ni o w ork t eff f d is used wi h much ect , and is oun bo th

e o dwo r k is gold , silver, and bronz , and the g l marked by a certain prevalence of large gr anu lar work such as shows on the setting of the

Alfred Jewel .

The scarab , a compound of cameo and in s et all orn taglio , the fashion for other am e n al engraved stones , except the cylindric , and we e n find the scaraboid form us d for a lo g time, ” e e b oc both for g ms and ston s cut en ca ho n, w f Th . e t nl that is , ithout acets earlies i ays in z o gold , silver , or bron e , were glass r am we and then find carnelian , sapphire g n Garnets were , I believe , the first sto es t o e t cut in flat piec s , and in this form hey mak e a very distinctive feature of Merovingian a

- x e w n Anglo Sa on j wellery , and occur as e ll o INTRODUCTORY 1 5 all the numerous links which come between es two th e . The facetting of hard stones probably origin a e ve t d in India , and is likely enough to ha e u e b g n with a diamond . Two diamonds rubb d against each othe r would in time form two s m f on to all acets , one each stone , but cut a diamond truly en cabochon in this way be ffi w ould really more di cult than to facet it . N o old f e e doubt Indian diamonds were ac tt d,

s Koh- i- e a was the Noor , very clos ly on the nes of the e of li original surfac , a form cutting w hich would not bring ou t the refractive powe r

‘ o f the stone to its full effect . So it is that m any of the se fine old stones have been re - cut n e r e e o sci ntific p incipl s in the brilliant mann r, e e l o sing th r by much substance , but gaining m uch lustre . In 1 475 Louis de Berghem found that by the se of u diamond dust he could cut diamonds . W he the r this was an original invention or w h e the r by some means or other Berghem e E e b orrow d the idea from the ast , wh re it was all i n probability known at a far earlier date , ’ e e Be r h m s w ill n ve r b satisfactorily decided . g e inve ntion was anyhow made much of as far as u e as e e E rop w conc rn d , and lapidaries quickly found that irregular and flawed stones could be 1 6 JEWE LLE RY

a e t i of a of f ee u n m d h ngs be uty by means r c tti g . The natural shape of a diamond crystal le nds m to t fo m f itse lf ad irably cut ing . It is in the r o two pyramids joined at their bases— an oc tah e dron— and it is at once evident that the g e ne r al lines of this form of crystal are pres e rv e d in a d mo ern brilliant of prope r proportion. Bu t r l r far o f a b i liant is the last wo d , so , the t t e al diamond cut er , and here were s ver ot her c ed ed led u forms which pre ed , and inde p to it. The oldest form of diamond cutting is sim ply the c s o r to cover stone with small fa et , the ig inal form of the crystal not being mate riall y inte r t can b e s fe red with . This sort of cut ing ee n in w t e a the Tower of London , here her is g lass model of the Koh - i- Noor shape d as it was I when it first came over to England . ts name e signifies Mountain of Light , and it r sem b led m w t f s a s all mountain covered i h acet . S uch cutting on a fine stone would doubtle s s s how t rich play of refracted light , but no hi ng t o be compared with the effect which would b e s een e c u if the same stone were prop rly t . The

Koh- i- Noor was unfort unately not thick c nr to allow of the proper proportion of a pe n c e: l — it not c a l bril iant is too shallow , and pa of refracting white light as strong ly as I' n em e th ought . It is interesti g to rem b r at INTRODUCTORY I 7 old Indian tradition records that the owner of this stone is always the ruler of India and long may the present possessor remain so The diamond is of great inte rest among stones , as it forms a class by itself. Other b hard stones are , roadly , formed on the base alumina or the base silica , but a diamond is U o crystallised carbon . nder certain conditi ns wood forms consecutively peat , lignite , soft coal , hard coal , cannel , jet , marble , and pos l sib y enough diamond . So our sparkling gems m ay be of vegetable origin .

The diamond - bearing blue clay of South fr the A ica , however , seems to be filling up of x n e tinct volcanic craters , and it is u likely that ancient forests have in this case provided the a s ubst nce . Anyhow , the clay is full of crystals o f for diamond , and the curious result of the m ation of these cylindrical diamond beds going directly downwards and every day having to be the w orked at greater depth , is that face of the c ountry is more or less covered with enormous deep pits , the clay from which is hauled up by an

- e laborate system of wire worked trolleys . It is ’ quite likely that as the workings get deeper the diamonds found may be bigger , but then there may also be the diffi culty of working in great

h eat . 1 8 JEWE LLERY The natu ral octahedral crys tal of diam o nd has to a large e xte nt bee n u tilis e d with li ttle al te ratio and the re ar e m an ancie nt e x n , y am les of c r s tals of th ha e olis he d o p y is s p . p n their nat ural fac es roba be f re the id , p bly o e a o r the pos s ibility of im pro ving the shape o f th e

cr stal its lf c ur re d to an one . in w y e , o c y Pl y, ho wrote in the fi rs c t r his wo nd t en u y , in e r fu l N at u al t r the l of hi s r His o y, on y work whic h re mai ns earl esc r be s n s and sa , cl y d i such sto e , ys that the Indians have a liking for c rys tal s late rum se xang u lo laavo re tu rbinatus in m u c ” rone m t a sa w t an le s , h t is to y, i h six g , and te r nat n ra har o in mi i g , like a py mid , in a s p p t . Ther e are several methods of cutting dia m all h w onds , of w ich are , or ere , suppos e d to be the be s t fi tte d to bri ng o u t the po wer of r l r en ref acting ig ht to the g eatest ext t. 1 he e f w n t s orms have now , ho ever , give plac e to i lia as e s h the br l nt , but in the c e of p culiarly aped or l s th bad y shaped or marked stone , es e old f m be or s may of course of use . The rose w as invented about the middl e of the n t n un seve teen h ce tury , probably de r t a z who n influence of Cardin l Ma arin , i te re s ted himself much in the q u es tion of how be st to t

diamonds . Twelve large stones were c u t u m ’ the Cardinal s superintendence for the INTRODUCTORY 1 9 ment of the French crown , they were rose “ ” Maz arins cut and called the twelve . A “ ” - rose is a half crystal , flat at the base and pointed at the top . The upper part of the S ston e is facetted , and a true Dutch rose hould

- have twenty four facets . A Brabant rose has only twelve facets .

A table , or a lasque , is a flat diamond with facetted edges ; it is an old form . It is some times cut as a seal with intaglio design , but in this use the value of the stone is little — a piece of crystal would look just as well and be much easier to manage .

- n A step cut diamond is like a table , o ly the flat top is much smaller in proportion , and the sides facetted in gradually decreasing sizes . Point- cut is the ancient fashion of keeping t he crystal of diamond in its original shape , o n d nly slightly cut alo g each face , and polishe .

n - The sixteenth and seve teenth century rings , w S ith diamonds of this hape set in them , were o ften used for scratching inscriptions on win dows .

- S Briolettes are oval or drop haped stones ,

f e e e e . ac tt d all ov r , and oft n pierced at the top A fine pair were in the earrings of Marie

Antoinette . e Although diamonds are v ry hard , they are

INTRODUCTORY 2 I Large diamonds often have small black points of e e uncrystallised carbon within them , and th s e of e specks larg ly lessen the value the ston , and u k a p rchaser should always loo out for them .

They are worse than a simple flaw . ” The stones known as “ precious are crystal lised e alumina , and are v ry hard . To this class

belong the ruby , sapphire , emerald , spinel , some

kinds of garnet , and the stones called by the x prefi oriental , as oriental topaz , and oriental m a ethyst. The colour is caused by small quan of x tities o ides of various metals , which have at some time or other been incorporated with the m ass of the crystal . Iron , magnesia , chromium , o m are the most comm n , and between the seem to be capable of producing almost any shade f o colour . The other large class of stones used in jewel

lery are softer , but still hard , and are varieties — — of rock - crystal quartz coloured in the same i u way as the prec o s stones , with metallic ox Th o ides . e comm nest stones in this class are perhaps agates , carnelian , amethyst , jasper , cairngorm , sardonyx , and chrysoprase . Such stones are only valuable because of the trouble of e cutting them , and because of the mor or less beautiful colour they may show . Opals are vitreous silica and unfortunately 2 2 JEWE LLERY

as il l se hei f ce lis h soft . They e y o t r sur a po and bec m l b u t the beau tv the c olo u r i o e dul , of n a fi ne n une e fo r u rit v of ton sto e is quall d p e . The colour is cau se d by the refraction of the r ays of white light by minute prismatic str iations o n the sides of t he i nnu merable flaws with w hic h h fi r as e i l the t e stone is lled . G e w ll dul c ol o urs l the t rm e be f in an opa , but if s one is wa d o r e a r l oft n w k. fire , the colou s i l e come bac As as o are the o l re far I kn w, opals n y p c io us es f of fos s ston which are found in the orms ils , h b particularly shells and teeth . Suc o ject s are

' b u t whe n fi ne of e x rare , of form are qu isite the os i of beauty . It is probable that dep t opal has taken place in hollows left by the dis n the appeara ce of a shell or tooth , so that y are s and of one s bs ca ts , not the conversion u tance

into another. Pearls have been used in jewellery fro m the w the s earliest times . They gro inside h e ll of ” in m ar aritife ra the pearl oyster Meleagr a g ,

and the finest come from Ceylon . Pear ls of n ells r inferior beauty are found in ma y sh , pa i u larl a of t c y the pearl mussel , and sever l these ar in h is e set the crown of Scotland , whic now b at Edinburgh . Pearls , when very old , e c om e

like lumps of chalk . Amber is constantly found in Scandinavian INTRODUCTORY 2 3

o- ee and Angl Saxon jewellery . It is a fossil tr

gum , and is largely found along the coasts of ee Denmark and Jutland , and to a lesser degr En The on those of gland . colour of amber is e oft n very fine , and it is lustrous and polishes

O s . easily . With age it turns paque and crumble Thousands of years before the birth of Christ the process of joining pieces of metal together by means of another small piece me lting at a

e e . r low r heat , was known to j wellers Professo Flinde rs Petrie found undoubted examples of fi ne soldering on some of the earliest pieces of j e wellery he ever found . From this starting point all subsequent triumphs of goldsmithery

become possible . Soldering with the blowpipe ’ is indeed the keynote of all true j e weller s

work . Much of course can be done by the

hamme r and annealing , but without the dis c ove ry of the wonderful possibility of soldering

we should be much poorer than we are . ' The perfection of the cutting of the brilliant ff has , I fear , had a disastrous e ect on the art n of the jeweller . As the brillia t approaches

perfection so its setting diminishes , until at las t we find designs made up of large ston es e only , with an infinitesimal setting . Benv nuto Cellini set diamonds delightfully in exquisite k ex borders with rich enamels , usually blac n t 2 4 JEWELLERY the stone but modern diamond jewelle rs do all they can to hide the way in which the sto nes

are held together . in s m a Vitreous enamels , largely used ll n B C to r jewellery si ce the sixth century . . o u s e b the knowledge , are gla s variously colour d y n s ta c oxid infusion of small qua titie of me lli es . E a due to arly enamels are lways opaque , the na presence of oxide of tin . Translucent e m els a er h have no tin in them , and require a gre t eat f r li o their working . They are also more able off O els to chip than the softer paque enam are . The chipping is due to the unequal contrac tion of the glass and the metal u pon which it is d ff e fused , under i erences of temperatur . There are hopefu l signs to be seen in Lo ndon to - day that the artistic and colour val u e s of vitreous enamels for small jewellery are mak ing n ou r w n themselves felt amo g ne er desig e rs .

This is in every way to be encouraged . The re is a form of personal jewellery w hich i d at one t me had a decided vogue , and I o not t e d know that it has ever been much no ic . I d mean jewelled clothing . No oubt jew e lled clothing developed from enlarged jewell e ry of

the usual forms , for instance the Jaserans and w Carcans , both sorts of je elled breastplates or ne stomachers , developed from the ck lace . INTRODUCTORY 2 5 ’ hili e le i e pp Bon , K ng of France , is suppos d to Iave invented the fashion of setting diamonds In e black v lvet robes , and in many of the r i E >o tra ts . of our Henry VI I I , Queen lizabeth , Ind other great personages of their time , nany beautiful examples of jewelled robes and l res s s e can be found . It is in this connection interesti ng to note hat Queen Alexandra follows this ancient ' ’ ashion H r t . e Majesty s corona ion dress was ‘ ic hl y jewelled , and the Queen also wore a w - k ff ire wor filigree ru set in the shoulders , w hich was also thickly jewelled . It is a Jeau tifu l and custom , it may be easily revived , with good effect . C H A PT E R I I

NEC KLACES

Ear sc o eries near entone— Berr es seeds s ly di v M i , , he lls teet — Tor ues— Etruscan Gree and R om h q , k , an we — Anglo - Saxon nec klaces Renaissance designs and laces in France and Ita ly.

N E of the distingu ishing pec u liar-i the human race is its liking fo r pe adornment and event u ally the love of th e in tiful any form . Animals only seem to get as far as th e p r c o u r when they admire certain fo ms , ol s , do n sounds , presented to them , but I o t tl that it has ever been show n that any ani will purposely ornament itself for th e pleas ure of doing so . There is a crab w decks itself with pieces of seaweed b y I of on its e li hooked spines back , but I b e ve is only for purposes of concealment . Ano crab loves to have a sea- anemone on its IT one off or e and if gets dies , the crab n v e r I till it finds another tenant . But almost as early as ou r earliest r ec ort NECKLACES 2 7

use p rimitive man , we find evidence of the o f extraneous ornament— seemingly purpose l ess— and adopted merely because the love of s be uch ornamentation did exist . As may well s n the upposed , primitive orname t consisted of s tringing together of the most obvious objects fo r instance , I picked up numbers of already S pierced shells , mostly limpets with the harp off fe w p oints rubbed , in a minutes at Barri c ane Bay, in Devonshire , and they make a n c - e klace that would to day , as centuries ago , d elight a child , or a savage man or woman . 1 88 At La Barma Grande , near Mentone , in 4 , M fi M . Julien and Bon ls found a human skeleton o n which were pieces of cut or chipped silex , and e pierced teeth of ox , stag and goat . A littl la one ter more skeletons were found , three in b an urial place , a m , a woman , and a child . The man had a necklace of fourteen pierced ’ s tags teeth , ornamented with small striations , a and pierced vertebr of a fish , some small pen d ant ornaments of carved bone . On his head ’ w ere found stags teeth and fish vertebrae as

well as some small pierced shells . On the thorax were some curious beads of

k - the form nown as dumb bell , cut out of bone . m ’ The wo an s skeleton had similar ornaments , ’ but not so many . The child s skeleton had on

NECKLACES 2 9

and carefully knotted together , and in South America beautiful glittering circlets are made ’ e ‘ of b etles wings . I believe it will be found that necklaces were the first personal ornaments m e ad ; they are the easiest and the most obvious . No doubt a very early ornament and mark of dignity was a bright bird ’s feather stuck in the i ha r, but this of itself is so ornamental that it did not even need the small amount of intelli gence requisite to string a ro w of limpet shells e tog ther . The love of primitive man for fe athers stuck in his hair is evidently still strong am ong us— w e no w arrange certain feathers as marks of rank in the hats of all our great s civil ervants , in those of soldiers of highest k a r an , as well as in many regimental inst nces , and in the ceremonial hats worn by the knights o ur o f several Knightly Orders . Neither do we even yet give up our liking r n fo ecklaces , as can be seen on any collar day t at Cour , when all the knights of high rank a n w e r the collars , or ecklaces , of their parti u lar c orders , and the Heralds their collars

f . o SS Our high judges also , and mayors , nd f a other municipal o ficials , could not appear n o great occasions without their beautiful , or possibly beautiful, necklaces of gold , enamel , “ o r j ewels , and quite lately the Victorian 30 JEWELLERY chain has been instituted in c onnec tio h t e Victorian Order. It is a small inte rva chain of gold , barred across at r n rose , shamrock , and thistle . It is wo O the neck , and carries the cross of the a pe ndant . As primitive man gradually acqu greater command over the powers of hi : ffi so more di cult work was done , and v last he found copper and found out I w f could melt it and hammer it out , a ne his ingenuity and taste Opened out am of the forms of early ornaments of co m e tin mixed , which we call bronze , are w ll

of our highest admiration . The earlier pieces made were all metal

time we come across inlays of pearl ,

S c glass , bone , and hell , and eventually c

stones and enamels . Gold belongs to what is called th Age— the age in which we now live— an it was first found by the men who were tom ed to the management of bronze

only , its numberless superior virtues m u t soon have asser ed themselves . Not

the lasting beauty of its colour , but a cause of its wonderful malleability an . f temper , gold has always been the a NECKLACES 31 m e etal for j wellers , both when used alone and e as a s tting for other materials . Gold is the m ost widely distributed of all the m etals , but in nature it is never pure , it is always alloyed with silver , and often with copper or iron . When we get beyond the early “ natural ” history form of the necklace , we generally

find gold used before any other metal . It was found in rocks and river beds in a workable f orm , and I daresay it was really known and worked even in the times we call the Stone and e Bronz Ages . In nearly all countries gold m is found ore or less , and although copper al is equ ly common and also found pure , it is hardly so easy to recognise . Gold pressed out o r hammered into thin plates was easy to mould m into ask or other forms , and must always have been charming to look at because of its colour. Little gold nuggets from river beds only want piercing to make delightful beads for

necklaces , and many such beads , the dates of

which can only be guessed at , have been found

in Rhodesia . But in countries where auriferous

- bed deposits exist in plenty , such river deposits ar e usual . The making of metals into wire , h and t e working of such wire , seem to have b e en known from very distant times . 32 JEWELLER Y Drawplates of ag ate have be en found am ong ve a ci t b u t s u are section w i ry n en ruins , q re (n o be eas ilv c u t off the ed e a shee t of m g of e tal , and wa ted it can be with difi cu lt if n , y, ham m e red l d t r u n w In th or fi e in o o d i re . e b egi n ning it is likely enough t hat wire was fi r s t m ade t w ay and a th u h ancient draw ' la in his , l o g p tes . m ade of ha rd s tone pierce d wi th holes of dif fe re nt i s are not te u nknown the s ze , qui , y ar e so rare that it seems lik elv som e othe r w ay of n w w as w n Go ld w m aki g ire kno . ire k fo u am n the a e t E tian r u i d o g most nci n gyp ns , to- day it is w e ll repre sented by the wo r k of ri mi v stvle b v the antis p ti e done Ash . As type s of innu m erable other I longing to what I m ay a ll t h t r e i the e r s t we 1 is o y p r od , a lie of sc i e a fe w s ec iI as , I will de r b p w c om e n m y ti e and : h u der no c , , t ar e not e ves nevert 1 hey thems l old , m c los res e m e bo t m ate i l and bl , h in r a n, w hich w ere made b v our pre historic a From the Solomon Islands I d a set ' the m ain ornam ents of which are Ian ti

- ui stained darkly with be tel nut j ce. 1 s eparate d by cleverly m ade dises ll al ated wi t a k 8 pink she , tern h bl c str ung on some ve getable fibre . NECKLACES 33 From Mas honaland com es a necklace repre t e sen ing , p rhaps , the earliest of all types it is a very pre ttily- chosen wreath of large yellowish white berries divided by groups of smal l red e ee are sph rical s ds . Such beads as these easily found and range over a considerable scale of e e e colour , and ne d but littl putting tog ther . From the same place comes a rather unusual ’ c e ne klac composed of birds beaks , arranged carefully in graduated lengths , and also several others made up of variously coloured shell discs , e carved bone , and shaped piec s of turtle shell , stru ng in many cases with effective strips of coloured grasses . The Kafli rs of Natal supply us with an ’ e xample of a hunter s necklace , made of ’ leopards claws , such trophies being always in u much favo r , as they not only proved the ralo u r and su skill of the wearer, but were p Iosed to bring him luck in his future hunting x ditio s pe n . Trophy necklaces of this sort are m m on ) in almost every savage tribe . A very o r ati e c v necklace of short wooden strips , rc e d e at one end , comes from Basutoland it

prettily strung on plaited grass . And from Fiji Islands w e find a very large and m isce l

e o u s collection . Many of these have the

g, graceful teeth of the cachalot whale as D 34 JEWELLERY

e i a h tooth s e ar a ed th ir chief const tuent , e c p t from its fellow by a few co lo u red glas s beads. ’ Other whales teeth of a shorter and thicker kind are also much valued by the Fijians ; these are us ual ly strongly attach ed to a thi c k plaited band of grass . These are all fairly typical of what can be made with objects easy to be found and wo rked b e we them and y uncivilised races , and b t en ’ fine objects of jewellers work th e re is little or

- m e n ut no stepping stone . As soon as fou nd o the possibility of working in metals it s ee ms as e w o k if they very rapidly became skill d r men. The earliest necklaces {showing this s killed n fou re workmanship that have as yet bee nd , a v e r ed th probably those which were disco , wi

. e at s. other treasure , by Dr Flinders Petri , Ab ydo E k sa w Other very early gyptian wor , id , ho ea s a ever , to be some two thousand y r l t e r , v

. u r in 1 8 found by J de Morgan , at Dahsh , 94 Several of the ornaments found h e re are 0 exceptional beauty and interest . Th e re

- - drop shaped beads , diamond shaped beads o d cylindrical and spherical beads of g l , cat and lian , emerald , and lapis lazuli , c u ri I l masses , nine small beads in three r c f and t ree each , astened together re ated

bead . Then there are large hollow m odels NECKLACES 35 ’ s nd hells a lions heads made in thin gold , which originally held small balls inside them which t k e in led when mov d . Other golden beads were m e f k ad like a ree not , and others again like little fiat shells with a small ring at the hinge . Sph erical beads of coloured stones were found enclosed in narrow gold bands , with stalks of gold , the upper e nds of which we re strung o n the e S w cord . Altogether these j wels ho great powe rs of design and complete mastery o f technique , both in the arts of the goldsmith and the lapidary . E e the gyptian necklac s of common type , made between the dates of the Abydos ex a e 1 00 B C mpl s and those of about . . , preserve in most ways the same traditions . We find even the curious dumb - bell beads found at Abydos i n amethyst represented in glass at quite a late e p riod . The of the majority beads are cut in stone , c arnelian and amethyst being the most usual ; t e e h n th re are plenty of others in lapis lazuli , e g arn t , hematite , steatite , felspar , diorite , and agate . These stone beads vary much in size and e in in shap ; they are oval , spherical , flat disc s hape , and annular , and as small pendant amulet beads they are skilfully carved into tiny

NECKLACES 37

The Gra m - Egyptian art of the Ptolemaic e e p riod has not , I b lieve , left any piece of made j e wellery— we only have a very few exquisite E cameos ; but there is a necklace from gypt ,

with very curious pearl pendants , which may very likely represent the art which did exist i t very fairly . The ma n por ion of this necklace ,

which is in the British Museum , is composed of f beads o carnelian , blue and green glass , and at short intervals small flat circular discs of gold E e are set . ach disc has a small circular piec

cut out of its lower part , and to the upper part f o this hole a fine wire is soldered . The loose end of the wire is then run through a pierced

pearl , and the still projecting end of the wire

tightly pressed down . It was impossible to

solder this loose wire end , because the pearl would not stand the necessary heat ; so we m ust admire the skill of the jeweller who made a this piece , bec use it looks quite as if the pearl e had been solder d in . Finally , from the centre f o the necklace there is a pendant , consisting of little Egyptian models in green glazed porcelain .

Of Scythian work , about the third century

B C . we . , find the solidified form of necklace k nown as the Torc , in a very decorative form .

Torcs , or torques , are so numerous that they 38 JEWE LLER Y

f m c s to t e s e ves really or a la s h m l . And the y are widely distributed : from Rome to B r itain they e x s in . Made of old i t unbroken succession g , h s e , t e v a e from th e hi ilv r , or bronze r ng ghly, o rnamental Scythian work to the sini ple Anglo n s w t d s Saxo ring , i h bosse end . at t us as n m o ne and They were imes ed ri g y, fo r thi s purpose un wearable mode ls w e r e made the m s in gold . Among Ro an tor q u e s were n as r r T e give milita y honou s . h re is some difficulty in distinguishing betw ee n to rques d a r t to s an br celets , or a mle s , and o m e e xt: e s n e ab l e th y eem to have been intercha g e , th “ ” To rqu is Brachialis being always wo r n on

the u pper arm . The torque for th e ne ck is like ly to have developed ultimately in to the o e t fo r man g rg protection ; indeed , y of fo rm s of jewelle ry have eventually b r o s

n l l t nto e of rm ou i pi ces protective a r .

l ll l ll‘ll l s u es ll gg ted the helmet , the nec k lac e

h us lntc the ec e . rc l p , bracelet the armpi The Etru scans were not above makin g gl

l s me . T mnds . o of which still exist h e r e

’ lwuu til u l me lon - sh aped beads ; othe rs s phe ri hut c o ve re d with s mall concentric circl es ant n l lIc rs again ve ry c u riouslv worked into hu

s ll u l the C e e t E l mask . hi f b au y of the tt l nec kl ac e s is to be found in the m as te r ly g NECKLACE S 39

the work . The designs also of many of E truscan necklaces are much to be admired . How they gradually thicken towards the front

is especially to be noted . The gold used is

thin , and was pressed cold into ornamental mou lds cut in stone ; some such mou lds two still exist . Then , where necessary , or more pieces were soldered together at their edges , and we find little lions , exquisite little heads of goddesses , tiny vases , and all sorts of similar obj ects , apparently solid , but really quite light . On many of these there is found the wonde rful granulation in gold which the Etruscans alone have been able to make of such fineness that no modern workman can equal it . Some of the granular work is , how ever , comparatively coarse , and this is , per ff haps , the most e ective . Greek gold work and manner of design is E nearly analogous to the truscan . We find the same knowledge of the constructive unity of the necklace and a very similar manner of working in gold , but the clever Greek did not give himself the trouble of dotting a line out grain by grain ; he fully appreciated the value of the appearance of such a line , but he produced very nearly the same effect by means of two

fine wires , twisted together , and easily soldered JE YVE LLER Y on in on i Th e ba nn of the e p ec e. e arlv ’ Gr ee k e we ll e r s w rk in old IS uns u r as s ed j o g p , and we find thi s re mar kable skill shown in almos t all the ir work ; b u t I do not think they favoured the nec klace in anv W d as fo r ns tan e the E tia s did. e fin , i c , gyp n e a the m at t fibula earri n s qu l work in er of , g , and nda s pe nt . I think the most distinctive form whic h is found among the Greek ne cklaces is that show in ri m h n f m g a deep f nge of finely ade c ai s , ro

which depend exquisite litt le vases . In most case s s uch necklaces also have numbers of s ed m the vase little ro ettes interspers a ong s , and the rosettes are sometimes e namelle d in

een. opaque colours , white , blue , or gr But in spite of their undoubted fondness for t e i n gold work , the Greeks did not en ir ly g ore the c r a and beauty of cut stones , as in the Vi to i Albert Museum there is a graceful little c hain

o f s eaf- s a ed pherical garnet beads , with gold l h p ks e e e n in lin b twe n each , the fastening b i g the f m ’ orm of an exquisitely modelled ra s head . Othe r necklaces have in the centre a s ur vival o f the Assyrian cylinder seal in the form of en a a l In m n gr ve d carneli n or enamelled go d . a y c as e s these c vlindrical ornaments are e ngr aved i h e s s t e also d ign , or bear inscriptions ; h y NECKLACES 4 1 sometimes have decorative pendants o f en am ell ed en cabockon gold or stones , cut , de pending from them . In some cases a little archaic fiint arrow- he ad is found as the chief of ornament an exquisite gold Greek necklace . No doubt the myste rious object was considered as a talisman . Among the Greek je wellery found in the

Crimea , and now in the Hermitage Museum at St . Petersburg , were several beautiful speci mens of necklaces of the types already men tione d , and others , among which were included glass beads of skilled workmanship .

Jewels set as we now know them had , how

ever , but little charm for the Greek jewellers . Such setting was first used generally by the

Romans , who were partial to it , the peculiarity of their work being that the upper edge of the

enclosing metal band was always kept broad , e u instead of b ing attenuated as m ch as possible . The cylinder form of he ad was a favourite one S with the ancient Romans , and we have peci

mens of them in amethyst , chrysoprase , and

gold , always joined by carefully designed orna of mental links gold wire . f Glass beads were used , but not very o ten , judging from the comparatively few specimens

. w left But it is al ays possible , in the case of 4 2 JEWELLERY ll glass , that much of it has perished . the Roman glass beads are curiously n s the form of coloured grotesque mask . are cleverly made by a glass - blower v with small pencils of glass . They are Th e pictures painted in coloured glass . I and n were clever workmen in glass , their more important works are of great I1 and among them are several instances same kind of painting in glass as c an

: in the case of the mask beads . Othe s are cleverly made of variegated gla s . Although enamels were not used to tent by Roman jewellers until Byzantine they are to some extent represented by of coloured pastes inlaid in hollows le fi in gold w ork In the Webb Collec tio x Victoria and Albert Museum is a very ful necklace showing the effect of this C l e tion . The necklace consists of larg

with white and gold ribs , set with v and inlaid with coloured pastes , not Between the paste beads are others 1

and cut amethysts . The Romans in Britain no doubt I over with them some of their skilled

I blowers , and both among the Roman here as well as among the Anglo- Sax c NECKLACES 4 3 i st nces f a of glass work are ound , especially nn brooches . There is a small example of it in a Roman necklace of glass beads with The oins . and a central disc , found in Kent lis c is beautifully patterned with a coloured c ome tric al rod { design , and it is a slice from a i f what the Venetians call m illefiori glass . Finy rods of differently coloured glass are arranged closely together in a pattern , and c u t hen fused together as one . Slices from u c h a rod each show the same pattern . And he process was equally well understood by the incie nt E gyptians and the Romans . At Desborough in North Hants a very

r i - le co at ve Anglo Saxon necklace was found . It f s a gold chain , rom which depend alternately zirc ular gold discs and oval cabochon garnets ;e t in gold ; and in the centre hangs a plain gold cross with a small garnet in the centre . It is very massive and handsome , and is no lo u bt a rare example . As a rule the Anglo- Saxon necklaces are o m osed f p of rather large beads o crystal , garnet , amber , stone , glass , or porcelain , the

- ast being sometimes melon shaped . When > eads of varying sizes are strung together they i r e arranged with the largest in the middle . Man y of the amethyst beads , which seem to

NECKLACES 4 5 tie round the back of the neck is a gold cord

ending up with pearl tassels . From Delhi there come enamelled plaques

set with diamonds ; the plaques , usually rect are angular , enamelled with translucent red and and green white , a very charming arrange

ment of colour . The square plaques are run on to the supporting chain by means of small

gold loops , or else pierced and divided by short

rows of pearls . Many of the necklaces have e u elaborat centrepieces , sually set with slices or

chips of diamond and flat rubies , usually of u bad colo r . The characteristic beau ty of the Indian nec kJ laces seems to me to consist in masterly design and the clever use of enamels the stones used

are generally of poor quality and badly cut . I think that the most beautiful composite neck laces must be looked for among those from

I ndia , but the most beautiful consisting of gold

only will be found among the ancient Greek . With the advent of the Renaissance in Europe w e find that the general style of nec klaces

changes , as indeed did most art styles . In the s ixteenth century of Italian work we find fine gold work elaborately designed and set with j ewels and enamels . Decorated bosses are

held together by series of small chains , or by 46 JEWELLERY s hort lengths of ornamental chai n se t v: e are fr u r j ewels and pearls . The boss s eq e O m e l i : made in pen work , and the ena n m

‘ c is e off. Enam el sti ases badly chipp d , l e b u t i better on gold than it does on si v r , ' unfortunately always liable to chip 06 in cit c m e n ase with the slightest encourage t. ’ The jeweller s work on most of the F re n i ecklaces of the sixteenth century s , in n main , about the same type as is fou d i n Ita and Spanish work . There are smal l on n w mental bosses of gold , often ope o rk , am e lled l e e in red , b ue , and whit chi fly, and dant with diamonds , garnets , and pen pea Diamonds came into more general u s e du n t he E b u t th sixteenth century in urope , e y v s of w till badly cut , and by the end the se te e nth e f o century they wer in full av u r . d e inal Mazarin , by his love for th s e s to : largely influenced the improvemen t of t c t u r ut ing during the seventeenth cent y. The unlucky Marie Antoinette suffe re d m distress and also much odium becau se (2

dastardly scheme concerning a diam o nd n. lace which was carried through by Je anm th Luz , Countess de la Motte , with e i nno c ha onnivance of the Cardinal de Ro n . necklace in question belonged to the F rt NECKLACES 47

e jewellers Bo hm and Bassenge , and it was m valued at about of our oney . The

Cardinal , who at the moment was not on

friendly terms with the Queen , was induced by

Mme . de la Motte to believe that her Majesty would make the quarrel up if his Eminence would help her to acquire the necklace secretly and pay for it by instalments . Mme . de la Motte arranged a supposed meeting under the cover of darkness between the Cardinal and e the Queen , but really the Que n was person

e . Re te au x . ated by anoth r lady , Mlle de Villette

The Cardinal was completely taken in , and he persuaded the j ewellers to give him the neck e lace for the Que n , and he gave it in his turn to

Mme . de la Motte , who immediately sent it to E n e a gland , wher it was t ken to pieces and the s tones sold . e Of cours , when the first instalment of the a price agreed upon bec me overdue , the jewellers h applied to t e Queen for payment , whereupon s he e disclaim d all knowledge of the matter , and

r the . eferred it to King He , poor man , had s erious troubles of his own , and unluckily the aff e air of the necklac did not mend matters . In t he opinion of many people Marie Antoinette was to blame but since the publication of the Ge or el 5 Abbé g account of the whole thing , it is 4 8 JEWELLERY now established beyond dispute that the Q u een was entirely innocent . was de There a trial , and the Cardinal Rohan de t e was was acquitted ; but Mme . la Mo t found guilty and branded on the shoulder with a fle u r - de- lys and sentenced to imprisonment 1 8 and for life . She , however , escaped in 7 7 , E e e f came to ngland , where she amused h rs l by ff w riting her account of the a aire . The necklace itself is figured in the Abbé ’ George l s book ; he w as secretary to the C ardi nal te de Rohan , and no doubt was well pos d in on in m ter It everything that went the at . a m d consisted of a straight ch in of dia on s , with a of three sm ll loops , between each which was a loo a briolette drop , and from the centre p a two e large di mond pendant . From the nds loo s of the main chain depended two large p , tied in knots in the middle and endi ng in two s al m tassel with ties of ribbon , and so fro each l ai end fel str ght lines of diamonds , ending also d All in ribbon ties an diamond ornaments . the necklace consi s ted of rows upon rows of dia

monds only , all of large size , and some very e large . It was ugly , and had no b auty of design

at all , but depended entirely upon the sparkle n of the sto es for its charm . It represents the n coming i to general favour of the diamond , and NECKLACES 49 the setti ng of such je wels in as little metal as s pos ible .

s w n This use of diamonds , ho i g the minutest is o ne c o m possible line of setting , not that

is r n mends itself to an art t , but f om the millio ’ aire s point of view there is m uch to be s aid in he its favour . Not only does t diamond domi o nate t day as the favourite stone for necklaces , holds the but it also easily , first position as the chief ornament of most of the other forms of jewellery .

The example set by M . René Lalique and his

school , which largely discounts large diamonds ,

will , I trust , gradually induce our own designers to realise that there is much truer art satisfac tion to be found in beautifully coloured stones cut e n cabochon and set lovingly among little

hammered sprays of foliage , or delicate edges and supports with enamels upon them such as Cellini and the numberless Renaissance jewel lers loved and produced with such admirable

results . C H A PT E R I I I

PENDANTS

— — Etruscan bullae The Ashantis and wire work Egyptian — — amulets New Z ealand jade amulets Scandinavia} racteates— Rena ssance wor — en ants in En b i k P d gland.

ENDANTS are a natural corollary tt

necklaces , and may be defined as objec t: f are or n o veneration or beauty , which we worn suspended from necklaces , or in late a n times , perhaps f stened on to clothi g b; f r means of a pin , as they were worn , o in E stance , by Queen lizabeth . It is probable tha the earliest pendants were supposed to haw s magical powers , and were worn as charm against danger or disease . E E e ven as late as truscan times , the larg

a ae s ornament l bull , made of two bossed plate of gold soldered at t heir edges , usually con ’ d it taine some charm or other. Rats ears such receptacles were amulets against the a evil eye , sleeplessness was cured by wearing ’ on e bat s head , and so ; and many of thes amulets were also engraved with magic words PENDANTS 5I ff a or names of power . Di erent materials ag in a were worn attached to necklaces or br celets , in the hope of benefiting by their mysterious ’ influences : agates tied with lion s hair dis e rsed w p storms , and preserved the earer from ’ serpents venom ; the amethyst preserved its owner from being overcome with w ine ; the swastika or triskele engraved upon discs of

WA TIKA S S R IS E LE . . T K

n g old or silver , or at the back of other or a m ents , brought good luck ; small po inted pieces of coral were valued as preservatives a — in gainst the evil eye indeed , they still are s ome parts of the Continent ; and objects o f horseshoe shape have been considered for u nate t from time immemorial . Most of the quite early pendants made by ' s avages were of a perishable nature— bits of d ried skins and parts of animals , claws , eggs ,

PENDANTS 53 Egyptian mummies are of very elaborate design and skilful workmanship they vary from gold inlaid with coloured stones and composition to s m e f i m so t stone carvings , and they always re resen m E p t so e gyptian scene, with gods and em e e r ae e bl ms . Larg sca ab i were sometim s set as en m p dants , and were suspended fro tor u es of q gold , gold wire , or chains of gold rin s n g . Circular plates of gold showi g car tou ches of kings u pon them were suspended in

a s m l w e . i i ar ay, as wer also ornaments of silver Sma E ll gyptian pendants are very numerous , and they usually have some meaning : either they are small representations of one or other of the many deities of the Egyptian Theocracy or e e re ls present , in the form of amulets , variou s objec ts credited with mysterious powe rs

for d off . direct goo , or for warding evil Many of these little amulets are beautifully made of o g ld , with cloisons into which are set inlays f s n me o to e , a thyst , carnelian , and lapis lazuli oth e rs are carved in stone and also have inlays . C rne n a a lia , methyst , garnet , jasper , and lapis laz u li are pe rhaps the best of the s tones u sed for he e e s t littl p ndant , and there are also numbers u c t in commoner materials , granite , porphyry ,

d e . s te atite an oth r kinds of stone Frogs , animals , birds , miniature figures of deities 54 JEWELLERY

are a and hieroglyphic characters , com e la and are mould d in porcelain , usually g m 1a: or cut in carnelian , a ethyst , lapis s e v garnet , hematite , granite , porphyry , and nu m e i other substances of less note . The amulets are likewise cut in more or les s u same materials , and are found set abo t

mummies in certain recognised positions . Among the more nume rous of these am t l may be mentioned the Ab . Like a smal n r ar with two handles , it sig ifies the hea t , The supposed to incite to moral virtues .

of . or buckle , secures the protection Isis ’ serpent s head preserves from the bite: s serpents . And the Ouza , or eye , protect e wearer from the evil eye . The M nat g “ joy and the Saur gives phy:

pleasure .

The curiously- shaped object usually seen held in the hand n statues , and also commonly in miniature for wearing as a “ e a dant , is call d the Crux Ans “ r c o Ankh . It shows an

shaped oval resting upon a tau - shaped C I

and is supposed to typify Life . Certain amulets were preferentially m ad particular materials ; for instance the M PENDANTS 55

of e of a figure a vulture , is usually mad gold . The girdle buckle of Isis is commonly made of of the carnelian , jasper , or red glass , typical Th U blood of Isis . e rs , or pillow , is gener n ally fou d cut in hematite , a form of iron ore , the ew and papyrus sceptre , conducive to ren ed

youth , is usually of some green substance . All t hese small Egyptian amulets are made and are of with the utmost skill , also materials e that are very lasting . The very early typ s of pendants were such that they have not lasted ; but analogous ornaments can be easily e h n e s en in t e work of existi g savag races , and from an examination of these we can safely e infer what their prototypes were . Perishabl

materials mostly were utilised ,

berries , large plaques of shell , e and amulets . In ston the most notable pendants are the curious

Maori figurines , with heads set on e of sid ways , cut out jade and called Hei Tiki ; the eyes are often set with pieces of mother- of- pearl or red a paste . They are worn sus

pend ed round the neck . Several . of the wonderful pieces of Ashanti the gold wire work are pendants , and among rare discoveries in the neighbourhood of the 56 JEWELLERY Crimea several exquisite pendants of Gre e 3 workmanship have been found . Thes usually in the form of discs of gold wi e of intc repoussé designs , and rich fring s t vas laced chains , with rosettes and iny e i interspersed . In Roman times it se ms lik that both cameos and coins were set as pendar as e so or r to necklaces , one complete necklac m e nted was found in 1 809 on the site of t N asiu m e : town of . This necklac , of r

fi v ) interest , consists of a chain of e long he 1 gonal tubes of gold , divided by pendants , s i the two centre one be ng cameos , and m ainde r s e t d e coins , all in decorative e g s pierced gold work . “ The Scandinavian bracteates are pe r ants having centres w hich are largely c op ns s e t d ed from Roman coi , in a very broa ; and having a broad decorated loop at the lit s They are curiou objects , and there are m e n n varieties of them , fou d largely in De ma l Norway , Jut and , and Gotland , and all ab t a th t part of the world . Usually of silve r g the bracelets contain on their decorated su rfai valuable examples of Scandinavian or nam e n me 1 tion , and even on the centres , in ti , as n f Roman coin influe ce waned , there is on. true Northern ornamentation . Some time s PENDANTS 57 Ring Cross and other symbolical forms are found made as bracteates , and later again they are sometimes set with small stones or pieces of glass . They can be studied best in the

Royal Museum at Copenhagen .

Anglo - Saxon pendants are probably derived f rom the bracteates , but the concentric circle

idea is markedly lost . The decoration of the circular Anglo - Saxon pendants is identical with that on brooches and buckles , namely geometric a w designs tr ced out in flat gold ire , and set with flat garnet slices and inlays of blue com w in w position , the ground ork being filled ith

very skilful filigree work . The w glory of the pendant , ho ever , did not really find its highest expression until the

Renaissance , and then in Italy , Spain , France , and E r ngland particularly , we find numbe s of m them were made , any of which are wonder ’ ’ u l f pieces of designer s and jewelle r s art . The Italian and the few English examples are

b u t perhaps the best altogether , among the Flem ish and German w orks of thi s kind are to ’ be found extremely fine Specimens of jeweller s ’ and enameller s art .

The fiftee nth- century wo rk is comparatively : w simple silver and niello ork , and several

h . cameos simply set , represent t is period well 58 JEWELLERY But during the sixteenth and seventeenth cen tu rie s r , in the case of Italian and German wo k , the complexity of the design and the richness r e of the jewellery is ve y mark d . The late Baron n n Ferdina d Rothschild loved these late pe dants , and he made an extremely fine collection of t hem , which is now admirably shown in the e Waddesdon Room at th British Museum . Here can be seen most delicate and elaborate of d constructions , on architectural lines , gol marvellously worked and set with jewels and enamels . Some of the finest are like miniature e a shrin s , with little emblematic or classic l l and l figures admirably mode led ename led . hi ocam s Others are made as models of fish , pp p , dragons , horses , lambs , birds , and several other creatures , wrought in gold and thickly encrusted with fine stones and enamels . Rubies , emeralds , and pearls , particularly the baroque variety , are the favourite jewels . A few fine specimens are in the Victoria and

Albert Museum . Among these is a typical

Spanish jewel , showing a dog supported on a scroll , enamelled and jewelled ; it comes from n Saragossa . A other , perhaps the most grace ful of any , is a tiny ship of Italian workmanship , n enamelled and jewelled with penda t pearls only . During the Renaissance in Italy as well as in PENDANTS 59

u t re France , n mbers of an ique cameos were polished , often signed , and beautifully set in richly and delicately designed frames as pend ants . Two of these in the Paris Cabinet des

Médailles are credited to Benvenuto Cellini , and several are in the Gold Room at the British

Museum , and others in the Victoria and Albert

M useum . The gold settings are often of great a be uty , they are usually enamelled , and are k often jewelled as well . I think the Italian wor F is the better , but some of the rench examples are very good indeed . Queen Elizabeth was the great patron of the E pendant in ngland , and in many of her por traits she is shown as wearing one or more on not the front of her dress . I do think that any now exist that were worn by the Queen , but two fine pendants bearing her portrait are o f in the Victoria and Albert Museum . One these has a small cameo portrait cut in tur u oise q , and the border is richly wrought in gold , with open scroll work , enamelled and i W . jewelled th diamonds , rubies , and pearls It w is a very beautiful je el , and is said to have been preserved in the family of Wild since the christening of a small Wild at which Queen E lizabeth was present . It may well have been a gift from the Queen .

' 64 JE“ E LLERY enclosing arches spring in a similar way from u e the pper dge of the circlet. B u t a n ation that of the the e rlier or ament , s t had a lon rei n circle it elf, in all probabili y g g , be fore it was found that a larger field for de cor w os de cora i ation was anted . The m t t ve in a of na ente ci rcl st nces such highly or m d ets are, be to a the reek r m I lieve , be found mong G e ains now prese rved in the Hermitage Muse u m at

. e . hes e c i l St Petersburg , and elsewher T rc ets w autiful wro u ht are of gold open ork , be ly g , w and sc rolls and covered all over ith flowers , w w a set ith je els and small en mels . The Trojans were great worke rs in fine n and e th re we re chai s , the diadems discover d e different from any that have bee n fo und else f w . w as o o flat here There a broad chain g ld , fi t e f h d and flexible , to on the h ad , rom whic e a r n h rt f pended f i ge of small chains , s o in ront so the rs and very long , fifteen inches or , over ea . All the chain s are very skilfully made the long t e e n the l nk ones have of en small leaves b twe i s , and the ends are finished off in many cas es with curious little ornaments cut o u t of flat n u r gold , and remotely resembling a huma fig e . r Dr . Schliemann says these may have e pre E rd sented idols . xamples of the more o inar y t n w r e flat hin gold diadems , or amented ith DIADEMS 6 5

s poussé discs or pirals , were also found at

Troy . “ The Corona Ferrea , or Crown of Lom b r of ardy , is a ci clet gold enclosing an iron b and which is said to be m ade ou t of the nails w hich were used in the

C ross of Christ . The e nclosing gold circlet is c omposed of six hinged e plaqu s , a structure dis COR ONA F E R R E A t inctive of Byzantine work m w anship , each plaque being set with je els and further ornamented with golden sprays and e flow rs , some of which are enamelled . Th e coronet , as a whole , has a most remark able history ; it was given to Queen Theo dolinda by Pope Gregory the Great in the e Em s eve nth c ntury . Charlemagne and the pe ror Charles V . are said to have been crowned t with it , and Napoleon crowned himself wi h it n whe n he decided that he was Ki g of Italy . It has been used of late at the coronations of the

Austrian Empe rors . It is kept at Monza in the ed Cath ral , and is enclosed in a hollow in a large o rnamental cross . the of E 1 8 8 At funeral Victor manuel , in 7 , t he Corona Fe rrea was brought out and placed 66 JEWELLER Y

r the oratio n and on his bier , esco ted by corp h f nz a It was the chapter of t e Cathedral o Mo . and acc ord saluted by the troops as it passed, ed royal honours . Another very dec orative circlet is known as t Monomac hos is the Crown of Cons antine . It of Byzantine workmanship and was found in

s in in 1 860. fragment in a field Hungary , a enamelle There are seven plates of gold , e ch d with Byzantine figur es ; one represe nts the E t Monom a hos mse f and mperor Constan ine c hi l , the E s Z oe and heo others are mpresse T dora , two of Hum l t dancing figures , and figures i i y t e f e are and Tru h . The names of ach o thes u i u marked in niello work , as is us al n s ch l s fur h ename led portraits , and the plaque are t er l t and ara fi led in wi h floral designs , birds , Th b e s ue s . e s z f m q plaques graduate in i e , ro ’ the large centre one bearing the Empe ror s t to t s h h are por rait , ho e at the back , w ic the

l . e th and sma lest They were hing d toge er , the German antiquary Bock has rec onstr u cted the whole crown ve ry cleverly h om the frag ments of it that have been found in dis memb e re d s a piec e . The origin l piec es are now in the

s - Mu eum at Buda Pesth . It is work of the n th eleve century , and very decorative ; it has “ ” the e s katase is tas th thr e chain , or , wi j e welled DIADEMS 67 ends , one at the back and one over each ear , w u hich are commonly fo nd on ancient crowns , and show on crow ns figured on Anglo - Saxon i coins . The gorgeous colour ng and rich pro fusion of ornament which is so characteristic o f Byzantine art shows , perhaps , more distinctly an o n this crown than on y other single object .

Moreover , the fragments are in their original s tate , and I believe all the other existing B yzantine crowns have been meddled with , and are not no w actually in their original form as a whole , although parts of them are as they always were . ” he . T Corona Sancta , Crown of St “ ” or Stephen , Crown of Hungary , is of about the same date as the crow n of Constantine Monom a

chos , but it represents a e mor developed type , as it not only has rais ed orna ments springing from the the r e upper edge of ci cl t , b u t is also crossed by s arches . The cro sing of a coronet by arches has

been considered in later C OR ONA SAN CTA ti mes to deno te inde pe n t b u t e s a dent sovereign y , in arly time it prob bly 6 8 JEWELLERY

n l c on had no such meani g , but was on y a

structive development of design . The Corona Sancta consists of a ci rcle t the e of six plaques hinged toge her , plaqu olis he< being alternately set with large jewels , p c a r on their natural surfaces , and designs rrie

e thc out in enamels . The enamels repres nt

n and il t Archa gels Michael and Gabriel , t o eo Saints C me , Damien , Demetrius , and G rge

two Greek princes and a king . From the upper edge of the circlet ris e aint small ornaments of gold ; four of thes e arc n all e itl tria gular, and five are arched , tipp d w 0 witl jewels . They are in pen work of gold ,

fi sh- re e t a scale pattern , the spaces filled with g glas s in the manner now known as Plique 2 ” tht Jour , of which troublesome art this is

earliest example known . Quite in the centre r above the circlet, is a large plaque , ichly

enamelled , with a figure of Christ enthroned . e two a d s He is sitting b tween trees , n carrie t witl a book in His lef hand , and is blessing r His ight hand in the Greek manner. The arches themselves are also ornam e ntec w i o r : ith enamelled plaques , portra ts , figure w of Saints John , Bartholome , Thomas , James

n s Peter and Philip , Paul and A drew . The cros

r e s u li at the top is crooked , probably the

70 JEWELLERY

n its set eyes upon it . It is said that duri g career this wonderful crown has bee n use d at k wn the coronation of over fifty ings . It is sho n o several of the H ungarian coins . The last of the Byzantine type of cr own that I shall describe is one which has a pe culiar E see its interest for us in ngland , as we representation on many of our coins as well as

- - on the coats of arms of many of o u r kings . E i When George I . succeeded to the ngl sh throne he was al ready High Treas urer of the E of Holy Roman mpire , and as a mark this high ofli ce he w as entitled to be ar over his coat

of- o ca ed arms a supplementary little c at, ll an ” was u escutcheon of pretence , on which fig red “ m r this crown , known as that of the I pe ial

- E Roman German mpire , or more popularly , ” the Crown of Charlemagne .

- of- m s George I . found the English coat ar of En n quartered , the three lions passant gla d impaled with the lion rampant of Scotland

fl r t flor d within a tressure o y coun er y, being use

in the fourth quarter as well as in the first. The King altered this coat by changing the h a fourt quarter , which was only a duplic te , and n substituting for it his o w family coat , which e showed Brunswick impaling Luneb rg , and

in the base point the coat of Saxony , over all DIADEMS 7 I an escutcheon charged with the Crown of ” C harlemagne . This coat was borne success i vel . . . y by George I I , George I I I , George IV , and William IV . , and w as d i s c o n t i n u ed b y Queen Victoria ; but it c an be se en on coins of

h e r p r e d ec e s s o rs , t h e c rown of Charlemagne s howing as a small ir regular dot in the middle of the Hanoverian coat R O N OF of- C W arms . I think it is not CHAR LE MAGNE ofte ec i n r ogn sed . The crown itself is kept in the Royal Treasury at n l Vie na , and it is a magnificent examp e of

Byzantine art . It consists of a circlet of eight

large plaques of gold hinged together , alter nately enamelled and set with large polished

e s . j wel The enamels represent our Saviour ,

Hezekiah and Isaiah , David and Solomon . F n m rom front to back there is an arch , risi g fro the top of the centre plaque and cros s i ng back a wards . This arch is broad upright band of 0 w s gold pen work , set closely ith pearl , and fashioned so as to contain an i nscription ” Naz ar nu s u dae or u m and e Rex J , it “ also contains the words Chronr adu s Dei 72 JEWELLERY

n ru Au C o n a Gratia Rom a o m Imperator g . r d E t n u s o was mperor in the twelf h ce t ry , it s eems as if the arch was added the n . Prob ably there w as originally another arch cross ing the t n e e exis i g one at right angles , as th r are marks on the inner sides of the two lateral w u plaques hich seem to indicate it. J st in front of the arch is a cross . rn All these crowns are , indeed , circlets of o a mental design ; the chief ornamentation is on e the circlet itself, which is broadened and lab

b u t e orated , in the case of the other typ of w e e an cro n , the prototype of which is the Myc n row d diadem , with a of leaves on its upper e ge , the circlet itself dwindles to a small importance , and the greater part of the attention of the w as designer , as ell of the jeweller, has been given to the elaboration of the ornaments ri sing from the upper edge of the circlet- the

a . rches , and the orb and cross at the top This is the type of the European royal crowns of

- to day , obviously in most of them , but not evident in the case of the crown of Russia , the shape of which is exactly that of a priest’s mitre . The solid forms found here , however , m ay really have developed by a coalescence of the arches , but the growth of priestly head d res s is likely enough to have had a special and DIADEMS 73 peculiar origin of its own ; and although it is likely that all secular crowns are analogous to

- n n priestly head gear , no existi g royal crow s in E S w urope , except that of Russia , ho this origin in their actual forms . I am using royal crowns as the best examples of types , but the same arguments apply to the numerous lesser crowns and coronets w hich are n common enough amo g the aristocracy , both E here and abroad . In ngland the coronets worn by certain persons are fe w in form and simple , but abroad they are numberless and elaborate . It is chiefly in heraldic blazonry that they are used , as occasions are rare when such ornaments can now be actually worn . All English coronets belonging to lesser rank n n than that of Ki g , Queen , Pri ce of Wales , s and Prince s of Wales , are only circlets , with ornaments of leaves or silver balls set at regular intervals upon the upper edge . The wearers of such coronets are peers , peeresses , and no heralds . But although here we allow such persons to wear arched crowns , they are not so th particular on e Continent . In Germany , for w instance , arched cro ns are worn by dukes and grand dukes . Landgraves wear arched crowns , and so do Russian princes . The crown of a

Belgian baron is closed , but there is no ball 74 JEWELLERY

i n and cross at the top . In Italy , Belg um , Spai , ts w as kn s and Portugal , aristocra do n far as ig ht c ro n s am e are all entitled to o et , in France the s ia s down to bannerets , and in Italy to patric n .

In fact , these distinctions are granted to almost

r - e eve yone above the rank of a day labour r . The velvet cap which usually shows be neath a crow n or coronet is the survival of the Cap ” of Maintenance , a fine example of which can be seen at Canterbury , on the helmet of the

Black Prince , kept over his tomb . w The most interesting , as ell as the most c i En an ient , crown now belong ng to the glish w r regalia , is the Scottish cro n . In eve y way this is a most remarkable jewel . It is largely composed of jewels and gold which formed part be of one of the crowns of King Ro rt Bruce , e and fell into the hands of Edward I . at M th w as ven . No doubt the old crown much was d re damaged , and it largely adde to and 1 0 paired by James V . about 54 ; and the French w as work upon it was probably done then . It used at the coronation of Mary Queen of Scots when she was nine years old . The narrow circlet is ornamentally set w ith

s s jewel of mall value , carbuncles , jacinths , s a r amethyst , top z , c ystal , oriental and Scottish h pearls . T ere are also some enamel bands , DIADEMS 75 evidently of French workmanship . Along the u pper edge of the circlet is a cresting of

- - jewelled rosettes and fleurs de lys , and the two arches have golden leaves enamelled in red ; the mound at the top is of blue enamel , studded with golden stars . The cross surmounting the mound is very decorative ; it is of black e namel with delicate gold arabesques , and is in s set with an amethyst the centre , and pearl in the angles and at the ends of the cross . At k I R V the bac are the initials . . . Both the mound and the cross are thus proved to be French work added by James V . The oldest English crown now belonging to the Regalia is that made by Sir Robert Vyner 1 66 2 for Charles I I . in . It is made as nearly as possible on the old pattern , plentifully illus trated c had , but the actual pie es of which been 1 6 foolishly destroyed in 49 , by order of the

House of Commons . The crown is a gilt circlet set with jewelled bosses , edged with small sprays of red and white enamel . From

' the top of the circle t rise four crosses pattees

fle u rs - - and four de lys , all jewelled in a similar the way to the circlet , and from tops of the four

' Opposite crosses pattées rise two complete the jewelled arches , dipping markedly in centre , which support a golden - jewelled orb sur 76 JEWELLERY mounted by a jewelled cross with large pearls at the end of each arm . E ’ Besides this crown , known as St . dward s , there have been made state crowns for most of E h the nglish sovereigns since Charles I I . T ese have been made newly for each sovereign as a rule , the jewels being for the most part trans n ferred . Records of such or amental crowns , n all , however , following the same main desig , exist as having been made for Charles I I . ,

n and m . James II . , A ne , George IV . , Willia IV

u A beautif l state crown was made by Messrs . 1 8 8 Rundell Bridge in 3 for Queen Victoria . Many of the stones were taken from the pre vious w b u t cro ns , a considerable number of l small decorative stones and pear s were added . w The important je els , the balas ruby of Don

Pedro , King of Castile , which belonged to the to Black Prince and Henry V . the large Stuart sapphire on the circlet ; and the sapphire from the ring of Edward the Confessor — were all old royal possessions . Besides these great stones , numbers of diamonds were transferred from w the state cro n of William IV. , and these to The n were added as necessary . crow itself is made of thin silver , but this setting is hardly visible anywhere . There are small gilt knobs at the ends of the several fine pearls at the t0ps

CHAPTE R V

— — EARRINGS NO SE - R INGS LABR ETS

N the same way as it is natural enou gh to n in hang a chain round the eck , it is a smaller way natural to hang something over E now can f e the ears . ven , children o t n be seen playi ng with cherries and hanging stalke d pairs e over their ears . Most savages appr ciated the c ars n m value of their as easy to or a ent , and even to - day Indian ayahs can often be seen with rows of little jewelled studs set along the of c ar upper curve of the ear , and the lobe the has been for ages a happy hunting ground for t s m Th the decorative ar i t of pri itive society . e extent to which the lobe can be stre tched by gradual working is astonishing , and in some cases it is so enlarged that it almost r ests on the shoulder . In Burmah and India decorative plaque s are fastened to the hair just over the ears , and fo e in these look like , and often pass r , arr gs . It is supposed that a similar arrangement w as EARRINGS 79 in v e - E ogu in Greece , truria , Rhodes , and

Cyprus . The we aring of earrings is so universal that even to enumerate the countries and nations among whom their use is common would make a long list . The Se a Dyaks of Borneo wear large ear s of se ring assorted rings , often elaborately t

t cut f . Ainos of Y wi h discs rom shells The ezo , n of orth Japan , a wonderful and primitive e e p ople , w ar large single silver rings in their ea s set ne r , at o end with a large spherical silver e b ad . In m Assa they are worn of great size , made ’ up of stained grasses mixed with goats hair u I wo nd closely round a core of thin wood . n Tibet large plates of silver are fastened to the ears and ornamented with streamers of coloured s gras es . Earrings are the only jewels involving some mutilation of the person which have been n n retained by highly civilised ations , and eve then they are only worn in the lobe of the ear .

The retention of the nose- ring in India is the only exception as far as I know ; but here there is the excuse that the fashion , although very ancient , is one that has really never died out . ‘ The ornamental Assyrian earrings can only 80 JEWELLERY be studied from the representations of the m to n e e we can be fou d in sculptures , and from th s learn that the earrings varied in form from that of a vase to an elaborate se micircle se t e n s a f closely with small decorativ pe dant , orm w e earr n after ards found among Byzantin i gs . a e No doubt the actual objects , probably m d of t e thin gold , had small ornamentation upon h m S which does not how in the broadly cut marble . Trojan earrings were very curious ; the re was a sort of basket - work plaque of fi ne go ld wire with a hook for passing through the lobe c ar e of the , from which depended stream rs of the are f e small gold chains , links of which o t n ornamented with small gold leaves solde red a “ are u s in , il } at the extreme ends c riou little re r forms which Dr . Schliemann thinks may p e f sent idols . There are several forms o this ff n th type , di ering in detail , but maintai ing e e same general design and besides thes , others e na have been found of simple ring typ , or n d n k m e te with coarse gra ular wor . Ancient Etruscan earrings are remarkable because of the curious enamels ofte n found n and e upo them . Besides the beautiful d licate r nu gold work , often adorned with minute g a la ' t n clozsonné s io s in gold , there are small e namel w a of hite , blue , and green , all op que ; but EARRINGS 81

e b sides these , which are comparatively simple , many of the earrings have remarkable pendants

in the round . These pendants usually represent in w birds or animals , and are always hite glass ,

- w s cleverly blown over a gold wire ork ba is . e Wings , beaks , feet , and tails are g nerally

managed so as to appear in gold , and these again are sometimes further ornamented with

small coloured enamels . The general idea of E the truscan earrings is a disc , from which depend short chains and ornamental forms ; the chains often end in small tassels of gold with

e . w namels Je els are very rarely found , but

pearls are comparatively common . Early Greek earrings of exquisite design w ignore je els , and depend upon beautiful gold k fo r a e wor their execution . I n gener l id a the majority of them follow the same lines as the E truscan , namely, a more or less ornamental

h . the disc , with pendants anging from it In ” e t case of the Greek earrings , the p ndants of en t take the form of vases or cups , and of en t w e represent winged angels , or lit le ing d amo n h now ri i . Short c ains are usual , and they ff w w and th en end o ith small je el beads .

There is , however , among Greek work ,

another type of earring . This resembles a small barrel , intricately made of filigree gold 82 JEWELLERY

m a o ec t n at work , and with an orna ent l pr j io

r e - nu one side . It is a curious form , and ath r ' n a fi ne ecime n in u common one . There is sp r the Victoria and Albe t Museum . c r liu of earr n A o ta m was an Italian form i g , made of two pendant pearls hung clos e to each or so at othe r from an ornamental gold supp t , th d e s m e a when the wearer move , the p arl ad l o es se em to litt e tinkling sound . Ancient pe pl have liked tinkling jewellery in many cas es

and . om e of anklets , bracelets , now earrings S r li u these c ota a were found at Pompe . Roman earrings vary considerably in fo rm the gold work is broad and solidly de alt with ; there is none of the great fineness of workm an ia E n o ship that we find Greek and trusca w rk .

Moreover , jewels are commonly used , and their n settings are usually very broad . The sto e s a o — e are r rely go d emeralds , sapphires , rubi s , s jacinth , garnets , and pearls , are perhaps the en ca hon r commonest ; they are cut boc . Sho Y solid tO s vario u l chains as pendants from p , s

: ornamented , are now and then found , but the ff are many other styles , one of the most e e tive of which is a representation of a bunch grapes in small pearls ; another has a dec or at he ad n of gold , from which ha gs a little ladd set with cylindrical pearls . EARRINGS 83

Byzantine earrings are often very decorative , and nearly al ways have enamel work upon

s cloi them and no jewel . The enamels are sonne ; but sometimes , when the groundwork u of the piece is a gold plaq e , the whole of the design to be enamelled has been outlined and evenly sunk to a small depth by means of the a h mmer , then cloisons , as necessary , have

been set in this hollow bed , and either soldered on or left in position to be fixed by means of

the enamel itself. Birds are very favourite e motives for Byzantine earrings , and th y are w w often found in pairs , ith some design bet een

them . Probably such designs as these are de r ivative s from the ancient device known as the

Tree of Life . In one of the churches at Ravenna there is a E large mosaic portrait of the mpress Theodora , in which she is shown apparently as wearing large earrings ; but it is not certain wheth er ' the y are not pendant chai ns attached to the

hair above the ears . Sir Wollaston Franks

had a remarkable pair of Byzantine earrings ,

in the form of a pendant crescent , much resembling the Assyrian royal earrings in

general form , but more delicately finished . On e w the broad cresc nt , hich is filled with enamel ,

' m z are little clozso é birds . The enamels on this 84 JEWELLERY example are much altered by the effect of time and damp ; and it is diffi cult to say what colo urs they orig inally had ; but the acquired iridesc e nce is probably much more be autiful than the first colour ever was . Through the Renaissance period there s e e m s to have been some sort of lapse in the general s due cu tom of wearing earrings , probably to some fas hion of wearing the hair so that the r ears did not show . There is a royal g oup e shown in a picture at Hampton Court, H nry n if . e VI I I and his immediate family , all pl t ully t e rr s bedecked with jewels , but wi hout a ing . ’ Some of Raphael s sitters are shown we ari ng n and small earri gs , shaped like vases , Marie ’ de Medici wore pearl earrings . By the time of Marie Antoinette facetted n she a diamo ds had come to stay , and had pair of earrings made in the form of pe r e ndic u lar p lines of large stones , ending with

- w as a large drop shaped gem , a shape which then very highly esteemed The peasantry of France at the same time wore large e ar f rings o shell . Little bits from the ruins of the Bastille were used in Revolutionary times for sm all

so . jewellery , and many earrings were made The Incroyables and the Merveilleuse s wore

86 JEWELLERY m n were worn by the ancient Jewish wo e , and m are mentioned by Isaiah , and are com only worn by the middle and lower classes of wome n E e of in gypt . A larg ring in the nose is a sign e e e nobility in Gambia , inde d it seems to hav be n a k n mar of dignity in ma y countries . Common folk in the Solomon Islands and Guinea wear ’ crabs claws , teeth of various animals , and n il e even small hor s , run through the cart ag ne of their noses . In Peru o of the provinces ” e u illac e nc a e n n- e is call d Q , m a ing Iro nos o r to province; and there is , used be , a tribe of North American Indians known as the “ Nez

Percés . The wearing of nose- rings is a very ancie nt n n custom , and i sta ces of it can be found among the Aztec sculptures . It was certainly , in some n places and under certain conditions , con ected — with fetish worship a good nose - ring was worshipped among a Neilghe r ry hill tribe of

Central India . Nose- rings are still worn in India ; they are r e large rings of thin metal , o nam nted with beads of various sorts ; they are run through the sides of the nostril and lie flat on the cheek . e Jewelled studs, sometimes elaborately work d , are often set in the nostrils . Such studs are TOE - RINGS 87 s till common in Burmah , and also in parts of I ndia . In some parts of Africa a gold ring run through the cartilage of the nose is a mark of n obility, and ornaments of this sort sometimes hang down over the mouth . The Mexicans have always been fond of o rnamenting their faces , and one of their marks of sovereignty used to be an emerald set in each nostril of the king .

- Toe rings were common in India , but , like all n i ative customs of th s sort , their use is n practically dyi g out . They are usually made of a sort of pewter , and the better makes have a brass or COppe l' ring to go ro u nd the toe and a long bezel . The bezels are often made like s m all pyramids , and hollow , little balls of metal e b ing placed within them . When the wearer walks along , these little balls make a soft tink ling noise , always dear to the oriental . Others are made so as to Show a long and sometimes broad band of worked metal ; this lies along the

u upper part of the toes , or on the pper part of

s the foot itself. And other again are so large that it is difficult to u nders tand how they can have been worn with any degree of comfort . Among the jewels which necessitate some m utilations of the body before they can be 88 JEWELLERY

n e s . e wor , the most curious are the labr t Th se t vary much in size and material , and hey are To worn in slits cut in or close to the lips . us they are very disfiguring ; we do not so s trongly

- object to earrings or ear studs , or even nose b u t i of eas u rings , an ugly d sc wood , m ring i e e perhaps an inch and a half or more in d am t r , t li a to e s uck in an under p, c uses it proj ct in a to e a a be manner that, any civilis d t ste , c nnot other than repulsive . l not The wearing of abrets , however , is by e any means uncommon , neither is it v ry limited the E in its sphere of influence . From squimaux a f ex c to to the Centr l Africans , and rom M i o u ee India , this remarkable c stom has b n largely N o t prevalent . only has it been c onsidered as a desirable improvement to the pe rsonal appear has ance of warrior or squaw , but it also had some symbolical or semi - religious signification

. n as well It is worn by children , by wome , i and by men , so its mean ng is not the same in to all cases , but varies according the age , sex , t and nationali y of the wearer . Our Sir Francis Drake was at one time at o ne war with the Brazilians , and they caught t n o re of his figh ing men , Peter Ca d r , who p se ntl H s y escaped and rejoined his ship . e aid that many of his captors wore several sm all

90 JEWELLERY

s e s on the we t coast of Alaska , when ne dle we re set in the lips of young girls , and large woode n

- discs in those of grown up women . Labrets of shell and bone were worn by the ’ ’ inhabitants of Cook s Inlet and Prince William s a k To Sound , and are described by Capt in Coo . the labrets beads of glass or bone were som e e and to s m times strung , as they also wer , o e n t E u who s exte t s ill are , by the sq imaux , al o

t e . a wear large oval s uds of a grey marbl M rble , s usually white , is also used for labret by the ’ n t u th a ives of Q een Charlotte s Island , in e s ar Pacific . Some of these marble ornament e t for ins delicately carved , wi h a small stud e r tion and a long curved plate for the decorative n side . They were o ly worn by women . t In the Aleu ian Islands , among shell heaps é and and d bris of past ages , labrets of shale of h marble are often found . Natives t e se islands also adorn their lips with insertions of shell and glass . In some parts of Central Ame rica s mall

- the boys have pieces of turtle shell , cut in r e e form of sho t beards , set in th ir low r lips ; a n u and here , as well as elsewhere , the p i f l trial of having the lips cut and bits of odds and ends inserted was in all probability given to boys as one of the tests of endurance which LAB RETS 9 1 are commonly imposed upon young savages . e Although , as we hav seen , labrets are often w orn by girls and women , it is likely that at

first they we re only worn by boys and men . One Botok udos e tribe , the , are so named becaus of their wearing labrets almost universally “ botoqu e being Portuguese for a plug . F e arth r north , along the coast of America , native women used to wear large discs of wood in their under lips ; and the size of the discs was some indication of the rank of the wearer

e . th larger the disc , the higher the rank Even among the modern representatives of the tribes formerly most addicted to labre ti

fe . ry , the practice is now rapidly dying out C H A PT E R V I

B RACELETS

— Primitive bracelets— Fine work found in Egypt Assyr ian — — sculpture Discoveries at Troy and Mycenz Roman — — snake bracelets Indian work with enamels Anklets w rn a o in Indi .

R AC E L E TS are as common am ong r savages as necklaces . There appea to have been no races of manki nd that did not wear th e m at an early stage in some form e ee of or other . Necklaces hav never b n any t b u t ac ual use , bracelets have ; they are as a e e a rule more solid , and can be e sily r mov d , and a sharp circlet of sh ell or metal kept on the wrist can conceivably have been of gr eat ff t n e ec as a missile . A somewhat similar weapo is worn by native warriors in some part s of k th India . It is a flat circle t of steel ept in e m n helmet, and I have bee n told by a co pete t authority that such skill in the throwing of these rings can be obtained that one of the trained ’ natives can cut off a man s head with one s mi of them at a considerable distance . A i lar

94 JEWELLERY As a quite general rule bracelets are more e solid in character than n cklaces . A string of e ec an b ads is the typical form of a n klace , but enlarged wedding ring may more fittingly b e

e . taken as the type of a brac let Nevertheless , the two types now and then merge into each i in other . We have already seen th s the case of n con the torques , as far as ecklaces are e u s c rned , so eq ally we find sometimes bracelet which consist of a ring of small objects strung together as beads . In Hawaii such bracelets are most effectively made with boars ’ tusks pierced about the middle and strung on a strong fibre : the natural curve of the tusks makes the o u tline of these bracelets very grace

fu l . From Benin city were obtained some most t cleverly carved armle s cut in ivory , and the r e s e c i natives of some parts of West Af ica , p Y ally the orubas , are clever at casting highly t ll ornamented armlets of bronze , of en set a

over with little pendants , something after the

fashion of Norwegian work . From Central India we get many ordinary

objects of jewellery cast in a sort of pewter , melting easily ; among these bracelets are com f mon . All these are types o early work sur viving still among tribes which have not yet r ti risen much above the level of p imi ve peoples , ’ MO D R N R Ml l o ’ AR s i us k s F RO M 1 m ; H AW E A h . I o AII AN s A h Ds

B R TIS H c o w TO R L E s o r 81 ” o n 1 1: C F N TL RY A l ) I Q 9 , 96 JEWELLE RY middle — a fashion usual in most e arly piere ings of stones . Another bracelet , strung on a w n has ea plait of gold ires and oxe hairs , b ds of s e turquoise , amethyst , and gold, the mall r in ee beads arranged sometimes groups , thr in

a e . a row , very cleverly man g d The centre has a circular gold disc of t wo gold plate s solde re d t e e ed ogether at their dg s , the upper plate pierc and curling over inwards like the petals of a

flower . The grouping of three small beads together so as to form one link is admirably exemplified in the case of a bracelet with beads of tur u oise u q and lapis lazuli , cut oval and circ lar , gro u ped and kept in place by means of the rows of three gold beads soldered togethe r as ff t r one . The e ec of this grouping is ve y rich t it be and decora ive , and cannot properly done except by means of some such device as this to keep the separate beads in their proper order. Ye t another of the Abydos bracelets shows ’ r ve ry skilled lapidary s wo k . It consists of n beads of amethyst , turquoise , and gold , stru g and e together with oxen hair gold wir . The amethyst beads are cut in the form of an hour e glass , not pierc d , but with a ridged slot round h se t t e centre , in which the cords are , kept close to the stone in each case by means of a

98 JEWELLERY ’ f a im al s a into various ornamental orms , n he ds , m sphinxes , and many other types . A ong the o f treasure of the Oxus , about the second

B . C . e u or third century , wer partic larly fi ne ets l ets examples of such bracel or arm , orna moo ted at each end with a very fine ly m odelled ed te w ed figure of a horn mons r, ing , with the f beak of an eagle . The sur ace of the wings and necks of the figures is still c ove re d with no gold cloisons , into which , doubt , inl ays of coloured stones or composition were originally t the s l set . O her hollows are cut into o id gold ese t on the head and body, and th , I hink , were e c o i n probably filled with some colour d omp sit o ,

not enamel . e Among the Romans a coiled snak , ending f d in a head at each end , was a avourite esign ,

for bracelets as well as for rings . Thes e are e w of metal , gold by preference , chas d ith the n scales , eyes , and other fi ish ; but in the Roman n work we find a tendency to set gold or aments , n as a rule , with coloured stones . Ma y of the r Roman gold bracelets were ve y massive , and the work upon them is correspondingly of a e somewhat heavy style . Th se heavy bracelets make the old story of Tarpeia quite under le w n s to s tandab . She bargained ith the Sabi e Open for them the city gates of Rome in ex BRACELETS 99 change for the bracelets they wore on their left arms , and when the Sabine king Tatius got through the gate by reason of this arrangement he contemptuously threw upon the traitress , not only his thick bracelet , but his shield , also worn on the left arm ; and , all the soldiers following his example , Tarpeia was speedily crushed to death . In England as well as Assyria a bracelet has received honour as a mark of rank , as until quite recent years bracelets have been put upon ’ the sovereign s wrists at the coronation . The royal bracelets of England are now kept in the Tower of London they were made for the coronation of Charles I I . by Sir Robert Vyner .

They are flat bands of gold , one and a half w inches in breadth , lined ith red velvet , and ornamented on their outer surfaces with cham plcvé enamels in the proper colours of the — fi e u r national badges rose , thistle , harp , and

- l The ffi de ys . royal o cial bracelets are men tioned in the accounts of the ceremonials used at the coronations of Richard I I . , Henry VI I I . ,

E E . dward VI . , Mary and lizabeth Very decorative bracelets ar e made in India

o s in they follow old fashi n , as is the case many f difli c u lt oriental countries , o ten making it very to say whether a given object is new or old .

1 02 JEWELLERY to c la ify them with some degree of useful that so ness . I think rings have , far , been S.s more Ivritte n about than any other pe rsonal and t e be form of jewellery , , also , here hav en e who some not d collectors of rings , in their endeavours to arrange their collections in some a e t underst ndable form , have suggest d o the cri tic several new heads under which to classify them as a whole . E n For instance , Sir John va s possesses an

c r n unrivalled colle tion of posy i gs , and they are arranged alphabetically under the first f letter o the posy . A book might well be

r w itten on this most interesting division alone . The late Sir Wollaston Franks collected more now promiscuously , and his collection , in the r t B itish Museum , is notewor hy as being the most representative of rings of all kinds that t has ever been brought together . I hink that Sir Wollaston particularly liked rings with portraits contained in them , miniatures , or enamels ; but these are so rare that he was not able to get very many of them . a Popularly , the greatest interest is t ken in a rings , bec use they are the visible emblems of love and marriage , but , largely as these s are classe represented , there are several other FINGER RINGS 1 03

e kinds of rings , all of which have th ir anti u arian q as well as their sympathetic interest . Rings set with Egyptian scarabs are prob n ably the oldest now remaini g . These were

signet rings , and the rolls of papyrus , inscribed

with hieroglyphics , were often sealed with mud seals and impressed by the flat side of the

scarab ring . Early mention of rings occurs in the Bible in

many places , notably when D ius sealed up ’ the lion s den with his Signet ’ and when Jezebel used her h band s Signet ’ to Sign the false 1 ters about Naboth s vine 1 4 : g/ Catullus refers to a then current in his account of the marriage feast of Peleus

and Thetis , at which Prometheus was a guest . Prometheus had stolen the sacred fire from oe Ph bus , and was condemned by Jupiter to be a ch ined for ever to a rock . Presently , how ever , Jupiter regretted having inflicted so severe of a sentence , so he cleverly got himself out the diffi culty by having a small piece of the rock set in a small piece of chain , and making “ Prometheus wear it , still chained to the ” rock . There are several stories about a ring being and n lost fou d again inside a fish . It is told 1 04 JEWELLERY

f no of Solomon , and also o Polycrates , and , doubt , is of great antiquity . The bezel , bissel r of the r (German , a mouthful), or pa t ing which th holds the stone or o er ornament , is always considered the most important part of an orna ’ e w as mental ring . Gyges ring , when the b zel t d urned inwar s , rendered him invisible ; and in the Arabian Nights Tales there are cases in

which the genii were slaves to rings . There are already several tables of division s is into which rings can be divided , and , as of inevitable in such cases , every compiler such

a table thinks his ow n is the best possible . ’ I think that most other pe ople s divisions are a too elabor te , so I have made one which , at all has ac events , the merit of simplicity ; but I knowledge to the nec essary admission of the “ ” dec idedly w eak subdivision Miscellaneous . t u But my readers , if hey st dy the matter far enough to realise how large a division this last

one may really be , will be advanced enough in ring knowledge to be able to draw up a ow n new scheme , in accordance with their

taste . I begin by making two large and easily “ “ a Ofli c ial a recognised cl sses , and Person l , and these I subdivide as follows

1 06 JEWELLERY

ff w a e c on arranged in a di erent y, the ston s i tained in them being considered first. W th fe w e are One a exceptions , my exampl s in or

other of these two museums . r e a in be n Papal rings are very la g , h v g e e made probably to be worn over a glov . They c ez have large proje ting b els , set with some stone , usually of little worth . The shoulders and sides of the rings are often ornamented with emblems and designs in relief. There is a fine collection of these large rings in the ae Medi val Room at the British Muse um . E t piscopal rings are often set wi h sapphires , because the cold blue of the stone was sup posed to typify the priestly coldness towards earthly pleasures .

The red carbuncle is , however , also a favourite no stone for episcopal rings . In this case doubt the warm colour indicates a correspo nding a l r warmth in ecclesiastic l fee ing . The cu ious Decade rings which were not uncommon from r the fourteenth to the sixteenth centu ies , both E in ngland and on the Continent , had ten pro jections on the outer side of the ring . They were made of gold , silver , or bronze , and the projection for the Pater Noster was usually the enlarged into the form of a crucifix , nine aves being small knobs only . One of gold FINGER RINGS 1 9 7

f u b at was o nd at Denbigh , one of ase metal

Y t . ork , and one of silver near Whi by Abbey o a Dic ke t la Sail rs c ll them rings , and y u much store by them . It is s pposed that Peter the Hermit invented the Chaplet of heads as a s a help to pr yer , and it is po sible enough that these rings may date from the twelfth or thirteenth century ; but no examples of that n w age o remain . They are supposed to have n o at a bee w rn by monks night , so th t if they woke In the dark they cou ld easily find them ; but they are also sometimes supposed to have n as bee worn as a penance , they are most

uncomfortable . Among the few remaining jewels of Anglo

Saxon times are two remarkable rings , which a o I may well mention here as Coron ti n rings , w a hich they may well have been , lthough there a is no authority for s ying so . These tw o rings are of such fine workmanship and rare n desig , that when they were made they must

s have repre ented the highest art of their time , and i ndeed they wou ld command notice even if they had been made at a time and place more

generally accorded high rank in art production . The larger of the two is Shaped some what in ’ s and the form of a bi hop s mitre ; it is of gold , d the designs cut upon it are fille with niello , 1 08 JEWELLERY

s f s a compo ition chiefly made o lead , ilve r, and lo ea sulphur , which melts at a w h t . The Romans as well as the Anglo- Saxons kne w the f u n on composition of niello , and it is o d

o- x bronze , silver, and gold . The Angl Sa on not so ac k as nielli show as of a bluish tint, bl al on he r is usu . The blue tinge is notable t ing x r me e now under discussion . The e t e h ight of the highest part of the ring is one inch and the c rc a half, and it tapers down rapidly , i um ference being two inches and seven eighths ; the standard of the gold is clos e u pon the

E - the o u t nglish standard of to day . Round er side of the ring is the name of the king ETHE LWULF entu , who reigned in the ninth c ry , the n e o f and above this , in broad tria gl the z be be el , is a design which may perhaps a of f modification of the sacred Tree Li e , as of there is a centre ornament , on each side which are two birds . Analogous designs are ns common to the early art of many natio . The ring was shown and described before the Society of Antiquaries of London by Lo rd

2 z nd 1 81 . ee Radnor , on March , 7 It had b n found during the previous year in a field near

Salisbury , in the parish of Laverstoke , by a to workman , William Petty , who sold it a

S a - n ilversmith in S lisbury for thirty four shilli gs ,

1 I O JEWELLERY tracts and expands in disaccord with its

t f off. me allic bed , and so easily alls It has c t f e t been plausibly conje tured , here or , hat the symmetrically vacant spaces on this ring were so t originally filled with enamel . If , hen the ring must have been much more beautifu l than no w a e o ne it is , and even in its present st t it is of the most charmi ng rings imaginable . It i Y e w as found in the West Rid ng of orkshir . The next royal rings to be describe d are — s o m modern modern , indeed , as to have al ost

a personal interest to many of us . They are the I l coronation rings of Charles . , Wil iam IV of and Queen Victoria . The ring Charles I . E s of u is kept at dinburgh it consist a flat r by , ’ e engraved upon which is a St . G orge s cross , r set round with diamonds . The golden ing so itself is curiously contrived at the back , that l it can be enlarged or reduced in size , enab ing it o xi of t fit any finger. The e stence this device shows that it was intended to be used of by successive owners . The design a St . George ’s cross upon the English coronation The r ring has now become stereotyped . uby is the traditional stone for this r ing ; o ne is

V . recorded as having belonged to Henry , and another is mentioned in the order fo r the

coronation of Charles I I . and that of James I I . FINGER RINGS I I I

is also described as having the cross of St .

George engraved upon it . The ruby cross is preserved in the coronation ring of William

I V . , but here it is built up with five rubies ,

one square for the centre , and four long ones

for the arms . The cross is then set upon a

large cabochon sapphire , the whole surrounded n The by fine diamo ds . blue sapphire was doubtless chosen as representing the blue field ’ of the cross of St . Andrew . Queen Victoria s E ring , also used by King dward , perpetuates a the s me pattern , but is smaller . The military orders of the Knights Templars

and the Knights Hospitallers of St . John both wore rings bearing the crosses of their respec t t ive orders , and here are examples of military rings bearing little cannons and other imple w r ments of a . The most curious military rings

- are the large oriental thumb rings , cut out of s e t w jade , and with rubies and gold ire , which

s were u ed in archery to protect the fingers . s Many of the e rings are very decorative ,

the red of the gold - encircled rubies making a charming contrast to the pale green of

the jade . The rings had another use , hardly mili tary ; their strength made them available as levers fo r the bow string when it was used for s trangli ng persons who were condemned to I I 2 JEWELLERY death ; the ends of the string we re drawn r an the through the ring by the ight h d , and in nec es left hand being placed on the r g , the a sary pressure was easily obt ined . E r e u ngagement rings are ve y num ro s , and many of the designs used for them are of m u ch Exh t interest . At the Victorian ibi ion at the N e w a to itz he r be rt G llery , the ring given Mrs . F e i an by George IV . was shown . It look d l ke r was e two r in ordinary wedding ing , but r ally gs so contrived that they fitted closely toge ther h s e o ne when placed in t e proper order . In id

a e Ge o . of these was engraved the n m s , ” the e Adolph . Frederick , and inside oth r the ” r n is a d to names , Ma ia Anne . The Ki g s i who the have married this lady , was widow itz he rbe rt of Swnn erton Staf of Thomas F , y , fo rds hire 1 8 se to , in 7 5, and he is suppo d have w t s e t al ays carried her portrait abou with him , a in a ring ; and she , in turn , had similar ring ’ bearing the king s portrait . c so a e Posy , posi , or poesie rings , are c ll d because of the poetical words which were in ed ou or sc t scrib inside them . These in rip ions

are often repeated , but even so there are a o f large number of them . No doubt most t e them were engagement rings , but o h rs may e e have been w dding rings , and possibly nough ,

I I 4 JE WELLERY

ia on su m ou nted with a e welle d co ronet d m d , r j , and s upported by tw o enamelle d hands - a sort of su em ent to the en a em ent rin s w ic h ppl g g g , h were made of tw o hands whic h clas pe d each o er w e n ose to e the b ut c ould s th h cl g r , be e pa r d ate . ’ In the old Englis h marriage r itual the bride s ring us ed to be pu t on to s eve ral of the fing e rs of her left hand in s ucce ss ion by the b ride F t on to the wi h m . t the w r groo irs thumb , o ds , In the name of the Fathe r the n o n to the “ n e n So n firs t fi g r , In the ame of the then “ c and in the na on to the se ond finger , m e of the H on to i d n oly Ghost then the th r fi ger , Amen and so it is now put straight o n to he n the e e n n t third fi ger , and all pr c di g i voca tions presumably understood . There was an old custom in the Isle of Man according to which an unmarried girl who had been offended by a man could bring him to u u trial , and if he were found g ilty she wo ld be

and a r n . presented with a sword , a rope , i g With the sword she might cut off his head ; with the rope she might hang him ; o r with is the ring she might marry him . It said that the latter punishme nt was that invariably t i nflic ed . Jewish betrothal rings of the sixteenth cen FLA TE X VII

' l 'l ALl AN M D I A O N D R I N G WI TH E N A M E Ls 1 OTH C E N I UR Y A n

E N L G IS H D I AMO N D “ F DDIN G - R I N G WI TH E N A M E LS 1 8r H C E N T R Y U , A o

E N L A M G IS H D I ON D W R I T I N G R I NG 1 OT H C F N TUR Y , A . D. FINGE R RINGS I I 7 were also considered to render water in which they had been soaked a specific for certain / forms of disease . They perspired and changed w a colour if their e rers had been poisoned . They were called and were supposed to be found in the heads of toads “ which , like the toad , ugly and venomous , ” years yet a precious jewel in his head . Ornamental rings naturally form the largest subdivision into which rings can be divided , especially in later times , as heraldic rings would — come under this head indeed , there are such numbers of these last that they are probably

s o n entitled to form a ubdivision of their w . True heraldic seal ri ngs in England date from the fifteenth century , when they were almost always cut in gold or silver , a style which has o u t Si n never quite gone . In the xteenth ce tury there was a curiou s fashion of cutting crystals and mounti ng them upon a groundwork painted in proper heraldic colours . Crystal is often n beautifully cut for sig ets , and heraldic designs e look very well so treat d . Of late years sar do n x y has been much in favour , as armorials n cut on this sto e , so as to take advantage of the a colour layers , have beauty of their ow E n beautiful truscan ri g , known as the Canino s ring , because it belonged to that collection , i

FINGE R RINGS I 1 9

necessary to lock things up more safely , so they made curious rings with key bezels . Many of them have been found among Roman e r mains in Britain . The gold rings of the Roman senators and w patricians were much envied by lo er orders , — w ho h n freedmen , mig t only wear silver ri gs , and slaves , who might only wear iron rings , s o both these classes covered up their rings w at ith gold foil , so that a distance they looked k w li e solid gold . Rings of mastic ere also c overed with gold a little thicker than foil . n The se , of course , are not very stro g , but they a h ve , nevertheless , lasted well , and are not w ar no . e u ncommon , even They very light , so e that they can easily be detected . Th y were called Samothracian rings . Roman rings of gold and othe r metals we re S ofte n made in the hape of a coiled snake , and sometimes the ends of the coil , instead of the h e ad and tail of the reptile , end in representa tions of Egyptian deities in bust form .

Curious large rings , with onyx cut across its a l yers of colour , are known as eye rings , the marking of the onyx being so managed as to give some distant resemblance to an eye . The se tting of these rings is usually made so as to acc entuate the resemblance . They are inter 1 2 0 JEWELLERY esting because they utilise the bands of the onyx , which were curiously neglected in the case of early gems . The white bands , which w m are so successfully sho n in the case of ca eos ,

are , in the case of intaglios , generally left as bars across the middle . There are , however , i l a few Roman r ngs set with small intag ios , in which the onyx bands are properly made to

enhance the beauty of the engraving . These

rings are all very massive . Some uncommon instances remain of Roman n s ri gs cut entirely in stone . One e pecially fine one is in the Waterton Collection at the Victoria i and Albert Museum . It is of lapis lazul , and on the upper part is carved a portrait head n of a you g man in full relief. It is broken ,

and has been repaired with gold . In the same collection is a ring of q u intuple form ; each of flat n the five ri gs , which coalesce at the back , w is set ith a cut stone , garnet and sapphire alternately : and another w hich broadens out

into a flat rectangular bezel , in which are set

two oval stones , sapphire and chrysoprase . There is one remarkable Roman ring in the Franks Collection at the British Museum which

is so peculiar that it deserves some mention . It is a double the two rings are joined at one

side . Such a ring may possibly have been FINGE R RINGS

a n n used as an eng gement or weddi g ri g , in

u which case it was probably d plicated . In this particul ar instance each ring has a garnet w n set in the bezel , hile from the ce tre bar rises a short stem , set at the top with a pearl . Some of the Italian fancies in ornamental rings of the s ixteenth centu ry are very pretty ; they are enamelled and set with small diamonds s s dominoed or other tone . There are little a faces with diamond eyes , and sm ll ovals in n which an eye is pai ted . No doubt these eyes are a painted from particul r beloved ones , and they undoubtedly were very popular . I have S een several i nstances quite recently of a revival s e of this fancy . It require to be very well don

u to be at all s ccessful . N Cameos are rarely set in rings ; there are } a n few of Roman origi , and others mostly of

n n s Re aissa ce times. Perhap the most celebrated ring of this sort is the sardonyx cameo bearing E a portrait of Queen lizabeth , which was given by her to the Earl of E ssex on the under standing that if ever he got into trouble and s n to ent the ri g back to her , she would come u Es did n o his resc e . In due time sex get i t en trouble , and being condemned to death he de avou red to return the ring to the Queen ; but s E x the Countes of Nottingham , who owed sse

FINGER RINGS 1 2 3

n with white , red , and blue e amel . The dark enamels near the stone set off its limpid beauty

and u to perfection , the bright colo rs of the more distant enamels carry o u t the refracted u S w n is colo rs ho n by the diamo d . It a most a and decor tive piece of jewellery not too large , and may well be the work of the mas ter so far as the Skill shown in its design and workman ship may go .

Anglo- Saxon ornamental rings are very the n scarce , and fi est of them have been de n d a scribed u der the hea ing of coron tion rings .

There is one other r emarkably fi ne Anglo - Saxon n w rn s ri g which as found in Ca arvon hire , and resembles the two royal ones in many partic u

lars . It is of gold , designed in a running a d pattern of alternate circles n lozenges . In e ach of the circles is a letter or combination of n on c letters , shown on a iello ground , and ea h of n the loze ges is a conventional animal , and

round all is a bold beaded edge . The name “ ” AHLSTAN e contained in the circles is , and th re was a bishop of Sherborne of this name in the ninth century , and to him the ring is supposed n n t n to have belo ged . Another i teres i g Anglo Saxon ring of gold with niello was found in the n t bed of the river Nene , ear Pe erborough . It

r O has two ci cular bezels , pposite each other , and 1 2 4 JEWELLERY each flanked by three small spheres of gold r n e joining it to the hoop , which is itself o name t d w of z e ith nielloed curves . On one the be ls is a design of three interlaced triangles shown in n t e n outline in iello , and on the o her a d sig of

cleverly interlaced curves . Belonging to the Sir Hans Sloane Collection

is an Anglo - Saxon ring of gold with an in

scription in Anglo- Saxon characte rs to the ff Eanred Ethred w e ect that made me , and o ns ” mi a me . There are other rings of si l r work m anship still existing at Cope nhage n and in E e i e ngland , but those I have d scr b d are the n most importa t . There are som e interesting examples of oriental ornamental rings in the Victoria and

Albert Museum . Among thes e some Indian

- s for be z rings have small looking gla ses a el . This is probably the original use of the ancie nt m w flat Ro an rings , hich have their bezel quite r i l ed and which were , no doubt , o ig na ly polish . fi ne s Burmese rings are often set with rubie , but to o u r taste both ring and stone s are far w too large . The bezels , long , and set ith

n n . several stones , are early as lo g as a finger i c En Mourning r ngs , espe ially in gland , are a very large class they were made chiefly from

the seventeenth to the nineteenth centuri es . A FINGE R RINGS 1 2 5 large number of the earlier ones have small enamelled skulls upon them ; then many are a set with black en mel or dark blue , with t diamonds . Hair at a ra her later time becomes a favourite addition , and it is used in many an ways , from a simple plait to elaborate

r u s fune al urn or pict re carried out mo t minutely . Such pictures are frequently finished in minia n and a the n e ture painti g , in m ny of inet enth century examples the initials of the deceased are delicately cut out of a s mall piece of gold and added to the piece of hair or miniature . n In all cases , I believe , the ame of the person o n imm rtalised , and the date , are e graved or n of shown somewhere about the ri g . Most these rings are personal and unique , but there are instances in which memorial rings have been o e made wholesale , as in the case of th s in memory of Nelson . a The natur l octahedral crystal of diamond , n of o t s et whe go d form , has of en been used to in n rings without bei g cut . Simple polishing in the natural faces was enough to make a very n s beautiful or ament . Such stone are set with of one their sharp points upwards , so that they e o n wer very c nvenie t to scratch glass with , and fo r t s o t s hi purp se they were of en u ed , not only

s t w - s arti ically , for goblets , ine glas es , and look

FINGE R RINGS 1 2 7

n devotio . It is said that on an occasion of an

u interview with the Q een , he wrote on the window with his ri ng

Fa n w ou I c b u t t at I fe ar to fa i ld limb , h ll , which the Queen finished in a most encouraging way with the words

If th r t f t t t ll e a a e e do no c a a . y h il h , limb

The hoops of writing rings are usually

S b u t S o imple , the h ulders sometimes have some a n a a ornament tio of bl ck en mel . n a s n s Rings co t ining poi o , either in a mall a recept cle under the bezel or in the bezel itself, were not uncommon during the Sixteenth n in E w o ce tury urope . They ere kn wn at an o n e earlier time , as Pliny rec rds an i stanc of a s entinel of the Capitol who was condemned to fo r s o and a torture me fault , esc ped it by n m poisoni g hi self by help of his ring . He bit w as s the bezel , which a thin hell of stone , e n w E b hi d hich was the poison . The mperor

u a s on Heliogabal s lways wore a poi ring , but he was attacked and murde red so suddenly

at ad m u s e th he h no ti e to it . ae sa o a u C r B rgi , of co rse , had a poison ring . O ne his n w t s of ri gs , hich s ill exist , is dated

1 0 ns w w 5 3, and is engraved i ide ith the ords “ ” a s c c s o F y que doy avi n que pourra , and 1 2 8 JEWELLERY behind the bezel is a little Sliding panel covering l a little ho low , in which the poison was origin Old ally kept . There are many stories of rings injuring their modern owners by scratching s them with unexpected sharp point , presumably poisoned . One such ring was lately bought in

Paris , and on it was a small lion , with sharp w hollow claws , which communicated ith a little e hidd n poison chamber , in the same manner as ’ a serpent s tooth . There are rings with little watches set in t them , wi h astronomical instruments of all t sorts , and others tha form a little whistle w ’ w something like a boats ain s , with a hollo sphere . And then there is the large and impor tant class of portrait rings ; the great t majori y of these are in memory of Charles I . and bear his portrait in miniature or in enamel . There are also a few cut in cameo and also in intaglio . Intaglio portraits , as well as cameos ,

is are of themselves very numerous , but it only in comparatively rare cases that they are hOO t actually set as rings . The p and se ting generally of such rings are as a rule quite simple . There are some small Wedgwood t cameo portrai s set in rings , and a few of ’

s . t as Bone fine enamels Al hough , as far the numbers go , Charles I . is most plentifully FINGER RINGS 1 2 9 represented , there are also several instances of portraits of other members of his family

s e . . Charle I I . and the Chevali r de St George Not only are certain stones credited with occult influences , as , for instance , the amethyst to prevent drunkenness , or the emerald to t purify the thoughts , but also par icular stones have been allocated as proper to wear at certain seasons . Yellow Topaz should be worn Sunday Pearls on Monday Rubies on Tuesday Sapphires on Wednesday Amethysts on Thursday Emeralds on Friday and

Diamonds on Saturday .

fi nd Again , we that the months have also their proper jewels . In January the Garnet should be Worn In February the Amethyst In March the Bloodstone In April the Diamond In May the Emerald In June the Agate In July the Carnelian In August the Sardonyx ;

CHAPTER VI I I

PINS AND B ROOCHES

— — — Thorns and fish bones Me tal pins Lake villages Celtic and ero n an rooc e s— M cenaean Gree and M vi gi b h y , k , Roman fibulae Circular brooches The Glenlyon rooc the Tara rooc and the Hunterston rooc b h , b h , b h

- Anglo Saxon brooches. INS and brooches belong to the later period

of the history of mankind , during which

u clothing has been reg larly worn . The primary reason for this need was probably climatic .

Man developed , as such , somewhere in the n tropical regio s of the earth , but by reason of his migratory instincts he presently wandered northwards into more inhospitable latitudes , and felt the need of more covering than Nature had dowered him with . Here comes the ques tion as to whether primitive man had much c overing of hair , as the Ainus still have , or t n whe her he had only a slight coveri g . How e ver this may be , it is quite certain that at e some remote period , for some reason or oth r , mankind did find a new need for artificial 1 32 JEWELLERY di covering . This he probably found most rea ly in a inv s ted the veget ble kingdom , and he e himself with coverings of knotted grass or nee e leaves , held together by fibres as he d d r e k f ani als them . Presently he t i d s ins o m t w o a laced toge her by sine or fibre , and pr b bly i the v ri s f fitting closely , l ke miserable co e ng o

to- he em v e the Lapps of day , said to never r o d . to n a s ki As to tanning , it is possible re der n a wit fat soft enough to we r by rubbing it well h . But in course of time a fixed clothing of this and the os sort must become very irksome , p si bilit v not for y of a change very ad isable , if the r wearer , at all events for his neighbou s The easiest removable fastening is a pin ; and as o for f s on as the want such an aid was elt , a plenty of such articles were at hand . L rge n thorns , common enough in tropical cou tries , O of are bvious as pins ; then , small bones all sorts , in many cases needing only breaking 03 f t rom larger bones , were easy o get and

ff i to . e n e ect ve use After these , us d as fou d , came a time when the thick end of bone o r i thorn was prettily carved ; and later aga n , n nu duri g the Bronze Age , we come across m bers of ancient pins , evidently made in imi tation of the preceding thorns or fish bones . Among the large number of early bronze pins PINS AND BROOCHES 1 33 which have survived from ancient times— the n earliest , perhaps , bei g from the Swiss lake — w e dwellings can trace , or , at all events , imagine we can trace— a regular sequence of and development , until we get quite gradually naturally to the most elaborate and , at first sight , original brooches of modern times . It is not necessary to inquire too closely into the many forms of pins which are made from bone or other natural material , but we may always look with interest upon any metal pin made in early times , as each one is distinctive and is almost sure to bear some mark or form which gives it great interest . The place where such objects have been found in should always E be carefully noted . In ngland the most com mouly found are Roman or Romano - British ; it is likely enough that the Romans introduced bronze pins of their own forms into this country, but of course at the time of the Roman occupation there were also native brooches or fib u lae here which had reached a full development . The first sign of differentiation in the bronze pin with thickened head seems to have been a simple flattening out of the head ; then the

flattened part was pierced , and through the piercing a ring or spiral curl of wire

PINS AND BROOCHES 1 35 ring are formed into the semblance of an

arbutus berry . Other brooches of this type , the finest examples of which are no w at Dublin in the Museum of the Royal Irish Academy “ not . are uncommon The Ardagh brooch , 1 868 a found in , is one of the finest ; it is m de of silver and partly gilded , the two extremities of the divided ring being flattened out and An ornamented with Celtic designs in relief. othe r has the ends finished in the form of

trefoils - possibly an early representation of the m k sha roc . These brooches range from the to e ninth the twelfth c nturies or thereabouts . But the annular brooches of like date are more elaborately worked , and among these we come across some of the most decorative efforts of “ e . the C ltic jewellers The Tara brooch is , altogether , the finest example existing of the

annular brooch with long pin . It is of white bronze , copper , tin and silver , and the lower half of the flat ring is broadened out into a much ornamented lunette . The groundwork is mapped out into compartments in which most beautiful scroll work is wrought in fine wire , while in the larger spaces the characteristic lacertine forms are shown . Dividing the com artm ents p are fillets , set with delightful bosses of translucent enamel , amber kept in place by 1 36 JE WELLERY

k s gold pins with filigree heads and dar jewel , f the probably of glass . At each side o ring is a chain of the closely interwoven pattern known ” e o as Trichinopoly , quit sm oth like a small ar snake , and at the ornamental junctions e in ee r e d curious little human masks , cast d p glass . The pin itself is ornamente d with Ce ltic and tracery incised , and the head is broadened flattened out and worked in a similar dec orative m k manner to the ring . So that in this re ar able brooch we find gold tracery and filigr ee of equ al beauty to the Greek work of a still earlier i be period , but which is not l kely to have en i e n seen by Celt c jewellers , transluc nt e amels made at a period when Byzantine workmen n m n could o ly produce opaque ena els , mouldi g in glass quite equal to any of the Gre co

Roman pastes , chain making which could only have been equalled by Indian jewellers , and a skill in designing , casting , finishing , and chasing metal which is quite equal to that o f or o any nation of any period . The Irish nati n the w may well be proud of Tara brooch . It as 1 8 0 now i found near Drogheda in 5 , and is n the Museum of the Royal I rish Academy at Dublin f A second brooch , this time annular , was ou nd

. t i a near Ardagh This is of silver , par ly g lt , nd PINS AND BROOCHES 1 37 a is worked in metal alone , but Scottish brooch , ” N k Hu nte rs ton nown as the brooch , compares favourably with the Tara brooch for beauty of design and workmanship . The top of the pin , a however , is not quite so ornament l , and there are no side chains , neither are there any enamel Hu nte rs on or glass cameos . The t brooch was 1 82 6 e found in in the estate of Robert Hunt r , at West Kilbride , Ayrshire . It is of the same n white metal as the Tara brooch , and is arra ged s in similar compartment , with Celtic gold tracery

and lacertine forms , divided and supported with amber bosses and small green and black jewels , probably glass . At the back is an inscription in Runic characters and compart

ments with filigree designs on thin gold plates . These are the best known of the brooches of

this type , but it is nevertheless a widespread

type , and to this day Algerian women wear the such brooches , but with the peculiarity that

ornamentation is not on the ring , but on the

enlarged top of the pin itself. The next modification which Shows itself seems to be one in which the pin dwindles so m uch as not to exceed the diameter of the ring . — Brooches of exactly this type prototypes , that — is , of all circular and oval brooches are not

u ncommonly found among the Anglo- Roman

PINS AND BROOCHES 1 39 the Open circular brooch is comparatively fi scarce , but a particularly ne example was found at Crundale , in Kent . It is partly of silver and partly of bronze , and the broad ou ter circle has tw o birds in full relief sitting u pon it . These birds reflec t the Scandinavian feeling which is so strong in much of the

- Anglo Saxon jewellery . Crossing the centre of u h the o ter circle is t e pin , which in its turn is provided with a penannular ring . The decorative work upon this delightful piece of e e j wellery is admirabl . During the fourteenth century particularly the Open circular brooch was much in favour E in ngland . These brooches are usually of en gold ; a plain flat ring set with jewels , cut cabochon m , is the commonest for , but richer k k he wor is not un nown , when t flat ring is e deeply vandyked , and , as w ll as being jewelled , shows again animals and birds cleverly modelled in full reli ef, of the same character as the L ombardic and Scandinavian work already m entioned . In Scotland the open Circle brooch is common enough ; it can be found plentifully at the present day among the shoulder brooches for plaids , and is often heraldic . Among the older Scottish brooches the “ Glenlyon ” brooch is 1 40 JEWE LLER Y c nl mon the in r i n I e rtai y a g most te es t g . t has be longed to the family of the Campbells of

lenl on for a on tim e and is of sil ve r ilt. G y l g , g The broad circ le is ornam e nte d with little towe rs at nte r v ls at the ta of ea ch of whic h is se t i a , p a smal s one — am eth st cr s tal or carne lian l t y , y , , a he ri us in is h or a pe rl . But t c u o po t t at the ope n centre is cr osse d by an ornamental bar ena e s ea s m et tw o sho r t with m l and p rl , by ns e at the e ed e of the ou e pi , hing d inn r g s t r c e n e as ar ircle . Und r eath the l gend C p — Melchior - Balthas ar co ns u mm atum is e n ed The s t ee ki s of grav . name of the hr ng Cologne are Ofte n met with on me diae v al amulets . We have seen how the small wire circle of the Roman prototype has gradually thickened and been made broad and strong enough to e b ar jewels , enamels , and small modelled fi es so gur , it is not surprising that at an early he m time t entire ring was filled in , beco ing s a di sc with a hinged pin behind it . Thi form ffe on of brooch , however , is distinctly a di rent e

- e e from the Open circl brooch , becaus it involves a different manner of attachment . In the cas e Of the open- circle brooch the tip of the pin

s f e re st on the upper sur ac of the ring , and the mate rial is pulled through the open ring , PINS AND BROOCHES 1 4 1

e e h pi rc d by t e pin and then pulled flat , leaving a little pinch firmly held across the Open centre . n the e of he I cas t disc with a pin behind it ,

however, the pin is simply passed through the material and its tip rested into a little hollow e for pr pared it . Numbe rs of such brooches have been found a h long t e shores of the Mediterranean , of Mero vin ian k g and other wor manship . These vary l argely in style , and on some of them occurs n a d o e iello work , n on n Teutonic specimen that e f m e of I hav be ore , a swastika , one those myste rious Asiatic emblems which set arc hae o lo is s g t at variance , both as to their origin and I as to the ir signification . believe myself that

the origin , both of the swastika and the tris e to b kel , is e found in astronomy . The prob ability is that the earliest representation of the m sun is a small circle , ost likely made in a rock f sur ace . Then rays , three or four , have been added , to indicate that the circle is the origin of e light, or heat , or both . There is , howev r, some feeling of quietude about a circle with simple rays proceeding from it , so that the small cross - pieces have been added at the end of — each ray , to signify movement resolution .

The emblem itself is of Asiatic origin , and occurs largely in Indian work ; it was borrowed

PINS AND BROOCHES 1 43 must have pulled any material to pieces that ’ was of k not ve ry strong ma e . The boar s head

brooches , however, developed from an early Roman type of fibula of another

kind , which I will spe ak about furth e r on but by s o developing they have got away from their own class , and come into that of the - closed circle brooches . C uriously e nough their genesis is e m b trayed by . the for of the 80 ” now merely ornamental lines 2303 upon their surface , which are really survivals of constr uctive lines . Anglo - Roman circular brooches are usually of bronze they are sometimes ornamented with

’ ham leve opaque enamels run into c p spaces , and s ometimes they consist of curious discs of pat e off tern d glass , sliced thick rods composed of numbers of small rods melted together in the “ ” same manner as the mille fiori glass made in modern times , particularly at Venice . The ff designs on these discs are often very e ective , and it is obvious that great skill in glass k wor ing was necessary for their production . The ancient Egyptians were very skilled in r f making glass ods o this same sort , embody e ing d signs , to be afterwards cut in slices but 1 44 JEWELLERY

they did not use their slices to set as brooches , as the Egyptians do not seem to have u sed ” o e n n brooc hes at any time . The m d r Tu bridge t im Wells ware is made in an exac ly s ilar way.

The Anglo- Saxons did not make any of the d k but u e glass iscs , as far as is nown , they s d instead the small flat garnets so much lik ed by ne s Merovingian jewelle rs . With the gar t are e o found small inlays of a blu comp sition ,

bosses of shell set with half- rou nd garne ts and of supported with beautiful gold tracery, usually gold wire soldered on to a gold plate faste ned

on a bronze foundation . The designs on most of these brooches are o geometrical , outlined with thin gold cl isons t f filled wi h the small flat garnets , under each o

f - o r which is usually a little bit of gold oil , e blue composition . The best sp cimens of this n m kind of work have been fou d in Kent , any of them at F ave rsham ; but finer work has im of been found in Berkshire . Of the t e King e one Alfr d there exists very remarkable brooch , Dow ate e known as the g Hill brooch , b cause 1 8 it was found in a sewer there in 39 . It is m small , and consists of a circular ena elled

plaque set in a gold filigree framework , with u k gran lar wor and four pearls . The design

in the centre is that of a full - face portrait of PINS AND BROOCHES 1 4 5

n e s king weari g a crown , with thre rai ed n pearls , and at each side a depe ding chain , resembli ng the kataseistas found on Byzantine c e one k on rowns , which hav at the bac and e ove r ea e th k n k ch ear. The enam l is of e i d nown as cloisonné the e is , that is to say , d sign marked out diagrammatically with flat wire set e edgewise , and th n the spaces filled in with the e if enamel , fir d and polished necessary . It is conjectured that this head may be intended for of m ma a portrait Alfred hi self, and it y u be The a q ite possibly so . technic l part of the enamelling resembles that on the Alfred ie wel now at the Ashmolean Muse um at O f e a re r x ord , and which also conj ctur lly p e n k se ts Alfred . This jewel was most li ely the o e of k n e rnamental h ad a boo poi t r , and the re is on its setting granular gold work of a similar kind to that of the Dowgate Hill brooch . e e e e Ther are oth r namelled j wels , made a e ma be bout the ninth c ntury , which y Anglo ' S x w k clozs nné e a on or , all o , and b aring some o t resemblance as t colour . The mos important of the are these , for present purpose , the Hamilton brooch and anothe r bearing a pe r t of rait a lady . Both are in the British e is e Mus um . The Hamilton brooch a v ry

PINS AND BROOCHE S 1 47

e ornam ntal design only , used for chief orna me nt . The character of the head also has much Byzantine feeling about it , which the e D h ad on the owgate Hill brooch has not . The two curious fillets , set with gold rings , between each of which is a pierced pearl , held in by a continuous wire , show a device used , it e is tru , by Byzantine artists , but also by the

Greeks and others long before . I mean that the ide a was an old one even in the time of A lfred , so that alone will not prove that a e of pi ce work containing it was Byzantine . The outer enamelled ring is set with small

’ e m clozsom zé na elled circles subdivided , , and

coloured red , green , and blue .

This , like the last described , is a very beau c tiful broo h , but it is marred by the grotesque appearance of the lady ’s face Not that the artist was unskilled— far from it ; b u t to work a full face in cloisom zé enamel on s u ch a small f l scale is most di ficult , and cou d only be succe ssful and pleasing by the help of one of those chances which sometimes delight an enameller by producing a m uch fi ner effect

u than he had ever hoped for . I m st say , how ff ever , that the chance e ects which most usually occur under such circumstances are more likely

to be bad than good . 1 48 JE WELLERY

of Curiously enough , the land origin 0 either of these last two brooches desc ribec ‘ has not been definitely recorded , but as I giv

x hO c e cellent representations of them both , I p that my readers will endeavour to decide th‘ difficult question of their provenance for the:

h be au ifu selves , and if possible go and see t e t originals in the Gold Room of the B ritisl

Museum . The most typical Scottish circular b rooc he

t( are represented by the Brooch of Lorn , said the have belonged to Robert Bruce , and Loch o of buy brooch . This last bro ch is silver se

t tl t : with crys al and pearls , raised in lit e s alk e am or towers . The crystal is in the centr , t eight li tle towers , pearl capped , surround it The setting is ornam entally treated with rathe the coarse silver filigree , but whole design i ff insc ri strong and e ective . At the back is an p tion stating that the silver of which the b rooc l is made was found on the estate of th. Lockbu Macleans of y, in Mull . To this class of solid circle brooches belong all such jewels as the Koh - i - Noor and the He p.

m . Blue Diamond , although , speaking fro th c metallic point of view , they belong more or re l - t c t y to the open circle division . The metho

e m . of pin attachment , how ver, brings the int PINS AND BROOCHE S 1 49 “ ” the ri m solid class , as the metal and its contained stone are treated as one disc . The s ame argument applies to the large number of be autiful Renaissance cameos set in rich frame

of . works gold , enamels , and jewels N ow I revert back to one of the primitive types of pins . We have already traced cur sorily the genesis and development of open

- circle and closed circle brooches , and now I s hall say a word or two about the beginning and growth of another form , which I shall call h “ t e linear development . Here we come to the fibu lae brooches which are widely known as , and although in general they retain their t ypical peculiarities , in detail they vary very ff n ff widely , di erent countries choosi g di erent parts for ornamentation and special develop me nt . Among the débris of one of the Swiss lake dwellings near Neuchatel was found a pin with a short chain attached to its

u head . It is possible that s ch a chained w w pin , easily gro ing out of the pin ith a ring or two at its head , may have been found useful to protect the point o f the pin . Such a chain may hook o ver the point which has been pas s ed t hrough the material to be pinned , and

PINS AND BROOCHE S 1 5I constructive lines which strangely but u nm is ’ takably appear on the boar s head brooches of

Scandinavia (p . which are thus proved to have developed from this early type of linear

brooch . Among the Roman brooches found in Britain

u s - are n mbers that have a cro s piece at the head . s These are called Tau brooche , and it is also s ometimes held that they have the significance

of the Christian cross . I think that this cross piece has no s u c h hidden meaning

t Si at all , but hat it mply represents a short piece of stick that the primi tive jeweller found very usefu l as an aid to his fingers in bending the wire round at the top to make a spring . Such constructive aids have frequently been adopted as parts of

s s and s ultimate de ign , in thi case the simple Tau - topped brooches

s s t have progre sed ill further , as they sug gested n u mbers of very ornamental rectangular and semi - spherical tops to Scandinavian work

u ki men , who very likely tho ght they were ma ng

n s n origi al de ig s . The norm al Roman fib ula has an enlarged

s l bow , heavy ring , spira s , and wire set with

and s s bo w beads di c , the reaching right across 1 52 JEWELLERY

As from the hinge to the socket for the point . hea the bow gets more arched , so the Tau d tends to disappear but there are exceptions to e u a every rule , and one beautiful silv r fib l of the third century or thereabouts has a highly e n arched bow ornamented with niello patt r s, and a Tau head with gilded ends . In the normal Greek and Etruscan fib ula

KAGLS o r oc the bow is very small , but the s ket one for the pin is abnormally enlarged . In exquisite specimen from Cervett i this id eas has upon it a procession of little lions and n sphi xes , and also has much of the wonde rful E truscan granular work all over it . Ano the r

KAGLS o has the flattened sideways , and up n it a m aeander pattern shown in a double line of gold spheres so small that it requires a mag

nif in st t y g glass to di inguish hem . How this extremely minute granular work was done is

s E not now known . Thi fibula is truscan work B C of about the sixth century . . Etymologically the Greeks support the theory of the evolution of the brooch from the pin in the succes sive meanings of the word m pévq

s fir t meaning a bone , next a pin , and finally a

s brooch . The Greek also realised the double o piercing of a material by the pin of a br och , PINS AND BROOCHE S 1 53 in contradistinction to the single piercing of

h of t e pin a buckle , by their use of the word

8c v s fl , meaning originally a double piercing nd a eventually a brooch . Many of the Greek

fibula with long point- sockets are ornamented With little figures of animals like those on the i ex Ce r vetr . ample from , but not so elaborate These little images seem to have been made in o tw pieces and then soldered together . The pi eces were probably made by pressure with a stilus into a mould cut in stone . When com plet e the little figures were sometimes further

finished by small lining with a graver , or by the addition of minute grains of gold very skilfully soldered in . At Hallstatt some very curious m odific a i t ons of the arched fibula have been found . I n es a most instanc , the orn mented arch is s mall enough to remain in the normal position o f d the upper side of an or inary safety pin , but at Hallstatt the arches of several brooches w ere inordinately enl arged and ornamental ffi pendants and fringes a xed to the outer edges . S uch brooches were intended to be worn in s uch a manner as to allow the arch , normally t he w upper part , to hang down ards , the pin s upporting it from above This is a remark

PINS AND BROOCHE S «1 55

e e e j w ll ry did . This is the Tau fibula (p . the original form of which is quite simple— a

flattish - arch or bow , with a cross piece at the S pring joint . Like the earlier form of wire joint already ’ s hown to have become enshrined in the boar s

head brooches , the Tau form must have tra ve lled northwards through Europe very gradu al ly , undergoing numberless minor changes , until in Scandinavia we find large and elabo a e r t works of art which are , indeed , only a

glorified expression of the same motive .

Common both in Denmark , Sweden , and

Norway, these brooches are of silver or bronze ,

some times gilded . The characteristic feature a is the rectangular or semicircul r top . Below this there is usually the diminished survival of

the original arch or bow of the Roman fibula , and lower again is a long ornamental piece

which may , perhaps , be considered as an

- enlargement of the Roman point socket . But

c it is not really this , be ause the pin of the Scandinavian brooches fixes its point quite at the n far end of this lengtheni g . But whatever the backbone, of the brooch may be decided to t n be , the enlarged top , ypifyi g the cross of the Tau , is the main feature . The curves and 1 56 JEWELLERY traceries on many of these brooches are often

of great excellence , but I think that similar work in a still more decorati ve form can be found on some of the rarer Anglo - Saxon brooches which have clearly derived from them .

In the Anglo - Saxon specimens are found inlays of of - of- flat garnets and bosses mother pearl , as well as niello work on strips of silver ; if c a the broo h is of bronze the silver is inl id , and these lines are usually laid right down the centre of the brooch or else in parallel lines to e the outline . The enlarg d tops are generally t of a rectangular shape , but in many ins ances they are semicircular , and are moreover fringed w t with je elled bosses or projections , indica ing that the original tau shape is losing its force ff and is gradually di erentiating itself. It seems , w however , to stop here , as such brooches sho of no further development that I am aware . Buckles are closely analogous to the Open ff circle brooches , but they di er in that the y are always attached on one side to a strap or tongue . This attachment takes the place of one of the two or more piercings of the material

. which is characteristic of the pin of a brooc h , so that the pin of a buckle only needs to pierce

. of the material once Again , in the case an ANOII L S AXON T R I PLE l 'IIN O F B ROE LE

A BO UT TH E C F N T L I“ A . D

' ‘ ' ‘ ’ - S (H ) S VV l l ( T S STI‘ S A N G LO AR U N ll UC lx l P G O '1 lu l l l ; AR N E A N D l A O “ \ RV A B l l T i l l GE TL , A D

BIBLIOGRAPHY

A LARG E nu mbe r of s hort artic le s u pon Jew e lle ry in de tail have bee n p u blishe d at var iou s time s in the pu b lications of the se e ra earne soc et e s art c u ar v l l d i i , p i l ly t os e of the Soc e t of Ant u ar e s of Lon on the h i y iq i d , Soc et of Ant u ar e s of Scot an and the R o a Ir s i y iq i l d , y l i h cade A my . T e re ar e a so in En s se e ra u cat ons ea n h l , gli h , v l p bli i d li g eithe r with one o r othe r of the se ve ral divisions into w c e r sona e w e e r m a be de d r n s hi h p l j ll y y divi i g , b rooc s e tc — or e se w t art c u ar o e cts su c as he , . l i h p i l bj , h ’ the En s R e a a Da e n o r t one s o r St. u t e rt s gli h g li ( v p , J ) C hb R n E r e i g ( y ). Ve r fe w oo s es e c a in E n s a e as et y b k , p i lly gli h , h v y be e n w r tte n ea n w t the su e ct as a w o e i d li g i h bj h l . ad ra e and n st of the s c atte r e art c e s An mi bl lo g li d i l , as w e ll as the books and pamphle ts on partic u lar d s ons or art c e s of e w e e r w be fou n in the ivi i i l j ll y , ill d Lis t of B ooks and Pamphle ts i n the N ational Ar t Library ’ r ati n old nd il r m i th work and w ell r ill us t g G a S ve s s j e e y , e d th S u t Ke ns n t o n u se u in 1 88 pu blish by e o h i g M m 7. The following fe w boo ks m ay b e consu lted with advantage

llini Scel ta di An ti e/zi Anell i ar a. Bose (C . . P m 886 1 . ’ D ll or e e ia an ti a F ir nz 1 86 2 . C astellain e e r e e e . fi . C aste llain A M e m oi r on the j ewellery of the

An ci en ts Lon on . d . 1 60 BIBLIOGRAPHY

r C e llini (B. Due T uttati u no i n tor no al le otto pr i nci '

al i arti dell Or cer ia etc . F iore nz a 1 68. p efi , . 5 Da e n o rt anto r ctu r on the H o v p (C . C Le es is tory f Per

1 902 . Dec le H istor i ue de la B bu ter ie an a A. ise . P ( q ij fi e aris . 1

Edwards . H istor o F i n e r R in s. Redfi eld (C y f g g .

1 855.

- E ans Sir Pos R i n s . London 1 2 v ( L). y g . 89 . F nte na n M o E . Les B oux Ancie s et oder nes P i y ( ij . ar s . 1 887 . Fourdr ig u ie r Etud e s u r les B r acele ts et Collie rs

au loi ar s 1 . G s . P i . 893 ’

Gu e rt L. L o Zv r er ie et le s or ev res de Limo ib ( r/ f ges.

s . 1 Limog e 884 .

one s F i n e r R i n Lore. London 1 8 J g g . 77. W n i and R i n K n . . A t ue Gems s . London. 1 8 2 i g (C ) q g 7 . Lic e ti De An n u l i s Anti u is Utini 1 6 q . . 45. Lon u s G De Ann u lis Si nator i is An ti uor mn g ( ). g q .

Lu d Bat 1 6 2 . g . . 7 Luthm e r oaille r de la R enaissan P r j ie ce . a is. 8 1 83.

Schlodhau e r B ou t r ie et oaillerie m oder nes et (C . ij e j

anciens . Par s i . ’

Texie r Diction nai re D Or evr er ie . Par s . 1 8 f i 57. IN D E X

le Arda rooc the 1 1 6 ’ 54 gh b h, , 35, 3 D8 race ets i sco ere Ar ets 1 00 , b l d v d ml , As ant o wor 1 0 95 h i g ld k , cklaces ro en ants 2 f m , 34 p d , 5 n a on s 1 Assa ese earr n s di m d , 7 m i g , 79 e - rin s 8 Ass r an race ets g , 7 y i b l , 97 ea s 1 1 earr n s 80 b d , i g , tn a rets 8 Az te nose - r n s worn b l b , 9 , i g y, an Is an s a rets gs‘ l d , l b i orn n the, 90 a ra ueen crown Bar aGrande La d sco er d , Q , m , , i v y of orna ents at 2 77 m , 7 ewe the 1 1 Basuto an nec aces from j l , , 4 , 45 l d , kl , 11 R n of 1 2 , i g , 3 33 2 2 B s 6 8 1 ead : 3 : 3 , 4 1 43 ca a rets worn in 0 Ben n race ets from , l b , 9 i , b l , 94 can Ind an feat er Ber e Lou s de 1 i h gh m , i , 5 sad- r esses 6 2 B ca r n s 1 0 d , ibli l i g , 3 - Sa on rooc es 1 B l o ra 1 x b h , 44 ib i g phy, 59 ’ d a e s 6 B ac r nce s he met at i d m , 3 l k P i l ewe er 1 anter ur j ll y, 4 C b y, 74 nec aces B ow- i e the 2 kl , 43 l p p , , 3 ’ o en - c rc e rooc es Boar s ea rooc es 1 2 p i l b h , h d b h , 4 Bobbon e a st 1 59 , m d lli , n ants Boc the anti uar 66 pe d , 57 k , q y, r1n s 1 0 1 2 Bor a asar rin of 1 2 g , 7, 3 gi , C , g , 7

.I o o o a i e for rna ent Borne e rr n s worn n . l v m , , i g , 79 . 1 Botokudos a rets worn b , l b y, t e h , 54 9 1 s 1 00 Bott ce ewe l r and ai , i lli , j l e p n i t rooc es 1 8 ter b h , 3 , 3 ‘y r n s 1 1 1 Brace ets 2 i g , l , 9

M e

INDEX

E truscan earr n s 80 Gre or the Great Po e 6 i g , g y , p , 5 u a 1 2 Gu s media val fib l , 5 ild , , 5 ewe er 1 2 Guin nose - r n s worn in j ll y , 9, , i g , r n s 1 1 8 gg i g , ’ E e r n s 1 1 G s r n 1 0 y i g , 9 yge i g, 4

Facett n of stones 1 Ha statt u a ro 1 i g , 5 ll , fib l f m , 53 Feat er ea - resses 2 H a ton rooc the 1 h h d d , 9 mil b h , , 45 F u a 1 0 Hei T ib l , 5 iki , 55

F nec aces fro Henr III . 2 iji , kl m , 34 y V , 5 F t r M r f H a c r n s 1 1 e ert rs. n o er i zh b , , i g , ldi i g , 7 1 1 2 Hera s e we er of 2 ld , j ll y , 9 Fore n coronets H er ta e useu ig , 73 mi g M m , 97 Fou uet H u an o e for orna ent 2 6 q , 7 m l v m , F o René H un ar rown of 6 y, , 7 g y , c , 7 F rancia eweller and a nter H unterston rooc the 1 ,j p i , b h , , 37

F ranc s I . 1 2 6 Ia sos ewe er foun at i , ly , j ll y d , 9 F ran s Sir Wo aston 10 Im er a crown of En an k , ll , 5 p i l gl d , F renc earr n s 8 h i g , 4 7 nec aces 6 In an race ets kl , 4 di b l , 94, 99 en ants 6 1 earr n s 8 p d , i g , 5 nec aces kl , 44 Ga a nose - r n s worn in nose - r n s 86 mbi , i g , i g ,

86 toe - r n s 8 i g , 7 Ge sa Du e of H un ar 6 Ita an en ants 8 i , k g y , 9 li p d , 5 G or e IV r n f 1 2 e . o 1 g , i g , Geor el A é 8 aserans 2 g , bb , 4 J , 4 German en ants 8 ewe e ro es 2 p d , 5 J ll d b , 5 G r an a o ewe er and ew s nose - r n s 86 hi l d j , j ll J i h i g , a nter r n s 1 1 p i , 3 i g , 4 G ard nett r n s 1 1 8 i i i i g , G en on rooc the 1 Ke r n s 1 1 l ly b h, , 39 y i g , 9 Go 0 Kn ts ewe er of 2 ld, 3 igh , j ll y , 9

Go in sea- water 10 Koh - i - Noor the 1 1 6 ld , , , 5, , 77 Graco - Sc t an race ets y hi b l , 97 Granu ar wor La rets 88 l k , 39 b , Gree earr n s 81 La ue René k i g , liq , , 7, 49 u a 1 2 Las ues 1 fib l , 5 q , 9 e n ants 6 L terature of ewe er 8 p d , 5 i j ll y, 1 64 JEWELLERY

Litu a a a rets worn N e o 1 y y, l b i ll , 4 at g N - , ose rings, 85 Lochbu rooc the 1 8 Nott n am ountess of y b h , , 4 i gh , C , Lom ar c rooc es 1 8 1 2 1 b di b h , 3 Lo ar crown of 6 mb dy , , 5 Lorn rooc of 1 8 O a oss s 2 2 , b h , 4 p l f il , Luz eanne de Or enta r n s 1 1 1 , J , 43 i l i g , L te ewe the 60 Ou a the y j l , , z , , 54 O us treasure of the 8 x , , 9 a ntenance ca of M i , p , 74 , 77 aor en ants a a r n s 1 06 M i p d , 55 P p l i g , ar uer te de France 1 2 6 earls 2 2 M g i , P , ’ ar nto ne t 6 rs r M ie A i t e , 4 Pee co onets, 73 as o na an nec aces enann'u ar rooc es 1 M h l d , kl P l b h , 34 r o en ants 0 f m , 33 P d , 5 a ar n ar na 1 8 eru an nose - rin s 86 M z i , C di l , P vi g , enat the eru z Vincenz io 2 0 M , , 54 P z i, , ero n an rooc es 1 1 etr e F n ers 2 M vi gi b h , 4 P i , li d , 3, 34 , 95 ewe er 1 ett W l a 1 08 j ll y, 4 P y, i li m , e can a rets 8 h i e Le B03 2 M xi l b , 9 P il pp : 5

nose - r n s 8 Pin w t c a n 1 i g , 9 i h h i , 49 tar r n s 1 1 1 ns 1 2 Mili y i g , Pi , 9 Millefiori ass o nt- cut amonds 1 gl , 43 P i di , 9 Monom achos onstant ne o so 1 2 , C i , P i n 7 crown of 66 o rates rin 1 0 , P lyc g, 4 ont s ro er ewe s for ortra t r n s 1 2 8 M h , p p j l , P i i g , 1 2 r n s 1 1 2 9 Posy i g , or an de r u s n 2 1 M g , J. , 34 P ecio s to es, ’ otte ountess de la 6 r n W l am s Town M , C , 4 P i ce i li , ourn n r n s 1 2 a rets worn at 0 M i g i g , 4 l b , 9 ’ Mut the romet eus r n 1 0 , , 54 P h i g, 3 M cena ewe er oun at y , j ll y f d , ’ s I a 9 Queen Charlotte sl nd, M cenaan race ets a rets worn at 0 y b l , 97 l b , 9 d a e s 6 2 uillacenea 86 i d m , 3, 7 Q ,

Na iu 6 Ra n r Lord 1 08 s m , 5 d o , , Nata nec aces ro Ra e Sir Wa ter 1 2 6 l , kl f m , 33 l igh , l , Nec aces 2 6 Ra enna osa cs earr n s kl , v m i , i g N z rcés 86 s n in 8 e Pe , how , 3 INDEX 1 6 5

Rena ssance earr n s 8 S an s en ants 8 i , i g , 4 p i h p d , 5 en ants Ste - cut a on s 1 p d , 57 p di m d , 9 R o es an ewe er 1 1 Ste en Sa nt crown of 6 h d i j ll y, ph , i , , 7 R c ar A ot of t Al u atran ar s S . S et 1 00 i h d , bb m ml , ’ an s Swast a 1 1 1 b , 3 ik , 5 , 4 R n ross i g c es, 57 one 8 Ta s an c r n s 1 1 m y, 3 li m i i g , 5 Rin s 101 Tara rooc the 1 g , b h, , 35 c ass cat on of 10 ar a 8 l ifi i , 5 T pei , 9 R o an ard na de 6 Tat us h , C i l , 4 i , 99 R o an ea s 1 Tattoo n 8 m b d , 4 , 43 i g, race ets 8 Tan u a 1 1 b l , 9 fib l , 5 rooc es 1 8 Tec n ca sc oo s in En b h , 3 h i l h l g earr n s 82 an 6 i g , l d , u a 1 2 Tet the fib l , 5 , , 54 lass 2 Teuton c rooc es 1 1 g : 4 i b h , 4 ewe er 1 Theodolinda ueen 6 j ll y, 3 , Q , 5 endants 6 T eo ora Em ress 8 p , 5 h d , , 3 ns 1 T eo h us ree os pi . 33 h p il , k phil rin s 1 1 8 0 er g , ph , 4 R ose - cut a on s 1 8 Th nne Lor o n 1 2 2 di m d , y , d J h , R uss an crown the 2 T etan earr n s i , , 7 ib i g , 79 T n ts a rets worn 8 li ki , l b by , 9 Sa ot rac an r n s 1 1 Toa stone r n s 1 6 m h i i g , 9 d i g , 1

Saur the To - r , , 54 e ings, 87 Scan na an u a 1 or u s di vi fib l , 55 T q e , 37 O en- c rc e rooc es 1 8 Trans utat on of eta s 1 0 p i l b h , 3 m i m l , en ants 6 Tr s e e 1 p d , 5 i k l , 5 Scara s 1 Tro an race ets b , 4 j b l , 97 in r n s 1 0 1 1 6 a e s 6 6 i g , 3, di d m , 3, 4 Sc e ann H enr 6 earr n s 80 hli m , y, 3, 97 i g , Scott s crown the i h , , 74 Sc t an race ets 8 Urs the y hi b l , 9 , , 55 tor ues q , 37 olderin 2 V r S 3 e neau, R . , 2 8 So o on 5 r n 10 errocc o ewe er and l m i g, 4 V hi , j ll So o on Is an s race ets a nter l m l d , b l p i , 3 ‘ worn in the ctor a ueen I er a , 93 Vi i , Q , mp i l nec aces fro 2 crown of 6 kl m , , 7 nose - r n s worn i n 86 r n of 1 1 0 i g , i g ,

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“ l E N l-LIAM BR N DON AND SO , LTD. PRl NTE Rs