,transcriber's ,note3 #a7 ,page #ia contains a footnote1 however there is no associated marker4 ,the footnote has been left in place1 with a note to this effect4 #b7 ,a letter following is superscripted4 ,where more than one letter is superscripted1 each is preceded by the symbol4 #c7 4,a dot above ,a h4 dot below h a macron above a #d7 ,symbol3 cross patte 7also known as a cross pattee1 cross patty1 cross forme or cross formy or in ,german ,tatzenkreuz7 is a type of cross that has arms which are narrow at the center1 and broader at the perimeter4 ,the name comes from the fact that the shape of each arm of the cross was thought to resemble a paw 7,french patte74 99 99 99 99 99 ,,jewellery ,,by ,h4 ,,clifford ,,smith1 ,m4,a4 ,illustration3 ,the ,connoisseur's ,library ,,new ,,york3 ,g4 ,p4 ,,putnam',s ,,sons ,,london3 ,,methuen ,,co4 #aijh ,illustration3 ,,plate ,i ,,sixteenth-,,century ,,pendent ,,jewels ,,of ,,enamelled ,,gold ,,contents ,,page ,,list ,,of ,,illustrations1 ix ,,preface1 xxxiii ,,introduction1 xxxvii ,,early ,,jewellery ,,chapter ,i4 ,,egyptian ,,jewellery1 #a ,,phoenician ,,jewellery1 #g ,,ii4 ,,greek ,,jewellery1 #aa ,,iii4 ,,etruscan ,,jewellery1 #bj ,,iv4 ,,roman ,,jewellery1 #bg ,v4 ,,byzantine ,,jewellery1 #cc ,,vi4 ,,prehistoric 7,,celtic7 ,,jewellery1 #ci ,,romano-,,british ,,jewellery1 #dd ,,vii4 ,,the ,,barbaric ,,jewellery ,,of ,,europe 7,,the ,,great ,,migrations71 #di ,,viii4 ,,anglo-,,saxon ,,jewellery 7,,fifth ,,to ,,seventh ,,centuries71 ,,merovingian ,,jewellery1 #ef ,,ix4 ,,late ,,anglo-,,saxon ,,jewellery 7,,seventh ,,to ,,ninth ,,centuries71 #fe ,x4 ,,the ,,celtic ,,brooch1 #ge ,,the ,,jewellery ,,of ,,the ,,middle ,,ages 7,,tenth ,,to ,,fifteenth ,,centuries7 ,,chapter ,,xi4 ,,medi,,val ,,jewellery 7,,introduction71 #hj ,,xii4 ,,medi,,val ,,england1 #ia ,,xiii4 ,,the ,,mystery ,,of ,,precious ,,stones1 #ii ,,xiv4 ,,head-,,ornaments1 #aje ,,necklaces1 #aac ,,xv4 ,,pendants1 ,,rosaries1 ,,and ,,pomanders1 #aah ,,xvi4 ,,brooches--,,the ,,ring-,,brooch1 #abg ,,xvii4 ,,brooches 7contd47--,,pectorals1 #ace ,,xviii4 ,,rings ,,and ,,bracelets1 #adg ,,xix4 ,,belts ,,and ,,girdles1 #aei ,,renaissance ,,jewellery ,,chapter ,,xx4 ,,italy1 ,,fifteenth ,,century1 #aff ,,xxi4 ,,sixteenth-,,century ,,jewellery 7,,general71 #agg ,,italy1 ,,sixteenth ,,century1 #ahc ,,xxii4 ,,germany1 ,,the ,,low ,,countries1 ,,hungary1 #ahg ,,xxiii4 ,,france--,,spain1 #aii ,,xxiv4 ,,england 7,,henry ,,viii--,,elizabeth71 #bjf ,,xxv4 ,,head-,,ornaments1 ,,enseignes1 ,,aigrettes1 ,,hair-,,pins1 ,,earrings1 #bbb ,,xxvi4 ,,necklaces1 ,,neck-,,chains1 ,,and ,,collars1 #bcf ,,xxvii4 ,,neck-,,pendants1 #bdb ,,xxix4 ,,girdles ,,and ,,girdle ,,pendants 7,,mirrors1 ,,books1 ,,watches1 ,,scent-,,cases1 ,,and ,,pomanders71 #bgj ,,later ,,and ,,modern ,,jewellery ,,chapter ,,xxx4 ,,seventeenth-,,century ,,jewellery 7,,general71 #bgf ,,xxxi4 ,,seventeenth-,,century ,,jewellery 7contd471 #bij ,,england1 ,,seventeenth ,,century1 #bii ,,xxxii4 ,,eighteenth-,,century ,,jewellery1 #cjg ,,xxxiii4 ,,nineteenth-,,century ,,jewellery --,,the ,,modern ,,revival1 #cbe ,,xxxiv4 ,,peasant ,,jewellery1 #cda ,,xxxv4 ,,jewellery ,,in ,,pictures1 #cdh ,,xxxvi4 ,,frauds ,,and ,,forgeries1 #cee ,,xxxvii4 ,,memento ,,mori1 #cfc ,,bibliography1 #cga ,,index1 #cha ,,list ,,of ,,illustrations ,b4 ,m4 ,british ,museum4 ,v4 and ,a4 ,m4 ,victoria and ,albert ,museum4 ,a page-number appended to a description indicates place of reference in the text4 ,i4 ,,sixteenth-,,century ,,pendent ,,jewels ,,of ,,enamelled ,,gold ,frontispiece #a4 ,pendant in the form of a ,triton4 ,italian4 7,marquess of ,clanricarde47 p4 #bdi4 #b4 ,pendant in form of a winged dragon4 ,spanish4 p4 #bdi4 7,louvre47 ,,ii4 ,,phoenician ,,jewellery p4 #h4 #a-h4 ,from ,cyprus and ,sardinia4 7,b4 ,m47 #a-d4 ,four gold earrings4 p4 #i4 #a4 ,chrysalis form4 #b-c4 ,a pair3 birds perched above a bushel of grain4 #d4 ,long oval ring terminating with a cross4 #e-f4 ,two necklaces with pendent heads in the ,egyptian style1 from ,tharros in ,sardinia4 p4 #aj4 #e4 ,beads of glass and gold4 #f4 ,carnelian bugles4 #g-h4 ,two seal pendants of silver1 set with sard scarabs4 #i4 ,ibero-,phoenician stone bust1 known as the ,lady of ,elch4 p4 #i4 7,louvre47 7,photo1 ,giraudon47 ,,iii4 ,,early ,,greek ,,jewellery p4 #ab4 #a4 ,three gold plates or discs from ,mycen4 p4 #aa4 7,national ,museum1 ,athens47 #b-g4 ,gold ornaments of the ,mycenan period4 p4 #ab4 7,b4 ,m47 #b4 ,pendant from gina3 figure in ,egyptian costume grasping geese4 #c4 ,plaque from ,kameiros3 winged goddess1 with two lions in the round1 and owls at the top4 #d4 ,diadem of spiral ornament1 from ,enkomi 7,salamis71 ,cyprus4 #e-f4 ,pair of leech-shaped earrings1 from ,enkomi4 #g4 ,pendent pomegranate of granulated gold1 from ,enkomi4 ,,iv4 ,,greek ,,jewellery 7,,earrings1 ,,necklace ,,and ,,hair-,,pin74 7,b4 ,m47 p4 #af4 #a-c4 ,three earrings4 p4 #ae4 #a4 ,head of a goat with garnet eye4 #b4 ,pendent ,cupids and ,victories 7,kyme1 in olis74 #c4 ,eros with a jug 7,crete74 #d4 ,gold necklace with pendent tassels in form of pomegranates 7,kyme74 #e4 ,pair of gold earrings set with garnets and emeralds1 connected by a plaited chain4 7,tyszkiewicz ,collection47 #f4 ,gold pin from ,paphos1 ,cyprus4 p4 #ag4 ,v4 ,,greek ,,jewellery 7,,crown1 ,,necklaces1 ,,bracelet1 ,,rings74 7,b4 ,m47 p4 #ah4 #a4 ,gold crown from ,magna ,grcia1 second century ,b4,c4 7,tyszkiewicz ,collection47 p4 #ag4 #b4 ,necklace with enamelled rosettes and filigree4 7,blacas ,collection47 #c4 ,enamelled gold necklace from ,melos4 p4 #ag4 #d4 ,gold bracelet with bulls' heads4 7,blacas ,collection47 #e4 ,four rings4 #a4 ,gold1 demon with ,sphynx and panther 7early ,ionic74 #b4 ,silver1 surmounted by gold fly 7,cyprus74 p4 #aj4 #c4 ,gold1 engraved with figures of ,aphrodite and ,eros4 #d4 ,gold1 with busts of ,serapis and ,isis 7,grco-,roman74 ,,vi4 ,,etruscan ,,jewellery 7,,pins1 ,,necklaces1 ,,earrings74 7,b4 ,m47 p4 #bb4 #a4 ,hair pins and balls of granulated gold1 from ,etruria4 #b4 ,primitive necklace of amber1 gold1 and electrum1 from ,prneste4 p4 #bd4 #c4 ,necklace hung with pendent vases and heads of ,io4 #d4 ,necklace with pendent head of a faun4 p4 #bd4 #e4 ,chain with pendent head of a negro4 p4 #bd4 #f4 ,necklace of plasma and gold beads1 with basalt amulet pendant4 p4 #be4 #g-h4 ,earrings4 p4 #bc4 #g4 ,saddle-shaped1 with fine granulation4 #h4 ,pendent cock in white enamel4 ,,vii4 ,,etruscan ,,jewellery 7,,brooches1 ,,diadem1 ,,bracelet1 ,,rings74 7,b4 ,m47 p4 #bd4 #a4 ,early fibula from ,cervetri1 surmounted with figures of lions4 p4 #be4 #b4 ,gold diadem of ivy leaves and berries4 p4 #bc4 #c4 ,fibula from ,tuscana1 with meander pattern in fine granulation4 #d4 ,early bracelet from ,cervetri1 with minute granular work4 p4 #be4 #e-h4 ,four rings4 #a4 ,bezel mounted with intaglio1 gold border with tendril pattern 7,chiusi74 #b4 ,cartouche with figures of shepherd and dog 7,chiusi74 #c4 ,intaglio bezel supported by lions4 p4 #be4 #d4 ,large oval bezel bordered with dolphins and waves 7,bolsena74 p4 #bf4 ,,viii4 ,,roman ,,jewellery p4 #cj4 #a-f4 7,b4 ,m47 #a4 ,gold necklace set with garnets1 and a pendant in form of a butterfly4 #b4 ,gold necklace1 with a pendent aureus of ,domitian4 p4 #cj4 #c4 ,gold hair-pin from ,tarentum surmounted by a figure of ,aphrodite4 p4 #bh4 #d-f4 ,three gold rings4 pp4 #ca-cb4 #d4 ,serpent form4 #e4 ,open-worked1 set with a nicolo intaglio--a mask of a ,satyr4 #f4 ,eye-shaped1 with open-work shoulders1 set with a nicolo4 #g-ae4 7,v4 and ,a4 ,m47 #g-aj4 ,earrings4 pp4 #bh-bi4 #g4 ,porphyry drop4 #h4 ,two pearls 7crotalia7 suspended from yoke4 #i4 ,basket of fruit set with garnet1 a carnelian bead1 and an emerald pendant4 #aj4 ,large hook set with sapphire1 an emerald below1 and three pearl drops4 #aa4 ,gold bracelet in form of a serpent4 p4 #cj4 #ab-ae4 ,four rings4 #ab4 ,gold3 tragic mask in high relief4 #ac4 ,gold3 quintuple1 set with two sapphires and three garnets4 #ad4 ,gold3 raised open-work bezel set with a sapphire and a chrysoprase4 #ae4 ,gilt bronze3 bust of ,serapis in relief4 p4 #cb4 ,,ix4 ,,byzantine ,,jewellery1 ,,and ,,enamelled ,,jewellery ,,in ,,the ,,byzantine ,,style p4 #cf4 #a-g and #i-aa4 7,b4 ,m47 #h4 7,v4 and ,a4 ,m47 #a-b4 ,pair of gold loop earrings3 a cross pate between two peacocks confronted4 ,about seventh century4 p4 #ce4 #c4 ,gold pectoral cross with a text from ,galatians vi4 #ad4 ,eleventh century4 p4 #cf4 #d-e4 ,pair of gold and enamelled loop earrings4 ,twelfth century4 p4 #ce4 #f4 ,nielloed gold wedding ring3 ,christ and the ,virgin blessing a bride and bridegroom4 ,about tenth century4 #g4 ,engraved gold signet ring4 ,about fifth century4 #h4 ,beresford-,hope cross3 cloisonn enamel4 ,about eighth century4 p4 #cf4 #i4 ,the ,castellani brooch3 portrait in cloisonn enamel4 ,north ,italian1 seventh century4 p4 #gj4 #aj4 ,gold inscribed key ring4 ,fourth century4 p4 #cg4 #aa4 ,townley brooch4 ,probably ,rhenish work1 with ,byzantine cloisonn enamels4 ,tenth or eleventh century4 p4 #gj4 ,x4 ,,prehistoric ,,gold ,,ornaments ,,of ,,the ,,british ,,isles 7,b4 ,m47 p4 #dj4 #a4 ,ring1 found at ,bormer1 near ,falmer1 ,sussex4 #b4 ,plaited ring1 found near ,waterford1 ,ireland4 #c4 ,ring ,money of gold and silver1 found at ,rustington1 ,sussex4 #d4 ,torque fastened by a ring1 found at ,boyton1 ,suffolk4 #e4 ,disc1 found at ,castle ,treasure1 near ,douglas1 ,co4 ,cork4 #f4 ,dress fastener1 found at ,crif ,keran ,castle1 ,co4 ,armagh4 #g4 ,bracelet1 found at ,bexley1 ,kent4 ,,xi4 ,,anglo-,,saxon ,,and ,,romano-,,british ,,brooches1 ,,etc4 7,b4 ,m47 p4 #fj4 #a-e4 ,anglo-,saxon inlaid jewellery4 #a4 ,gold brooch1 from ,sarre1 ,kent4 p4 #fa4 #b4 ,silver brooch1 from ,faversham1 ,kent4 p4 #fj4 #c4 ,gold pendant1 from ,faversham4 p4 #eh4 #d4 ,bronze brooch1 from ,wingham1 ,kent4 p4 #fj4 #e4 ,gold brooch1 from ,abingdon1 ,berks4 p4 #fa1 note4 #f-g4 ,romano-,british brooches4 #f4 ,bronze brooch set with slices of ,roman millefiori glass1 from ,pont-y-,saison1 near ,chepstow1 ,mon4 p4 #df4 #g4 ,enamelled bronze brooch1 found in ,london4 7,hastings ,collection47 p4 #df4 ,,xii4 ,,anglo-,,saxon ,,and ,,frankish ,,jewellery 7,,fifth ,,to ,,seventh ,,centuries7 p4 #fb4 #a-f4 7,b4 ,m47 #a4 ,gold necklace with garnets1 from ,desborough1 ,northants4 p4 #gd4 #b4 ,gold bracteate1 from ,ash1 near ,sandwich1 ,kent4 p4 #ei4 #c4 ,saucer-shaped brooch1 bronze gilt1 from ,east ,shefford1 ,berks4 p4 #fa4 #d4 ,square-headed brooch1 from ,chessell ,down1 ,isle of ,wight4 p4 #fb4 #e4 ,cruciform brooch1 bronze gilt1 from ,sleaford1 ,lincs4 p4 #fa4 #f4 ,inlaid and jewelled gold buckle1 from ,taplow1 ,bucks4 p4 #fc4 #g4 ,radiated brooch of silver1 enriched with gold and inlay of garnets4 ,the back inscribed with the name ,,uffila4 ,seventh century4 ,from ,wittislingen on the ,danube4 #f inches long4 p4 #fb4 7,bavarian ,national ,museum1 ,munich47 ,,xiii4 ,,late ,,anglo-,,saxon ,,jewellery 7,,seventh ,,to ,,ninth ,,centuries7 p4 #fh4 #a-b4 ,the ,alfred ,jewel4 pp4 #fh-fi4 7,ashmolean ,museum1 ,oxford47 #c4 ,st4 ,cuthbert's cross4 p4 #fh4 7,durham ,cathedral47 #d4 ,dowgate ,hill brooch3 cloisonn enamel and pearls4 p4 #fi4 7,b4 ,m47 #e4 ,ethelwulf's ring4 p4 #gb4 7,b4 ,m47 #f4 ,nielloed gold ring with two bezels1 found in the ,nene1 near ,peterborough4 p4 #gb4 7,b4 ,m47 #g4 ,ethelswith's ring4 p4 #gb4 7,b4 ,m47 #h4 ,gold ring1 found in ,garrick ,street1 ,london4 7,b4 ,m47 #i4 ,alhstan's ring4 p4 #ga4 7,v4 and ,a4 ,m47 #aj4 ,nielloed gold ring4 p4 #gc4 7,lord ,fitzhardinge47 #aa4 ,silver ring found in the ,thames at ,chelsea4 p4 #gc4 7,v4 and ,a4 ,m47 ,,xiv4 ,,the ,,tara ,,brooch4 p4 #gh4 7,collection of the ,royal ,irish ,academy1 ,national ,museum1 ,dublin47 ,,xv4 ,,the ,,jewels ,,of ,,william ,,of ,,wykeham4 ,,new ,,college1 ,,oxford4 p4 #if4 #a4 ,monogram of the ,virgin3 gold1 enamelled1 and set with rubies1 emeralds and pearls4 #b4 ,silver-gilt decorations of the mitre3 comprising two quatrefoils set with turquoises1 two rosettes set with pastes1 and hinged bands of brasse-taille enamel set with pearls and crystals4 ,english1 late fourteenth century4 pp4 #if-ih4 ,,xvi4 ,,antique ,,cameos ,,in ,,medi,,val ,,settings4 p4 #ajb4 #a4 ,the ,jewel of ,st4 ,hilary4 p4 #ajc4 7,bibliothque ,nationale1 ,paris47 #b4 ,the ,schaffhausen onyx4 p4 #ajd4 #c4 ,the cameo of ,charles ,v of ,france4 p4 #ajc4 7,bibliothque ,nationale1 ,paris47 7,photo1 ,giraudon47 ,,xvii4 ,,medi,,val ,,head-,,ornaments4 p4 #aaj4 #a-d4 ,pilgrims' signs of lead4 p4 #aaj4 7,b4 ,m47 #a4 ,head of ,st4 ,thomas with swords1 within a cusped border4 #b4 ,ampulla for blood of ,st4 ,thomas4 #c4 ,st4 ,george within a border4 #d4 ,head of ,st4 ,john the ,baptist4 #e-h4 ,retainers' badges of lead4 p4 #aaj4 7,b4 ,m47 #e4 ,hart lodged 7,richard ,,ii74 #f4 ,crowned ostrich feather 7,duke of ,norfolk74 #g4 ,rose and fetterlock 7,edward ,,iv74 #h4 ,collared hound 7,talbot1 ,earl of ,shrewsbury74 #i4 ,silver-gilt crown or circlet1 set with pearls and coloured pastes4 ,french1 fourteenth century4 p4 #ajf4 7,muse du ,cinquantenaire1 ,brussels47 #aj-ab4 ,three fifteenth-century gold enseignes4 #aj4 ,antique onyx cameo1 outer frame set with rubies4 ,spanish4 p4 #aaa4 7,v4 and ,a4 ,m47 #aa4 ,pelican in her ,piety1 set with a ruby and diamond4 ,flemish 7found in the ,meuse74 p4 #aaa4 7,b4 ,m47 #ab4 ,figure of a dromedary in white enamel in frame set with pearls4 ,flemish4 p4 #adf4 7,museo ,nazionale1 ,florence47 7,photo1 ,alinari47 ,,xviii4 ,,medi,,val ,,pendants 7,,reliquaries1 ,,etc47 p4 #abj4 #a4 ,silver reliquary set with crystal4 ,german1 fifteenth century4 p4 #aba4 7,bavarian ,national ,museum1 ,munich47 #b4 ,silver-gilt reliquary1 from the treasury of ,enger1 near ,herford1 in ,westphalia4 ,fifteenth century4 7,kunstgewerbe ,museum1 ,berlin47 #c4 ,silver-gilt pomander opening into four sections4 ,german1 about #adhj4 p4 #abf4 7,bavarian ,national ,museum1 ,munich47 #d4 ,gold ,reliquary of ,charlemagne1 containing a fragment of the ,true ,cross4 ,german1 ninth 787 century p4 #aah4 #e4 ,reliquary of ,st4 ,louis1 gold1 enriched with translucent enamels1 containing a thorn from the ,crown of ,thorns4 ,french1 fourteenth century4 p4 #aai4 7,b4 ,m47 #f4 ,gold bracelet4 ,german1 twelfth century4 p4 #aeg4 7,bavarian ,national ,museum1 ,munich47 ,,xix4 ,,medi,,val ,,pendants p4 #abd4 #a4 ,silver-gilt pendant containing figures of saints and angels1 surmounted by the ,virgin and ,child4 ,german1 fifteenth century4 p4 #abj4 7,bavarian ,national ,museum1 ,munich74 #b-c1 #e-h1 and #aj4 ,german fifteenth and sixteenth centuries4 7,v4 and ,a4 ,m47 #b4 ,coronation of the ,virgin1 silver gilt4 #c4 ,agnus ,dei1 silver gilt4 ,inscribed3 ,,iecuc 7,,jesus7 ,,maria ,,johannes ,,annus 7,,agnus74 ,on the back3 ,,jesus ,,maira 7,,maria7 ,,johannes ,,maria ,,hilf4 p4 #abb4 #d4 ,nielloed pendant1 silver gilt3 with the ,annunciation on one side1 and the sacred monogram on the other4 ,italian1 fifteenth century4 p4 #agc4 7,v4 and ,a4 ,m47 #e4 ,st4 ,sebastian1 silver gilt4 #f4 ,the ,crucifixion1 silver gilt4 #g4 ,figures of four saints1 silver gilt4 #h4 ,gold cross1 set with rubies and pearls4 ,fifteenth century4 #i4 ,the ,devil of ,temptation1 silver gilt4 ,flemish or ,german1 fifteenth century4 p4 #abj4 7,mrs4 ,percy ,macquoid47 #aj4 ,rosary of boxwood1 with emblems of the ,passion in silver4 p4 #abd4 ,,xx4 ,,medi,,val ,,brooches 7,,ring-,,brooches1 ,,etc47 p4 #acj4 #a-f4 ,,gold ,,ring-,,brooches 7fermails74 #a4 ,set with pearls and precious stones1 and with four bosses of animals4 ,fourteenth century4 p4 #abi4 7,b4 ,m47 #b4 ,enamelled blue and white1 and inscribed with a text from ,st4 ,luke iv4 #cj4 ,french1 fourteenth century4 p4 #acj4 7,museo ,nazionale1 ,florence47 7,photo1 ,alinari47 #c4 ,set with rubies and sapphires1 the back nielloed4 ,french1 thirteenth century4 p4 #acj4 7,v4 and ,a4 ,m47 #d4 ,heart-shaped1 inscribed4 ,french1 fifteenth century4 p4 #aci4 7,v4 and ,a4 ,m47 #e4 ,circular3 inscribed1 and set with two rubies and four small emeralds4 ,english 7from ,enniscorthy ,abbey71 fourteenth century4 7,b4 ,m47 #f4 ,set with rubies and emeralds4 ,french1 thirteenth century4 p4 #acj4 7,museo ,nazionale1 ,florence47 7,photo1 ,alinari47 #g4 ,silver-gilt brooch in form of ,st4 ,christopher4 ,english 7from ,kingston-on-,thames71 fifteenth century4 p4 #adb4 7,b4 ,m47 #h-ab4 ,,flemish-,,burgundian ,,gold ,,brooches 7nouches74 ,fifteenth century4 #h4 ,two standing figures1 enamelled1 and set with a ruby1 diamond1 and pearls4 p4 #adf4 7,imperial ,art ,collections1 ,vienna47 #i4 ,seated female figure with golden rays behind3 enamelled and set with pearls4 p4 #add4 7,essen ,treasury47 #aj-ab4 ,brooches found in the ,meuse4 p4 #adc4 7,b4 ,m47 #aj4 ,enamelled and set with a ruby and diamond4 #aa4 ,a female figure1 set with a sapphire1 diamond1 and three rubies4 #ab4 ,set with a ruby amidst foliage1 with traces of enamel4 ,,xxi4 ,,medi,,val ,,scottish ,,brooches4 ,,the ,,glenlyon ,,and ,,loch ,,buy ,,brooches4 7,b4 ,m47 p4 #acb4 #a4 ,the ,glenlyon brooch4 ,silver gilt1 set with amethysts1 pearls1 and rock crystal3 the back inscribed4 ,fifteenth century4 p4 #acb4 #b4 ,the ,loch ,buy brooch4 ,silver1 set with rock crystal and pearls4 ,about #aejj4 p4 #acc4 ,,xxii4 ,,medi,,val ,,brooches 7,,pectorals ,,and ,,morse7 p4 #acf4 #a4 ,the ,eagle ,fibula2 gold and cloisonn enamel4 ,early twelfth century4 p4 #ace4 7,mainz ,museum47 #b4 ,gold brooch in form of an eagle1 set with emeralds1 lapis-lazuli1 a sapphire1 and a ruby4 ,thirteenth century4 p4 #acf4 7,baron von ,heyl47 ,from an etching in ,kunstgewerbe-,blatt1 ,,iii4 7,by permission of the artist1 ,prof4 ,p4 ,halm1 of ,munich47 #c4 ,silver-gilt morse1 made in #adhd for ,albert von ,letelin1 ,canon of ,minden1 by the goldsmith ,reinecke van ,dressche of ,minden4 p4 #aci4 7,kunstgewerbe ,museum1 ,berlin47 ,,xxiii4 ,,medi,,val ,,and ,,later ,,rings p4 #adh4 #a-b4 ,episcopal rings of ,william of ,wykeham4 ,fourteenth century4 7,new ,college1 ,oxford47 #a4 ,gold set with a ruby4 p4 #adi4 #b4 ,silver gilt1 with representation of the crucifixion1 set with a crystal4 #c4 ,gold1 episcopal1 set with a sapphire4 ,english1 fourteenth century4 7,v4 and ,a4 ,m47 #d-e4 ,the ,coventry ring 7two views74 ,gold1 engraved with the five wounds of ,christ and their names4 ,english1 about #adeg4 p4 #aej4 7,b4 ,m47 #f4 ,the ,godstow ,priory ring3 a gold love-ring1 with legends and forget-me-nots4 ,english1 fifteenth century4 p4 #aej4 #g4 ,gold1 episcopal1 projecting bezel set with a sapphire4 ,french1 fourteenth century4 7,v4 and ,a4 ,m47 #h4 ,gold1 episcopal1 of complex design1 set with a sapphire4 ,italian1 fifteenth century4 7,v4 and ,a4 ,m47 #i4 ,silver1 set with a toadstone4 ,german1 sixteenth century4 p4 #aea4 7,v4 and ,a4 ,m47 #aj4 ,papal ring4 ,gilt metal with cardinal's hat and crossed keys4 ,on shoulders ,virgin and ,child and ,saint4 ,inscription on hoop3 ,,episc4 ,,lugdun--,cardinal de ,bourbon 7871 ,archbishop of ,lyons1 #adff-adhh4 ,italian1 fifteenth century4 p4 #adh4 7,v4 and ,a4 ,m47 #aa4 ,antique gem in red jasper1 set in gold ,italian mount of the fourteenth century1 inscribed3 ,s4 ,,fr4 ,,de ,,columpna4 p4 #aed4 7,v4 and ,a4 ,m47 #ab4 ,gold1 set with a wolf's tooth1 and inscribed with the charm motto3 ,,buro,,berto,,berneto,,consummatum ,,est4 ,english1 fourteenth century4 p4 #aeb4 7,v4 and ,a4 ,m47 #ac4 ,gold ornamental ring1 chased1 enamelled1 and set with emeralds4 ,italian1 sixteenth century4 7,b4 ,m47 #ad4 ,gold signet ring with the arms of ,mortimer4 ,english1 seventeenth century4 7,v4 and ,a4 ,m47 #ae4 ,silver-gilt wedding ring1 set with two teeth4 ,north ,german1 seventeenth century4 p4 #bfb4 7,v4 and ,a4 ,m47 #af4 ,fede ring1 nielloed silver4 ,italian1 fifteenth century4 p4 #agc 7,v4 and ,a4 ,m47 #ag4 ,ornamental ring of silver gilt1 set with a foiled crystal4 ,german1 sixteenth century4 p4 #cef4 7,v4 and ,a4 ,m47 #ah4 ,the ,percy signet4 ,gold4 ,inscribed3 ,,now ,,ys ,,thus4 ,from ,towton ,field1 ,w4 ,r41 ,yorks4 ,english1 fifteenth century4 p4 #aec4 7,b4 ,m47 #ai4 ,ornamental ring of silver gilt1 with stag and foliage in open-work4 ,german1 late fifteenth century4 7,v4 and ,a4 ,m47 #bj4 ,gimmel rings1 enamelled gold4 ,german1 sixteenth century4 p4 #bfa4 7,b4 ,m47 ,,xxiv4 ,,picture1 ,,known ,,as ,,the ,,legend ,,of ,,st4 ,,eloy ,,and ,,st4 ,,godeberta1 ,,representing ,,the ,,interior ,,of ,a ,,goldsmith',s ,,shop ,,in ,,the ,,fifteenth ,,century4 ,by ,,petrus ,,christus1 ,,of ,,bruges4 p4 #aee4 7,baron ,a4 ,oppenheim1 of ,cologne7 p4 #aef4 ,,xxv4 ,,fifteenth-,,century ,,pendants1 ,,etc4 7,,italian ,,and ,,flemish7 p4 #agj4 #a4 ,the ,felicini jewel1 by ,francia4 ,reproduced from a picture in the ,bologna ,gallery4 p4 #agj4 #b4 ,enamelled gold pendant1 figured with the ,annunciation4 ,italian1 fifteenth century4 p4 #agc4 7,mr4 ,j4 ,pierpont ,morgan47 #c4 ,pendent jewel of ,charles the ,bold1 ,duke of ,burgundy1 set with three rubies 7the ,brethren71 a diamond1 and four pearls4 p4 #bji4 #d4 ,two silver-gilt girdle-plates1 with figures of ,samson and ,st4 ,michael4 ,flemish1 fifteenth century4 p4 #afc4 7,herr ,james ,simon1 of ,berlin47 ,,xxvi4 ,,designs ,,for ,,jewellery ,,by ,d,,rer ,,and ,,holbein4 7,b4 ,m47 p4 #aij4 #a4 ,drawings for two ring-shaped pendent whistles by ,drer4 p4 #aij4 #b-c4 ,etchings for 7#b7 a buckle and buckle-plate and 7#c7 a girdle-end1 by ,hollar1 from lost originals by ,drer4 p4 #aia4 #d-i4 ,drawings by ,holbein4 p4 #bab4 #d4 ,jewelled pendant3 a monogram of the letters ,r and ,e4 #e4 ,a pendant of open goldwork with ribbon ornament2 a diamond in the centre1 surrounded by six pearls1 and a pearl below4 #f4 ,pendant formed in a monogram of the letters ,h and ,i4 #g-h4 ,two pendants each formed of two stones1 one above the other1 set in goldwork1 with three pearls below4 #i4 ,pendant3 a bust of a woman holding before her a large stone1 on which are the words ,well ,laydi ,well4 ,,xxvii4 ,,designs ,,for ,,jewellery by ,,solis1 ,,woeiriot1 ,,hornic1 ,,and ,,brosamer p4 #aid4 #a-b4 ,engravings for pendants by ,virgil ,solis4 p4 #aid4 7,b4 ,m47 #c4 ,engraving for a pendant by ,pierre ,woeiriot1 dated #aeee4 p4 #bja 7,b4 ,m47 #d-f4 ,engravings for pendants by ,erasmus ,hornick3 ,neptune and ,amphitrite1 and ,st4 ,george and the ,dragon4 p4 #aid4 7,b4 ,m47 #g4 ,drawing for pendent whistle by ,han ,brosamer1 fitted with toothpick1 etc4 pp4 #aic1 #bej4 7,mr4 ,max ,rosenheim47 ,,xxviii4 ,,renaissance ,,jewellery ,,of ,,enamelled ,,gold4 7,his ,majesty the ,king7 p4 #bah4 #a4 ,painted enamel back of a lesser ,george of the ,garter1 belonging to ,charles ,,ii4 ,english1 seventeenth century4 p4 #bib4 #b4 ,enamelled gold enseigne1 with figures of ,st4 ,george and the ,dragon4 ,venetian1 sixteenth century4 p4 #bbd4 #c4 ,enamelled gold pendant1 with figures of ,apollo and ,daphne3 inscribed3 ,,daphnem ,,phebvs ,,amat1 etc4 ,italian1 sixteenth century4 #d4 ,the ,lennox or ,darnley ,jewel4 ,scottish1 sixteenth century4 pp4 #bag and #beg4 #e4 ,miniature case of enamelled gold1 open-worked and set with diamonds and rubies4 ,english1 late sixteenth or early seventeenth century4 ,it contains a lock of hair of ,charles ,i taken from his coffin4 p4 #beg4 ,from the ,connoisseur 7#aijc74 ,by permission of ,mr4 ,j4 ,t4 ,herbert ,baily4 ,,xxix4 ,,renaissance ,,enseignes ,,of ,,enamelled ,,gold p4 #bbf4 #a4 ,head of ,john the ,baptist on a charger4 ,italian1 sixteenth century4 p4 #bbf4 7,v4 and ,a4 ,m47 #b4 ,bust of ,helen4 ,italian1 sixteenth century4 7,poldi-,pezzoli ,museum1 ,milan47 #c4 ,battle scene4 ,italian1 sixteenth century4 p4 #bbe4 7,bibliothque ,nationale1 ,paris47 #d4 ,head of a negro in agate4 ,german1 sixteenth century4 p4 #bbh4 7,bibliothque ,nationale1 ,paris47 #e4 ,leda and the ,swan4 ,by ,cellini4 p4 #bbh4 7,antiken ,kabinet1 ,vienna47 #f4 ,cameo bust of ,nero on sardonyx1 in enamelled mount set with diamonds and rubies4 ,french1 sixteenth century4 7,bibliothque ,nationale1 ,paris47 7,photo1 ,giraudon47 #g4 ,cameo of ,diana on sardonyx in enamelled setting4 ,french1 sixteenth century4 7,b4 ,m47 #h4 ,onyx cameo1 winged female head in enamelled setting4 ,french1 sixteenth century4 7,b4 ,m47 ,,xxx4 ,,hat-,,ornaments 7,,aigrettes1 ,,etc474 ,,late ,,sixteenth ,,and ,,early ,,seventeenth ,,centuries p4 #bcj4 #a4 ,two coloured drawings for jewelled aigrettes4 ,by ,arnold ,lulls1 jeweller to ,james ,i4 pp4 #bca and #cjb-c4 7,v4 and ,a4 ,m47 #b4 ,gold enseigne of ,sir ,francis ,drake3 enamelled and set with diamonds1 rubies1 and opals4 p4 #bcj4 ,see also ,plate ,,xxxiv1 #c4 7,sir ,f4 ,fuller-,eliott-,drake47 #c4 ,socket for an aigrette1 enamelled gold set with rubies3 initials ,d4 ,m4--,dorothea ,maria1 wife of ,otto ,henry1 ,count ,palatine of ,neuburg4 pp4 #bcj-a4 7,bavarian ,national ,museum1 ,munich47 #d4 ,enamelled gold aigrette set with emeralds1 pearls1 etc4 ,s4 ,german1 early seventeenth century4 7,formerly the property of ,sir ,t4 ,d4 ,gibson ,carmichael47 ,,xxxi4 ,,german ,,and ,,french ,,renaissance ,,pendents p4 #bdd4 #a4 ,necklace and pendant of enamelled gold set with diamonds1 rubies1 and pearls4 ,german1 late sixteenth century4 7,lady ,rothschild47 #b4 ,pendant of enamelled gold4 ,in the centre a table-cut emerald with a triangular emerald above4 ,french1 sixteenth century4 7,bibliothque ,nationale1 ,paris47 #c4 ,gold pendant3 on the front two raised shields of arms2 on the back the initials ,d4 ,a4 ,german1 about #aecj4 p4 #bdh4 7,v4 and ,a4 ,m47 #d4 ,cameo bust of a woman1 the head carnelian1 with amethyst drapery1 jewelled gold crown2 gold background and black enamelled frame4 ,german1 sixteenth century4 7,his ,majesty the ,king47 #e4 ,pendant in the shape of a ,sphynx4 ,the body formed of a large baroque pearl4 ,head1 breast1 and arms are flesh-coloured enamel2 the claw opaque white with gold scales2 the tail green1 set with diamonds4 ,on the breast is a ruby4 ,the base mounted with a row of diamonds on white enamel1 the creatures at each end being green4 ,the chains1 of white enamel set with diamonds1 hang from a ruby1 from which is suspended a heart-shaped pearl4 ,german1 late sixteenth century4 7,lady ,rothschild47 #f4 ,portrait cameo in agate4 ,gold mount enamelled black and white and set with four rubies and two diamonds1 with a pendent pearl4 ,the portrait 7unidentified7 is represented on a contemporary medal by a north ,italian artist4 ,the mount1 ,french1 sixteenth century4 7,bibliothque ,nationale ,paris47 #g4 ,gold pomander case3 enriched with brilliant blue1 red1 and translucent green enamel1 and opaque white4 ,set with rubies and pendent pearls1 ,german1 late sixteenth century4 7,lady ,rothschild47 ,,xxxii4 ,,three ,,pendent ,,jewels p4 #bdf4 ,gold1 enriched with polychrome enamels1 set with precious stones and hung with pearls4 ,german1 about #afjj4 7,lady ,rothschild47 ,,xxxiii4 ,,pendent ,,jewels ,,by ,,hans ,,collaert1 ,,etc4 p4 #bdh4 #a4 ,enamelled gold pendant3 in centre a figure of ,charity with three children1 on each side a pilaster set with diamonds and rubies alternately1 with a cupid above1 and beyond each pilaster a figure of ,faith on one side and ,fortitude on the other4 ,german1 sixteenth century4 7,b4 ,m41 ,waddesdon ,bequest47 #b4 ,design for a pendant by ,hans ,collaert 7#aeha74 p4 #aif4 7,mr4 ,max ,rosenheim47 #c4 ,pendant in the style of ,collaert3 enamelled gold1 in the form of a ship1 with figures of ,antony and ,cleopatra4 pp4 #aig1 #bdg4 7,mr4 ,charles ,wertheimer47 ,,xxxiv4 ,,renaissance ,,pendants1 ,,etc41 ,,of ,,gold1 ,,enamelled ,,and ,,jewelled4 ,,spanish 7#a-b7 ,,and ,,english 7#c-f74 p4 #bed4 #a-b4 ,,spanish ,,pendants1 ,,late ,,sixteenth ,,century4 ,from the ,treasury of the ,virgen del ,pilar1 ,saragossa4 #a4 ,jewel in form of a parrot3 translucent green enamel1 the breast set with a hyacinth4 p4 #bdi4 #b4 ,jewel of enamelled gold3 a dog standing on a scroll1 set with diamonds1 rubies1 and an emerald4 7,v4 and ,a4 ,m47 #c-d4 ,,the ,,drake ,,jewels3 presented to ,sir ,francis ,drake by ,queen ,elizabeth4 #c4 ,enseigne of enamelled gold set with diamonds1 rubies1 and opals2 the centre ruby engraved with the ,queen's orb and cross4 p4 #bcj4 #d4 ,enamelled gold pendant1 containing a miniature of ,elizabeth by ,hilliard4 p4 #bec4 7,sir ,f4 ,fuller-,eliott-,drake47 #e-f4 ,,the ,,armada ,,jewel4 ,believed to have been presented by ,queen ,elizabeth to ,sir ,francis ,walsingham4 ,possibly the work of ,nicholas ,hilliard4 #e4 ,front3 ,gold bust of the ,queen4 #f4 ,back3 ,ark resting peacefully on troubled waves4 ,inside3 ,miniature of ,elizabeth by ,hilliard4 p4 #bee4 7,mr4 ,j4 ,pierpont ,morgan47 ,,xxxv4 ,,elizabethan ,,jewellery p4 #bef4 #a4 ,the ,phoenix ,jewel4 p4 #bee4 7,b4 ,m47 #b4 ,drake pendant in the form of a ship4 p4 #bec4 7,lord ,fitzhardinge47 #c4 ,pendent miniature case1 with carved medallion in mother-of-pearl4 p4 #bef4 7,poldi-,pezzoli ,museum1 ,milan47 #d4 ,the ,barbor ,jewel4 p4 #bed4 7,v4 and ,a4 ,m47 #e4 ,the ,hunsdon ,armlet4 p4 #bfe-f4 7,lord ,fitzhardinge47 #f4 ,onyx cameo in gold mount1 presented to ,queen ,elizabeth by ,archbishop ,parker4 7,described in ,arch4 ,journ4 ,vol4 ,,xix47 7,mr4 ,g4 ,e4 ,lloyd ,baker47 #g4 ,edward ,,vi's ,prayer ,book4 p4 #bgd4 7,lord ,fitzhardinge47 ,,xxxvi4 ,,renaissance ,,and ,,later ,,rings4 7,v4 and ,a4 ,m47 p4 #bfb4 #a4 ,gold wedding ring3 open-work hands 7fede71 inscribed within3 ,,qvod ,,devs ,,conivnvit ,,homo ,,non ,,separet4 ,florentine1 sixteenth century4 p4 #bfb4 #b4 ,jewish wedding ring of enamelled gold4 ,italian1 sixteenth century4 p4 #bfb4 #c4 ,gold wedding ring1 set with rose diamond between enamelled hands4 ,english1 dated #agjf4 p4 #cba4 #d4 ,gold1 set with a pointed diamond4 ,english1 seventeenth century4 p4 #bfj4 #e4 ,jewish wedding ring of enamelled gold in form of a temple4 ,german1 sixteenth century4 p4 #bfb4 #f4 ,enamelled gold1 set with a diamond4 ,italian1 sixteenth century4 #g4 ,enamelled gold1 figure of ,cupid with a garnet on the breast4 ,seventeenth century4 #h4 ,gold1 set with a miniature portrait of ,james ,stuart1 the ,old ,chevalier4 #i4 ,giardinetti ring3 a basket of flowers composed of diamonds1 rubies1 and emeralds4 ,english1 eighteenth century4 p4 #bie4 #aj4 ,giardinetti3 set with diamonds and rubies in the form of a vase of flowers4 ,english1 late seventeenth century4 p4 #bie4 #aa4 ,memorial3 chased with death's head in white enamel1 and having diamond eyes4 ,english1 seventeenth century4 p4 #cfg4 #ab4 ,memorial3 with enamelled skull4 ,inscribed3 ,,behold ,,the ,,ende4 7,said to have belonged to ,charles ,i47 p4 #cff4 #ac4 ,memorial3 bezel enclosing painted female figure1 bearing inscription3 ,,not ,,lost ,,but ,,gone ,,before4 ,english1 dated #aghh4 p4 #cfi4 #ad4 ,memorial3 bezel enclosing funereal urn in hair and gold4 ,english1 dated #agha4 p4 #cfi4 ,,xxxvii4 ,,renaissance ,,bracelets p4 #bff4 #a4 ,gold bracelet of circular fluted links with enamelled clasp4 ,german1 late sixteenth century4 p4 #bff4 7,v4 and ,a4 ,m47 #b4 ,bracelet of enamelled gold4 ,french1 seventeenth century4 p4 #bid4 7,v4 and ,a4 ,m47 #c-d4 ,bracelet of ,diana of ,poitiers1 enamelled gold1 set with cameos4 p4 #bff4 7,bibliothque ,nationale1 ,paris47 7,photo1 ,giraudon47 #e4 ,gold bracelet of ,otto ,henry1 ,count ,palatine of ,neuburg 7d4 #afjd71 with his wife's initials-- ,d ,m ,p ,b ,r ,g ,h ,z ,w ,v ,t 7,dorothea ,maria ,pfalzgrfin bei ,rhein geborne ,herzogin zu ,wirtemberg und ,tek47 ,compare p4 #bcj4 7,bavarian ,national ,museum1 ,munich47 ,,xxxviii4 ,,renaissance ,,girdles p4 #bgb4 #a4 ,italian1 fifteenth-century girdle of gold tissue with gilt metal mounts4 p4 #afc4 7,v4 and ,a4 ,m47 #b4 ,silver gilt chain girdle4 ,german1 late sixteenth century4 7,mrs4 ,percy ,macquoid47 #c4 ,nuremberg girdle of leather1 with silver-gilt mounts4 ,seventeenth century4 p4 #bgb4 7,v4 and ,a4 ,m47 ,,xxxix4 ,,engraved ,,designs ,,for ,,jewellery ,,by ,,daniel ,,mignot4 p4 #bhj4 7,mr4 ,max ,rosenheim47 p4 #bhj4 ,,xl4 ,,engraved ,,designs ,,for ,,jewellery ,,by ,,gilles ,l,,gar ,,and ,,paul ,,birckenhultz p4 #bhb4 #a-b4 ,designs for pendants1 seals1 and rings2 from ,gilles ,lgar's ,livre des ,ouvrages d',orfvrerie4 p4 #bhb4 7,b4 ,m47 #c4 ,seal in the style of ,lgar4 ,the upper part gold with painted enamel2 below1 engraved on steel1 the ,royal ,arms of the ,stuarts1 with bton sinister1 of ,anne ,fitz ,roy 7b4 #affa1 d4 #agba1 married #afgd1 ,lord ,dacre1 created ,earl of ,sussex71 daughter of ,barbara ,villiers1 ,duchess of ,cleveland1 and ,charles ,,ii4 7,col4 ,croft ,lyons47 #d4 ,design for a pendant by ,paul ,birckenhultz4 pp4 #bhj-a4 7,mr4 ,max ,rosenheim47 ,,xli4 ,,engraved ,,patterns ,,for ,,jewellery1 ,,and ,,enamelled ,,jewels ,,executed ,,from ,,similar ,,designs4 ,,late ,,sixteenth ,,and ,,early ,,seventeenth ,,centuries p4 #bhd4 #a4 ,design for enamelled jewellery by ,hans ,hensel1 of ,sagan 7#aeii74 p4 #bhd4 7,mr4 ,max ,rosenheim47 #b4 ,gold ring set with flat heart-shaped garnet3 design on shoulders reserved in gold on white enamel4 ,early seventeenth century4 p4 #bie4 7,b4 ,m47 #c4 ,design for jewellery in champlev enamel1 by ,guillaume de la ,quewellerie1 of ,amsterdam 7#afaa74 p4 #bhd4 7,v4 and ,a4 ,m47 #d4 ,gold ring3 the shoulders enamelled in the champlev manner with design in black and white4 ,late sixteenth century4 7,v4 and ,a4 ,m47 #e4 ,design for an enamelled ring by ,hans van ,ghemert 7#aehe74 p4 #bhd4 7,v4 and ,a4 ,m47 #f4 ,design for enamel-work by ,jean ,toutin 7#afai74 p4 #bhe4 7,mr4 ,max ,rosenheim47 #g4 ,the ,lyte ,jewel1 containing a portrait of ,james ,i by ,isaac ,oliver4 ,reverse side1 with silhouette pattern in gold and ruby champlev enamel on white ground4 ,english1 about #afaj4 pp4 #cjc-d4 7,b4 ,m41 ,waddesdon ,bequest47 7,enamel-work of identical design occurs on the back of a miniature-case1 containing a portrait of ,charles ,i by ,peter ,oliver1 dated #afbf1 in the collection of ,mr4 ,j4 ,pierpont ,morgan47 #h4 ,design for enamel-work in the niello or silhouette manner1 by ,stephanus ,carteron 7#afae74 p4 #bhe4 7,mr4 ,max ,rosenheim47 ,,xlii4 ,,seventeenth-,,century ,,enamelled ,,pendants1 ,,etc4 p4 #bij4 #a4 ,gold pendant1 containing an onyx cameo surrounded by ribbon-work and flowers of coloured enamel1 set with rose diamonds4 ,french4 7,mr4 ,jeffery ,whitehead47 #b-c4 ,pair of earrings en suite formed of a hand holding a bow and bunch of flowers4 #d4 ,pendant3 an interlaced monogram of turquoise enamel suspended from a crown-shaped ornament1 enamelled and set with diamonds4 ,french4 7,mr4 ,jeffery ,whitehead47 #e4 ,gold pendant of variegated enamel 7translucent and opaque7 in form of a basket filled with fruit1 with flowers above1 and a bird on the top4 7,h4 ,c4 ,s47 #f4 ,small aigrette of silver in form of a bunch of flowers springing from a vase1 set with rose diamonds1 and bearing traces of enamel4 7,h4 ,c4 ,s47 ,,xliii4 ,,seventeenth-,,century ,,enamelled ,,miniature-,,cases1 ,,lockets1 ,,etc4 p4 #bib4 ,a#a4 ,gold miniature-case by ,jean ,toutin3 the design reserved in gold on a ground of black enamel4 p4 #bic4 7,mr4 ,j4 ,pierpont ,morgan47 #b4 ,gold miniature-case1 translucent green enamel1 with pattern in white1 from a design by ,pierre ,firens4 p4 #bic4 7,v4 and ,a4 ,m41 ,dyce ,collection47 ,a#c4 ,gold miniature-case of translucent green enamel 7mail en rsille7 with pea-pod design in green and red2 enclosing miniature of ,charles ,,ii by ,samuel ,cooper4 p4 #bic4 7,mr4 ,j4 ,pierpont ,morgan47 ,a#d4 ,crystal reliquary mounted in enamelled gold and set with a plaque of verre glomis4 ,spanish1 about #afjj4 p4 #bjc4 7,mr4 ,j4 ,pierpont ,morgan47 ,a#e4 ,gold locket of purple enamel with floral design in white1 yellow1 and green on gold 7mail en rsille74 ,french4 7,mr4 ,j4 ,pierpont ,morgan47 #f4 ,pendant1 set with a cameo of ,lucrezia de' ,medici in open-work floral border of painted enamel4 ,french4 p4 #bib4 7,bibliothque ,nationale1 ,paris47 ,a#g4 ,gold miniature-case of open-work design enamelled in green1 blue1 and white2 containing a miniature of ,james ,i4 ,english4 7,mr4 ,j4 ,pierpont ,morgan47 #h4 ,gold locket with painted 7,louis-,treize7 enamel of various colours in relief on blue ground4 ,english4 p4 #bic4 7,mrs4 ,b4 ,spring-,rice47 ,a ,reproduced by permission of ,dr4 ,williamson1 acting on behalf of ,mr4 ,j4 ,pierpoint ,morgan4 ,copyright reserved4 ,,xliv4 ,,rings1 ,,slides1 ,,and ,,pendants 7,,chiefly ,,memorial74 ,,seventeenth ,,and ,,early ,,eighteenth ,,centuries p4 #bid4 #a4 ,memorial ring1 black enamel3 set with crystal over a skull and cross-bones2 dated #agdj4 #b4 ,gold memorial locket with faceted crystal enclosing hair2 inscribed behind3 ,of such is the ,kingdom of ,god4 ,english1 late seventeenth century4 p4 #cfh4 #c4 ,memorial ring1 black enamel2 dated #aggg4 #d4 ,memorial ring1 white enamel2 dated #agci4 #e4 ,memorial ring1 white enamel2 dated #agic4 #f4 ,memorial ring1 black enamel2 set with faceted crystal enclosing minute pattern in gold wire4 ,english1 early eighteenth century4 7#a--f--;,h4 ,c4 ,s47 #g4 ,back of a gold slide3 painted enamel with initials ,e4 ,j4 beneath a coronet4 7,viscount ,falkland47 #h4 ,gold ring3 open-work floral pattern in painted enamel2 inscribed with a posy4 p4 #bie4 7,viscount ,falkland47 #i4 ,silver locket surrounded by pearls1 with faceted crystal enclosing monogram in gold wire4 ,english1 late seventeenth century4 p4 #cfh4 7,mrs4 ,stewart ,king47 #aj-ad4 ,memorial slides1 with various devices and initials in gold wire over hair or ribbed silk beneath faceted crystal4 ,english1 late seventeenth and early eighteenth centuries4 p4 #cfh4 7,mr4 ,jeffery ,whitehead47 #ae4 ,gold pendant set with an antique ,roman cameo in open-work floral border of painted enamel4 ,english1 seventeenth century4 p4 #bib4 7,his ,majesty the ,king47 #af4 ,memento ,mori jewel of enamelled gold2 inscribed round the sides3 ,through the resurrection of ,christe we be all sanctified4 ,english1 about #afjj4 p4 #cfe4 7,v4 and ,a4 ,m47 #ag4 ,gold pendant set with a cameo of ,lucius ,verus1 in border of pea-pod ornament4 ,from a design by ,pierre ,marchant4 ,french1 early seventeenth century4 p4 #bib4 7,b4 ,m47 ,,xlv4 ,,page ,,from ,,the ,,ledger ,,of ,,sir ,,francis ,,child1 ,,jeweller ,,to ,,william ,,iii4 ,about #afgd4 ,preserved at ,child's ,bank1 ,no4 #a ,fleet ,street1 ,london1 ,e4 ,c4 p4 #cjf4 7,by permission of ,mr4 ,f4 ,g4 ,hilton ,price47 p4 #cjd4 ,,xlvi4 ,,eighteenth-,,century ,,jewellery1 ,,french ,,and ,,english p4 #caf4 #a-c4 ,pendant1 and two earrings en suite containing paintings en grisaille on mother-of-pearl1 in gold frames set with rubies1 diamonds1 and strings of pearls4 ,french1 ,louis ,,xvi4 7,mr4 ,jeffery ,whitehead47 #d4 ,rosette-shaped brooch pav with white paste of fine quality4 ,english1 early eighteenth century4 7,col4 ,croft ,lyons47 #e-f4 ,pair of girandole earrings with paste sapphires4 ,formerly the property of ,madame du ,barry4 ,french1 ,louis ,,xv4 p4 #bag4 7,lady ,monckton47 #g4 ,necklet and pendant of pink paste and marcasite4 ,english1 about #agfj4 7,col4 ,croft ,lyons47 ,,xlvii4 ,,eighteenth-,,century ,,necklaces1 ,,etc4 7,mr4 ,jeffery ,whitehead7 p4 #cbj4 #a4 ,necklet and pendant of paste in silver setting4 ,english4 #b-c4 ,pair of oval memorial clasps containing grisaille paintings within pearl borders4 ,english4 p4 #cfi4 #d4 ,necklace of cut steel with ,wedgwood cameos in white on blue4 ,english4 ,,lxviii4 ,,eighteenth-,,century ,,chatelaines 7,mr4 ,jeffery ,whitehead7 p4 #cbb4 #a4 ,chatelaine 7equipage7 of cut steel mounted with ,wedgwood ware in white cameo on blue jasper ground1 hung with a watch and two watch keys4 ,english1 about #aghj4 #b4 ,chatelaine 7equipage7 of gold formed of a hook with five pendants--a scissor-case1 two thimble or scent cases1 and two needle or bodkin cases4 ,french1 ,louis ,,xv4 p4 #cbc4 #c4 ,oval memorial clasp of blue enamel with minute design in carved ivory and pearl work1 mounted in paste frame4 ,english4 p4 #cfi4 ,,xlix4 ,,empire ,,head-,,ornaments p4 #cbf4 #a4 ,empire tiara of rose diamonds set in silver1 on gold mounts4 7,mrs4 ,kirby47 #b4 ,empire head-ornament 7bandeau7 of gold1 enriched with blue enamel1 and set with twenty-five carnelian intaglios4 ,formerly the property of the ,empress ,josephine4 7,mr4 ,m4 ,g4 ,lloyd ,baker47 #c4 ,empire comb en suite set with four carnelian intaglios4 7,mr4 ,m4 ,g4 ,lloyd ,baker47 ,l4 ,,early ,,nineteenth-,,century ,,jewellery p4 #cbh4 #a-b4 ,pair of earrings in form of baskets of flowers1 enamelled1 and set with turquoises and pearls4 7,mr4 ,jeffery ,whitehead47 #c-d4 ,pair of bracelet clasps of beaded goldwork set with various coloured stones1 with ,crown and ,royal cypher in enamel4 ,formerly the property of ,queen ,charlotte4 7,mr4 ,jeffery ,whitehead47 #e4 ,necklace and pendent cross1 with brooch and earrings en suite3 of beaded gold and filigree1 set with pink topazes and pearls4 ,english4 7,lady ,ramsay47 #f4 ,necklace1 with brooch and earring en suite1 of coloured gold set with amethysts and pearls4 ,english4 7,lady ,ramsay47 ,,li4 ,,buckles ,,and ,,necklaces4 ,,late ,,eighteenth ,,and ,,early ,,nineteenth ,,centuries p4 #ccj4 #a-b4 ,pair of steel buckles partly plated with silver4 ,signed ,w4 ,hipkins4 p4 #cae4 7,h4 ,c4 ,s47 #c4 ,girdle-clasp of faceted steel4 ,english 7,birmingham71 late eighteenth century4 p4 #cae4 7,v4 and ,a4 ,m47 #d4 ,gold shoe-buckle4 ,english1 eighteenth century4 p4 #cbb4 7,v4 and ,a4 ,m47 #e4 ,silver girdle-buckle4 ,english1 eighteenth century4 7,h4 ,c4 ,s47 #f4 ,silver shoe-buckle4 ,english1 eighteenth century4 7,h4 ,c4 ,s47 #g4 ,necklace of delicate gold filigree enriched with blue enamel and set with sapphire pastes4 ,early nineteenth century4 7,mrs4 ,holman ,hunt47 #h4 ,necklace of cast iron mounted with gold3 the oval plaques1 in open-work1 alternately a spray of flowers and a figure subject in the style of an antique gem4 ,prussia 7,berlin71 early nineteenth century4 p4 #ccj4 7,v4 and ,a4 ,m47 ,,lii4 ,,modern ,,french ,,jewellery4 7,v4 and ,a4 ,m47 p4 #cch4 #a4 ,enamelled gold brooch4 ,by ,georges ,fouquet4 #b4 ,neck-ornament 7plaque de collier73 carved horn1 set with pink baroque pearls4 ,by ,ren ,lalique4 #c4 ,pin for the hair1 gold1 set with opals and diamonds4 ,by ,gaston ,laffitte4 #d4 ,gold pendant set with diamonds and an opal1 and enriched with open-work translucent enamel in high relief4 ,by ,comte du ,suau de la ,croix4 #e4 ,enamelled gold pendant1 set with diamonds1 opals1 and emeralds4 ,by ,g4 ,gautrain4 ,,liii4 ,,spanish1 ,,portuguese1 ,,flemish1 ,,and ,,french ,,peasant ,,jewellery1 ,,etc4 p4 #cdb4 #a4 ,bow-shaped breast-ornament of gold set with emeralds1 and having large emerald pendant4 ,spanish1 seventeenth century4 p4 #bjd4 7,mrs4 ,close47 #b4 ,earring of gold filigree hung with pendants4 ,portuguese4 p4 #cdg4 7,lady ,cook1 ,viscondessa de ,monserrate47 #c4 ,gold pendant set with rose diamonds mounted on silver rosettes4 ,flemish1 eighteenth century4 p4 #cde4 7,h4 ,c4 ,s47 #d4 ,silver cross set with crystals4 ,french 7,normandy74 p4 #cdb4 7,h4 ,c4 ,s47 #e4 ,pendent badge of brass1 enamelled black1 white1 and blue1 containing a crowned monogram of the ,virgin4 ,spanish 7,barcelona71 seventeenth century4 p4 #bjd4 7,h4 ,c4 ,s47 ,,liv4 ,,adriatic ,,jewellery4 p4 #cdf4 #a4 ,pendant in form of a ship1 enriched with coloured enamels and hung with clusters of pearls4 7,mr4 ,jeffery ,whitehead47 #b4 ,ship pendant of gold filigree hung with pearls4 7,mr4 ,jeffery ,whitehead47 #c-d4 ,pair of enamelled earrings hung with clusters of pearls4 7,mr4 ,jeffery ,whitehead47 #e4 ,long earring of gold filigree mounted and hung with pearls4 7,mr4 ,jeffery ,whitehead47 #f-h4 ,pendant and pair of earrings1 of gold filigree enriched with coloured enamels4 ,from the ,island of ,patmos4 7,mr4 ,cecil ,h4 ,smith47 ,,illustrations ,,in ,,the ,,text ,safety-pin xli ,romano-,british brooch or fibula with bilateral spring xlii ,brooch formed of double spiral discs of concentric wire 7,spectacle fibula7 xlii ,celtic brooch xliii ,ring-brooch 7,tomb of ,queen ,berengaria of ,navarre1 wife of ,richard ,coeur de ,lion1 at ,le ,mans7 xliii ,buckle1 with buckle-plate and tag4 ,german1 about #adij4 7,victoria and ,albert ,museum7 xlvi ,bronze fibula4 7,ireland7 xlvii ,collar of the ,order of the ,golden ,fleece1 made in #adcb by ,john ,peutin1 of ,bruges1 jeweller to ,philip the ,good1 ,duke of ,burgundy4 7,from the portrait of ,baldwin de ,lannoy by ,john van ,eyck at ,berlin7 #ij ,interior of a jeweller's shop4 ,from ,kreuterbuch4 7,frankfort1 #aecf7 #ih ,gold ring engraved and enamelled with figures of the ,virgin and ,child and ,st4 ,john the ,evangelist4 ,scottish1 fifteenth century4 7,nat4 ,museum of ,antiquities1 ,edinburgh7 #ajd ,necklace worn by the daughter of ,tommaso ,portinari in ,van der ,goes' triptych in the ,uffizi ,gallery1 ,florence #aag ,pomander4 ,from ,kreuterbuch4 7,frankfort1 #aefi7 #abf ,a medival lapidary4 ,from ,ortus ,sanitatis4 7,strasburg1 about #adig7 #acd ,mantle clasp 7portion7 on effigy of ,henry ,,iv4 7,canterbury ,cathedral7 #adj ,brooch of the ,virgin in ,lochner's ,dombild4 7,cologne ,cathedral7 #ade ,english gold ring1 fifteenth century4 ,engraved with the ,annunciation1 and the words en bon an4 7,mr4 ,e4 ,richardson-,cox7 #aej ,french gold ring1 fourteenth century4 7,louvre7 #aed ,a goldsmith in his workshop4 ,from ,hortus ,sanitatis4 7,strasburg1 #aecf7 #aeh ,luckenbooth brooch of silver4 7,nat4 ,museum of ,antiquities1 ,edinburgh7 #afe ,pendant worn by one of the ,three ,graces in ,botticelli's ,primavera4 #afi ,jewel1 in ,ghirlandaio's portrait of ,giovanna ,tornabuoni #agj ,brooch worn by the ,virgin on fifteenth-century ,florentine picture 7,no4 #bif1 ,national ,gallery1 ,london7 #agd ,a fifteenth-century jeweller4 ,from ,ortus ,sanitatis4 7,strasburg1 about #adig7 #agf ,design for a pendent whistle by ,hans ,brosamer #aih ,design for a pendant by ,hans ,brosamer #bje ,earring1 from ,portrait of a ,lady by ,sodoma4 7,frankfort ,gallery7 #bcc ,design for a pendant by ,jacques ,androuet ,ducerceau #bda ,the ,penruddock ,jewel #beb ,triple rings set with pointed diamonds4 ,device of ,cosimo de' ,medici4 ,from ,paolo ,giovio's ,dialogo dell' imprese4 7,figured in ,botticelli's ,pallas in the ,pitti ,gallery7 #bfj ,rings on a roll of parchment4 ,from ,kreuterbuch4 7,frankfort1 #aecf7 #bfc ,design for a bracelet by ,jacques ,androuet ,ducerceau #bfi ,jean ,toutin in his workshop1 firing an enamelled jewel #bhi ,design for a pendent miniature-frame by ,pierre ,marchant #cjf ,,preface ,the term ,jewellery is used generally in a very wide sense1 and it has been necessary to impose certain limitations upon its meaning for the purpose of the present work4 ,jewellery may be defined as comprising various objects adapted to personal ornament1 precious in themselves or rendered precious by their workmanship4 ,the jewel worn as a personal ornament may be merely decorative1 such as the aigrette or the pendant1 or it may be useful as well as ornamental1 such as the brooch or the girdle4 ,gems and precious stones are not jewels1 in the present sense1 until the jeweller's skill has wrought and set them4 ,this definition will be found to correspond with the term minuteria adopted by ,italian writers on the goldsmith's art for objects in precious materials employed for the adornment of the person1 as distinct from grosseria--those fashioned for household use or ornament4 ,with the exception of a chapter dealing with ,egyptian jewellery1 ,i have confined myself solely to ,europe4 ,the work falls into four main divisions4 ,the first deals with the jewellery worn during classical times1 and until the ninth century of our era4 ,the second treats of the jewels of the ,middle ,ages4 ,the third is devoted to the jewels of the ,renaissance1 and the fourth includes those of subsequent times4 ,in the chapters dealing with ,renaissance and later jewellery ,i have endeavoured to utilise the valuable evidence1 hitherto generally overlooked or neglected1 which may be derived from the engraved designs and working drawings of jewellers1 from personal inventories1 and from pictures by the old masters4 ,perhaps too generous a share of attention has been bestowed on ,english work2 but this may be pardoned when it is remembered that the previous literature of jewellery has been almost entirely from the pens of ,french and ,german writers4 ,while fully appreciating the importance and interest of the recent revival of artistic jewellery1 ,i have not thought it necessary1 in a book intended mainly for the connoisseur1 to give more than a rapid review of the main features of the modern movement1 with a brief mention of some prominent craftsmen therein employed4 ,for similar reasons no general account is given of the processes of manufacturing articles of jewellery1 though references are made to technical methods when they serve to explain points of artistic importance4 ,assistance has been supplied by numerous works4 ,the largest debt is due to the learned art historian ,ferdinand ,luthmer1 whose standard work ,gold und ,silber has afforded most important aid4 ,from ,rcklin's ,schmuckbuch ,i have constantly derived instruction2 and ,fontenay's ,bijoux anciens et modernes has been a storehouse of information4 ,other books which have been of service are included in the ,bibliography4 ,it is now my duty and pleasure to express my obligations to all those whose unvarying kindness has facilitated my researches4 ,special thanks are due3 to ,lady ,rothschild1 who has presented me with photographs1 specially taken for the purpose1 of some of her choicest jewels2 to ,lady ,fuller-,eliott-,drake1 who at considerable personal inconvenience brought the ,drake jewels to ,london2 to ,mr4 ,jeffery ,whitehead1 who despatched for my use a number of jewels from his collection2 to ,mr4 ,max ,rosenheim1 who1 besides placing at my disposal his unrivalled series of engraved designs for jewellery1 has read through and corrected the portion of the subject dealing with engraved ornament2 to ,sir ,john ,evans1 ,k4,c4,b41 who has guided me personally through his splendid collections of early jewellery2 and to ,dr4 ,williamson1 for assisting me in many ways1 and for the loan1 on behalf of ,mr4 ,j4 ,pierpont ,morgan1 of copyright photographs of the finest enamelled miniature-cases from his catalogue of ,mr4 ,morgan's collection1 with leave to describe and reproduce such of them as ,i might select for this volume4 ,among those who have favoured me with permission to publish the treasures in their possession ,i must gratefully mention ,lady ,cook 7,viscondessa de ,monserrate71 ,lady ,ramsay1 ,lady ,monckton1 ,mrs4 ,holman ,hunt1 ,mrs4 ,percy ,macquoid1 the ,marquess of ,clanricarde1 ,viscount ,falkland1 and ,lord ,fitzhardinge2 also ,herr ,james ,simon1 of ,berlin1 and ,lieut4-,col4 ,g4 ,b4 ,croft ,lyons1 who have presented me with photographs of their jewels4 ,thanks are also due to ,dr4 ,kitchin1 ,dean of ,durham1 for the photograph of ,st4 ,cuthbert's ,cross2 to ,dr4 ,spooner1 ,warden of ,new ,college1 for permission and aid in photographing the ,new ,college jewels2 to ,dr4 ,j4 ,anderson1 ,director of the ,national ,museum of ,antiquities of ,scotland1 for the loan of blocks of two jewels in the ,edinburgh ,museum2 to ,mr4 ,f4 ,g4 ,hilton ,price1 who enabled me to photograph the old ledgers in ,child's ,bank2 and to ,mr4 ,j4 ,t4 ,herbert ,baily1 for leave to reproduce illustrations to my articles on the ,king's gems and jewels at ,windsor ,castle in the ,connoisseur 7#aijb-c74 ,the names of many others1 who have kindly lent me jewels or photographs1 will be found1 attached to the individual objects1 in the ,list of ,illustrations4 ,i would especially thank1 amongst others1 the following officers of the ,continental museums who have generously presented me with photographs of articles of jewellery in the collections under their charge1 or have aided me with their advice3--,sir ,henry ,angst1 ,k4,c4,m4,g41 ,british ,consul-,general for ,switzerland1 late ,director of the ,zurich ,museum2 ,m4 ,e4 van ,overloop1 ,conservator of the ,royal ,museums1 ,brussels2 ,dr4 ,lindenschmidt1 ,director of the ,mainz ,museum2 ,dr4 ,hermann ,j4 ,hermann1 ,keeper of the ,imperial ,art ,collections1 ,vienna2 ,dr4 ,wilhelm ,behncke1 late of the ,kunstgewerbe ,museum1 ,berlin2 ,dr4 ,h4 ,graf1 ,director of the ,bavarian ,national ,museum1 ,munich2 ,dr4 ,l4 ,curtius1 of the ,antiquarium1 ,munich2 and ,m4 ,j4 de ,foville1 of the ,cabinet des ,mdailles1 ,bibliothque ,nationale1 ,paris4 ,grateful acknowledgment is also due to the officers of the ,british ,museum for the help they have given me1 particularly to ,mr4 ,cyril ,davenport for numerous valuable suggestions4 ,to my colleagues in the ,victoria and ,albert ,museum ,i owe cordial thanks for much encouragement and help1 particularly to ,mr4 ,a4 ,van de ,put for his aid in reading through the proofs of this volume2 and above all to ,mr4 ,martin ,hardie1 ,a4,r4,e41 who1 besides executing the pen-drawings which illustrate the text1 has assisted me in various ways1 and throughout the whole course of the present work has favoured me with constant advice and suggestions4 ,h4 ,,clifford ,,smith ,,introduction ,the love of ornament prompted by vanity is inherent in the human race4 ,a most primitive instinct of human beings is to make their persons more beautiful1 more imposing1 or more striking by ornamentation4 ,this inclination is as old as dress itself1 nay1 perhaps1 dates even further back4 ,for there are tribes to whom climate and civilisation have not yet suggested the necessity of clothing the body1 but who nevertheless possess ornaments of some degree of development4 ,from the rudest of beginnings up to the last refinements of art1 jewelled ornaments have ever the same purpose in view--to give prominence to individual parts of the body by means of glittering1 beautiful objects which involuntarily draw the eye of the spectator in the desired direction4 ,jewellery is not only worn with the purpose of attracting attention and setting off the beauty of the person1 but satisfies the desire1 not less deep-rooted in humanity1 of establishing a distinctive mark of rank and dignity4 ,in fact the wearing of certain kinds of ornaments has at times been fixed by legislation4 ,among savages1 and races not far removed from barbarism1 it may be observed that the love of ornament is chiefly characteristic of men4 ,as civilisation advances it is displayed more and more by women alone4 ,yet even a century ago1 among the most civilised nations of ,europe1 the beaux and macaronis adorned themselves with jewellery of all kinds4 ,to-day1 however1 it is confined1 and with greater propriety1 almost entirely to women4 ,desirous always of pleasing1 the gentle sex has ever sought to add to its charms by adorning itself with jewels4 ,two methods of dealing with the history of the present subject present themselves4 ,one method consists in taking individual classes of jewellery1 tracing their complete development1 and following the changes they undergo during the various periods of civilisation4 ,by the other--the historical method--all types of jewellery in existence at a particular time are examined side by side within the historical period to which they belong4 ,the general changes that take place at one epoch find an echo in every piece of jewellery that belongs to that epoch4 ,the different classes of jewellery during every period all bear a distinct relationship of style4 ,for instance1 the changes which take place in the aspect of the necklace at a particular epoch will be found to occur at the same time in that of the bracelet and girdle4 ,but there may exist the widest divergence in style and idea between a particular piece of jewellery and its successor of a subsequent period4 ,for these reasons an historical and chronological mode of treatment has been adopted1 which will allow more completeness of observation1 and fuller and more scientific investigation of style and craftmanship4 ,certain difficulties are nevertheless encountered1 because periods and fashions naturally overlap4 ,this is particularly the case in times when communication was not easy2 since some people would cling to an old form of jewellery1 while others1 more travelled or more fashionably minded1 would prefer a new4 ,in proceeding towards a systematic classification of personal ornaments it may be advisable1 instead of dealing with the separate ornaments of each period according to their relative importance or prominence1 to follow a simpler and more natural plan4 ,thus1 the ornaments dealt with in each succeeding epoch will in every case be those worn3 7#a7 on the head--diadems1 tiaras1 aigrettes1 hair-pins1 jewels for the hat and cap1 and earrings2 7#b7 on the neck--necklaces and neck-chains hung with numerous varieties of pendants2 7#c7 on the breast--brooches1 clasps1 buttons2 7#d7 on the limbs--armlets1 anklets1 bracelets1 rings2 and 7#e7 on the body and waist--girdles and their various attachments1 chatelaines1 and miscellaneous pendent ornaments1 such as pomanders1 scent-cases1 rosaries1 etc4 ,a few preliminary words may be said respecting the evolution of some of the various ornaments employed on the different parts of the body4 ,the custom of decorating the head with jewelled ornaments was probably suggested by the natural idea of encircling it with flowers in token of joy or triumph4 ,the use of diadems was in early times generally reserved for those of noble birth4 ,from the fillets employed for binding the hair1 developed circlets1 which with the addition of precious stones assumed the dignity of crowns4 ,the use of earrings as personal ornaments seems to have originated in the ,east1 where they have always been in favour4 ,earrings formed an important article of jewellery during the classical ages1 but they were not commonly worn again in ,europe until the seventeenth and eighteenth centuries4 ,at the present moment fashion does not decree their general use4 ,the necklace--one of the most primitive of ornaments--is worn either close round the throat1 loosely round the neck1 or low down upon the breast4 ,occasionally1 as among savage peoples1 it takes the form of a ring2 but as a rule it is formed either of a simple cord1 or a chain formed by the appropriate linking together of rings1 perforated discs1 or pierced balls4 ,artistic effects are produced by a regular alternation of these details1 as well as by the tapering of the chain from the middle towards the ends4 ,neck-chains with symbolic elements are those worn as orders and as signs of dignity4 ,the necklace may be further ornamented by a row of pendants1 or more generally a single pendent ornament4 ,the pendant thus employed has become1 perhaps1 the most beautiful of all articles of adornment4 ,it occupies a conspicuous position upon the person1 and possibly for this reason has evoked the greatest skill and refinement of the jeweller's art4 ,its varieties are manifold--from the primitive charm1 and the symbolic ornaments of the ,middle ,ages1 to the elaborate pendant1 for the most part purely decorative1 dating from ,renaissance times4 ,next comes the important group of ornaments worn chiefly on the breast1 comprising brooches1 clasps and pins1 employed for fastening the dress4 ,all have their origin in the simple pin4 ,to this class belongs the hair-pin1 of which the most handsome and varied examples are to be found in ancient work4 ,unlike modern hair-pins which are provided with two points1 they have a single cylindrical or slightly conical stem1 pointed at one end1 and terminated at the other with a knob or some other finial4 ,a simple pin for the dress was uncommon in antiquity1 and its general use for this purpose belongs to comparatively recent times4 ,its place was always taken1 especially in early periods1 by a brooch--an outcome of the pin--which supplied the want of buttons4 ,the brooch1 an ornament of very considerable importance1 can be traced down from the earliest civilisation1 and is a valuable criterion in questions of ethnic movements4 ,the story1 however1 of the growth of each of the different classes into which primitive brooches may be divided1 the periods at which these ornaments made their appearance1 and the deductions of ethnographical interest that may be drawn therefrom1 must of necessity lie outside the scope of the present work4 ,illustration3 ,safety pin4 ,all brooches1 as has been said1 originated from the simple pin1 which itself was preceded by and probably derived from a thorn4 ,at an early period this pin1 after having been passed through the garment1 was for greater security bent up1 and its point caught behind the head4 ,later1 in order that the point might be held more securely in the catch1 the pin was given a complete turn1 which produced the spring1 as seen in the common form of our modern safety-pin4 ,thus constructed1 the brooch1 though in one piece1 may be said to consist of four parts2 7a7 the acus or pin2 7b7 the spring or hinge2 7c7 the catch or locking apparatus1 which forms the sheath of the pin2 and 7d7 the bow or back--the framework uniting the spring with the catch4 ,illustration3 ,romano-,british brooch or fibula with bilateral spring4 ,from this primitive safety-pin1 which is the foundation form of all brooches with a catch1 developed the numerous varieties and patterns of the brooch or fibula of succeeding ages4 ,amongst these is the ,roman fibula1 which instead of being made of one piece of metal1 is of two pieces--the bow and the acus4 ,the pin here works on a hinge--the result of gradually extending the coils of the spring symmetrically on each side of the pin into what is known as the double-twisted or bilateral spring1 and placing a bar through the coils thus made4 ,from the brooch hinged in this manner originated the ,roman provincial fibula of the ,t-shaped type common in ,france and ,britain1 and later the cruciform brooch of ,anglo-,saxon times4 ,the brooch with with a hinge was exclusively used until the revival of the safety pin with a spring1 patented as a new invention in the nineteenth century4 ,illustration3 ,brooch formed of double spiral discs of concentric wire 7,spectacle fibula47 ,in addition to the above brooches or fibul 7group #a7--;all developments of the safety-pin type--there are three other large groups of brooches3 7#b7 the circular disc type2 7#c7 the penannular or ,celtic brooch2 and 7#d7 the ring-brooch4 ,the first of these--the type generally worn at the present day--may be described as a flat disc fitted with a hinged pin4 ,in cemeteries belonging to the ,early ,iron ,age in ,southern ,europe circular plates have been found fitted with a pin4 ,these plates appear#a to have been developed by the conversion of a primitive disc of spiral concentric wire into a circular plate4 ,from the brooch of this type sprang the circular brooch of the ,roman period1 often inlaid with enamel1 as well as the splendid circular brooches of ,anglo-,saxon times1 and all other disc-shaped brooches4 ,in all early periods1 and even in ,roman times1 the bow or safety-pin type of brooch was commoner than the disc and also more practical1 as it offered room for the gathered folds of the garment4 ,in modern times the disc-shaped brooch fitted with a hinged or sometimes with a spring pin has been principally used4 #a ,ridgeway 7,w471 ,early ,age of ,greece1 p4 #dcg4 ,illustration3 ,celtic brooch4 ,illustration3 ,ring-brooch 7,tomb of ,queen ,berengaria of ,navarre1 wife of ,richard ,coeur de ,lion1 at ,le ,mans74 ,the two remaining groups of brooches--7#c7 the ,celtic brooch and 7#d7 the ring-brooch--are both developments of the simple pin in combination with a ring--in the former case penannular and in the latter annular4 ,the ,celtic brooch1 with penannular ring and long pin1 is apparently the result of fitting a pin to a prehistoric form of fastening for the dress--a penannular ring terminating with knobs1 known as a mammillary fibula4 ,the ring-brooch with complete ring1 and pin of the same length as the diameter of the ring1 which was popular in medival times1 is the outcome of fitting a complete ring of wire to a pin to prevent the head of the pin from slipping through the material--which ring in course of time became the more important member4 ,it is improbable that the ,celtic brooch originated in the same way1 from the union of a long pin with a small ring4 ,nor is it likely that these two forms of brooches were evolved the one out of the other by the shortening or lengthening of the pins4 ,as a matter of fact the two appear to have arisen independently side by side4 ,bracelets and armlets may be considered together1 for though the bracelet is properly only a decoration for the wrist1 the term has become descriptive of any ornament worn upon the arm4 ,the bracelet1 together with the necklace1 were the earliest ornaments used for the decoration of mankind4 ,amongst savage tribes both were worn in some form or another--the necklace as an ornament pure and simple1 but the bracelet serving frequently a practical purpose1 sometimes as a shield for the arm in combat1 sometimes covered with spikes1 and used for offensive purposes4 ,while used universally by women in the form of a band1 closed1 or open on one side1 or else in the shape of a spiral1 or fashioned like a chain1 the bracelet has been worn from the earliest times in the ,east by men also1 especially by princes as one of the insignia of royalty1 and by distinguished persons in general4 ,of all jewels the simplest and at the same time perhaps the most interesting and important is the finger ring4 ,it is universally employed as an article of personal ornament1 and has been worn by both sexes at almost all times1 and in nearly every country4 ,sometimes it is an object of use as the signet ring1 or a token of dignity as the bishop's ring4 ,sometimes it has a symbolical significance1 as the wedding-ring4 ,sometimes it is purely ornamental4 ,most finger rings may be said to be formed of two parts--the circular portion which surrounds the finger1 known as the hoop or shank1 and the enlarged or upper portion which is called the bezel4 ,this latter term1 applied to the upper side of the ring1 which is broadened to receive an ornament of some kind1 generally a stone1 seems to have originally designated the basil or projecting flange1 that retained the stone in its setting4 ,the term collet1 also used for the whole top including the stone or seal1 is similarly derived from the flange or collet in which the stone is set4 ,from its box-like shape this part of the ring is also called the chaton4 ,illustration3 ,buckle1 with buckle-plate and tag4 ,german1 about #adij4 7,victoria and ,albert ,museum47 ,the belt or girdle was worn round the waist by men as a means of suspending weapons1 by women sometimes merely as an ornament1 and generally by both sexes for the practical purpose of confining the clothing4 ,it is commonly formed of a band of leather or textile material4 ,the part as a rule which receives particular attention is the fastening4 ,this is either in the form of a clasp1 or more often a buckle4 ,the clasp consists of two parts1 generally symmetrical1 one of which can be hooked into the other4 ,the buckle1 another combination of a ring with a pin1 is similar to the medival ring-brooch1 but differs from it in that while the pin of the brooch pierces the material twice1 that of the buckle pierces it only once4 ,it may be described as a rectangular or curved rim having one or more hinged pins or spikes attached on one side of it or on a bar across its centre1 and long enough to rest upon the opposite side4 ,the buckle is made fast to one end of the girdle2 whilst the other end1 drawn through on the principle of a slip knot1 is kept fast by pushing the point of the pin or tongue through a hole made in the material of the girdle4 ,the girdle is attached by means of sewing a fold of it round the bar or round one side of the rim of the buckle4 ,as a great strain was put upon the doubling of the leather or stuff1 this soonest gave way4 ,consequently a plate of metal was passed round the bar or edge of the buckle1 and the two portions of it received the end of the strap between them4 ,the whole was then made fast with rivets4 ,the plate is known as the buckle-plate4 ,one end of the girdle being thus furnished1 the other was frequently made to terminate with a metal chape to enable it to pass easily through the ring of the buckle in the process of buckling and unbuckling4 ,this chape is known also as the mordant4 ,the chief point of the girdle to be decorated was the buckle-plate1 which was often in one piece with the buckle1 or hinged to it4 ,the mordant or tag was commonly decorated too1 while ornaments of metal of similar design1 sometimes jewelled1 were applied at regular intervals to the strap or band of the girdle4 ,in later years the girdle often took the form of a chain1 on which1 as in the case of chains for the neck and wrists1 artistic effects were produced by a regular sequence of links4 ,fastened by a clasp1 it was worn by women chiefly as an ornament1 or to carry small objects for personal use4 ,for the latter purpose it was subsequently supplanted by the chatelaine4 ,illustration3 ,bronze fibula 7,ireland74 ,,jewellery ,,early ,,jewellery ,,chapter ,i ,,egyptian ,,and ,,phoenician ,,jewellery ,most of the forms met with among the jewellery of the civilised nations of later times are found represented in the ornaments of the ,egyptians4 ,it is fortunate that important specimens of all descriptions of these have come down to our days4 ,this we owe to the elaborate care which the ,egyptians bestowed on the preservation of the dead1 and to the strict observance of funeral rites1 which induced them to dress and ornament their mummies with a view to future comfort both in the grave and in the after life4 ,the ornaments1 however1 buried with the dead were frequently mere models of what were worn in life1 and the pains taken in making these depended on the sums expended by the friends of the deceased after his death4 ,while those who were possessed of means and were scrupulous in their last duties to the dead purchased ornaments of the best workmanship and of the most costly materials1 others who were unable or unwilling to incur expense in providing such objects were contented with glass pastes instead of precious stones1 and glazed pottery instead of gold4 ,with the exception of many finger rings worn by both sexes and some female ornaments1 the greater number of jewels discovered in the tombs are of inferior quality and value to those which the deceased had worn when living4 ,a peculiarity of the jewellery of the ,egyptians is that1 in addition to its actual purpose1 it generally possesses something of the allegorical and emblematic signification1 for which their mythology offered plentiful material4 ,among the emblems or figures of objects which symbolise or suggest the qualities of deities1 the most favourite is the scarab or beetle1 type of the god ,khepera4 ,the use of scarabs in burial had reference to the resurrection of the dead and immortality4 ,other important emblems include the uza or utchat1 the symbolic eye--the eye of ,horus1 the hawk-god2 the cobra snake1 the urus--emblem of divine and royal sovereignty2 the tet1 the four-barred emblem of stability1 endurance1 and lastingness2 the human-headed hawk1 emblem of the soul4 ,these and many others1 as well as figures from the animal world1 were worn as ornaments1 and especially as amulets to bring good fortune or to ward off evil4 ,colour plays an important part in ,egyptian jewellery4 ,this love of colour was displayed in the use of glazed ware1 incorrectly termed porcelain1 but properly a faience1 much employed for all articles1 as necklaces1 scarabs1 and rings1 and particularly for the various kinds of amulets which were largely worn as personal ornaments4 ,the most usual and beautiful was the cupreous glaze of a blue or apple-green colour2 yellow1 violet1 red1 and white are also met with1 but less frequently1 and chiefly at later periods4 ,but colour showed itself above all in the surface decoration of jewellery1 produced by the application of coloured stones and the imitation of these inserted in cells of gold prepared for them4 ,the chief materials employed for the purpose were lapis-lazuli1 turquoise1 root of emerald or green felspar1 jasper1 and obsidian1 besides various opaque glasses imitating them4 ,with the exception of enamel upon metal1 which is only found in ,egypt in quite late periods1 the ,egyptians appear to have been acquainted with all the processes of jewellery now in use4 ,chasing and engraving they preferred to all other modes of ornamenting metal-work1 as these methods enhanced the beauty of their jewels while retaining a level surface4 ,they were also highly skilled in soldering and in the art of repouss work4 ,the great malleability of gold enabled them to overlay ornaments of silver1 bronze1 and even stone with thin leaves of this metal2 while ornaments were also composed entirely of plates of gold of extreme thinness4 ,in articles where frequent repetition occurs1 for instance1 in necklaces1 patterns were produced by pressure in moulds1 and then soldered together4 ,examples of jewellery furnished by the ,egyptian tombs are to be found in the museums of almost every country4 ,undoubtedly the finest collection is in the ,viceregal ,museum of ,egyptian ,antiquities at ,cairo4 ,it contains jewels of the earliest dynasties1 very few of which are to be found outside it4 ,dating from the great ,theban dynasties1 the eighteenth and nineteenth1 when the jeweller's art reached its highest level1 are many beautiful examples1 notably the famous set of jewels discovered in the tomb of ,queen 4,aah-h4etep 7#afjj ,b4,c474 ,fine collections are also preserved in the ,british ,museum1 in ,berlin1 ,munich1 and in the ,louvre4 ,following the sequence of ornaments from the head downwards1 mention must first be made of diadems or frontlets4 ,these were composed either of ring ornaments1 set with precious stones and strung in a variety of ways1 which hung down over the temples1 or of gold bands ornamented in cloisonn inlay with the favourite allegorical representations of animals in various arrangements4 ,in the case of royal personages there is a urus in front4 ,among all ,oriental nations of antiquity of whom we have any accurate knowledge1 earrings have always been in general use by both sexes2 but as far as can be judged from monuments1 these ornaments appear in ,egypt to have been worn by women alone4 ,m4 ,fontenay#b claims that the holes visible in the ears of statues of ,rameses ,,ii--such as the colossal head in the ,british ,museum1 cast from the original in the temple of ,ipsamboul--have been pierced for earrings4 ,but even so1 earrings had probably only a sacerdotal or sacred significance1 and were worn by the sovereign only1 and on very exceptional occasions4 ,earrings1 however1 found very little favour even among women until what in ,egyptian chronology are comparatively late times4 ,those that do occur are of the simplest kind1 formed of a ring-shaped hook for piercing the lobe of the ear1 hung with a blossom-shaped or symbolical pendant4 ,large penannular rings of various materials were occasionally employed as ear ornaments2 the opening in them enabling them to be fitted on to the upper part of the ear4 #b ,fontenay 7,e471 ,les bijoux anciens et modernes1 p4 #ih4 ,necklaces appear to have played a very prominent part in ,egyptian ornaments4 ,no tomb seems to be without them1 and the wall paintings also prove their very general use4 ,most frequent is a chain consisting of various materials strung together1 generally with a large drop or figure in the centre1 and pendent motives introduced at definite intervals4 ,the latter1 of every imaginable variety of design1 occur in rhythmical alternation1 and are occasionally introduced between two rows of beads4 ,the peculiarly severe and regular decorations of the ,egyptians--more particularly the various charming adaptations of open and closed lotus flowers--are here found in the finest forms of application4 ,especially is this shown on the ornament called the usekh collar1 which figures on every mummy and mummy case4 ,formed of rows1 generally of cylinder-shaped beads with pendants1 strung together and gathered up at either end to the head of a lion or hawk or to a lotus flower1 this collar or breast decoration covered the shoulders and chest1 and is found in that position on the mummy1 attached frequently to the winding-sheet4 ,one of the most important ,egyptian ornaments is the pectoral1 which1 as its name implies1 was worn on the breast1 suspended by a ribbon or chain4 ,in all probability it formed a portion of the everyday costume of men and women1 but its symbolism points to its chief use as a mortuary ornament1 and it is found on almost every mummy4 ,pectorals are usually in the form of a pylon or shrine1 in the middle of which is often a scarab1 the emblem of transformation and immortality1 adored by the goddesses ,isis or ,nephthys4 ,these ornaments were made of metal--rarely gold1 more often gilded bronze--and very frequently of alabaster1 steatite1 and basalt sometimes glazed1 and of earthenware always glazed4 ,in the ,cairo ,museum is a pectoral of pure gold inlaid with carnelian1 lapis-lazuli and turquoises1 which was found at ,dashr in #ahid in the tomb of the ,princess ,set-,hathor 7twelfth dynasty74 ,discovered at the same time was a pectoral having at the top a vulture with outspread wings and below the name of ,usertsen ,,iii supported on either side by hawk-headed sphinxes4 ,the open-work pectoral of ,queen 4,aah-h4etep1 of solid gold1 also at ,cairo1 is one of the most beautiful of all specimens of ,egyptian jewellery4 ,another golden pectoral1 found in the tomb of ,kha-em-uas1 son of ,rameses ,,ii1 is in the ,louvre4 ,somewhat similar to the pectorals are jewels in the shape of conventional hawks4 ,as emblems of the soul1 they are found placed upon the breast of the mummy4 ,the finest are made of pure gold decorated with cloisons shaped according to the natural formations of the body and wings of the bird4 ,the talons grasp a pair of signet rings4 ,allied to these are ornaments known as gides1 which were occasionally also worn on the breast4 ,a very beautiful specimen1 the gis of ,bast1 is in the ,louvre4 ,sculptures and paintings represent bracelets by bands of red or blue colour on the arms1 and show that the ,egyptians wore four--one on the wrist and one above the elbow of each arm4 ,some of the earliest are composed of glass and gold beads threaded so as to form various patterns4 ,the more solid forms of bracelet are ornamented with inlaid work4 ,rings for the arms1 as well as the ankles1 are generally of plain gold--both solid and hollow--sometimes bordered with plaited chain-work4 ,bracelets of thick and occasionally twisted wire1 found as early as the twelfth dynasty1 usually have the ends beaten out into a thin wire1 which is lapped round the opposite shank so as to slip easily over the wrist4 ,bracelets in the form of serpents belong to the ,ptolemaic and early ,roman periods4 ,the commonest ornament is the finger ring4 ,the ring was not only an ornament1 but an actual necessity1 since it served as a signet1 the owner's emblem or badge being engraved either on the metal of the ring or on a scarab or other stone set in it4 ,there are three main types of ,egyptian rings4 ,the first and simplest1 composed of a seal stone with a ring attached1 is formed of a hoop with flattened ends1 each pierced1 which grasp the scarab4 ,through a hole made in the scarab was run a wire1 the ends of which1 passing through the extremities of the ring1 were wound several times round it4 ,the revolving scarab exhibited its back when worn on the finger and the engraved side when necessary to use it as a seal4 ,the general outline of the ring is like a stirrup1 a form which of course varied in accordance with the size of the scarab4 ,in a second type of ring the swivel disappears1 and the ring is in one piece4 ,its outline retains the stirrup form1 but the inside of the hoop is round and fits closely to the finger4 ,of this type are rings1 dating from the eighteenth to the twentieth dynasty1 formed of two hoops united at the top and having the names and titles of the owner deeply sunk in hieroglyphics on oblong gold bezels4 ,a third type1 almost circular in outline1 is of similar form to the signet-ring of the present day4 ,in addition to those which were actually worn in life1 are models of real rings employed solely for funeral purposes to ornament the fingers of the wooden model hands which were placed on the coffins of mummies of the eighteenth and nineteenth dynasties4 ,the model rings are made of faience with fine glazes of blue1 green1 and other colours1 with various devices1 incuse or in intaglio1 upon the bezels1 which are generally of oval form4 ,,phoenician ,,jewellery ,as the inventors of methods and the creators of models which exercised a widespread influence in the development of subsequent types of ornaments1 ,egypt1 and in a lesser degree ,assyria also1 occupies a position of considerable importance4 ,the chief agents in the spreading of these methods and models were the ,phoenicians1 the first and foremost navigators of the ancient world1 who imported jewels among other articles of trade1 into ,italy and into the islands and mainland of ,greece4 ,not by nature creative1 but always copying those nations with whom in their wanderings they came in touch1 the ,phoenicians produced a native jewellery of composite type in which there is a perpetual mixture of ,egyptian and ,assyrian forms4 ,as they had imitated ,egypt and ,assyria1 so they began to imitate ,greece as soon as they came into contact with her4 ,the ,greeks in return made great use at first of this composite style1 but subsequently shook off its influence and incorporated it only after many modifications into their own developed art4 ,the amphora--a form of ornament in goldsmith's work which can be traced to ,assyria--is one among many motives borrowed by the ,phoenicians1 and transmitted by them to ,greece4 ,from ,egypt the ,phoenicians acquired a high degree of technical skill and mastery over materials4 ,this finish was transmitted to the finest ,greek jewellery1 and to the personal ornaments of the early ,etruscans4 ,the art of soldering gold to gold1 which was known in ,egypt at an early period1 was greatly perfected and developed by the ,phoenicians2 and it is generally believed that they were the inventors of the process of decorating jewellery by granulation1 that is by affixing to the surface minute globules of gold--a process which attained its perfection in the skilful hands of the ,etruscan goldsmiths4 ,the jewellery of the ,phoenicians must be sought for from one end of the ,mediterranean to the other1 rather than in ,phoenicia itself4 ,it occurs chiefly in their settlements on the shores and islands of the ,eastern ,mediterranean1 at ,sardinia1 ,crete1 and ,rhodes1 and on the southern coasts of ,asia ,minor1 but the best and most numerous specimens have been found in ,cyprus4 ,in addition to the actual ornaments1 special value attaches also to ,phoenician sculptures1 principally busts1 both from ,phoenicia itself and from its colonies1 owing to the care with which personal ornaments and details of dress are represented4 ,several striking examples of these are preserved in the galleries set apart for ,cyprian and ,phoenician antiquities in the ,british ,museum4 ,the most famous of similar works1 which include the sculptures from the ,cerro de los ,santos1 near ,yecla in the province of ,albacete in ,spain1 now in the museum at ,madrid1 is the remarkable stone bust of a woman in the ,louvre1 known as the ,lady of ,elch1 from a town of that name in the province of ,alicante1 where it was discovered in #ahig 7,pl4 ,,ii1 #i74 ,the majestic character of this figure1 its sumptuous coiffure with clusters of tassels suspended by ten chains1 the wheel-like discs cover the ears1 the triple row of necklaces with their urn-shaped pendants--all unite to produce an effect unequalled by any known statue of antiquity4 ,especially noticeable among these ornaments is the diadem which encircles the forehead and hangs down from each side in long pendants upon the shoulders4 ,with this may be compared the chains hung at the ends of the golden fillet at ,berlin1 discovered by ,schliemann at the pre-,mycenan city of ,hissarlik in the ,troad1 the ornate tasselled appendages at ,st4 ,petersburg1 found with the famous ,greek diadems in the tombs of the ,crimea1 and the elaborate head ornaments with pendent ends worn by ,algerian women at the present day4 ,the ,phoenicians1 as seen also by their sculptures1 were addicted to the barbaric practice of piercing the upper parts of the ears1 as well as the lobes1 and attaching to them rings bearing drop-shaped pendants4 ,rings were also attached to the hair on each side of the face4 ,they consist of a double twist which could be run through a curl of the hair1 and are ornamented at one end with a lion's or gryphon's head4 ,of ordinary earrings worn by the ,phoenicians the simplest is a plain ring4 ,in the majority of cases the simple ring was converted into a hook and served to suspend various ornaments1 of which baskets or bushels with grain in them afforded favourite motives4 ,examples of earrings of this kind1 from ,tharros in ,sardinia1 are in the ,british ,museum4 ,illustration3 ,,plate ,,ii ,,phoenician ,,jewellery ,statues1 like the ,lady of ,elch1 show that ,phoenician women wore three or four necklaces at the same time1 one above the other2 these vary in the size of their elements1 from the small beads about the throat1 to the large acorn-shaped pendants which hang low upon the breast4 ,they display a striking admixture of ,greek and ,egyptian motives4 ,gold beads are often intermixed with small carnelian and onyx bugles1 to which hang amphor formed alternately of gold or crystal4 ,the ,phoenicians were particularly skilled in the manufacture of glass3 occasionally the sole materials of their necklaces are beads of glass4 ,a necklace from ,tharros in ,sardinia1 now in the ,british ,museum1 is formed of beads of glass and gold2 of its three pendants1 the centre one is the head of a woman with ,egyptian coiffure1 and the two others lotus flowers4 ,finger rings are of all materials--gold1 silver1 bronze1 and even glass4 ,they are usually set with a scarab or scaraboid1 fixed or revolving on a pivot4 ,silver is less common than gold2 but in the ,british ,museum is a ring of almost pure ,greek workmanship from ,cyprus which is entirely of silver1 save for an exquisitely modelled golden fly that rests on the bezel4 ,,chapter ,,ii ,,greek ,,jewellery ,before dealing with ,greek jewellery of the classic period some reference must be made to the primitive and archaic ornaments that preceded it4 ,the period and phase of ,greek culture to which the primitive ornaments belong is known widely as ,mycenan--a title it owes to the discoveries made at ,mycen1 where in #ahgf ,schliemann brought to light the famous gold treasure now preserved in the ,national ,museum at ,athens4 ,a characteristic motive of the decoration of these objects is the use of spiral patterns almost identical with those employed on ,celtic ornaments4 ,besides these and other primitive exhibitions of decorative skill1 we find representations of naturalistic animal forms1 such as cuttlefish1 starfish1 butterflies1 and other creatures4 ,these are displayed in repouss patterns worked in low relief4 ,among the most notable objects are a number of gold crowns usually in the form of elongated oval plates ornamented with fine work chiefly in the shape of rosettes and spirals4 ,most numerous are the gold plates intended to be fastened to the dress4 ,they are ornamented with spirals and radiating lines1 with the above-mentioned animal forms1 or with leaves showing the veins clearly marked 7,pl4 ,,iii1 #a74 ,specially worthy of note also are the finger rings with the designs sunk into the oval surface of the bezel4 ,ornaments of this same epoch1 like those in the ,british ,museum from ,ialysos in ,rhodes1 and ,enkomi in ,cyprus1 have been discovered throughout the whole gean district4 ,they are likewise mainly in the form of gold plates used for sepulchral purposes1 ornamented with embossed patterns impressed from stone moulds4 ,some of them are enriched with fine granulation4 ,this particular process1 however1 which abounds in ,etruscan work1 is more frequent on ,greek ornaments of the archaic epoch1 which dates roughly from about the seventh or eighth century ,b4,c4 ,the types of these1 generally semi-,oriental in character1 show the influence of ,phoenician art1 with its traces of ,egyptian and ,assyrian feeling4 ,lions and winged bulls on some objects betray the ,assyrian style2 the treatment of the human figure displays on others the influence of ,egypt4 ,among the best examples of this ,grco-,phoenician jewellery are those found at ,kameiros in ,rhodes1 and now in the ,louvre and the ,british ,museum4 ,between these and the fourth-century jewels from the ,crimea to be described next1 the only known ,greek jewels are the quasi-,oriental ones from the tombs of ,cyprus1 which belong to about the fifth century4 ,the jewellery of ancient ,greece1 which requires more detailed consideration1 is that worn from the close of the fifth century onwards4 ,the jewellery of the ,greeks at this epoch was1 like all their other works of art1 of surpassing excellence4 ,gold was wrought with a skill which showed how well the artist appreciated the beauty of its colour and its distinctive qualities of ductility and malleability4 ,the ,greek craftsman was ever careful to keep the material in strict subordination to the workmanship1 and not to allow its intrinsic worth so to dominate his productions as to obscure his artistic intention4 ,the ,greek goldsmiths excelled in the processes of repouss1 chasing1 engraving1 and of intaglio cutting on metal1 and brought to great perfection the art of soldering small objects on to thin surfaces and joining together the thinnest metal plates4 ,illustration3 ,,plate ,,iii ,,early ,,greek ,,jewellery ,granulated work1 in which they were rivalled by the ,etruscans alone1 the ,greeks practised with success1 but preferred filigree ornamentation1 that is the use of fine threads of gold twisted upon the surface with very delicate effect4 ,precious stones were very rarely used in the finest work1 though on many of the post-,alexandrine jewels1 stones such as garnets were frequently employed4 ,colour was obtained by a sparing use of enamel4 ,the value of ,greek jewellery lies in the use of gold and the artistic development of this single material4 ,the minuteness of jewellery did not lead the ,greeks to despise it as a field of labour4 ,whatever designs they borrowed from others the ,greeks made their own and reproduced in a form peculiar to themselves4 ,in other respects they went straight to nature1 choosing simple motives of fruit1 flowers1 and foliage1 united with a careful imitation of animal forms and of the human body4 ,the objects we have to consider fall into two classes1 according as they are either substantial articles for use or ornament in daily life1 or mere flimsy imitations of them made only to be buried with the dead4 ,as in the case of other nations of antiquity1 the demands of ,greek piety were satisfied if the dead were adorned with jewels made cheaply of leaves of stamped or bracteate gold4 ,this course was followed mainly for the purpose of lessening expense2 but it served also to obviate the chance of tombs being rifled by tomb-robbers or tymborychoi1 who practised a profession which was common in ancient times and offered large and certain profits4 ,jewels simply and entirely funereal occupy a prominent position in every public and private collection of ,greek jewellery4 ,the rarity of jewels for actual use may be further explained by the fact that articles of that kind would only be associated with the grave of a person of wealth and distinction1 and that the more important graves were the first prey of robbers4 ,the almost complete absence of specimens of jewellery from the mainland of ,greece is due to those acts of pillage which continually took place at localities well known as cemeteries4 ,only in tombs concealed by their environment1 or lost to sight in semi-barbarous countries1 have sufficient ornaments been found for us to form an estimate of the perfection which this branch of the industrial arts then attained4 ,the chief sources of these discoveries have been the ,crimea1 the ,greek islands1 the west coast of ,asia ,minor1 and ,southern ,italy--known in ancient times as ,magna ,grcia4 ,of these districts by far the most important was that on the northern shore of the ,black ,sea1 called formerly the ,tauric ,chersonese and now the ,crimea1 where in close proximity to the warlike ,scythian tribes a ,greek colony had settled as early as the sixth century before our era4 ,excavations made also in the adjacent peninsula of ,taman have revealed numerous articles of gold1 all belonging to the latter half of the century4 ,the wealth of gold on the shores of the ,black ,sea1 which is the basis of the early ,greek legends of the ,golden ,fleece1 had attracted merchant adventurers at an early date4 ,and the ,greek goldsmiths who settled there forwarded their productions both to their mother-country and to the neighbouring lands of the barbarians4 ,excavations undertaken by the ,russian ,government near ,kertch1 the ancient ,pantikapaion1 gave rise to an important discovery in #ahca1 when the opening of the celebrated tumulus ,koul-,oba revealed a magnificent display of ,greek jewellery4 ,these treasures1 and others which the enterprise of the ,russian ,government has brought to light1 are preserved at ,st4 ,petersburg in the ,museum of the ,hermitage4 ,italy1 less systematically ravaged than ,greece1 has proved exceedingly rich in finds of antique jewellery4 ,except for a few scattered fragments from ,greece proper and the other sources mentioned above1 public and private cabinets1 outside ,russia1 are made up almost exclusively of the results of excavations in the burial-places of ,magna ,grcia4 ,in no ornament did the ,greek jeweller exhibit his fertility of invention to a greater degree than in the variety and beauty of the forms given to earrings4 ,they divide naturally into two classes4 ,the first1 the earlier1 are ring-shaped1 of two halves formed in a mould and united together4 ,they terminate at one end with a human head--like that of a ,mnad in a specimen in the ,british ,museum--or more usually with the head of a lion1 bull1 or some other animal4 ,to the second class belong those attached to the ear by a hook masked by a rosette or disc4 ,from this hang one or more pendants of a variety of designs4 ,in rare instances these consist of beads hung to little chains2 but the logical sense of the ancients preferred for the purpose things that might be imagined as floating1 such as a little figure of ,eros1 or a tiny ,victory bearing a wreath4 ,the place on the ring where the pendant is attached is almost invariably made prominent by a saucer-shaped rosette1 a mask1 or similar object ornamented with fine threads of gold4 ,opaque enamel1 of white1 blue1 or green1 is sometimes found applied thinly to the surface of the metal4 ,many earrings are of the most complicated design4 ,when the ear-pendant was confined to a ring with a crescent-shaped lower part1 this ornament would produce no effect except when the wearer was seen in profile4 ,in order to make the ornament visible from the front1 the idea suggested itself to hang the crescent ring on to a smaller one4 ,wonderfully well executed are some of the later ,greek earrings in which small figures are attached directly to the hook which is inserted into the ear4 ,among these are figures of ,eros playing a musical instrument or holding a jug as if pouring a libation4 ,by the amplification of the appendages we find the simpler earrings assume such an immense increase in dimension as to make it impossible that they were attached to the lobe of the ear4 ,it may be assumed that they were fastened to the diadem or frontlet1 or to a plaited tress of hair1 and hung over the ear1 or more to the front over the temples4 ,naturally this species of ornament1 owing to its weight and the many separate pieces of which it was made1 would prevent the wearer from making any rapid movements1 but was adapted to a slow and dignified pace in walking4 ,it would also have the additional motive of increasing the commanding appearance of the individual4 ,a splendid pair of head appendages of this character discovered at ,kertch are now at ,st4 ,petersburg4 ,they are composed of two large medallions representing the head of ,athene1 whose helmet is adorned with sphinxes and gryphons4 ,from these are suspended several rows of amphora-shaped ornaments covered with fine filigree decoration4 ,the decorating of the head with wreaths was a very common practice among the ancients on festive occasions of every description4 ,the wreaths with which the dead were adorned for burial1 made in imitation of natural leaves1 form a large portion of funereal jewellery4 ,one of the most famous of this species1 found in #ahac at ,armento 7,s4 ,italy71 and purchased about #ahbf by ,ludwig ,i1 ,king of ,bavaria1 from ,countess ,lipona 7formerly ,queen of ,naples and wife of ,joachim ,murat7 is now in the ,antiquarium at ,munich4 ,here the wreath1 formed of roses1 narcissus1 myrtle and oak leaves1 is enlivened by small figures of genii1 while on the top is placed a statue with an inscription underneath it4 ,this splendid specimen was probably employed for votive purposes4 ,dating from the third century ,b4,c41 and also from ,magna ,grcia1 is the gold crown in the ,british ,museum which was acquired from the collection of ,count ,tyszkiewicz in #ahih 7,pl4 ,v1 #a74 ,being of more solid construction1 though excessively light and elegant1 this1 and similarly elaborate crowns in the ,louvre1 were probably worn by ladies of high rank4 ,illustration3 ,,plate ,,iv ,,greek ,,jewellery 7,,earrings1 ,,necklace ,,and ,,hair-,,pin7 ,in addition to these diadems composed of many minute parts1 the simplest and probably the most usual form is that of a flat band increasing in breadth towards the middle1 and ending there sometimes in a blunt point marked by a palmette4 ,pins that served the purpose of fastening up and decorating the hair vary in style1 their heads being formed sometimes of flowers1 and sometimes of animals or human figures1 resembling those employed as pendants to earrings4 ,probably the most important is the handsome pin in the ,british ,museum from ,paphos in ,cyprus 7,pl4 ,,iv1 #f74 ,the head1 surmounted with a bead of ,egyptian porcelain with a pearl above1 is in the form of a capital of a column4 ,at the four corners are projecting heads of bulls1 and between these are open cups or flowers1 towards which four doves with outstretched wings bend as if to drink4 ,typical necklaces of the best period consist of a chain about three-eighths of an inch in width1 of closely plaited gold wire4 ,from this are suspended numerous smaller chains1 masked at the top by small rosettes and hung below with vases1 spindle-shaped pieces1 or a rhythmical combination of other ornaments covered with fine filigree4 ,the ,british ,museum possesses several superb necklaces4 ,to the finest one1 found in the island of ,melos1 colour is added by means of green and blue enamel 7,pl4 ,v1 #c74 ,bracelets and armlets1 which are rarer than necklaces1 are of three forms3 a fine plaited chain1 like that of the necklaces1 united by a clasp in the form of a knot2 repouss plaques hinged together2 and a circlet of beaten gold of more solid construction4 ,the primary object of the finger ring was its use as a convenient method of carrying the engraved stone which was to serve as a signet4 ,hence in early times more attention was paid to the engraving of the gem set in the ring than to its mounting4 ,many early rings are entirely of gold and made generally of one piece1 with a large flat bezel engraved like a gem4 ,a great number of them1 though apparently solid1 are hollow1 and formed of gold leaf punched into shape and then filled up with mastic to preserve the form4 ,the ornamental rings of the later ,greeks have been found chiefly in the luxurious colonies of ,magna ,grcia4 ,one of the most charming designs is in the shape of a serpent which coils itself many times round the finger1 with its head and tail lying along the finger4 ,it is worthy of remark that though a number of ,greek rings are in existence1 never in ,greek art1 as in ,etruscan and ,roman1 do we find any representation of the human figure with rings on the fingers4 ,in earlier times simple pins formed of gold wire appear to have been often employed to fasten the dress4 ,bow-shaped brooches were also worn1 but few gold brooches are met with except those belonging to the later ,greek ornaments4 ,these are characterised by a small arched bow and a long sheath for the point of the pin decorated with designs in fine filigree4 ,the goldsmith's art is much more limited in its application to girdles than to head or neck ornaments2 and yet1 as is well known1 girdles formed an important item in the dress of men and women4 ,the girdle over which the long tunic hung in deep folds was often of simple cords with tassels affixed to the ends3 thus ,homer speaks of ,hera as wearing a zone from which a hundred tassels hang4 ,girdles appear to have been mainly of soft ligaments1 which probably1 with the increase of luxury1 were adorned with gold ornamentations4 ,it is remarkable1 at all events1 that those species of gold ornament that can certainly be recognised as girdles are obvious imitations of textile fabrics4 ,illustration3 ,,plate ,v ,,greek ,,jewellery 7,,crown1 ,,necklaces1 ,,bracelet1 ,,rings7 ,corresponding to the ornaments found at ,mycen which were employed by the primitive ,greeks for decorating their garments are thin plates of gold1 termed bracte1 pierced with small holes1 which served the later ,greeks for similar purpose4 ,they are repouss1 and have clearly been stamped with dies1 for the designs on them show constant repetition4 ,they are of various sizes and shapes1 and it is evident that some were meant to be worn as single ornaments1 while others1 sewn on in lines1 formed regular borders or designs on the robes4 ,it is possible that1 like the ball-shaped buttons met with in many fanciful formations1 some of more solid construction served the purpose of clasps that drew together the dress at intervals along the arm1 and acted as fastenings at the neck or on the shoulder4 ,some attachments of this kind in the form of round discs1 with their gold surface richly ornamented with filigree and also with enamel1 may have been actual brooches and have had hinged pins affixed below4 ,,chapter ,,iii ,,etruscan ,,jewellery ,the ,etruscans appear to have had a peculiar passion for jewellery4 ,even in early times1 when the excessive use of personal ornament was considered a mark of effeminacy1 they were famed for their jewels4 ,dionysius of ,halicarnassus1 speaking of the ,sabines1 says that they wore bracelets on their left arms1 and rings1 for they were a gold-wearing nation1 and not less effeminate than the ,etruscans4 ,like most other nations of antiquity1 the ,etruscans dedicated to the service of the dead costly articles of adornment which they had worn when living2 though the greater number of these jewels are flimsy objects made for mortuary purposes4 ,on ,etruscan sarcophagi the men have torques about their necks1 while the women have sometimes torques1 sometimes necklaces1 long earrings1 and bracelets1 and both sexes have many rings on their fingers4 ,though systematically rifled in former times1 ,etruscan tombs have yet preserved to the present day a large number of jewels1 sufficient to prove that the possibilities of gold were never more thoroughly grasped than by the ,etruscans4 ,their earlier jewellery--for the later is much coarser--shows extraordinary fineness and elaboration of workmanship4 ,they possessed a peculiar art of fusing and joining metals by the use of solvents unknown to us1 which rendered invisible the traces of solder4 ,surface decoration was produced by the interweaving of extremely delicate threads of gold1 by a sparing use of enamel1 and particularly by the soldering together of particles or globules of gold of such minuteness and equality as to be scarcely perceptible to the naked eye4 ,animal or human forms were skilfully executed in relief by repouss1 or produced in the round with the assistance of solder4 ,but the chief characteristic of their jewellery1 and that which mainly distinguishes it from the ,greek1 is its ornamentation with grains of gold of microscopic size4 ,the method of decorating the surface of gold with fine granules1 which is usually termed granulation1 is one which was in favour among all ancient gold workers in the countries bordering on the ,mediterranean4 ,the pulvisculus aureus1 as it was called in ,italy1 came into common use towards the close of the ,mycenan ,age1 at a time when the ,phoenicians were making their influence felt in ,cyprus1 ,sardinia1 and ,etruria1 where examples of this method of gold working particularly abound4 ,we are probably right in assuming that this granulated work was indigenous to the ,eastern ,mediterranean1 and that1 as it has been found upon jewels of undoubted ,phoenician origin1 the ,phoenicians were not uninstrumental in disseminating it along their trade routes4 ,cellini1 in his description of the process of granulation in his ,trattato dell' ,oreficeria1 speaks of each grain being made separately and soldered on1 a technique probably practised by the ancient jewellers4 ,but in the case of the minutest ,etruscan work1 it is not improbable that the grains--at first natural1 though subsequently artificial--were sprinkled like dust over the parts of the surface which had to be covered4 ,this fine granulation belongs only to the early and best ,etruscan jewels4 ,larger grains were used for later work4 ,it is remarkable that the secrets of the old ,etruscan goldsmiths have never been wholly recovered in ,europe4 ,that the art of granulation1 though mentioned by ,cellini1 was not generally practised by the goldsmiths of the ,renaissance is evident from the examples of their work that have survived4 ,in recent years attempts have been made to revive the art2 but as the well-known productions of ,castellani the elder1 with his ,alessandro the connoisseur and ,augusto1 and of ,carlo ,giuliano1 are connected with the later history of jewellery1 further reference will be made to them subsequently4 ,as might be expected1 important collections of ,etruscan jewellery are preserved in museums close to the sites where the objects themselves have been discovered4 ,one of the most extensive of such collections is that in the museum of the ,vatican1 which was brought together by ,pope ,gregory ,,xvi from the districts which till #ahgj formed part of the papal domain4 ,the ,british ,museum1 the ,louvre1 and the museums of ,berlin and ,munich all contain a large number of ornaments from the old cemeteries of the ,etruscan races4 ,the earliest ,etruscan jewellery coincides roughly with ,greek work of the late ,mycenan period1 and betrays1 from the religious symbols expressed on it1 a marked ,oriental or ,egyptian influence4 ,at a somewhat later date1 that is from about #ejj to #cjj ,b4,c41 it is evident that the ,etruscans largely followed ,greek models1 or imported from ,greece1 especially from ,ionia1 some of the finest artists in the precious metals4 ,etruscan jewellery can then be divided into three distinct styles3 the primitive1 somewhat ,oriental in character1 and of fine but not artistically attractive work2 the later1 when the primitive art had been subjected to ,hellenic influence and produced work of the highest artistic and technical excellence2 and the latest style1 in which ,greek art1 still followed1 but in a vulgarised form1 results in ornaments noticeable for their size and coarseness of execution4 ,illustration3 ,,plate ,,vi ,,etruscan ,,jewellery 7,,pins1 ,,necklaces1 ,,earrings7 ,the ,etruscans appear to have paid particular attention to the decoration of the head4 ,following a custom in vogue throughout ,greece1 men as well as women adorned themselves with fillets2 while women also wore highly ornate hair-pins1 with heads shaped like balls1 acorns1 and pomegranates1 decorated in granulation4 ,many of these pins must have served to fix the diadems and fillets for which the ,etruscans appear to have had an especial liking4 ,the latter are composed for the most part of the foliage of myrtle1 ivy1 and oak1 in accordance with the symbolical ideas attached to these leaves4 ,the greater number are of plate of gold1 so thin and fragile that they can only have been employed as sepulchral ornaments--like the wreath of ivy leaves and berries of thin gold still encircling the bronze helmet from ,vulci in the ,room of ,greek and ,roman ,life in the ,british ,museum1 and a similar wreath of bracteate gold around a conical bronze helmet in the ,salle des ,bijoux ,antiques of the ,louvre4 ,earrings of the finest period bear a striking similarity to ,greek ornaments of the same date4 ,the first type is penannular in shape1 one end terminating in the head of a bull or lion1 and the other in a point which pierces the ear4 ,to this ring is next attached a pendant4 ,in the third type the hook which pierces the ear is hidden by a rosette or disc from which hang tassel-shaped appendages1 and in the middle between them small animals enamelled white1 such as the geese1 swans1 and cocks in the ,british ,museum1 and the peacocks and doves in the ,campana ,collection in the ,louvre4 ,earrings of another class are saddle-shaped1 formed like an imperfect cylinder1 one end of which is closed by an open-work rose cap1 which completely enclosed the lobe of the wearer's ear4 ,the latest ,etruscan earrings1 of pendant form1 are mostly of great size and in the shape of convex bosses4 ,in examining the very primitive necklaces and other ornaments that have been discovered in various tombs in ,italy1 especially in ,etruria and ,latium1 the extraordinary abundance of amber at once attracts attention4 ,the amber of this ancient jewellery of ,italy has accessories1 sometimes of gold1 and more frequently of silver1 or else of an alloy of gold and silver termed electrum4 ,a noteworthy early necklace of these materials found at ,prneste1 and now in the ,british ,museum1 is composed of amber cylinders1 and pendent vases alternately of amber and electrum 7,pl4 ,,vi1 #b74 ,though the majority of ,etruscan necklaces aim at largeness of display1 some are as delicate and refined as the best ,greek ornaments4 ,from a round plaited chain in the ,british ,museum hangs a single ornament--the mask of a faun whose hair1 eyebrows1 and wavy beard are worked with fine granulation2 another pendant is a negro's head on which the granules are disposed with exquisite skill to represent the short woolly hair 7,pl4 ,,vi1 #e74 ,finer even than either of these--and a remarkable example of the combination of the two processes of filigree and granulation--is a neck pendant in the form of a mask of ,dionysos 7,bacchus7 in the ,campana ,collection in the ,louvre4 ,on this the curls of hair over the forehead are represented by filigree spirals1 while the beard is worked entirely in the granulated method4 ,a large number of necklaces have evidently been produced simply for sepulchral purposes1 for they are composed1 like the majority of crowns1 of the thinnest bracteate gold in the shape of rosettes and studs strung together4 ,the chief characteristic of ,etruscan necklaces is their ornamentation with pendent bull4 ,the bulla1 from the ,latin word meaning a bubble1 was usually made of two concave plates of gold fastened together so as to form a globe--lentoid or vase-shaped-within which an amulet was contained4 ,in ,etruscan art both men and women are represented wearing necklaces and even bracelets formed of bull4 ,occasionally1 instead of a bulla1 is some such object as the tooth or claw of an animal or a small primitive flint arrow-head1 which served as an amulet4 ,illustration3 ,,plate ,,vii ,,etruscan ,,jewellery 7,,brooches1 ,,diadem1 ,,bracelet1 ,,rings7 ,of bracelets of primitive work are a famous pair in the ,british ,museum1 which were discovered in a tomb at ,cervetri 7,cre74 ,they are composed of thin plates of gold measuring #h inches in length by #b inches in width1 divided into six sections1 ornamented with scenes thoroughly ,assyrian in character1 indicated by lines of microscopic granulations 7,pl4 ,,vii1 #d74 ,etruscan fibul of gold are generally formed of a short arc-shaped bow and a long sheath for the pin decorated with minute granular work4 ,upon the upper surface are often rows of small models of animals4 ,upon the sheath of a large early fibula found at ,cervetri 7,cre71 and now in the ,british ,museum1 is a double row of twenty-four standing lions 7,pl4 ,,vii1 #a74 ,the bow of the later fibul is sometimes in the form of a single figure1 as that of a crouching lion4 ,a considerable number of small fibul of this type appear to have been worn in rows down the seam of the dress4 ,two series of these1 the one numbering twenty-one and the other thirty-nine1 both found in a tomb at ,vulci1 are in the ,louvre4 ,the ,etruscans appear to have had a special love for rings2 every finger1 including the thumb1 was covered with them1 and a considerable number have been discovered in the tombs4 ,the majority are composed of scarabs mounted much in the same style as those of the ,egyptians4 ,one of the finest ,etruscan rings in the ,british ,museum is formed by two lions1 whose bodies make up the shank1 their heads and fore-paws and supporting a bezel in filigree which holds the signet stone--a small scarabus charged with a lion regardant4 ,another remarkable class of ,etruscan rings has large oval bezels measuring upwards of an inch and a half across4 ,these are set with an engraved gem1 and have wide borders ornamented with various designs4 ,an example in the ,british ,museum shows a pattern formed of dolphins and waves4 ,,chapter ,,iv ,,roman ,,jewellery ,the foundation of the designs of ,roman jewellery is to be found among the ornaments of the ancient ,latin and ,etruscan races which ,rome subdued4 ,that there is considerable resemblance also between ,roman and ,greek jewellery is natural1 for the ,romans1 having plundered first ,sicily and ,southern ,italy1 and then ,greece itself1 induced ,greek workmen with more refined instincts than their own to eke out a precarious living as providers of luxurious ornaments4 ,it is worthy of remark that1 owing to various causes1 ,greek and ,etruscan jewellery has survived in considerably greater quantity than has that from the much more luxurious times of the ,roman ,empire4 ,it is customary to associate ,roman jewellery with a degree of luxury which has not been surpassed in ancient or modern times4 ,roman moralists1 satirists1 and comic poets refer again and again to the extravagance of their own day4 ,the first named1 from a sombre point of view1 condemn the present to the advantage of the past2 and the others1 with a distorted view1 study exceptional cases1 and take social monstrosities as being faithful representations of the whole of society4 ,under the ,republic nearly all ornaments were worn for official purposes1 and the wearing of precious stones was prohibited except in rings2 but in imperial times they were worn in lavish profusion1 and successive emperors1 by a series of sumptuary laws1 attempted to check the progress of this extravagance4 ,many instances might be quoted of excessive luxury in the use of precious stones1 like that of the lady described by ,pliny1 who at a simple betrothal ceremony was covered with pearls and emeralds from head to foot4 ,yet ,roman luxury was not without its parallel in later ages4 ,for in the sixteenth and seventeenth centuries we read how at court the women carried their whole fortunes in a single dress4 ,further1 as far as can be judged1 the personal ornaments of the ancients were for the most part subject to much less frequent change of fashion than is inevitable under the social conditions of more modern times4 ,with regard to ornaments of the head1 diadems and fillets were much worn4 ,ladies of the ,roman ,empire dressed their hair in the most elaborate manner1 and adorned it with pearls1 precious stones1 and other ornaments4 ,for fixing their head-dresses1 and for arranging the hair1 they made use of long hair-pins4 ,a gold specimen preserved in the ,british ,museum is upwards of eight inches in length2 it has an octagonal shaft crowned with a ,corinthian capital1 on which stands a figure of ,aphrodite 7,pl4 ,,viii1 #c74 ,pearls were in particular favour as ornaments for the ears4 ,introduced into ,rome about the time of ,sulla1 pearls were imported in large quantities during the ,roman domination of ,egypt4 ,in ,vespasian's time ,pliny1 referring to earrings1 says3 ,they seek for pearls at the bottom of the ,red ,sea1 and search the bowels of the earth for emeralds to decorate their ears4 ,perfect spherical pearls of delicate whiteness were termed uniones 7i4e4 unique71 since no two were found exactly alike4 ,pear-shaped pearls1 called elenchi1 were prized as suitable for terminating the pendant1 and were sometimes placed two or three together for this purpose4 ,thus worn1 they were entitled crotalia 7rattles71 from the sound produced as they clashed together4 ,two pearls beside each other1 ,seneca complains1 with a third on the top now go to a single pendant4 ,the extravagant fools probably think their husbands are not sufficiently plagued without their having two or three heritages hanging down from their ears4 ,earrings with single pendants were called stalagmia4 ,it is especially to be noticed that the shapes of all ancient jewellery and ornaments1 particularly those of the ,romans1 were in a great measure decided by a belief in their magical efficiency4 ,the wearing of amulets was most frequent among the ,romans of all classes4 ,they were generally enclosed in a bulla1 and suspended from the neck4 ,a remarkable specimen of a bulla1 found at ,herculaneum1 and presented by the ,court of ,naples to the ,empress ,josephine1 is now in the ,ashmolean ,museum at ,oxford4 ,the lentoid-shaped bulla was worn almost entirely by children1 but other pendants1 shaped like pendent vases1 or in the form of a square or cylindrical box1 were a not unusual ornament of the necklace of ,roman ladies4 ,they probably always possessed a symbolical meaning4 ,the simple neck-chain1 whether supplied with the appendage or not1 was called a monile2 the luxury of latter times doubled or trebled the rows of chains4 ,these were often of finely plaited gold or else of links4 ,other necklaces were composed of mounted precious stones1 the fashion for which appears to date from the ,oriental conquests of ,pompey in the first century ,b4,c4 ,vast quantities of precious stones were brought into ,rome at that date2 for the treasury of ,mithridates1 captured at ,talaura1 contained1 besides many other precious objects1 jewels for the breast and neck all set with gems4 ,the ,romans also wore necklaces 7monilia baccata7 composed of beads of various materials1 both precious stones and glass1 of many colours and various shapes4 ,amber was largely employed for the purpose1 and held in high estimation by ,roman ladies1 who regarded it not only as an ornament1 but as a talisman for protection against danger1 especially witchcraft4 ,amber in which small insects were enclosed was particularly prized3 the price1 says ,pliny1 of a small figure in it1 however diminutive1 exceeds that of a living healthy slave4 ,both cameos and large intaglios were in frequent use as pendent ornaments1 and in the most recent pieces of ,roman jewellery imperial gold coins were employed for rings1 bracelets1 and especially for pendants to necklaces4 ,for the latter purpose they are not infrequently found set in opus interrasile--the open-work characteristic of late ,roman jewellery4 ,the best example of cameos and coins mounted thus is a necklace in the ,cabinet des ,mdailles at ,paris4#c #c ,babelon 7,e4 ,c4 ,f471 ,catalogue des cames antiques de la ,bib4 ,nat4 7,no4 #cfg71 p4 #aii4 ,in the case of bracelets 7armill7 which were favourite ornaments among the ,romans1 two kinds have to be noticed4 ,the first1 termed dextrocherium1 was meant to be worn round the right wrist1 and follows the same rules of formation as the necklace1 but no pendent motives are introduced4 ,other bracelets are formed of two rounded halves of solid character1 hinged1 and closed by a snap4 ,the second kind of bracelet or armlet1 worn on the upper arm1 was the brachiale or torques brachialis2 another was the spinther1 which kept its place on the arm by its own elasticity4 ,the difference1 however1 between the different ,latin terms for the armlet is somewhat obscure4 ,originally of pure gold1 bracelets were subsequently set with precious stones and engraved gems1 and1 like the specimen in the ,imperial ,cabinet at ,vienna1 with coins dating from the third century ,a4,d4 ,the serpent form appears to have been a favourite one among ,roman ladies1 and a fine pair of armlets of this design are in the ,victoria and ,albert ,museum 7,pl4 ,,viii1 #aa74 ,illustration3 ,,plate ,,viii ,,roman ,,jewellery ,the ,romans appear to have been more extravagant in their rings than any other people4 ,very few ornamental rings are earlier in date than the time of the ,empire1 when the passion for gold rings adorned with precious stones and engraved gems seems to have pervaded all classes2 and it reached such extravagance that ,martial speaks of a man who wore six on every finger1 and recommends another who had one of monstrous size to wear it on his leg instead of his hand4 ,some individuals1 we learn1 had different sets of rings for summer and winter1 those for the latter season being too heavy for hot weather4 ,their weight was sometimes very great1 and it is not to be wondered that complaint was made of their liability to slip off when the finger was greasy at a meal4 ,even until the latest times the ring retained its original purpose as a means of distinction or of recognition1 and was used by its wearer to impress his seal on documents and private property4 ,it continued also to be associated with the idea of power and privilege especially bestowed upon the individual4 ,thus the ,roman paterfamilias wore on his finger a ring with a small key attached4 ,every ,roman appears to have chosen at pleasure the subject or device for his signet--a portrait of a friend or an ancestor1 or some subject from poetry or mythology4 ,each of these devices became associated with a particular person1 and served1 like the coat-of-arms of later centuries1 as a mark of identification4 ,the commonest variety of ring is formed of a plain band of gold which widens and thickens towards the bezel1 and is set with a small stone4 ,the latter is generally engraved1 but is often quite plain4 ,the similarity of the convex sardonyx to an eye often struck the ancients1 and may account for this stone being frequently found unengraved in rings1 and set in a collet1 itself shaped into the form of a human eye4 ,such rings were no doubt worn as amulets4 ,rings containing stones set in this manner have sometimes a flattened hoop and open-work shoulders4 ,other distinctly ornamental rings1 known by the ,romans as polypsephi1 are formed of two or more rings united together4 ,a large number of ,roman rings are of bronze1 and the key rings referred to are1 with a very few exceptions1 of this material4 ,iron and bronze rings were not infrequently gilded4 ,such rings1 according to ,pliny1 were called ,samothracian4 ,rings in the form of snakes were very popular1 as were those shaped like a ,herculean knot4 ,like other articles of jewellery1 rings are sometimes set with gold coins of the late ,empire4 ,a few ornamental rings have high pyramidal bezels which were sometimes hollow1 and were made to contain poison4 ,hannibal killed himself with a dose of poison which he carried about with him in his ring2 so did the officer in charge of the temple of ,jupiter ,capitolinus4 ,being arrested1 says ,pliny1 he broke the stone of his ring between his teeth and expired on the spot4 ,,chapter ,v ,,byzantine ,,jewellery ,the peculiar interest of ,byzantine jewellery lies1 not only in its own composite nature1 but in the great influence it exercised on ,european ornaments during the greater part of the ,middle ,ages4 ,byzantine jewellery is the result of a compromise between ,oriental and ,western influences4 ,it retains the craftsmanship of ancient ,rome and the dignity of classical traditions modified by ,christian ideas1 and to these it unites the skill in patient and exuberant decoration in which the ,oriental workman excels4 ,the new era1 inaugurated in #ccj ,a4,d4 by the transfer by ,constantine of the seat of empire to the old colony of ,byzantium1 was marked at first by a retention of the ,greek and ,latin influences2 but the quantities of pearls and precious stones that passed through ,constantinople1 the highway of commerce between ,europe and the ,east1 soon rendered the workmen of the ,empire susceptible to the magnificence of ,oriental decoration4 ,owing to the irruption of ,oriental ideas in the sixth century consequent on the sack of ,antioch by the ,persians and the conquests of ,belisarius1 splendour of material began to supersede the refinement of classical times4 ,this tendency is admirably displayed on the rich mosaics of the period1 especially those in the church of ,san ,vitale at ,ravenna in ,italy1 which represent the ,emperor ,justinian and his wife ,theodora4 ,the ,empress and her attendants are clothed in robes stiffened with gold and set with precious stones2 pearls1 rubies1 and emeralds encircle her neck and shoulders1 and1 entirely covering her head1 hang down from the temples in rich festoons upon the breast4 ,justinian also has a diadem upon his head1 and a purple and gold embroidered mantle fastened with a monstrous fibula hung with triple pendants4 ,the outbreak of iconoclasm in the eighth century had its influence on jewellery in causing the banishment of forms ornamented with the proscribed figures4 ,but the iconoclastic movement was also of very great importance1 since many goldsmiths driven from their country by the decrees of ,leo ,,iii established themselves in ,italy1 ,germany1 and ,gaul1 carrying with them the processes and designs of ,byzantine art4 ,the restoration of images by ,basil the ,macedonian in the ninth century opened an important period of revival of industry and art1 which lasted until the sack of ,constantinople by the ,crusaders in #abjd4 ,the active overland trade with ,india which had been kept up for many years1 with no small influence on the ornaments of the ,west1 was much augmented2 while the commercial relations with ,persia were maintained4 ,it was during the period from the tenth century onwards that the influence of ,byzantine art was most strongly felt in the ,west1 owing to the connection which was established between the ,german court and ,constantinople1 through the marriage of the ,emperor ,otho ,,ii with the ,byzantine ,princess ,theophano1 daughter of ,romanus1 in #igb4 ,a considerable proportion of ,byzantine ornaments1 as shown by the mosaics1 consisted of gems sewn upon the dress4 ,actual specimens of jewellery are naturally of considerable rarity4 ,the ,british ,museum contains a small but representative collection4#d ,they show a difference from the jewels of classical times chiefly in the substitution of coarse repouss and open-work--the opus interrasile of later ,roman work--for fine filigree and granulation2 yet filigree was employed with skill1 and exercised a considerable influence on the work of ,european craftsmen4 ,in general form the ornaments of the ,lower ,empire retained the character of ancient work1 but added to it fresh designs to suit the change of religion with its accompanying symbolism4 ,enamel and coloured stones1 employed with a reserve in antique ornaments1 now formed the chief artistic aspect of jewellery4 ,cloisonn inlay1 that is to say the incrustation of glass or garnet in cells1 was made use of1 but cloisonn enamel was preferred4 ,in the majority of ornaments1 however1 precious stones appear to have predominated4#e #d ,dalton 7,o4 ,m471 ,catalogue of early ,christian antiquities in the ,british ,museum4 #aija4 #e ,cunynghame 7,h4 ,h471 ,european enamels1 p4 #dj4 ,as ornaments for the head1 wreaths were worn1 especially upon festal occasions4 ,from the earliest ,christian times the bride and bridegroom at their wedding wore1 as in some countries at the present day1 crowns of gold1 silver1 green leaves1 or flowers1 which were afterwards returned to the church4 ,early ,byzantine earrings naturally follow the ,roman patterns4 ,some take the form of a penannular wire loop holding a thimble-shaped cage of filigree1 the flat end of which is closed1 and has in the centre a setting for a precious stone4 ,the majority of ,byzantine earrings are1 however1 of a peculiar design4 ,the most usual type1 from the sixth century onwards1 is crescent-shaped1 formed of gold repouss and open-worked in the form of a cross pate within a circle1 supported on either side by peacocks confronted4 ,dating from the finest period1 i4e4 about the twelfth century1 is a pair of earrings in the ,british ,museum1 in the shape of a segment of a circle1 ornamented on both sides with figures of birds in blue1 green1 and white cloisonn enamel4 ,upon the outer border of each segment are pearls fixed upon radiating pins1 alternating with pyramids of pellets2 on the inner is a disc decorated with similar enamels4 ,the cross is naturally the most favourite of pendants2 yet this symbol does not appear to have been commonly worn on the person till about the fifth century4 ,among the most interesting pectoral crosses in the ,british ,museum is one inscribed with a text from ,galatians ,,vi4 #ad2 upon its arms and lower part are rings for pendent gems1 and in the centre the setting for a stone4 ,another cross1 ornamented with nielloed#f figures of our ,lord1 the ,virgin1 and two angels or military saints1 has the name of its owner inscribed at the back4 ,both date from about the tenth or eleventh century4 ,one of the finest and the best known of such ornaments is the gold and enamelled pectoral cross in the ,victoria and ,albert ,museum1 known as the ,beresford-,hope ,cross4 ,this remarkable specimen of ,byzantine jewellery1 dating from about the eighth century1 is formed of two cruciform plates of gold1 hinged so as to form a reliquary1 and set in a silver-gilt frame of later workmanship than the cross itself4 ,the figures upon it1 executed in translucent cloisonn enamel1 represent on one part the ,saviour on the cross1 with busts of the ,virgin and ,st4 ,john on either side1 and on the other a full-length figure of the ,virgin and the heads of four saints 7,pl4 ,,ix1 #h74 ,jewellery ornamented in this manner is of great rarity2 being executed nearly always upon pure gold1 it has seldom escaped the crucible4 #f ,niello3 a composition of lead1 silver1 sulphur1 and borax4 ,judging from the mosaics1 as1 for example1 the portraits of ,justinian in the churches of ,san ,vitale and ,sant' ,apollinare ,nuovo at ,ravenna1 brooches of the circular type appear to have been generally worn4 ,their chief characteristic was the presence of three chains set with jewels attached to them by loops4 ,coins1 as in ,roman times1 were frequently mounted as brooches in a beaded or open-work edging4 ,bow-shaped brooches were worn1 but not after the sixth century4 ,three inscribed examples of the fourth century1 one of them of gold1 are in the ,british ,museum4 ,illustration3 ,,plate ,,ix ,,byzantine ,,jewellery1 ,,and ,,enamelled ,,jewellery ,,in ,,the ,,byzantine ,,style ,similar in workmanship to the crescent-shaped earrings described above1 and of about the same date1 is a remarkable gold bracelet in the ,franks ,bequest4 ,it is formed of an open-work hoop decorated with swans and peacocks enclosed in scrolls issuing from a vase4 ,a circular medallion with a repouss bust of the ,virgin forms the clasp4 ,finger rings have survived in greater numbers than other ,byzantine ornaments4 ,the majority are figured with the beautiful symbolism of the ,christian belief4 ,some are set with engraved gems1 but on most the design is produced by the more simple process of engraving the metal of which the ring is composed4 ,in early ,christian times rings were often offered as presents1 and were engraved with expressions of good-will towards the recipient1 whose name is sometimes mentioned4 ,the ,british ,museum contains a somewhat extensive collection of these rare objects in gold4 ,bronze1 often gilded1 is naturally the commoner material4 ,silver appears to have been scarcely ever employed4 ,the interest of the majority of ,byzantine rings arises rather from the subjects with which they are associated1 than from the quality of their workmanship4 ,there is1 however1 in the ,british ,museum a very beautiful example of pierced gold work in the form of a key ring with projecting tongue1 of a kind much used in ,roman times1 which opened the lock by lifting a latch4 ,upon the front of a wide hoop are the words ,accipe dulcis1 in letters reserved in metal in a pierced ground4 ,the remainder of the hoop is divided into compartments1 each containing one letter of the inscription ,multis annis4 ,above the inscription1 in front1 is a rectangular projection1 perhaps for insertion into a lock4 ,it is finely pierced with a design in the form of ,greek crosses 7,pl4 ,,ix1 #aj74 ,the sack of ,constantinople by the ,french and ,venetians dealt the death-blow to ,byzantine art4 ,until well into the thirteenth century the ,byzantine goldsmiths continued to exercise an important influence on their contemporaries1 and transmitted to the artists of medival ,europe such of the processes and designs of antique art as they had preserved4 ,their intercourse was closest with ,russia1 whose jewellery for centuries1 even up to the present day1 has followed the designs of the old ,byzantine workmen4 ,,chapter ,,vi ,,prehistoric 7,,celtic7 ,,jewellery ,,romano-,,british ,,jewellery ,the early ornaments of the greater part of ,europe remained until late times entirely untouched by the culture prevalent in ,italy and ,greece4 ,though of great archological importance1 as revealing successive stages of culture1 they do not at the present demand very detailed consideration4 ,the decoration of the earliest jewellery of ,europe--that of the ,bronze ,age1 which dates roughly from about a thousand years before the ,christian era--is by means of spiral and zigzag patterns4 ,ornaments have free endings1 bent in spiral1 snail-shell coils4 ,the earliest were cast1 though the hammer was used towards the close of the period2 solder was unknown1 and rivets alone employed4 ,gold and bronze were the only metals employed1 the latter being sometimes gilt by means of thin gold plates1 while amber is often found used as a jewel4 ,some idea of these early ornaments can be formed from the discoveries of objects worn by the ancient inhabitants of the ,british ,isles4 ,they are1 however1 not very numerous or important until after the ,bronze ,age1 and until the ,early ,iron ,age--known in ,england as the ,late ,celtic period--is reached4 ,the ornaments of the ,britons--that is to say the ,brythons or iron-using ,celts--before they became subject to ,rome are somewhat rare1 for few objects of value were buried in graves4 ,such as have been found comprise bronze pins1 brooches1 torques1 and bracelets2 beads of amber1 jet1 bone1 and glass1 and bracelets also of jet4 ,golden ornaments1 like those laid bare by ,schliemann at ,mycen1 concealed either as votive offerings or for the sake of security1 have been brought to light from time to time1 occasionally in ,england and more frequently in ,ireland4 ,celtic literature and legend are full of references to these golden ornaments1 and classical writers often make mention of them4 ,the simplest types of gold ornaments discovered in ,england are rings formed of a rounded bar of equal thickness throughout1 bent into a circular form1 and the extremities left disunited4 ,their material is gold1 so pure and flexible that the rings can be easily opened to be linked into a chain or strung upon a thin gold wire4 ,they were very probably employed for barter1 and are generally known as ring-money4 ,other rings1 crescent-shaped1 with ends tapering towards their extremities1 may have served both as ornaments and substitutes for money4 ,others1 again1 are of gold wire shaped into a sort of rope1 or else formed of a simple bar twisted in an ornamental manner4 ,it has been suggested that the simple penannular rings were nose-ornaments1 and when linked or strung together were worn as necklaces2 also that the more decorative rings were earrings4 ,but it is quite impossible to determine their actual use as personal ornaments4 ,massive torques employed by the ,celts for the purpose of adorning the neck are occasionally found of pure gold4 ,they consist of a long piece of metal twisted and turned into the form of a circle1 with its ends either terminating in a knob1 or doubled back in the form of a short hook1 or swelling out into cup-like terminations4 ,some are formed of a square bar of gold twisted spirally1 others of a flat bar twisted in a lighter manner1 or of more than one bar twisted together4 ,illustration3 ,,plate ,x ,,prehistoric ,,gold ,,ornaments ,,of ,,the ,,british ,,isles ,gold ornaments for the arms1 known by the term armill1 are sometimes of the same thickness throughout4 ,it is more usual to find them plain1 though twisted work was also applied to them4 ,the majority have dilated ends1 or ends slightly concave4 ,with others1 again1 these cavities assume the form of a cup so expanded as to present the appearance of a trumpet or the calyx of a large flower4 ,on ornaments somewhat resembling the latter the dilated extremities are flat plates1 while the connecting part1 diminutive in proportion to their exaggerated size1 is striated longitudinally4 ,these objects are usually described as dress-fasteners1 but the exact purpose for which they were employed is still a matter of doubt4 ,advanced skill in the art of enamelling is one of the most notable features of the ,late ,celtic period1 which itself extended from the prehistoric ,age of ,iron and over the period of the ,roman occupation4 ,this enamel1 executed by the champlev process on copper and bronze1 served for the decoration of massive bronze penannular bracelets1 and for bronze pins with wheel-shaped heads4 ,in addition to brooches--all of the safety-pin type--of an immense variety of design1 other primitive bronze ornaments1 usually of the spiral form characteristic of ,celtic work1 include torques1 armlets1 and anklets4 ,the torques are mostly penannular and have enlarged terminals2 the armlets are often complete rings4 ,for the most extensive representation of the prehistoric gold ornaments of the ,british ,isles one must look1 not to ,england whose inhabitants generally assumed the types of ornament in use among their ,roman conquerors1 but to ,ireland1 where the ,celtic traditions were continued1 and which has revealed vast hoards of golden treasure4 ,in ,celtic ,england during the ,bronze and ,early ,iron ,ages the majority of personal ornaments are of bronze2 in ,ireland1 however1 at the same periods the greater number are of gold4 ,the objects belonging to the ,royal ,irish ,academy in the ,dublin ,museum--perhaps the largest collection in ,europe of prehistoric gold ornaments--represent merely a fraction of what1 during the last few hundred years1 has been discovered and consigned to the crucible4 ,usually described as head-ornaments are certain crescent or moon-shaped plates of thin gold1 generally decorated with engraved designs in parallel lines1 with angular lines between them1 and having their extremities formed into small flat circular discs4 ,these gold lunettes or lunul are considered to have been worn upright on the head and held in position by the terminal plates set behind the ears1#g but they were very probably worn round the neck4 ,the finest at ,dublin is of pure gold1 weighing upwards of sixteen ounces1 and is richly ornamented with rows of conical studs4 #g ,wilde 7,w4 ,r471 ,cat4 of antiquities of gold1 p4 #ab4 ,torques are the most frequent of ancient ,irish ornaments4 ,the largest known1 over #e feet long and upwards of #bg ounces in weight1 is supposed to have been worn over the shoulder and across the breast4 ,it is the property of the ,royal ,irish ,academy4 ,in addition to torques and gorgets1 neck-ornaments were also formed of beads of gold1 and some of these have been found accompanied by beads of amber4 ,besides torque-shaped armlets1 are bracelets composed of perfect rings2 but the penannular type1 terminating mostly with bulbous or cup-like ends1 is commonest4 ,a considerable number of the prehistoric dress-fasteners1 known as mammillary fibul1 have been discovered in ,ireland4 ,a slight enlargement of the ends of the penannular ring develops into a cup-like expansion1 which increases to such a size that the ring becomes simply the connecting link between the terminations4 ,the latter when flat are generally plain1 and when cup-shaped are often highly ornamented4 ,the finest of these fibul at ,dublin is #h-c_/h inches long1 and is of the extraordinary weight of #cc ounces4 ,among other gold ornaments are certain circular flat plates of thin gold1 usually about #b inches in diameter1 somewhat similar to the plates discovered at ,mycen1 in that they were evidently employed for sewing upon the dress4 ,in the middle of the plates are small holes as if for attachment4 ,as regards ring-money1 and similar rings employed possibly as ornaments for the ears or fingers1 nothing more need be said1 as they usually follow the designs of those in use among the ,celts of ,britain4 ,in a country like ,ireland1 which is famed for its golden treasures1 many strange stories of discoveries have been recorded1 yet few have excited greater interest than the now famous ,limavady treasure1 which in the year #ahif was ploughed up at ,broighter1 near ,limavady1 in the county of ,londonderry1 in a field not far from the shores of ,lough ,foyle4 ,this hoard--probably the most important which has ever been unearthed of objects of this period--has been fully described by ,dr4 ,a4 ,j4 ,evans in ,vol4 ,,lv of ,archologia4 ,it includes the following personal ornaments3 two gold chains1 a torque formed of thick twisted wires1 and collar of very remarkable workmanship4 ,this collar consists of a hollow cylinder formed of two plates soldered together1 and fastened at the end by a ,t-shaped projection and slot4 ,the ornament is repouss work1 in the trumpet pattern of the ,late ,celtic period4 ,the style of work upon these ornaments1 particularly that of the collar1 associates them with an artistic period which probably dates from the first century ,a4,d4 ,the year following its discovery the whole find was purchased by the ,british ,museum1 where its presence at once figured as another injustice to ,ireland2 while through the ,press and in ,parliament numerous attempts were made to obtain its removal to ,dublin4 ,the ,irish claimed it as treasure-trove and maintained that its legal home was the ,national ,museum at ,dublin4 ,the ,british ,museum authorities replied that ,dublin had missed an opportunity of obtaining it in open market1 while they themselves1 having acquired it in the ordinary course of business1 were precluded by statute from parting with it4 ,they further contended that the ornaments were not necessarily of ,irish workmanship1 but might with equal likelihood have been produced in ,britain4 ,thus for several years the dispute dragged on1 until in the summer of #aijc the case came up in the ,chancery ,division of the ,courts of ,law 7,attorney-,general v4 ,trustees of ,british ,museum4 ,the ,times ,law ,reports1 ,,xix1 p4 #eee47 ,notwithstanding the ingenious defence of the ,british ,museum1 judgment was given that the ornaments were treasure-trove1 and by virtue of the ,prerogative ,royal must be surrendered to the ,king4 ,they were accordingly delivered to the ,crown authorities and presented to the ,irish ,national ,museum by ,his ,majesty4 ,,romano-,,british ,whatever races settled under the banner of ,rome1 they accepted unreservedly its ornaments1 dress and manners1 as well as its language and its laws4 ,hence the jewellery which dates from the ,roman occupation of ,britain 7i4e4 from about #dc ,a4,d4 to about #daj ,a4,d47 follows for the most part the ,italian designs1 and at the same time differs but little from that brought to light among the remains of ,roman colonisation elsewhere4 ,the majority of ,romano-,british personal ornaments are of bronze--in most cases probably once gilt4 ,comparatively few objects of gold have been found4 ,among the articles of female adornment that occur in the greatest abundance are pins1 which were used for fixing the hair in a knot behind the head1 though some may have been employed as dress-pins4 ,they range from #c to #i inches in length1 and have heads of various designs1 terminating in some instances in a bust or in a figure4 ,the majority are of bone1 many are of bronze1 and a few are composed of coloured glass or jet4 ,a few necklaces of gold and bronze have been found1 but by far the greater number appear to have been composed of beads of glass--in the manufacture of which the ,romans displayed remarkable skill4 ,these necklaces differ considerably in form and colour4 ,the commonest beads are spherical and pierced with a large hole4 ,they are usually of one colour1 generally blue1 but some are of compound colours exquisitely blended1 and a few have a serpentine ornament fused into the glass4 ,beads of amber1 pearls1 and glazed earthenware have also been found4 ,a characteristic of ,roman jewels executed in ,britain is their ornamentation with enamels4 ,the metal employed is generally bronze1 the surface of which is ornamented by the champlev process2 that is to say1 it is incised or grooved out 7though sometimes stamped or cast7 in such a manner as to leave floral or geometrical patterns in relief1 and into the sunk spaces thus formed are fused opaque enamels1 principally red1 yellow1 green1 blue1 and white4 ,this enamelling is generally found upon brooches both of the circular and of the bow-shaped type4 ,the fronts of the circular brooches are flat1 or raised like a shield into several compartments of different colours4 ,the pin1 which is hidden1 moves freely on a pivot1 and its point is held by a catch4 ,the finest specimen1 discovered in ,london1 was formerly in the collection of ,lord ,hastings1 from whom it was acquired by the ,british ,museum4 ,it is a circular flat plaque1 the pattern on which consists of four quatrefoils with blue centres on a red ground1 and four small circles of yellow enamel between them4 ,in the centre is the revolving figure of a dolphin 7,pl4 ,,xi1 #g74 ,brooches enamelled in a somewhat similar manner have been found in ,france at ,mont ,beuvray1 near ,autun1 and are preserved in the ,muse des ,antiquits ,nationales at ,st4 ,germain4#h #h ,bulliot 7,j4 ,g471 ,fouilles de ,mont ,beuvray 7ancienne ,bibracte7 de #ahfg #ahie4 #ahii4 ,quite different are certain ornaments set with slices cut from rods of millefiori glass1 which were executed for the most part during the decline of the ,roman power4 ,one of the most elaborate is a brooch found at ,pont-y-,saison1 near ,chepstow1 ,monmouthshire1 in #ahfa1 and preserved among other ,romano-,british antiquities in the ,british ,museum4 ,it has an elaborate pattern of chequered squares of red1 white1 and blue 7,pl4 ,,xi1 #f74 ,brooches of the ,gallo-,roman and early ,merovingian period appear to have been also decorated in this manner4 ,of bow-shaped brooches1 or fibul1 there exists a considerable number of varieties4 ,among these we may distinguish the ,t-shaped fibula with long cylindrical head1 and a wide flat bow with sunk designs filled with enamel4 ,in another variety the bow passes through a horizontal disc in its centre and assumes a form resembling a tassel4 ,another common variety is the crossbow form1 either with a spiral or hinged head4 ,in many ,roman fibul the pin works on a hinge1 but in the variety known as the harp-shaped1 the sheath of the pin is filled in with a triangular plate1 pierced or solid1 and the head is slightly expanded to suit the coils of a spring4 ,in addition to the more formal types of brooches1 many fancy devices1 probably of ,celtic origin1 appear to have been in vogue among the ,roman colonists of ,great ,britain4 ,these are in the shape of birds1 fish1 and all kinds of animals1 brilliant with various coloured enamels1 which are often so disposed as to indicate the spots or markings of the animals4 ,a remarkable series of brooches of this kind is in the possession of ,sir ,john ,evans4 ,bracelets and armlets1 usually of bronze1 have survived in large numbers4 ,they consist generally of a simple narrow ring1 such as could be slipped over the wrist4 ,some are pennanular with tapering ends1 others are closed with a hook and eye1 while a few have their ends so twisted together that they can slide over one another and so be taken on and off4 ,armlets of glass1 chiefly of a deep transparent blue1 have also been found4 ,most of the varieties of finger rings already recorded appear to have been worn in ,britain4 ,the extent of the ,roman civilisation can be measured by the number of engraved stones enclosed in their settings or found apart1 the majority of which must have been executed by lapidaries on the spot4 ,many articles1 such as rings1 armlets1 beads1 buttons1 and amulets1 were formed of jet or ,kimmeridge shale1 turned on a lathe4 ,in the ,island of ,purbeck round flat pieces of jet have been found pierced with holes1 which are clearly refuse pieces of the turner--the nuclei of rings and other articles4 ,this material appears to be the same as that termed by ,pliny gigates4 ,according to him1 it was supposed to possess the virtue of driving away serpents2 and personal ornaments made of it were particularly prized4 ,there seems little doubt that the use of ornaments of ,kimmeridge coal or shale by the ,romano-,britons was nothing more than a survival of the ,neolithic or ,stone ,age4 ,great ,britain1 writes ,m4 ,fontenay in #ahhg1 with reference to the ancient practice of wearing ornaments of jet1 remains faithful to its early customs2 for at the present day ,english ladies delight in adorning themselves with jet jewellery4 ,fashion changes rapidly1 but it will be long1 one hopes1 before it again decrees the general use of ornaments of this unattractive material4 ,,chapter ,,vii ,,barbaric ,,jewellery ,,of ,,europe 7,,the ,,great ,,migrations7 ,during the period of the great migrations1 when hordes of barbarians swept like waves across ,europe over the tracks of ,roman civilisation1 all traces of classical art rapidly vanished1 save in ,constantinople1 which remained1 as it were1 a corner of the antique world4 ,the forms of classical jewellery in natural course either totally disappeared or underwent a complete transformation1 and there appeared instead a new process for the decoration of personal ornament1 which in earlier times was practically unknown1 save to the goldsmiths of ancient ,egypt4 ,just as the desire to imitate precious stones led to the introduction of enamel1 so the ,gothic nations who hailed from the south-east corner of ,europe brought into jewellery the ,oriental love for colour4 ,coloured stones1 usually garnets1 or red glass1 cut in slices1 were inlaid on a metal surface1 or were placed side by side1 separated only by intervening strips of metal4 ,this process of inlay or incrustation is of great importance1 since almost every species of jewellery in ,europe from the third till about the eighth century is thus decorated4 ,the ,goths invented no new jewellery1 but adapted a style which had long been in existence4 ,and though the forms of their jewellery may be due to the growth of local traditions1 its decoration is clearly the result of influences connected in some way with the ,east4 ,originating1 as it doubtless did1 in ,persia or in the further ,east1 this process of inlay was adopted by the ,gothic nations during the earlier centuries of the ,christian era1 and made its first appearance among them in the districts of the ,caucasus and in the ,crimea4 ,from thence it passed to the ,lombards in ,italy1 to the ,burgundians in ,austria and ,switzerland1 the ,visigoths in ,spain1 the ,merovingians in ,gaul1 the earlier ,scandinavians in ,denmark2 and by the ,saxon tribes in ,northern ,germany it was carried to ,england1 where it attained its highest perfection in the superb circular brooches that have been brought to light in ,kent4 ,by the discovery of specimens of ,asiatic and ,germanic jewellery ornamented in this manner1 the path of the migratory tribes can thus be traced right across the ,continent4 ,yet for the reason that conditions of property and nationality became altered from one generation to another1 the question to which of the nations numerous pieces of jewellery are to be ascribed1 is difficult to solve4 ,they are often connected with misunderstood ,hellenistic and ,asiatic traditions1 while at the same time showing workmanship with barbaric ideas of form4 ,there are1 as has been pointed out1#i two very distinct forms of inlay1 one of which is possibly the outcome of the other4 ,one has been termed plate inlaying1 the other cloisonn inlaying4 ,the first is represented in the east of ,europe by the fibul and gorget in the celebrated treasure of ,petrossa1 and in the west by the crown of ,svinthila in the equally famous treasure of ,guarrazar4 ,in these objects a gold plate is pierced1 and into the holes thus formed stones are fixed by mastic1 and supported from behind by a second plate of gold4 ,this form of inlaying seems to merge naturally into the other1 for at a certain point it may have occurred to the goldsmith to abandon the continuous upper sheet of metal and to cut it into strips to be placed edgewise between the stones4 ,thus appeared the second form of inlaying1 in the cloisonn manner4 ,it is represented in its journey from the ,east by the ,oxus treasure4 ,in ,europe it is illustrated by numerous specimens of ,teutonic jewellery from ,southern ,europe1 by the ornaments discovered in the tomb of ,childeric ,i1 and finally by the splendid ,anglo-,saxon jewellery from the ,kentish cemeteries4 ,numbers of articles of jewellery dating from the fifth century until the general introduction of ,christianity have been discovered in various localities in ,europe4 ,but the above-mentioned hoards of treasure demand special consideration1 as being1 not only the most characteristic examples of the methods of inlay1 but also types of the utmost luxury of the period in the way of personal ornaments4 ,beyond these no general account of ,european jewellery need here be given1 since excavations in the ,anglo-,saxon graves have revealed examples of jewellery which may be taken as fairly representative of the articles then in use upon the ,continent as well4 #i ,archologia1 ,,lviii1 p4 #bdj1 #aijb4 ,a description may now be given of some of the principal and most typical of these ,european treasure-hoards1 dating from what are known as the ,dark ,ages4 ,but attention must first be drawn to the important ,asiatic treasure found near the ,river ,oxus1 in ,bactria1 in #ahgg4 ,this ,oxus treasure1#aj belonging for the most part to the fourth century ,b4,c41 seems to supply the missing link in the chain of evidence which unites the ornamentation of ,european jewellery with clearly defined ,oriental methods4 ,the chief articles of jewellery in the hoard are two massive penannular bracelets of gold1 one in the ,british ,museum1 the other at ,south ,kensington4 ,they are ornamented at each end with a winged monster or gryphon in full relief4 ,the surface of the wings and necks of the figures is covered with gold cloisons1 once set with coloured stones or pastes4 ,the form and decoration of these and the other articles of the treasure in the ,franks ,bequest in the ,british ,museum seem to indicate the ,persian origin of this inlaid work4 #aj ,dalton 7,o4 ,m471 ,the treasure of the ,oxus1 #aije4 ,the treasure of ,petrossa1 dating from the fourth century ,a4,d41 contains some of the earliest examples of inlaid jewellery in ,europe4 ,few treasures of which record has been preserved are equal to it in archological interest4 ,it was discovered in #ahcg by peasants on the banks of a tributary of the ,danube1 near the village of ,petrossa1 about sixty miles from ,bucharest4 ,much of it was broken up shortly after its discovery4 ,what remained was seized by the ,government and conveyed to the ,museum of ,antiquities at ,bucharest1 where it is now preserved4 ,the treasure includes a gold torque with hooked ends1 like the ,celtic torques from the ,british ,isles2 a crescent-shaped collar or gorget of gold with its surface pierced in the manner of plate inlay1 and set with garnets and other stones2 three bird-shaped fibul2 and a larger ornament1 also in the shape of a bird1 intended probably as a breast-plate4 ,the heads and necks of the birds are inlaid in the cloisonn manner2 their lower parts are ornamented with plate inlay4#aa #aa ,a remarkable book descriptive of this treasure has been published by ,professor ,odobesco1 of the ,university of ,bucharest1 in which the whole process of inlaying is discussed at considerable length4 ,the same subject has been treated with the most minute care by the well-known art historian1 ,m4 ,charles de ,linas4 ,dating from the ,merovingian period are the treasures of ,king ,childeric ,i in the ,bibliothque ,nationale at ,paris4 ,the founder of the ,merovingian dynasty died in #dha1 and was buried at ,tournai1 in ,languedoc1 surrounded by his treasures and robes of state4 ,in the year #afec1 when all memory of the place of his interment had perished1 a labourer accidentally uncovered the royal grave and brought to light the treasure it contained4 ,the regalia consisted of a sword1 a bracelet1 fibul1 buckles1 about three hundred gold bees--the decoration of a mantle--and a signet-ring of gold4 ,this ring was not set with a gem1 but had its oval gold bezel engraved with a full-faced bust holding a spear4 ,it bore the legend ,,childirici ,,regis4 ,on the night of ,november #e1 #ahca1 the ,bibliothque was broken into by burglars4 ,an alarm being given1 they fled1 and threw their spoil1 which included1 amongst other objects1 ,childeric's regalia1 into the ,seine4 ,the river was dredged1 and a great part of the treasure was recovered4 ,the ring1 however1 was never found2 but its design is preserved in ,chiflet's ,anastasis ,childerici ,i1 while the signet itself has been reconstructed from an impression of the seal in wax1 found in the ,bodleian ,library in a copy of ,chiflet's work1 once the property of the great antiquary1 ,francis ,douce4 ,except on this jewel1 the traditional surface decoration of ,teutonic jewellery is admirably represented4 ,every item of the treasure is inlaid with thin slices of garnet or red glass1 arranged in the cloisonn manner between gold partitions4#ab #ab ,abb ,cochet1 ,le tombeau de ,childric ,ier1 #ahei4 ,the most wonderful1 probably1 of all treasures-trove is the famous treasure of ,guarrazar1 discovered in #aheh at a place called ,la ,fuente de ,guarrazar1 near ,toledo4#ac ,it included eleven crowns of pure gold set with precious stones4 ,the peasants who unearthed the treasure broke up the crowns and divided the spoil4 ,but the story of the discovery became known2 and having been pieced together1 most of the crowns were conveyed to the ,muse ,cluny at ,paris1 and the remainder placed in the ,real ,armera at ,madrid4 ,the most important of those at ,madrid is the crown of ,king ,svinthila 7#fba-fca74 ,its surface is pierced with holes arranged in rose-shaped patterns1 and set with large pearls and cabochon sapphires4 ,from the lower rim hangs a fringe of letters set in the cloisonn manner with red glass paste1 suspended by chains4 ,the letters form the inscription ,,svintilanus ,,rex ,,offeret4 ,the chief crown in the treasure at ,paris is that of ,king ,reccesvinthus 7#fdi-fgb74 ,it consists of a broad circle of gold1 #h inches in diameter1 mounted with thirty huge ,oriental pearls and thirty large sapphires1 all set in high collets and separated by pierced open-work4 ,the margins are bands of cloisonn work with inlays of red glass4 ,suspended below by twenty-four chains are letters of gold inlaid like the borders forming the words ,symbol3 cross patte ,,reccesvinthus ,,rex ,,offeret4 ,attached to each letter is a square collet hung with a pear-shaped sapphire4 ,the crown is suspended by four chains from a foliated ornament encircled with pendent pearls and sapphires1 and surmounted by a capital of rock crystal4 ,a massive cross #d inches long and #b inches wide hangs below the crown4 ,it is set with eight enormous pearls and six large and brilliant sapphires1 the latter mounted in high open bezels4 ,from its foot and limbs hang three paste imitations of emeralds1 with pear-shaped sapphires below4 ,the combination of the pure gold with the violet sapphires and the somewhat faded lustre of the pearls produces an exceedingly harmonious effect of colour4 #ac ,lasteyrie 7,f4 de71 ,description du trsor de ,guarrazar1 #ahfj4 ,the majority of these crowns were votive offerings to a church1 to be hung above the altar2 the larger ones may have been actually used at coronations1 and afterwards suspended in some consecrated building and the dedicatory inscriptions attached in remembrance of the ceremony4 ,they certainly appear to be native work of the ,spanish ,visigoths1 executed under the influence of the style prevailing in the ,eastern ,empire4 ,at a date not long after their production1 the use of this particular species of decoration of jewellery1 owing probably to the revival of the art of enamelling1 rapidly declined in western ,europe2 and though it continued to be practised in the ,east1 it had virtually disappeared at the close of the ,merovingian period--by about the year #hjj1 when ,charlemagne was crowned ,emperor of the ,west4 ,,chapter ,,viii ,,anglo-,,saxon ,,jewellery 7,,fifth ,,to ,,seventh ,,century7--,,merovingian ,,jewellery ,upon the invasion of ,britain by the ,teutonic races in the fifth century personal ornaments lost their ,roman character1 and assumed a peculiar type which betrays the impress of a fresh nationality on design and workmanship4 ,a near alliance by origin and geographical position existed between the ,jutes1 ,angles1 and other kindred tribes commonly known as the ,saxons1 who settled in ,britain1 and the ,franks1 who stationed themselves in ,gaul4 ,the ornaments of all these tribes bear on this account a close similarity4 ,hence ,anglo-,saxon jewels may for the most part be taken as representative of all the rest2 and the only contemporary ,merovingian ornaments to be noticed will be those that differ from the ,anglo-,saxon types4 ,in ,england as well as in ,france this remarkable group of jewellery belongs to the period which immediately followed the extinction of the ,roman power in both countries1 and extends from the fifth to the middle of the seventh century4 ,personal ornaments in ,england were the last in ,europe to receive a characteristic species of surface decoration3 for ,kent and the ,isle of ,wight form the extreme limit of the geographical area in which jewellery ornamented with cloisonn inlay has been found4 ,the process attained here the highest point of excellence4 ,anglo-,saxon jewellery occupies an exceedingly important position in the history of the goldsmith's art4 ,its beauty lies in its delicate goldwork and peculiarly harmonious blending of colours4 ,so remarkable is the fertility of fancy with which each jewel is adorned1 that scarcely any two are exactly identical in ornamentation4 ,however complicated the system of knotwork1 and however frequently the same form might require filling in1 each workman appears to have been eager to express his own individuality1 and to originate some fresh method of treatment or new variety of design4 ,in common with other ,teutonic nations1 the ,anglo-,saxons were peculiarly fond of personal ornaments4 ,they held in high esteem both the smith--the producer of weapons--and the goldsmith who manufactured the rings and bracelets employed as rewards of valour4 ,a passage in the ,exeter ,book1 which dilates on the various stations in life and the capacities required for them1 refers thus to the goldsmith3 ,for one a wondrous skill in goldsmith's art is provided3 full oft he decorates and well adorns a powerful king's nobles1 and he to him gives broad land in recompense4 ,the graves or barrows of our ,anglo-,saxon ancestors have proved singularly prolific in personal ornaments4 ,extensive cemeteries have been discovered in the midland1 eastern and southern counties1 and particularly upon the downs of ,kent1 ,sussex1 and the ,isle of ,wight4 ,the barrows of ,kent have revealed personal ornaments of greater wealth and refinement than those of any other parts4 ,the majority of ,anglo-,saxon pins were no doubt employed for fastening up the hair4 ,they often have as a head the figure of a bird or grotesque animal1 ornamented with garnets1 like similar pins from the ,continent4 ,one of the best1 which comes from the ,faversham graves in ,kent1 is in the ,gibbs ,bequest1 now in the ,british ,museum4 ,it is of silver1 formerly gilt2 its upper part is flat and in the form of a bird set with cut garnets4 ,gothic tribes had a great predilection for the bird as a decorative subject4#ad #ad ,de ,baye 7,j471 ,the industrial arts of the ,anglo-,saxons1 p4 #de4 ,a certain number of earrings have been found1 but they are not common4 ,they are generally a ring of silver wire1 plain1 or twisted into a spiral form1 and hung sometimes with beads of coloured glass or clay4 ,the earrings worn by the ,franks during the contemporary ,merovingian period are of a type unrepresented in ,anglo-,saxon jewellery4 ,they differ in size1 but are nearly all of the same pattern1 and have a plain hoop4 ,one end is pointed to pierce the ear1 and on the other end is a polygonal metal cube1 each side of which is set with a slice of garnet or red glass4 ,anglo-,saxon necklaces are composed of beads of many varieties4 ,the commonest1 of glass1 of numerous colours and shapes1 are very similar to the ,roman beads4 ,beads of amethystine quartz1 probably of ,transylvanian or ,german origin1 and particularly beads of amber from the ,baltic1 are found strung on necklaces1 or were hung singly from the neck4 ,when one remembers the superstitious respect which was universally paid to precious stones1 and especially to amber1 in early times1 it is probable that these were regarded as amulets4 ,the more sumptuous necklaces1 which must have been worn by ladies of rank1 are composed of gold beads or of precious stones in delicate settings of twisted or beaded gold4 ,the pendent ornaments hung to the necklaces are very beautiful4 ,some are formed of large1 finely coloured garnets cut into triangle or pear shapes and mounted in gold4 ,others1 generally circular1 are of pure gold worked in interlaced or vermiculated patterns and set with precious stones4 ,a striking group of pendants is formed of coins of foreign origin1 ,roman or ,byzantine1 or rude copies of them made in ,england by ,anglo-,saxon goldsmiths4 ,in the ,british ,museum is an elaborate necklace of glass and terra-cotta beads with pendent gold coins of the seventh century1 which was found1 together with a splendid brooch1 at ,sarre1 in ,kent4 ,three of the pendants are coins of ,emperors of the ,east--,mauricius and ,heraclius--and the fourth is a coin of ,chlotaire ,,ii of ,france4 ,the central pendant1 also circular1 is ornamented with a section from a rod of ,roman millefiori glass set in gold4 ,besides coins--the frequent use of which in late ,roman jewellery has already been noticed--there exists a well-known class of personal ornaments known as nummi bracteati1 bracteate coins1 and sometimes as spangle money4 ,they are thin discs of metal stamped in a die1 so that the design appears in relief on the face and incuse on the back4 ,they are generally of gold1 have a beaded edging1 and are supplied with loops1 also of gold1 for suspension4 ,fibul or brooches are the most numerous of all ,anglo-,saxon ornaments4 ,they are remarkable both for their beauty and their excellence of workmanship4 ,probably more than one was usually worn2 and four or five have been found in the same grave on different parts of the body4 ,the different types of brooches from various districts of ,england are sufficiently clearly marked to permit their classification as the ornaments of distinct peoples4 ,for the present purpose it is convenient to divide them into three main classes1 each class consisting1 naturally1 of many varieties4 7#a7 ,circular jewelled brooches found among the remains of the ,kentish ,saxons1 and of the ,jutes of the ,isle of ,wight4 7#b7 ,brooches of the sunk or concave circular type worn by the ,saxons of ,berks1 ,oxford1 and ,gloucestershire4 7#c7 ,cruciform brooches--a type of the elongated form of brooch4 ,they are peculiar to the ,angles who formed the population of ,mercia1 ,east ,anglia1 and ,northumbria4 7#a7 ,the circular jewelled brooches found in the cemeteries of ,kent and sometimes in the ,isle of ,wight1 but scarcely ever in other parts of ,england1 may be subdivided again into three classes4 ,the first of these1 and the most numerous1 is composed of a single piece of metal decorated with chased work and set with jewels4 ,the second group comprises those formed of a disc of bronze or silver1 decorated with a disc of gold foil covered with inlaid cells forming triangles and circles1 with three bosses grouped round a central boss4 ,this type is rarer than the first1 and is often of great beauty4 ,the third group1 the finest and rarest1 is distinguished by being formed of two plates of metal joined by a band round the edges1 the upper part being prepared in the cloisonn manner for the reception of stones or pastes1 while the pin or acus is fixed to the lower4 ,brooches of this type1 in which the stones1 mostly garnets1 are set upon hatched gold foil between delicate gold cloisons1 represent at its utmost perfection the process of inlaying already described4 ,three of the finest circular jewelled brooches are3 the ,kingston brooch in the ,mayer ,collection at ,liverpool1 the ,abingdon brooch in the ,ashmolean ,museum1 and the ,sarre brooch in the ,british ,museum4 ,the first1 which is certainly the most beautiful1 is #c-c_/af inches in diameter4 ,the front is divided into compartments subdivided into cells of various forms1 enriched with vermicular gold1 with turquoises and with garnets laid upon gold foil4 ,concentric circles which surround a central boss are treated alternately in coloured stones and worked gold4#ae ,the ,abingdon brooch is divided into four compartments1 each decorated with interlaced gold wire1 and mounted with a boss of ivory1 horn or shell1 with a fifth boss in the centre of the brooch4 ,the rest of the ground is decorated with garnets upon hatched gold foil4#af ,the ,sarre brooch1 #b-e_/h inches in width1 is ornamented in a similar manner1 and has a large central and four smaller bosses composed of a substance resembling ivory1 set with carbuncles#ag 7,pl4 ,,xi1 #a74 #ae ,faussett 7,b471 ,inventorium sepulchrale1 p4 #gh1 ,pl4 #a4 #af ,arch4 ,journal1 ,,iv1 p4 #bec4 ,another similar brooch from ,abingdon is in the ,british ,museum4 ,see ,akerman 7,j4 ,y471 ,remains of pagan ,saxondom1 ,pl4 iii4 #ag ,archologia ,cantiana1 ,,ii1 ,pl4 iii4 ,illustration3 ,,plate ,,xi ,,anglo-,,saxon ,,and ,,romano-,,british ,,brooches1 ,,etc4 7#b7 ,the next main class of brooches comprises the concave circular1 known also as the cupelliform or saucer-shaped1 found in the ,west ,saxon cemeteries4 ,they are of bronze or copper1 thickly gilt1 and very rarely decorated with jewels4 ,they have a plain edge1 and a centre covered with interlaced and other ornamental patterns4 7#c7 ,cruciform brooches form the last and most widely distributed group4 ,they have trefoil or cruciform tops2 but must not be held to have any connection with ,christianity because they approach the form of a cross1 for they are found in purely pagan graves4 ,some varieties are found in other parts of ,england besides ,mercia1 ,east ,anglia1 and ,northumbria1 but they are rare in ,kent4 ,these cruciform ,anglian brooches are of cast bronze1 generally gilt1 but sometimes plated with silver4 ,they are often of enormous size1 and covered with rude and elaborate patterns such as are found upon early ,scandinavian objects4 ,since the patterns were added after the brooches were cast1 it happens that1 though forms are frequently identical1 decorations differ on nearly every specimen4 ,with the rarest exception1 they are never garnished with precious stones4 ,this kind of brooch appears to have been evolved about the fourth century4 ,there are other brooches somewhat of the same form1 but not usually found in ,england4 ,amongst these is a type which1 instead of having a trefoil ornament at the top1 is square-headed4 ,though not unknown in ,france and ,germany1 brooches of this design are chiefly ,scandinavian4 ,an important series of both of the types last mentioned is preserved in the ,british ,museum2 while the fine collection belonging to ,sir ,john ,evans contains many splendid specimens4 ,another variety is known as the radiated brooch1 from the fact that its upper part1 which is rectangular or semicircular1 is ornamented with obtuse rays4 ,the finest example of this type1 and the largest known 7it measures #f inches71 is in the ,bavarian ,national ,museum at ,munich4 ,it dates from about the sixth century2 and was found in a rock tomb near ,wittislingen on the ,danube in #ahha4 ,it is silver1 gilt upon the upper side1 enriched with a cloisonn inlay of garnets in a variety of patterns1 and further ornamented with interlaced gold filigree 7,pl4 ,,xii1 #g74 ,a ,latin inscription on the under side contains the name ,,uffila4 ,radiated brooches1 which ,mr4 ,roach ,smith#ah considers to be prior in point of date to all other ,anglo-,saxon types1 extend over the greater part of ,europe4 ,but they are rare in ,england1 though a few have been found in ,kent and are preserved among the ,gibbs ,bequest4 #ah ,catalogue of ,anglo-,saxon antiquities1 p4 xv4 ,there is yet another type of ,anglo-,saxon brooch1 annular in shape4 ,it consists of a plain ring1 with a pin travelling round it attached to a small cylinder4 ,this annular brooch is comparatively rare in ,saxon times4 ,its interest lies in the fact that it is the parent of a much more important brooch worn throughout the ,middle ,ages4 ,in common with all primitive peoples1 the ,saxons held rings in less esteem than other ornaments4 ,the few that have been found are simple bronze hoops4 ,rings were more frequent1 however1 among the ,merovingians4 ,the chief feature in ,merovingian rings1 which are often of gold1 is that the bezel is for the most part large and circular4 ,it is either roughly engraved in the manner of ,childeric's signet1 or else is ornamented with cloisonn inlay4 ,other rings have a high projecting bezel4 ,illustration3 ,,plate ,,xii ,,anglo-,,saxon ,,and ,,frankish ,,jewellery 7#e,,th-#g,,th ,,centuries7 ,buckles of gold1 silver1 and bronze1 used to fasten the belt or girdle1 or employed on some other part of the dress1 are particularly abundant in ,kentish graves4 ,they vary considerably1 many being of particularly good design1 set with garnets and ornamented with gold filigree4 ,the largest examples can be assigned to the girdles of men1 the smallest and richest to those of women4 ,some of the best are in the ,gibbs ,bequest4 ,one of the finest examples of ,anglo-,saxon jewellery is the magnificent gold buckle discovered in a grave near ,taplow1 ,bucks1 and now in the ,british ,museum4 ,the base of the tongue and the oval ring are inlaid with glass pastes upon gold foil2 while the buckle plate1 enriched with three garnets1 is bordered with many graduated rows of finely twisted gold wire1 and has its centre filled with a sort of vermiculated pattern upon repouss ground 7,pl4 ,,xii1 #f74 ,women's graves have generally yielded a number of objects of personal use as well as of adornment4 ,articles of toilet1 such as tweezers1 etc41 are found by the side of the skeleton1 and resemble the modern chatelaine4 ,there exist1 in addition1 curious bronze pendants sometimes shaped like a pot-hook1 which1 found in pairs near the waists of female skeletons1 are known generally as girdle-hangers4 ,their exact purpose was for a long time a mystery1 but archologists are now mostly of the opinion that they were fastenings for bags or purses suspended from the girdle4 ,with the exception of the brooch-pin1 which is always made of iron1 ,anglo-,saxon jewellery is almost invariably composed of gold1 silver1 or of some alloy1 and is very rarely of iron like the buckles found in the ,frankish cemeteries4 ,these iron buckles1 owing to the perishable nature of their material are often much disfigured by rust1 but many are sufficiently well preserved to exhibit a beautiful and elaborate inlay of silver1 sometimes accompanied by gold4 ,many examples of them are preserved in the museums of ,france and ,germany4 ,some are of extraordinary size4 ,the buckle and plate alone of one in the museum at ,berne measures no less than #h-e_/h by #d inches and half an inch in thickness4 ,buckles of this kind have never been found in ,england4 ,,chapter ,,ix ,,late ,,anglo-,,saxon ,,jewellery 7,,seventh ,,to ,,ninth ,,century7 ,after the landing of ,st4 ,augustine in #eig and the baptism of ,ethelbert1 ,king of ,kent1 the conversion of the upper classes in ,england appears to have been rapid1 and by the third decade of the seventh century the greater part of the country had accepted ,christianity4 ,old customs1 however1 with regard to burial and the adornment of the corpse1 were slow in disappearing1 and even as late as the time of ,charlemagne 7#gdb-had7 we hear of orders being issued that the ,saxons were no longer to follow the pagan mode of burial1 but to inter their dead in consecrated ground4 ,the general abandonment of the custom of burying ornaments with the dead is responsible for the small number of the later ,anglo-,saxon jewels now extant4 ,but the few examples surviving from the period which terminated at the ,norman ,conquest are of exceptional merit4 ,there can be no doubt that the introduction of ,christianity produced a profound change in the character of personal ornaments4 ,new forms and methods1 due to closer association with the ,continent1 were introduced into the goldsmith's productions by the ,church1 which at the same time fostered the splendid traditions of the older ,english jewellers4 ,the characteristic of the finest pieces of ,saxon jewellery of the ,christian period is their ornamentation by means of cloisonn enamel4 ,it has already been noticed that ,anglo-,saxon jewels were decorated with gold wires1 some twisted or beaded1 or rolled up and plaited together1 and soldered on to a thin gold plate2 while others were flattened into strips forming compartments1 which were filled with pieces of garnet or coloured glass cut to shape4 ,when the spaces between strips1 so disposed as to make up the outlines of figures or ornament1 were filled with enamel paste and fired1 the result was enamel of the cloisonn type4 ,this cloisonn enamel naturally resulted as soon as the ,saxon jeweller had mastered the art of fusing vitreous colours upon metal4 ,from whom did he learn this art8 ,was enamelling introduced by the followers of ,augustine from ,rome or ,byzantium1 or did the ,irish missionaries bring afresh into ,england an art of which the ,celts were past masters8 ,the question is one that cannot be answered2 but it is not without interest to note the great influence of the ,irish craftsmen on the art productions of the time4 ,a remarkable development of goldsmiths' work in ,ireland succeeded the introduction of ,christianity4 ,enamel was largely employed in the decoration of early objects of ecclesiastical metal-work1 and attained perfection in the translucent cloisonn enamel of the ,tara brooch and the ,ardagh chalice4 ,the far-reaching influence and extraordinary activity of the ,irish missionaries1 many of them no doubt skilled goldsmiths1 are well known4 ,irish missionaries laboured among the ,picts of the ,highlands and among the ,frisians of the northern seas4 ,an ,irish missionary1 ,columban1 founded monasteries in ,burgundy and the ,apennines4 ,the canton of ,st4 ,gall still commemorates in its name another ,irish missionary4#ai ,the processes of their artistic metal-work must have made themselves felt wherever these ,irish missionaries penetrated4 ,the wandering scholars and artists of ,ireland left both their books and their art-apprentices in ,england1 as they had left them along the ,rhine and the ,danube4 ,at ,glastonbury1 ,st4 ,dunstan1 the patron saint of ,english smiths1 lingered as a youth among the books with which the ,irish missionaries had endowed the monastery1 and associated doubtless with the monastic craftsmen who had learned the arts of their ,celtic predecessors4 #ai ,green 7,j4 ,r471 ,short history of the ,english ,people 7#ahge ed471 p4 #ba4 ,every priest was trained in some handicraft1 and many monks became excellent goldsmiths4 ,st4 ,dunstan 7#ibd-ihh71 like ,st4 ,eloi of ,france 7#ehh-fei71 at once a goldsmith and a royal minister1 himself worked in the precious metals2 and he appears to have been a jeweller as well1 for we find in old inventories1 entries of finger rings described as the productions of the great prelate4 ,in the ,wardrobe ,account of ,edward ,i1 in #abii 7,liber ,quotidianus1 p4 #cdh71 is ,unus anulus auri cum saphiro qui fuit de fabrica ,sancti ,dunstani ut credebatur2 and in the inventory of that medival fop1 ,piers ,gaveston1 #acac 7,rymer1 ,foedera1 ,,ii1 i4 p4 #bjc71 is3 ,un anel d'or1 un saphir1 lequel seint ,dunstan forga de ses mayns4 ,the artistic traditions of the old ,saxon jewellers became almost the sole property of the clergy2 and the ,venerable ,bede1 writing at the commencement of the eighth century1 alluding to the monastic jewellers of his day1 describes how a skilled gold-worker1 wishing to do some admirable work1 collects1 wherever he can1 remarkable and precious stones to be placed among the gold and silver1 as well to show his skill as for the beauty of the work4 ,the description of these stones as chiefly of a ruddy or aerial colour would seem to indicate that garnets and turquoises had not even then been entirely supplanted by enamels4 ,certain it is that the earlier ,christian jewels retained for a time the technique of those of pagan ,saxondom4 ,for example1 the gold cross of ,st4 ,cuthbert 7d4 #fhg71 discovered in his tomb in ,durham ,cathedral in #ahbg and now preserved in the ,cathedral ,library1 is inlaid with garnets in the cloisonn manner 7,pl4 ,,xiii1 #c74 ,the internecine wars of the ,saxons and the early ravages of the ,norsemen1 from which ,england was delivered by ,alfred during the ninth century1 can have left the country little repose for the cultivation of the jeweller's art4 ,yet1 in spite of the unhappy condition of ,england1 the art1 judging from inscribed jewels noticed hereafter1 was still practised1 and needed only some presiding genius to awaken it to new life4 ,there is little reason to doubt that jewellery was among the foremost of the arts which ,alfred is known to have encouraged2 indeed1 his interest in such work is asserted by a well-sustained tradition4 ,and if the world-famed jewel to be described is1 as seems probable1 to be associated with ,alfred of ,wessex1 he must then have personally supervised the production of other contemporary jewels4 ,the ,alfred jewel1 the finest example left of ,anglo-,saxon craftsmanship1 and the most famous of all ,english jewels1 is preserved in the ,ashmolean ,museum at ,oxford4 ,it was found in #afic at ,newton 7or ,petherton7 ,park1 three miles from the ,isle of ,athelney1 ,somerset1 whither ,alfred had fled from the ,danes in the year #hgh1 and was presented to the museum in #agah by ,thomas ,palmer1 grandson of ,colonel ,nathaniel ,palmer1 near whose estate it was found4 ,the jewel is #b inches long1 #a-a_/e wide1 and half an inch in thickness4 ,it somewhat resembles a battledore in shape2 it is flat front and back1 while the other parts of its surface are rounded4 ,the obverse is of rock crystal1 beneath which is a plaque of semi-transparent cloisonn enamel of blue1 white1 green1 and brown1 representing the figure of a man4 ,upon the reverse is an engraved gold plate4 ,the smaller end of the oval is prolonged into the form of a boar's head1 from the snout of which projects a hollow socket4 ,around the sloping sides of the jewel1 from left to right1 runs the legend ,,aelfred ,,mec ,,heht ,,gewyrcan 7,alfred ordered me to be made71 in gold letters1 exquisitely chiselled in open-work upon the band which encircles the enamel and its crystal covering4 ,the whole of the goldwork is beautifully executed in filigree and granulation 7,pl4 ,,xiii1 #a1 #b74 ,illustration3 ,,plate ,,xiii ,,late ,,anglo-,,saxon ,,jewellery 7#g,,th-#i,,th ,,centuries7 ,there is considerable doubt as to the actual use of this precious jewel4 ,professor ,earle has placed it among the category of personal ornaments1 and holds that it was executed under the personal supervision of ,alfred the ,great1 and formed the central ornament of his helmet or crown4#bj ,the enamelled figure is probably intended for that of ,christ1 represented1 as is frequently done in early ecclesiastical art1 holding two sceptres4 ,the gold setting of the jewel1 it is generally agreed1 was made in ,england1 and in the opinion of many the enamel is of native origin4#ba #bj ,the ,alfred ,jewel1 p4 #de4 #aija4 ,others consider that the jewel was the head of a book-marker or pointer4 #ba ,m4 ,molinier 7,histoire gnrale des arts appliqus l'industrie1 ,,iv1 p4 #ic7 is of the opinion that the enamel is ,english1 and not1 as some hold1 of ,byzantine origin4 ,see also ,victoria ,county ,history of ,somerset1 ,i1 p4 #cgf4 #aijf4 ,somewhat similar in shape to the ,alfred jewel1 and probably employed for the same purpose1 is a jewel known as the ,minster ,lovel jewel1 which was found half a century ago in a village of that name near ,oxford1 and is now preserved in the ,ashmolean ,museum4 ,it is #a inches in length1 circular above1 with a projecting socket below4 ,the upper part is ornamented with a cross-shaped design in cloisonn enamel4 ,another remarkable jewel1 preserved in the ,british ,museum1 is termed the ,dowgate brooch1 or the ,roach ,smith nouche 7or brooch71 in memory of the learned and energetic antiquary whose property it once was4 ,the brooch was found near ,dowgate ,hill in ,thames ,street1 ,london1 in #ahci4 ,it is composed of a circular enamel representing a full-faced head and bust1 enclosed in a border of rich gold filigree covered with beaded ornament and set at equal distances with four pearls4 ,the fine cloisons of the enamel work are arranged so as to mark the outlines of the face1 a crown upon the head1 and the folds of the drapery of a mantle or tunic4 ,the dress is classical in appearance1 and seems to be fastened on the right shoulder#bb 7,pl4 ,,xiii1 #d74 #bb ,archologia1 ,,xxix1 p4 #gj1 ,pl4 x4 ,two other enamelled brooches of the same kind of workmanship1 also in the ,british ,museum1 are the ,townley brooch1 also known as the ,hamilton brooch1 which is said to have been found in ,scotland1 and the ,castellani brooch1 formerly in the collection of ,signor ,castellani1 and stated to have been found at ,canosa1 ,italy 7,pl4 ,,ix1 #i1 #aa74 ,the latter brooch is set with a circular enamel representing the bust of a royal personage wearing large earrings1 and upon the front of the dress a circular brooch with three pendants hanging below it4 ,at the lower part of the gold and enamel frame of the ,castellani brooch itself are three loops1 which must have held pendants exactly similar to those attached to the brooch worn by the enamelled figure4 ,pendants of this kind are represented1 as has been seen1 on the ,ravenna mosaics1 and appear to be characteristic of ,byzantine brooches4 ,and it is probable that this1 as well as the ,townley brooch1 as explained in the ,proceedings of the ,society of ,antiquaries 7#bnd ,series1 ,vol4 ,,xx1 p4 #fd71 is of ,continental origin4 ,though similar in some respects to the other enamelled jewels1 these two brooches differ considerably from them4 ,these differences1 says a recent writer1 seem to accentuate the difficulty of tracing the origin of this enamelled work4 ,it may well be that some of it was executed in this country by the craftsmen in the employ of ,king ,alfred2 but it may fairly be assumed that on the journeys to ,rome and elsewhere1 undertaken by ,ethelwulf1 ,alfred1 and ,ethelswitha1 they and their suites would acquire jewellery of this class1 which must have been comparatively common in ,rome1 and in other important centres at that time4#bc #bc ,catalogue of the ,alfred the ,great millenary exhibition in the ,british ,museum4 #aija4 ,the rings dating from the time of pagan ,saxondom are few and unimportant2 those1 on the other hand1 that belong to this later period1 though rare1 are more numerous1 and are of considerable historical and artistic interest4 ,it is somewhat curious that the finest date almost exclusively from the ninth century1 and that most of them are inscribed4 ,it is to this fact1 doubtless1 that they owe their preservation4 ,no ,anglo-,saxon rings1 as far as we are aware1 are ornamented with enamel4 ,many are enriched with inlays of niello4 ,gold rings thus inlaid sometimes have the appearance of having been enamelled1 for the niello seems to have a bluish tinge1 but this may be due1 as ,mr4 ,davenport suggests 7,anglo-,saxon ,review1 ,vol4 ,v71 to some optical effect caused by the yellow gold4 ,the most important inscribed ,saxon rings1 three in number1 are historical relics of the highest order4 ,they belonged respectively to ,alhstan1 ,bishop of ,sherborne 7#hbd-hfg72 ,ethelwulf1 ,king of ,wessex 7#hcf-heh71 father of ,alfred the ,great2 and ,ethelswith1 ,queen of ,mercia1 and sister to ,king ,alfred4 ,the ring of ,alhstan1 at once the earliest episcopal finger ring and the first in chronological order of these inscribed gold rings1 was found in #agec at ,llys-fn1 in the county of ,carnarvonshire4 ,it was one of the chief treasures of the famous collection of finger rings formed by the late ,edmund ,waterton1 and is now in the ,victoria and ,albert ,museum4 ,the initials of its owner are inscribed in niello upon four circular compartments1 separated by four lozenge-shaped compartments also inlaid with niello 7,pl4 ,,xiii1 #i74 ,the most famous of all ,english rings--une pice excessivement prcieuse1 says ,m4 ,fontenay1 par son originalit et son caractre--is that of ,ethelwulf1 ,king of ,wessex4 ,it is in the form of a bishop's mitre with only one peak1 and bears the inscription ,,ethelvvlf ,rx1 above which are two peacocks pecking at a tree4 ,the legend and subject are reserved in gold upon a nielloed ground4 ,the ring was picked up in its present bent condition in #aghj by a labourer in a field at ,laverstoke1 near ,salisbury1 where it had been pressed out of a cart-rut4 ,it is now in the ,british ,museum 7,pl4 ,,xiii1 #e74 ,the third of this remarkable series of inscribed rings is that of ,ethelswith1 ,queen of ,mercia1 daughter of ,ethelwulf4 ,it has a circular bezel1 in the middle of which is a rude representation of an ,agnus ,dei engraved in relief with a background of niello4 ,the inner side of the bezel is incised with the inscription ,symbol3 cross patte ,,eathelsvith ,,regna4 ,this beautiful ring was found near ,aberford1 in ,yorkshire1 about the year #ahgj1 and came into the possession of ,sir ,a4 ,w4 ,franks1 who bequeathed it to the ,british ,museum 7,pl4 ,,xiii1 #g74 ,several other ,saxon rings are preserved in the ,british ,museum4 ,among them is one with a plain hoop and beaded edges1 bearing around it in gold letters on a nielloed ground an inscription recording the name of the owner1 ,ethred1 and the maker ,eanred4 ,it was found in ,lancashire1 and bequeathed to the museum by ,sir ,hans ,sloane in #agec4 ,another ring 7found near ,peterborough in the ,river ,nene7 is peculiar for having two bezels opposite each other4 ,both sides of the hoop and each bezel are engraved with interlaced designs inlaid with niello4 ,the bezels are each flanked by three small beads of gold--a characteristic ornamentation of a certain class of ,teutonic and ,merovingian rings1 termed by the ,french bagues trois grains4 ,in the ,victoria and ,albert ,museum is a silver ring of unusual form4 ,it has an oval bezel #a inches in length1 engraved with convoluted ornament in five divisions1 the centre being filled with a serpent-headed monster4 ,it was found in the ,thames at ,chelsea in #ahef4 ,a type of ring which occurs more than once is formed of a hoop1 which widens gradually into a large oval bezel ornamented with bands of rich plaited goldwork4 ,one of these rings1 found at ,bossington1 near ,stockbridge1 is in the ,ashmolean ,museum4 ,it has in the centre a male portrait surrounded by the inscription1 ,,nomen ,,ehlla ,,fid ,,in ,,xpo 7,my name is ,ella2 my faith is in ,christ74 ,more remarkable1 perhaps1 than any of the above1 on account of the peculiar beauty of its workmanship1 is a gold ring in the possession of ,lord ,fitzhardinge1 and preserved1 together with the ,hunsdon jewels1 at ,berkeley ,castle4 ,it has a large bezel of quatrefoil form4 ,in the centre is a raised circular boss ornamented with a cross or wheel-shaped design in beaded gold4 ,radiating from this centre are four heads of monsters1 inlaid with thin lines of niello1 and having projecting eyes formed of dots of dark blue and dark brown glass or enamel4 ,the hoop of the ring1 of considerable girth1 is hexagonal in section4 ,at the junction of its ends at the back of the bezel1 immediately behind the monsters' ears1 it is finished with a graduated wire of filigree1 terminating with three small balls4 ,the ring dates from about the tenth century4 ,nothing is known concerning its discovery4 ,it is probably ,saxon1 but may be of ,irish origin 7,pl4 ,,xiii1 #aj74 ,beyond these finger rings and the enamelled jewellery1 we possess few other examples of later ,saxon ornaments2 yet there exist a small number1 which1 though executed somewhat after the manner of the older jewels1 probably belong to this later period of ,saxon art4 ,among such ornaments is a necklace from ,desborough1 ,northants1 and now in the ,british ,museum4 ,it is formed of beads of spirally coiled gold wire4 ,circular pendants1 having one side convex and the other flat1 alternate with gold pendants of various shapes and sizes1 set with garnets4 ,from the centre of the necklace hangs a cross 7,pl4 ,,xii1 #a74 ,one other ornament in the ,british ,museum1 particularly worthy of attention1 is a beautiful set of three ornamental pins of silver gilt1 which were found in the ,river ,witham1 near ,lincoln4 ,the three pins have heads in the shape of circular discs1 and are connected together by two oblong pieces of metal with a ring at each end4 ,the pins average four inches in length4 ,the interlaced ornament on their circular heads 7described in detail in the ,reliquary1 #bnd ,series1 ,vol4 ,x1 p4 #eb71 is arranged in four panels separated by radial divisions4 ,the penannular brooch1 known as the ,celtic brooch1 so common in other parts of the ,british ,isles about this period1 has rarely been found in ,england4 ,a few examples occur in close proximity to undoubted ,anglo-,saxon remains1 but they are confined mostly to the north of ,england4 ,its extreme rarity leads one naturally to the conclusion that it found but little favour in ,england4 ,in ,scotland and ,ireland1 however1 where it was almost universally worn1 this type of brooch attained1 as will shortly be shown1 the highest degree of excellence both in design and workmanship4 ,,chapter ,x ,,the ,,celtic ,,brooch ,in order to understand the condition of the arts in the more remote parts of the ,british ,isles1 subsequent to the introduction of ,christianity towards the middle of the fifth century1 one must remember the situation created by the invasions of the ,teutonic tribes1 whereby nearly the whole of northern and western ,europe relapsed into paganism1 while ,ireland and the western highlands of ,scotland alone remained faithful to the ,christian ,church4 ,during the earlier centuries of this period1 the designs and processes of the ,celtic crafts1 nurtured in these parts of the ,british ,isles by the ,church1 undisturbed by invaders1 and free from outside influences1 were brought to a state of high perfection4 ,the introduction of ,christianity into ,ireland by ,st4 ,patrick1 who doubtless brought with him ,european craftsmen1 had greatly encouraged the production of metal-work2 and though changes in design resulted1 the spiral patterns characteristic of ,celtic art were retained for a considerable length of time--longer in fact than in any other quarters4 ,it is unfortunate1 however1 that while a number of objects of early ,christian art from ,ireland and the ,scottish highlands have survived1 there is scarcely a single article of jewellery which is prior in date to about the ninth century ,a4,d4 ,the chief personal ornaments belonging to this later period1 i4e4 the ninth century onwards1 are a number of remarkable objects known as ,celtic brooches4 ,the ,celtic brooch1 as far as its origin and development are concerned1 shows no kinship with the bow or disc-shaped brooches already described1 though1 like them1 it probably originated among the primitive ,celts of the ,danubian region4 ,one theory derives its evolution from what is known as a ring-pin1 that is a simple pin1 the head of which1 primarily solid1 was afterwards pierced and fitted with a ring1 which in course of time increased in size and became highly ornamented4 ,another theory traces the ,celtic brooch from a combination of a long pin with the ancient dress fasteners--penannular rings furnished with knobs--such as are found in prehistoric graves1 and are even now worn by the natives of ,west ,africa4 ,this penannular brooch has been found not only in ,scotland and ,ireland1 but as far east as ,livonia1 and is actually still in use in ,algeria at the present day4 ,its peculiarity consists in the great size of its pin--one in the ,british ,museum measures #bb inches--the length of the pin being supposed to have corresponded to the rank of its owner4#bd ,in some of the earlier forms the ring is of the same breadth all round1 and merely cut across in one place for the passage of the pin4 ,but as a rule this penannular ring terminates in knobs1 and when the pin which travels round the ring has pierced the portions of the garments it is intended to unite1 the ring is pushed a little to one side and prevented by the terminal knobs from becoming unloosened4#be #bd ,proc4 ,soc4 ,antiq41 #bnd ,series1 ,,xix1 p4 #cjd4 ,such long stout pins could only have served to fasten coarse1 loosely woven fabrics4 #be ,j4 ,r4 ,allen 7,celtic ,art1 p4 #bai7 describes the exact function of this brooch1 and illustrates its use in ancient and modern times4 7,see also ,reliquary1 #bnd ,series1 ,i1 p4 #afb4 #ahid47 ,the developments in the form of this brooch show its evolution from a penannular to an annular ring4 ,in some--probably the earliest--examples1 the ring and the head of the pin terminate in bulbous knobs1 or in spherical ends ornamented with ,celtic designs and animals' heads4 ,in others the ends of the rings and the pin-heads are broadened1 in order to provide space for an elaborate surface decoration of interlaced work and zoomorphic and anthropomorphic designs similar to those upon the ,irish manuscripts4 ,finally1 the opening is closed and the ring becomes annular4 ,the finest examples of these brooches are preserved in the museum of the ,royal ,irish ,academy in ,dublin1 the ,national ,museum of ,antiquities of ,scotland in ,edinburgh1 and the ,british ,museum4 ,among the earliest--which are not1 however1 prior to the later ,anglo-,saxon period1 and make their appearance about the ninth century--are those with a plain penannular ring1 formed of a solid cylindrical rod of silver1 terminating with bulbous knobs furnished with expansions1 and often covered with a peculiar prickly ornamentation like thistle-heads4 ,specimens of this style of brooch have been found in ,ireland1 ,scotland1 and in the north of ,england4 ,the simplest of the silver penannular brooches with discoidal terminations in the museum at ,edinburgh is one from ,croy in ,inverness-shire4 ,it has ends expanding into circular discs with amber settings4 ,the most elaborate1 one of two known as the ,cadboll brooches1 found at ,rogart in ,sutherlandshire1 has four raised heads of birds1 two upon the circumference of each disc1 and two upon the ring4 ,the collection in the ,royal ,irish ,academy contains several splendid brooches of a similar type1 notably the ,kilmainham brooch from ,kilmainham1 ,co4 ,dublin1 the surface of which is ornamented with compartments of thin plates of gold tooled with interlaced patterns4 ,the terminations of the penannular ring soon become so expanded that they fill up exactly half the ring4 ,upon these flattened plaques1 which have just space enough between them for the pin to pass1 a serpent or dragon form is a frequent ornament1 as well as the intertwined triple ornament1 or triquetra1 while the surface is set at intervals with bosses of amber4 ,the most remarkable examples of this type are the ,university brooch in the collection of ,trinity ,college1 ,dublin1 and the ,clarendon brooch found in ,co4 ,kilkenny1 and now in the museum of the ,royal ,irish ,academy4 ,the main characteristic of the ,celtic brooch is that it is penannular1 that is1 its ring has an opening1 if not real1 at least apparent1 between its two ends4 ,for even when the narrow opening left between the enlarged ends is closed by a bar1 or is finally closed altogether1 the flattened plaques are ornamentally treated as if they were still disunited4 ,of this class of brooches with continuous rings there have survived two world-famed examples1 one from ,ireland and the other from ,scotland4 ,the first of these1 known as the ,tara brooch1 was found in #ahej on the seashore near ,bettystown1 ,co4 ,louth1 and received the title of ,tara on account of its beauty1 and after the celebrated hill of that name4 ,it is composed of white bronze thickly gilded4 ,the ring and expanded head of the pin are divided into a number of panels ornamented with examples of nearly every technical process1 being enriched with enamel-work1 niello1 and inlaid stones2 while the metal is hammered1 chased1 and engraved1 and filigreed with extraordinary delicacy4 ,the enamels1 of the cloisonn kind1 have been made separately and mounted like gems4 ,attached to the brooch on one side is a finely plaited chain2 a similar chain upon the other side has been lost4 ,the reverse of the brooch is unadorned with settings1 but decorated with a divergent spiral ornament known as the ,celtic trumpet pattern1 executed with very great perfection4 ,the probable date of this extraordinary jewel is the tenth century4 ,it is now the chief treasure of the museum of the ,royal ,irish ,academy1 for which it was bought in #ahfg for the sum of #bjj4 ,illustration3 ,,plate ,,xiv ,,the ,,tara ,,brooch 7,,national ,,museum1 ,,dublin7 ,the finest after the ,tara brooch1 and the most famous of ,scottish brooches1 is known as the ,hunterston brooch4 ,it was found in #ahbf on the estate of ,mr4 ,robert ,hunter1 of ,west ,kilbride1 ,ayrshire1 and is now in the ,national ,museum of ,antiquities of ,scotland4 ,it is somewhat similar to the ,tara brooch1 and of the same gilt metal1 but rather less ornate1 and unprovided with enamels1 glass pastes1 or chain4 ,its main ornamentation consists of varieties of interlaced work in fine gold filigree1 of singularly beautiful design and of remarkable execution4 ,the back is decorated with the trumpet pattern1 and engraved with ,runic characters4 ,the presence of the trumpet pattern upon the backs of these two famous brooches determines their date as prior to the eleventh century2 for the old ,celtic pattern disappears from brooches and from most ,irish and all ,scottish metal-work after the year #ajjj ,a4,d41 and is succeeded by varieties of interlaced work and zoomorphic designs4#bf ,the later ,celtic brooches differ besides in form1 for the pin is longer in proportion to the size of the ring1 and its head is hinged upon a constriction of the ring1 which itself becomes partly filled up4 #bf ,anderson 7,j471 ,scotland in early ,christian times1 #bnd ,series4 #ahha4 ,the ,celtic brooch is distinct in itself1 and does not merge into any other form4 ,it disappears entirely about the thirteenth century1 and is succeeded by a totally different type of brooch1 which belongs to the ornaments of the later ,middle ,ages4 ,,the ,,jewellery ,,of ,,the ,,middle ,,ages 7,,tenth ,,to ,,fifteenth ,,centuries7 ,,chapter ,,xi ,,medi,,val ,,jewellery ,,introduction ,to the student of jewellery the ,middle ,ages offer far greater problems than the periods of classic antiquity4 ,the main reason for this is to be found in the fact that throughout medival and later periods ornaments were more closely associated with dress1 and dress itself became subject to the most marked changes and constant divergences of fashion4 ,in the days of antiquity1 so far as our knowledge goes1 the idea of fashion1 in the present sense of the term1 did not exist4 ,but in the ,middle ,ages1 as ,luthmer points out1 it becomes an important factor in the history of civilisation4 ,the duration of each prevalent fashion tended to become shorter and shorter1 and the new mode was usually an absolute contrast to the preceding one4 ,though ornaments1 owing to their higher material value1 did not alter with each successive change in dress1 nevertheless they underwent rapid variations of style4 ,the custom of burying objects in graves1 which continued for a considerable time after the introduction of ,christianity1 affords a tolerably clear idea of the various ornaments worn during the earlier periods of the ,middle ,ages4 ,coming to a later period1 from the time of the first ,crusade onwards1 discoveries in the graves are extremely rare1 and one has to look in many directions for information respecting the articles then in use4 ,though there seems to have been an immense production of personal ornaments throughout the whole of ,europe1 their intrinsic value has been too great to allow of their preservation2 and the artistic qualities of those that have survived cause one to regret all the more the wholesale destruction that must have occurred4 ,the jewels of the period are1 in fact1 so few in number1 and furnish such striking varieties1 that it is impossible to give an exhaustive synopsis of the different changes that took place in their form4 ,the utmost that can be attempted is to take single characteristic pieces and allow them to stand as types of the whole epoch4 ,personal ornaments at this time began to have a wider significance than that of being merely decorations pleasant to the eye4 ,their material value comes more in the foreground4 ,they began to form the nucleus of family and household treasures4 ,the uncertain conditions of life made it desirable for the individual to have his most precious possessions in a portable form4 ,an unfortunate war or royal displeasure might cost a prince or baron his land or his castles2 but his movable goods1 consisting of precious stones and gold and silver ornaments1 were not so easily exposed to the vagaries of his superiors4 ,thus the numerous inventories of household goods that have come down from those times show an astounding increase in the matter of jewels and treasures among the great and lesser grandees1 both secular and ecclesiastical2 while there is a corresponding advance at the same time in craftsmanship4 ,to this change in the significance of ornaments is to be attributed their rarity in graves4 ,jewellery had1 in fact1 assumed the character of money passed from hand to hand1 and was constantly1 so to speak1 recoined2 for even if held in steadfast possession it had to submit to changes of fashion and undergo frequent resetting4#bg ,particularly was this the case at the period of the ,renaissance1 when almost everything ,gothic was remodelled4 #bg ,luthmer 7,f471 ,gold und ,silber1 p4 #ej4 ,tombs1 then1 supply little or no information2 and for the present purpose one may make shift to use the chance descriptions of romancers1 and such pictorial representations of jewellery as are presented by effigies on brasses1 tombstones1 and other monumental sculpture1 and also by illuminated manuscripts4 ,monumental effigies show a number of accurately executed personal ornaments1 which1 belonging as they do mainly to sovereigns and individuals of wealth and distinction1 may be taken as the highest types of those then worn4 ,the miniatures and decorations of manuscripts executed towards the end of the period under review also afford considerable assistance2 for illuminators were intensely fond of introducing jewels among the plants1 flowers1 birds1 and butterflies minutely depicted on ornamental borders4 ,the inventories of personal effects made for various purposes1 and often full of graphic details1 throughout the whole of the period supply absolutely trustworthy evidence as to contemporary ornaments4 ,pictures1 which are among the chief sources of information1 are not at one's disposal until towards the termination of this epoch1 but such as were produced during the later ,gothic style1 particularly in ,italy1 ,germany1 and the ,low ,countries1 furnish numerous examples of jewellery painted with loving care and minute detail4 ,even from these sources of information1 however1 one could form but an inadequate idea of the precise character of medival jewellery4 ,but1 while the various reasons mentioned have resulted in the general destruction of articles made for secular use1 among precious objects consecrated to religious uses a small number of personal ornaments have been preserved4 ,this may be due1 perhaps1 to the sanctity of the places containing them1 or perhaps to the precautions of their guardians1 who have hidden them in time of trouble4 ,they have survived many and strange vicissitudes1 and their safety is now secured by a new-created archological value1 in place of the religious devotion which was their former guardian4 ,in the treasury--an edifice attached to the church--there was kept in early times1 among the vestments and plate used in its services1 a vast collection of reliquaries and jewels gradually brought together1 and preserved as memorials of the piety of the faithful4 ,in numerous cases the treasury must have constituted a veritable museum1 exhibiting examples of jewellery of each successive style4 ,some idea can be formed of the immense scope1 as well as of the magnificence of its contents1 from the early inventories which archologists of recent years have taken pains to gather together and publish4 ,the relative abundance of jewellery of ,merovingian and ,frankish times1 and the great rarity of jewellery from the ninth century onwards1 are phenomena observable in every museum4 ,the reason for this lies in the fact that until the time of ,charlemagne 7#gdb-had7 the dead were buried with their weapons and with every article of jewellery4 ,the ,emperor forbade this mainly as a heathen practice1 but largely because he saw the disadvantage of so many costly objects being withdrawn from circulation1 with consequent loss to the national resources4 ,this almost complete absence of examples renders it difficult to estimate precisely the style of ornaments then in use4 ,but as far as can be judged1 ,byzantine influence seems to have affected all forms of jewellery4 ,it is known1 at all events1 that until about the twelfth century active commercial transactions between ,france and ,germany on the one hand1 and ,byzantium on the other1 were carried on by way of ,venice4 ,not only did ,byzantine workmen settle in the great seaport of the ,adriatic1 but imitations of work from the ,eastern ,roman provinces were probably made there at an early date by native artists4 ,such traffic appears to have been particularly active during the ,carlovingian period2 while the close friendship of ,charlemagne with ,haroun al-,raschid1 the celebrated caliph of the ,saracens1 renders it further probable that models of ,oriental art abounded in the ,west in the ninth century4 ,these were not merely confined to articles of jewellery and other goldsmith's productions1 but included also sumptuous dress materials interwoven with threads of gold1 embroideries studded with gems and pearls1 and other objects which the splendour of the rulers of the ,west and the princes of the ,church borrowed from the magnificence prevalent in the ,east and at the ,byzantine ,court4#bh #bh ,luthmer1 op4 cit41 p4 #gb4 ,the ,eastern influence which during the fourth and fifth centuries had come westwards by way of ,byzantium1 and had acquired new power owing to the sovereignty of the ,arabs in ,spain and ,sicily during the eighth and ninth centuries1 increased considerably at the time of the ,crusades4 ,the knights and princes of the ,west brought back not only impressions of culture from ,syria and ,palestine1 but also actual specimens of gold ornaments and precious stones4 ,there then began an invasion of skilled workmen from the towns of ,asia ,minor1 and a regular importation of such treasures by the merchants of the ,italian republics1 to wit1 ,venice1 ,genoa1 and ,pisa1 who1 under the banner of the ,cross1 re-established their trade with the ,east4#bi #bi ,ibid41 p4 #ej4 ,until about the twelfth century ornaments followed for the most part the style of those in use in the ,eastern ,roman provinces4 ,some were adorned with cloisonn enamel introduced from ,byzantium1 and first executed by ,continental workmen about the eighth century4 ,cloisonn1 however1 was1 in turn1 abandoned for champlev enamel1 the manufacture of which upon the ,lower ,rhine had been encouraged by the ,church1 through the instrumentality of the ,greek monks4 ,by the beginning of the twelfth century1 the ,west seems to have become lastingly independent of the ,east1 even with regard to its ornaments1 as may be inferred from various remarkable productions in gold and silver1 and particularly in gilded copper adorned with champlev enamel1 such as shrines and other sacred objects4 ,many of these are still preserved in the ecclesiastical treasuries of ,germany1 while museums at home and abroad all possess beautiful examples4 ,though the personal ornaments of this period are now almost entirely lost to us in the original1 there has yet been preserved a treasure of inestimable value in the form of a technological manual handed down from the ,middle ,ages4 ,the work referred to is the famous treatise of ,theophilus entitled ,schedula ,diversarum ,artium1 which describes the technical processes of almost all the industrial arts cultivated eight centuries ago--the treatise being written shortly before the year #aajj4cj ,after describing his workshop1 ,theophilus mentions his tools1 and proceeds to describe minutely the various processes necessary for the metal-worker to understand2 and shows how the goldsmith was required to be at the same time a modeller1 sculptor1 smelter1 enameller1 jewel-mounter1 and inlay-worker4 ,altogether1 to judge from the directions there given1 more especially those relating to the technical work of the goldsmiths1 these ,schedul would seem to reflect the ancient knowledge and practices of ,byzantine workmen1 of which1 however1 the goldsmiths of the twelfth century appear to have become completely independent4 #cj ,ilg 7,a471 ,theophilus ,presbyter1 p4 xliii4 ,the perfection of artistic work attained by the monasteries led to the production of sumptuous objects to meet the requirements of the ,church in connection with its services1 while costly shrines were made to contain the numerous relics brought home by pilgrims from the ,holy ,land4 ,during the period of the ,romanesque and early ,gothic styles personal ornaments became objects of lesser importance than articles for ecclesiastical use4#ca ,the enamel-work for the decoration of ornaments was mostly executed at ,limoges1 which was then rising to importance as the chief centre for the production of enamels4 ,the process employed was champlev1 generally upon copper4 ,such ornaments as buckles1 and brooches or morses1 for the belts of knights or the vestments of ecclesiastics1 were produced in considerable numbers at ,limoges1 and found their way all over the north-west of ,europe4 ,the trade-guilds of ,limoges were probably more active in this kind of enamel than those situated upon the banks of the ,rhine1 whose work seems to have been devoted principally to shrines and objects for the use of the ,church4 ,ornaments of the above types were executed during the greater part of the twelfth century and throughout the thirteenth1 but their manufacture ceased in the century following1 when ,limoges was sacked by the ,black ,prince4 #ca ,cunynghame 7,h4 ,h471 ,european enamels1 p4 #fi4 ,from the beginning of the thirteenth century a change takes place with the appearance of the ,gothic style4 ,forms become slighter and more elegant1 and exhibit greater delicacy and detail in their workmanship4 ,hitherto goldsmith's work1 however beautiful from the cumulative effect of precious stones and enamels1 was little more than conventional1 nay1 almost barbaric1 in its representations of the human figure2 but the revival in the art of figure sculpture led to a considerable use being made of the human figure executed in full relief4 ,just as in the ,romanesque period1 so during the time when ,gothic art reigned supreme1 architecture left its impress on every work of art2 and jewellery and other goldsmith's work1 as well as ivories1 seals1 and even shoes1 were ornamented with the designs of ,gothic architecture and with pierced open-work patterns1 like the window tracery of the great cathedrals--termed ,paul's windows by the masses4 ,improved skill in design and workmanship became incompatible with the retention of the older and coarser enamel-work1 and without relinquishing a medium which by the brilliancy of its colouring was eminently suited to the works of the goldsmith1 the thirteenth-century craftsman obtained the desired result by the use of translucent enamel upon metal1 usually silver1 chased and modelled in low relief4 ,the beauty of this basse-taille enamel1 producing1 as it were1 transparent pictures1 enabled the artist frequently to dispense with coloured gems1 and retain only pearls1 whose delicate hues harmonised better with his work4 ,occasionally1 however1 pearls1 precious stones1 and translucent enamels were employed together with brilliant effect4 ,gothic ornaments of the fourteenth and fifteenth centuries show a peculiar love for figurative and architectural motives which exhibit astonishing technique and beauty of form4 ,towards the middle of the fourteenth century there came into use enamel on full relief 7mail en ronde bosse74 ,in the inventories of the time1 where it is frequently mentioned1 this enamel1 usually opaque white1 is termed mail en blanc4 ,so charming was the contrast of white1 marble-like figures by the side of gold1 bright coloured stones1 and polychrome enamels1 that for upwards of three centuries goldsmiths continued to apply this species of enamel to jewels4 ,it was particularly characteristic of the fifteenth century4 ,several brooches ornamented with it will be referred to later 7p4 #adc72 but the most remarkable example of its use is the wonderful votive jewel of ,french workmanship termed ,das ,goldene ,rssel1 in the treasury of the abbey church of ,altoetting1 in ,bavaria1 which dates from about #adjj4cb ,the minute repouss figures on sixteenth-century jewels were usually coated with white enamel2 and jewellery maille de blanc is often alluded to in inventories4 ,this species of enamel was discarded in the seventeenth century1 when figures in relief went out of fashion for jewellery4 #cb ,kunstdenkmale des ,knigreiches ,bayern1 ,i1 iii1 p4 #bcfd4 #aijc4 ,though towards the close of the ,middle ,ages the art of cutting precious stones and even diamonds was certainly practised1 yet it is to be observed that throughout the whole period jewellery is set as a rule with stones en cabochon1 i4e4 with their surfaces rounded and polished in a convex shape1 but not faceted4 ,the stone treated thus preserves its own character and individuality2 and much of the charm of early jewellery is due to this very fact4 ,from the middle of the thirteenth century enamel in general1 though applied to jewels of commoner kinds1 is chiefly limited to the more sumptuous ornaments of the clergy4 ,but with the beginning of the fourteenth century the delight in jewellery enriched with enamels and precious stones is again revealed in the costumes of the laity4 ,at the ,french ,court of ,john ,,ii 7le ,bon1 d4 #acfd7 and ,charles ,v 7d4 #achj71 where the princes of the royal blood strove to outrival one another in luxurious display1 personal adornments attained an extraordinary degree of splendour1 and were worn to an excess of ostentation4#cc #cc ,some estimate of their magnificence and extent may be obtained by means of contemporary inventories4 ,the most remarkable inventory is perhaps that of ,john's eldest son1 ,charles ,v--the ,wise--drawn up in #acgi and published by ,j4 ,labarte4 ,scarcely less remarkable are the jewel inventories of his three other sons1 ,louis ,duke of ,anjou1 ,john ,duke of ,berry1 and ,philip 7le ,hardi7 ,duke of ,burgundy1 which have been published respectively by ,l4 de ,laborde1 ,j4 ,guiffrey1 and ,b4 ,prost4 ,this extravagance of fashion declined for a time owing to the wars with ,england1 but attained its full development in the dress of the ,burgundian ,court4 ,the splendour of the ,burgundian dukes1 outshining that of their feudal lieges the kings of ,france1 and casting into the shade the rude grandeur of the ,german emperors1 gave a new impetus to the use of articles for personal decoration1 and for a time set the fashion for every country of northern ,europe in all matters of style as well as of ornament4 ,outside of ,italy1 which perhaps excelled in point of culture1 the ,court of the dukes of ,burgundy during the fifteenth century was the richest and most luxurious in all ,europe4 ,the sway of this powerful ,house extended over the ,low ,countries1 whose ports after ,venice were the centres of ,oriental commerce and whose inland towns1 such as ,arras1 ,brussels1 and ,ghent1 vied with one another in weaving the products of the ,east into all manner of rich stuffs4 ,not only silks1 but pearls and precious stones of all descriptions1 found an entrance through the great port of ,bruges2 and hardly a garment is depicted by the ,flemish masters which1 particularly in the case of the ecclesiastics1 is not thick-sewn with ,oriental pearls and stones4 ,a survey of records containing descriptions of personal property1#cd and an examination of contemporary pictures--always the most fascinating document in regard to personal ornament--reveal a widespread luxury4 ,not only at ,court1 but in the everyday life of street and mart1 costumes formed of magnificent stuffs were habitually worn1 which required to be set off by jewels of an equally rich description4 ,the warmth of the ,italian climate demanded no such wealth of apparel as was essential to comfort in the more northerly countries2 hence profusion of personal ornament was less generally indulged in throughout ,italy during the same period4 ,this special love of jewellery and consequent taste and skill acquired by the goldsmiths was shared by the painters of the day4 ,with a high degree of finish and brilliancy1 they introduced into their pictures faithful representations of all the rich ornaments then in vogue4 ,unfortunately actual examples of the splendid jewels of this time are now of the utmost rarity1 but such as have survived1 chiefly in the form of rich enamelled brooches1 reflect in their execution the technical perfection and in their design the whole-hearted realism which display themselves to the full in the paintings of the early ,flemish school4 #cd ,several inventories of the contents of the ,burgundian treasury have been preserved4 ,lists of the magnificent jewels of two of the most powerful and wealthy1 those of ,philip the ,good 7#acif-adfg7 and his son ,charles the ,bold 7#adcc-adgg7 have been published by ,laborde in his ,ducs de ,bourgogne1 ,pt4 #b1 ,vol4 ,,ii4 ,illustration3 ,collar of the ,order of the ,golden ,fleece1 made in #adcb by ,john ,peutin of ,bruges1 jeweller to ,philip the ,good1 ,duke of ,burgundy4 7,from the portrait of ,baldwin de ,lannoy by ,john van ,eyck at ,berlin47 ,,chapter ,,xii ,,medi,,val ,,england ,a few brooches and finger rings are almost the only surviving examples of ,english jewellery of the eleventh to the fifteenth centuries4 ,yet there is evidence from existing records of an abundance of the most beautiful objects as accumulated in the ecclesiastical treasuries1 and the great shrines1 like that of ,st4 ,thomas of ,canterbury1 or of ,our ,lady of ,walsingham ,priory1 which not even the ,santa ,casa at ,loreto1 or the shrine of ,st4 ,james at ,compostella1 could surpass in renown1 or equal in the reception of rich and costly gifts4 ,vast quantities of jewelled objects1 which must have been in great part native productions1 have also been tabulated in the inventories of our monarchs1 princes1 guilds1 and corporations4 ,judging from extant examples of ,english painted glass1 sculpture1 and particularly embroidery1 some estimate can be formed of the high quality of the goldsmiths' work1 which was scarcely excelled in the ,middle ,ages by that of any other country in ,europe4 ,the ,english goldsmiths1 in fact1 after the ,norman ,conquest seem to have lost none of the skill which is displayed on their earlier productions4 ,,tn3 no footnote marker in the text for this footnote ,de ,mly and ,bishop1 ,bibliographie gnrale des inventaires imprims1 #ahib-ie4 ,a love of finery seems to have characterised the ,court of ,william the ,conqueror and his successors4 ,the jewellery of the ladies became exceedingly extravagant1 and is bitterly inveighed against by the religious satirists4 ,neckam1 an ,anglo-,latin poet1 towards the close of the twelfth century1 accuses them of covering themselves with gold and gems and of perforating their ears in order to hang them with jewels4 ,henry ,i had the tastes of a collector4 ,that he collected gems is known from a letter written by a prior of ,worcester to ,edmer1 ,anselm's biographer1 in which he suggests that for money ,henry might be persuaded to part with some pearls4#ce ,king ,john was greatly attached to his jewels1 and their loss in the ,wash is commonly supposed to have hastened his death4 ,the record is preserved concerning the loss on an earlier occasion of certain of his precious stones which we are wont to wear round our neck4 ,the stones must have been credited with miraculous powers1 for their finder was very liberally rewarded4#cf ,henry ,,iii1 one of the most indigent of monarchs1 made such extravagant presents of jewellery to his wife1 that he was afterwards obliged to pawn not only his regalia1 but a considerable portion of the jewels and precious stones accumulated at the shrine of ,edward the ,confessor at ,westminster ,abbey4 #ce ,bateson 7,m471 ,medival ,england1 p4 #ac4 #cf ,ibid41 p4 #adh4 ,dating first from about this period are a number of inventories of personal ornaments2 and it is by a perusal of the inventories of the most wealthy1 and particularly those of sovereign princes1 that an estimate can be obtained of the nature of every type of ornament in use at the period1 in its most elaborate form4 ,among the earliest and most important royal inventories that have been published are those preserved in the ,wardrobe ,account 7,liber ,quotidianus7 of ,edward ,i1 for the year #abii4cg ,the jewels 7jocalia7 include a large number of morses or clasps 7firmacula7 given by the king to bishops1 and restored after their deaths1 and similar objects offered by the king or queen to various shrines2 while among other jewels are brooches or nouches 7nouche71 many rings 7anuli71 a pendant 7pendulum71 belt 7zona71 bracelet 7braccale71 and baldrick 7baudre74 ,about this time masses of precious stones1 the spoils of the ,crusades1 began to find their way into this country1 and to be employed for broidering or sewing upon the garments4 ,edward ,,ii and his extravagant favourites1 such as the worthless ,piers ,gaveston1 loaded themselves with precious stones4 ,lists of jewels belonging to ,gaveston on his attainder in #acac1ch and to the king in #acbd1 show the magnificence of their ornaments1 and the vast sums at which they were valued4 ,the king's jewels1#ci described in considerable detail1 are inventoried under the following headings3 7a7 ,stones and other objects1 7b7 ,crowns of gold and silver1 including cercles and chapeletz1 7c7 ,brooches 7fermails7 of gold1 7d7 ,fleures de liz1 7e7 ,rings 7anelx7 of gold1 7f7 ,girdles 7ceintres7 and diadems 7tressoures74 ,from this time onward there is an increase of such documents and of wills1 and also of sumptuary laws specially connected with personal ornaments4 #cg ,published by the ,society of ,antiquaries in #aghi4 pp4 #ccb-cec4 #ch ,rymer1 ,foedera1 ,,ii1 #a1 pp4 #bjc-bje4 #ci ,kalendars and ,inventories of the ,exchequer1 ,,iii1 p4 #acg4 ,the brilliant reign of ,edward ,,iii#dj was favourable to the full display of jewellery4 ,new luxuries were imported in great abundance1 and there was hardly a lady of position who had not in her possession some portion of the spoils of plate and jewels from cities beyond the sea2 while those who1 like the ,knight of ,chaucer1 had been at ,alexandra when it was won1 returned with cloth of gold1 velvets1 and precious stones4 ,in the thirty-seventh year of this reign 7#acfc7 the ,parliament held at ,westminster enacted several sumptuary laws against the extravagant use of personal adornment4 ,these state what costume is suited to the various degrees of rank and income1 and are of value for the information they supply on the prevailing fashions in jewellery4 ,restrictions of this kind1 re-enacted from time to time1 and apparently of little effect1 seem to have been intended not so much to prevent the gratification of an instinctive desire for bravery and splendour1 as to make different classes proclaim their rank and station by their dress4 #dj ,see list of his jewels in ,inventories of the ,exchequer1 ,,iii1 p4 #aff1 and his ,great ,wardrobe ,accounts 7,archologia1 ,,xxxi1 p4 #ee74 ,chaucer in the ,prologue of his ,canterbury ,tales affords in a charming manner additional information about the personal ornaments of the different grades of ,english society of his time4 ,he gives detailed description of the brooch of the yeoman and the nun1 and pictures the merchant with his richly clasped shoes1 the squire with short knife and gypcire 7purse7 at his girdle1 the carpenter's wife with her collar fastened by a brooch as broad as the boss of a buckler1 and various tradesmen who1 in spite of sumptuary laws1 wore pouches1 girdles1 and knives of silver3-- ,hir knives were ychaped not with bras ,but all with silver wrought ful clene and wel ,hir girdeles and hir pouches every del4 ,the passion for personal ornaments1 or bravouries as they were termed1 reached its zenith in ,england during the reign of the elegant and unfortunate ,richard ,,ii1 whose courtiers outvied one another in such extravagances4 ,an anonymous writer of the period quoted by ,camden in his ,remaines concerning ,britain speaks of hoods1 even those worn by men of moderate means1 as commonly set with gold and precious stones1 while their girdles are of gold and silver1 some of them worth twenty marks4 ,the king1 in constant want of money1 was obliged on several occasions to deposit the royal jewels with the ,corporation of ,london as security for loans1 and detailed lists of the objects selected for the purpose are preserved in the inventories of the ,exchequer1 and among the city archives4 ,in spite of attempted restrictions1 and notwithstanding the disastrous ,wars of the ,roses1 immense demands appear to have been made upon the productive powers of the jewellers throughout the whole of the fifteenth century4 ,the remarkable list of ,henry ,,iv's jewels in the inventories of the ,exchequer1 and the most important of royal ,english inventories of the ,middle ,ages1 that taken after the death of ,henry ,v in #adbb 7,rotuli ,parliamentorum1 ,,iv1 pp4 #bad-bda71 serve to show that until the end of the century1 which may serve as the termination of the period1 extraordinary extravagance in the style and nature of ornaments as well as of costume was the order of the day4 ,every one who had acquired wealth1 or even a modest competence only1 displayed a magnificence far beyond his means4 ,it was a time when wealth was required in a compact and tangible form4 ,owners did not hesitate to melt down their jewels when desirous of employing them for other purposes4 ,the change of taste which shortly came about tended towards similar destruction2 while the ,wars of the ,roses involved the breaking up of much that was most sumptuous in material and beautiful in workmanship4 99 99 99 ,throughout the whole of the ,christian ,middle ,ages the highest efforts of the goldsmith were directed to the enrichment of the ,church and the adornment of its ministers1 and the magnificence which the ritual of the ,church fostered found expression in the jewelled ornaments of ecclesiastic vestments4 ,in ,norman times ecclesiastical jewellery was extremely luxurious and costly1 and the illuminations of the period show the cope and chasuble richly bordered with precious stones4 ,st4 ,thomas ,becket wore an extraordinary profusion of jewels1 and descriptions are preserved of the magnificence of his own person and of his attendants during a progress he once made through the streets of ,paris4 ,innocent ,,iii1 memorable in this country as the ,pope to whom the pusillanimous ,john surrendered his crown1 is recorded to have commented on the richness of the costumes and ornaments of the ,english clergy1 with a hint at the possibility of extracting further sums for the increase of the papal revenue4 ,the early inventories all record the splendour of the vestments used in public worship1 and show how pearls1 precious stones1 and even ancient cameos1 all rendered more beautiful by exquisite settings1 were employed for their enrichment4 ,no bishop1 indeed1 was suitably equipped without a precious mitre with delicate goldsmith's work and inlaid gems1 without a splendid morse or brooch to fasten his cope1 and without a ring1 set with an antique gem or a stone en cabochon1 to wear over his embroidered glove4 ,of all these rich ornaments scarcely any examples have survived save a number of rings recovered from the graves of ecclesiastics4 ,all the more precious1 therefore1 are the jewelled ornaments bequeathed in #adjd by ,william of ,wykeham1 ,bishop of ,winchester1 to ,new ,college1 ,oxford1 where they are still preserved as relics of its munificent founder4 ,these unique examples of medival jewellery date from the closing years of the fourteenth century--the period of transition from ,decorated to ,perpendicular architecture3 a time when ,gothic art had reached its climax2 and not only the architect1 but the painter and the goldsmith were still devoting their utmost efforts on behalf of the ,church1 the centre of the whole medival system4 ,illustration3 ,,plate ,,xv ,,william ,,of ,,wykeham',s ,,jewels ,,new ,,college1 ,,oxford ,the ,new ,college jewels originally decorated ,william of ,wykeham's precious mitre 7mitra pretiosa74 ,portions of the groundwork of the mitre sewn with seed pearls1 and its original case of cuir bouilli or boiled leather1 stamped with fleurs-de-lis and bound with iron straps1 are still preserved in the ,college4 ,among the jewelled fragments are hinged bands of silver gilt1 formed of plates of basse-taille enamel representing animals and grotesques1 which alternate with settings of dark blue pastes and white crystals surrounded by radiating pearls4 ,these bands probably went round the lower part of the mitre1 and also perhaps ran up the middle of it1 before and behind4 ,the crests of the mitre were edged with strips of exquisitely chased crocketing in gold4 ,the other fragments include two rosettes of beautifully executed ,gothic foliation set with white crystals1 together with two quatrefoils in silver gilt and a cruciform gold ornament set with turquoises4 ,the chief treasure of the ,new ,college collection is an exquisite gold jewel1 a monogram of the ,blessed ,virgin1 the patron saint of the ,college of ,st4 ,mary of ,winton in ,oxford4 ,it is a crowned ,lombardic ,m2 and might be the rich capital of some medival manuscript1 with its gorgeous colouring faithfully translated into gold1 enamel1 pearls1 and precious stones4 ,in the open parts of the letter are figures of the ,virgin and the ,angel of the ,annunciation in full relief1 the angel's wings being covered with enamel of translucent green4 ,the space above the head of each figure is occupied with delicate architectural work of open cuspings4 ,in the centre of the jewel is a large ruby in the form of a vase1 from which spring three lilies with white enamelled blossoms4 ,on each side of the vase are three small emeralds4 ,remarkable taste is shown in the arrangement of the precious stones3 fine emeralds and rubies1 en cabochon1 mounted alternately in raised settings round the jewel4 ,two stones1 a ruby on the left and an emerald on the right1 are missing4 ,the rest of the mountings are ,oriental pearls somewhat discoloured by age 7,pl4 ,,xv1 #a74 ,it is generally considered that the jewel adorned and occupied a central place on the mitre1 and its dimensions 7#b by #b inches7 render its employment in that position probable4 ,as1 however1 there are no indications of such an ornament on contemporary representations of mitres1 and above all on the mitre figured on the founder's own tomb at ,winchester1 there remains the possibility of the jewel having been employed as a brooch or nouche on some other part of the vestment4 ,this remarkable jewel stands quite alone in point of excellence4 ,it goes far to justify the contention that ,english jewellers at this period1 as well as in ,saxon times1 equalled1 if they did not outstrip1 the craftsmen of other nations in the successful cultivation of the goldsmith's art4 ,illustration3 ,interior of a jeweller's shop4 ,from ,kreuterbuch 7,frankfort1 #aecf74 ,,chapter ,,xiii ,,the ,,mystery ,,of ,,precious ,,stones ,one of the most curious and interesting facts in connection with the jewellery of the ,middle ,ages is the peculiar respect which seems to have been paid to precious stones4 ,in a scientific age1 says ,mr4 ,paton1 it is difficult to apprehend and sympathise with the state of mind which endowed natural objects with the properties of charms and fetiches4 ,before it was the habit to trace phenomena to natural causes1 faith in occult powers was strong1 and credulity exercised a marked influence on the habits and actions of the people4#da ,precious stones1 on account of the mystery and romance attaching to most things of ,eastern origin1 had long attracted to themselves a superstitious reverence2 so that their choice and arrangement1 which appear to us merely arbitrary nowadays1 had in the ,middle ,ages a distinct meaning consecrated by traditions dating back from very ancient times4 ,every stone1 like those which enriched the breast-plate of the ,high ,priest1 and those which in ,st4 ,john's vision formed the foundations of the ,heavenly ,jerusalem1 was supposed to possess special powers and virtues4 ,abundant proof of this is exhibited in the medival inventories1 where the beauty or rarity of a stone counted for infinitely less in the estimation of its value than the reputed talismanic virtue1 such as the toadstone1 for example1 was supposed to possess4 ,the medival literature of precious stones1#db wherein is expounded their medicinal virtues or their supernatural powers in baffling evil spirits1 is based on a classical poem of about the fourth century ,a4,d41 entitled ,lithica1 which claims to be a statement of their magic properties made by the seer ,theodamas to the poet ,orpheus4 ,similar belief in the virtues of precious stones was still in existence in the sixteenth century1 and finds an exponent in ,camillus ,leonardus1 physician to ,csar ,borgia1 in his work entitled ,speculum ,lapidum1 published at ,venice in #aejb4 ,even as late as the following century the use of precious stones as charms was more than half sanctioned by the learned1 and in his ,natural ,history ,bacon lays it down as credible that precious stones may work by consent upon the spirits of men to comfort and exhilarate them4 ,the learned lawyer and philosopher1 indeed1 was not in this much superior to the plain and simple folk who still imagined that every precious stone had some mystic value communicable to the wearer4 ,about the same time ,de ,boot1 or ,boethius1 the learned physician to the ,emperor ,rudolf ,,ii1 published his famous ,lapidary1 which ,mr4 ,c4 ,w4 ,king recommends as a work worthy of especial study for the properties of stones1 and mentions how it draws a distinction that curiously illustrates the struggle then going on between traditional superstition and common sense4#dc #da ,paton 7,j471 ,scottish national memorials1 p4 #ccg4 #db ,the foremost interpreter of their mysteries in the ,middle ,ages was ,marbode1 ,bishop of ,rennes 7#ajie-aabc71 in his ,de ,lapidibus ,pretiosis ,enchiridion4 #dc ,king1 ,precious stones1 p4 #ab4 ,treatises on precious stones frequently find a place in sixteenth-century ,herbals1 and are often accompanied by very spirited woodcuts representing the working of precious stones and the process of adapting them to personal ornaments1 together with designs of actual articles of jewellery in which they are set4 ,two of the finest books of the kind are--an ,ortus ,sanitatis 7,strasburg1 circa #adig71 and a ,kreuterbuch printed at ,frankfort in #aecf4 ,with the advance of ,christianity the representation of the subjects of pagan mythology was forbidden by law2 but the old ideas were retained for many years1 and small objects like cameos or intaglios were carried about concealed upon the person4 ,later on1 when all knowledge of classical art had sunk into oblivion1 such stones became prized not only for the subjects engraved on them1 which their medival owner seldom understood1 but also for the fact that they were supposed to possess special talismanic virtues4 ,the majority of these gems were mounted as rings or as seals of secular and ecclesiastical personages of rank4 ,preserved among the ,harleian ,,mss4 in the ,british ,museum is a thirteenth-century ,,ms4 7quoted by ,mr4 ,wright in ,archologia1 ,vol4 ,,xxx71 which contains instructions for the wearing of various stones1 and for the composition of the different metals of the rings in which they were to be set4 ,a proof of the firm establishment of the ,romans in ,britain is afforded by the number of their gems brought to light in medival times2 while the decay of the art of gem-engraving in the ,middle ,ages is shown by the fact that the ,harleian ,,ms4 always refers to these gems as objects to be found and not made4444 ,a stone engraved in one manner you should suspend about the neck1 as it enables you to find treasures1 the impression in wax of another stone will cause men to speak well of you4 ,the engraving of a dove with a branch of olive in its mouth should be mounted in a silver ring1 and another gem should be placed in a ring of lead4 ,from these and similar writings it is clear that one of the objects aimed at by the medival authors was to define the different virtues of the sigils engraved upon precious stones4 ,such ideas1 not previously unknown1 as1 for example among the ,gnostics1 were no doubt stimulated by the ,crusades1 whereby the study of alchemy and the interest in ,oriental mysteries became spread throughout ,europe4 ,leonardus1 as late as the sixteenth century1 observes that stones if engraved by a skilful person or under some particular influence1 will receive a certain virtue4444 ,but if the effect intended by the figure engraved be the same as that produced by the natural quality of the stone1 its virtue will be doubled1 and its efficacy augmented4 ,we see thus that the talismanic ideas respecting precious stones were attached as much to their engraving as to the stones themselves4 ,owing to the complete decline of the glyptic art in the ,middle ,ages1 antique cameos and intaglios1 on account of some fancied assimilation in subject or idea to ,christian symbolism1 were occasionally used for devout subjects4 ,together with the general ignorance of classical art1 and the consequent attempts that were made to give the pagan representation upon antique gems a ,christian signification--frequently in a very forced and curious manner--there appears to have been a certain appreciation of their beauty4 ,when small relics1 such as particles of the wood of the cross1 or larger relics1 as bones of the saints1 were enclosed either in portable reliquaries or in costly shrines1 such receptacles were not infrequently encrusted with ancient cameos and intaglios1 as representing the very choicest objects which the fervent devotion of the age could select for this sacred purpose4 ,the ,shrine of the ,three ,kings at ,cologne#dd and the ,treasure of ,conques#de are still enriched with many fine examples of the gem-engraver's art1 and the magnificent gold shrine of ,edward the ,confessor in ,westminster ,abbey1 long since despoiled1 was formerly mounted with numerous cameos1 all probably antique4#df #dd ,bock 7,f471 ,das heilige ,kln4 ,schatzkammer des ,klner ,domes1 p4 #bg4 #de ,the ,abbey of ,conques1 near ,rodez1 in the ,department of ,aveyron4 ,see ,darcel 7,a47 ,trsor de ,conques1 p4 #ff4 #df ,rock 7,d471 ,church of our fathers1 ,,iii4 #a1 p4 #cic4 ,illustration3 ,,plate ,,xvi ,,antique ,,cameos ,,in ,,medi,,val ,,settings ,the history of the glyptic art has been sufficiently encroached upon here to demonstrate the prominent place occupied by antique gems in the personal ornaments of the ,middle ,ages4 ,their use for signet rings will be referred to again2 but attention must be drawn to the three most remarkable examples of their application to other articles of jewellery--the ,jewel of ,st4 ,hilary and the ,cameo of ,charles ,v in the ,bibliothque ,nationale at ,paris1 and the ,schaffhausen ,onyx1 preserved among the archives of the town of ,schaffhausen in ,switzerland 7,pl4 ,,xvi74 ,the ,jewel of ,st4 ,hilary contains a fine cameo head in profile of the ,emperor ,augustus on a sardonyx4 ,it is enclosed in a frame of silver gilt set with large rubies1 sapphires1 and pearls4 ,the jewel was formerly employed as a pectoral or breast-ornament upon a silver reliquary bust of ,st4 ,hilary preserved in the ,treasury of ,st4 ,denis4 ,on the dispersal of the ,treasury in #agia1 the jewel was removed to the ,bibliothque ,nationale4 ,the framework dates from the twelfth century4 ,it measures #c by #b inches4#dg ,the ,cameo of ,charles ,v of ,france1 a sardonyx of three layers1 dating from ,imperial ,roman times1 represents a full length figure of ,jupiter4 ,it is mounted in the gold frame in which it was presented to the ,treasury at ,chartres by the ,king4 ,such prophylactic verses#dh as are found frequently side by side upon amulets and in cabalistic formul of the ,middle ,ages1 are inscribed round its edge on a ground of blue and red enamel1 together with the opening words of ,st4 ,john's ,gospel1 which were supposed to serve as a protection1 particularly against demons and thunder4 ,the figure of ,jupiter with the eagle probably passed for a representation of the evangelist4 ,at the lower part is a crowned escutcheon bearing the arms of ,france1 and on the crown is an inscription recording the presentation of the jewel by ,charles ,v in the year #acfg4di ,this beautiful example of ,french jewellery of the fourteenth century is #f inches in length and #c in width4 #dg ,babelon 7,e4 ,c4 ,f471 ,catalogue des cames de la ,bib4 ,nat41 p4 #ajg4 #dh ,st4 ,luke1 ,,iv4 #cj2 and ,st4 ,john1 ,,viii4 #b4 #di ,babelon1 op4 cit41 p4 #a4 ,of slightly later date than the ,jewel of ,st4 ,hilary1 and of far more elaborate workmanship1 though perhaps less well known on account of its somewhat remote situation1 is the ,schaffhausen ,onyx4 ,the stone1 a fine sardonyx1 is a ,roman cameo of a female figure carrying a cornucopia and caduceus1 and intended to represent ,peace4 ,its setting1 a superb specimen of medival goldwork1 is mounted with figures of eagles and lions1 chased in full relief and arranged in regular order between high bezels set with garnets1 sapphires1 pearls1 and turquoises4 ,the outside measurement of the jewel is #f by #e inches1 and that of the stone #c by #c4ej #ej ,for a full description of this jewel1 see a monograph by ,j4 ,j4 ,oeri1 entitled ,der ,onyx von ,schaffhausen4 ,the large part played by superstition in the ornaments of the ,middle ,ages need not be further enlarged on4 ,the virtues of charms were not only associated with gems and precious stones2 for mystic letters1 cabalistic inscriptions1 and other devices were among the chief features of medival jewellery4 ,such devices lingered long after the ,renaissance of learning had partially dispelled the mysticism of the ,middle ,ages2 while similar superstitions in respect to precious stones are even now not entirely extinct1 in spite of the assurances of modern science4 ,illustration3 ,gold ring engraved and enamelled with figures of the ,virgin and ,child and ,st4 ,john the ,evangelist4 ,scottish1 fifteenth century 7,nat4 ,mus4 of ,antiq41 ,edinburgh74 ,,chapter ,,xiv ,,medi,,val ,,head-,,ornaments ,,and ,,necklaces ,head-ornaments from the tenth to the sixteenth century belong for the most part rather to the general history of costume than to that of jewellery proper2 and it will be unnecessary to follow those extravagances of fashion which1 especially during the fifteenth century1 were presented by the head-dress of women4 ,more germane to the subject are the fillets1 bands1 and chaplets worn throughout the ,middle ,ages by women when their heads were uncovered1 and during a more limited period by men also4 ,the original form of these was a ribbon1 which encircled the brow1 held back the hair from the face1 and adjusted the veil2 while wreaths1 either of natural flowers or of plain gold1 were a frequent decoration for young women4 ,hence the bands or chaplets1 which took their motives from those more simple ornaments1 were made either wholly of metal 7cercles71 or of gold flowers sewn upon an embroidered band 7described in inventories as chapeletz71 both forms being enriched with pearls and precious stones4 ,the fillet later on became a heavy band composed of separate pieces of metal joined by hinges1 and showed such close resemblance to the broad belts of the knights1 that in the inventory of ,edward ,,ii1 quoted above1 tressoures and ceintures are entered together under one heading4 ,the wearing of such head-ornaments was not confined exclusively to the nobility1 for the receipt of a sale of jewels by ,agnes ,chalke1 spicer of ,london1 to a certain ,john of ,cambridge in #acfc1 includes a coronal of gold1 wrought with stones1 that is to say1 with rubyes1 saphirs1 emeralds1 and pearls4#ea ,exquisite circlets set with these gems are worn by the choir of singing and music-making angels on the wings of the ,van ,eycks' famous ,ghent ,altar-piece in the ,berlin ,museum4 ,the fillet1 whether a complete circle or hinged1 received about the fourteenth century additional enrichments in the form of trefoils1 fleurs-de-lis1 crosses1 and foliations1 erected on cuspings upon its upper edge4 ,a simple but charming example of a circlet1 dating from the fourteenth century1 is preserved in the ,muse du ,cinquantenaire at ,brussels4 ,it is of silver gilt1 formed of hinged plaques1 each mounted with from three to four collets set with pearls1 and with pastes in imitation of precious stones1 while additional ornaments in the form of fleurs-de-lis are fixed erect upon it 7,pl4 ,,xvii1 #i74 #ea ,riley 7,h4 ,t471 ,memorials of ,london1 p4 #cac4 ,from the diadem of this character originated the coronets worn by those of high or noble rank2 the use of these1 amid the ceremonies of later courts1 crystallised into a system of class privilege4 ,such diadems or coronets approach the form of the regal crown1 which in ,england1 as early as the eleventh century1 was enriched with rays and floriations4 ,the regal crown1 with which we are not immediately concerned1#eb by the addition of arches1 was converted about the fifteenth century into what is technically known as the close crown4 #eb ,no attempt will here be made to enumerate the various forms of crowns and coronets4 ,a general outline of the subject is set forth in chapter ,,xxvi of ,mr4 ,fox-,davies' ,art of ,heraldry4 ,round the helmets of knights in the fifteenth century ornamental wreaths called orles were worn2 these1 originally composed of two bands of silk twisted together were afterwards richly jewelled4 ,one of the most famous of jewelled hats was that of ,charles the ,bold1 thickly encrusted with huge pearls and precious stones1 which was captured by the ,swiss after his death at the battle of ,nancy in #adgg4ec #ec ,lambecius1 ,bib4 ,caes4 ,vindobon41 ,,ii1 p4 #eaf2 ,laborde1 ,ducs de ,bourgogne1 ,pt4 #b1 ,,ii1 p4 #aac1 no4 #cajj4 ,of female ornaments of the same period it need only be stated that the elaborate head-dresses1 such as the cornette1 escoffion1 and henin--it is sometimes difficult to imagine how women had sufficient strength to keep them balanced on their heads--were profusely adorned with pearls1 gold spangles1 and precious stones1 and in some cases with crowns or crown-shaped combs of elaborate goldwork enriched with gems4 ,the ,italians1 with more refined taste1 seem1 as will be observed 7p4 #aga71 to have escaped from such extravagances sooner than the rest of ,europe1 and to have been content for the most part with a simple bandeau encircling the forehead4 ,among the most interesting varieties of personal ornaments in the ,middle ,ages are certain jewels or brooches worn in the hat and known as enseignes4 ,from the lead signs or ornaments worn by pilgrims there was gradually evolved a special class of jewels on which the great artists of the fifteenth and sixteenth centuries exercised their utmost skill1 and which at the present day are among the most highly prized of all early articles of personal jewellery4 ,rivers near large cities have supplied us with much of the knowledge we possess of the manners and habits of those who in former times dwelt upon their banks4 ,whenever dredging or digging disturbs the beds of such rivers1 objects of antiquity1 which seem to have gravitated there1 are sure to be discovered4 ,the municipal museum of many a city of ancient foundation preserves choice works of antiquity recovered from its river's bed4 ,among the most remarkable objects brought to light in this manner are certain curious medival ornaments1 which belong to the age that has bequeathed exceedingly few examples of articles for personal use4 ,the ornaments referred to are the small badges or signs of lead1 given or sold1 as tokens1 to medival pilgrims to the shrines of saints or martyrs1 and known as ,pilgrims' ,signs4 ,they were obtained from the attendants at shrines and exhibitions of relics1 who kept ready a large variety bearing the effigy or device of some particular saint1 or the symbol that had reference to his acts of worship4 ,each sign or token was pierced with holes1 or more frequently had a pin cast in one piece with it1 making it available as a brooch4 ,it was thus fastened to the hat or other portion of the pilgrim's dress as a testimony of his having visited the particular shrine indicated by the token4 ,these badges1 which date from about the thirteenth to the fifteenth century1 were manufactured at the churches or monasteries to which pilgrimages were made4 ,moulds for casting them are preserved in the ,british ,museum and the ,guildhall ,museum2 and a forge was found at ,walsingham ,priory where the sacristan melted the metals employed for their manufacture4#ed #ed ,several writers on ,pilgrims' ,signs state that a furnace destined for the same purpose may still be seen in an upper chamber in ,canterbury ,cathedral4 ,inquiry on the spot has failed to confirm the truth of this statement4 ,the furnace in question has been used solely for the purpose of casting leadwork for repairing the roof4 ,the badges were probably made somewhere in the ,cathedral precints4 ,it will be outside the present purpose to enumerate all the varieties of form assumed by these interesting and historically most valuable objects4 ,important collections of them are preserved in the ,british ,museum and ,guildhall ,museum in ,london1 and in the ,muse ,cluny1 ,paris 7,pl4 ,,xvii1 #a-d74 ,in ,england the most popular relics were those of ,our ,lady of ,walsingham ,priory1 and particularly those of ,st4 ,thomas of ,canterbury1 whose signs1 according to a statement of ,giraldus ,cambrensis1 were worn as early as the twelfth century4 ,the anonymous author of the supplement to ,chaucer's ,canterbury ,tales speaks of the purchase of signs by ,chaucer's party on the occasion of their pilgrimage to ,canterbury1 and remarks that on their departure from the ,cathedral they sett their signys upon their hedes1 and som upon their capp4 ,and ,erasmus1 in his ,colloquy of the pilgrimage for religion's sake1 notes that pilgrims were covered on every side with images of tin and lead4 ,judging from the number and variety of the badges relating to the murdered archbishop1 ,becket1 his shrine must have enjoyed a widespread popularity1 though the scallop-shell of ,st4 ,james of ,compostella was perhaps more universally recognised as a pilgrim's sign than any other4 ,these signs or signacula were worn not only on a pilgrimage1 but also formed a customary decoration for the hat4 ,some1 even in early times1 perhaps as early as the thirteenth century1 though partaking of a religious character1 do not seem to have had reference to any particular shrine1 and referred simply to incidents in popular religious legends4 ,others were merely symbols or emblems2 yet1 like the majority of medival trinkets1 they nearly all displayed religious motives and were supposed to possess talismanic powers4 ,louis ,,xi1 the cruel and superstitious ,king of ,france1 commonly wore such signs1 particularly those of the celebrated ,notre-,dame d',embrun1 stuck round his hat2 and on a visit to ,henry1 ,king of ,castile1 he wore1 so ,philip de ,comines informs us1 a very old hat with leaden images upon it4 ,it is very evident that we have here the origin of the hat-ornaments or enseignes of gold and silver1 and enriched with precious stones and enamels1 which1 coming first into use in the fifteenth century1 became extremely popular in the sixteenth1 and were worn on almost every man's hat1 and sometimes on those of women1 until the middle of the seventeenth century4 ,like those obtained at the shrines1 they bore at first the figure of a saint--generally a patron saint--or a figure of the ,virgin4 ,of signs such as these1 some came to represent the actual badge of the wearer or of some one to whom he was affectionately attached1 while others took the form of badges of livery1 and were worn in the hats of the retainers of great families4 ,philip de ,comines records that ,lord ,bourchier1 ,governor of ,calais1 #adgj1 wore a ragged staff of gold upon his bonnet4 ,this was the badge of the ,earl of ,warwick1 and all his attendants had ragged staves likewise4 ,a leaden enseigne of a bear and ragged staff 7the ,house of ,warwick71 a crowned ostrich feather 7,duke of ,norfolk71 a hound 7,talbot1 ,earl of ,shrewsbury71 and a dolphin 7badge of the ,dauphin--afterwards ,louis ,,xi--and his faction1 the ,armagnacs71 together with others of a similar nature1 are in the ,british ,museum 7,pl4 ,,xvii1 #e-h74 ,the badges of the ,kings of ,england were employed in the same manner3 and among the ,british ,museum collection is a hart lodged--the badge of ,richard ,,ii1 and in the ,guildhall a broom-pod 7genista7 of the ,plantagenets1 and a crown of fleurs-de-lis--the badge of ,henry ,v4 ,a considerable number of small shield-shaped bronze and copper pendants1 enamelled with coats of arms1 and having a ring above for suspension1 seem also to have served as badges4 ,there is the possibility that some were worn by the servants of nobility as enseignes upon the hat1 or perhaps on the left arm or breast4 ,but the majority appear to have been employed for the decoration of horse-harness4#ee #ee ,compare1 ,an ,esmail d',arragon1 by ,a4 ,van de ,put 7,burlington ,magazine1 ,,viii1 p4 #dba1 #aijf2 ,x1 p4 #bfa1 #aijg74 ,illustration3 ,,plate ,,xvii ,,medi,,val ,,head-,,ornaments ,medival hat-badges of gold are of extreme rarity4 ,the ,franks ,bequest in the ,british ,museum contains a choice example4 ,it is a fifteenth-century ,flemish jewel of gold1 representing a pelican in her piety standing upon a scroll1 and set with a ruby and a small pointed diamond 7,pl4 ,,xvii1 #aa74 ,in the ,victoria and ,albert ,museum is a circular gold enseigne of open-work enriched with ,gothic foliations4 ,the outer rim is set with seven small rubies4 ,in the centre is an antique onyx cameo representing a lion4 ,it is ,spanish work of the second half of the fifteenth century 7,pl4 ,,xvii1 #aj74 ,these two jewels are clearly hat-ornaments2 but it is often difficult to distinguish between a brooch or nouche intended to be worn upon the dress and a hat-brooch1 though the latter can1 as a rule1 be distinguished by its form or by its subject4 ,the enseigne was sometimes employed like a brooch for fastening a plume decoration1 but as a rule served as an independent ornament1 and appears on the paintings1 sculpture1 and tapestry of the fifteenth century attached to the side of the head-gear4 ,it became a jewel of still greater importance in the sixteenth century1 and will be further dealt with among the jewellery of the ,renaissance4 ,the talismanic properties associated with the signacula procured at the shrines were extended to many objects of base metal1 as brooches and finger-rings1 which had been placed in contact with relics of saints1 or blessed at their shrines4 ,brooches and rings also of gold and silver bear talismanic inscriptions4 ,a common inscription is the names of the ,three ,kings--as on the ,glenlyon brooch--which originated in pilgrimages to the shrine of the ,kings of the ,east in the church of ,sant' ,eustorgio at ,milan1 or more probably to that in ,cologne ,cathedral4 ,the names of the ,three ,kings of ,collein were considered to be a charm against epilepsy or the falling sickness4 ,many personal ornaments of base metal1 however1 are quite unconnected with any religious practice or with pilgrims' signs2 for objects of pewter are often merely replicas of more precious jewels in gold and silver1 and must have been worn by the poorer classes4 ,the fact that several are plated or washed with silver shows that they were intended to pass for the real objects4 ,yet they are of considerable importance1 since we find among them types of ornaments which do not exist in the precious metals4 ,it may be suggested that some were made as models for real articles of jewellery2 but we are1 unfortunately1 not in possession of evidence 7such as can be produced in connection with the jewellery of the ,renaissance7 which can offer any likelihood that this is actually the case with these medival ornaments4 ,,earrings ,though common in the ,merovingian and ,carlovingian epoch1 earrings appear to have been worn only to a limited extent1 and that at the commencement of the period at present under discussion4 ,pendants formed of quadrilateral prisms set on each side with cabochon garnets and hung with small strings of garnet beads are attached to the ears of the tenth-century figure of ,st4 ,foy in the treasury at ,conques2 though it is not impossible that these1 like many of the gems that adorn the statue1 may be of earlier workmanship4 ,that the ,byzantine style of earring1 of crescent form1 was worn during the eleventh and twelfth centuries is evident from a twelfth-century bronze ewer1 in the shape of a head of a woman1 of ,flemish work1 in the ,museum of ,budapest4#ef ,earrings1 however1 enjoyed no great popularity during the ,middle ,ages1 and the cause of this must be traced to the fashion which prescribed for women a style of coiffure by which the hair fell down at the sides1 or was covered by a veil1 which would have effectively hidden any ornaments for the ear4 ,it was only at the end of the fourteenth century that fashion again allowed the hair to be worn high4 ,pendent rings of gold for ladies' ears are mentioned in the ,roman de la ,rose1 and statues occasionally exhibit short earrings1 pearls attached to the lobe of the ear1 or stones in the form of drops4 ,earrings1 indeed1 did not come into very common use until the close of the fifteenth or the beginning of the sixteenth century4 #ef ,figured in ,exposition de ,budapest1 #ahhd1 ,chefs-d'oeuvre d'orfvrerie1 ,i1 ,pl4 ,i4 ,there is a reproduction of this remarkable specimen of ,dinanderie in the ,victoria and ,albert ,museum4 ,,necklaces ,,and ,,collars ,the custom of wearing necklaces and neck-chains was much more limited during the ,middle ,ages than it had been in antiquity and at the time of the great migrations4 ,women's necklaces can hardly be proved to have been in general use before the end of the fourteenth century1 and during the ,middle ,ages seldom attained the exaggerated style they exhibited at the period of the ,renaissance4 ,they consisted mostly of plaited cords of gold wire1 and probably of single or double chains of pearls4 ,these originally encircled the throat1 but at a later date were worn more upon the breast4 ,though many forms of personal ornament are mentioned in early wills and inventories1 we rarely meet with a reference to the necklace until the fourteenth century2 nor is it pictured on monumental effigies or brasses until the beginning of the century following4 ,if worn at all prior to this date1 it must simply have served the purpose of supporting pendants of various forms known as pentacols4 ,these neck-chains1 or collars as they were termed1 soon began to receive additional enrichment1 and the inventories of the fifteenth century contain frequent descriptions of necklets adorned with enamels and precious stones4 ,eleanor1 ,countess of ,arundel 7#adee71 bequeathed to her daughter a golden collar for the neck1 with a jewel set with precious stones hanging thereat4 ,the fashion for rich necklaces was especially in vogue at the luxurious ,court of the ,dukes of ,burgundy2 nor had the ,court of ,richard ,,ii been behindhand in the display of this species of ornament1 for the magnificent wedding presents of his wife1 ,isabella of ,france1 included a collar of gold set with precious stones of immense value4 ,the word carcanet seems to have come into use about this time for rich necklaces of precious stones1 and to have been applied a little later to the bands of jewels commonly entwined in ladies' hair4 ,though never so generally worn as in the sixteenth century1 a considerable number of these jewelled ornaments are represented in the exquisite paintings of the fifteenth century4 ,one of the most elaborate of all is the superb gold necklet1 brilliantly enamelled with small and many-coloured flowers1 shown on the portrait of ,maria1 wife of ,pierantonio ,baroncelli1 in the ,uffizi ,gallery at ,florence1 by an unknown ,flemish painter of the latter part of the fifteenth century4 ,close by1 in the same gallery1 is ,van der ,goes' celebrated triptych1 presented to the ,spedale di ,santa ,maria ,nuova by ,tommaso ,portinari1 agent of the ,medici in ,bruges4 ,upon the right wing is ,maria1 wife of the donor1 with her daughter4 ,the former wears a magnificent necklace of exquisite design1 its interlacing goldwork shaped into the form of roses enamelled red1 white1 and blue1 each set respectively with a sapphire1 a ruby1 and a large pearl4 ,the latter is adorned with a necklace composed of a double row of pearls connected by oval jewelled ornaments2 beneath is hung a trefoil-shaped pendant set with rubies1 to which is attached a large drop-pearl 7p4 #aag74 ,a precisely similar ornament is seen in another work by ,van der ,goes1 painted about #adgc--the well-known portrait of ,margaret1 queen of ,james ,,iii of ,scotland1 now at ,holyrood4#eg ,this picture was probably executed in ,flanders from material supplied by the donor1 and the artist appears to have adorned ,queen ,margaret with the same beautiful necklace1 probably of ,florentine workmanship1 which he had seen round the neck of ,signorina ,portinari4 #eg ,shaw 7,h471 ,dresses and decorations1 ,pl4 #fj4 ,jane ,shore1 the beautiful and unfortunate mistress of ,edward ,,iv1 and wife of the rich jeweller of ,lombard ,street1 is represented in her two portraits1 one at ,king's ,college1 ,cambridge1 and the other at ,eton1 wearing elaborate necklaces4 ,around her throat are two strings of pearls1 with a necklet below of circular pieces of ,gothic pattern1 supporting a lozenge-shaped pendant of similar design adorned with pearls4 ,among sculptured representations of the necklet the most interesting is that on the monument of ,sir ,john ,crosby 7d4 #adge7 and his wife in ,st4 ,helen's ,church1 ,bishopsgate1 where the latter wears a very handsome necklace of roses1 to which is attached a cluster of three roses with three pendants below4 ,sir ,john's collar is somewhat similarly formed of rosette-shaped ornaments4 ,an early instance of a heavy neck-chain of gold1 worn upon the breast1 is to be seen upon the famous tapestry1 considered to represent ,henry ,,vi and his ,queen1 in ,st4 ,mary's ,hall1 ,coventry4 ,collars of extraordinary richness seem to have been worn by ,henry ,,iv2 for among the miscellaneous documents preserved at ,st4 ,paul's ,cathedral#eh is a list of various jewels set with diamonds both large and small1 with balas rubies1 sapphires1 and clusters of pearls1 which were to be employed for making collars for the king and queen4 ,the ,inventories of the ,exchequer contain frequent reference to what is termed the ,iklyngton ,coler4 ,this magnificent collar1 which was frequently pawned by ,henry ,,vi1 was enriched with four rubies1 four large sapphires1 thirty-two great pearls1 and fifty-three pearls of a lesser sort4#ei #eh ,hist4 ,,mss4 ,comm41 ,,ix1 p4 #ef4 #ei ,kalendars and ,inventories1 ,,ii1 p4 #afe1 etc4 ,in addition to the purely ornamental necklaces1 collars or chains of livery--bearing the heraldic devices of the day--were assumed by various royal and noble families1 and were bestowed as marks of favour or friendship on persons of various ranks1 and both sexes1 who wore them as badges of adherence to those families4 ,an instance of the bestowal of a chain of this kind occurred in #adgg after the siege of ,quesnoy by ,louis ,,xi1 who1 witnessing a great feat of gallantry on the part of ,raoul de ,lannoy1 is reported to have placed on his neck a chain of great value1 and to have thus wittily addressed him3 ,mon ami1 vous tes trop furieux en un combat2 il faut vous enchaner1 car je ne veux point vous perdre1 dsirant me servir encore de vous plusieurs fois4 ,richard ,,ii1 as shown by the ,earl of ,pembroke's remarkable picture of that monarch at ,wilton1 wore1 in addition to his device the white hart1 a collar of broom-pods4 ,henry ,,iv employed the well-known collar of ,,ss1 derived from his father ,john of ,gaunt4 ,the collar of ,edward ,,iv was composed of two of his badges1 the sun in its splendour1 and the white rose2 while a third1 the white lion of ,march1 was added as a pendant4 ,richard ,,iii retained the ,yorkist collar1 substituting for the lion pendant a boar4#fj ,private family collars were also worn1 and an early instance of one occurs in the brass of ,thomas ,lord ,berkeley 7#adag7 in the church of ,wootton-under-,edge1 ,gloucestershire2 the band round the neck being charged with mermaids1 the badge of the ,berkeleys4 #fj ,archologia1 ,,xxxix1 p4 #bfd4 ,the ,,ss collar is the best known of all4 ,it is composed of the letter ,s in gold repeated indefinitely1 either fixed on velvet or some material1 or forming the links of a chain4 ,the letters are generally united by knots2 they sometimes terminate with portcullises and have a pendent rose4 ,the collar is still worn by the ,lord ,chief ,justice1 the ,lord ,mayor of ,london1 and the chief heralds--that belonging to the ,lord ,mayor being an original and beautiful example of ,english jewellery of the sixteenth century4 ,despite all that has been written upon the ,,ss collar no conclusive explanation has been offered as to its origin and meaning4#fa ,several representations of livery collars appear upon monumental effigies of the latter half of the fifteenth century1 and there is frequent mention of them in the inventories of the same period1 but1 with the exception of the ,,ss collar1 they are not met with at all in the sixteenth century4 #fa ,mr4 ,hartshorne 7,arch4 ,journ41 ,,xxxix1 p4 #cff7 considers the origin of the letters ,,ss--par excellence the crux antiquariorum1 he terms it--to lie between the words ,seneschallus1 ,souverayne1 and ,sanctus1 and of these he appears to be in favour of the first4 ,illustration3 ,necklace worn by the daughter of ,tommaso ,portinari in ,van der ,goes' triptych in the ,uffizi ,gallery1 ,florence4 ,,chapter ,,xv ,,medi,,val ,,pendants1 ,,rosaries1 ,,and ,,pomanders ,the wearing of religious emblems in the form of pendants by the ,christians of the ,middle ,ages was possibly1 in the first place1 the unconscious perpetuation of pagan superstition4 ,the demand for a convenient mode of carrying a reliquary may account in some degree for the use of necklaces in early times4 ,relics of the saints and of the ,passion of our ,lord were most eagerly sought after by medival ,christendom1 and whenever a relic of unusual importance was obtained1 all the resources of the art of the time were employed to give it a worthy setting4 ,the most famous of early pendent reliquaries was that worn by the ,emperor ,charlemagne1 which contained relics from the ,crown of ,thorns and the ,true ,cross1 presented to him by ,haroun al-,raschid4 ,the reliquary was buried with him in #had1 and found at the opening of his tomb at ,aix-la-,chapelle in #aafi4 ,in #ahjd it was given to the ,emperor ,napoleon by the clergy of ,aix1 and was afterwards the property of ,napoleon ,,iii2 but it disappeared during the troublous times that terminated the ,second ,empire4 ,the relics were enclosed under a large sapphire magnificently set in gold and precious stones#fb 7,pl4 ,,xviii1 #d74 ,another historical relic of the early ,middle ,ages was the enamelled gold cross suspended from a chain1 which was stolen from the tomb of ,edward the ,confessor in ,westminster ,abbey in #afhe and given to ,james ,,ii4 ,it was only lost sight of in the early part of the nineteenth century4#fc #fb ,see ,jahrbcher des ,vereins von ,alterthumsfreunden in ,rheinlande1 ,,xxxix1 p4 #bgb4 ,bonn1 #ahff4 #fc ,wall 7,j4 ,c471 ,tombs of the ,kings of ,england1 p4 #aig4 ,evelyn's ,diary1 ,sept4 #af1 #afhe4 ,portable reliquaries in former times were often made of two plates of rock crystal or other transparent stones hinged together so as to form a box4 ,an exquisite example of this style of ornament1 and one of the most remarkable medival jewels1 is the so-called reliquary of ,st4 ,louis in the ,british ,museum4 ,it is of gold1 set with two large bean-shaped amethysts which act as covers to an inner case with a lid1 enclosing what purports to be a spike from the ,crown of ,thorns4 ,the back of this receptacle1 as well as the insides of the covers1 is enriched with minute translucent enamels representing the ,crucifixion and other scenes from the ,passion and the life of ,christ 7,pl4 ,,xviii1 #e74 ,the jewel is said to have been given by ,st4 ,louis 7who bought the ,crown of ,thorns from ,baldwin1 ,king of ,jerusalem7 to a king of ,aragon1 but the style of the work is somewhat later than the time of ,st4 ,louis1 and dates from about the year #acaj4 ,it was formerly in the collection of ,baron ,pichon1 and was presented to the ,british ,museum by ,mr4 ,george ,salting in #aijb4 ,the pendent ornaments of the ,middle ,ages not only served as receptacles for relics but also took the form of crosses1 medallions1 votive tablets1 and monograms4 ,though these do not attain the same importance as the pendants of the ,renaissance1 their extraordinary variety is proved by the inventories of the thirteenth to the fifteenth century1 while their beauty is attested by the few examples that have fortunately been preserved4 ,small votive tablets1 that is to say diptychs or triptychs with hinged wings1 were exceedingly popular as personal ornaments1 judging by their frequent occurrence in the inventories under the title of tableau or tabulet4 ,they were suspended from the girdle or neck-chain4 ,some are painted with delicate translucent enamels1 others contain figures in high relief wrought in metal1 or carvings in boxwood of minute dimensions4 ,the last are generally ,flemish1 while the others of which there are several splendid examples in the ,victoria and ,albert ,museum1 are mostly of ,french or of ,english workmanship4 ,a very remarkable silver-gilt pendant in the form of the ,devil of temptation1 with the forbidden fruit in one hand and a crozier1 signifying power1 in the other1 is shown on ,plate ,,xix1 #i4 ,it is ,burgundian work of the second half of the fifteenth century1 and is the property of ,mrs4 ,percy ,macquoid4 ,an interesting class of pendants is formed by a somewhat extensive series of silver and silver-gilt ornaments produced by ,german craftsmen of the fifteenth century4 ,the ,national ,museum at ,munich1 where several fine examples of this kind are preserved1 possesses one of more than ordinary interest4 ,it is of silver-gilt1 about five inches in length1 composed of elaborate ,gothic tracery1 in shape not unlike the tall ,gothic tabernacles of ,south ,germany1 of which that by ,adam ,kraft in ,st4 ,lawrence's ,church at ,nuremberg is perhaps the finest example4 ,a niche on each of its four sides contains the figure of a saint and above1 half hidden among the tracery1 are four female figures4 ,the jewel is surmounted by the ,virgin and ,child1 and has three rings above for suspension and one below 7,pl4 ,,xix1 #a74 ,other examples of ,south ,german goldsmith's work of the fifteenth and early sixteenth century take the form of small pendent charms picturing some religious theme4 ,the figure of a saint was naturally a favourite subject1 since it was supposed to possess special prophylactic powers4 ,the variety of the subjects thus represented can be admirably judged from an important series of such pendants at ,south ,kensington4 ,in addition to these1 which are mostly of cast silver1 other pendants of the same period include silver plaques1 nielloed1 engraved1 or in relief2 and likewise fine cameos or reliefs of mother-of-pearl1 and carvings in ivory and wood1 set in coronets of silver-gilt4 ,illustration3 ,,plate ,,xviii ,,medi,,val ,,pendants 7,,reliquaries1 ,,etc47 ,medival neck-pendants were1 as has been observed1 known as pentacols4 ,in the inventory of ,edward ,,iii in #accifd we find a pentacol composed of a large ,scotch pearl 7perle d',escoce7 and an image of ,our ,lady in enamel2 and un pentacol dor od4 iiij4 petites ameraldes et iiij4 petites rubies environ1 et une camahue en mylieu4 ,in medival inventories and wills the ,latin word monile signified not only a necklace1 but jewels hung at the neck4 ,the same term was also employed for the morse1 particularly when the latter had a ring for suspension4 ,many pendants generally provided with quatrefoil rings1 come from ,south ,germany 7like one shown on ,plate ,,xviii1 #a7 and especially from ,bohemia--there is a good collection of them in the cathedral treasury of ,prague4#fe ,the majority are silver-gilt1 and set with a plaque of mother-of-pearl or crystal1 and are usually hollow1 to contain relics4 ,the term monile was further applied to brooches or nouches2 and the nouches described in such detail in the ,english inventories of the fifteenth century1 which will be mentioned later when the subject of brooches is dealt with1 may in part have been employed as ornaments for the necklace4 #fd ,kalendars etc41 ,,iii1 pp4 #ahe1 #ahh4 #fe ,podlaha 7,a471 and ,sittler 7,e471 ,der ,domschatz in ,prag1 pp4 #aac-acb4 #aijc4 ,various monilia or pendants1 containing small relics1 verses from the ,bible1 the names of ,christ or the ,virgin written upon vellum or upon metal1 and perhaps also ancient magic spells--all possessing the virtues of talismans1 were worn by chains or cords round the neck1 and in some instances very likely hidden under the upper garment4 ,the early ,church1 in many an edict1 declared itself against this form of superstition1 yet such pendants or phylacteries--a term applied to any amulet worn about the person against evil of all kinds--appear to have been extensively used4 ,another and popular pendant from the fourteenth to the sixteenth century1 which is frequently cited in inventories1 but now rarely met with1 takes the form of a small circular box or capsule bearing in front an ,agnus ,dei in niello or repouss1 surrounded by a corded edging4 ,such boxes were intended for the preservation of a roundel of wax moulded from the remains of the ,paschal candle at ,rome with an impression of the sacred ,lamb1 and blessed by the ,pope for distribution to the faithful4 ,the cases1 of silver-gilt1 have occasionally a covering of transparent horn on the back and front4 ,an example of this kind1 of fifteenth-century ,german workmanship1 is in the ,victoria and ,albert ,museum 7,pl4 ,,xix1 #c74 ,the wax it contains bears the name of ,pope ,urban ,,vi 7#acgh-achi74 ,an original stamp of bronze1 of ,italian origin1 dating from the fourteenth century1 which was used for making these wax impressions1 is preserved in the ,british ,museum along with other moulds for casting medals and small articles of jewellery4 ,in addition to the precious and semi-precious stones already mentioned1 other objects1 accounted specially efficacious for certain purposes1 were worn4 ,the peres de eagle1 also called tites1 supposed to be found in the nest of the eagle1 were particularly valuable during childbirth4 ,glossopetr1 the fossilised teeth of certain kinds of shark1 which passed as serpents' teeth1 were much used1 as well as primitive arrowheads4 ,they were hung round the neck of infants in the belief that they assisted dentition and kept off frights4 ,of great value also was the bezoar stone1 which1 like glossopetr1 at one time occupied a prominent place in pharmacopoeia4 ,coral1 which has always been popular1 is first mentioned in ,english wills and inventories in the fourteenth century4 ,it was used for rosaries1 and1 above all1 as a charm--a ring of gold or silver being attached to its stalk4 ,the ,romans tied little branches of it round their children's necks to ward off the evil eye2 and the infant ,saviour in many an early ,italian picture is represented wearing a piece of coral in a similar manner4#ff #ff ,a relic of this superstition still exists in the coral baubles hung with bells1 with which infants are aided in cutting their teeth4 ,a fear of poison1 common for centuries in royal courts1 was responsible for the custom of testing meats and drinks by methods founded upon certain ancient and groundless beliefs4 ,in order to neutralise or detect the presence of poison1 certain objects were placed in contact with food or were dipped into liquids4 ,the touching-pieces 7tousches7 or proofs 7espreuves7 employed for the purpose1 and considered especially efficacious against poison1 were toadstones1 glossopetr1 serpentine1 jasper1 agate and particularly the unicorn's horn4 ,what was foisted upon the credulous public as the horn of the fabled animal was in reality the horn or tusk of a fish--the narwhal or sea-unicorn of the northern seas4 ,being an object of very great value1 the horn was only occasionally kept entire1 like the one preserved to this day at ,new ,college1 ,oxford4 ,it was more usually cut into pieces and used as proofs4 ,an angry unicorne in his full career ,charge with too swift foot a jeweller ,that watched him for the treasure of his brow1 ,and ere he could get shelter of a tree1 ,nail him with his rich antler to the earth4#fg #fg ,quoted from ,bussy d',amboise 7#afjg7 by ,malone1 commenting on the passage1 ,unicorns may be betray'd with trees 7,julius ,csar1 ,,ii1 i74 ,these and other objects1 when worn upon the person1 as was generally the practice1 were mounted at one end1 or surrounded by a claw-like band of silver4 ,another object which occupied an important position in the ,middle ,ages and often received special attention at the hands of the goldsmith was the rosary4 ,it was suspended occasionally from the neck1 but was more often worn upon the wrist1 at the girdle1 or attached to a finger ring1 and was formed of a string of beads of various sizes and materials representing ,aves1 ,paternosters1 and ,glorias3 each bead receiving the name of the prayer it represented4 ,the rosary1 as at the present day1 was divided into decades of ,aves1 each decade being preceded by a ,paternoster and followed by a ,gloria4 ,the materials of which they were composed are well illustrated in the inventory#fh of the jewels belonging to ,adam ,ledyard1 a ,london jeweller in #acha4 ,it includes3 #d sets of paternosters of white amber2 #af sets of paternosters of amber2 #e sets of paternosters of coral and geet jet2 #f sets of aves of geet1 and paternosters of silver-gilt2 #ch sets of aves of geet1 with gaudees of silver-gilt2 #ad sets of aves of blue glass1 with paternosters of silver-gilt2 #bh sets of paternosters of geet2 #ae sets of paternosters of mazer2 and #e sets of paternosters of white bone for children4 #fh ,riley 7,h4 ,t471 ,memorials of ,london and ,london life1 p4 #dee4 ,the makers of these beads were termed paternosterers2 and ,paternoster ,row and ,ave ,maria ,lane were so called from the turners of beads who resided there4 ,in ,paris1 as early as the thirteenth century1 the commerce in rosaries was a most flourishing one1 and it was customary there to divide the makers or dealers in these articles into three categories--paternosterers of bone and horn1 of coral and mother-of-pearl1 and of amber and jet4 ,in ,england the rosary makers do not seem to have been so specialised4 ,illustration3 ,,plate ,,xix ,,medi,,val ,,pendants ,the larger beads were sometimes of gold1 silver1 and silver-gilt1 of open-work1 beautifully chased and engraved1 and of boxwood and ivory exquisitely carved4 ,the gaudees or gauds in the above quotation1 the ornaments or trinkets attached to the rosary1 were commonly in the form of a crucifix1 while the small ,german charms mentioned above 7p4 #abj7 were mostly employed for the same purpose4 ,of the spherical-shaped gauds or nuts pendent to the rosary1 called in ,french grains de chapelet and known in ,germany as ,betnsse1 many fine examples exist in boxwood4 ,they have often an open-work case which opens with a hinge1 and displays two hemispheres filled with a number of carved figures of minute proportions4 ,among the many forms assumed by medival pendants were those of fruits--generally apples or pears4 ,these fruit-shaped pendants1 containing either figures or relics1 were exceedingly popular4 ,they were carried in the purse or attached to the rosary or to the girdle1 or in the case of men1 were hung from the neck by a cord or chain2 and were constructed so as to be opened during devotions4 ,one of the most remarkable examples is in the ,waddesdon ,bequest at the ,british ,museum4#fi #fi ,read 7,c4 ,h471 ,catalogue of the ,waddesdon ,bequest1 ,no4 #bca4 ,the use of perfumes prevailed at all periods of the ,middle ,ages4 ,they were enclosed in various receptacles1 and especially in those shaped like a pear or apple4 ,these pendent scent cases or pomanders1 worn like other pendants of the same form1 were in general use throughout the whole of the period extending from the fourteenth to the seventeenth century4 ,pomander in early inventories is often spelt pomeambre1 indicating its derivation from pomme d'ambre1 a perfume apple or ball2 the word pomme being used for any object resembling an apple in shape1 and ambre#gj for perfume in general4 ,primarily the pomander seems often to have designated a ball composed of various highly scented substances which served the purpose both of counteracting the smells which must have been particularly general and offensive in olden days1 and also of protecting against infection4 ,it was enclosed in a rich metal case1 opening across the centre1 and perforated so as to allow the scent to escape4 ,the title pomander--originally meaning simply a scent or perfume ball--was given to the case which contained it4 ,in many instances1 the perfumes1 instead of being mixed together into a ball1 were placed in the pomander case each in a separate compartment1 the lids of which are found inscribed with the names of the contents4 ,these compartments1 varying in number from four to as many as sixteen1 are formed like segments of an orange4 ,they are hinged below1 and united at the top by a screw or pin1 which being removed1 allows the segments to open out 7,pl4 ,,xviii1 #c74 #gj ,probably abbreviated from ambregis 7ambergris71 the well-known odoriferous substance1 so called from its resemblance to grey amber4 ,it was the most highly prized of all perfumes in medival times2 and though its use is now almost entirely confined to perfumery1 it formerly also occupied no inconsiderable place in pharmacy4 ,illustration3 ,pomander4 ,from ,kreuterbuch 7,frankfort1 #aefi74 ,,chapter ,,xvi ,,medi,,val ,,brooches--,,the ,,ring-,,brooch ,the brooches or fibul hitherto considered have been constructed either with a spring pin or acus1 which was held in its place by a hook or catch1 or with a hinged acus1 which1 having pierced the material1 was fixed similarly by a catch1 and prevented by the weight of the garment from becoming unloosened4 ,the term fibula1 generally employed by archologists to denote all early brooches1 has so far been applied only to the dress-fasteners of classical times2 and though the word brooch 7from the ,french broche1 meaning a spit7 was not introduced into ,england until after the ,norman ,conquest1 it is for the sake of clearness used here to describe what are generally known among ,anglo-,saxon ornaments as fibul4 ,in later ,roman times1 and among the ,irish and ,anglo-,saxons1 the ring-brooch was sometimes formed with an opening on one side1 and the pin or acus1 which was not hinged1 but moved freely to any part of the ring1 having been passed through the tissue1 was brought through this opening4 ,the ring was then turned till the pin rested upon its rim4 ,at the time of the ,norman ,conquest the opening of the brooch is closed1 the ring becomes flat and has a pin of the same length as its diameter4 ,instead of running loosely1 the pin is hinged upon a constriction of the ring and it either traverses the tissue which has been brought through the latter1 or a band is passed over it from beneath the sides of the ring4 ,when the portions of the garment thus connected are drawn back1 the pin falls across the front of the ring and is held securely in its place4 ,this ring-brooch was known as the fermail 7,latin firmaculum1 signifying a clasp7--a term employed both in old ,french and old ,english inventories4 ,the ring-brooch was worn by both sexes4 ,it appears on the monumental effigy of ,richard ,coeur de ,lion at ,rouen1 on that of ,berengaria his queen at ,le ,mans1 and on several of the thirteenth-century sculptures on the west front of ,wells ,cathedral4 ,it served to gather up the fulness of the surcoat on the breast of the knight1 as shown by the effigy1 known as that of ,william ,mareschel the ,elder1 ,earl of ,pembroke1 in the ,temple ,church2 but was generally used to close the opening in the robes at the throat of either sex and is seen thus on many effigies of the thirteenth and fourteenth centuries4#ga #ga ,arch4 ,journ41 ,,iii1 p4 #gf4 ,among the few examples of medival jewellery that have survived1 brooches and finger rings predominate4 ,brooches differ slightly according to the nationality to which they belong3 those of ,english origin forming of themselves a class of considerable variety and extent4 ,the earliest were circles of small diameter and narrow frame1 either plain1 or decorated with simple designs4 ,mystic words and letters were subsequently added2 but as the brooch became larger1 amatory mottoes took their place4 ,religious formul were also employed1 particularly in the thirteenth and fourteenth centuries1 when the brooch reached its full development4 ,the various inscriptions and designs engraved on medival brooches are of great interest4 ,the majority of inscriptions are mottoes in ,french1 such as were frequently employed as posies upon rings and other love-gifts4 ,an inscription which occurs more than once is ,,io 4 ,,svi 4 ,,ici 4 ,,en 4 ,,liev 4 ,,dami4 ,another chanson1 reading thus in modern ,french--,je suis ici1 toi voici1 is found on several brooches in the ,british ,museum4 ,the dainty ,prioress1 ,madame ,eglentine1 in the prologue of ,chaucer's ,canterbury ,tales wore-- 444 a broche of gold ful shene1 ,on whiche was first y-written a crouned ,a1 ,and after1 ,amor vincit omnia4 ,the popularity of this last motto on the personal ornaments of the ,middle ,ages may be attributed to its supposed influence as a love-charm4 ,a considerable number of legends are of a religious character1 with allusions to the ,virgin and ,saviour while a few are talismanic1 and contain inscriptions such as the names of the ,kings of the ,east4 ,ring-brooches1 though generally circular1 show a variety of other shapes1 such as hearts1 trefoils1 lozenges1 etc4 ,a heart-shaped brooch of fine workmanship in chased and engraved gold is in the ,victoria and ,albert ,museum4 ,it appears to be ,french and of the fifteenth century4 ,upon its back is the inscription--,nostre et tout ditz a vostre desir4 ,the brooches worn by the wealthy are often magnificent examples of jewellery1 enriched with gems set in delicate goldwork4 ,a number of the existing brooches are of such diminutive size--less than half an inch in diameter--that they could only have been employed for fastening the very thinnest tissue4 ,the larger gold ring-brooches1 of fine workmanship and set with precious stones1 are of great rarity4 ,in the ,british ,museum are several choice specimens3 the finest1 formerly in the ,londesborough ,collection1 dates from the fourteenth century4 ,it is mounted with pearls1 cabochon sapphires and emeralds1 arranged in a variety of settings1 and further enriched with four bosses carved and pierced in the forms of dragons and cockatrices4 ,a remarkable brooch of the thirteenth century1 also from a well-known collection1 that of ,baron ,pichon1 is preserved in the ,victoria and ,albert ,museum4 ,it is a circular gold ring two inches in diameter1 enriched with four sapphires and six rubies in high cone-like settings formed of simple sheets of metal wrapped round the stones4 ,the bases of these collets are hidden on the inner side by an encircling wreath of vine leaves delicately cut and stamped in gold4 ,the back is ornamented with a leaf design in niello4 ,there is a somewhat similar brooch1 though only a fragment1 in the ,gem ,room of the ,british ,museum4 ,a gold brooch also dating from the thirteenth century1 and1 like the majority1 of ,french workmanship1 is in the ,carrand ,collection in the ,museo ,nazionale 7,bargello71 ,florence4 ,this fine example1 formerly in the ,debruge ,collection1 is decorated with exquisite ,gothic foliage in naturalistic style1 and with figures of two lions in full relief4 ,it is set with two large rubies and four small emeralds4 ,in the same collection is an extremely interesting brooch1 likewise ,french1 and of the fourteenth century4 ,a flat ring of gold #a inches in diameter is ornamented with concentric rings of enamel1 the two outer being blue and the inner white4 ,upon the latter1 in letters reserved in the gold1 is the inscription ,,iesus ,,autem ,,traisiens ,,per ,,med41#gb which occurs also on the cameo of ,charles ,v at ,paris1 and was held by those who bore it to possess a prophylactic virtue4 ,the brooch is further ornamented with four vernicles#gc engraved with exquisite feeling at equal distances upon its surface 7,pl4 ,,xx1 #b74 #gb ,st4 ,luke1 ,,iv4 #cj4 #gc ,a ,veronica1 or ,face of our ,lord1 frequently figured on hat-ornaments4 ,thus3 ,a vernicle hadde he sewed upon his cappe 7,chaucer1 ,canterbury ,tales1 l4 #fhh74 ,this jewel may perhaps have been a hat-brooch4 ,illustration3 ,,plate ,,xx ,,medi,,val ,,brooches 7,,ring-,,brooches1 ,,etc47 ,though comparatively many existing brooches are of gold1 a great quantity were formerly produced not only in silver1 but in baser metals1 such as iron1 copper1 and lead or pewter4 ,how large was the demand for brooches of these materials can be gauged from a ,french writer of the thirteenth century1 ,jean de ,garlande1 a poet and grammarian1 who in his ,latin vocabulary refers to brooch-makers as a special class of craftsmen1 who1 apart from goldsmiths1 were sufficiently numerous to bear the title of fermailleurs#gd--makers of fermails4 ,to about the end of the fifteenth century belongs a satirical poem printed in ,london with the title ,cocke ,lorelles ,bote1 where latten workers and broche makers are specially mentioned among the ,london crafts or trades4 ,the manufacture of the finest brooches1 however1 was always reserved for the goldsmiths--a fact indicated by the quartering of brooches on the arms of the ,goldsmiths' ,company4 #gd ,sometimes called 7by metathesis7 fremailleurs4 ,there would be no justification for any general reference to medival ring-brooches that omitted to give some account of those worn in ,scotland4 ,brooches formed an indispensable accessory to the ,highland dress of both sexes1 in that they served to fix upon the shoulder an invariable article of clothing of the ,highlanders--the ,scottish plaid4 ,in the latest development of the ,scottish brooch of the ,celtic type1 the pin1 as has been observed1 is hinged upon the ring1 and after piercing the garment is held in its place by a catch at the back of the brooch4 ,upon the introduction of the ring-brooch with a pin equal to the diameter of the ring1 this mode of fastening was only in very few cases retained1 and preference in general was given to the ,english manner of adjustment4 ,the earliest form of the ,scottish ring-brooch1 which dates from about the thirteenth century1 is a flattened circular ring1 upon which talismanic inscriptions in ,latin1 generally of a religious character1 almost invariably appear4 ,these1 together with some traces of ,gothic design1 last throughout the fourteenth and fifteenth centuries4 ,after this period the knowledge of ,latin seems to decrease1 for it is rendered so barbarously on the sixteenth-century brooches as to be almost unintelligible4 ,on the later brooches the decoration is purely ornamental1 with interlaced work and foliaceous scrolls1 and brooches of this type1 on which the character of an earlier period is retained1 were made as late as the eighteenth century4 ,the designs of the silver brooches were produced by engraving accompanied by niello work2 those of the brass brooches usually by engraving alone4 ,the ,national ,museum of ,antiquities at ,edinburgh possesses a large and important collection of ,scottish brooches1 while a few ,highland families have preserved for many generations massive silver brooches of elaborate workmanship4 ,formerly in the possession of the ,campbells of ,glenlyon1 and now in the ,british ,museum1 is a brooch known as the ,glenlyon brooch4 ,it dates from about the fifteenth century4 ,it is about #c inches in width1 and is formed of a flat ring set with pearls on tall cone-shaped turrets1 alternating with crystals and pieces of amethyst4 ,across the centre is a richly decorated bar1 upon which rest the points of two pins attached to the edge of the ring4 ,on the back of the brooch1 in black-letter1 is the favourite inscription of medival amulets3 ,,caspar 4 ,,melchior 4 ,,baltazar 4 ,,consumatum 4 ,the last word1 the declaration of the dying ,saviour1 ,it is finished1 was often inscribed upon brooches and other ornaments of the ,middle ,ages1 as were likewise the ,angelic ,salutation1 the titulus ,i4,n4,r4,i41 and other so-called caracts1 all of which were considered to possess some talismanic efficacy4 ,illustration3 ,,plate ,,xxi ,,medi,,val ,,scottish ,,brooches 7,,the ,,glenlyon ,,and ,,loch ,,buy ,,brooches7 ,in many cases the open space in the middle of the ring1 as in modern brooches1 was filled up1 and in the early examples was sometimes occupied by a turret-like ornamentation set with a crystal1 while obelisks rising from the ring of the brooch were set with polished stones such as cairngorms 7still popular on ,scottish jewellery71 or with ,scottish pearls4 ,the finest examples of this type of brooch are known as the brooch of ,lorn1 the ,ugadale brooch1 and the ,loch ,buy brooch4 ,the brooch of ,lorn1 still in the possession of the lineal descendants of the ,macdougals of ,lorn1 dates from the fifteenth century4 ,it consists of a disc of silver #d inches in diameter1 enriched with filigree4 ,in the centre is a raised capsule crowned with a large rock crystal1 and round the ring of the brooch a circle of eight obelisks4 ,the ,ugadale brooch1 the property of the ,macneals of ,firfergus1 is of somewhat similar nature1 save that the turrets1 eight in number1 are towards the centre of the brooch and arranged close round the raised crystal4 ,the ,loch ,buy brooch1 of more elaborate workmanship1 is likewise surmounted by a cabochon crystal on a raised dais4 ,on the ring1 within a low border1 are ten tall turrets1 each surmounted with a ,scottish pearl4 ,this famous brooch1 long in the possession of the ,macleans of ,loch ,buy in the ,isle of ,mull1 came later into the collection of ,ralph ,bernal1 one of the first and most eminent of latter-day connoisseurs1 at whose sale in #ahee it was purchased by the ,british ,museum4 ,in addition to the ,highland circular brooches1 a considerable number in the shape of hearts have been found in ,scotland1 sometimes surmounted with a crown1 and in a few instances set with jewels 7p4 #afe74 ,they were mostly love-tokens and betrothal gifts1 and many of them bear on the reverse the word ,,love4 ,brooches of this form are known as ,luckenbooth brooches1 from their having been commonly sold in the ,luckenbooths1 the street stalls around ,st4 ,giles' ,church on the ,high ,street1 ,edinburgh4 ,the use of the word ,luckenbooth calls to mind the fact that the goldsmiths of ,paris also worked and dwelt in booths1 which as late as the fourteenth century were situated on the ,pont du ,change and the ,pont ,ntre ,dame4 ,in this connection it is worth noticing that in ,england1 as well as in ,france and ,scotland1 the working goldsmiths1 like the followers of other trades1 occupied distinct quarters by themselves1 and they had in ,london one part of the ,chepe set apart for them to dwell and trade in4 ,the custom of the various crafts thus confining themselves to particular quarters1 which is of remote antiquity1 greatly facilitated the formation and government of trade guilds4 ,illustration3 ,a medival lapidary4 ,from ,ortus ,sanitatis 7,strasburg1 about #adig74 ,,chapter ,,xvii ,,medi,,val ,,brooches 7continued7--,,pectorals ,another species of brooch peculiar to the ,middle ,ages is the pectoral1 an article for fastening on to the middle of the breast4 ,it is similar to our modern brooch1 but differs in that it did not always serve to hold the dress together4 ,in earlier centuries it was often sewn on the garment1 and was only occasionally supplied with a pin4 ,it was worn by both sexes1 as well as by ecclesiastics1 who appear to have borne in mind the chief ornament worn by the ,jewish ,high ,priest4 ,the earliest and most remarkable example of this class is the great gold pectoral--the ,eagle ,fibula it is termed--found in #ahhj at ,mainz--that ancient and historical ,rhenish city1 known in former times from its commercial prosperity as ,goldene ,mainz1 which has proved extraordinarily rich in discoveries dating from classical and early medival periods4 ,this famous jewel1 both on account of its size 7#d by #c-e_/h inches7 and good state of preservation1 probably deserves to rank first among all golden ornaments that have come down to us from the early ,middle ,ages4 ,its composition1 says ,herr ,luthmer1 is extremely clear and conscious4 ,an eagle1 of heraldic form1 it is true1 but not with any of that unnatural emaciation peculiar to the later style of heraldry1 fills the inner circle of a flat ring of stamped gold enriched with beaded filigree1 which at its upper end--in order to give space for the head of the bird--is not closed1 but connected by a curve in the circle of wire4 ,the eight flowers inserted in the open-work of the ring1 as well as the whole form of the eagle with the exception of the claws1 are filled with cloisonn enamel which unfortunately has disappeared from the body of the eagle1 where only the punctured outlines of the feathers are perceptible upon the plate of gold4 ,otherwise the enamel1 made of translucent green and blue1 turquoise-blue1 white and yellow1 has been preserved in all its freshness4#ge ,this pectoral dates from the commencement of the twelfth century1 and is one of the chief treasures in the rich collection of antiquities preserved in the ,mainz ,museum4 #ge ,luthmer1 op4 cit41 p4 #gd4 ,jewels of this species and of this period are of the utmost rarity4 ,another very beautiful example was discovered at ,mainz just five years after the ,eagle ,fibula1 and is now in the collection of ,baron von ,heyl zu ,herrnsheim at ,worms4 ,it is formed of repouss gold1 and represents an eagle standing upon a branch rolled up at both ends4 ,a fine sapphire occupies the middle of the breast1 in the centre of the wings are emeralds1 the tail is set with lapis-lazuli1 and the eye of the bird with a small ruby4 ,this exquisite jewel dates from the early part of the thirteenth century4 ,it measures #b-a_/h inches in height and #a-e_/h inches in width4#gf ,the most remarkable among jewels of about the same date 7the twelfth century7 are the splendid antique cameos already described--the ,cameo of ,st4 ,hilary in the ,bibliothque ,nationale1 ,paris1 and the ,schaffhausen ,onyx--both of which were originally employed as pectorals or brooches4 #gf ,kunstgewerbe-,blatt1 ,,iii1 p4 #ba1 #ahhg4 ,illustration3 ,,plate ,,xxii ,,medi,,val ,,brooches 7,,pectorals ,,and ,,morse7 ,a few brooches are attached1 as was once the jewel of ,st4 ,hilary1 as ex voto on the breast of reliquary figures1 like that of ,st4 ,foy at ,conques1 which still exhibits an ornament of this kind4 ,a brooch or fermail 7for this latter term is not confined to the ring-brooch71 #a inches in diameter1 which once formed part of the ancient jewels of the ,french ,crown1 is in the ,galerie d',apollon of the ,louvre4#gg ,two exceedingly fine brooches of about the end of the twelfth century1 found at ,mainz in #ahif and now in the treasury of the cathedral1 are described by ,dr4 ,schneider in the ,jahrbuch der ,kniglich ,preussischen ,kunstsammlungen 7,vol4 ,,xviii72 and a pectoral or brooch of a similar form1 a large stone in the centre1 surrounded by smaller ones--to take only one among many examples--is represented on the twelfth-century statue of a queen1 probably intended for the ,queen of ,sheba1 from the west portal of the church of ,our ,lady of ,corbeil1 and now at ,saint-,denis4 #gg ,barbet de ,jouy1 ,gemmes et joyaux de la couronne1 ,pl4 ,,xi4 ,in the case of original jewels of this kind1 it is not always easy to determine whether they were articles of adornment for the clergy or the laity1 and though those for ecclesiastical use probably predominate1 it is only when they contain the figured representation of some religious subject that they can with certainty be identified as cope-clasps or morses1 the ,french equivalent for which is mors de chape4 ,morses were frequently of extraordinary size4 ,monumental brasses and tombstones1 especially in ,germany1 exhibit many examples4 ,adalbert of ,saxony1 who was administrator of the archbishopric of ,mainz1 and died in #adhd1 is represented on his tombstone in the cathedral with one measuring more than #g inches across4 ,existing examples vary from #e to #g inches in breadth4 ,the jewellers of the ,middle ,ages delighted in lavishing their utmost taste and skill on morses1 which were of a variety of shapes1 and were composed of every material4 ,some were enriched with precious stones1 including ancient cameos1 and others rendered attractive with coloured enamels4 ,several lists of ,english morses are preserved4 ,in the inventory of ,sarum1#gh of the year #abbb1 gold1 silver1 and jewelled morses1 firmacula1 pectoralia1 or monilia 7as they were variously termed in the ,middle ,ages7 are described at length2 in that of ,st4 ,paul's1#gi drawn up in #abie1 there are no less than twenty-eight2 while the inventory of jewels 7jocalia7 preserved in ,york ,minster#hj in #aejj includes an extraordinarily rich collection of these ornaments4 #gh ,rock1 op4 cit41 ,,iii1 iii1 p4 #aja4 #gi ,dugdale1 ,history of ,st4 ,paul's ,cathedral 7#ahah ed471 p4 #caj4 #hj ,fabric ,rolls of ,york ,minster 7,surtees ,society71 p4 #bbb4 ,though some were clearly made fast to one side of the garment1 and were hitched to the other by hooks1 or by a pin1 like a brooch1 they were not always employed to unite the two sides1 but were sometimes used simply as a decoration upon the front of the vestment1 and perhaps hung there by a chain round the neck4#ha ,examples to be found in many museums are pierced with holes1 or have loops behind them1 showing that they were sewn to the vestment with purely decorative purpose4 #ha ,compare p4 #aba4 ,from the close of the twelfth century champlev enamel upon copper was much employed for the decoration of morses4 ,in the fourteenth century champlev was largely superseded by transparent enamel on silver relief 7basse-taille71 many of the finest specimens of which were produced in ,italy4 ,two fine morses displaying this species of work are preserved2 the one in the ,british ,museum#hb and the other at ,south ,kensington4 #hb ,shaw1 ,decorative arts of the ,middle ,ages1 ,pl4 #g4 ,the use of ancient cameos as personal ornaments has already been mentioned2 and there is in the ,british ,museum a medival intaglio1 the finest of its kind1 which was used as a morse4 ,it is known as the ,crystal of ,lothair1 since it was made1 in all probability1 for ,lothair ,,ii1 ,king of the ,franks from #hee to #hfi4 ,it is a lenticular plaque of rock crystal1 #d inches in diameter1 engraved in intaglio1#hc with the history of ,susanna4#hd #hc ,it is intended1 however1 to be looked at from the reverse side through the crystal--when the device appears like a cameo4 #hd ,archologia1 ,,lix1 p4 #be4 ,public collections at home and abroad possess a variety of examples of ,gothic morses of exquisite design4 ,one of the most remarkable of ,german workmanship of the fourteenth century is in the ,muse ,cluny at ,paris2#he while among the finest ,german jewels of the fifteenth century must be ranked a morse of beautiful execution in the ,victoria and ,albert ,museum4#hf ,other noteworthy examples are1 three in the treasury of the cathedral of ,aix-la-,chapelle1 one of them#hg containing a representation of the ,annunciation--a subject which1 judging from the inventories1 appears to have been a very favourite one for the purpose1 particularly in ,england4 ,three more are in ,paris3 one--the beautiful morse of ,st4 ,louis--in the ,galerie d',apollon1#hh a second in the ,rothschild ,bequest#hi in the ,louvre1 and a third in the ,dutuit ,bequest4#ij ,in the ,kunstgewerbe ,museum at ,berlin is a silver-gilt morse which was made in the year #adhd for ,albert von ,letelen1 canon of ,minden1 by the goldsmith ,reinecke van ,dressche of ,minden4 ,it is a circular disc #e inches in diameter1 filled with three elaborate ,gothic tabernacles1 each containing a figure4 ,entirely symmetrical in composition1 it follows a design commonly found on the seals of the same date 7,pl4 ,,xxii1 #c74 #he ,figured by ,shaw1 ,dresses and decorations1 ,pl4 #hh1 where it is erroneously described as the clasp of the ,emperor ,charles ,v4 #hf ,pollen1 ,gold and silversmith's work in the ,s4 ,kensington ,museum1 p4 #ih4 #hg ,beissel1 ,kunstschtze des ,aachener ,kaiserdomes1 ,pl4 ,,xiii4 #hh ,barbet de ,jouy1 op4 cit41 ,pl4 ,x4 #hi ,molinier1 ,donation de ,adolphe de ,rothschild1 ,pl4 ,,xix4 #ij ,giraud1 ,les arts du mtal1 ,pl4 ,,vii4 ,an excellent idea of the extraordinary beauty of the morses in use at the close of the ,middle ,ages can be obtained from fifteenth-century paintings1 particularly of the ,flemish school4 ,few of the latter can surpass what is one of its finest examples in the ,national ,gallery--,gerard ,david's beautiful picture of the ,canon and his ,patron ,saints1 in which are displayed1 in almost all their pristine freshness1 some of the most magnificent representations of the jeweller's art4 ,besides these pectorals1 which sometimes served a practical1 but often a purely decorative purpose1 there were various other ornaments that acted as clasps 7agrafes74 ,these agrafes are similar to those still made use of in our day1 working on a system of a hook fitting into a loop4 ,clasps for mantles were sometimes made of massive loops fastened on either side of the border of the mantle1 like parts of a hinge1 which could be clasped by a pin being thrust through them1 or by a cord or strap4 ,illustration3 ,mantle clasp 7portion7 on effigy of ,henry ,,iv 7,canterbury ,cathedral74 ,a heavy ornamental mantle was often worn by both sexes over the dress4 ,it was open in front1 and displayed the dress underneath4 ,upon its opposite edges were fixed two ornamental rosettes or lozenges1 connected by cords terminating in tassels1 or by a band across the breast4 ,in the case of ceremonious attire this band was of metal1 profusely jewelled1 while the ornamental pieces or clasps at each end were of elaborate goldwork set with precious stones4 ,on the monumental effigy of ,henry ,,iv in the ,chapel of ,st4 ,thomas ,becket1 at ,canterbury ,cathedral1 the cloak is secured by a rich band fastened at each end by diamond-shaped clasps of fine design4 ,henry's ,queen1 ,joanna of ,navarre1 who lies beside him1 has clasps of almost the same form1 fixed near the shoulders1 and united by a simple band4 ,somewhat similar ornaments1 rosette-shaped1 can be seen on the effigy of ,anne of ,bohemia1 first wife of ,richard ,,ii1 in ,westminster ,abbey4 ,since the pectoral is sometimes worn together with these clasps1 it is evident that it often had nothing to do with closing the mantle2 but when a pin is attached behind1 and it is employed for secular purposes1 it assumes the ordinary type of the modern brooch4 ,the ,english word for this smaller and secular variety of morse1 which is distinct from the fermail or ring-brooch1 was nouch4#ia ,it was also called ouch1 by misdivision of a nouch as an ouch1 and was variously spelt nuche1 nowche1 owche1 etc4 ,that the nouch is the actual ,english equivalent to the morse or pectoral is proved by a will dated #adjj1ib in which among the jewels bequeathed to the shrine of the ,head of ,st4 ,william of ,york was unum monile1 ,anglic nouche auri1 cum uno saphire in medio1 et j4 dyamand desuper1 et circumpositum cum pereles et emeraudes4 ,nouches were attached to the front of the garment1 but were occasionally worn upon the shoulder4 ,on the effigy of ,henry ,,ii1 at ,fontevraud1 and on that of ,henry ,,iii#ic in the ,chapel of ,edward the ,confessor at ,westminster ,abbey1 the mantle in each case is fastened upon the right shoulder with a brooch of this kind4 #ia ,probably a corruption of the ,latin words nusca1 nuxa1 a brooch or fibula 7,prompt4 ,parv41 p4 #cei74 #ib ,testamenta ,eboracensia 7,surtees ,society71 ,i1 p4 #bfg4 #ic ,this effigy1 and that of ,anne of ,bohemia1 and of ,henry ,,iv and his ,queen1 may be studied from reproductions in the ,national ,portrait ,gallery4 ,it would be an almost impossible task to describe all the motives selected for the ,english brooches of the fourteenth and fifteenth centuries1 their numerous compositions of human figures and animals of all sorts1 and the various stones with which they were set4 ,the old inventories give endless descriptions1 but hardly any actual examples1 apart from the ring-brooches and ,william of ,wykeham's magnificent nouch at ,new ,college1 have survived4 ,in the ,british ,museum is a silver-gilt brooch in form of ,st4 ,christopher leaning on his staff and bearing the infant ,saviour on his shoulder4 ,it is of fifteenth-century workmanship1 #b inches long1 and was found at ,kingston-on-,thames 7,pl4 ,,xx1 #g74 ,this brooch is of peculiar interest1 since in the ,canterbury ,tales that worn by the ,yeman is described as ,a ,crystofre on his brest of silvyr shene4 ,brooches and nouches1 mentioned frequently in the ,english inventories of the fourteenth century1 became even more numerous and elaborate in the century following4 ,foreign influence1 strong at this period1 left its imprint upon all works of art2 and the most extensive commerce was carried on with ,flanders1 which was then the workshop of the world4 ,yet though the following descriptions of brooches drawn from the inventory of ,henry ,,iv in the ,inventories of the ,exchequer#id show a striking similarity to the continental jewels of the same date1 there is no reason to suppose that these were not actually produced in ,england by ,english workmen4 ,five nouches1 probably very similar in form to the splendid jewel at ,new ,college1 ,oxford1 and dating approximately from the same period1 are thus recorded3 ,item v4 nouches de letres ,m apparellez de perles et diverses peres de petit value4 ,other brooches exhibit a variety of forms3 ,item i4 gant nouche dun griffon seisant un deyme ove i4 saphir en my lieu iij4 baleys et vi4 grosses perles2 ,item i4 nouche dor ove i4 damoysell es blancz flours portant i4 papingey en la mayn apparellez ove i4 baleys iij4 saphis iij4 troches de perles ove trois diamantz contrifaitz4 ,similarly enriched jewels have for their subjects3 i4 enfant dor et i4 blanc deime enaymellez2 i4 damoisell et i4 unicorn dor2 and un damoisell seant en un solaill4 ,finally we meet with the following entry3 ,item i4 nouche d'un aungell blanc tenant en sa mayn un saphir feble garnisez de vi4 perles enterfoiles4 #id ,kalendars and ,inventories of the ,exchequer1 ,,iii4 p4 #cdd1 etc4 ,of all the immense wealth of jewellery of the ,dukes of ,burgundy in the fifteenth century almost every vestige has disappeared1 and the public museums of the ,continent are practically destitute of ,flemish-,burgundian jewellery of this date4 ,yet the ,british ,museum1 through the generosity of the late ,sir ,a4 ,w4 ,franks1 is in fortunate possession of several exquisite examples1 which were dredged a few years ago from the bed of the ,river ,meuse4 ,the most remarkable is a gold brooch of delicate workmanship1 the centre of which is occupied by a female figure3 a garland encircles her head1 a flower set with a small triangular diamond adorns her breast1 while her hands hold in front a large faceted sapphire4 ,around1 in the midst of foliage1 are three cabochon rubies1 and the settings of other stones and pearls which have disappeared 7,pl4 ,,xx1 #aa74 ,the form of this jewel is peculiarly interesting in comparison with the above-quoted aungell tenant en sa mayn un saphir of the inventory of ,henry ,,iv4 ,a smaller circular brooch of similar fabrique has a diamond above and a pale ruby below1 and is encircled by radiating buds of flowers1 the centre of each bud being formed of a ball of white enamel4 ,of the few examples of jewels of similar character that exist at the present day upon the ,continent1 there is in the treasury of the ,collegiate ,church of ,essen in ,rhenish ,prussia1 amongst several fine objects of the goldsmith's art1 a remarkable and comparatively unknown collection of enamelled jewels of the fifteenth century4#ie ,each of the sixteen objects of the series possesses what appears to be a characteristic of most jewels of this date--that is to say1 it is enclosed by an encircling wreath-like ornament of the naturalistic late ,gothic style formed of a circular tube of gold to which are affixed leaves of stamped gold1 enamelled and enriched with pearls4 ,the centres of the jewels are occupied by a variety of motives4 ,seven are of a purely formal composition1 enriched with small white flowers1 the stalks of which1 covered with green enamel1 resemble with their interlacing design the necklace worn by ,maria ,portinari in the ,van der ,goes triptych at ,florence4 ,the remaining and more elaborate jewels contain enamelled figures of men and animals executed with extraordinary minuteness and vivacity4 ,the finest1 and on the whole the best preserved1 has in the centre a female figure in full relief clothed in a white robe and long green cloak and a head-dress in the form of leaves4 ,she is seated in a field sewn with flowers in the manner of the pictures of the period1 and behind are golden rays#if 7,pl4 ,,xx1 #i74 ,the figure upon another jewel has a somewhat similar background4 ,her robe is white1 and her head-dress and the edges of her wing-like sleeves red4 ,in front of both figures is a small cluster of precious stones4 ,though all the objects in this remarkable collection are of about the same date1 they differ sufficiently to make it clear that1 like the treasures from ,saragossa1 they owe their presence here to the devotion of perhaps more than one wealthy person to a highly revered shrine4 ,in spite of the fact that the majority are considerably damaged1 they are yet eloquent proofs of the magnificent style of living at the period of their production1 and valuable examples of the ornaments of the ,middle ,ages of which no other collection possesses so large and choice a variety4 #ie ,revue de l'art chrtien1 #ahhg1 p4 #bgf2 and ,humann 7,g471 ,die ,kunstwerke der ,mnster-,kirche zu ,essen1 ,pl4 #fb4 #if ,compare this jewel with un damoisell seant en un solaill in ,henry ,,iv's inventory4 ,in date one is disposed to place these brooches 7or nouches1 as they would be termed in old ,english inventories7 in the first half of the fifteenth century--at least as far as the figured pieces are concerned1 for jewellery in pictures of the second half of the century is mostly formed of pearls and precious stones alone4 ,jewelled brooches of this kind ornamented with figures in relief are particularly well represented in the works of the older ,german painters and above all those of ,stephan ,lochner 7d4 #adea71 in whose masterpiece in ,cologne ,cathedral1 known as the ,dombild1 the ,virgin is seen wearing on her breast a brooch ornamented with clusters of pearls and the figure of a seated maiden1 with a unicorn resting one foot on her lap4#ig ,in another celebrated picture by ,master ,stephan--the ,virgin of the ,rose-,arbour1 in the ,cologne ,museum--the same subject is represented on the mandorla1 or almond-shaped1 brooch which closes the ,virgin's robe2 while in a third picture by him in the ,episcopal ,museum of the same city--a picture which1 like the rest1 bears traces of ,flemish influence--the ,virgin's brooch or morse is ornamented with a female figure seated1 full face1 after the manner of the ,british ,museum and ,essen brooches4#ih #ig ,compare ,henry ,,iv's i4 damoisell et i4 unicorn4 #ih ,the same motive is figured on a morse shown on the left wing of a picture in the ,cologne ,museum known as the ,sippenaltar 7by the ,meister der heiligen ,sippe71 dating from the end of the fifteenth century4 ,the jewel is worn by ,s4 ,nicasius4 ,it is trefoil in shape1 and decorated with the figure of an angel1 full face1 holding a large stone in front4 ,illustration3 ,brooch of the ,virgin in ,lochner's ,dombild 7,cologne ,cathedral74 ,such is the extraordinary quality and extreme rarity of jewels of this type that attention must be drawn to yet two more examples3 one in the ,imperial ,collections at ,vienna1 and the other in the ,carrand ,collection in the ,bargello at ,florence4 ,the former is a jewel of quite remarkable character4 ,within the usual circle of gold wire is a pair of lovers standing side by side each holding the end of a wreath4 ,the figures1 dressed in ,burgundian costume of the fifteenth century and enamelled with various colours1 breathe the spirit of the medival amourette as represented upon ivory mirror-cases and jewel-caskets and in miniatures of the twelfth to the sixteenth century4 ,between them is a triangular diamond set like the example in the ,british ,museum1 and below it a pale cabochon ruby4 ,around are five pearls 7,pl4 ,,xx1 #h74ii ,the jewel at ,florence 7#b inches in diameter7 has a border of green enamelled leaves set with pearls1 and in the centre a finely modelled figure of a dromedary in white enamel4 ,this brooch1 which is in splendid condition1 was perhaps intended to be worn1 as were some other of these pieces1 as an enseigne on the hat or cap 7,pl4 ,,xvii1 #ab74 #ii ,this jewel once formed part of the treasure of the ,house of ,burgundy1 and came into the ,imperial ,collections through the marriage of ,mary of ,burgundy with the ,emperor ,maximilian ,i4 ,whatever may have been their nationality1 a glance at each1 from those in the ,british ,museum to the one last described1 is sufficient to determine the identity of their source of inspiration4 ,all bear the stamp of the ,flemish-,burgundian art1 which throughout the fifteenth century dominated the creations of the goldsmiths1 as well as the sculptors1 miniaturists1 and tapestry workers1 of the entire west of ,europe4 ,every one of these brooches is worthy of the most careful examination1 particularly by the craftsman of the present day1 for unlike the ornaments of more ancient times1 they possess qualities which render them peculiarly appropriate to the circumstances of our later civilisation4 ,in the refinement and simplicity of their arrangement and design these medival examples of the jeweller's art transcend many of the greatly admired and more famous jewels of the ,renaissance4 ,,chapter ,,xviii ,,medi,,val ,,rings ,,and ,,bracelets ,of all classes of medival jewellery finger rings have been preserved in the greatest number4 ,among the various causes that have contributed to this result must be reckoned their very general use in former times1 their comparatively small value1 which often saved them from the melting-pot and the fact that they were almost the only articles of value usually buried with the dead4 ,as regards the use and form of the finger ring during the ,middle ,ages1 we find that it retains in the main its primitive symbolical character1 being employed as an emblem rather than an ornament1 to signify the investiture of office1 the binding of the nuptial bond1 and especially as a signet4 ,though the occurrence of numerous rings without a seal or other mark proves their general acceptance as purely ornamental articles1 so deeply was the spirit of the age imbued with leanings towards the mysterious and the occult1 that nearly every ring is an annulus vertuosus1 supposed to be endowed with some talismanic or sanative efficacy4 ,for convenience sake medival rings may be separated into four main divisions3 7#a7 ecclesiastical and devotional rings2 7#b7 charm rings2 7#c7 love and marriage rings2 and 7#d7 ornamental rings1 including signets4 ,rings have always been looked upon with favour by the ,church2 they were worn regularly by the higher clergy1 and formed part of their ecclesiastical insignia4 ,the ,british ,museum1 by the bequest of ,mr4 ,octavius ,morgan1 possesses an important collection of gilt bronze finger rings of enormous size1 each set with a foiled glass or crystal4 ,most of them bear on the hoop symbols of the four evangelists1 the ,ox1 ,lion1 ,angel1 and ,eagle1 as well as the triple crown and crossed keys with the arms of various popes1 and sometimes those of contemporary rulers1 mostly of the fifteenth century4 ,these so-called papal rings1 of which other examples1 and duplicates1 exist1 are believed to have been presented or sent by popes or cardinals as emblems of investiture when conferring an office or dignity 7,pl4 ,,xxiii1 #aj74 ,a jewelled ring was always worn by a bishop1 and was an essential part of his costume when pontificating4 ,it was specially made for him1 and usually went with him to the grave4 ,hence it happens that many of these rings have survived1 and are preserved both in museums--the collection in the ,franks ,bequest in the ,british ,museum being the most extensive--and in the cathedrals where they have been found4#ajj ,in the earliest times bishops usually wore engraved rings for use as signets1 but they seem to have had a large jewelled one as well for ceremonial use4 ,according to the instructions of ,pope ,innocent ,,iii in #aaid1 the episcopal ring was to be of solid gold set with a precious stone on which nothing was to be cut2 hence the thirteenth-century rings are at times somewhat rudely fashioned1 with the shape of the bezel adapted to the gem just as it was found1 its surface merely being polished4 ,among the stones usually chosen for the purpose were the ruby indicating glory1 the sapphire purity1 the emerald tranquillity and happiness1 and crystal simplicity4 ,antique gems in earlier times were also worn1 and on some rings an inscription is added to give a ,christian name to the pagan figure2 but others were merely regarded as ornaments without meaning1 like one dating from the twelfth century in the ,waterton ,collection1 which bears a ,roman cameo in plasma of a female head in high relief2 or like the curious example found in the coffin of ,seffrid1 ,bishop of ,chichester 7d4 #aaea71 in which is mounted a ,gnostic intaglio4 ,the most usual form of ring1 and one which seems to have been reserved chiefly for bishops1 is of a pointed or stirrup shape4 ,it is commonly found set with a small sapphire1 more rarely with an emerald1 and sometimes1 as in ,william of ,wykeham's ring at ,new ,college1 with a ruby 7,pl4 ,,xxiii1 #a74 ,the fashion for this type appears to have lasted from the thirteenth to the fifteenth century4 #ajj ,amongst others there are three in each of the cathedrals of ,chichester1 ,york1 ,winchester1 and ,durham1 and two at ,hereford 7,archologia1 ,,xlv1 p4 #djd74 ,illustration3 ,,plate ,,xxiii ,,medi,,val ,,and ,,later ,,rings ,the episcopal ring was formerly worn on the right hand1 but is placed at the present day upon the annular finger--the third finger of the left hand4 ,not more than one episcopal ring is now worn1 but on sepulchral effigies and early pictures bishops are represented with three or four rings on the right hand1 not infrequently upon the second joint of the fingers1 and also upon the thumb4 ,they were generally worn over the gloves1 the backs of which were ornamented in addition with a large jewel4 ,these rings were often1 therefore1 of considerable size1 so that when worn without a glove a guard-ring was necessary to prevent their falling off4#aja ,mitred abbots were allowed to wear the ring2 by others it might be worn1 but not during the celebration of the ,mass4 ,the use of a ring was forbidden to the lower clergy4 #aja ,waterton 7,e471 ,episcopal rings 7,arch4 ,journ41 ,,xx1 p4 #bbd71 #ahfc4 ,among the rings to be classed under the heading of religious or devotional rings1 the most important are the so-called iconographic rings1 that is1 those which have on the bezels1 or on the shoulders1 which are generally grooved or fluted1 figures of the ,virgin and ,child1 or of patron saints4 ,they are nearly all of the same style of workmanship and date almost exclusively from the fifteenth century4 ,they are peculiar to ,england and ,scotland4 ,several examples are preserved in the ,national ,museum of ,antiquities at ,edinburgh 7p4 #ajd71 and others in the three great ,english ring collections4 ,illustration3 ,english gold ring1 fifteenth century4 ,engraved with the ,annunciation1 and the words en bon an4 ,devotional rings of the same date1 and mostly of ,english workmanship1 have broad hoops1 some engraved with sacred monograms1 some with holy names such as ,,jesus and ,,maria1 and others with the names of the ,three ,kings1 spelt in all manner of ways4 ,two exquisite ,english gold rings of this kind1 dating from the first half of the fifteenth century1 are in the ,british ,museum4 ,one1 found at ,coventry in #ahjb1 is engraved with the five wounds of ,christ1 together with the legends describing them1 and on the inside an inscription containing the names of the ,three ,kings of ,cologne 7,pl4 ,,xxiii1 #d1 #e74ajb ,the other ring was dug up at ,godstow ,priory1 near ,oxford1 and is of small diameter1 suited for a lady's finger1 but has a broad hoop engraved with sacred figures4 ,it appears to have been employed as a love ring1 for within the hoop is an inscription which runs thus3 ,most in mynd and yn myn herrt4 ,lothest from you fer to departt#ajc 7,pl4 ,,xxiii1 #f74 #ajb ,archologia1 ,,xviii1 p4 #cjf4 #ajc ,arch4 ,journ41 ,,xx1 p4 #aie4 ,another form of religious or devotional ring which was sometimes used in place of the ordinary rosary of beads was the decade ring4 ,this was so called from its usually having at intervals round the hoop ten knobs which were used for repeating ten ,aves1 and a head or bezel for the ,paternoster4 ,finger rings1 to an even greater extent than any other species of medival jewellery1 were designed to act as talismans or amulets2 and they served1 more than any other purpose1 that of charms4 ,their virtue was imparted sometimes by the stone1 and sometimes by the device1 inscription1 or magical letters engraved upon them4 ,the mystic virtues attributed to stones as well as to engraved gems during the ,middle ,ages has been frequently alluded to4 ,among the different stones 7like the sapphire1 for instance1 the very word for which implies protection against drunkenness7 carried in the bezel of the ring1 which were supposed to make the wearer proof against evil influences1 the most valued was the toadstone 7,pl4 ,,xxiii1 #i74 ,it was supposed to be found in the head of a toad1 but is in reality the fossil palatal tooth of a species of fish--the ray4 ,a toadstone--also known as crapaudine and batrachites--in a ring was said to indicate the presence of poison by perspiring and changing colour4 ,toadstones were much sought after1 and were highly prized1 even in ,shakespeare's day4 ,sweet are the uses of adversity2 ,which1 like the toad1 ugly and venomous1 ,wears yet a precious jewel in his head4 7,as you like it1 ,,ii1 #a47 ,ben ,jonson alludes to the custom of wearing the stone in rings3-- ,were you enamour'd on his copper rings1 ,his saffron jewel1 with the toad-stone in't8 7,volpone1 ,,ii1 #e47 ,in addition to the stones already mentioned1 greatly valued was the ,turkey-stone or turquoise1 as the ,compassionate turcoyse1 which doth tell1 ,by looking pale1 the wearer is not well4 7,donne1 ,anatomie of the ,world47 ,it was his turquoise ring which ,shylock would not have lost for a wilderness of monkeys4 ,the use of charm rings seems to have been not uncommon in early times4 ,it was one of the articles of impeachment against ,hubert de ,burgh1 the great justiciar of ,henry ,,iii1 that whereas the ,king had in his treasury a ring which rendered the wearer invincible in battle1 his minister furtively removed the same and bestowed it upon ,llewellyn of ,wales4 ,as charm rings1 too1 must be reckoned those which enclosed small relics4 ,but rings so used seem for the most part to have been worn attached by a ribbon or chain to the neck1 and not on the finger4 ,since such highly valued objects as charmed stones could only be obtained by a few1 cabalistic inscriptions often took their place4 ,many of the devotional rings with the names ,jesus1 ,mary1 and ,joseph engraved on them1 were used as a preservative against the plague2 but the most popular inscription was1 as has been seen1 the names of the ,three ,kings of the ,east1 which were a powerful charm against peril by travel and sudden death4 ,such rings were worn against the cramp4 ,there were also caract rings of superstitious use1 which bore charms in the form of inscriptions1 such as ,,ananizapta4 ,many other rings of this class have cabalistic names and strange barbaric words and combinations utterly unintelligible4 ,the fyancel or wedding ring appears to be of ,roman origin1 and was usually given at the betrothal as a pledge of the engagement4 ,two forms of these rings are the gimmel and the posy rings4 ,gimmel rings 7,french1 jumelle1 a twin7 are composed of two hoops forming1 when closed1 one ring1 and so constructed as to play when open one within the other4 ,they are of two sorts3 those which are either plain or set with precious stones1 and those which have the device of the fede or two right hands joined4 ,inscriptions or mottoes1 as a rule in ,norman-,french1 are to be found on rings of the fourteenth1 and more frequently on those of the fifteenth century4 ,they were called chansons and also resons or reasons1 and later1 poesies1 posies1 or posys4 ,these love inscriptions1 generally engraved on the outside of the ring 7though placed inside in the sixteenth and seventeenth centuries7 are for the most part the same as those found on the brooches of the time1 inscriptions such as ,je suis ici en lieu d'ami1 and the like1 being of frequent occurrence4 ,more rarely the motto is in ,english1 as on the beautiful iconographic gold ring in the ,british ,museum4 ,new ,year's ,day among the ,romans was a dies faustus and objects of jewellery were usually among the presents which it was the custom to exchange on that occasion4 ,in the ,middle ,ages also the advent of the ,new ,year was celebrated by the bestowal of presents4 ,among these estrennes jewellery was a prominent item1 and on the rings of the period 7like the one figured on p4 #aej7 the inscription1 en bon an frequently occurs4 ,a very extensive group of medival finger rings is formed by signets4 ,these are marked with some device1 such as an animal1 a bird1 a tree1 or any other object1 so that they could be easily recognised2 hence they were often given as credentials to a messenger4 ,in the fourteenth and fifteenth centuries rings of silver1 and occasionally of gold1 occur1 with a crest or coat-of-arms1 or with devices in the form of initials1 and certain arbitrary signs called merchants' marks1 which were used by merchants and others not entitled to armorial bearings4 ,piers ,plowman speaks of merchantes merkes ymedeled in glasse4 ,such rings were often worn on the thumb4 ,though armorial signets were worn in ,italy as early as the fourteenth century1 they were not common in ,england till the commencement of the sixteenth4 ,somewhat similar are certain devotional signet rings of silver or base metal engraved with an initial--generally the letter ,i surmounted by a coronet4 ,the ,i is probably the initial of the ,saviour's name1 such rings being worn from a belief in the efficacy of holy names as preservatives from evil4 ,in connection with the medival use of ancient engraved stones1 the fashion of wearing ,roman intaglios in rings has already been noticed4 ,upon the metal setting around these gems a legend in ,latin was often engraved2 the most usual inscription being ,,sigillum ,,secreti1 ,,sigillum ,,meum1 or the word ,,sigillum1 followed by the name of the owner 7,pl4 ,,xxiii1 #aa74 ,rings which have the appearance of being purely ornamental were worn throughout the ,middle ,ages in considerable numbers both by men and women2 yet at the same time it must ever be borne in mind that the stones set in them had probably in the eyes of the possessors a value quite independent of their use as ornaments4 ,in the ,gold ,ornament ,room of the ,british ,museum is a collection of five ,english rings of silver of the twelfth century4 ,they are of small intrinsic value1 but of considerable interest as authenticated examples of ornamental rings of the period2 for with the exception of those found on the fingers of prelates1 the date of early rings is sometimes difficult to determine4 ,the rings were dug up at ,lark ,hill1 near ,worcester1 in #ahed1 together with upwards of two hundred pennies of ,henry ,,ii4 ,they probably date1 therefore1 from about the end of the century4#ajd #ajd ,archologia1 ,,xxxvi1 p4 #bjj4 ,illustration3 ,french gold ring1 fourteenth century 7,louvre74 ,the peculiarity of many of the richer ornamental rings of this period is the tendency to place the stone upon a high case or stalk1 so that the bezel is raised considerably above the hand4 ,a curious example1 dating from the fourteenth century1 is in the ,sauvageot ,collection in the ,galerie d',apollon of the ,louvre4 ,it shows two dragons' heads issuing from crown-shaped ornaments supporting a sapphire in a high collet4 ,in the fifteenth century a large number of rings appear to have been habitually worn2 and on the monument of ,lady ,stafford in ,bromsgrove ,church1 ,worcestershire 7#adej71 every finger but the last one on the right hand is decorated with a ring4 ,in many of the ,flemish pictures of the same date we find ornamental rings set with table-cut or cabochon stones4 ,the form of these is admirably represented in the portrait of a goldsmith1 ascribed to ,gerard ,david1 in the ,royal ,gallery at ,vienna4 ,in his right hand he holds one ring1 and in the left a short roll of parchment1 on which are placed four more4 ,the rings are somewhat massive1 and thicken towards the bezel1 where they are mounted with table-cut stones within plain claw settings4 ,in the same gallery is ,john van ,eyck's portrait1 dated #adcf1 of ,john ,de ,leeuw1 jeweller to ,philip the ,good1 ,duke of ,burgundy4 ,he holds between the thumb and forefinger of his right hand a gold ring set with a small cabochon stone4 ,this notice of medival finger rings may be concluded by drawing attention to a picture which1 in view of the jewellery of the ,middle ,ages1 is one of the most fascinating of all the productions of the ,flemish school4 ,the panel in question1 the property of ,baron ,a4 ,oppenheim1 of ,cologne1 represents the legend of ,st4 ,godeberta and ,st4 ,eloy4 ,it was painted in the year #addi for the corporation of goldsmiths of ,antwerp by ,petrus ,christus1 who flourished in the first half of the fifteenth century1 and died at ,bruges about #adgb4 ,appropriately enough1 the patron saint of goldsmiths is figured in his shop2 and the picture thus affords us a singularly interesting and attractive representation of the interior of a jeweller's shop in the middle of the fifteenth century with every detail of its glittering contents4 ,st4 ,eloy or ,eligius1 whose figure1 for all we know1 may be the portrait of some well-known jeweller of the day1 is seen seated at the goldsmith's bench1 beside which stand ,dagobert1 ,king of ,france1 and ,st4 ,godeberta4 ,he is employed in weighing the ring with which the ,king seeks to espouse the ,virgin ,saint2 but instead1 so the legend runs1 of giving her the engagement ring1 he slipped on her finger a ruby ring1 mystically espousing her to ,christ4 ,the ,king wears1 pinned to the front of his black chaperon1 a brooch or enseigne1 set with a ruby surrounded by four pearls and having a pendent drop4 ,round his neck is a curb chain of alternate plain and beaded links1 from which hangs a jewel formed of two lions affronts4 ,godeberta's head-dress1 or escoffion1 is of embroidered gold sewn with pearls4 ,the pendant of her neck-chain1 hidden by the bodice1 lies between the breasts4 ,very carefully rendered is each item of the choice collection of objects that forms the goldsmith's stock-in-trade1 exhibited on a stall covered with white linen on the left hand of the goldsmith-saint4 ,below is a box of rings1 some plain1 some mounted1 ranged along three rolls of parchment4 ,beside them lie large pearls and precious stones1 and seed pearls sorted in a shell by themselves4 ,behind1 against the back1 rest a branch of coral and oblong pieces of rock crystal and of opaque stone of porphyry-red4 ,above1 on a piece of dark cloth1 hang three splendid jewels--a pendant and two brooches1 and next to them a pair of tooth-like pendants1 probably glossopetr4 ,from the shelf on the top is suspended a string of red1 amber1 and pale blue rosary beads1 and in the middle a girdle end of brown leather with buckle and mounts of gilded metal4 ,the remainder of the collection1 formed of various vessels1 comprises a crystal cylinder set with gold and precious stones and a mounted cocoanut cup2 and on the upper shelf a covered cup and a couple of tall flagons of silver parcel-gilt4 ,this remarkable picture at once brings to mind that strangely interesting series of interiors afterwards produced by ,quentin ,matsys and ,marinus van ,romerswael1 representing money-changers1 bankers1 or usurers busily engaged in counting up or weighing coins scattered before them on a table1 upon which also sometimes lie a handsome ring or two1 a richly jewelled pendant1 or unset precious stones and pearls4 ,illustration3 ,,plate ,,xxiv ,,picture1 ,,known ,,as ,,the ,,legend ,,of ,,st4 ,,eloy ,,and ,,st4 ,,godeberta1 ,,representing ,,the ,,interior ,,of ,a ,,goldsmith',s ,,shop ,,in ,,the ,,fifteenth ,,century ,,by ,,petrus ,,christus ,,of ,,bruges ,,bracelets ,bracelets were as little in vogue as earrings during the ,middle ,ages1 and remarks made concerning the latter apply also to bracelets1 in that they only appear as the lingering traces of ,byzantine fashions which1 until the commencement of the twelfth century1 made themselves strongly felt throughout the whole of ,europe4 ,in the ,national ,museum at ,munich is a gold armlet formed of two hinged halves covered with filigree and beaded ornament4 ,its outer rims are of twisted gold1 and within are bands of fine plaited wire4 ,it is adorned with bosses of filigree alternating with pyramidal projections4 ,the origin of this fine ornament is unknown1 but it probably dates from about the eleventh or twelfth century 7,pl4 ,,xviii1 #f74 ,the ,national ,museum of ,buda-,pesth contains a pair of very similar armlets4 ,in connection with these ornaments the persistence of tradition in goldsmith's work is curiously seen1 since armlets closely resembling the earlier examples are made and worn in ,cairo at the present day4 ,during the latter part of the ,middle ,ages it appears to have been a common practice for ladies to wear rosaries or chaplets of beads upon their wrists as bracelets4 ,with these exceptions1 the long sleeves that were worn throughout the greater part of the ,middle ,ages did not favour the use of an ornament that demanded the bare skin as a foundation4 ,ornamental circlets round the upper arm1 which are not infrequently met with in pictures1 must be regarded as gold-embroidered edgings or bands4 ,it is true they were frequently set with pearls1 stones1 and decorations in gold1 but as they were sewn upon the sleeves they have no actual claim to the name of armlets4 ,armlets or bracelets appear to have been worn to a certain extent towards the close of the fifteenth century1 but to have been reserved chiefly for summer wear4 ,if the bracelets we ordered months ago are not here till the summer is over and we no longer wear our arms bare1 they will be of no use4 ,so1 about #adia1 says ,mrs4 ,ady1 wrote the famous ,isabella d',este1 ,marchioness of ,mantua1 to the skilled goldsmith1 ,ercole ,fedeli1 of ,ferrara1 who had failed to execute her order punctually4 ,the dilatoriness of the same artist on another occasion kept the marchioness waiting four years for a pair of silver bracelets1 and they would never1 she declared1 have been finished in her lifetime if ,duke ,alfonso had not thrown him into the ,castello dungeon4#aje #aje ,cartwright 7,j471 ,isabella d',este1 ,i1 p4 #gc4 ,though there are other references to the use of bracelets in the fifteenth century1 it was not until about the middle of the century following that this species of ornament came into general use4 ,illustration3 ,a goldsmith in his workshop4 ,from ,hortus ,sanitatis 7,strasburg1 #aecf74 ,,chapter ,,xix ,,medi,,val ,,belts ,,and ,,girdles ,the girdle or ceinture of elaborate workmanship formed no inconsiderable part of the jewellery of the wealthy in the ,middle ,ages4 ,though actual examples are extremely rare1 there is scarcely an effigy or picture from the thirteenth century to the beginning of the sixteenth which does not supply us with some varied form of this indispensable article2 while the wills and inventories of the period often contain descriptions of girdles of extraordinary richness4 ,by the poor1 too1 the girdle was habitually worn1 but with them it frequently dwindled down to a few metal knobs sewn on to leather or on to coarse cloth4 ,in addition to the upper girdle for fastening round the waist1 a lower girdle was worn1 both as an ornament and as a belt for the sword4 ,it was a broad and sometimes stiff band which loosely encircled the body about the hips1 and in the case of male attire was sometimes attached to the lower border of the tunic1 with which it converged4 ,of the narrower and more pliable species of girdle1 the portions reserved for special enrichment were the ends1 one of which terminated in the buckle1 and the other in the pendant or mordant4 ,some account of the buckle and of its plate1 to which the strap of the girdle is attached1 has already been given in the ,introduction4 ,always a favourite field in former times for the display of the jeweller's art1 it was likewise richly adorned by the goldsmiths of the later ,middle ,ages4 ,at the other end of the girdle was a metal attachment or chape which gave it consistency where it was most required4 ,this girdle end1 which hung down and was known as the tag or pendant1 was decorated with various designs frequently of an architectural character and sometimes set with precious stones2 but whenever such decorations projected beyond the sides of the strap the buckle was made wider in like manner1 and if tassels and other ornaments were added they were always of such size that they could pass easily through the buckle4 ,the metal shape thus covering the end of the belt was also called the mordant 7of the same derivation as the word morse71 especially if in the absence of a buckle it was so constructed as to hook on to a clasp to facilitate securing the belt round the person4 ,the mordant often forms with the buckle-plate a single design1 its decorated front being either as large as the plate1 or of such a shape as to form with it a regular figure4 ,from the twelfth century1 when from sepulchral monuments#ajf we obtain our first information respecting the girdle1 until the seventeenth1 we nearly always find that the end1 when passed through the buckle1 was twisted round the waist-strap and hung down in front1 in the case of men about twelve inches and with women almost to the ground4 ,but when1 instead of a buckle1 a clasp formed of a central stud or rosette was employed1 either the end of the girdle itself hung down1 or an additional chain was attached at the point of junction4 ,to this was sometimes suspended a pomander-box1 tablets1 or a pendent reliquary4 ,this mode1 however1 of suspending such objects did not come generally into vogue till the time of the ,renaissance1 and when worn in the earlier period at the girdle they were hung at the side from a hook1 somewhat like a chatelaine4 #ajf ,many admirable representations of girdles are figured in ,stothard's ,monumental effigies of ,great ,britain4 ,the girdle itself was usually about two yards in length1 and consisted of a strap of stamped leather1 or a band of material with a firm foundation1 upon which were set button-shaped decorations at regular intervals4 ,this was known as the studded girdle 7ceinture ferre74 ,among the wealthy the studs were composed of the precious metals1 against which the sumptuary laws both at home and abroad 7of little effect it would seem7 contained special prohibitions4 ,the studs upon the girdles of the poor were generally of the alloy of brass and tin called latten or laton1 and the term pearled with latoun is mentioned in the ,canterbury ,tales4 ,there is still in existence in the ,city of ,london the ,girdlers' ,company1 which is of great antiquity4 ,by a charter granted them by ,edward ,,iii in #acbg it was forbidden to the girdlers to garnish any girdle of silk1 wool1 leather or linen thread1 with any inferior metal than latten1 copper1 iron1 and steel1 and if any girdles were garnished with lead pewter1 or tin1 the same should be burned1 and the workmen punished for their false work4#ajg ,in spite of this prohibition girdles appear to have been frequently mounted with the baser metals1 and a considerable number with mountings of pewter have been discovered4 ,their ordinance1 as did that of latoners or workers in latten1 likewise forbade girdlers from interfering with the trade of the goldsmiths by mounting girdles or garters with gold or silver2 and that if a girdler wished to harness his goods with either of the precious metals he was obliged to employ a goldsmith4 ,in #acgf a girdler of the ,city of ,london was accused of having secretly made in his chamber a certain girdle that was harnessed with silver4 ,upon being brought before the justices he pleaded that his offence was a light one compared with the more serious fraud of plating with silver objects of base metal4 ,he was dismissed with a warning4 ,subsequently he was convicted of the very fraud he himself had mentioned1 and punished with a heavy fine4#ajh ,the work of the ,english goldsmiths in the adornment of girdles appears to have been well known and recognised upon the ,continent1 and an inventory of the jewels of the ,duke and ,duchess of ,orleans in #adjh mentions a girdle of rich goldwork set with pearls and sapphires de la faon d',angleterre4 #ajg ,riley 7,h4 ,t471 ,memorials of ,london and ,london life1 p4 #aed4 #ajh ,riley1 op4 cit41 p4 #cii4 ,the medival girdle1 seldom as in later times in the form of a chain1 but generally composed of leather1 was sometimes ornamented in the most costly manner4 ,in the inventory of ,edward ,,ii is a girdle in the old style probably filigree-work set with letters of pearls3 the buckle and mordant enamelled with escutcheons of the arms of ,england and others4#aji ,in the expenses of the ,great ,wardrobe of ,edward ,,iii#aaj there occurs an entry of #cjd dozens of silver buckles1 and a similar number of pendants1 while his jewels deposited in the ,treasury included many complete girdles enriched with enamels and precious stones4#aaa ,from the many fifteenth-century girdles of extraordinary richness described in the inventories1 the following1 the property of ,henry ,,iv1 may be selected as an example3 ,item1 a girdle of black silk1 of gold1 garnished with various stones4 ,with #bh bars#aab of gold1 #ac of which are set with #ac balasses1 and #d pearls at the corners1 and #ad bars1 each enamelled with various flowers1 and on each #d pearls4 ,set on the buckle is one balas1 #aj large and #f small pearls4 ,on the pendant one balas1 #h large and #e small pearls4 #aji ,inventories of the ,exchequer1 ,,iii1 p4 #adb4 #aaj ,archologia1 ,,xxxi1 p4 #ee4 #aaa ,inventories1 etc41 ,,iii1 pp4 #agd1 #ahd4 #aab ,these bars of metal were attached vertically at intervals to the belt or girdle to maintain the rigidity of the material4 ,the word bar 7corresponding to the ,french clou7 was subsequently applied to all such attachments1 which were sometimes perforated to allow the tongue of the buckle to pass through them 7,way1 ,prompt4 parv41 p4 #bd74 ,this entry probably refers to the broader and richer kind of girdle1 known as the military belt 7cingulum72#aac a similar belt being also worn by women4 ,it was generally employed by men1 as was sometimes the narrow girdle1 for the purpose of hanging the sword4 ,this belt1 frequently composed of silk or gold tissue1 seems to have come into general use about the fourteenth century1 and was worn round the hips4 ,it was often furnished with a buckle and mordant1 but was more usually united by a clasp1 which at times was made very prominent1 and assumed excessive dimensions4 ,girdles and belts in the thirteenth and fourteenth centuries were sometimes studded with medallions of ,limoges enamel4 ,there is in the ,victoria and ,albert ,museum a beautiful fifteenth-century ,italian belt of gold tissue 7,pl4 ,,xxxviii1 #a74 ,its buckle1 studs1 and other ornaments are of gilt metal1 and the broad buckle-plate is enriched with niello work1 bearing the legend ,virtus vincit4 ,two silver-gilt plates from a ,gothic girdle of ,flemish work of the fifteenth century are in the possession of ,herr ,james ,simon1 of ,berlin4 ,each plate is almost square1 and measures #a by #a inches4 ,the centres are sunk3 within one is a figure of ,samson and the ,lion1 and in the other a figure on horseback1 probably ,st4 ,george or ,st4 ,michael4 ,the figures1 in full relief and delicately modelled1 are each surrounded by pearls and blossoms1 the groundwork being covered with bright green enamel1 on which are small dots of white enamel capped with red4 ,the plates are ornamented at each corner with chased ,gothic foliage1 and have hinges at the sides to unite them to other similar sections1 of which the complete girdle was1 perhaps1 originally composed 7,pl4 ,,xxv1 #d74 #aac ,hartshorne 7,a471 ,swordbelts of the ,middle ,ages 7,arch4 ,journ41 ,,xlviii1 p4 #cbj74 ,of frequent occurrence in old ,english wills is the word demysent 7or demysens71 which refers to the little girdles worn by women3 they were known in ,france as demi-ceints or demi-ceintures4 ,another species of girdle was called the baldrick--derived from the ,french baudrier2 the baudroier being the currier who prepared skins for the purpose4 ,the term baldric or baudric1 sometimes applied to the military belt worn round the waist1 was generally employed for a belt worn over one shoulder1 across the breast1 and under the opposite arm4#aad ,it was often of a rich description and set with precious stones1 and in early times was occasionally hung with little bells4#aae #aad ,way1 ,prompt4 parv41 p4 #bg1 n4 #b4 #aae ,there is the possibility that bells were worn as amulets1 though not necessarily intended as such by their wearers4 ,le son de l'airain1 like the tinkling ornaments of the daughters of ,zion 7,isa4 ,,iii4 #ah71 was thought to have a prophylactic virtue4 ,the double-tail mermaids of silver still worn in ,naples as charms against the evil eye are always hung with little bells 7,elworthy1 ,the evil eye1 p4 #cfh74 ,among the girdles in the possession of ,henry ,,iv#aaf one is garnished with heads of stags and small pearls1 and another with ostrich plumes and little golden bells4 ,others1 mostly of stuff1 are garnished with various flowers1 mostly roses1 or with ivy leaves1 and the majority are hung with little bells4 ,in addition to such enrichments1 which included also coats-of-arms1 girdles bore inscriptions1 engraved on the buckle-plate1 or formed of letters sewn upon the band4 ,these latter were often of an amatory or of a superstitious character2 for1 like other articles of medival jewellery1 the girdle1 on account of the stones1 etc41 set upon it1 was frequently considered endowed with talismanic properties4 ,chaucer in his adaptation of the older ,roman de la ,rose describes the rich jewelled girdle1 worn by one of the emblematical characters in the ,garden of ,love4 ,it was set with stones evidently valued for their mystic properties4 #aaf ,inventories of the ,exchequer1 ,,iii1 p4 #ccg4 ,richesse a girdle had upon1 ,the bokell of it was of a ston1 ,of vertue grete1 and mokell of might4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 ,the mordaunt wrought in noble wyse1 ,was of a stone full precious1 ,that was so fine and vertuous1 ,that whole a man it couth make ,of palasey and of totheake4 ,attached directly to the girdle or suspended from it by a hook or chain was a purse or pouch called either a gipcire1 aulmonire1 or escarcelle1 which was made of velvet1 silk1 or stamped leather4 ,the gipcire 7also written gypcyre7 is mentioned most frequently in early documents1 where it is often described as being enriched with embroidery1 and set with pearls and precious stones4 ,like the aulmonire and escarcelle1 it was worn from the thirteenth to the sixteenth century hung from a loop at the right side of the girdle4 ,the heads or clasps of the finest purses were of beautiful workmanship1 of silver1 bronze1 or iron1 damascened1 or exquisitely chiselled4 ,for ordinary use these heads--known as gipcire beams--as well as the mounts or frames of the purses1 were made of brass or latten2 and judging from the number that has been found and preserved1 in the ,guildhall ,museum1 for instance1 their use must have been very general in medival times4 ,illustration3 ,luckenbooth brooch of silver 7,nat4 ,mus4 of ,antiquities1 ,edinburgh74 ,,renaissance ,,jewellery ,,chapter ,,xx ,,italy1 ,,fifteenth ,,century ,the history of ,renaissance jewellery in general may be approached by reviewing the condition of ,italian jewellery in the fifteenth century4 ,in the foregoing outline of ,european jewellery to the end of the fifteenth century--which has served as an approximate date for the termination of the medival epoch--practically no reference has been made to ,italy4 ,one need only examine the general style of ,italian painting1 architecture1 and sculpture of the ,quattrocento1 to see how far apart the art of ,italy stands from that of the rest of ,europe4 ,italian jewellery certainly merits the great reputation it has always possessed4 ,nor is this surprising1 considering the prominent part played by the goldsmiths in the renaissance of artistic taste--by these craftsmen who1 in the highest sense artists1 were the first to break the fetters of tradition1 and yield to those impulses that sought a wider field for the gratification of their creative instinct4 ,hence the history of the jeweller's art in ,italy at the period of the ,quattrocento largely resolves itself into the biographies of those master sculptors and painters1 who worked first as goldsmiths and jewellers1 and throughout their careers remained ever mindful of their original trade4 ,venice1 which in the fifteenth and sixteenth centuries was the wealthiest city and the principal port in ,europe1 though rivalled in the former century by ,bruges and by ,antwerp in the latter1 encouraged the use of luxurious jewellery1 as did the great cities of the north4 ,but ,florence undoubtedly took the lead as an artistic centre1 judging alone by the artists she produced4 ,the paintings of the ,venetian school 7the work of ,crivelli1 for instance71 and those of the schools of ,tuscany1 etc41 reveal the exquisite beauty of ecclesiastical jewellery1 and of the ornaments with which men1 no less than women1 loved to deck their persons4 ,nearly every painter possessed an insight into the mysteries of the goldsmith's craft1 and represented his subject1 whatever it might be1 with careful attention to its jewelled accessories4 ,the great merchants of opulent and artistic cities1 such as ,siena1 ,milan1 and others1 besides ,venice and ,florence1 delighted in rich jewels2 and the masters of the schools of painting which had their centres in these towns have preserved in glowing pigment a faithful record of these delicate works of art1 on which the eminent jewellers of the day lavished their skill and ingenuity4 ,the great superiority and beauty of the personal ornaments revealed to us in this manner must first of all be ascribed to that awakening to the full joy of life that was so characteristic a feature of the ,renaissance4 ,the rapture of spring ran hot in men's veins4 ,life was an uninterrupted succession of revelry and gaiety1 amid splendour of colouring and glitter of gold4 ,the goldsmith emerges from the subordinate state he occupied in the medival guild1 and attains fame as a free artist1 whose duty was to minister personally to the luxurious tastes of those who played a part in the gorgeous pageant of the new epoch4 ,the goldsmiths included among their ranks great master craftsmen1 whose perfection of technical skill seemed to find satisfaction only in overcoming the greatest problems that their art could offer4 ,vasari tells of the very close connection and almost constant intercourse that existed between the goldsmiths and the painters4 ,indeed1 nearly every artist1 before applying himself to painting1 architecture1 or sculpture1 began with the study of the goldsmith's craft1 and passed the years of his apprenticeship in the technical details of an industry that then supplied the strictest method of design4#aag #aag ,symonds 7,j4 ,a471 ,renaissance in ,italy--,the ,fine ,arts1 p4 #ia4 ,the names of several artists of the ,renaissance have been handed down who are specially recorded as having worked at jewellery4 ,one of the earliest of those who began their career in the goldsmith's workshops is ,ghiberti 7b4 #acgh71 who throughout life remained faithful to that species of work4 ,his jewellery is specially extolled by ,vasari4 ,following upon ,ghiberti were two great jewellers1 ,tommaso 7commonly called ,maso7 di ,finiguerra and ,antonio ,pollaiuolo2 the former famous for his nielli1 the latter for his enamel-work upon relief4 ,pollaiuolo's love for jewel-forms in his paintings 7executed together with his brother ,piero7 is seen not only in the ,annunciation at ,berlin1 but in the group of ,,ss4 ,eustace1 ,james1 and ,vincent in the ,uffizi1 and the portrait of ,simonetta ,vespucci at ,chantilly4 ,born in #adce1 a few years after ,pollaiuolo1 ,andrea del ,verrocchio resembled in the peculiar versatility of his genius1 others of these typical artists of the ,middle or ,high ,renaissance--the ,epoch of the ,goldsmith it has been termed4 ,a jeweller whose influence in his own day was greater1 and whose fame almost equalled that of ,cellini1 was ,ambrogio ,foppa1 called ,caradosso1 who was born about #addf at ,milan4 ,he worked first in the service of ,ludovico ,sforza1 and afterwards at ,rome1 where he died as late as the year #aecj4 ,he seems to have been skilled in every branch of the goldsmith's art1 and especially excelled in making little medallions of gold1 enriched with figures in high relief and covered with enamels1 which were worn as enseignes in the hat or hair4 ,his work in this direction is highly extolled by ,cellini1 and his skill in enamelling specially mentioned by ,vasari4 ,among the artists of the end of the fifteenth century who1 after being goldsmiths and jewellers1 became celebrated as painters must be mentioned ,botticelli 7#addd-aeaj71 ,domenico del ,ghirlandaio 7#addi-adid71 and ,francia 7#adej-aeag74 ,ghirlandaio is commonly referred to as a maker of the jewelled coronals 7ghirlande71 popular with the unmarried and newly wedded ladies of ,florence4 ,it is probable that he did produce this class of work in early life2 but his name seems to have been borne by several members of his family1 for in the fourteenth and fifteenth centuries a goldsmith was often familiarly termed ,ghirlandaio1 as one of his chief occupations was the manufacture of the rich head-ornaments then so much in vogue4 ,illustration3 ,pendant worn by one of ,the ,three ,graces in ,botticelli's ,primavera4 ,though ,ghirlandaio does not fill his pictures with dainty details like the intricate settings which ,botticelli devised for the neck-pendants of the ,graces in his ,primavera1 yet he invariably pays careful regard to the representation of jewelled accessories4 ,such may be seen in the well-known portrait of ,giovanna ,tornabuoni 7#adhh71 belonging to ,mr4 ,pierpont ,morgan 7formerly in the ,kann ,collection74 ,she has two jewels3 one1 worn on her breast1 is formed of a ruby in claw setting with a small beryl above1 and hung with three pendent pearls2 the other1 specially introduced into the picture and lying beside her in a recess1 is composed of a cluster of stones--a ruby surrounded by two pearls and three beryls--beautifully set1 and surmounted by a winged dragon with a sapphire over its head4 ,resting upon a table in the foreground of another picture--a curious panel in the possession of ,mr4 ,george ,salting--representing ,costanza de' ,medici1 are several pins1 three rings on a roll of parchment1 and a pendant hung with three pearls and set with a large and a small sapphire4 ,in the ,pitti ,gallery is a portrait1 not by ,domenico1 but by his son ,ridolfo ,ghirlandaio1 which may be here alluded to owing to the special interest of its subject4 ,the portrait is that of a jeweller holding in his hand and gazing intently at what is presumably one of his own creations--a richly enamelled jewel fashioned in the form of a pelican in its piety4 ,illustration3 ,jewel1 in ,ghirlandaio's portrait of ,giovanna ,tornabuoni4 ,concerning the jewellery of the great goldsmith of ,bologna1 ,francesco ,raibolini1 called ,francia1 a considerable amount of information has been preserved4 ,born in #adej1 he passed the best part of his life as a goldsmith1 and not till he was upwards of forty did he abandon the goldsmith's art for that of the painter4#aah ,one of ,francia's finest paintings is the ,felicini altar-piece in the ,bologna ,gallery1 executed in #adhd by commission of ,messer ,bartolomeo ,felicini for the church of ,s4 ,maria della ,misericordia in that city4 ,among the many splendid gifts this famous church had received was a jewel which the records say was set by ,francia himself4 ,its beauty was held in such esteem1 that by desire of the chapter the artist introduced it into his picture1 where it can be seen hanging over the head of the ,madonna4 ,its centre is occupied by a fine amethyst1 and is bordered by deep blood-crimson enamel1 with pearls at the angles4 ,so carefully is every detail of this jewel painted1 that a modern goldsmith has found no difficulty in copying it with absolute exactness#aai 7,pl4 ,,xxv1 #a74 #aah ,williamson 7,g4 ,c471 ,francia1 pp4 #b1 #c1 #ba1 #ch4 #aai ,for a photograph of this jewel1 and for the information respecting it and the other works of this artist1 ,i am indebted to the kindness of ,dr4 ,williamson4 ,illustration3 ,,plate ,,xxv ,,fifteenth-,,century ,,pendants1 ,,etc4 7,,italian ,,and ,,flemish7 ,the last of the great jewellers of the ,quattrocento was ,michelagnolo di ,viviano1 who worked at ,florence under the patronage of ,lorenzo and ,giuliano de' ,medici4 ,he was the earliest instructor of the greatest goldsmith and jeweller of the late ,renaissance1 ,benvenuto ,cellini1 in whose ,treatise and ,life he is spoken of with the highest praise4 ,from actual examples we obtain but slight information of the ,italian ornaments of the fifteenth century2 but that there is a distinct alteration in the style of jewellery between the ,quattrocento and the ,cinquecento1 the pictures of these great artistic periods offer abundant proofs4 ,this difference is particularly noticeable in ornaments for the head4 ,during the fifteenth century we find the forehead heightened1 and the space thus obtained emphasised by a single jewel placed at the top of the brow4 ,this form of ornament is admirably shown in ,piero della ,francesca's ,nativity in the ,national ,gallery1 and particularly in his ,madonna and ,child1 with saints and angels1 and with the donor1 ,federigo of ,montefeltro1 ,duke of ,urbino1 in the ,brera1 ,milan4 ,the parts of these two pictures most characteristic of the artist are the figures of the angels1 who wear jewels executed with extraordinary brilliancy--compositions of pearls in delicate goldwork enriched with blue enamel4 ,precious stones and jewels were often sewn1 at regular intervals1 all round the band of ribbon or galloon that encircled the head1 as seen in a portrait in the ,ambrosiana1 ,milan1 ascribed to ,ambrogio da ,predis1 and considered to be that of ,beatrice d' ,este2 but it is more usual to find in the centre of the brow an isolated jewel1 held by a narrow ribbon or silken cord1 knotted at the back of the head--as in ,caroto's portrait of the ,duchess ,elizabeth ,gonzaga in the ,uffizi1 who wears on the forehead a jewelled scorpion1 emblem of logic4 ,this head-ornament is known as the ferronnire2 and the origin of its title is somewhat peculiar4 ,there is in the ,louvre an attractive and greatly admired portrait of a lady1 with her hair held in place by black cord supporting a diamond in the middle of the forehead4 ,for many years the portrait was entitled ,la ,belle ,ferronnire1 having been erroneously considered to be that of the blacksmith's wife 7ferronnire7 whose beauty enthralled ,francis ,i in his declining years4 ,it is now generally held to be a portrait of ,lucrezia ,crivelli1 mistress of ,ludovico ,moro1 ,duke of ,milan4 ,the name of the painter is a matter of dispute1 though the work is still ascribed1 as it has long been1 to ,leonardo da ,vinci4 ,at the beginning of the nineteenth century1 when the ,romantic movement was at its height1 a similar ornament was revived1 and received its present name under a misconception of the subject of the picture4 ,in the sixteenth century this simple ornament is abandoned1 and it was the painter's task to depict magnificent coiffures like those of ,veronese's ladies1 sprinkled with jewels and entwined with ropes of pearls4 ,as regards the ornaments for the neck1 the changes of fashion in the two periods and the artistic mode of expressing the fashion demanded a different style of jewellery4 ,the slender neck which is displayed in the portraits of the earlier period required lighter ornaments than did the massive forms of the later4 ,the artist no longer trifled with single gems1 hanging on a thread1 but painted a solid chain1 and the light1 close-fitting necklace becomes pendent and heavy4#abj ,the distinct refinement exhibited in ,italy in the fifteenth and early sixteenth centuries did not demand a great profusion or variety of jewellery4 ,as the pendent ornament for the neck-chain1 a simple jewel formed by one stone in the centre and smaller stones or four pearls around seems in most cases to have been sufficient4 ,circular pendants of niello-work surrounded by silver-gilt bands of corded ornament were much in use1 and a small number1 dating from about #adfj to #aecj1 have survived4 ,they sometimes bear a religious subject 7,pl4 ,,xix1 #d74 ,but not infrequently the head of a lady is represented in profile1 generally with a flower under her nose2 and it is possible that these were worn by men as a pledge of affection from their lady-love4 ,finger rings with somewhat similar designs were also worn 7,pl4 ,,xxiii1 #af74 #abj ,wlfflin 7,h471 ,the art of the ,italian ,renaissance1 p4 #bcd4 ,beyond a small number of objects of this description1 very few examples of ,italian ,quattrocento jewellery have escaped the crucible4 ,the change of taste even between the early and the full ,renaissance was sufficient to cause their destruction4 ,among surviving jewels of this century is a very beautiful gold and enamel pendant in the collection of ,mr4 ,pierpont ,morgan4 ,it is circular in form1 and was probably intended as a reliquary4 ,upon the front is an ,annunciation in high relief4 ,the garment of the ,virgin is enriched with red and blue1 and that of the angel with red and white enamel2 the chequered base being of translucent green4 ,around is a border of leaves and flowers enamelled red and white4 ,the open-work back consists of a central rosette1 surrounded by interlacing curves1 and edged with a delicate wreath 7,pl4 ,,xxv1 #b74 ,it remains to draw attention1 by means of a beautiful representation of jewellery in painting1 to an example of the style of brooch worn in ,florence in the latter part of the fifteenth century4 ,the picture referred to is that of the ,virgin and ,child 7,no4 #bif7 in the ,national ,gallery4 ,it is apparently the work of ,verrocchio1 ,pollaiuolo1 or one of the goldsmith-painters of whom we have spoken2 for the minute execution of the ornaments would seem to denote the hand of an artist who had practised the goldsmith's and jeweller's art4 ,the brooch that serves as a fastening for the ,virgin's cloak--the same being represented on that of one of the angels--is of most charming design4 ,it has in the centre a table-cut ruby1 around which are set four pearls between ornaments in the form of blackberries1 surrounded by an outer border of blackberry leaves4 ,so carefully is the jewel drawn that every detail can bear close inspection4 ,a peculiar point of interest is that the pearls1 each of which is set in a couple of crutch-like clasps1 appear to correspond to the perles potences frequently mentioned in the contemporary jewel inventories of the ,dukes of ,burgundy4 ,illustration3 ,brooch worn by the ,virgin in fifteenth-century ,florentine picture 7,no4 #bif1 ,national ,gallery1 ,london74 ,some measure of compensation for the unfortunate lack of actual examples of ,italian ,quattrocento jewellery is obtained1 apart from their representation in pictures1 by the very remarkable use that was made of jewel forms for the marginal decoration of manuscripts4 ,such enrichments of the borders of missals1 etc41 by means of painted jewel ornaments1 would seem to be but the direct outcome of the system whereby most of the painters1 sculptors1 architects1 and no less eminent miniaturists received their first instruction in art in the workshops of the goldsmiths4 ,it is certain from their quality that the jewels represented in manuscripts1 generally in their natural size1 are the work of artists well acquainted with the jeweller's art1 whose eyes were further impressed by the embroidered edgings of ecclesiastical vestments enriched with jewel ornaments and sewn with pearls and precious stones4 ,in painting with corresponding luxury the border decorations of church missals1 the miniaturists have obviously not drawn on their imagination1 or constructed jewel forms in a mere haphazard manner4 ,the individual pieces1 often complete jewels1 are just such as might at the time have been found on the shelves of some goldsmith's workshop4 ,among the most skilful of such reproductions of jewels are those in the celebrated choir books of the cathedral of ,siena1 particularly the pages painted by ,liberale di ,giacomo da ,verona1 who worked at ,siena from the year #adff4 ,an examination of these illuminations reveals ,liberale as an artist thoroughly conversant with the jeweller's craft3 so that his work1 together with that of his followers1 such as the ,florentine ,giovanni di ,giuliano ,boccardi1 the ,dominican ,fra ,eustachio1 ,litti di ,filippo ,corbizi1 ,monte di ,giovanni1 ,antonio di ,girolamo1 the famous ,attavante1 and the various miniaturists of ,king ,mathias ,corvinus of ,hungary1 apart from its charming execution1 constitutes a veritable storehouse of information respecting the ornaments of the period4 ,particularly fine examples of jewelled and enamelled decorations are also contained in choir books in the cathedral of ,florence1 missals in the ,barberini ,palace1 ,rome1 a ,bible of ,mathias ,corvinus in the ,vatican ,library1 several books in the ,brera at ,milan1 and the fine ,glockendon missal 7circa #aedj7 in the ,town ,library at ,nuremberg4 ,more important perhaps than all is the ,grimani ,breviary1 now in the ,library of ,st4 ,mark's1 ,venice4 ,the ornamentation of this famous work1 the product of a ,flemish artist of the final years of the fifteenth century1 displays a northern naturalism favourable to the striking representation of jewel forms1 and serves to illustrate the close and active relationship then existing between the ,flemish and ,italian goldsmiths4#aba #aba ,the whole of this magnificent work has been reproduced by ,sijthoff1 of ,leyden1 under the direction of ,scato de ,vries and ,dr4 ,s4 ,morpurgo4 ,illustration3 ,a fifteenth-century jeweller4 ,from ,ortus ,sanitatis 7,strasburg1 about #adig74 ,,chapter ,,xxi ,,sixteenth-,,century ,,jewellery 7,,general7 ,,italy1 ,,sixteenth ,,century ,great ostentation and external splendour were the chief features of the ,renaissance4 ,so1 if the jewellery of this time appears to us more magnificent than that of any other1 this superiority is but an indirect result of the intermediate causes which find a place in all that is included under the term ,renaissance4 ,in enumerating certain characteristics that distinguish sixteenth-century jewellery from that of other epochs1 the enormous quantity used may first of all be noted4 ,a general increase in wealth had taken place1 but in the comparative rarity of opportunity for investments1 it was still customary to keep gold and precious stones secreted1#abb or1 as was more generally done1 make them into ornaments of small compass and easily convertible into hard cash4 #abb ,this tendency is as common as ever in the ,east1 particularly among high-class natives of ,india1 on account of the prevailing belief that the only safe way to invest money is to purchase precious stones and similar articles of intrinsic or sterling value4 7,see ,nineteenth ,century1 ,,lviii1 p4 #bij1 #aije1 ,the origin of money from ornament47 ,coupling this with the magnificent style of living during the ,renaissance1 we need feel less surprise at the extraordinary abundance of jewellery which we read of in contemporary chronicles1 and find represented in the utmost variety on the portraits of the period4 ,men of solid reputation and serious disposition seem1 equally with women1 to have fallen victims to the reigning passion for jewellery4 ,if we are at first inclined to wonder at the number of ,cinquecento jewels that have survived1 we can more readily understand that they represent the merest fraction of what formerly existed1 when we take into consideration all the risks of destruction such fragile and precious objects have undergone--objects by their nature the very first to disappear4 ,monetary pressure caused by war1 the division of property1 and many other events were fraught with danger to objects in the precious metals4 ,change of taste1 almost as rapid as that in dress1 which has caused the last fashion but one to be the least of all desired1 necessitated the repeated refashioning of jewellery4 ,notwithstanding their perfection1 the exquisite productions of the sixteenth century were unable to resist the fatal influence of fashion1 and were largely broken up towards the termination of the seventeenth century1 when brilliant enamels and artistically wrought gold were less in request1 and the precious metals became entirely subservient to the stones1 for which they acted simply as settings4 ,on the other hand1 their small size1 which has rendered them easy to conceal1 accounts for the preservation of some examples1 while mere chance1 or perhaps an historical association1 oft-times solely traditional1 has saved others from destruction4 ,the finest productions of the artificers of antiquity transcend in abstract beauty of design everything1 perhaps1 that has since been produced4 ,those of the medival craftsmen possess a charm and beauty impossible to deny1 and a peculiar navet and ingenuousness of their own1 to be looked for in vain elsewhere4 ,it must be acknowledged1 however1 that the jewels of the ,renaissance1 the receptacle of every variety of adornment by way of precious stones1 pearls1 and enamels that the goldsmith could devise in order to enrich them1 are in their own manner incomparable4 ,it may be that some err so far on the side of over-elaboration that they lose the balance and dignity of harmonious design1 but the majority possess qualities rarely found in combination save at this remarkable period--a richness of form1 boldness of conception1 and extraordinary refinement of technique4 ,there is no species of technical work1 whether it was a case of hammering1 chasing1 or casting1 or1 above all1 enamelling1 that was not then brought to perfection4 ,but the splendours of the ,renaissance must not blind us to the efforts of the preceding age2 for thorough though the change was from the style of ,gothic art1 the jewellers of the ,renaissance were deeply indebted to the medival traditions which they had by their side to aid them in developing their artistic conceptions4 ,another noticeable point with regard to the jewellery of this period is its astonishing variety4 ,its decline1 and reduction to a monotonous repetition of design1 coincides with the disappearance of those artists who possessed the universality of a man like ,cellini1 and with the division of labour characteristic of modern art and industry4 ,in addition to the enormous quantity used1 a distinctive feature of ,renaissance ornaments is the preference shown for colour4 ,the placing together of bright-coloured gems with delicately worked gold invariably enriched with polychrome enamels is the fundamental motive of the jewellery of the period4 ,so admirable was the craftsman's taste that each jewel forms in itself a scheme perfect in design and colour1 and the rubies1 emeralds1 and sapphires introduced for the sake of their colour values1 serve the composition as a whole without overwhelming it2 while the diamond1 which comprised almost the sole material of the jewellery of later times1 was used only for purposes of contrast4 ,it cannot be said that precious stones had entirely forfeited their medival reputation at the period of the revival2 but as jewellery was beginning to assume generally the character of mere ornament1 the stones which enriched it were naturally chosen rather with an eye to their decorative qualities than for any fancied virtues they might be considered to possess4 ,one of the charms of this old jewellery lies in the setting of its stones1 which are mostly table-cut1 and fixed in square pyramidal collets4 ,the usual process of setting was to rub the upper edges of the closed and box-like collet over the setting edge of the stone1 and occasionally to lay over this an additional ornament in imitation of claws4 ,this manner of beating up or pressing the edges of the collet over the faceted sides of the stone is extremely pleasing1 for the stone1 with its colour thrown up by a foil or paillon1 harmonises admirably with the somewhat irregular frame of gold that surrounds it4 ,the art of enamelling1 especially where figures are represented in full relief1 attains the highest point of perfection4 ,even when enamels cover the various parts of jewels in a wondrous harmony of colour1 the artists of the period contrived with extraordinary tact to leave small portions in gold3 the hair of the figures1 manes of horses1 armour1 weapons--glittering points that enhance the beauty of the whole4 ,translucent and opaque enamels are found side by side employed in different modes with astounding assurance4 ,extensive use was made of opaque white enamel1 always by way of contrast2 a favourite device being to enrich with it the edges of tendrils in the form of minute beads1 each no larger than a pin's head4 ,it is the desire for harmony and beauty of execution1 rather than for display of wealth1 that characterises the best productions of the ,renaissance1 whose true value lies not in their intrinsic1 but in their real artistic worth4 ,the whole of every jewel1 back as well as front1 is finished and enamelled with the same exquisite care4 ,what little material value these jewels possessed when their form and design was destroyed and their beautiful devices obliterated is well illustrated by ,brantme's story of the jewels of the ,countess of ,chteaubriand4 ,this lady had been supplanted in the affections of ,francis ,i by another--the future ,duchess of ,estampes--who persuaded the ,king to claim all the fine jewels he had bestowed on his former mistress4 ,the value of these lay chiefly in their beautiful designs and devices1 so on receiving the demand1 she melted them all down1 and returned them to him converted into golden ingots4 ,the splendid love of life which finds expression in every production of ,renaissance art exercises a pervading influence over its jewellery1 and determines the subjects to be represented4 ,all the larger objects1 and indeed every object which is not of a purely decorative pattern1 is given to the depicting of a subject4 ,throughout the finest period of jewellery1 goldsmith's work was closely associated with sculpture2 and the human figure1 or figures of animals either real or imaginary1 wrought in relief or executed in the round1 find a place on almost every jewelled composition4 ,the subjects1 largely chosen from among the new circle of ideas opened up by the literature of the ,renaissance1 reveal wide knowledge of classical mythology1 romance1 and poetic legends1 as well as remarkable adaptive genius4 ,nor are subjects from the ,old and ,new ,testaments excluded2 though fanciful groups--in one case a representation of some theological virtue1 and in another some sacred allegory--are more popular4 ,the symbolical figures of the ,middle ,ages1 as the unicorn and the pelican in her piety1 with sea monsters and fantastic men and beasts1 are of frequent occurrence4 ,subjects such as these1 and many others suggested by the fertile mind of the ,renaissance jeweller and the artist who drew his designs1 are so numerous that space would fail were one to attempt to enumerate even a tithe of those met with on jewels of the ,cinquecento4 ,notwithstanding its subjects1 we find in the jewellery of the ,renaissance1 beyond what tradition had preserved1 no direct influence resulting from the study of the ornaments of the ancients1 though the awakened interest of ,italy in the antique cannot but have been accompanied by some acquaintance with the productions of her early goldsmiths4 ,there appears1 however1 to have been no attempt to base the jewels of the period on the forms of ancient ornaments1 to imitate the beaded work of the ,etruscans or the goldwork of ancient ,greece or ,rome4 ,yet ,renaissance design of the sixteenth century1 with its arabesques and scrollwork 7best represented by ,raphael's famous arabesques in the ,loggia of the ,vatican7 seems to have been in the main inspired by antique designs1 such as the frescoes discovered at ,rome in #aejf1 in the ,baths of ,petus--the so-called grottos1 from which was derived1 as ,cellini explains1 the term grotesque4 ,the newly developed design1 a combination of figures1 masks1 flowers1 fruits1 and various other details1 applicable as it was to every branch of art1 was peculiarly adapted to jewellery1 and was quickly seized upon by the jewellers1 who employed it for ornaments of a purely decorative formation1 or for the framework or backgrounds of the exquisite figured compositions then so much in vogue4 ,the real difficulty that confronts one in dealing with the jewellery of the sixteenth century lies not in the inability to obtain the necessary material examples1 but in expressing a definite opinion as to their nationality and origin2 and this difficulty the best informed and most experienced connoisseurs are the first to confess4 ,the utmost1 therefore1 that one can hope to do1 without attempting in every case to arrive at accurate conclusions1 is to indicate1 as far as possible1 such means as may be of assistance in ascribing a nationality1 not to all1 but to at least the majority of ,renaissance ornaments4 ,,italy1 ,,sixteenth ,,century ,italian jewellery of the sixteenth century presents what is probably one of the most difficult problems in the whole history of the art4 ,in the fifteenth century the almost complete absence of examples necessitates recourse mainly to pictures2 but ,italian pictures of the sixteenth century are of comparatively small assistance1 from the fact that ,italian painters of that period mostly neglected the preciosity of style and delicacy of perception that studied the gleam and shimmer on jewels and such-like objects4 ,the bright blending of beautiful colours had to give way to strong shadows and skilful effects of perspective4 ,there exists1 on the other hand1 an abundance of material in the form of actual specimens of ,cinquecento jewellery1 but owing to the far-reaching influence of the ,renaissance style of ornament a decision as to their precise provenance is a matter of the utmost difficulty4 ,the great popularity of one of the central figures of the late ,renaissance--,benvenuto ,cellini 7#aejj-aegb7--;has for many years caused the finest examples to be attributed to him or to his school1 often with complete disregard of their design1 which can be traced in many cases to another source4 ,it is unnecessary to give a biographical account of the famous ,florentine goldsmith1 for his life may best be studied in his own memoirs4 ,more to the present purpose is it to attempt to estimate the real position that ,cellini should occupy1 especially with regard to such examples of jewellery as have come down to the present day4 ,upon the question of ,cellini the artistic world has long been divided into two camps4 ,the majority of those who have previously dealt with the subject have considered it sufficient to sum up the whole history of the jeweller's art of the sixteenth century under the name of this one artist1 and to attribute everything important to him4 ,the lively and singularly attractive narrative of his own life and adventures contains such candid glorification of himself and his work1 that the temptation is strong to follow the majority1 and1 unmindful of his contemporaries1 to associate with him1 as he himself has done1 the finest jewellery of the whole ,renaissance4 ,eugne ,plon1 for example1 ,cellini's chief exponent1 in his magnificent work1 ,benvenuto ,cellini1 ,orfvre1 ,mdailleur1 ,sculpteur 7#ahhc71 though eminently just1 and on the whole fair in his attributions1 cannot disguise an evident desire to ascribe to the ,florentine goldsmith1 or at any rate to his school1 not only several jewels which might conceivably be associated with ,cellini1 but also several others of more doubtful origin4 ,among these is the important group of jewels in the ,rothschild ,collection in the ,british ,museum1 known as the ,waddesdon ,bequest1 the real origin of all of which is held by those best entitled to judge to be incontestably ,german4 ,cellini's critics1 on the other hand1 sceptical1 and in the main dispassionate1 have placed him under a more searching light1 and despoiled him of the halo with which his own memoirs have encircled him4 ,he remains1 however1 an excellent and many-sided artist1 thoroughly versed in all the technicalities of his craft1 and one who without doubt strongly influenced his contemporaries4 ,admirable goldsmith and jeweller as he certainly was1 he is entitled to the highest distinction1 but not so much on account of the references in his ,vita and ,trattati to his own productions1 as for his lucid treatment of technical questions4 ,artists1 says ,mr4 ,symonds1 who aspire to immortality should shun the precious metals4 ,despite all that has been said respecting such jewels as the ,leda and the ,swan at ,vienna 7,pl4 ,,xxix1 #e71 the ,chariot of ,apollo at ,chantilly1 and the mountings of the two cameos1 the ,four ,csars and the ,centaur and the ,bacchic ,genii in the ,bibliothque ,nationale at ,paris1 which have1 with some degree of likelihood1 been attributed to ,cellini1 the only quite authenticated example of his work as a goldsmith is the famous golden salt-cellar at ,vienna4 ,this object when looked at from the goldsmith's point of view1 in the matter of fineness of workmanship and skill in execution1 is seen to possess particular characteristics which should be sufficient to prevent the attribution to ,cellini of other contemporary work1 created by jewellers who clearly drew their inspiration from entirely different sources4 ,in endeavouring to affix a nationality to existing jewels1 the only really serviceable landmarks are those furnished by the collections of engraved designs by ,german and ,french masters of ornament2 and when these are compared with the contemporary work just spoken of1 the common origin of nearly all becomes at once evident4 ,bearing in mind the skill and fame of the ,italian goldsmiths1 not only of ,cellini1 but of his contemporaries1 such as ,girolamo del ,prato1 ,giovanni da ,ferenzuola1 ,luca ,agnolo1 and ,piero1 ,giovanni1 and ,romalo del ,tovaloccio1 the reason why the vast majority of extant jewels should follow ,german designs is difficult to understand4 ,an authority no less reliable than ,sir ,a4 ,w4 ,franks has expressed an opinion that the designs of ,drer1 ,aldegrever1 and other ,german artists were extensively used in ,italy4#abc ,italian goldsmiths did not produce any such examples of engraved ornament for jewellery as did their confrres in ,germany1 ,france1 and ,flanders2 but the current knowledge we possess of the art of the period renders it at least unlikely that the individuality which is the key-note of all the productions of the ,italian ,renaissance would have countenanced there1 in ,italy1 the use of extraneous ready-made designs4 ,certainly artists of the stamp of ,cellini would not have used them4 ,one is forced nevertheless to acknowledge the possibility of minor ,italian craftsmen having executed jewels from ,german engravings4 ,the international character visible on so many art objects of the time must be attributed in no small degree to the circulation of such designs in almost all the workshops of ,europe4 #abc ,proc4 ,soc4 ,antiq41 ,,xiv1 p4 #ahj4 ,a reason for the many difficulties that arise in connection with this particular question seems to lie in the fact that for causes unexplained the jewellery of the first half of the sixteenth century1 whether ,italian1 ,german1 or of other nationality1 has almost all vanished1 and that examples met with at the present day belong chiefly to the second half of that century4 ,while acknowledging the existence of a fair number of jewels whose authorship cannot be otherwise than ,italian1 and without denying the possibility of the survival of examples of jewellery even from the hand of ,cellini himself1 a protest must be raised against the practice1 hitherto so common1 of describing every jewel of the sixteenth century as ,italian1 and of coupling every high-class object of this description with the magic name of ,cellini4 ,,chapter ,,xxii ,,the ,,sixteenth ,,century ,,germany1 ,,the ,,low ,,countries1 ,,hungary ,though introduced early into ,germany1 the style of the ,italian ,renaissance made its way but slowly in a country where the ideas of the ,middle ,ages long held possession of people's minds4 ,it was not till after about #aeae1 when the spread of books and engravings quickened its general acceptance1 that the new movement gained ground there4 ,the ,german goldsmiths1 when once they had cast aside the ,gothic style1 seized upon ,renaissance ornament with such avidity that by the second half of the sixteenth century they had acquired a widespread fame1 and would seem by their richness of invention to have completely cast into the shade the ,italian jewellers of their own day4 ,from an early period there had been a steady flow of artists leaving ,germany to study in the great ,italian ateliers4 ,the principal of these1 and one who influenced his countrymen more than any1 was ,albert ,drer1 who showed in the engravings produced after his journey to ,italy a perfect apprehension of ,italian design4 ,as it travelled northward1 ,renaissance ornament increased in freedom from classic rule1 and in the hands of the later draughtsmen and engravers who executed patterns for the goldsmiths1 it lost much of its original purity1 and assumed a mixed style1 composed of strap and ribbon work1 cartouches1 and intricate complications of architectural members2 while the industrious affectation of the jewellers of the day for manipulative difficulties led to the production of ornaments whose effect is sometimes marred by over-elaboration of detail4 ,in addition to other circumstances1 we must remember that the greater wealth of the middle classes was a powerful factor in the increasing production of jewellery4 ,the goldsmiths consequently occupied an important position2 and that there was a great demand for their services is proved by the fact that patterns for jewellery executed on their behalf by the foremost engravers of the day form no unimportant part of the engraved work produced by these artists4 ,in ,germany1 as elsewhere1 success in trade resulted in a demand for objects of luxury4 ,the city of ,augsburg1 situated on a great trade route1 early attained to a height of commercial prosperity1 while ,munich1 and especially ,nuremberg1 not far distant1 flourished to an equal degree4 ,under the stimulating patronage of wealthy families1 such as the ,fugger family of ,augsburg1 articles of jewellery of every kind were produced in abundance1 and throughout the sixteenth century found their way over nearly the whole of ,europe4 ,in addition to these three cities1 ,prague during the last few years of the sixteenth and the commencement of the seventeenth century was likewise a centre for the manufacture of an immense amount of enamelled jewellery4 ,this industry1 carried on with considerable activity owing to the influence of the ,archduke ,ferdinand of ,tirol 7#aebj-aeie71 brother of ,maximilian ,,ii1 was most flourishing in the time of the ,emperor ,rudolph ,,ii 7#aeeb-afab71 ,king of ,hungary and ,bohemia1 under whose patronage several remarkable specimens of ,german goldsmith's work now at ,vienna were executed1 such as the ,austrian ,imperial ,crown1 made in the year #afjb4 ,the epoch of about forty years that terminated at the death of ,rudolph ,,ii in #afab1 and known as the ,rudolphine period1 witnessed the production1 mainly in ,southern ,germany1 of the greater part of the enamelled jewellery now extant4 ,renaissance jewellery1 as we speak of it1 may be said to have almost ceased after that period1 at a date which coincided with the outbreak of the ,thirty ,years' ,war in ,germany1 and the ,civil ,war in ,england4 ,its proximity to ,italy rendered ,augsburg more quickly subject to the influence of the ,italian style than ,nuremberg and ,munich1 though by the middle of the sixteenth century the whole of ,southern ,germany followed the style of decoration of the ,italian masters so thoroughly1 that it is difficult to assign a large proportion of the ornaments of the period to either nation1 since the distinguishing feature of the hall-mark finds no place on jewellery1 as on other objects in the precious metals4 ,it is true that the extraordinary development of cartouche and strap ornament on ,german work1 as on that of the ,netherlands1 serves in many cases to distinguish it from the ,italian1 yet there is sufficient similarity in details of ornamentation1 in masks and figures1 as well as in the method of enamel-work and the setting of gems1 to account for the divergence of opinion that exists as to the provenance of all the jewels of the period4 ,such is the glamour that surrounds ,italian art1 that it has been the custom to assign every fine jewel of the ,renaissance to ,italy2 but a careful examination of existing examples has left us convinced that by far the greater number of them are not ,italian1 but of ,german origin1 and belong to the second half of the sixteenth century and the early years of the seventeenth4 ,portraits1 alone1 by such ,german painters as ,wolgemut1 ,strigel1 ,burgkmair1 ,altdorfer1 ,hans ,baldung ,grien1 ,lucas ,cranach1 and ,bartholomus ,bruyn1 show that by the very commencement of the sixteenth century the wealth of the merchant princes of ,southern ,germany resulted in an even greater display of jewellery than was indulged in by the ,italians4 ,various other considerations contribute to this conviction4 ,first and foremost is the question of the designs from which the jewellers drew their ideas4 ,a certain number of original drawings for jewellery by ,german artists exist4 ,of these there are examples of the work of the two greatest1 namely ,drer 7#adga-aebh7 and ,holbein 7#adig-aedc74 ,to ,holbein's drawings1 which were executed in ,england1 detailed reference is made in a later chapter4 ,in his designs for jewellery1 as in all else1 ,drer1 the son of a goldsmith and descended from one on his mother's side1 maintains a high standard of excellence4 ,his drawings 7as catalogued by ,lippmann7 include the following3 7#a7 ,in the ,kunsthalle1 ,bremen4 ,three sketches for pendent whistles1 where the sound-producing part is formed of a ball with a hole in it1 into which the air is carried by a pipe4 ,in two cases the ball is held in the mouth of a lion1 and in the third in the beak of a cock4 ,the animals stand each on a curved pipe1 and have a ring above for suspension 7,l4 #abd74 7#b7 ,in the ,british ,museum4 ,two sketches for ring-shaped pendants--apparently whistles 7,pl4 ,,xxvi1 #a74 ,in both cases is air blown from a mouthpiece half-way round the ring into a ball held in an animal's mouth 7,l4 #beb74 7#c7 ,in the possession of ,herr von ,feder1 ,karlsruhe4 ,four designs for brooches and clasps1 richly ornamented 7,l4 #dcc-dce1 and #dcg74 ,two of these sketches 7,l4 #dcc and #dcg7 and several others 7the whereabouts of the originals of which is not known7 were etched by ,wenzel ,hollar in the seventeenth century1 and are enumerated in ,parthey's catalogue of ,hollar's works4 ,the etchings after the two known originals are numbered #befe and #befa4 ,the other jewels etched by ,hollar from ,drer's designs are the following3 7#a7 ,a pendant in the form of ,st4 ,george and the ,dragon within a laurel wreath1 with a ring above and below 7,p4 #afe74 7#b7 ,a girdle-end formed of two dolphins with a chain attached 7,p4 #beei74 7#c7 ,a buckle and buckle-plate--the buckle formed of two dolphins1 the plate ornamented with two cornucopi 7,p4 #befj74 7#d7 ,a round scent-case or pomander 7,p4 #befg74 ,in addition are miscellaneous designs for ornaments1 erroneously considered to be patterns for embroidery 7,p4 #befb-c-d and #beff74 ,a charming representation of a pendent jewel is seen in ,drer's woodcut of the ,emperor ,maximilian's ,triumphal ,arch suspended from the ,imperial ,crown held by the figure of ,genius4 ,illustration3 ,,plate ,,xxvi ,,designs ,,for ,,jewellery ,,by ,d,,rer ,,and ,,holbein ,following ,drer there appeared a number of goldsmiths who1 with the spread of the new style over ,europe1 were prepared to perform the task of remodelling personal ornaments in accordance with the taste of the day4 ,the most ingenious of them1 together with some artists of distinction1 engraved with great fertility of imagination1 for those who were not capable of design1 patterns for goldsmith's work and jewellery4 ,a large demand was made on the productive faculties of these engravers1 who included among their ranks not only the best artists1 termed from the usual small size of their productions the little masters1 but many other designers of goldsmith's ornament2 and from their works1 multiplied by means of engraving1 the numerous craftsmen who worked in gold1 enamel1 and precious stones1 drew their subjects and ideas4 ,on the question of the production of jewellery from such engraved designs1 it is interesting to note the several points of similarity that exist in the procedure of the ornamentists of the sixteenth century and that of the ,english furniture-designers of the eighteenth4 ,in both cases the original producers of the designs were practical craftsmen1 who certainly executed objects after their published patterns2 while the patterns themselves were employed extensively as models4 ,in both cases1 too1 it is quite evident that in a number of instances fanciful designs were produced which were never carried out4 ,hence one can readily understand the difficulties that are encountered in attempting to determine the provenance of such small and portable objects as personal jewels1 the engraved designs for which were in like manner widely distributed4 ,but there is the strong probability1 after all1 that the greater number of jewels1 after engraved designs of ,german origin1 were executed in1 or not very far distant from the locality in which the designs originated4 ,if designs are considered insufficient for the identification of jewels1 there exists a means much more certain1 and one which should surely prevent the attribution to ,italians of jewels unquestionably the work of ,german craftsmen4 ,it may be remembered that ,cellini in his ,trattati1 in dealing with the goldsmith's art1 advised jewellers to preserve castings in lead of their works in gold and silver4 ,in many cases ,cellini's recommendation has been literally carried out1 and a considerable number of proofs struck by ,german jewellers of details of their jewels have fortunately come down to us4 ,the ,bavarian ,national ,museum at ,munich contains a highly important collection of these leaden casts1 being a complete series used by a family of gold and silver workers in ,augsburg for upwards of #bej years 7from about #aeej to #ahjj74 ,the jewellers of ,augsburg were among the first in ,europe1 and these models of their productions1 bearing strong traces of the influence of contemporary ornamentists1 correspond in many details with original jewels dating from those times4 ,examples of these lead models for jewellery exist in other collections1 such as the ,historical ,museum at ,basle4 ,of the same material but of infinitely higher artistic importance1 are the lead models by the hand of ,peter ,fltner of ,nuremberg4 ,in addition to engraved designs1 ,fltner executed models for goldsmiths1 carved in stone and boxwood4 ,from these--of which original examples have survived--casts 7so-called plaquettes7 were made in lead1 which were used as patterns for craftsmen in the same manner as engravings of ornament4 ,fltner's models1 though issued mainly for workers in gold and silver plate1 were employed also by the jewellers1 and exercised considerable influence on their productions4 ,few engraved designs for jewellery are prior in date to the year #aeej1 though nearly all the prominent painter-engravers delighted in exercising their inventive faculty in this direction4 ,one or two plates of pendants by ,brosamer1 and a buckle and whistle by ,aldegrever1 represent almost the sole engravings of the kind before ,virgil ,solis--the first to devise a more ambitious series of jewels4 ,amongst the earliest is the ,kunstbchlein#abd or pattern book for goldsmith's work1 by ,hans ,brosamer 7about #adhj-aeed74 ,these woodcuts1 which are singularly attractive1 are of a transitional character1 with traces of ,gothic design4 ,they include two pages of pendants composed of stones between leafwork grouped round a central ornament and hung with pear-shaped pearls4 ,one pendant consists of a niche between pillars--a similar style of ornament to that adopted by ,androuet ,ducerceau1 and the first assignable instance1 says ,herr ,lichtwark1#abe of the use of architecture in ,german jewellery of this time1 though this same motive was frequently represented later on by ,erasmus ,hornick and ,mignot4 ,three other pendants are in the form of whistles for wearing on the neck-chain4 ,in an engraving for a whistle of a similar kind by ,aldegrever 7#aejb-aeeh71 the lower part is formed of a case containing an ear-pick and a knife for the finger-nails4 ,except for this design 7which finds a place in the background of his engraving of the pair of folding pocket-spoons of the year #aeci71 ,aldegrever's only example of jewellery is the remarkable ,gothic girdle-buckle with its buckle-plate and tag 7dated #aecg74 ,the characteristic fig-leaf ornament of the early ,german ,renaissance is better represented here than on any other engraving of the period4 #abd ,reproduced by ,quaritch in #ahig from a copy now in the possession of ,mr4 ,max ,rosenheim4 #abe ,lichtwark 7,a471 ,der ,ornamentstich der deutschen ,frhrenaissance1 p4 #aaa4 ,more modern in style is ,mathias ,zundt 7#adih-aehf71 whose compositions 7dated #aeea-aeed7 are carried out with great fineness4 ,zundt lived at ,nuremberg1 his great contemporaries1 ,virgil ,solis and ,erasmus ,hornick being natives of the same city4 ,it was to ,virgil ,solis 7#aead-aefb71 one of the most skilful and prolific of the ,german ,klein-,meister1 that the jewellers and other craftsmen of the day owed their finest inspirations4 ,virgil ,solis's beautiful series of pendants are executed with great charm and delicacy4 ,they bear the character of a transition from the graceful foliage of the early to the full ,renaissance1 with its fanciful architectural forms1 its scroll ornament1 arabesques1 animals1 and grotesque human masks and figures 7,pl4 ,,xxvii1 #a1 #b74 ,erasmus ,hornick likewise exercised a potent influence on the jewellery of the time4 ,he engraved in #aefb a series of pendants1 chains1 and other jewels of the most delicate execution 7,pl4 ,,xxvii1 #d-f74 ,the pendants in form of an architectural niche with the subject placed in the centre1 are the prototype of all the jewels of this kind which we meet with subsequently in the prints of the ,flemish engraver ,collaert4 ,illustration3 ,,plate ,,xxvii ,,designs ,,for ,,jewellery ,,by ,,solis1 ,,woeiriot1 ,,hornick1 ,,and ,,brosamer ,while many important engravings were being issued for the benefit of the jewellers of ,nuremberg1 a great quantity of jewellery was produced at ,munich under the patronage of the ,dukes of ,bavaria4 ,duke ,albert ,v had as court painter a skilful miniaturist1 ,hans ,mielich 7#aeaf-aegc71 whom he employed to paint in the form of an inventory exact copies in miniature of his jewels and those of his wife1 ,anne of ,austria1 preserved in his treasury4 ,in addition to these drawings1 now in the ,royal ,library at ,munich1 are a number of others1 which came into the possession of ,dr4 von ,hefner-,alteneck1 and on his death in #aijd were purchased for the sum of #b1ejj for the ,bavarian ,national ,museum4#abf ,though the majority of these drawings for jewellery1 in themselves works of extraordinary beauty1 were copies of objects then already in existence1 the presence of jewels similar to ,mielich's designs leads to the supposition that this artist exercised a strong influence on the jewellers of his day1 and that a number of jewels were also executed at the command of the ,duke from original sketches of his4 ,none of the actual objects depicted by ,mielich have survived1 save a large gold chain set with pearls1 rubies1 and emeralds1 which corresponds1 particularly in its rich enamel-work1 to one of the drawings lately added to the ,national ,museum4 ,this chain is known as the collar of the ,order of ,st4 ,george4 ,the size and quality of its stones and the great beauty of the enamelled settings render it1 without doubt1 the finest article of its kind in existence4 ,it is preserved in the ,royal ,treasury 7,schatzkammer7 at ,munich1 together with a number of other objects of the same type4 #abf ,most of ,mielich's works have been reproduced by ,hefner-,alteneck in his ,deutsche ,goldschmiede-,werke des #aften ,jahrhunderts4 ,the last decades of the sixteenth century saw the appearance of a new species of ornamental design1 whose chief advocate1 ,theodor de ,bry 7#aebh-aeih71 of ,lige1 with his sons ,johann ,theodor and ,johann ,israel1 settled in ,frankfort-on-the-,main about #aefj4 ,it is a rich and varied surface decoration1 often of white upon a black ground1 composed of scroll ornament richly set with flowers1 fruit1 grotesques1 and figures of animals1 the whole being charmingly designed1 and engraved with great brilliancy of touch4 ,in addition to his more famous knife-handles1 de ,bry executed several engravings for clasps1 buckles1 and metal attachments to girdles4 ,for the counterpart of the artistic style of de ,bry one must look to the ,low ,countries and particularly to the work of the engraver ,hans ,collaert 7#aedj-afbb71 of ,antwerp1 who developed remarkable fertility in the production of patterns for jewellery4 ,collaert's designs require special attention1 because of the tendency1 elaborated largely by him and other engravers of the school of ,antwerp1 towards exuberant cartouche ornaments with a mixture of extravagant and loosely arranged strap-work1 and stud -or boss-work4 ,this style1 full of grotesques and arabesques1 pervaded the work of every craftsman of the day1 and dealt a final blow to any further development of pure ,renaissance ornament4 ,collaert's chief series of pendants1 eleven in number1 published in #aeha under the title ,monilium bullarum inauriumque artificiosissim icones1 are probably the best known of all designs for jewellery of this epoch4 ,one of these engravings1 in particular1 has been several times reproduced4 ,it is a large pendant hung from a cartouche and surmounted by a figure of ,orpheus with a lyre1 with two seated female figures4 ,the rest of the jewel is made up of scroll ornaments and bracket-shaped terminal figures1 and is hung with three drop pearls4 ,this pendant is of peculiar interest in connection with its bearing on what has already been said with regard to the attributions given to ,cinquecento jewellery4 ,two striking instances of misapplied attributions of this kind may be quoted4 ,in one#abg work the engraving in question is described as3 ,pendant par ,benvenuto ,cellini 7,muse de ,florence72 and in another#abh as3 ,gehnge in der ,bibliothque nationale zu ,paris nach seinem ,cellini's ,model gearbeitet6 #abg ,jannettaz1 ,diamant et pierres prcieuses1 p4 #dbc4 #abh ,bucher1 ,geschichte der technischen ,knste1 ,,ii1 p4 #cjg4 ,it has been usual--while acknowledging the great influence of these engravings on the jewellery of the time--to doubt whether jewels exist which have been executed in exact imitation of them4 ,to show that such designs were actually followed1 we may point to a jewel figured by ,herr ,luthmer in his catalogue of ,baron ,karl von ,rothschild's collection at ,frankfort-on-the-,main1 which follows in every detail the particular engraving by ,collaert just mentioned as having been ascribed to ,cellini4 ,collaert's influence was considerable in his day1 and his compositions circulated not only in ,flanders1 but also in ,germany and other prominent jewel-producing centres4 ,jewels are repeatedly met with1 which1 though they do not follow in every detail ,collaert's published designs1 are obviously inspired by them4 ,a very notable example of such is a jewel1 to be referred to subsequently 7p4 #bdg71 in form of a gondola containing figures of ,antony and ,cleopatra1 which was sold by auction in ,london for a very large sum a year or two ago4 ,with ,collaert were several minor designers of jewellery1 such as ,abraham de ,bruyn 7#aech-;after #afjj71 among whose engravings are seventeen models for pendants and portions of jewels in the style of the admirable ,french jeweller-engraver ,etienne ,delaune4 ,other ,dutch and ,flemish engravers of ornament belong more to the seventeenth century1 and will be dealt with later4 ,at the furthest corner of ,germany from ,flanders was the ancient kingdom of ,hungary1 where jewellery was employed in almost ,oriental profusion4 ,the native costume is luxurious even at the present day1 and in olden times the nobility made a practice of attaching to it a great part of their fortunes in the form of precious stones1 which1 in enamelled settings of button-shape1 termed boglars1 were sewn on1 or were mounted in aigrettes1 or set in girdles or dagger-sheaths4 ,independent jewels enriched with enamel-work in the ,renaissance taste were produced1 too1 in considerable quantity4 ,fine examples of the latter are preserved in the museum at ,buda-,pesth2 while to the exhibition held there in #ahhd ,cinquecento jewellery of great beauty and wealth was lent by noble ,hungarian families4 ,all these display striking similarity to the jewels executed at ,augsburg1 ,prague1 and elsewhere in the latter part of the sixteenth and the early years of the seventeenth century4 ,in addition to those which betray the influence of foreign styles1 there are jewels of native work1 whose surface is enriched with the so-called ,draht-,email4 ,this filigree-enamel1 which was executed from the fifteenth to the seventeenth century in ,hungary and throughout the valley of the ,danube1 is composed of bright opaque colours fired between cloisons or partitions composed of twisted wire4 ,illustration3 ,design for a pendent whistle by ,hans ,brosamer4 ,,chapter ,,xxiii ,,the ,,sixteenth ,,century ,,france--,,spain ,the campaigns of ,charles ,,viii and ,louis ,,xii in ,italy1 and the patronage of ,italian artists by ,cardinal d',amboise1 brought a knowledge of ,renaissance art into ,france4 ,france was the first nation to adopt the style of ornament to which ,italy had given birth1 and at the very outset of the sixteenth century ,italian influence made itself felt4 ,from the reign of ,francis ,i to that of ,charles ,,ix1 ,french jewellery was closely modelled on the ,italian1 while many ,italian jewellers took up their abode in ,france1 and among them ,cellini1 who resided in ,paris from #aedj to #aede4 ,not since the days of ,charles ,v had ,france witnessed such profusion of jewellery as was indulged in by the splendour-loving ,francis ,i who exceeded even ,henry ,,viii and ,pope ,paul ,,iii--two other great collectors of the day--in gathering together jewels and precious stones4 ,we hear much of the jewellery of the day from ,rabelais1 who speaks of the rosaries1 girdle-ornaments1 rings1 gold chains1 jewelled necklaces and of the various kinds of precious stones worn both in articles of jewellery and scattered in profusion over the dress4 ,an incident of considerable interest is recorded to have taken place in the time of ,francis ,i in connection with a supposed abuse of enamel on the part of the jewellers4 ,the king's attention was drawn to the fact that when jewellery enamelled with opaque enamels1 which were considered to weigh heavier than the clear ones1 came to be realised1 the enamel was so much pure loss4 ,so1 in spite of a protest by some of the leading goldsmiths1 who declared that the proper execution of the majority of articles of jewellery was impossible without opaque enamel1 an ordinance was passed in #aedj forbidding its use4 ,after three years1 however1 the king relented1 and again permitted the jewellers the full exercise of the resources of their art1 provided there was no superfluous excess in the use of enamel4 ,under the last ,valois kings1 ,charles ,,ix and ,henry ,,iii1 the production of jewellery in ,france1 as elsewhere1 was greater than at almost any other period4 ,vivid descriptions of the rich jewellery of this time are furnished by the chronicler ,brantme4 ,actual articles of ,french ,renaissance jewellery are1 it must be confessed1 of great rarity4 ,almost the only extant specimens are the wonderful mounted cameos in the ,cabinet des ,mdailles of the ,bibliothque ,nationale at ,paris1 the majority of which are presumably of ,french origin4 ,from comparison of these with contemporary designs1 the distinguishing features of the ,french jewellery of the time appear to be--a cartouche-shaped frame with comparatively unbroken outline1 enriched with scroll ornament and occasionally with human figures and grotesques1 a slight use of open-work1 and the general employment of a central ornament4 ,like the ,germans1 the ,french had excellent masters1 who engraved models for jewellery of great beauty of design4 ,the following are the chief matres ornemanistes who flourished in the sixteenth century3--,jean ,duvet1 known also as the ,master of the ,unicorn1 born at ,langres in #adhe and died about #aefb1 was goldsmith to ,francis ,i and ,henry ,,ii4 ,his designs for small objects of personal use in the form of scrolls1 flowers1 and foliage1 intended for execution in enamel1 are among the earliest engravings in taille-douce produced for the purpose4 ,jacques ,androuet ,ducerceau 7about #aeaj-;about #aehe7 worked chiefly at ,orleans4 ,his numerous engravings in the form of cartouches with rolled and voluted frames show the type of design mainly employed for pendants4 ,his actual models for jewellery1 numbering upwards of fifty1 comprise clasps and brooches1 and many pendants1 including earrings 7pp4 #bda and #bfi74 ,after ,androuet ,ducerceau1 the most famous jeweller of this time was ,etienne ,delaune1 called ,stephanus 7#aeah-aeie74 ,he is said to have worked under ,cellini during the latter's residence in ,paris4 ,in #aegc he moved to ,strasburg1 where the greater part of his work was produced4 ,a little master par excellence1 he engraved with extraordinary delicacy a number of exquisite designs for jewellery4 ,two of his engravings of slightly different design1 both dated #aegf1 represent the interior of goldsmiths' workshops1 and are of particular interest in illustrating the practice of the goldsmith's art and the equipment of the workshop at this period4 ,designs for jewellery are the most interesting of the engravings of ,ren ,boyvin 7#aecj-aeih71 of ,angers4 ,he appears to have been influenced by the ,italian artists of ,fontainebleau1 and his plates of jewel-ornament1 engraved with great skill in the style of ,il ,rosso1 show considerable ingenuity and fancy in the combination of faceted stones and large pearls with human and fantastic figures4 ,more influential perhaps than any of the designs of the time are those of ,pierre ,woeiriot of ,lorraine1 who was born in #aecb and died after #aehi4 ,in #aeee ,woeiriot settled at ,lyons1 where he produced a large number of engravings for jewellery4 ,these1 showing the greatest variety of design1 include numerous patterns for rings1 a dozen earrings1 and ten pendent ornaments 7,pl4 ,,xxvii1 #c74 ,these masterpieces of engraving and composition were published at ,lyons in #aeee and #aefa4 ,spain occupies a peculiar place with respect to its ,renaissance jewellery4 ,in the sixteenth century the ,spanish ,peninsula was perhaps the richest part of the civilised world4 ,even at a time when universal luxury in personal ornaments reigned1 ,spain made itself an object of note by its extraordinary display in this direction4 ,the union under the same dominion of three of the most powerful countries of ,europe coincident with the newly developed wealth of ,america resulted in a desire among all classes for a more luxurious style of living and for more sumptuous ornaments4 ,the natural instinct of wealthy and cultured individuals to surround themselves with the choicest productions of the fine arts led to the importation of the best of such objects from other countries and of the first foreign craftsmen of the day4 ,juan de ,arphe1 the ,spanish ,cellini1 himself of ,german extraction1 devoted much attention to the naturalisation of ,renaissance forms4 ,other jewellers also remained in so large a measure dependent on foreign influence1 at first of ,italian types1 and then of the designs of ,french1 ,german1 and ,flemish engravers of ornament1 that it is often hard to arrive at a decision as to the precise provenance of their productions4 ,but just as other works of art1 the product of different countries1 are stamped with certain indefinable characteristics1 which in general circumstances may at once be detected1 so jewels of ,spanish origin betray the influence of national temperament in their composition and design4 ,the series of drawings by ,barcelona jewellers published by ,davillier in his ,recherches sur l',orfvrerie en ,espagne1 bear sufficient evidence of this native spirit4 ,nevertheless1 the majority of the surviving examples of the ,renaissance jewellery of ,spain approach at times very near to those of ,germany4 ,and there can be little doubt that the ,nuremberg and ,augsburg jewels which1 as has been shown1 were in vogue not only all over ,germany1 but in ,france and ,england and the ,low ,countries1 were imported and imitated1 as ,davillier says1 by the goldsmiths of ,spain4 ,the most important ,spanish jewels of the sixteenth century are in the form of enamelled pendants4 ,of these the ,victoria and ,albert ,museum possesses a collection1 excelled by that of no other public museum1 which acquired at the sale in #ahgj of the treasures of the sanctuary of the ,virgen del ,pilar at ,saragossa4 ,a species of pendant which in ,spain above all places has always been popular was the reliquary4 ,it assumed numerous shapes2 and among the many kinds of adornment it received were small panels of painted glass commonly known as verres glomiss4 ,this so-called verre glomis1 which had been handed down from antiquity and was used in the ,middle ,ages1 was brought to high perfection at the ,renaissance4 ,adopted from ,italy1 where it was also employed for jewellery1 it met with considerable favour in ,spain in the sixteenth century 7,pl4 ,,xliii1 #d74 ,the process employed in its production consisted in covering the under side of a plate of glass or rock crystal with gold leaf4 ,on this were traced the outlines of the design intended to be reserved in gold1 and the remainder of the gold was then removed4 ,in the painting which followed1 the finest details1 the high lights1 the shadows and flesh tints were first executed4 ,then came in successive applications1 transparent varnishes of different colours and thicknesses1 in accordance with the value of the tones desired4 ,small pieces of silver leaf were applied to certain parts to reflect the light and heighten the effect2 and the whole was finally backed with a sheet of metal4#abi #abi ,la collection ,spitzer1 ,,iii1 p4 #ec4 ,verre glomis appears to take its name from one ,glomy1 a ,french craftsman of the eighteenth century1 who produced a special black and gold varnish which he applied to the back of glass4 ,in a similar way his countrymen the ,martins gave their name to the varnish of their invention4 ,verre glomis1 a somewhat unsatisfactory title1 which came first into use in the latter part of the century1 and was wrongly applied to paintings under glass of a similar order1 has been retained ever since4 ,a peculiar and characteristic species of pendent ornament1 numbers of which were produced in the seventeenth century chiefly at ,barcelona1 are certain badges worn by members of religious corporations4 ,they are of open-worked gilt brass enriched with white1 black1 and blue opaque enamels fused into recesses stamped in the surface of the metal4 ,these badges1 which are either triangular1 oval1 square1 or oblong in shape1 are formed of two parts--a frame surrounded with rayed patterns1 and a central portion ornamented with various designs 7,pl4 ,,liii1 #e74 ,among the latter designs are crowned monograms of ,christ or the ,virgin1 with emblems such as palm leaves1 and the device of a nail and the letter ,s interlaced--a rebus for ,esclavo4 ,fitted in the back is usually a miniature under crystal4 ,in point of technique these enamelled badges offer an interesting comparison with the well-known ,english enamels of the same date applied mainly to objects such as candlesticks and fire-dogs4 ,pendent badges of the same designs exist in gold4 ,the collection of ,seor de ,osma at ,madrid contains several examples4 ,to the seventeenth century belong also the characteristic lazos or bow-shaped jewels worn as breast-ornaments1 made of open-work gold set with emeralds1 and occasionally with other stones 7,pl4 ,,liii1 #a74 ,of the same style are rings1 also set with emeralds1 and particularly long earrings1 which have always been popular in ,spain4 ,the backs of these jewels are engraved with floral designs4 ,the greater part of the ,spanish jewellery of the time is set with emeralds1 which were acquired in quantities from ,peru4 ,spain has always had a great reputation for these stones1 which when of fine quality are still alluded to as old ,spanish emeralds4 ,emeralds are always subject to flaws and rarely free from them4 ,the emeralds set in ,spanish jewellery1 though usually full of feathers1 are nevertheless of great decorative value4 ,further reference will be made to ,spanish work of the seventeenth century when the jewels of that period are dealt with4 ,the earlier ,hispano-,moresque jewellery is of considerable rarity4 ,it is often enriched with opaque enamel fired between cloisons formed of twisted wire4 ,from the union of ,moorish and ,renaissance forms developed the ,spanish peasant jewellery1 usually fashioned of stout silver filigree parcel-gilt4 ,illustration3 ,design for a pendant by ,hans ,brosamer4 ,,chapter ,,xxiv ,,england1 ,,sixteenth ,,century 7,,henry ,,viii--,,elizabeth--,,mary ,,stuart7 ,with the accession of ,henry ,,viii a new period opens in the history of the jeweller's art4 ,the spirit of the revival1 which had previously affected only the ,court1 began to spread rapidly throughout the community1 under the influence of the example set by the great jewellers of ,italy4 ,the ,king inherited an enormous treasury1 and the display of jewellery on his own person and on that of his ,court was prodigious4 ,we are indebted to the ,venetian ambassador1 ,giustinian1 for the following graphic description of the ,king's personal adornment a year or two after his accession-- ,he wore a cap of crimson velvet1 in the ,french fashion1 and the brim was looped up all round with lacets and gold enamelled tags4444 ,very close round his neck he had a gold collar1 from which there hung a rough-cut diamond1 the size of the largest walnut ,i ever saw1 and to this was suspended a most beautiful and very large round pearl4 ,his mantle was of purple velvet lined with white satin1 the sleeves open1 with a train more than four ,venetian yards long4 ,this mantle was girt in front like a gown1 with a thick gold cord1 from which there hung large golden acorns like those suspended from a cardinal's hat2 over this mantle was a very handsome gold collar1 with a pendent ,st4 ,george entirely of diamonds4 ,beneath the mantle he wore a pouch of cloth of gold1 which covered a dagger2 and his fingers were one mass of jewelled rings4#acj #acj ,brewer 7,j4 ,s471 ,henry ,,viii1 ,i1 p4 #aj4 ,many a lively and detailed picture has been left us by the chronicler and lawyer1 ,edward ,hall1 of the equipage and adornment of ,henry ,,viii on his coronation and at the court entertainments1 and particularly of the famous meeting of the ,cloth of ,gold1 where1 in their insane desire to outshine each other1 the ,english and ,french nobles entered into boundless extravagance in dress1 and so loaded themselves with jewellery1 that1 in the words of ,du ,bellay1 they carried the price of woodland1 water-mill1 and pasture on their backs4 ,many are the elaborate descriptions of entertainments and pageants by the chroniclers ,leland1 ,holinshed1 and ,stowe1 in which rich jewellery figures2 but ,hall's ,chronicle1 the most minute in its accounts of contemporary fashions1 teems with references to ,gold ,smithe's woorke and to the wealth of precious stones broidered on the garments4 ,the passion for personal ornaments ran such riot that even foreign critics inveighed against ,englishmen for their extravagance4 ,this love of jewellery was largely due to foreign fashions1 which hitherto discountenanced1 were growing popular at ,court1 in consequence of the increasing communication with the ,continent4 ,from the commencement of ,henry's reign merchants and craftsmen from abroad swarmed in numbers into ,london1 and ,hall1 who shared the characteristic ,english antipathy to all things foreign1 gives an instance of an invasion by these alien artificers4 ,it was on the occasion of a magnificent embassy from ,france in #aeah in connection with the betrothal of the ,princess ,mary to the ,dauphin that there came1 he says1 a great number of rascals and pedlars and jewellers1 and brought over divers merchantize uncustomed1 all under the color of trussery baggage of the ambassadors4 ,in accordance with the system of his predecessors in pursuit of their own personal interests1 ,henry ,,viii extended his protection to the foreigner1 while the example of the ,french ,court1 the rivalry with ,francis ,i1 and the foreign proclivities of ,wolsey and ,cromwell induced him to patronise extensively foreign jewellers and merchants in precious stones4 ,occasionally ,henry was a sufferer in his transactions with sharp ,italian dealers2 and ,cellini relates a story of how a ,milanese jeweller counterfeited an emerald so cleverly that he managed to palm off the same for a genuine stone on the sovereign of those beasts of ,englishmen1 as he elsewhere terms them1 for #ijjj golden scudi4 ,and all this happened1 because the purchaser--who was no less a person than the ,king of ,england--put rather more faith in the jeweller than he ought to have done4 ,the fraud was not found out till several years after4 ,a considerable number of the foreign craftsmen patronised by the ,king were ,italians2 but in jewellery the ,french influence seems to have predominated--judging by the frequent mention of jewels of ,paris work1 and by the fact that the majority of the jewellers mentioned in the ,king's ,book of ,payments1#aca bear ,french names4 ,among those of foreign extraction the following were the most prominent3 ,robert ,amadas1 ,john ,cryspyn1 ,allart ,ploumyer1 ,jehan ,lange1 ,cornelius ,hays1 ,baptist ,leman1 ,john ,cavalcant1 ,john ,baptista de ,consolavera1 ,guillim ,honyson1 ,alexander of ,brussels1 ,john of ,utrecht1 and ,john 7,hans7 of ,antwerp4 ,the mention1 however1 of such names as ,john ,angell1 ,morgan ,fenwolf 7a ,welshman71 ,john ,freeman1 ,john ,twiselton1 ,thomas ,exmewe1 ,nicolas ,worley1 ,john ,monday1 and ,william ,davy indicates the ,english nationality of several of the royal jewellers--though it is well to remember the common tendency of the time to ,anglicise foreign names4 #aca ,letters and ,papers of ,henry ,,viii1 ,,ii1 p4 #adda1 etc42 ,,iii1 p4 #aecc1 etc4 ,throughout the first half of his reign ,henry placed huge orders in the hands of these craftsmen1 but advancing years and an exhausted treasury appear to have somewhat diminished his expenditure on personal ornaments4 ,some interesting correspondence between the above-mentioned ,jehan ,lange1 a jeweller of ,paris1 and certain of his native townsmen has been preserved4#acb ,the ,king1 he writes in #aecg1 referring to certain jewelled garments he had submitted to ,his ,majesty1 was very glad to see such riches4 ,he said he was too old to wear such things1 but he has offered #djjj cr4 ,to ,allart ,ploumyer he writes3 ,the ,king always makes good cheer1 but he has grown cold1 and we have not quite sold everything2 for the gentlemen have spent their money in the war4 ,i find the ,king1 he says in another place1 disinclined to buy1 for he has told me he has no more money1 and it has cost him a great deal to make war4 #acb ,letters and ,papers1 ,,xii1 ,no4 #dg4 ,in spite of ,lange's complaints1 it was only just before his death that ,henry ,,viii acquired a famous and magnificent historical jewel1 the great pendant of ,charles the ,bold1 last ,duke of ,burgundy4#acc ,in its centre was set the wonderful diamond--a deep pyramid five-eighths of an inch square at the base--believed to be the first on which ,louis de ,berghem tried his newly invented method of cutting4 ,around it were set three balas rubies1 styled from their equality in size and weight the ,three ,brothers1 which1 owing to their fine quality1 were set open1 without the foil with which stones were then usually backed4 ,between these were four enormous pearls 7,pl4 ,,xxv1 #c74 ,according to the universal custom of his day1 the ,duke1 accompanied by all his treasure when campaigning1 carried this jewel with him1 partly to have it constantly under his personal supervision1 and partly because of the magic properties then attributed to precious stones4 ,captured by a common soldier from his tent after his memorable defeat at the battle of ,granson in #adge1 the pendant came into the possession of the magistrates of ,berne1 and from them was purchased by ,jacob ,fugger1 of the opulent merchant family of ,augsburg1 whose son1 after keeping it for several years1 disposed of it to ,henry ,,viii4 ,fifty years later the jewel was still intact1 and in ,james ,i's inventory of the crown jewels in #afjc1 it is thus described3#acd ,a fayre ,flower1#ace with three greate ballaces1 in the myddest a greate pointed dyamonde1 and three greate perles fixed1 with a fayre greate perle pendaunte1 called the ,brethren4 ,the last we hear of this famous jewel is in #afbc1 when it is described in the same words in the list of jewels removed from the ,tower by ,james ,i1 and handed over to his jeweller ,heriot to be refashioned for the use of ,charles and ,buckingham on their visit to ,spain4 ,that it was then remounted is evident from the ,king's letter to his son1 in which he says3 ,i send for your wearing the ,three ,brethren1 that you knowe full well1 but newlie sette4 #acc ,lambecius1 ,bibliotheca ,csarea ,vindobonensi1 ,,ii1 p4 #eab4 #acd ,kalendars and ,inventories of the ,exchequer1 ,,ii1 p4 #cjd4 #ace ,that pendants were termed flowers is clear from ,w4 ,thomas's ,italian ,grammar 7#aedh71 where a fermaglio is defined as the hangeing owche1 or flowre that women use to tye at the chayne or lace that they weare about their neckes 7,way1 ,prompt4 parv41 p4 #cei1 n4 #c74 ,about the year #aecf the great painter ,hans ,holbein1 who had come to ,england several years previously1 entered into the service of ,henry ,,viii1 and it was between that date and his death in #aedc that he executed those masterpieces of design for jewellery which will ever stand as a landmark in the history of the subject4 ,there is no evidence to show that ,holbein himself worked in the precious metals4 ,but brought up under similar influences as had moulded the great ,italian artists of the ,renaissance1 ,ghiberti1 ,pollaiuolo1 ,verrocchio1 ,francia1 and ,ghirlandaio1 who combined the arts of painting1 architecture1 and sculpture with the jeweller's craft1 he had been well grounded in the limitations of his materials1 and knew how far the draughtsman could display his skill in this direction4 ,the most important of ,holbein's designs for jewellery are preserved in the ,british ,museum1 to which they were bequeathed by ,sir ,hans ,sloane in #agec4 ,the collection1 originally mounted in a quarto volume1 termed ,holbein's ,london ,sketch-book1 is now remounted and systematically arranged4 ,the designs1 comprising #agi separate items1 are for the most part drawn with a pen with black ink1 and then some slight touches of brown put in for the shadows4 ,several of the designs have the ground blackened1 the ornaments being left in white4 ,some of the jewels1 entirely coloured and often touched up with gold1 are designed for enamelling in high relief2 some are perhaps designed for execution in niello1 though it is not improbable that these were intended to be ornamented with black champlev enamel4 ,the most attractive are the patterns for jewels enriched with precious stones and enamels1 the majority of which were for neck pendants intended to hang from a chain1 ribbon1 or silken cord1 itself sometimes shown in the drawing 7,pl4 ,,xxvi74 ,the design of a few of these pendants is based upon the prevailing custom of wearing initials of the name either in embroidery or in pure gold attached to the garments4 ,some curious instances of this fashion are recorded by ,hall1 particularly in his graphic account of what took place at a masque given by ,henry ,,viii at his palace at ,westminster4 ,upon the ,king's invitation to divide the rich garments of the maskers sewn with letters of fine and massy gold in bullyon as thicke as they might be1 which generally went as largess to the ladies1 a rabble of citizens1 who were allowed to look on1 broke in1 and ranne to the ,kyng and stripped hym into his hosen and dublet1 and all his compaignions in like wyse4 ,syr ,thomas ,knevet stode on a stage1 and for all his defence he lost his apparell4 ,the ladies like wyse were spoyled1 wherfore the ,kynges garde came sodenly1 and put the people backe1 or els it was supposed more inconvenience had ensued4 ,so pure was the gold of which these letters were composed that it is recorded subsequently that a shipeman of ,london who caught certayn letters sould them to a goldsmyth for #c4 #ad4 #h--quite a considerable sum in those days4 ,in the same way jewelled initials were also frequently worn in the form of pendants and a jewelled ,b can be seen hanging from the neck of ,anne ,boleyn in her portrait in the ,national ,portrait ,gallery4 ,holbein's drawings contain several beautiful instances of this type of design1 generally completed with three pendent pearls4 ,one of them has a monogram of the initials ,r and ,e in chased and engraved gold set at the four corners with two rubies1 an emerald1 and a diamond4 ,another has the letters ,h and ,i 7probably for ,henry and ,jane ,seymour7 with an emerald in the centre2 and a somewhat similar jewel1 formed of the sacred monogram1 is worn by ,jane ,seymour in her portrait by ,holbein at ,vienna4 ,the designs for the larger pendants1 mostly circular or lozenge-shaped1 are set with sapphires1 diamonds1 rubies1 and pearls1 and terminate with large pear-shaped pearls4 ,the spaces between the stones are filled with chased or enamelled arrangements of scroll or leaf work4 ,the smaller jewels1 which might also have been worn as enseignes or badges on the hat1 or as brooches1 are of open goldwork with leaf or ribbon ornament set with stones and pearls4 ,they include a very beautiful design of a half-length figure of a lady in the costume of the period holding between her hands a large stone1 upon which is the inscription ,,well ,,laydi ,,well 7,pl4 ,,xxvi1 #i74 ,the fifteenth-century traditions seem to have influenced ,holbein in the design of this jewel1 which at once calls to mind the ,flemish-,burgundian brooches 7an example of which1 in the ,british ,museum1 has already been mentioned7 ornamented with similar figures1 full-faced1 and holding a large stone before them4 ,the jewels actually executed from these designs were probably the work of ,hans of ,antwerp1 known as ,john ,anwarpe4#acf ,he was a friend of ,holbein1 and one of the witnesses of his will2 and his portrait1 painted by ,holbein1 is now at ,windsor4 ,hans of ,antwerp appears to have settled in ,london about #aead1 having perhaps been induced to do so by ,thomas ,cromwell1 who in early life resided for a time in ,antwerp as secretary to the ,english merchants there4 ,it was presumably ,cromwell who1 as ,master of the ,king's ,jewel ,house1 was instrumental in procuring for him the post of the ,king's goldsmith4 ,his name occurs several times in ,cromwell's accounts1 and it was in accordance with the latter's ryght hartye commendations that he obtained the freedom of the ,goldsmiths' ,company of ,london4 ,the chief duty of the ,king's goldsmith was to supply the ,new ,year's gifts 7estrennes71 so popular at that time4 ,these usually took the form of personal ornaments1 and it seems likely that ,holbein's famous sketches were specially designed for this purpose4 #acf ,his family name was ,van der ,gow or ,van der ,goes4 ,see ,l4 ,cust1 ,burlington ,magazine1 ,,viii1 p4 #cef4 ,,elizabeth--,,mary ,,stuart ,however remarkable the ,court of ,henry ,,viii was for its profusion of jewellery1 that of ,queen ,elizabeth1 who inherited the ,tudor love for display1 was still more extravagant4 ,throughout her reign--a period marked also upon the ,continent for its prolific production of jewellery--the fashion set by the jewel-loving ,queen for a superabundance of finery maintained its sway4 ,the country suddenly becoming wealthy1 was tempted1 like one not born to riches1 to use the whole in outward show1 and this display was rendered comparatively easy by the influx of gold and precious stones after the ,spanish conquests in ,america4 ,numerous portraits of courtiers and court ladies afford ample evidence of the prevailing fashions in jewellery1 while the portraits of the ,queen herself1 all overburdened with ornaments1 are too well known to need detailed description4#acg ,there is not a single portrait of her1 says ,walpole1 that one can call beautiful4 ,the profusion of ornaments with which they are loaded are marks of her continual fondness for dress1 while they entirely exclude all grace1 and leave no more room for a painter's genius than if he had been employed to copy an ,indian idol1 totally composed of hands and necklaces4 ,a pale ,roman nose1 a head of hair loaded with crowns and powdered with diamonds1 a vast ruff1 a vaster fardingale1 a bushel of pearls1 are features by which every body knows at once the pictures of ,queen ,elizabeth4 #acg ,an enormous number of these exist4 ,a catalogue of them has been drawn up by ,mr4 ,f4 ,m4 ,o',donoghue1 of the ,british ,museum4 ,an excellent description of the jewellery of ,elizabeth towards the close of her brilliant reign is given by ,paul ,hentzner1 who visited ,england in #aeih3 ,the ,queen had in her ears two pearls with very rich drops2 she wore false hair and that red2 upon her head she had a small crown2 her bosom was uncovered1 and she had on a necklace of exceedingly fine jewels4 ,she was dressed in white silk1 bordered with pearls of the size of beans1 and over it a mantle of black silk shot with silver threads2 her train was very long4 ,instead of a chain1 she had an oblong collar of gold and jewels4 ,to a courtier who knelt to her1 after pulling off her glove1 she gave her right hand to kiss1 sparkling with rings and jewels4 ,the best of all representations of that bright occidental ,star is her faded waxwork effigy1 still to be seen in ,westminster ,abbey--no other than the one which on the #bhth of ,april1 #afjc1 was carried on her coffin to the ,abbey4 ,it shows the veritable passion ,elizabeth possessed for pearls4 ,her stomacher is encrusted with large ,roman pearls1 while strings of pearls hang round her throat and neck4 ,her earrings are circular pearl and ruby medallions1 with huge pear-shaped pearl pendants4 ,full of detail are the records of costly juelles that have come down to us1 particularly in the list1 preserved in the ,british ,museum1#ach of the ,new ,year's gifts presented to the ,queen1 from the fourteenth to the thirty-sixth year of her reign4 ,the practice of exchanging presents on ,new ,year's ,day attained extraordinary proportions at the ,court of ,elizabeth1 and was supplemented by birthday presents1 which1 as ,her ,majesty's weakness for jewellery was well known1 took for the most part the form of personal ornaments of every kind4 ,the very accurate accounts that were kept by the officers of the ,queen's wardrobe of every item in her enormous store of jewellery is witnessed by a number of curious entries in her wardrobe-book of losses of jewellery sustained by ,her ,majesty4#aci #ach ,british ,museum4 ,,mss4 ,no4 #dhbg4 #aci ,strickland1 ,queens of ,england1 ,,iv1 pp4 #bfb1 #daf4 ,in addition to numerous inventories and wills full of information concerning the jewellery of the period1 we have at our service1 as in ,roman times1 the works of social satirists1 such as ,the ,anatomie of ,abuses1 by ,philip ,stubbes 7#aehc71 and ,bishop ,hall's poetical satires of #aeig1 to which we are indebted for many valuable details4 ,in accepting these it is well to bear in mind the common tendency of every age to ridicule its own fashions2 yet1 in spite of ,puritan narrowness1 and the exaggerated indignation of the satirist1 it is manifest that extraordinary luxury and extravagance in dress and jewellery were prevalent not only at ,court1 but among all classes of the community4 ,of greater importance1 however1 than the information to be gleaned from pictorial and literary sources is that derived from the actual jewels themselves1 a considerable number of which1 through all the changes and chances of more than three centuries1 have been handed down still practically intact1 and retaining the chief feature of their decoration--their exquisite enamel4 ,shakespeare1 while appreciating the charm of its harmonious combination of colours1 recognised1 it appears1 the delicacy of this beautiful medium1 when in the ,comedy of ,errors he makes ,adriana say3-- ,i see the jewel best enamelled ,will lose his beauty2 yet the gold bides still1 ,that others touch1 and often touching will ,wear gold4 ,the ,new ,learning1 which made itself felt in ,england during the reign of ,henry ,,vii1 began at this time to exercise a direct influence on the choice of the designs of jewels and on the arrangement of their ornamentation4 ,as witnesses of the intellectual revival1 they often took emblematic forms1 bearing in exquisite enamel-work fancy mottoes and devices1 generally obscure in their interpretation1 and intended to express the sentiments of their wearers1 or those of donors1 regarding the presumed state of mind of their recipients4 ,the passion for these reached its height in the golden days of ,good ,queen ,bess1 when it became the fashion for the bejewelled gallants who fluttered like a swarm of glittering insects around her to display their wit and ingenuity in devising jewelled emblems as fit presents to the ,virgin ,queen4 ,thus in the list of costly articles of jewellery offered to ,elizabeth1 we meet with the present1 made in ,christmas week #aeha1 by some courtiers disguised as maskers1 of a jewel in the form of a flower of golde1 garnished with sparcks of diamonds1 rubyes1 and ophales1 with an agathe of her ,majestis phisnamy and a perle pendante1 with devices painted in it4 ,the love for strange devices and enigmatical mottoes was fostered by the spirit of an age that witnessed the production of ,lyly's ,euphues and ,spenser's ,faerie ,queene2 while ,elizabeth's colossal vanity prompted the dedication to her of highly laudatory mottoes1 like the inscription on a jewel belonging to ,mr4 ,pierpont ,morgan3 ,,hei ,,mihi ,,quod ,,tanto ,,virtus ,,perfusa ,,decore ,,non ,,habet ,,eternos ,,inviolata ,,dies4 ,few of the jewels of this stirring period display a more charming symbolism than those produced after the defeat and destruction of the ,spanish ,armada1 whereon ,england is figured as an ark floating securely and tranquilly on a troubled sea1 surrounded by the motto1 ,,saevas ,,tranquilla ,,per ,,undas4 ,the most remarkable of these ,armada jewels is ,mr4 ,pierpont ,morgan's1 just mentioned1 and another of the same class in the ,poldi-,pezzoli ,museum1 ,milan4 ,a jewel more characteristic of the period than any other1 and an historical relic of singular interest1 is that chef d'oeuvre of inventive genius--the ,lennox or ,darnley jewel1 the property of ,his ,majesty the ,king4 ,it is covered inside and out with the most elaborate symbolism1 and contains altogether no less than twenty-eight emblems and six mottoes 7,pl4 ,,xxviii1 #d74 ,internal evidence proves this remarkable jewel to have been made by order of ,lady ,margaret ,douglas1 mother of ,henry ,darnley1 in memory of her husband1 ,matthew ,stuart1 ,earl of ,lennox1 who was killed in #aega4 ,among many other examples of ,elizabethan jewellery1 there stand out above the rest a certain number to which1 besides their high artistic excellence1 is attached the additional interest of historical associations4 ,to this class belong the following important jewels3 the ,berkeley heirlooms1 belonging to ,lord ,fitzhardinge2 the ,drake jewels1 the property of ,sir ,francis ,fuller-,eliott-,drake2 the ,wild ,jewel 7,miss ,wild72 the ,barbor ,jewel 7,victoria and ,albert ,museum72 and the ,phoenix ,jewel 7,sloane ,collection1 ,british ,museum74 ,public and private collections likewise contain a considerable number of enamelled miniature cases furnished with loops for suspension1 and cameos set with jewelled and enamelled mountings of the period4 ,the ,berkeley heirlooms1 among which is the ,anglo-,saxon ring already mentioned1 include the ,hunsdon ,onyx1 the ,drake pendant in form of a ship1 ,edward ,,vi's ,prayer ,book1 and a crystal armlet4 ,these exquisite jewels1 according to tradition1 were presented by ,queen ,elizabeth to her cousin ,henry ,carey1 ,lord ,hunsdon1 who died in #aeif4 ,they then passed to his son ,george1 the second ,baron ,hunsdon1 who so highly valued them1 that he bequeathed them on his death1 in #afjc1 to his wife1 and afterwards to his only daughter ,elizabeth1 with strict injunctions to transmit the same to her posterity1 to be preserved 7according to the actual terms of his will7 ,soe longe as the conscience of my heires shall have grace and honestie to perform my will1 for that ,i esteeme them right jeweles1 and monumentes worthie to be kept for theire beautie1 rareness1 and that for monie they are not to be matched1 nor the like yet knowen to be founde in this realme4 ,the jewels mentioned1 which came into the ,berkeley family through the marriage of the above-named ,elizabeth ,carey with ,lord ,berkeley1 are still preserved at ,berkeley ,castle4 ,illustration3 ,,plate ,,xxviii ,,renaissance ,,jewellery ,,of ,,enamelled ,,gold 7,,the ,,property ,,of ,,his ,,majesty ,,the ,,king7 ,further reference to these and other remarkable ,elizabethan jewels will be given when the special species of ornaments to which they belong is being dealt with4 ,there is one jewel of this date1 however1 which1 though it no longer exists1 is of particular interest from the fact that it is specially mentioned in the famous inventory of ,charles ,i's collection drawn up by ,abraham ,van der ,doort in #afci4adj ,this golden jewel1 we learn1 was round1 and hung with a small pendent pearl2 one side was enamelled with a representation of the battle of ,bosworth ,field1 and the other with the red and white roses of ,lancaster and ,york upon a green ground4 ,within were four miniatures1 ,henry ,,vii1 ,henry ,,viii1 ,edward ,,vi1 and ,queen ,mary4 ,the miniatures are still preserved at ,windsor ,castle1 but shorn of their enamelled case1 which has long since disappeared4 ,the jewel was bought by the ,king1 so ,van der ,doort tells us1 from young ,hilliard1 son of the famous miniaturist ,nicholas ,hilliard1 who1 besides painting the miniatures1 probably also executed the enamel-work upon the jewel itself4 ,hilliard1 like the artists of the ,renaissance already cited1 had been brought up as a goldsmith and jeweller1 and1 as we see by the inscription which he placed round his own portrait1 held an appointment as goldsmith at ,elizabeth's ,court2 while his knowledge and love of jewellery are admirably displayed in his miniatures1 in which every jewel is painted with faultless accuracy and care4 #adj ,vertue 7,g471 ,catalogue of the collection of ,charles ,i1 p4 #dg4 ,the mention of ,hilliard introduces to our notice the other creators of the beautiful jewellery of the period4 ,english work continued to be influenced by the ,continent2 and engraved designs for jewellery by the ,frenchmen ,ducerceau and ,woeiriot1 and by the eminent goldsmith and engraver ,theodor de ,bry1 who himself worked in ,london in #aehg and the two following years1 must have been well known and imitated in ,england4 ,in spite of this1 however1 it would appear that ,englishmen were no longer actually dependent for their jewellery upon foreigners4 ,the latter ceased to hold the virtual monopoly they had once enjoyed2 and their place was taken by a number of native craftsmen4 ,among these1 the following were the most prominent3 ,dericke ,anthony1 ,affabel ,partridge1 ,peter ,trender1 and ,nicolas ,herrick--elder brother of ,william ,herrick1 ,james ,i's jeweller1 and father of ,robert ,herrick the poet4 ,during the latter years of her reign ,hugh ,kayle and his partner ,sir ,richard ,martin supplied the ,queen with jewels as ,new ,year's gifts and presents to ambassadors amounting to upwards of #ab1jjj4 ,enough has been said to demonstrate that the reign of ,elizabeth1 fertile in great events1 was productive of much important jewellery1 whose charm1 excellence1 and historic interest have1 up to the present1 by no means received the attention they deserve4 ,and it may be stated1 without prejudice1 that jewels of the period which bear a clear stamp of ,english origin compare favourably1 nay even advantageously1 with the productions of contemporary jewellers of the ,continent4 99 99 99 ,the jewels of the unhappy ,mary ,stuart form a subject of peculiar interest4 ,like her jealous rival ,queen ,elizabeth1 ,mary was most lavish in her display of jewellery4 ,in addition to the crown jewels she had a profusion of personal ornaments1 her own private property4 ,her inventories1 published by the ,bannatyne ,club 7#ahfc71 furnish many a vivid description of the splendid objects which1 during the course of her turbulent life1 she bestowed on her friends or lost under stress of circumstances4 ,they have further acquired quite an historical celebrity from the frequency with which they were claimed by their unfortunate mistress in her appeals for mercy and justice during her long captivity1 and the rapacity with which her royal jailer and other enemies sought or retained possession of these glittering spoils4 ,it is impossible here to enter into details respecting the many beautiful things recorded in her inventories1 or the strange vicissitudes that they underwent4 ,their dispersal would seem to have begun with her infatuated passion for ,bothwell4 ,the number of jewels she lavished on him when they parted on ,carberry ,hill1 those she distributed as personal gifts1 and others that served in the various emergencies in which the unfortunate ,queen found herself1 afford some idea of the extraordinary quantity of precious articles in her possession4 ,a few of ,mary's actual jewels1 such as the ,duke of ,norfolk's rosary and jewelled necklace1 the ,duke of ,portland's jewelled cameo1 and the ,penicuik jewel1 have been preserved to our own day4 ,along with the historical documents must rank the ,leven and ,melville portrait--the brilliant centre-piece of ,mr4 ,andrew ,lang's ,portraits and ,jewels of ,mary ,stuart4 ,as far as jewellery in general is concerned1 this portrait may be said to merit greater consideration than any picture of its own or of other times1 in that it displays a complete parure of contemporary jewellery1 each item of which is entered and described in detail in the personal inventories of the individual it represents4 ,,chapter ,,xxv ,,renaissance ,,head-,,ornaments 7,,enseignes1 ,,aigrettes1 ,,hair-,,pins1 ,,earrings7 ,the origin of the ornaments for the hat or cap1 known generally as enseignes1 has been mentioned in dealing with the jewellery of the ,middle ,ages4 ,at the period of the ,renaissance1 the enseigne--the bijou par excellence it has been termed--was above all the recipient of the very highest workmanship1 and formed the subject of varied designs of the most ingenious character4 ,by the beginning of the fifteenth century fashion had already turned hat-badges almost entirely into articles of adornment1 and judging by that worn by ,king ,dagobert in ,petrus ,christus's picture of #addi1 and1 amongst many other portraits1 by that of ,richard ,,iii in the ,national ,portrait ,gallery1 these jewels were composed of goldsmith's work1 enamelled1 and set with precious stones4 ,in the sixteenth century the majority of enseignes seem always to have borne some figured design2 and ,cellini1 referring to the year #aebe1 says3 ,it was the custom at that epoch to wear little golden medals1 upon which every nobleman or man of quality had some device or fancy of his own engraved2 and these were worn in the cap4 ,for a considerable time the earlier religious badges sold at places of pilgrimage continued to be worn4 ,though enseignes very frequently bore some religious representation1 or the figure or emblem of some patron saint1 they ended1 like other articles primarily religious1 by becoming purely secular1 and took the forms of devices of a fanciful or even humorous character4 ,every one from the highest rank downwards had his personal devise or impresa1 or more often a series of them4 ,it was worn as an emblem--an ingenious expression of some conceit of the wearer1 the outcome of his peculiar frame of mind4 ,it usually contained some obscure meaning1 the sense of which1 half hidden and half revealed1 was intended to afford some play for the ingenuity of the observer4 ,the love of the time for expressing things by riddles led to the publication of sets of emblems1 like those of ,alciatus1 which had imitators in all directions4 ,every one1 in fact1 tried his hand at these toys of the imagination4 ,numbers of enseignes are mentioned in the inventories1 and male portraits very commonly exhibit this form of decoration4 ,women also wore them upon the hat or in the hair1 but not until about the middle of the sixteenth century4 ,the hat was turned up so as to show the lining1 and the badge was usually placed under the rim1 at the side1 and somewhat to the front of the hat4 ,some of these medallions are furnished with a pin1 like a brooch2 but as the majority have loops at the edge1 or are pierced with holes for the purpose of sewing them to the head-dress1 they can as a rule be distinguished from ordinary brooches4 ,pendants of the same form as those hung from neck-chains also appear occasionally as enseignes upon the hat4 ,in ,england1 during the sixteenth century1 brooches1 owches1 or nowches1 as they were often called1 were extensively worn in caps and hats#ada as men's jewels in particular2 and besides these there were jewelled hat-bands richly decorated with precious stones4 ,the chronicler ,hall mentions that on one occasion1 in #aeac1 ,henry ,,viii wore a hat called a chapeau montabyn which was adorned with a rich band or coronal1 and had in addition an enseigne1 for ye folde of the chapeau was lined with crimsyn saten2 and on yt a riche brooch withe ye image of sainct ,george4 ,an enamelled brooch of this design modelled in full relief with the figure of ,st4 ,george and the dragon1 with the ,princess ,sabra in the background1 is preserved amongst the exceedingly interesting series of jewels in ,his ,majesty's collection at ,windsor ,castle4 ,it is of gold1 finely chased1 brilliantly modelled1 and surrounded with an open wire balustrade enamelled green4 ,this brooch1 traditionally believed to have been worn by ,henry ,,viii1 is known as the ,holbein ,george2 but internal evidences tend to prove the unlikelihood of ,holbein having had any hand in its construction4 ,it appears to be of ,venetian origin--though not without some traces of ,german influence--and to date from the first few years of the sixteenth century 7,pl4 ,,xxviii1 #b74 #ada ,he gave me a jewel the other day1 and now he has beat it out of my hat 7,timon of ,athens1 ,act iii47 ,honour's a good brooch to wear in a man's hat at all times 7,ben ,jonson1 ,poetaster74 ,and his hat turned up1 with a silver clasp on his leer side 7,ben ,jonson1 ,tale of a ,tub74 ,there exist several other jewels1 the majority of them hat-ornaments1 executed in this so-called gold wire enamel1#adb of the same exquisite and rare style of workmanship1 and all possessing a singular likeness to that at ,windsor1 both in the patterns of the dresses worn by the figures represented on them1 and in general treatment1 particularly of the hair of the figures1 which is formed of ringlets of spiral twisted gold wire4 ,among other examples are two in the ,salting ,collection1 another which was lately in the collection of ,sir ,t4 ,gibson ,carmichael1#adc and a fourth in the ,cabinet des ,antiques in the ,bibliothque ,nationale1 ,paris4 #adb ,bonnaff 7,e471 ,la collection ,spitzer1 ,,iii1 p4 #acd4 #adc ,burlington ,fine ,arts ,club1 ,catalogue of enamels1 #ahig4 ,the wide range of subjects chosen for hat-ornaments can best be judged from the lists of bonnets in ,henry ,,viii's possession in the years #aebf and #aecj1 enriched with a variety of brooches4#add #add ,letters and ,papers of ,henry ,,viii1 ,,iv1 ,nos4 #aijg and #fghi4 ,representations of enseignes in pictures are too frequent to permit of any attempt to enumerate them4 ,it is impossible1 however1 to refrain from drawing attention to the fine male portraits of ,bartolommeo ,veneto1 an artist of marked individuality of character1 who worked at ,venice from about #aeje to #aecj4 ,he appears to have delighted in painting with peculiar care the beautiful enseignes worn by his sitters--attractive jewels enamelled in ronde bosse1 and contemporary with the ,windsor ,george and its fellows4 ,the examples of his work that display such ornaments in the most striking manner are in the following collections3 ,fitzwilliam ,museum1 ,cambridge2 ,dorchester ,house1 ,london2 the ,crespi ,gallery1 ,milan2 the collection of ,baron ,tucher at ,vienna2 and the ,national ,gallery1 ,rome4#ade #ade ,l',arte1 ,,ii1 p4 #dcb1 #ahii4 ,one of the most exquisite jewels of the ,renaissance is a medallion of enamelled gold numbered #eehc in the ,bibliothque ,nationale at ,paris4 ,it is oval1 and in a space of #b by #b-c_/af inches contains a composition of no less than twelve men and eight horses in high relief1 representing a battle4 ,horsemen and foot-soldiers in antique armour are engaged in furious combat1 and many have fallen4 ,one horseman carries a banneret which flies in the wind4 ,the background is enamelled green1 and the figures1 delicately modelled1 are white1 save for their armour and weapons1 which are reserved in the gold4 ,the frame of the jewel is furnished with four loops1 which clearly explain its use 7,pl4 ,,xxix1 #b74 ,its design offers an interesting comparison with two cameos 7,nos4 #fdc and #fdd71 themselves fanciful renderings of the subject of another cameo 7,no4 #fde71 and an intaglio1 the work of ,matteo del ,nassaro1 in the same collection1 both undoubtedly inspired by the famous painting after ,raphael1 known as the ,battle of ,constantine at the ,milvian ,bridge 7,a4,d4 #cab71 in the so-called ,gallery of ,constantine in the ,vatican4 ,among the jewels in the public collections in ,london1 which on account of their design or form were presumably intended to be worn in the hat or cap1 there are several noteworthy examples4 ,the ,wallace ,collection contains a circular gold enseigne1 repouss1 chased1 and partly enamelled1 with a representation of ,judith carrying the head of ,holofernes4 ,it is probably ,italian4 ,in the ,waddesdon ,bequest at the ,british ,museum is an oval badge enamelled in relief with the ,judgment of ,paris4 ,it is of the same minute style of work as that of the ,battle-,piece1 and is of striking similarity to a drawing by ,hans ,mielich1 in the ,royal ,library1 ,munich4#adf #adf ,hefner-,alteneck 7,j4 ,h4 von71 ,deutsche ,goldschmiede-,werke des #aften ,jahrhunderts1 ,pl4 #ab4 ,an enseigne in the ,victoria and ,albert ,museum--perhaps the most beautiful of all1 and probably the work of a ,florentine goldsmith--represents the head of ,john the ,baptist on a charger4 ,the caput ,johannis in disco1 a favourite subject in medival art both in painting and sculpture1 was also popular for personal ornaments4 ,this symbol of the ,precursor was no doubt phylacteric1 for the efficacy of his intercession was most highly esteemed against epilepsy and other disorders4 ,the enseigne in question1 contemporary with one described as a ,st4 ,john's head in a dish in ,henry ,,viii's possession in #aecj1 is of gold1 one and five-eighths of an inch in diameter1 and shaped like a circular dish4 ,it has a corded edge1 and round the rim1 in pierced and raised letters1 now only partially enamelled1 are the following words3 ,,non ,,surexsit ,,inter ,,natos ,,mulierum4 ,the sunk centre is covered with translucent ruby enamel1 and in the middle is the head of the saint in gold and white enamel4 ,the head is delicately modelled1 and such care has the artist displayed in its execution that he has shown above the eyebrow the gash which ,herodias1 according to the legend1#adg on receiving the head from ,salome1 inflicted on it with a pin from her hair1 or with a knife seized from the table where the feast had taken place 7,pl4 ,,xxix1 #a74 #adg ,this legend is the subject of a striking picture by ,quentin ,matsys 7itself rich in representation of jewellery71 which forms the left wing of the magnificent ,deposition 7,no4 #bde71 in the ,antwerp ,museum4 ,a famous relic1 the skull of the saint in ,amiens ,cathedral1 exhibits a hole over the eyebrow4 ,illustration3 ,,plate ,,xxix ,,renaissance ,,enseignes ,all the four enseignes last mentioned are examples of the method of executing these ornaments described in ,cellini's famous treatise#adh on the goldsmith's art1 where he extols the goldsmith ,caradosso as a craftsman skilled above all others in their production4 ,the work is repouss2 the ,st4 ,john's head being also worked into full relief by this process1 and then applied to the dish4 ,such repouss figures were frequently attached to an independent background formed of lapis-lazuli1 agate1 or some other precious substance4 #adh ,i trattati dell' oreficeria4 ,ed4 ,milanesi1 #aheg4 ,chapter on ,minuteria4 ,the revival of the art of gem-engraving led to a large demand for cameos--themselves more suitable for decorative purposes than intaglios--as personal ornaments4 ,it was much the custom of that time1 says ,vasari1 writing of the gem-engraver ,matteo del ,nassaro1 to wear cameos and other jewels of similar kind round the neck and in the cap4 ,matteo produced many admirable cameos for use as enseignes for ,francis ,i and the nobles of his ,court1 almost every one of whom carried on their persons some example of his work4 ,on jewels of this kind parts of the figures were occasionally executed in cameo1 and the remainder in gold1 chased and enamelled2 but more frequently figures were worked entirely in hard material1 and then1 in accordance with the artistic taste of the time1 enclosed in borders1 enriched with enamel and jewel-work of the most exquisite variety of design4 ,unhappy vicissitudes1 like those which the gems at ,florence have undergone1#adi have in course of time despoiled many a cameo of its rich setting4 ,yet in the great public gem collections of ,london1 ,paris1 ,vienna1 ,st4 ,petersburg1 ,berlin1 ,munich1 and ,dresden1 as well as in the cabinets of private collectors1 are to be found a number of beautiful examples of the jeweller's art at its best period1 which have been preserved on account of the cameos they served to adorn4 #adi ,in the night of ,december #agth1 #ahfj1 the ,galleria delle ,gemme of the ,uffizi was entered by thieves1 who carried off a large number of gems and jewels4 ,most of the gems were recovered1 but nearly all robbed of their settings4 ,all the jewels were lost 7,gotti1 ,a41 ,le ,gallerie di ,firenze1 pp4 #bbi and #chh74 ,the finest enseigne that displays cameo and enamelled gold worked together in combination is ,cellini's exquisite ,leda and the ,swan1 in the ,mnz-und-,antiken-,kabinet at ,vienna4 ,the head and the torso of the figure of ,leda is in cameo--the latter being an antique fragment2 the remainder of the jewel is of gold1 enriched with enamels1 diamonds1 and rubies4 ,this is considered to be the actual jewel executed by ,cellini at ,rome about #aebd for the ,gonfalonier ,gabriele ,cesarini#aej 7,pl4 ,,xxix1 #e74 #aej ,kenner 7,f471 ,cameen und ,modelle des ,,xvi4 ,jahrhunderts1 p4 #bg 7,jahrbuch der ,kunsthistor4 ,sammlungen des ,kaiserhauses1 ,,iv71 #ahhf4 ,by far the most extensive collection of mounted cameos is preserved in the ,bibliothque ,nationale at ,paris4 ,the majority of these jewels which follow the cartouche form are presumably of ,french fabrique1 though a decision as to their precise provenance is here1 as ever1 a matter of considerable difficulty4 ,among brooches or medallions for the hat1 whose purpose is clearly indicated by the presence of a pin or holes for attachment1 the most noticeable are four1 numbered respectively #eie1 #dfe1 #eac1 and #ajjb4 ,the first1 bearing the head of a negro in agate1 encircled with a band of rubies1 has an outer border of open scrollwork1 of white1 heightened with red enamel4 ,on each side and below is a table diamond2 and above1 a crown set with triangular faceted diamonds 7,pl4 ,,xxix1 #d74 ,lack of space precludes detailed reference to the other three enseignes de chaperon4 ,they are equally attractive1 both on account of their design and the high quality of their workmanship4 ,those unable to afford such costly ornaments wore hat-brooches or medallions in cheaper materials1 either bronze or copper4 ,these were cast or stamped1 and not1 like the more magnificent enseignes of gold1 executed by the repouss process4 ,the work of the earlier medallists was produced by means of casting1 the medallions being afterwards delicately chased4 ,from the beginning of the sixteenth century1 medallists1 who1 it may be remembered1 were mostly jewellers and gem-engravers as well1 executed engraved dies1 from which their medallions were struck instead of cast4 ,the majority of smaller medallions so generally worn as hat-badges were multiplied by the newer process of stamping1 and pierced with holes for attachment to the head-dress4 ,they were afterwards gilded and occasionally enriched with enamel4 ,further information about the cheaper class of enseignes is met with in ,bernard ,palissy's ,art de la terre1 according to which the enamellers of ,limoges1 owing to competition1 had to supply figured hat-badges at trois sols la douzaine4 ,which badges were so well worked and their enamels so well melted over the copper that no picture could be prettier4 ,brooches of even cheaper materials are alluded to by ,shakespeare in ,love's ,labour's ,lost1 when ,biron and ,dumain1 ridiculing ,holofernes1 who acts as ,judas in the pageant of the ,nine ,worthies1 exclaim3-- ,biron4 ,saint ,george's half-cheek in a brooch4 ,dumain4 ,ay1 and in a brooch of lead4 ,biron4 ,ay1 and worn in the cap of a tooth-drawer4 ,the fashion for enseignes lasted until about the second quarter of the seventeenth century4 ,during this later period they were generally worn in the hats of persons of wealth and distinction1 in the form of a cluster of precious stones#aea 7,pl4 ,,xxxiv1 #c72 while the enseignes with figured compositions appear to have fallen into disuse4 ,the remarkable letter addressed by ,james ,i to ,charles and ,buckingham in ,spain1 in #afbc1 deals chiefly with jewelled hat-brooches of this kind 7p4 #cjj74 ,hat-bands richly jewelled were likewise worn2 and among the jewels sent to ,spain for the use of the ,prince was a magnificent hat-band garnished with #bj diamonds set in buttons of gold in manner of ,spanish work4 ,it was made up of the following stones1 representing every mode of cutting employed at the time3 #h four-square table diamonds1 #b six-square table diamonds1 #b eight-square table diamonds1 #b four-square table diamonds cut with facets1 #b large pointed diamonds1 #a fair heart diamond1 and #c triangle diamonds4#aeb #aea ,a jewelled enseigne known as the ,star ,jewel1 once the property of ,sir ,francis ,drake1 belongs to ,sir ,f4 ,fuller-,eliott-,drake4 ,it is enriched with translucent red enamel1 and has rubies set in the rays1 with opals and diamonds interspersed in the border1 round an engraved ruby in the centre4 ,it has four loops behind for attaching to the hat4 #aeb ,archologia1 ,,xxi1 p4 #aeb4 ,,aigrettes ,at the end of the sixteenth and the beginning of the seventeenth century an aigrette was often worn in the hat1 a jewelled brooch being employed to hold it4 ,the latter was sometimes in the form of a pipe or socket into which the stems of the feathers were inserted4 ,a fine example of this class of ornament1 discovered at ,lauingen in the coffin of ,otto ,henry1 ,count ,palatine of ,neuburg 7d4 #afjd71 is now preserved with the rest of the jewels of the same family in the ,bavarian ,national ,museum at ,munich4 ,it is in the shape of a heart open-worked and enriched with enamel1 and has in the centre the letters ,d4,m4--initials of his wife ,dorothea ,maria--set with rubies4 ,behind is a tube for the reception of an aigrette of herons' feathers 7,pl4 ,,xxx1 #c74 ,illustration3 ,,plate ,,xxx ,,jewelled ,,hat-,,ornaments1 7,,aigrettes1 ,,etc47 ,,late ,,sixteenth ,,and ,,early ,,seventeenth ,,centuries ,though never in general use1 feathers with settings mounted with precious stones and attached by jewelled brooches were worn long before this date2 and ,charles the ,bold's hat--chapeau montauban--7,lambecius1 ,bib4 ,caes4 ,vindobon41 ,,ii1 p4 #eaf7 was enriched with feathers of this description magnificently jewelled4 ,about the commencement of the seventeenth century the feather aigrette was often replaced by one of precious stones4 ,a jewel of this form is in the ,waddesdon ,bequest4 ,it is #c inches in height1 and formed of five plumes--three jewelled with rubies and diamonds and the others enamelled white--rising from an open-worked ornament in the form of military trophies1 enamelled and set with four diamonds4 ,a design for an aigrette of almost exactly the same style may be seen among the engravings for jewellery by the ,augsburg goldsmith ,daniel ,mignot4 ,the engravings of ,paul ,birckenhultz 7c4 #afag7 likewise contain designs for similar ornaments4 ,these jewelled aigrettes were much in fashion in ,england at the time of ,james ,i1 and a feather jewel or jewel of gold in fashion of a feather1 set with diamonds1 is mentioned several times in the royal accounts4 ,the finely executed drawings for jewellery in the ,victoria and ,albert ,museum by ,arnold ,lulls1 jeweller to ,james ,i1 include four coloured designs for jewelled aigrettes 7,pl4 ,,xxx1 #a74 ,they are provided with short1 stout pins1 and set with rubies1 sapphires1 emeralds1 and diamonds1 arranged in the most tasteful manner1 and are evidently intended to be further enriched with enamel4 ,other jewelled aigrettes in favour in the seventeenth century were composed solely of precious stones4 ,reference will be made to these in a later chapter dealing with the ornaments of that period4 ,,hair-,,pins ,besides the enseigne worn occasionally by ladies1 the jewelled aigrettes of more frequent use1 and the gold circlets set with precious stones1 more elaborate forms of head-decoration were employed4 ,though these were often entwined with ropes of pearls and sprinkled with precious stones1 they belong rather to costume proper4 ,there remain1 however1 hair-pins1 of which we obtain a certain amount of information from the inventories1 and from the few actual specimens that still remain4 ,hair-pins1 like other articles of ,renaissance jewellery1 are remarkable for their variety of design1 particularly as far as the heads of the pins are concerned4 ,in the ,germanic ,museum at ,nuremberg are several hair-pins with heads variously ornamented1 one of them being in the form of a small enamelled hand4 ,the shaft of the pin is often flat1 open-worked and enamelled2 occasionally the head is attached to it by a ring and hangs loosely from it4 ,a gold enamelled hair-pin is among the jewels of ,princess ,amalia ,hedwig 7d4 #afjg71 the contents of whose coffin1 opened in the eighteenth century with those of the ,counts ,palatine of ,neuburg at ,lauingen1 are now in the ,bavarian ,national ,museum4 ,this pin has a small open rosette hanging loosely from it set with five diamonds and five pendent pearls4 ,contemporary portraits show how these pins were worn1 and in a portrait of a young woman by ,peter ,moreelse in the ,rotterdam ,gallery1 just such a pin is seen thrust in under the close-fitting lace cap so that the pendent head rests upon the forehead4 ,in the inventories of the time hair-pins are termed bodkins2 and among ,queen ,elizabeth's ,new ,year's gifts are several of these richly decorated bodkins4 ,thus3 ,a bodkyn of golde1 garnished at the ende with four smale diamondes and a smale rubye1 with a crown of ophales1 and a very smale perle pendant peare fashone4 ,a bodkin of golde1 with a flower thearat1 garnished with smale rubyes and ophals on one side4 ,a bodkinne of silver1 with a little ostridg of gold1 pendant1 enamuled1 and two waspes of golde lose enamuled4 ,in the inventory of jewels of ,anne1 ,duchess of ,somerset1 second wife of the ,protector ,somerset 7#aehg71 is a bodkynne of golde1 with clawes in the ende1 inamyled blacke4 ,,earrings ,the fashion of wearing the hair over the ears1 which1 as we have seen1 completely banished earrings from among the ornaments of the ,middle ,ages1 greatly checked their use during the sixteenth century4 ,in ,italian pictures one finds here and there some traces of them1 but compared with the profusion of other ornaments1 their almost complete absence is somewhat surprising4 ,the most remarkable instance of their use is the beautiful portrait of a lady by ,sodoma1 or by ,parmigianino1 in the ,stdel ,institute at ,frankfort1 where are seen elaborate earrings of open-work scroll pattern with three pendent pearls4 ,they measure upwards of two and a half inches in length4 ,the so-called ,fornarina in the ,tribuna of the ,uffizi wears a small gold pendant in the form of an amphora attached to a simple ring2 while in the portrait by ,angelo ,bronzino in the ,pitti ,gallery1 supposed to be that of ,bianca ,cappello 7#aedh-hg71 wife of ,francesco de' ,medici1 the lobe of the ear is pierced twice1 and the two rings placed in it support a pendant formed of two pearls mounted in gold1 with three hanging pearls below4 ,illustration3 ,earring1 from ,portrait of a ,lady by ,sodoma 7,frankfort ,gallery74 ,in the second half of the sixteenth century1 with the altered mode of wearing the hair1 earrings1 though still rare in pictures1 appear to have come more into fashion1 and the prints of ,woeiriot1 ,collaert1 ,birckenhultz1 and other engravers of the day1 as well as a number of examples in the various museums1 show the types then in use4 ,english portraits of the first half of the sixteenth century do not exhibit these ornaments1 but when they appear later on1 as in the numerous portraits of ,queen ,elizabeth1 they are usually in the form of pear-shaped pearl drops4 ,mary ,queen of ,scots appears to have generally worn earrings1 judging by the inventory of her jewels in #aefa1aec which contains a very large number1 including the following3 ,deux pendans doreille faictz en facon de croix de ,hierusalem esmaillez de blanc--,deux petis pendans doreille garniz de deux petittes perles de facon de doubles ames--,deux petis pendans doreille dor emplis de senteure4 #aec ,inuentaires de la ,royne ,descosse ,douairiere de ,france 7published by the ,bannatyne ,club71 p4 #hg4 ,the use of earrings1 curiously enough1 was not confined to women1 and we find men1 even the sedatest1 wearing them4 ,women1 says ,philip ,stubbes in his ,anatomie of ,abuses 7#aehc71 are so far bewitched as they are not ashamed to make holes in their ears1 whereat they hang rings1 and other jewels of gold and precious stones2 but this1 he adds1 is not so much frequented among women as among men4 ,this custom appears to have originated in ,spain1 where the use of earrings was pretty general among both sexes1 and as the result of ,spanish influence was introduced into ,france at the luxurious ,court of ,henry ,,iii4 ,the fashion subsequently came to ,england1 where it was generally affected by the courtiers of ,elizabeth and ,james ,i1 as is clear from contemporary male portraits1 where an earring is worn1 as a rule1 in one ear only4 ,robert ,carr1 ,earl of ,somerset1 is seen in the ,national ,portrait ,gallery wearing a ruby earring2 while the ,duke of ,buckingham was particularly noticeable for the splendour of his diamond earrings4 ,commenting on the degeneracy of his contemporaries1 ,holinshed in his ,chronicle 7#aegg7 observes3 ,some lusty courtiers also and gentlemen of courage do wear either rings of gold1 stones1 or pearl in their ears1 whereby they imagine the workmanship of ,god to be not a little amended4 ,in a splendour-loving time one might expect to find such ornaments among courtiers1 but that earrings were worn also by men of action and men of parts is evident from the portraits of ,shakespeare1 ,sir ,walter ,raleigh1 and the ,earl of ,southampton4 ,the use of earrings among men continued to the time of ,charles ,i1 and in ,lenton's ,young ,gallant's ,whirligigg 7#afbi7 a fop is described with-- ,haire's curl'd1 eares pearl'd1 with ,bristows#aed brave and bright1 ,bought for true ,diamonds in his false sight4 #aed ,crystal quartz found in the ,clifton limestone1 and known as ,bristol diamonds4 ,king ,charles himself followed the general fashion and hung a large pearl in his left ear4 ,this he wore even on the scaffold1 where he took it from his ear and gave it to a faithful follower4 ,it is still preserved1 and is now owned by the ,duke of ,portland4 ,it is pear-shaped1 about five-eighths of an inch long1 and mounted with a gold top1 and a hook to pass through the ear4 ,earrings1 together with similar luxuries1 vanished at the time of the ,protectorate2 men are not seen wearing them after the ,restoration1 though they are still in use among certain classes on account of their supposed value as preservatives against affections of the eyes4 ,,chapter ,,xxvi ,,renaissance ,,necklaces1 ,,neck-,,chains1 ,,and ,,collars ,necklaces or neck-chains worn by both sexes are a prominent feature in ,renaissance jewellery4 ,just as in primitive times the neck was encircled by a torque1 so at this later period it was the custom to carry heavy chains of pure gold1 which were worn in different ways1 either round the throat1 or else upon the shoulders and low down over the breast4 ,sometimes one long chain was wound several times round the neck so that the uppermost row closely encircled the throat4 ,not satisfied with one1 women in particular occasionally wore as many as half a dozen chains of different design covering the body from neck to waist4 ,from the fifteenth until the middle of the seventeenth century neck-chains were a frequent adjunct to male costume1 and allusion is made to them in ,barclay's ,ship of ,fools 7printed by ,pynson in #aejh73-- ,some theyr neckes charged with colers1 and chaynes ,as golden withtthes3 theyr fyngers ful of rynges3 ,theyr neckes naked3 almoste vnto the raynes2 ,theyr sleues blasinge lyke to a ,cranys wynges4 ,men's necklaces1 apart from the chains and collars of distinction belonging to particular orders or guilds1 seem to have been mostly of pure gold1 and in the reign of ,henry ,,viii the fashion of wearing them was carried to a most unreasonable excess4 ,hall speaks of the nombre of chaynes of golde and bauderickes both massy and grate worn at the ,field of the ,cloth of ,gold1 and of the marveilous treasor of golde thus displayed4 ,references to the extraordinary dimensions of these chains show that they must have been extremely inconvenient to wear4 ,henry ,,viii's ,book of ,payments records the payment in #aeaa of #aii to the goldsmith ,roy for a chain of gold weighing no less than #ih ounces4 ,this is actually surpassed in ,elizabeth's time1 when ,her ,majesty received as a ,new ,year's gift in #aehh one cheine of golde1 weing one hundred threescore and one ounce4 ,queen ,mary had a heavy chain of gold made by her jeweller1 ,robert ,raynes1 out of the angels received as ,new ,year's gifts2#aee and the curious custom of converting bullion into chains is further exemplified in the case of ,sir ,thomas ,gresham1 the bulk of whose wealth on his death in #aegi was found to consist of gold chains4 #aee ,nichols 7,j471 ,illustrations of the manners and expenses of ancient times in ,england1 ,pt4 ,,iii1 p4 #bf4 ,pictures without number exhibit these ponderous neck-ornaments1 while contemporary wills teem with references to them4 ,that they were very much worn in ,shakespeare's time would be apparent had we no other authority than his frequent allusion to them1 as for instance in the ,comedy of ,errors1 where there is a great ado about a chain4 ,indeed1 no gentleman was considered properly equipped unless he had his chain of gold upon his shoulders4 ,with regard to their form1 it seems that chains which appear as though made of plaited wire1 and were known in medival times1 remained still in use4 ,but the majority of chains are composed of rounded links of various designs4 ,they are usually of great length1 so as to encircle the neck and shoulders several times4 ,extraordinarily common though such chains must have been1 but few examples have survived1 and the reason for this must be that1 composed of pure metal1 they went direct to the melting-pot as soon as they became unfashionable4 ,yet owing to peculiar circumstances some still exist4 ,in the ,germanic ,museum at ,nuremberg are preserved several examples dating from the first quarter of the seventeenth century4 ,these formerly belonged to the ,holtzendorff family1 and were buried during the ,thirty ,years' ,war1 at ,pinnow in ,north ,germany1 where they were unearthed a few years ago4#aef ,two gold chains dating from about the middle of the same century are preserved in the ,ashmolean ,museum4 ,they were presented to ,elias ,ashmole3 the one #bi inches long1 formed of thirty-two open-work quatrefoil links1 by ,christian ,v1 ,king of ,denmark1 and the other1 of circular links1 by the ,elector of ,brandenburg in #afhj1 on the publication of the ,history of the ,order of the ,garter4 ,the custom of presenting chains of gold was as common then1 it is to be observed1 as in the most ancient times4 ,john ,williams1 jeweller of ,james ,i1 was paid sums amounting to upwards of #ac1jjj for chains of gold given by the ,king to divers ambassadors4 #aef ,nuremberg3 ,germanisches ,museum4 ,mitteilungen1 #ahid1 p4 #gc4 ,these heavy linked or twisted chains were worn principally by men1 but not exclusively1 as is clear from numerous early portraits--those1 for instance1 by the ,german painters ,bernard ,strigel and ,lucas ,cranach1 whose ladies 7as in the portrait by ,cranach in the ,national ,gallery7 almost invariably have massive gold chains4 ,though generally composed of metal rings1 men's chains1 especially those worn by men of high rank1 were occasionally composed of cylinders or plaques linked together and enriched with enamel and precious stones4 ,such jewelled collars were1 however1 chiefly reserved for women4 ,henry ,,viii's numerous portraits generally show him adorned with magnificent collars set with pearls and precious stones2 and it is recorded that on the occasion of his attending ,st4 ,paul's at the proclamation of peace in #aeae he wore a collar thickly studded with the finest carbuncles1 as large as walnuts4 ,amongst the numerous collars mentioned in his inventory of #aebf is a carkayne of hearts1 with a hand at each end1 holding a device of a goodly balasse garnished with five pearls and three diamonds1 and a hanging pearl4#aeg #aeg ,letters and ,papers1 ,,iv1 ,no4 #aijg4 ,the jewelled neck-chain worn by women1 and composed of strings of precious stones1 ropes of pearls1 or of jewelled and enamelled sections1 is often represented in pictures as being gathered in a festoon at the breast and hanging in loops at each side as low as the waist4 ,a chain of gold of this character--one amongst many similar presented by the ,earl of ,leicester to ,queen ,elizabeth--was made like a pair of beads1 containing eight long pieces1 garnished with small diamonds1 and four score and one smaller pieces1 fully garnished with like diamonds4 ,besides the chains or collars worn round the neck and upon the shoulders1 there were the actual necklets worn round the throat1 and often only distinguishable from the collar proper by their length 7,pl4 ,,xxxi1 #a74 ,these necklaces1 or carcanets1 which almost invariably had as a central ornament an elaborate pendent jewel1 are figured in such profusion in sixteenth-century portraits1 particularly by the painters of the ,german school1 that it is needless to mention particular examples4 ,in ,henry ,,viii's time they were worn in great abundance4 ,the ,king loaded his wives with sumptuous jewels1 and encircled their throats--on which the axe was eventually to fall--with jewelled and enamelled necklaces4 ,the carkyonetts of ,queen ,elizabeth1 of which she received an immense number1 were equally magnificent4 ,a ,new ,year's gift in #aehg was a carkyonett of golde1 like halfe moones1 garnished with sparcks of rubyes and diamonds pendant1 and one rowe of seede perles4#aeh #aeh ,nichols1 ,progresses of ,queen ,elizabeth1 ,,ii1 p4 #dih4 ,the forms of the necklaces and jewelled neck-chains differ so much that the reader must be referred to the various collections of this country and the ,continent4 ,occasionally necklaces of chain formation or of plaited wire are set with stones1 but of more frequent occurrence are those where every single link shows a special development of a bijou kind4 ,in the ,renaissance necklace every link is for the most part treated as a symmetrical composition1 either cartouche-shaped or of pendent form4 ,hence it happens that in collections1 as ,herr ,luthmer suggests1#aei single links of this kind may occasionally be found incorrectly classified under the title of pendants4 ,those in existence display a variety of very remarkable formations1 for seldom are the links exactly alike3 generally a large and a small motive are arranged alternately--a larger and more richly decorated central link being inserted into the middle of the chain for the purpose of supporting or introducing the rich pendent jewel4 ,to this type belongs one of the most noteworthy necklaces in existence1 which now forms part of the ,adolphe ,rothschild ,bequest in the ,louvre4 ,it is of gold set with pearls and precious stones1 and is composed of twenty-two open-work links and a pendant1 all enamelled in relief1 the eleven larger links and the pendant containing each in separate compositions a story from the history of the ,passion4 ,the groups of figures are of wonderful execution1 and in spite of their minute proportions are singularly expressive1 being worked in a delicate and at the same time most resolute manner4 ,when exhibited by the ,countess of ,mount ,charles at the ,jewellery ,exhibition at ,south ,kensington in #ahgb1 the jewel was thus referred to3 ,this superb specimen of ,italian ,cinquecento work has been attributed to ,benvenuto ,cellini1 and is at least as good as anything extant known to be by his hand4 ,this cautious observation need not disconcert one2 for the jewel is too closely allied in style and workmanship to the jewellery of ,south ,germany of the second half of the sixteenth century to permit of such attribution4 ,nevertheless it must certainly be reckoned among the most elaborate examples of ,cinquecento jewellery that have come down to us4 #aei ,luthmer1 ,gold und ,silber1 p4 #ajj4 ,the great display of necklaces and long neck-chains ceased about the middle of the seventeenth century4 ,in common with other similar objects they entirely disappeared in ,england during the ,protectorate2 nor were they ever worn again in any greater profusion than they are at the present day4 ,illustration3 ,design for a pendant by ,jacques ,androuet ,ducerceau4 ,,chapter ,,xxvii ,,renaissance ,,neck-,,pendants ,the necklaces1 collars1 or neck-chains which have just been spoken of as noticeable features in ,renaissance decoration served the purpose of suspending a species of ornament even more peculiarly characteristic of the period--the pendant4 ,this was hung either to the necklet1 or to the neck-chain that fell upon the breast4 ,among all classes of ,renaissance jewellery1 and indeed of the jewellery of all time1 this neck-pendant certainly deserves the first place1 not only on account of the predominating part it played among the other ornaments of the period1 but also on account of the great number of examples we possess of it1 and the variety of forms which it exhibits4 ,throughout the ,middle ,ages almost every pendant worn at the neck 7pent--col7 bore a religious signification1 but towards the close of the fifteenth or the beginning of the sixteenth century the pendant seems to have lost much of its religious character1 and became mainly an object of decoration4 ,that even in the sixteenth century it did not entirely serve a decorative purpose is shown by a number of portraits dating from the first half of the century1 where the termination of the neck-chain is hidden beneath a square-cut bodice4 ,what the object was which was thus concealed is uncertain4 ,it was very possibly a reliquary1 or perhaps a cross2 for crosses form a very large proportion of ,renaissance pendants existing at the present day4 ,apart from crosses1 the majority of ,renaissance pendants represent a figured subject of some description1 while compositions entirely of precious stones appear to be less common--at least in the second half of the sixteenth century1 to which the greater number of these jewels belong4 ,holbein's designs for pendants1 on the other hand1 were composed1 it may be remembered1 mainly of precious stones4 ,from this we may infer that jewels having as a central ornament a single precious stone1 or a gem surrounded by stones1 and a regular contour1 generally antedate those with figured compositions within uneven or broken borders4 ,this of course applies to jewels which exhibit distinctly a back and front1 and not to those formed of a single figure in the round1 which are often difficult to date1 though extant examples belong mostly to the latter half of the century4 ,it is to be noticed that the majority of pendants are suspended by two1 or sometimes three1 richly jewelled and enamelled chains1 connected above by a cartouche similarly enriched4 ,while sixteenth-century pendants display on their front the art of the goldsmith-enameller in its full perfection1 the reverse likewise exhibits artistic work in engraving as well as enamelling4 ,it is likewise worthy of remark that ,renaissance pendants are almost invariably enriched with pendent pearls4 ,of the immense number of subjects represented on these jewels we have already spoken in the introduction to the jewellery of the period4 ,for pendants formed of single figures executed in the round1 the whole of ancient or medival imagery--with its figures of ,pan or of wood-nymphs1 centaurs1 tritons1 or mermen2 nereids1 mermaids or sirens2 hippocamps1 unicorns1 dragons1 and other creatures1 real as well as fabulous1 of the earth1 air1 or sea--was revived1 or else transformed to suit the fancy of the ,renaissance jeweller4 ,the formation of many of these was frequently suggested by a monster pearl1 unsuitable for ordinary jewellery on account of its baroque or misshapen form1 introduced in a wonderfully skilful manner into the body or breast of a figure1 which was completed in enamelled goldwork4 ,in such adaptations the ,german jewellers1 who seem to have revelled in technical difficulties1 displayed extraordinary ingenuity4 ,among groups of several figures employed as subjects for representation1 generally within a frame of ornamental design1 scenes from ancient mythology predominate1 the ,judgment of ,paris being a very favourite theme4 ,but ,christian allegories are not excluded3 besides the frequent representation of ,charity with her two children or her symbol the pelican1 we find ,faith1 ,hope1 and ,fortitude2 ,st4 ,george and the ,dragon or ,st4 ,michael are also frequently met with2 while amongst scriptural subjects of the ,old and ,new ,testaments or the ,apocrypha1 the ,annunciation is perhaps the most popular4 ,illustration3 ,,plate ,,xxxi ,,german ,,and ,,french ,,renaissance ,,pendants ,the majority of the pendants of this class show a rich and uneven outline broken by tendrils often enriched with small dots of enamel1 by projecting wings of birds or amorini1 by strapwork and other ornament4 ,occasionally a ,charity or an ,annunciation is placed in an architectural niche1 but the architectural device is not infrequently limited to a horizontal beam formed of a row of table-cut stones and two obelisks of the same construction forming the ends to the right and left 7,pl4 ,,xxxiii1 #a74 ,it is only in the smaller examples of pendants that we find the design lying flat on a plane4 ,generally the jewel is fashioned in relief by means of two1 three1 or even four superimposed planes formed of open-work plates arranged in such a manner that the lower parts are seen through openings in the upper4 ,these are fastened together by rivets sometimes three-eighths of an inch long1 and the upper field of the jewel1 on which are groups of enamelled figures1 is set with stones in very large pyramidal collets1 so that the whole composition is increased to a considerable height4 ,collections contain frequent examples of this class of pendant 7,pl4 ,,xxxii74 ,one of the most elaborate1 of ,augsburg work dating from the end of the sixteenth century1 is in the ,adolphe ,rothschild ,bequest in the ,louvre4 ,in the centre is an enamelled group representing the ,annunciation1 within an architectural framework set with diamonds1 rubies1 and pendent pearls4 ,the jewel1 which is suspended by triple chains from an enamelled cartouche1 measures in its total length #e inches4 ,it was formerly in the ,debruge-,dumnil ,collection4 ,similarly large open-work pendants1 enriched with enamels1 precious stones1 and pendent pearls1 are shown attached by a ribbon to the left breast in three portraits dated #afji1 representing the ,princesses ,elizabeth1 ,hedwig1 and ,dorothea of ,brunswick1 ,nos4 #deh1 #dfj1 and #dfa in the ,hampton ,court ,gallery4 ,of pendants containing groups of small enamelled figures there seems to have been an enormous production in ,southern ,germany towards the close of the sixteenth century1 particularly in the workshops of ,munich and ,augsburg4 ,these pieces1 which are very charming1 are greatly sought after by collectors1 and are among the most highly prized of all objects of virtu at the present day4 ,their workmanship is extraordinarily elaborate2 though not a few of them1 it must be confessed1 are overloaded with detail1 and somewhat unsatisfactory in composition4 ,with the revival of the glyptic art1 cameos begin to play a prominent part in jewellery4 ,a considerable number of cameos in the great gem collections1 set in exquisite jewelled and enamelled mounts1 are provided with loops for use as pendants4#afj ,numerous gems1 splendidly mounted as pendants1 are to be found in the ,bibliothque ,nationale at ,paris 7,pl4 ,,xxxi1 #f72 and in the ,british ,museum are a few fine examples from the ,carlisle ,collection4 ,of extant pendants having as a centre-piece a figured subject1 either cut in cameo or of repouss work enamelled1 the majority show uneven contours1 generally of broken strapwork1 after the manner of the ,german ornamentists1 though not a few of those of oval shape have frames with smooth outlines4 ,many1 on the other hand1 follow the cartouche design in form of shields with upturned edges4 ,these figure chiefly in the designs of the ,french matres ornemanistes1 ,androuet ,ducerceau and ,woeiriot4 ,the doubling of the frame characteristic of the ,french cartouches1 and the broken contours of the ,german pendants1 which allow of a variety of intertwinings and traversings1 offer a favourite field for the display of the jeweller's art in the application of polychrome enamels4 #afj ,davenport1 ,cameos1 #aijj4 ,illustration3 ,,plate ,,xxxii ,,enamelled ,,gold ,,pendants ,,set ,,with ,,pearls ,,and ,,precious ,,stones ,,german1 ,,about #afjj 7,,the ,,property ,,of ,,lady ,,rothschild7 ,the nef1 or model of a ship1 was of frequent use as an article of table plate4 ,pendent jewels likewise take the form of a small ship completely equipped1#afa suspended by chains1 and hung with pearls4 ,in this style of jewel1 which is perhaps of ,venetian origin1 the crescent-shaped caravel or carvel1 open and without a deck1 but built up high at the prow and stern1 with forecastle and cabin1 and large ship's lantern1 is often adhered to2 but the design is not infrequently somewhat conventional4 ,many of the best-known collections contain examples of these nef or navette pendants4 ,their probable ,adriatic origin is evinced by the several specimens exhibited1 together with jewels from the ,greek ,islands1 in the ,franks ,bequest in the ,british ,museum4 ,the ,victoria and ,albert ,museum contains a choice example from the ,spitzer ,collection4 ,it carries three masts1 five sails1 a lantern1 and a high poop and stern4 ,the rigging is of twisted gold wire1 and the hull covered with an imbricated pattern in translucent blue1 red1 and green1 and opaque white enamels4 ,a variety to this form is presented by a remarkable piece in the museum at ,vienna4 ,it represents a barque manned by two rowers2 while at the prow and stern are mandoline players who entertain two passengers seated beneath the framework awning such as was in use on the gondolas of the time4 ,the whole is enriched with polychrome enamels4 ,the figures are in full relief1 and the boat1 hung by three chains1 is further set with diamonds and rubies4 ,we may estimate the extraordinary value attached to such objects at the present day by the fact that a jewel very similar to this last was sold at ,messrs4 ,christie's ,rooms in the autumn of #aijc for no less a sum than #f1ejj4 ,the hull of this jewel is identical with that at ,vienna1 but figures of ,antony and ,cleopatra1 finely executed1 though somewhat out of proportion to the rest1 here take the place of the couple beneath the awning2 while instead of being hung by chains 7as is suitable to this form of pendant7 the jewel is backed by a composition of scroll- and strap-work1 characteristic of ,german and ,flemish work of the second half of the sixteenth century4 ,a comparison with contemporary designs clearly associates these two objects with the well-known set of engravings for pendent jewels published by ,hans ,collaert at ,antwerp in #aeha 7,pl4 ,,xxxiii74 ,another version of this jewel is in the ,bavarian ,national ,museum1 ,munich4 ,the figures are the same as on the ,vienna jewel1 but the vessel is in the form of a fish4 #afa ,cf4 ,une petite nef d'or1 estoffe de tout son appareil 7,invent4 of ,mary1 dau4 of ,charles the ,bold of ,burgundy1 and wife of ,maximilian ,i4 ,lille3 ,archives du ,nord1 ,,viii1 p4 #aga47 ,just as the great gem cabinets preserve pendants whose jewel-work is confined to richly decorated frames1 so there exist a considerable number of mounted medals1 which must be looked for in collections of coins and medals1 among which they are classed on account of the presumed preponderating importance of their centre-pieces4 ,these pendent gold medals 7,gnadenmedaillen71 with beautiful jewelled and enamelled mounts1 occasionally hung with pearls and suspended by chains from ornate cartouches1 were much in favour in ,germany in the sixteenth and seventeenth centuries1 and were given by noble personages1 whose portraits were figured on them1 as presents and as marks of special distinction4 ,many examples1 as is to be expected1 are to be found in the coin cabinets of ,munich and ,berlin2 while others are preserved in the more important public and private collections of jewellery4 ,these medallions1 as was natural1 were frequently made in duplicate1 and the ,waddesdon ,bequest1 and the ,salting and ,pierpont ,morgan collections each contain a jewel1 dated #afab1 of ,maximilian1 ,archduke of ,austria 7#aeeh-afbj71 in an open-worked border of enamelled scrolls interrupted by four shields of arms1 and suspended by three chains1 united above by an oval escutcheon with the arms of ,austria on one side and the cross of the ,teutonic order on the other4 ,the ,victoria and ,albert ,museum has an enamel-mounted medal of ,albert ,,vi1 ,duke of ,bavaria 7#aehd-afff71 a facsimile of which1 hung with a single instead of trilobed pearl1 is in the ,munich cabinet4 ,many of the motives connected with pendants denote associations which appear inexplicable1 until it is understood that no small number of them1 like the pendent medals1 were gifts from princes1 the so-called faveurs granted in recognition of services rendered4 ,among the princely gifts we must class that large group of pendants which consist only of one letter or a monogram in an ornamental frame or in open-work1 sometimes composed entirely of precious stones4 ,of these the ,victoria and ,albert ,museum possesses a fine early example in form of a square tablet of gold set with pearls1 bearing on one side two enamelled shields of arms1 and on the other the initials ,,da1 in a frame formed of bracket-shaped terminal figures and human masks4 ,it is of ,german work of about the year #aecj 7,pl4 ,,xxxi1 #c74 ,distinct from these princely monograms are those employed for religious purposes1 particularly the monograms of ,christ and the ,virgin4 ,illustration3 ,,plate ,,xxxiii ,,pendent ,,jewels ,,by ,,hans ,,collaert1 ,,etc4 ,probably the finest example of the numerous pendants in the form of a single figure1 particularly of those whose formation is suggested by a large baroque pearl1 is the triton or merman jewel in the possession of ,lord ,clanricarde4 ,the figure1 whose body is made of a single pearl1 with head and arms of white enamel and tail of brilliant yellow1 green1 and blue1 wields a jaw-bone in the right hand1 and an enamelled satyr's mask as a shield in the left4 ,this magnificent ,italian jewel was brought from ,india by ,lord ,canning4 ,pendants of somewhat similar character1 often representing a mermaid holding a comb in one hand and a mirror in the other1 are to be found in the ,vienna1 ,windsor1 ,waddesdon1 and other collections4 ,they are almost invariably of ,german workmanship4 ,amongst many other jewels of similar formation the most important is a pendant in the form of a dragon in the ,galerie d',apollon of the ,louvre4 ,the modelling and general form of this jewel is very fine1 and its enamel-work1 chiefly of white and light blue1 in the design of circles and chevrons1 especially on the wings1 is most admirable4 ,it is ,spanish work of the highest quality1 and was bequeathed by ,baron ,davillier1 who procured it in ,spain 7,frontispiece74 ,of other animal forms are those of a lion1 a dromedary1 a dog 7termed a talbot7 7,pl4 ,,xxxiv1 #b71 and a fish2 birds include1 besides a dove 7the symbol of the ,holy ,ghost71 eagles1 cocks1 parrots1 and pelicans4 ,fine examples of the two latter are at ,south ,kensington from the ,treasury at ,saragossa3 one is mounted with a large hyacinth in front#afb 7,pl4 ,,xxxiv1 #a71 the other is represented plucking at a blood-red carbuncle set in her breast4 #afb ,cf4 ,a juell of golde1 wherein is a parret hanging 7,new ,year's gifts to ,queen ,elizabeth1 #aegh-i74 ,among miscellaneous pendants worn in ,renaissance times attached to the neck-chain mention must be made of whistles4 ,these 7like the bo'sons pipe of to-day7 were formed1 as has been shown 7p4 #aij71 of a pipe or tube1 sometimes in the form of a pistol1 through which the air is carried into a hole in a ball1 thus producing the sound4 ,whistles of this kind were designed by ,drer and ,brosamer1 and they are shown suspended at the neck in the engraved portraits of ,william1 ,duke of ,juliers1 and of ,john of ,leyden by ,aldegrever1 in the portrait of a man by ,lucis ,cranach the elder 7#adgb-aeec7 in the ,louvre1 and in portraits of the ,margrave ,philibert of ,baden 7#aedi7 by ,hans ,schpfer the elder at ,munich and ,nuremberg4 ,silver whistles of somewhat similar construction1 ornamented with a mermaid or siren1 or with a lion or sea-horse1 were frequently worn also as charms in the sixteenth and seventeenth centuries4 ,they are usually hung with little bells1 possibly for the purpose of averting the evil eye--the mal'occhio or jettatura it is termed in ,italy4 ,examples are preserved in the ,cluny1 ,nuremberg1 and ,south ,kensington museums4 ,in ,aldegrever's design for a whistle1 of the year #aeci1 the lower part is formed of a case containing small articles for toilet purposes4 ,such articles1 in the shape of toothpicks and ear-picks1 often richly gemmed and enamelled1 were very commonly worn hanging from a fine gold chain or thread about the neck4 ,elaborate toothpicks are occasionally seen in pictures1 as in the ,venetian portrait of a young man in the ,national ,gallery of ,ireland4 ,their owners are sometimes shown affectionately toying with them4 ,judging by the frequency with which they are met with in inventories1 they must have been extremely popular4 ,a few quotations may be given4 ,thus3 ,henry ,,viii 7#aecj74 ,two gold toothpicks with ,h and ,e--,a gold toothpick and an ear-pick1 with a chain2 and two other toothpicks1 one with a ruby and a pearl1 and the other with a ruby and a diamond--,two gold whistles4#afc ,queen ,elizabeth amongst her ,new ,year's gifts received the following3--#aegc-d3 ,six smale tothe-picks of golde4 ,geven by ,mrs4 ,snowe1 one of them lost by her ,majestie4 #aegd-e3 ,an eare-picke of golde enamuled1 garnished with sparcks of rubyes1 blue saphirs1 and seede perle4 #aegf-g3 ,a tothe and eare-picke of golde1 being a dolphin enamuled1 with a perle pendaunte1 #af small rubyes being but sparcks1 and #e sparcks of dyamonds4#afd ,most of the important collections of ,cinquecento jewellery contain specimens of these magnificent toothpicks4 ,the form is often that of a mermaid or merman4 ,the body is constructed of a baroque pearl2 the tail terminates in a point4 ,designs for a couple of jewels of this kind were published by ,erasmus ,hornick of ,nuremberg in #aefb4 ,in the ,cluny ,museum 7,wasset ,bequest7 is a silver-gilt pendant1 an ear- and toothpick combined1 one end being an ear-1 the other a toothpick4 ,it is ornamented in the centre with clasped hands and hung with a pearl1 and is ,german work of the sixteenth century4 #afc ,henry ,,viii1 ,letters and ,papers1 ,,iv1 ,no4 #fghi4 #afd ,nichols1 ,progresses of ,q4 ,elizabeth1 ,i1 pp4 #chj1 #dab2 ,,ii1 p4 #eb4 ,in addition to the museums already mentioned 7namely1 the ,victoria and ,albert ,museum and the ,vienna ,museum1 the ,rothschild and ,davillier ,bequests in the ,louvre1 and the coin or gem collections of ,london1 ,paris1 ,berlin1 and ,munich71 numbers of pendants1 in immense variety of form1 are to be found in all the well-known collections4 ,the ,waddesdon ,bequest in the ,british ,museum contains1 perhaps1 the largest series2 while the ,wallace ,collection1 the ,prussian ,crown ,treasury at ,berlin1 the ,bavarian ,crown ,treasury at ,munich1 and the ,green ,vaults at ,dresden1 all possess a great number of examples4 99 99 99 ,several ,english pendants of the ,renaissance claim attention for their rare beauty and historical importance4 ,of the pendants of the time of ,henry ,,viii we obtain a tolerably accurate idea from contemporary portraits1 and from ,holbein's inimitable series of drawings4 ,the earliest existing example1 which1 so far as can be ascertained1 dates from the ,holbein period1 is known as the ,penruddock ,jewel4 ,it is believed to have been presented in #aedd by ,queen ,catherine ,parr to ,sir ,george ,penruddock of ,compton ,chamberlayne1 and ,anne his wife4 ,it is triangular in shape1 and set with a large cabochon sapphire surrounded by rubies and diamonds in open-work enamel setting4 ,this remarkable jewel is shown on a portrait of ,sir ,george ,penruddock by ,lucas de ,heere in possession of its owner1 ,mr4 ,charles ,penruddock1 at ,compton ,chamberlayne1 ,wiltshire4 ,illustration3 ,the ,penruddock ,jewel4 ,the majority of ,english sixteenth-century pendants extant date from the ,elizabethan period1 and are almost all more or less associated with the ,virgin ,queen4 ,the ingenuity displayed in devising curious forms for these ornaments can best be judged from the lists of the ,queen's own jewels4 ,a few of these may be mentioned3 ,a juell of golde1 being a catt1 and myce playing with her4--,one greene frog1 the back of emeraldes1 smale and greate1 and a pendaunte emeralde1 and a smale cheyne of golde to hang by4--,a juell of golde1 being an anker4 ,another being a dolfyn1 another two snakes wounde together1 others take the form of a horse-shoe1 a swan1 and a rainbow4 ,the nef jewel1 of which we have spoken1 was also a favourite one4 ,in the ,queen's inventory are a number of entries of this class of pendant1 and among them3 ,a jeuel of golde1 being a shippe1 sett with a table dyamonde1 of fyve sparcks of dyamondes1 and a smale perle pendaunte4--,a juell1 being a ship of mother-of-perle1 garneshed with small rubys1 and #c small diamonds4 ,one of the chief treasures among the ,hunsdon heirlooms at ,berkeley ,castle is a pendant of this form1 a present to ,elizabeth from ,sir ,francis ,drake1 and given by her to ,lord ,hunsdon4 ,it is supposed to represent the famous ,golden ,hind1 the ship in which ,drake sailed round the world4 ,the hull1 which is of ebony1 is set with a table diamond2 the masts and rigging of gold are enriched with blue1 white1 green1 and black opaque enamels1 and set with seed pearls4 ,in the ship is a seated figure of ,victory blowing a horn1 and behind is a cherub crowning her with a wreath4 ,the small boat suspended below is enamelled blue 7,pl4 ,,xxxv1 #b74 ,a jewel also associated with ,sir ,francis ,drake1 and perhaps the most important of all ,elizabethan pendants1 is preserved1 with other relics of the great navigator1 at ,nutwell ,court1 ,devon4 ,it is set in front with a fine ,renaissance cameo in ,oriental sardonyx1 representing two heads--a negro in the upper and dark layer1 and a classical head in the light layer of the stone4 ,behind is a miniature by ,hilliard of ,elizabeth1 dated #aege4 ,the border1 of most admirable work1 is richly enamelled in red1 yellow1 blue1 and green1 interspersed with diamonds and rubies4 ,beneath is a cluster pendant of pearls1 to which is attached a very fine drop pearl 7,pl4 ,,xxxiv1 #d74 ,this magnificent jewel was presented to ,sir ,francis ,drake by ,queen ,elizabeth in #aegi1 and in his portrait by ,zucchero 7now belonging1 together with the jewel1 to his descendant ,sir ,f4 ,fuller-,eliott-,drake7 he is represented wearing it suspended from the neck by a red and gold cord1 over a silk scarf1 also a present from the ,queen4 ,the cluster of pearls1 as on the ,drake ,jewel1 was a favourite form of ornament for ,renaissance pendants4 ,in the ,national ,portrait ,gallery is a portrait of ,henry ,grey1 ,duke of ,suffolk 7father of ,lady ,jane ,grey71 wearing a ,george of the ,order of the ,garter1 below which is hung a pearl cluster and a large pear-shaped pearl attached4 ,a similar pendant1 like a bunch of grapes1 serves to enrich another fine jewel of this time--the ,barbor ,jewel in the ,victoria and ,albert ,museum4 ,in the centre of this jewel is a beautifully cut cameo portrait in sardonyx of ,queen ,elizabeth in a frame of translucent blue and green on opaque white enamel1 set alternately with rubies and table diamonds4 ,according to a family tradition1 ,mr4 ,william ,barbor1 who had been condemned to be burned at the stake in ,smithfield for his religion1 had this jewel made to commemorate his deliverance through the death of ,queen ,mary and the accession of ,elizabeth 7,pl4 ,,xxxv1 #d74 ,the ,museum at ,south ,kensington exhibits another pendant of the same period1 the property of ,miss ,wild4 ,it is of gold1 of open scrollwork1 enamelled1 and set with rubies and diamonds1 and with pearl drops4 ,it has in the centre a turquoise cameo of ,queen ,elizabeth4 ,the sheen of the pearls with the rich red of the foiled rubies and the dark lustre of the diamonds in their old irregular setting1 combine with the lightness and delicacy of the goldwork touched with coloured enamel to render this little pendant one of the most attractive objects of its kind in existence4 ,in addition to its artistic beauty1 the jewel is of interest from the tradition that it was given as a christening present by ,queen ,elizabeth to its first owner1 by whose descendants it has been preserved to the present day4 ,illustration3 ,,plate ,,xxxiv ,,renaissance ,,pendants1 ,,etc41 ,,of ,,gold1 ,,enamelled ,,and ,,jewelled ,,spanish 7#a-b7 ,,and ,,english 7#c-f7 ,amongst other examples in that important group of jewels which were apparently intended either as special rewards to naval officers or simply as complimentary presents from the ,queen to ,court favourites1 the finest are the ,phoenix ,jewel in the ,british ,museum1 a jewel belonging to ,mr4 ,pierpont ,morgan1 and one in the ,poldi-,pezzoli ,museum1 ,milan4 ,the ,phoenix ,jewel1 bequeathed to the ,british ,museum by ,sir ,hans ,sloane in #agec1 has as a central ornament a gold bust of ,queen ,elizabeth cut from a gold medal known as the ,phoenix ,badge of the year #aegd1 bearing on the reverse the device of a phoenix amid flames4 ,it is enclosed in an enamelled wreath set on both sides with red1 white1 and variegated roses symbolising the union of the ,houses of ,york and ,lancaster4 ,the roses1 of translucent red and opaque white enamel1 and the leaves1 of translucent green on engraved ground1 are attached to stalks covered with lighter green opaque enamel 7,pl4 ,,xxxv1 #a74 ,the workmanship of this jewel is extremely fine1 and on a level in point of excellence with the ,eliott-,drake pendant and with ,mr4 ,pierpont ,morgan's ,armada ,jewel4 ,of the last-named--a splendid production of an ,english goldsmith of the ,elizabethan period--it is impossible to speak with adequate praise4 ,like the ,phoenix ,jewel1 it is modelled upon a contemporary medal1 though in an entirely different style4 ,upon the front is a profile bust of ,queen ,elizabeth from the ,personal or ,garter badge of #aehb1 upon an enamelled ground of aventurine blue1 inscribed with the royal title4 ,the opposite side forms a locket containing a miniature of ,elizabeth by ,hilliard dated #aehj1 and covered with a lid enamelled with translucent colours--on the outside with the ,ark and the motto ,,saevas ,,tranquilla ,,per ,,undas 7as on the ,naval ,award ,medal of #aehh71 and on the inside with the ,tudor rose and a laudatory ,latin motto--the same as appears round the reverse of the ,phoenix ,badge of #aegd1 which refers to ,elizabeth with a regret that virtue endued with so much beauty should not uninjured enjoy perpetual life4 ,the jewel is bordered by strapwork jour of opaque blue and white enamel set with table diamonds and rubies4 ,this exquisite object1 which is in the highest possible state of preservation1 and retains its fine enamel entirely uninjured1 was sold at ,messrs4 ,christie's in ,july1 #aijb1 for the large sum of #e1bej 7,pl4 ,,xxxiv1 #e1 #f74 ,the third jewel of this class1 also undoubtedly ,english1 is in the ,poldi-,pezzoli ,museum at ,milan4 ,it has in the centre a mother-of-pearl medallion with the ,ark carved in low relief1 of the same design as on the ,morgan ,jewel and the #aehh medal1 surrounded by the like inscription--,,saevas ,,tranqvila ,,per ,,vndas--in gold on white enamel1 and encircled by a band of table-cut rubies4 ,the edge is enamelled with translucent red and green1 and opaque white enamel 7,pl4 ,,xxxv1 #c74 ,the ,ark floating tranquilly amid violent waves is emblematic of the fortunes of ,england1 or possibly of ,elizabeth1 who1 according to the legend ,,per ,,tot ,,discrimina ,,rerum which appears on the back of the jewel1 had sailed triumphantly through many dangers4 ,no account of this important object has previously been published1 nor has its nationality up to the present been noticed1 or at any rate recorded4 ,the front opens on a hinge1 and shows that the pendant was intended as a miniature case--though the miniature is missing4 ,in the times of ,elizabeth and her successor miniature cases were among the most important of pendent jewels4 ,quite a number have survived1 chiefly on account of the miniatures they enclose4 ,contemporary portraits show the manner in which they were worn4 ,in the catalogue of ,charles ,i's collections a miniature of ,queen ,elizabeth is thus described3 ,queen ,elizabeth 444 very richly adorned with gold and pearls1 and a picture-box hanging at her right breast4 ,such picture boxes1 with backs elaborately enamelled by the champlev method1 leaving only thin outlines of gold of scroll design1 and hinged fronts of open-work1 enamelled and set with precious stones1 are among the presents which appear to have been frequently conferred as marks of recognition on favourite courtiers or subjects4 ,it is impossible to enumerate all the various examples in public and private collections4 ,the ,victoria and ,albert ,museum possesses one of the best1 and a beautiful specimen is preserved at ,windsor ,castle#afe 7,pl4 ,,xxviii1 #e74 ,a description of a third jewel of the kind1 the ,lyte ,jewel1 will be given subsequently 7p4 #cjc74 #afe ,see ,connoisseur1 ,v1 p4 #hj4 ,the gems and jewels at ,windsor ,castle1 by ,h4 ,clifford ,smith4 ,illustration3 ,,plate ,,xxxv ,,elizabethan ,,jewellery ,besides the enamelled and jewelled pendants there are various medals 7some of which have been alluded to7 suspended by a ring or chain and worn as badges by those who were personally attached to the ,queen2 and to the time of ,james ,i belong numerous references to medals of gold with the ,king's ,majestie's phisnomy on them1 mostly the work of his goldsmith1 ,john ,williams1 and presented to various foreigners in official positions4 ,space does not permit of detailed description of the wonderful ,lennox or ,darnley ,jewel at ,windsor ,castle1 purchased by ,queen ,victoria at the sale of ,horace ,walpole's collection at ,strawberry ,hill in #ahdb 7,pl4 ,,xxviii1 #d74 ,the jewel has been fully described by ,mr4 ,tytler and ,mr4 ,albert ,way4#aff #aff ,way7,a471 ,cat4 of antiquities and historical ,scottish relics1 ,edinburgh1 #ahei1 p4 #afc4 ,see also ,connoisseur1 loc4 cit4 ,it has been impossible here to convey an adequate idea of all the various specimens of sixteenth-century pendants that exist at the present day4 ,attention has been drawn to a few of the most striking examples which stand out above the rest1 either by reason of the beauty of their design or the superlative excellence of their workmanship1 or by reason of their unique historical interest4 ,while indicating the great public collections where these things are preserved1 it must be left to amateurs to discover and appreciate for themselves1 as they are bound to do1 what1 owing to exigencies of space1 we are precluded from referring to in detail4 ,,chapter ,,xxviii ,,renaissance ,,rings1 ,,bracelets1 ,,and ,,brooches ,the splendour-loving sixteenth century far surpassed the ,middle ,ages in the use of the finger ring4 ,no other ornament of the ,renaissance attained such richness and profusion4 ,in sixteenth and seventeenth century portraits rings are represented in such quantities that the hands appear overburdened with them2 while the number entered in the old inventories is astounding4 ,yet it is well to remember that the word bague1 which we translate a ring1 was a general term for all pendent jewels--though not infrequently a distinction in the lists is drawn between bague mettre aux oreilles 7an earring71 bague pendre 7a pendant71 and bague mettre au doigt4 ,the extraordinary abundance of finger rings in use at the time may best be judged by a list in the inventory of ,henry ,,viii of the year #aecj1 which contains no less than #bcd4 ,of the large number of ,renaissance rings that have survived to the present day most are of a purely ornamental character2 and though many others are of interest on account of their emblematic or historical associations1 those which display artistic work require the chief consideration4 ,out of all the rings that simply served the purpose of decoration1 there are very few whose nationality can be easily determined4 ,if it is difficult in the case of pendants and similar ornaments to come to a decision with regard to the question of provenance1 it is even more so where rings are concerned4 ,pictures of the period1 as has been said1 represent persons with their hands heavily loaded with rings1 which are worn upon all the fingers1 the thumb included4 ,every finger-joint up to the very nail is covered with them1 and they are worn1 as by the ancient ,romans1 even upon the knuckles4 ,the great projection of the rings' bezels would have rendered the use of gloves impossible1 were it not1 as we know from pictures1 for the custom of placing the rings outside the gloves1 and also for the somewhat ugly fashion of slitting the fingers of the gloves1 in order that they might be worn with greater comfort1 and allow the rings themselves to be displayed4 ,in a portrait of a lady by ,lucas ,cranach in the ,national ,gallery1 rings are worn both over and beneath the gloves1 every finger and the thumbs having two or three4 ,the rings under the gloves appear on the top of the second knuckle of every finger1 and are visible through the crevs made in the gloves at these points4 ,in other pictures by this artist1 such as that entitled ,judith at ,vienna1 and in the works of his contemporaries in ,germany1 the same slashed gloves are to be seen4 ,men's gloves1 too1 like their doublets1 were slashed1 as is clear from the engraved portrait of ,duke ,william of ,juliers1 by ,aldegrever4 ,bishop ,hall 7,satires1 ,,iii1 iv7 refers thus to the current fashion3-- ,nor can good ,myson wear on his left hond1 ,a signet ring of ,bristol diamond1#afg ,but he must cut his glove to show his pride1 ,that his trim jewel might be better spy'd4 #afg ,see note1 p4 #bce4 ,the tendency of placing the stone in a very high bezel was a tradition from the ,middle ,ages1 where a preference had always been shown for the stone being so set4 ,the ornamental rings of the ,renaissance followed a uniform outline as far as their bezels and settings were concerned4 ,they contained1 as a rule1 one stone only1 backed by a foil or paillon1 and set in a box-like collet1 square and pyramidal1 and closed behind4 ,the gold was rubbed over the setting edge of the stone1 and the four side surfaces then decorated in a variety of ways by the application of enamel1 and sometimes overlaid with an additional ornamentation in imitation of claws4 ,the stone itself1 usually table-cut1 was frequently a ruby4 ,illustration3 ,triple rings set with pointed diamonds4 ,device of ,cosimo de' ,medici4 7,figured in ,botticelli's ,pallas in the ,pitti ,gallery47 ,one peculiar variety of ring1 known from the early part of the fifteenth century1 is deserving of note4 ,its design was founded upon the natural octahedrite shape of the diamond1 and was distinguished by a very high bezel1 which received one half of the octahedron and allowed the other to project upwards4 ,rings set thus with pointed diamonds were in high favour until the middle of the seventeenth century1 and were employed for writing upon glass--a practice which appears to have been much in vogue4 ,the most characteristic examples of the diamante in punta were those adopted by the ,medici as their device4 ,three diamond rings interlaced were employed by ,cosimo 7d4 #adfd72 ,piero took one diamond ring held in the claw of a falcon2 ,lorenzo continued the device of the ring1 in which he placed three feathers4 ,the best-known representations of these three devices are figured in ,paolo ,giovio's ,dialogo dell' imprese4 ,in addition to the case for the stone1 the sides or shoulders of the ring which held it were the subject of special artistic development4 ,they took the form of small figures1 winged creature1 masks1 and other ornaments in relief and richly enamelled2 while for smooth surfaces champlev enamel was employed in a variety of designs4 ,so extraordinarily elaborate is the work on some of these rings that it would almost seem as if they were produced rather as examples of the skill of the craftsman than as objects for actual use4 ,several old portraits exhibit rings strung upon men's necklaces1 or hung from a thin cord round the neck4 ,a portrait by ,mabuse1 in the ,berlin ,gallery1 shows a ring worn thus1 and in two portraits by ,lucas ,cranach--one at ,weimar1 representing ,johann ,friedrich of ,saxony attired as a bridegroom1 and the other at ,dresden1 of the ,elector ,johann the ,constant of ,saxony 7#aebf7--rings are hung similarly round the neck4 ,rings were also worn in the hat4 ,a particularly striking example of this fashion is seen in the portrait of ,bernhard ,,iii1 ,margrave of ,baden1 #aeae1 by ,hans ,baldung ,grien1 in the ,pinakothek1 ,munich4 ,around his cap is fixed a thick wire-shaped band of gold1 with a strip of cloth wound spirally round it4 ,the latter serves to fix at regular intervals four gold rings1 three of them set with cabochon stones and the fourth with a pointed diamond4 ,a similar kind of decoration is alluded to in ,gabriel ,harvey's ,letter ,book1 #aegd 7,camden ,society1 #ahhd1 p4 #ade71 where a servant is mentioned carrying to a maiden an enamelled posy ring which his master had worn sewn upon his hat4 ,the rings worn thus were in many cases betrothal or engagement rings2 but those that served this purpose generally assumed special forms1 and were among the most ingenious productions of the time4 ,they were composed of twin or double hoops1 and known as gimmel rings4 ,the outer side of the two hoops was convex and elaborately ornamented1 while the inner side was flat and often bore some inscription4 ,the two hoops were wrought so exactly alike1 that1 together with the stones1 they appeared to be one ring1 yet could be separated1 and the one hung from the other4 ,their bezels were occasionally formed of clasped hands4 ,ordinary one-hoop rings also bore the same design and were known as fede rings4 ,another kind of betrothal or engagement ring was the posy or poesie ring1 generally of simple form1 with a verse1 a name1 or a motto engraved inside it4 ,the posy ring1 suitably inscribed1 was also used as a wedding-ring4 ,the simple posy ring belongs1 however1 chiefly to the seventeenth century4 ,the elaborate betrothal ring seems to have been employed at this time as a wedding-ring as well4 ,it was reserved for modern times to give the wedding-ring its smooth1 convenient1 but artistically unimportant form4 ,widely distributed among the ,north ,german peasantry are certain peculiar wedding-rings1 which1 as a rule1 contain a couple of the heart-shaped milk-teeth of the young roe-buck1 with a small lock from which hang two keys--a symbol which perhaps not inaptly indicates the union of two pure hearts4 ,dating from the sixteenth and seventeenth centuries1 but wholly different from the ,renaissance form of ring1 and very large and elaborate1 are the ,jewish wedding-rings1 which were used only at the ceremony and then preserved by the family4 ,they are composed of a broad band adorned with filigree 7probably in keeping with some ancient ,oriental tradition7 arranged in bosses and rosettes and enriched with light blue1 light green1 and other enamel4 ,in place of a bezel there is often the model of a building with high gabled roofs and enamelled tile1 pierced by windows1 and having movable weathercocks on the apex2 an inscription in ,hebrew characters on the shank contains the motto ,good star4 ,illustration3 ,,plate ,,xxxvi ,,renaissance ,,and ,,later ,,rings ,it was the custom to arrange finger rings upon a rod when not in use or when exposed for exhibition in the jeweller's shop1 and in paintings it is no uncommon thing to see a line of rings of various patterns run on what appears to be a roll of parchment2 as in the annexed illustration--a cut from a ,herbal published at ,frankfort in #aecf4 ,rings arranged thus may be seen in ,ghirlandaio's portrait of ,costanza de' ,medici1 belonging to ,mr4 ,salting2 in the ,legend of ,st4 ,godeberta by ,petrus ,christus2 in ,gerard ,david's portrait of a goldsmith at ,vienna2 in the ,banker and his ,wife by ,quentin ,matsys in the ,louvre1 and in similar pictures where a jeweller or a banker is represented4 ,illustration3 ,rings on a roll of parchment4 ,from ,kreuterbuch 7,frankfort1 #aecf74 ,in ,henry ,,viii's inventory of #aebg we find3 ,upon a finger-stall1 seven rings1 one a ruby1 another an emerald1 and a turquoise1 another a table diamond1 another a triangular diamond1 another a rocky diamond2 also in #aecj3 ,a roll with thirty-nine ,paris rings1 with small stones4 ,in the ,duke of ,newcastle's comedy ,the ,country ,captain 7#afdi7 mention is made of an extravagant person who makes his fingers like jewellers' cards to set rings upon4 ,in the ,pinakothek1 ,munich1 is a most interesting picture by ,paris ,bordone representing a jeweller with a quantity of his treasures lying on a table before him4 ,every item is painted with extreme care4 ,twelve massive finger rings1 arranged in three rows of four1 are displayed in an oblong ring-box1 just in the same manner as one might expect to find them in a jeweller's shop of the present day4 ,a somewhat similar picture by ,lorenzo ,lotto1 in the ,kaufmann ,collection in ,berlin1 represents a jeweller holding in his left hand a box full of rings and in his right a single specimen4 ,by far the most attractive of the fine engravings of jewellery by ,pierre ,woeiriot of ,lorraine is his beautiful set of rings published in #aefa under the title of ,livre d'aneaux d'orfvrerie4 ,m4 ,foulc1 of ,paris1 is generally credited with the possession of the only complete set of these engravings4 ,a perfect specimen of the work is1 however1 preserved in the ,bodleian ,library at ,oxford1 to which it was bequeathed by the well-known antiquary ,francis ,douce in #ahcd4 ,it comprises forty plates1 each containing one or more rings to the number of ninety-six1 and furnishes striking examples of the taste and inventive genius then bestowed on these minute objects4 ,nevertheless1 engravings can convey but small idea of the colour effect1 and the wonderful charm that the actual rings possess4 ,in order to fully appreciate them1 one must visit the three great ,english collections of them now accessible to the public3 the ,south ,kensington ,collection1 containing the greater part of that formed by ,edmund ,waterton2 the ,drury ,fortnum ,collection in the ,ashmolean ,museum1 ,oxford2 and above all1 the collection in the ,british ,museum1 which includes the splendid series bequeathed by ,sir ,a4 ,w4 ,franks1 in which were absorbed the ,braybrooke1 ,londesborough1 and some minor cabinets1 together with the best from the ,soden ,smith ,collection1 as well as the choicest from the ,pichon and from many foreign sales4 ,,bracelets ,the bracelet during this period plays a scarcely more prominent part than it did in the ,middle ,ages1 and probably owing to the same reason2 for in ,renaissance times the fashion of leaving the arms bare was not in favour1 and the long sleeves that fell over the hand were retained4 ,a few examples presented by pictures lead to the supposition that bracelets consisted of beads of amber or jet separated by balls of gold1 or of rows of cameos4 ,catarina ,cornaro in her portrait by ,titian in the ,uffizi wears a bracelet upon her wrist over the sleeve1 while the portrait of a lady by ,cranach in the ,national ,gallery shows that the sleeves were occasionally slashed at the wrists to exhibit the bracelets beneath them1 just as were the fingers of gloves for the purpose of displaying rings4 ,inventories supply a certain amount of information concerning bracelets4 ,henry ,,viii in #aecj possessed seventeen1 including one of ,paris work1 with jacynths2 and one with eight diamonds1 eight rubies1 fourteen pearls1 and a diamond rose4 ,elizabeth received a large number of bracelets amongst her ,new ,year's gifts4 ,in the inventory of ,mary ,stuart's jewels are ,une paire de brasseletz garniz de cornaline lappines et agate et entredeux de doubles--,une aultre paire de brasseletz damatiste--,ung bracelet fait a facon de serpent4 ,others are formed1 as were necklaces1 of beads of filigree enclosing perfumes3 ,deux braceletz dor percez a jour pleins de parfum--,une aultre paire dor a jour empliz de parfum4 ,references to bracelets by writers of the period show that they were not infrequently worn as love tokens4 ,thus in ,beaumont and ,fletcher's ,cupid's ,revenge3-- ,given ear-rings we will wear ,bracelets of our lovers' hair1 ,which they on our arms shall twist ,with our names carv'd on our wrist4 ,also in ,barnfield's ,affectionate ,shepherd 7#aeid73-- ,i would put amber bracelets on thy wrist1 ,crownlets of pearls about thy naked arms4 ,contemporary designs prove that bracelets followed the same elaborate forms as other articles of jewellery1 as may be seen from the engraved designs of ,ducerceau1 and the ,livre de ,bijouterie of ,ren ,boyvin of ,angers 7#aecj-aeih74 ,one of the most interesting bracelets--as far as actual specimens are concerned--is preserved at ,berkeley ,castle amongst the heirlooms bequeathed by ,george ,carey1 ,lord ,hunsdon1 who died in #afjc4 ,it is of crystal and gold1 #c inches in diameter4 ,the crystal1 a complete circlet overlaid with open-work gold1 is encrusted all round with rubies1 and has at intervals four clusters of rubies around a sapphire 7,pl4 ,,xxxv1 #e74 ,it is somewhat difficult to arrive at a decision as to the origin of this remarkable object4 ,it seems to bear traces of ,oriental influence in the setting of the stones1 though the goldwork is of different quality from what one would expect to find in ,indian work4 ,if1 like the nef jewel at ,berkeley1 this armlet is to be associated with ,sir ,francis ,drake1 it may well have been obtained by him as part of some ,spanish spoil1 in like manner to the crystal bracelet set in gold procured by ,sir ,matthew ,morgan at the capture of ,cadiz in #aeif--;,cadiz being then the staple town for all the trades of the ,levant and of the ,indies4#afh #afh ,calendar of ,state ,papers1 ,domestic1 ,aug41 #aeif4 ,bracelets formed of cameos are met with sometimes on portraits4 ,the ,bibliothque ,nationale at ,paris preserves a pair of bracelets 7,nos4 #fbd and #fbe7 formed each of seven oval shell cameos representing figures of animals1 enclosed in gold mounting enriched with blue enamel1 and hinged together by a double chain ornamented with rosettes enamelled green4 ,on the under side of the larger cameos which form the clasps are two interlacing ,c's within a wreath of palm and olive1 enamelled green1 and a barred ,s in blue enamel at each angle4 ,these bracelets1 of which the cameos as well as the mountings are of fine sixteenth-century work1 have been traditionally associated with ,diana of ,poitiers4 ,but the interlaced ,c's1 according to ,m4 ,babelon1 are in all probability the initials of some lady of the family of ,harlay1 from whom the bracelets were acquired by ,louis ,,xiv 7,pl4 ,,xxxvii1 #c1 #d74 ,illustration3 ,,plate ,,xxxvii ,,renaissance ,,bracelets ,bracelets1 like necklaces1 were not infrequently composed entirely of gold1 with interwoven links1 like mail-chains4 ,a chain bracelet of this style1 formed of circular fluted links1 is in the ,victoria and ,albert ,museum4 ,its clasp is enriched with a floral pattern in translucent champlev enamel 7,pl4 ,,xxxvii1 #a74 ,three similar bracelets forming part of the ,holtzendorff treasure from ,pinnow 7,ucker-,mark1 ,n4 ,germany7 are in the ,germanic ,museum1 ,nuremberg4 ,they are composed of circular links1 and have flat clasps like the bracelet just mentioned1 ornamented with coats-of-arms in enamel4 ,one of them bears the date #afab4 ,,brooches ,one of the most important of ornaments throughout the ,middle ,ages was the brooch2 but towards the end of the fifteenth century the mode of wearing garments changed1 and the ctehardi having replaced the mantle1 brooches disappeared little by little1 till in ,renaissance times they were rarely employed1 except as ornaments for the hat4 ,it is true that sixteenth-century inventories contain an immense number of owches and brooches--,henry ,,viii had no less than #cbd--;but nearly all these1 the larger ones especially1 were worn as enseignes upon the hat2 while the smaller were employed not as dress fasteners1 but simply as ornaments sewn or pinned at regular intervals upon the front of the dress or the borders of the sleeves4 ,a single elaborate jewelled brooch is sometimes seen in pictures attached to the upper part of the sleeve4 ,we see it thus on the figure of ,arithmetic in ,pinturicchio's famous fresco in the ,appartamento ,borgia of the ,vatican1 and later in ,english pictures1 notably the well-known painting in ,sherborne ,castle1 ,dorset1 representing ,queen ,elizabeth's procession in litter to ,blackfriars in #afjj1 where the ladies of her retinue have jewels fastened to the sleeves of their right arms4 ,the garments of this period were not fastened by means of brooches1 but were closed with buttons or points1 or with hooks and eyes4 ,sleeves were often held on by buttons to which the sleeve-loops or points were tied1 while other portions of the clothing1 especially if of leather and cumbersome to button1 were secured with loops or hooks and eyes4 ,the slashings of the dress were sometimes closed by buttons or pompoms formed of stones surrounded by pearls4 ,similar button-like ornaments1 jewelled and richly enamelled1 of which examples exist1 were worn in rows all over the dress1 but their delicate form and often irregular shape exclude the supposition that they were used as actual buttons4 ,of ornaments of this kind ,mary ,queen of ,scots possessed a large number3 thus--,quatre vingtz bouttons dor esmaillez de blanc et noir garniz de chacune une perle4 ,others mentioned in her inventory are rose garniz de chacun trois perles2 others again are percez jour esmaillez de noir4 ,these individual jewelled ornaments1 which it was the practice to sew on the dress at regular intervals by way of trimming1 may be treated as distinct from ornamentation which formed part of the actual costume1 such as masses of pearls and precious stones1 with which dresses were literally loaded4 ,individual jewels often took the form of the monogram1 crest1 or device of the owner1 in pure gold richly decorated4 ,a curious instance of this custom has already been alluded to in connection with what occurred during the masque given by ,henry ,,viii at ,westminster4 ,the fashion for wearing ornaments in the form of jewelled initials was still in vogue on the quilted dresses of the time of ,james ,i4 ,anne of ,denmark is represented in her portraits wearing them both on her ruff and in her hair1 and a jewel1 in form of an ,a and two ,,cc1 sett with diamonds and others of similar kind are to be found in the lists of jewels supplied to the ,queen by ,george ,heriot4 ,except occasionally for buttons1 the chief means employed for fastening the garments was by aigulets or aglets4 ,these ornamental loops or eyelets1 formed of cords terminating with goldsmith's work1 were movable and were changed from one dress to another according to pleasure4 ,they are seen in pictures hanging not only from slashes and various parts of the garments1 but also from the cap2 and ,henry ,,viii is described as wearing a cap ornamented with gold enamelled tags4 ,his daughter1 the ,princess ,mary1 was supplied in #aedb by her jeweller1 ,mabell1 with two dozen pairs of aglets4 ,mary ,stuart had a number1 such as3 ,soixante cinq esguillettes dor facon de cheuilles sans esmail1 ,soixante une esguillettes dor et de perle esmaillez de rouge1 and ,quatre vingtz dixhuict esguillette dor esmaillez de blanc et noir4 ,queen ,elizabeth possessed several sets1 of different colours and patterns--some gold enamelled white1 some blue1 others purple1 and some enriched with pearls and precious stones4 ,these jewelled aglets are now extremely rare1 and are not represented in any public collection4 ,illustration3 ,design of a bracelet by ,jacques ,androuet ,ducerceau4 ,,chapter ,,xxix ,,renaissance ,,girdles ,,and ,,girdle ,,pendants 7,,mirrors1 ,,books1 ,,watches1 ,,scent-,,cases1 ,,and ,,pomanders7 ,the girdle is an important ornament in the dress of the ,renaissance4 ,from the beginning of the sixteenth century it differs considerably from the medival pattern already discussed4 ,in place of the stiff hoop about the hips1 it was worn loosely across the body from above the right hip down towards the left thigh1 where the upper garment was passed over it in a light fold4 ,at this point was the clasp1 from which hung numerous small articles necessary to the active housewife4 ,another style of wearing it1 which appears to have been adopted for more sumptuous dress1 was one where it more firmly encircled the body1 and from a clasp in front1 hung down in a long end1 terminating in a special ornamental appendage--a scent-case or pomander4 ,the common material was leather or stuff1 such as was employed for men's girdles4 ,the long and narrow thong of leather1 termed courroye1 was worn by all classes4 ,rows of such girdles are figured in the background of ,jost ,amman's well-known woodcut of the ceinturier in his workshop1 of the year #aeid4 ,the majority of ,renaissance girdles1 confined solely to female attire1 were made entirely of silver or silver-gilt1 and even of silvered or gilded bronze4 ,they took the form of flat chains composed of links1 generally with solid pieces in the shape of oblong plaques1 of cast or chased work1 introduced at regular intervals4 ,the solid parts1 particularly those that formed the clasps1 were occasionally enriched with enamels1 precious stones1 or engraved gems4 ,the majority of collections contain specimens of such girdles2 but simpler kinds1 composed entirely of ring-shaped links1 which1 judging from numerous ,flemish1 ,dutch1 and ,german portraits1 must have been in very general use in the sixteenth and seventeenth centuries1 are much less frequently met with4 ,a good example of such1 a chain in silver-gilt1 of ,german work of the second half of the sixteenth century1 is preserved in the ,muse du ,cinquantenaire at ,brussels4 ,it is formed of rounded grooved links4 ,at one end is a rosette-shaped girdle plate set with a white crystal1 and having a hook behind to catch into any link of the chain4 ,the other end terminates in a pear-shaped pomander #c inches long1 and divided for the reception of different cosmetics into two parts1 united by a screw from below4 ,a considerable number of girdles of leather or strips of material are found mounted after the medival style with buttons or studs1 and instead of clasps1 have buckles at one end1 and at the other the pendants or chapes common in earlier times4 ,it is not unusual to meet with girdles of ,flemish or ,german work which1 though dating from the latter part of the seventeenth century1 are ornamented with ,gothic patterns4 ,the buckle and pendant 7mordant71 deeply pierced with open-work tracery of flamboyant design1 are generally united by only a short thong1 and are so overcharged with ornament that it is doubtful if they could have been of any practical use4 ,such objects appear in reality to be but specimens of their work submitted by girdlers who were desirous of obtaining admission to the ,girdlers' ,company4 ,they serve to show how long-lived were ,gothic traditions among the guilds4 ,examples in silver or bronze gilt are to be found in the ,germanic ,museum1 ,nuremberg1 the ,victoria and ,albert ,museum 7,no4 #bcjd-'ee71 the ,waddesdon ,bequest 7,no4 #bbf71 dated #afhj1 the ,wallace ,collection 7,no4 #ghc71 dated #agji1 and in many other public collections 7,pl4 ,,xxxviii1 #c74 ,a number of articles1 both useful and ornamental1 were suspended from the girdle4 ,for practical purposes the housewife carried at her side1 besides a knife1 such objects as small scissors in a case1 a purse1 and also her keys4 ,cases or tuis for knives were attached either by silken cords or by chains4 ,when cords were employed the cover of the tui was furnished with loops on each side through which the cords slid4 ,open quiver-like sheaths for knives hung by chains were often worn1 in order to display the rich decoration of the knife-heads4 ,illustration3 ,,plate ,,xxxviii ,,renaissance ,,girdles ,the ,italianate costume1 such as is found in the type of ,vanity in emblem books of the age1 and which made its way everywhere1 favoured the addition of many other accessories to the girdles1 such as fans1 gloves1 looking-glasses1 books1 watches1 scent-cases1 and pomanders4 ,mirrors1 besides being worn from the neck1 formed1 as did miniature-cases1 a frequent pendant from the girdle4 ,these were either in a frame of ivory or goldsmith's work1 or inserted in the fan4 ,stubbes1 the censor of the follies of his day1 speaks of the looking-glasses which ladies carried with them wheresoever they go4 ,etienne 7,stephanus7 ,delaune has left eight engraved designs for hand mirrors of great beauty4 ,their handles terminate with small rings for attachment by a chain to the girdle4 ,in the ,louvre is an interesting pendent mirror-case1 or rather back of a mirror1 formed of an oval plaque of glass encrusted with designs in enamel on gold 7mail en rsille sur verre71#afi bearing the inscription ,grace dedans1 le lis-ha4 #afi ,compare pp4 #bic and #big4 ,see ,darcel 7,a471 ,notice sur maux et de l'orfvrerie 7,louvre71 p4 #ha4 ,see also ,labarte 7,j471 ,les arts industriels 7#bnd ed41 ,,ii1 p4 #acf1 #ahgc71 ,l'maillerie cloisonne sur cristal4 ,small books1 mainly devotional1 were also worn at the girdle4 ,it appears to have been a common practice for ladies to carry such books1 and in ,lyly's ,euphues mention is made of the ,english damoselles who have theyr bookes tyed to their gyrdles4 ,queen ,elizabeth had several4 ,amongst the juelles given to her ,majestie at ,newyere's-tyde1 #aehb1 was a litle boke of golde enamuled1 garnished and furnished with smale diamondes and rubyes1 with claspes1 and all hanging at a chayne of golde4 ,the inventory of the jewels of the ,duchess of ,somerset1 widow of the ,protector1 in #aehg1 likewise contains a booke of golde inamyled blacke4 ,two drawings for small pendent books intended to be executed in niello or black enamel appear amongst ,holbein's designs for jewellery in the ,british ,museum2 and the ,earl of ,romney possesses a small manuscript ,prayer ,book in binding of enamelled gold of the same style4 ,the most magnificent book-cover in existence1 provided with loops for hanging by a chain to the girdle1 is one preserved in the ,victoria and ,albert ,museum4 ,it is of enamelled1 repouss gold1 and has been ascribed to ,cellini4 ,of less beauty1 though of great interest as an example of ,english work1 is the gold binding of a pendent ,prayer ,book in the ,british ,museum4 ,the subjects on the sides1 raised and enamelled1 are the ,brazen ,serpent1 and the ,judgment of ,solomon1 with ,english inscriptions around4 ,it is said to be the work of ,george ,heriot of ,edinburgh2#agj and there is a tradition that it was worn by ,queen ,elizabeth4 ,whatever associations this object may have had with ,elizabeth1 there is better authority for such with regard to the small book of prayers1 the property of ,lord ,fitzhardinge1 and one of the ,hunsdon heirlooms4 ,this very interesting ,english jewel1 measuring #b by #b inches1 is of gold1 inlaid with black enamel1 with a rosette of white enamel at each corner4 ,the centre of one cover is decorated with translucent red and green enamel1 that of the other with a shell cameo4 ,it contains the last prayer of ,king ,edward ,,vi in ,,ms4 written on vellum4 ,the title runs3 ,the ,prayer of ,kynge ,edward the ,,vi which he made the vj of ,julij1 #aeec1 and the vij yere of his raigne1 iij howres before his dethe1 to him selfe1 his eyes being closed1 and thinkinge none had herd him1 the xvj yere of his age4 ,the book was worn by ,queen ,elizabeth at her girdle1 and came into the ,berkeley family through her cousin1 ,lord ,hunsdon 7,pl4 ,,xxxv1 #g74 #agj ,see p4 #cja4 ,the ,earl of ,leicester1 it is recorded1 presented ,queen ,elizabeth on ,new ,year's ,day1 #aeha1 with a long gold chain set with diamonds and hanging thereat a rounde clocke fullie garnished with dyamonodes1 and an appendante of diamondes hanging thearat4 ,though occasionally worn thus suspended from the neck-chain1 watches appear to have been more frequently carried at the girdle--a position somewhat similar to that which they subsequently occupied upon the chatelaine4 ,the honour of the invention of portable timepieces is probably due to ,peter ,henlein1 of ,nuremberg1 in the last quarter of the fifteenth century1 but it was not till a century later that they came into anything like general use4 ,the cases1 which received the same beautiful enrichment in the way of enamel-work and precious stones as was bestowed on other personal ornaments of the time1 were made jour to emit the sound of the ticking and striking1 and the lid was pierced with an aperture over each hour1 through which the position of the hand might be seen4 ,the makers of the sixteenth and seventeenth centuries endeavoured to vary as much as possible both the figure of the machine and the material in which it was placed4 ,not only square1 oval1 octagonal1 and cruciform watches occur1 but some in such fanciful shapes as death's-heads1 books1 shells1 acorns1 tulips1 pears1 etc2 while rock crystal 7to render the works visible7 and other stones were often converted into cases4 ,oval watches1 known as ,nuremberg eggs1 are usually reckoned among the earliest1 but this title was not given to watches till some time after their invention1 and as a matter of fact1 according to ,dr4 ,re 7,nrnberg1 p4 #agb71 all egg-watches that have been preserved belong to the seventeenth century4 ,in ,hollar's set of plates of the ,four ,seasons1 dated #afda1 the lady representing ,summer has on her left side depending from her girdle an object of this shape1 apparently a watch4 ,the most important pendent ornament to the girdle1 from the present point of view1 is the pomander1 the early history of which has already been alluded to4 ,throughout the sixteenth1 and until about the middle of the century following1 the pomander formed an almost invariable adjunct to the girdle1 and was occasionally1 in the case of men1 hung to the long and heavy chains worn at that period round the neck4#aga #aga ,i will have my pomander of most sweet smell1 ,also my chains of gold to hang about my necke4 ,book of ,robin ,conscience 7circa #afjj74 ,most of the pendants still termed pomanders were1 as has been already noted1 in reality cases for scents or different cosmetics2 but from their fruit-like shape1 though often innocent of the original pomander ball1 they have retained the title1 but solely1 it would seem1 in our own language#agb 7,pl4 ,,xxxi1 #g74 #agb ,the only modern ,french word for the pomander is cassolette4 ,in ,german and ,italian there is a tendency to revive the old titles ,bisamapfel and ,oldano4 ,,later ,,and ,,modern ,,jewellery ,,chapter ,,xxx ,,seventeenth-,,century ,,jewellery 7,,general7 ,through the whole jewellery of the late ,renaissance there runs a gradual and profound change of taste4 ,slowly and by imperceptible stages the earlier style1 with its minute enamelled figures in high relief1 gives place to a desire for sparkling diamonds1 and a pleasure in the glitter of faceted stones4 ,in the sixteenth century1 diamonds1 rubies1 and other stones played a comparatively insignificant part in jewellery1 and were prized mainly for their decorative value1 but during the course of the seventeenth century a more prominent rle was gradually conceded to precious stones4 ,used singly at first1 in table-cut form1 to give a centre of interest or a note of colour1 they came finally to be arranged in juxtaposition and long rows4 ,a complete change was brought about in the whole character of jewellery by the prominence thus given to the precious stone--a position it has retained ever since4 ,from the commencement of the seventeenth century ,germany began to lose the position which1 during the greater part of the century previous1 she had occupied as a jewel-producing centre2 while the ,thirty ,years' ,war1 by handicapping her industries1 caused the jewellers to seek employment elsewhere4 ,it was mainly from ,france that the new ideas in the form of ornaments emanated4 ,the ,french are fortunate in possessing separate words to distinguish different kinds of jewellery3 bijouterie1 a general term applied to all jewellery formed of gold1 enamels1 and precious stones2 and joaillerie1 used for jewellery composed of stones along with a minimum of metal-work4 ,by the revolution of taste in the later days of the ,renaissance the joaillier gradually superseded the bijoutier2 while the two crafts of the silversmith and the jeweller replaced the ancient craft of the goldsmith4 ,changes in the mode of wearing clothes1 and in the materials employed for them1 had an enormous influence on jewellery4 ,in place of the velvet and brocade that prevailed during the ,renaissance1 damask came to be worn1 together with an extravagant taste for lace and ribbons4 ,the wearing of the silken stuffs that began to be issued from the factories of ,lyons1 and of the lace that formed their accompaniment1 necessitated the use of ornaments more in keeping with these materials2 with the result that the jewellery of the period assumed an open and lace-like character1 suitable also for the display of precious stones4 ,at first coloured stones were used--the ruby1 sapphire1 and the emerald2 but soon the diamond held sole possession of the field4 ,in ,renaissance ornaments this latter gem played only a secondary part1 and was employed solely for the sake of contrast1 but it now appeared as the chief object in view1 and formed the ornament by itself1 all other parts of the jewel1 the setting1 and possible addition of other stones1 being wholly subordinate to it4 ,for the first general employment of the diamond in jewellery one must look back to the fifteenth century1 to the invention of the art of cutting that stone1 which is generally credited1 in spite of ,laborde's opinion to the contrary1 to ,louis de ,berghem of ,bruges in the year #adge4 ,from that date until the beginning of the seventeenth century every diamond1 as is seen both by jewels and their designs1 was one of two forms3 either the point1 a four-sided pyramid produced by polishing the faces of the native octahedral crystal of diamond and making them exactly true and regular2 or the table1 in which the point of the crystal is reduced to a square or oblong plane1 the opposite extremity being also in plane form1 but of smaller extent1 with sloping faceted edges4 ,this simple cutting did so little to augment the brilliance of the diamond that the jewellers of the sixteenth century had to depend on the tinctura or foiling of the stone1 in which art ,cellini in his treatise1 with his characteristic appreciation of his own merits1 tells us that he particularly excelled4 ,the change of taste in the seventeenth century may be attributed to the opening up of the diamond fields of ,golconda on the southern borders of the ,state of ,hyderabad1 at the beginning of that century1 and to the enterprise of the ,french travellers1 ,tavernier1 ,chardin1 and others1 who1 during their frequent voyages to ,persia and ,india1 dealt largely in precious stones4 ,these travellers succeeded in establishing new commercial relations1 which led to the introduction into ,europe of abundance of precious stones and particularly diamonds2 while the narratives of their journeys1 furnishing more exact knowledge of the quality and value of the products of the ,east1 attracted towards precious stones a new interest4 ,owing to the abundance of material imported from the ,east1 the market for precious stones assumed an entirely different aspect2 while the quantity and beauty of the material thus at their disposal spurred on the stone-cutters towards the improvement of their technique1 until at the end of the century they arrived at the true cutting of the diamond4 ,besides the point1 which was but rarely used1 the table-cut diamond alone was employed until the commencement of the seventeenth century4 ,about that time there came into use the rose1 a half-crystal1 flat at the base and with a convex top covered with a number of small facets4 ,stones faceted in this manner were at first mostly small and unimportant and cut very irregularly into four or six facets4 ,between the years #afda and #afdc1 ,cardinal ,mazarin1 a great lover of the diamond1 is said to have encouraged the promotion of experiments by the ,dutch lapidaries which led to the true rose cutting4 ,anyhow1 a more systematic method of faceting in sixteen facets--the taille en seize--began to be employed about that time4 ,this process1 though it left much to be desired1 was an immense improvement1 and set forth the qualities of the stone in a way that had not been possible by the forms previously in use4 ,roses1 together with tables1 as the designs of ,gilles ,lgar and his contemporaries show1 lasted until the invention of the brilliant at the commencement of the eighteenth century by the ,venetian1 ,vincenzo ,peruzzi1 though rose cutting was popular for some time after1 and is still used for certain stones4 ,the rose leaped into fashion at its first appearance1 and the taste for diamonds and other precious stones seems to have dominated under ,louis ,,xiii and ,louis ,,xiv1 when they became the principal objects in jewellery4 ,gold was worked into the form of garlands1 flowers1 and all sorts of designs for the purpose of mounting precious stones and setting off their beauty4 ,the enormous increase of luxury in this direction was entirely in keeping with the whole conception of an absolute monarchy as developed by ,louis ,,xiv1 who made it the duty of the grandees of ,france and ,spain to wear their whole property1 in the form of glittering gems1 and to carry the value of lands and forests upon their own and their wives' apparel when they appeared before the eyes of their sovereign4 ,though actual examples of the seventeenth-century jewellery are rare1 at any rate in public collections1 we can become acquainted with its characteristics by the numerous prints bequeathed by the goldsmiths and draughtsmen of the time4 ,these prints1 like those of the sixteenth century1 were not invariably the work of their designers1 since it was no uncommon practice for the master-goldsmith to have his designs multiplied for use in his own workshop1 and for general circulation1 by placing them in the hands of an engraver4 ,as a rule the nationalities of existing jewels may be in some measure determined by means of the designs from which they were executed4 ,but it is often difficult to make clear distinctions in this manner1 owing to the continual artistic interchange which brought the fashions of one place to another1 and caused the methods and ideas of the craftsmen to become common property4 ,the bi-lingual inscriptions which one finds on the frontispieces of many of the pattern-books or sets of designs then published1 prove that they were intended for international use4 ,the first attempts to base the composition of the ornament exclusively upon the effect of stones arranged in definite forms1 without granting the setting of the plastic metal any independent part1 are found in some of the prints of ,daniel ,mignot1 of the year #aeij4 ,mignot1 probably of ,french extraction1 was a goldsmith of ,augsburg1 where between the years #aeij and #afaf he produced a number of highly important designs for jewellery1 which form a link between the old and the newer styles4 ,while following the artists of the late sixteenth century in the representation of figure designs in cartouche-shaped ornaments formed of flat strapwork curves characteristic of the older school1 he presents engravings of pendants1 earrings1 and aigrettes1 in which the stones are set in juxtaposition4 ,illustration3 ,,plate ,,xxxix ,,engraved ,,designs ,,for ,,jewellery ,,by ,,daniel ,,mignot ,that the transition to the newer forms was slow1 is shown in the works of the goldsmith-engraver of ,amsterdam1 whose models for pendants1 signed with the initials ,p4 ,r4 ,k41 and dated #afji and #afag1 are formed of elaborate open scrollwork of tendril design1 almost destitute of stones4 ,exhibiting features more in keeping with those of ,mignot are the designs of ,paul ,birckenhultz of ,frankfort-on-the-,main 7#afag74 ,they are of fine quality1 and take the form of aigrettes and earrings set with precious stones and elaborate oval pendants terminating with pearls and ornamented with scroll ornaments intended for execution in enamel 7,pl4 ,,xl1 #d74 ,birckenhultz is the last of the ,german school of designers to model his work on the productions of the sixteenth-century masters4 ,henceforth one must look for designs chiefly to ,france1 where an entirely new type of ornament for jewellery1 such as is found in no other art production of the time1 was brought into existence by endeavours to associate leaf patterns with a number of stones4 ,its characteristic is the use of a sort of pea-pod or husk ornament1 termed ,schotenornamentik in ,german1 and known generally by the ,french name of genre cosse de pois 7pea-pod style74 ,in the designs of the time this formal ornament is largely employed for elaborate aigrettes2 but owing to the jewels executed from such designs having been set with stones1 the result has been that change of fashion has suffered scarcely a jewelled example to survive4 ,as a consequence1 the objects existing at the present day chiefly represent enamelled miniature-cases and pendants4 ,the number and variety of engraved designs for this kind of ornament in the form of jewelled bouquets or palmettes1 chiefly for aigrettes1 dating from the first half of the seventeenth century is surprising1 considering that it remained a comparatively short time in use4 ,one of the chief advocates of this style is ,pierre ,marchant1 who worked in ,paris about #afbc4 ,his rare designs for aigrettes1 and wreaths for the borders of pendants1 are most graceful1 and show a form of leaf ornament which is extremely happily adapted for materials in which the precious stone had to play a prominent part 7p4 #cjf74 ,another ,frenchman who employed it is ,pierre ,labarre 7#afcj71 goldsmith to ,louis ,,xiv1 who1 together with a well-known jeweller1 ,julien ,defontaine1 had apartments in the ,louvre4 ,amongst other ,french designers were ,jacques ,caillard 7#afbg71 ,baltasar ,lemersier 7#afbf-afcj71 ,claude ,rivard 7#aeib-afej71 ,franois ,lefebure 7#afce-affa71 and ,gdon ,lgar 7#afae-afgf71 to whom as orfvre-esmailleur1 together with ,pierre ,bain1 ,louis ,,xiv in #afga1 on the suggestion of ,colbert1 granted quarters in the ,louvre4 ,designs of the same nature were executed in ,strasburg by ,p4 ,symony 7#afba7 and ,hans ,mosbach 7#afbf71 and in ,holland by ,jacques ,honervogt 7#afbe74 ,the foregrounds or bases of nearly all these engravings are remarkable for the landscapes and for the quaint and vigorous genre figures in the style of the painter-engraver1 ,jacques ,callot1 that enliven them4 ,of all the goldsmiths of the time the best known is ,gilles ,lgar of ,chaumont-en-,bassigny1 who was jeweller to ,louis ,,xiv1 and worked in ,paris about #affc4 ,his series of designs1 entitled ,livre des ,ouvrages d',orfvrerie1 is perhaps the most interesting of the kind produced during the seventeenth century4 ,these fine compositions1 when formed of precious stones1 show knots and interlacings for clasps1 pendants1 and earrings1 in which diamonds are fully displayed in rose-cut forms4 ,as models for objects not composed entirely of stones1 we find seals1 rings1 bracelets and chains decorated with ribbons and bows mingled with monograms1 and emblems1 such as death's-heads4 ,together with these appear tasteful arrangements for enamel-work in the form of natural flowers of great charm and delicacy4 ,to these last reference will be made later4 ,contemporary with ,lgar was the painter and engraver ,balthazar ,moncornet1 who worked at ,rouen and ,paris4 ,his book of designs1 of which he was probably the inventor as well as engraver1 entitled ,livre nouveau de toutes sortes d'ouvrages d'orfvries1 was published about #afgjagc4 ,the jewels1 in the form of pendants1 earrings1 and brooches1 are composed of stones set in various ways2 the last plate is a miniature portrait of ,louis ,,xiv set as a brooch4 ,all his designs are accompanied by garlands of natural flowers4 #agc ,reproduced by ,quaritch in #ahhh4 ,illustration3 ,,plate ,,xl ,,designs ,,for ,,jewellery ,,by ,,gilles ,l,,gar ,,and ,,paul ,,birckenhultz ,complete as was the change which was brought about owing to the prominence given to the precious stone1 it must not be supposed that the enameller's art was by any means neglected4 ,though it cannot be compared with that in the best productions of the ,renaissance1 the enamel-work applied to seventeenth-century jewellery is1 nevertheless1 worthy of close attention4 ,enamel executed by the champlev method was much employed4 ,the technical process known as champlev was performed in two ways4 ,by one method the surface of the gold was simply incised with designs1 and the grooves thus made filled with enamel4 ,by another method only thin lines of the metal were reserved to form the design1 and the remainder of the field cut out to receive the enamel4 ,this latter system resembles in appearance the well-known cloisonn2 but the metal strips that form the partitions between the enamel1 instead of being inserted1 are a solid part of the metal base4 ,commonly employed on jewellery from the middle of the sixteenth century1 it remained in general favour1 together with the simpler form of champlev1 till about the third decade of the seventeenth century1 when it gave place to enamel-work of an entirely different kind4 ,for jewellery intended to be carried out by this champlev method1 or on rare occasions to be covered with translucent enamels1 we have at our service again a number of dated designs4 ,these engravings1 known as ,schwarzornamente or niello ornaments1 are in the nature of silhouettes4 ,the patterns1 reserved in white upon a black ground1 are composed of curves of flat and broken strapwork4 ,the designs are occasionally for complete jewels1 but most of them take the form of very small motives intended as patterns for the shoulders of finger rings1 or for the borders1 frames1 or other details of jewels4 ,some engraved plates are made up entirely of such motives2 on other plates they appear as details1 either within a complete design or upon the field outside it4 ,germany and the ,netherlands furnish the earliest examples of these4 ,several dating from the latter part of the sixteenth century are by monogrammists1 who signed their engravings with their initials1 and whose names are mostly unknown--such as the ,german master ,a4 ,c4 of the year #aeih4 ,among recognised engravers in this style are the following3--,of the ,german school3 ,arnold ,jrg 7#aehf-aeif71 ,corvinianus ,saur 7#aeij-aeig71 the rare ,hans ,hensel of ,sagan 7#aeii71 ,daniel ,hailler 7#afjd71 ,jonas ,bentzen 7#afae71 and ,daniel ,mignot 7#aeij7 and ,p4 ,symony 7#afba71 both of whom placed these motives on the field of their plates4 ,of the ,netherlandish school is the well-known ,michel ,le ,blon1 called ,blondus1 goldsmith at the ,court of ,queen ,christina of ,sweden1 who was born at ,frankfort-on-the-,main in #aehg and died at ,amsterdam in #afef4 ,his designs in silhouette1 the earliest of which1 in the ,british ,museum1 is dated #afje1agd were in great demand1 and appear not only on knife-handles1 but on oval and octagonal box-shaped pendants--presumably watch-cases4 ,also of the same school are3 the rare master1 ,hans van ,ghemert 7#aehe71 ,hans de ,bull 7#aeij71 the monogrammist ,p4 ,r4 ,k4 7#afji71 and ,guillaume de la ,quewellerie of ,amsterdam 7#afaa-afce74 ,in addition there is ,giovanni ,battista ,costantini of ,rome1 who published his ,ornementi per lavorare ,giorje in #afbb and #afbe4 #agd ,burlington ,magazine1 ,,viii1 p4 #acj1 #aije4 ,illustration3 ,,plate ,,xli ,,patterns ,,for ,,jewellery ,,and ,,enamelled ,,jewels ,,from ,,similar ,,designs ,the ,french goldsmith-engravers1 who produced designs in the silhouette manner intended for jewels that were to be enamelled by the champlev method1 include ,jehan ,vovert 7#afjb71 an anonymous engraver ,a4 ,d4 7#afjh71 ,jacques ,hurtu 7#afad-afai71 ,stephanus ,carteron of ,chtillon 7#afae71 ,pierre ,nolin 7#afbj71 and ,jean ,toutin 7#afai7 and his son ,henri 7#afbh74 ,the most important of these is the goldsmith and enameller ,jean ,toutin of ,chteaudun1 whose plates--six in number1 dated #afah and #afai--;are filled with charming motives for watch-cases or lockets1 to be carried out in enamel4 ,they are ornamented with patterns reserved in white on black ground in the form of trailing leaves and tendrils1 partly in the pea-pod style1 and accompanied by lively genre figures in various attitudes4 ,perhaps the most attractive of these plates is that which represents a jeweller--probably ,toutin himself--firing a jewel which he holds in the furnace by a pair of long tongs1 while above is figured a model of the actual jewel--an octagonal box-like pendant 7p4 #bhi74 ,toutin1 who appears to have been an experimenter in enamels1 is entitled to distinction as the discoverer of a new process of using them4 ,the process consisted in covering a plate of gold or copper with an opaque monochromatic enamel1 on which designs were painted with colours1 opaque and fusible1 and of greater variety than had previously been employed4 ,this method of enamel painting1 extensively used for jewellery1 proved to be peculiarly suitable to the representation of natural flowers which came into high favour about the same time4 ,the employment of naturalistic flower designs1 as displayed on the margins of manuscripts1 was one of the features of late ,gothic art4 ,the same tendency with regard to flowers was manifested on the enamelled jewellery of the fifteenth century1 the most striking example of which is the wonderful necklace seen on the ,flemish portrait of ,maria ,baroncelli in the ,uffizi ,gallery4 ,renaissance ornaments on the whole did not favour naturalistic floral patterns1 though flowers enamelled in full relief are occasionally found1 as on the border of the ,phoenix ,jewel in the ,british ,museum4 ,the general return in the early part of the seventeenth century to flower designs for the decoration of jewellery is associated with a curious phase in the social history of the time that accompanied the deep interest then taken in flowers and horticulture4 ,among flowers1 of which the ,dutch have ever been enthusiastically fond1 and never tired of growing and of painting1 the most prominent position was occupied by the tulip4 ,from about the year #afcd the cultivation of the tulip became a perfect craze in ,holland1 and ,tulipomania like a violent epidemic seized upon all classes of the community4 ,gambling of an almost unparalleled nature was carried on in the bulbs1 and the flower became fashionable everywhere4 ,in the bouquets which the enamellers arranged with great taste1 and painted with extraordinary skill1 the tulip is always prominent4 ,this and many other flowers1 and occasionally fruits1 were painted in the same manner as a picture1 on an enamel ground of uniform colour--generally white1 and sometimes pale blue1 yellow1 or black4 ,small plaques enamelled and painted thus are popularly known by the name of ,louis ,treize enamels1 though the majority of them were produced after ,louis ,,xiii's death in #afdc4 ,about #afdj it became the custom occasionally to model the design in relief with a paste of white enamel1 which was afterwards painted with vitreous colours according to nature4 ,towards the middle of the century the background of the flowers was pierced and cut away1 so that every single flower1 exquisitely modelled and coloured1 stood out by itself4 ,in addition to tulips of every variety1 and hyacinths1 sunflowers1 and roses1 all kinds of lilies were in favour1 especially the tiger-lily1 the crown imperial1 and different species of fritillaries1 whose beautifully spotted or chequered blossoms were rendered in their natural colours with striking fidelity4 ,flowers executed in this realistic style for jewellery were arranged chiefly in garlands and festoons1 in the manner of the wreaths painted by ,jan ,brueghel round several of ,rubens' pictures1 the flower pieces of such ,dutch and ,flemish painters as ,jan de ,heem1 ,van den ,hecke1 ,daniel ,seghers1 and ,van ,thielen1 and the wood carvings of ,grinling ,gibbons 7himself ,dutch by birth71 which display the same remarkable realism4 ,among the goldsmiths and draughtsmen of the time who have left designs for jewels in painted enamel are the ,germans ,heinrich ,raab and ,johann ,paulus ,hauer1 both goldsmiths of ,nuremberg4 ,their engravings1 with natural flower ornamentation very finely designed and executed1 were published about #afej4 ,they comprise crosses1 tuis1 scissor1 watch1 and scent cases1 and pendants--star- and bow-shaped1 and set each with a pendent pearl4 ,work in the same direction by the artists of the ,french school is of great importance4 ,gdon ,lgar1 though he practised the pea-pod style1 is the first to show a decided preference for natural flowers in his engravings1 which date from about #afdj4 ,he is followed by three famous masters of flower ornament--,balthazar ,moncornet1 ,gilles ,lgar1 and ,jean ,vauquer4 ,vauquer worked at ,blois between #afgj and #agjj1 and like many other engravers of jewellers' designs1 was a jeweller and enamel painter by profession4 ,he was a pupil of ,morlire of ,orleans1 who also worked at ,blois4 ,his fine plates of flowers and ornamental foliage1 engraved after his own designs and entitled ,livre de fleurs propres pour orfvres et graveurs1 were published in #afhj4age ,vauquer was an enamel painter of pre-eminent ability1 and one of the greatest exponents of the day of the art of representing natural flowers4 #age ,reproduced by ,quaritch in #ahhh4 ,of the designs of ,moncornet 7c4 #afgj7 and ,gilles ,lgar 7c4 #affc7 for jewelled ornaments we have already spoken4 ,moncornet1 a great lover of flowers1 accompanied his jewels by charming garlands4 ,with him and ,vauquer and ,lgar must be associated the renowned enamel painter ,jean ,petitot 7#afjg-afia71 who was first an enameller of jewellery4 ,so highly skilled was he as a painter of flower designs and foliage on rings and other ornaments1 that on going over to ,england in #afce he entered at once into the service of ,charles ,i1 where he brought to perfection his famous enamelled portraits4 ,several actual examples have survived of the enamel-work of ,gilles ,lgar1 whose designs--the best-known of this time--reveal a charming feeling for natural flower ornaments4 ,his chef d'oeuvre is generally considered to be the garland of flowers painted in enamel in open-work relief that surrounds a miniature by ,petitot of the ,countess d',olonne in the collection of ,major ,holford at ,dorchester ,house4 ,this splendid piece1 on which the tints of the flowers are rendered with striking fidelity1 was formerly in the collection of a great ,french connoisseur of the eighteenth century1 ,p4 ,j4 ,mariette4 ,at his death it passed into the possession of ,horace ,walpole1 who counted it as one of his special treasures4 ,it joined the ,dorchester ,house collection after the ,strawberry ,hill sale in #ahdb4 ,if this magnificent enamel-work be by the hand of ,lgar1 and we may take ,mariette's word for it that it is1#agf this clever craftsman must have worked for ,petitot2 for another very fine example of the same kind of work1 a wreath of enamelled flowers finely modelled and painted1 surrounds a miniature by ,petitot in the possession of the ,earl of ,dartrey4 #agf ,mariette1 ,abecedario1 ,,iv1 p4 #acc4 ,to sum up the characteristic styles of seventeenth-century ornament which we have endeavoured to describe1 the first feature is the general preference for precious stones1 and especially diamonds1 and the use of the pea-pod ornament for displaying them4 ,from this style1 practised by ,marchant and many others1 we pass1 secondly1 to the ,schwarzornamente or silhouette designs of ,le ,blon and ,toutin employed for champlev enamel4 ,thirdly comes the development of naturalistic flower designs1 and the application of these to the painted ,louis ,treize enamel evolved by ,toutin1 and perfected by ,petitot1 ,vauquer1 and ,lgar4 ,illustration3 ,jean ,toutin in his workshop1 firing an enamelled jewel4 ,,chapter ,,xxxi ,,seventeenth ,,century ,,jewellery 7continued7 ,,england1 ,,seventeenth ,,century ,the jewels of the seventeenth century1 as has been observed1 are comparatively rare in public collections4 ,unlike those of the ,cinquecento1 which find a more appropriate place in the museum or collector's cabinet1 they are admirably adapted for personal use at the present day2 but until the change of taste of the last few years in favour of old work1 these attractive objects1 owing to their being set with precious stones of intrinsic value1 suffered cruelly at the hands of modern jewellers in the destructive process of resetting4 ,partly for this reason it is less easy than it was with the jewellery of the century previous to notify extant examples of all species of ornaments4 ,their main features1 already described1 lie in a preference for precious stones1 and for a style of ornament which1 at first formal1 evolves into naturalistic flower designs in painted enamel4 ,widespread luxury accompanied the large importation of precious stones4 ,ladies made each new fte a pretext for greater extravagance and greater efforts to outshine their neighbours2 and the ornament in which they seem above all to have delighted for the best display of their wealth of jewellery was the aigrette4 ,this ornament1 of which some mention has been made 7p4 #bha71 generally took the form of a bouquet of flowers on movable stalks1 composed of clusters of precious stones in enamelled gold1 accompanied sometimes by a jewelled knot1 and was fixed in the hair on all occasions of ceremony4 ,a large number of these bouquets are mentioned in the inventory of the ,french crown jewels of #afah4 ,in default of actual examples we must rely on the designs which the jewellers of the day published for them1 and also on contemporary portraits1 which further illustrate a passing mode for plaiting strings of pearls through the hair4 ,illustration3 ,,plate ,,xlii ,,seventeenth-,,century ,,enamelled ,,pendants ,of earrings1 on the other hand1 a considerable number of examples have survived4 ,french and ,english portraits show at first only a large pear-shaped pearl in each ear4 ,in the second half of the century more elaborate earrings came into use4 ,spain1 where these ornaments have always been popular1 produced at the time a number of portraits exhibiting earrings of open-work set with coloured stones4 ,they are in the form of a rosette or bow-shaped ornament hung with movable pendants4 ,the engravings of ,rivard 7#afdf71 ,lefebure 7#afdg71 and ,gilles ,lgar 7#affc7 include designs for earrings2 those of the last-named being such voluminous jewels1 hung with triple briolettes1 pendeloques1 or pearls1 that they might easily be mistaken for neck pendants4 ,the majority of earrings of this period1 now existing1 are of ,spanish1 ,portuguese1 or ,italian origin4 ,the general type of earring then in use is well shown in ,rembrandt's portrait of ,hendrickje ,stoffels 7about #afeb71 in the ,louvre1 where it takes the form of an elaborate pendant terminating with a big pearl drop4 ,necklaces of light open-work design are set with diamonds or coloured stones4 ,these seldom have a special pendant2 they were1 in fact1 fast disappearing to make room for rows of pearls4 ,jewelled pendants1 often consisting of two or more mobile parts1 were frequently attached to a velvet band that closely encircled the throat4 ,more important pendants of this period are those which take the forms of mounted engraved gems or enamelled portraits1 or else of miniature cases or lockets beautifully enamelled4 ,the finest series of mounted gems is that in the ,bibliothque ,nationale at ,paris4 ,some of the mounts are executed in the pea pod style in open-work2 others are ornamented with champlev enamel1 after the niello designs in the silhouette manner2 others again are of natural flower designs in painted enamel4 ,there is a noteworthy example at ,paris of the pea-pod style--a cameo 7,no4 #gia7 of ,louis ,,xiii as an infant4 ,it is in an open-work frame of opaque enamel--black1 dark green1 and white--of about #afje1 which bears a very close resemblance to one of the published designs of ,pierre ,marchant4 ,in the ,gem ,room of the ,british ,museum is a still finer example1 and one of the most splendid jewels from the famous ,marlborough ,collection4 ,it is of open-work1 enamelled white and green3 the husks or pods1 set each with a small diamond1 are in green1 and the little pea ornaments issuing therefrom are in white enamel 7,pl4 ,,xliv1 #ag74 ,the work dates from the first years of the seventeenth century4 ,the gem it serves to enrich1 a fine onyx cameo of ,lucius ,verus1 is slightly earlier4 ,the choicest example of painted enamel of flower design in open relief is certainly the mounting or frame of a magnificent pendant 7,no4 #ifa7 in the ,bibliothque ,nationale1 set with a cameo of ,lucrezia de' ,medici1 wife of ,alfonso ,,ii1 ,duke of ,ferrara4 ,this frame1 quite unmatched for its taste and skill1 is formed of a garland of flowers1 open-worked1 and enamelled in the utmost delicacy with white1 pale yellow1 and light green enamel1 heightened with reddish touches 7,pl4 ,,xliii1 #f74 ,among other jewels of the same style1 of which there are quite a number1 one may mention the setting of an antique ,roman cameo 7,pl4 ,,xliv1 #ae71 and the reverse of the onyx ,george of ,charles ,,ii 7,pl4 ,,xxviii1 #a7 both ,english work1 at ,windsor ,castle#agg4 ,besides the two beautiful examples of his work already noticed 7p4 #bhh71 it is usual to associate with ,gilles ,lgar the frame of birds and flowers1 enamelled black and white1 that surrounds ,petitot's portrait of ,louis ,,xiv in the ,jones ,collection at ,south ,kensington4 ,the designs of ,vauquer1 also1 seem to have been followed in many similar kinds of enamelled jewels4 #agg ,these are described in the ,connoiseur1 ,v1 p4 #bdc4 ,illustration3 ,,plate ,,xliii ,,seventeenth ,,century ,,enamelled ,,miniature ,,cases1 ,,lockets1 ,,etc4 ,the pendent miniature-cases or lockets of the seventeenth century are of great interest4 ,the best example of those enriched with champlev enamel is the ,lyte ,jewel 7p4 #cjc74 ,the pea-pod style is well shown on the back of a miniature-case containing a female portrait by ,peter ,oliver 7#afja-afdg7 in the ,dyce ,collection at ,south ,kensington 7,pl4 ,,xliii1 #b74 ,it is enamelled en plein with translucent green on a ground of matted gold1 with the pea-pod pattern in white1 after an engraved design by the ,french ornamentist ,pierre ,firens 7#afje-afbe74 ,this same style of ornament is seen on a miniature-case maill en rsille sur verre#agh belonging to ,mr4 ,pierpont ,morgan4 ,enamel-work after the silhouette engravings of the same period is represented by one of its principal exponents1 ,jean ,toutin of ,chteaudun 7#afah71 on the front and back of a miniature-case 7,plate ,,xliii1 #a7 in the possession of ,mr4 ,pierpont ,morgan1 ornamented with designs en genre cosse de pois reserved in gold on a ground of black enamel4 ,small plaques of ,louis ,treize enamel painted in natural colours on a monochrome ground were frequently employed for miniature-cases4 ,a considerable number of these1 of both ,french and ,german 7,augsburg7 work1 exist4 ,english work is rarer3 an example1 upon the cover of a miniature of ,oliver ,cromwell1 painted with roses and leaves in natural colours on a white ground1 is preserved in the ,university ,galleries1 ,oxford4 ,enamelled flower designs modelled in relief1 sometimes on open-work ground1 in the manner of ,vauquer and ,lgar1 are also found on lockets4 ,an exquisite little example1 inscribed ,o4,c4 #afec1 belongs to ,mr4 ,max ,rosenheim4 ,it contains an enamelled miniature of ,oliver ,cromwell4 #agh ,see pp4 #bgc and #big4 ,like the aigrette1 an important jewel worn at this time was a breast ornament1 termed a ,svign1 after the celebrated lady of that name4 ,this ornament took the form of a bow or rosette of open-work1 of foliated design1 generally of silver1 set with small diamond splinters4 ,as the century advanced the work set with small stones and diamond sparks in substantial mounts was replaced by open-work jewels1 known as lazos jewels1 set with large flat stones1 and ornaments formed of several pieces--an upper part of tied bow or knot shape and hung with pendants--all set with rose-cut stones4 ,much of this work1 intended for the display of diamonds and various coloured stones in imitation of flowers1 hails from ,spain4 ,it is admirably shown in ,spanish portraits--those1 for example1 by ,velasquez1 ,coello1 etc2 in the large series of ,habsburg portraits preserved in the castle of ,schnbrunn1 in ,austria2 and in portraits of the ,medici family by the painter ,sustermans 7#aeig-afha7 in the ,uffizi and ,pitti galleries4 ,it is here worthy of note that still in the seventeenth century we find elaborate ornamentation applied to the back of jewels--a notable feature in almost all jewellery of the finest craftsmanship4 ,a plain surface on this part of the jewel was generally avoided by a charming use of the graver1 or by means of small panels of painted enamel4 ,bracelets set with precious stones are generally of open-work of the same style as the necklaces4 ,of those executed in enamel there is a good ,french example at ,south ,kensington 7,plate ,,xxxvii1 #b74 ,it is formed of six medallions1 each containing a crowned cypher alternating with true-lover's knots4 ,it may usefully be compared with ,gilles ,lgar's designs for bracelets and chains on ,plate #h of his ,livre des ,ouvrages d',orfvrerie4 ,illustration3 ,,plate ,,xliv ,,rings1 ,,slides ,,and ,,pendants ,,seventeenth ,,and ,,early ,,eighteenth ,,centuries ,the finger rings of the early seventeenth century1 as far as one can judge from pictures1 did not differ essentially from the late sixteenth-century types2 in fact many of the ornamental rings usually ascribed to the sixteenth century really date from the first half of the seventeenth4 ,the majority of small niello designs engraved at this period were patterns for the shoulders of rings1 intended to be executed in enamel by the champlev process 7,pl4 ,,xli74 ,henri1 son of ,jean ,toutin1 furnishes a couple of engravings for rings1 of the year #afbh1 of which the whole outer surface of the hoop is covered with designs reserved in white on a black ground4 ,de la ,quewellerie of ,amsterdam1 #afce1 has also left the designs for a finger ring in the same style4 ,the love for bouquets d'orfvrerie--flower designs in coloured stones--finds expression1 towards the end of the century1 in the giardinetti ring1 the bezel of which is formed like a nosegay1 a basket of flowers1 or a bunch of flowers springing from a vase4 ,these floral designs are of charming execution1 and their coloured stones produce an extremely pleasing effect4 ,many of these rings are ,italian1 but there are several ,english examples at ,south ,kensington 7,pl4 ,,xxxvi1 #i1 #aj74 ,painted enamels in flower patterns are found not only on the shoulders of rings1 but covering the entire outer surface4 ,occasionally flowers enamelled jour occur1 the hoop of the ring being hollow4 ,lord ,falkland possesses a good example of one of these rings encircled with coloured flowers 7,pl4 ,,xliv1 #h74 ,the hollow space is filled with hair4 ,within the hoop is the posy ,difficulty sweetens enjoyment4 ,mottoes or posies of this kind were occasionally engraved on medival rings and on those of the sixteenth century1 but the majority of the large number of rings on which such mottoes occur belong to the seventeenth and eighteenth centuries4 ,unlike the example just mentioned1 these rings1 with the motto engraved inside them1 usually have plain hoops1 and were used as engagement1 and sometimes as wedding rings4 ,the mottoes generally rhyme1 but are not remarkable for poetic skill1 and they are found constantly repeated4 ,numbers of the verses employed for the purpose are given in ,jones's ,finger-,ring ,lore1 and in an article published by ,sir ,john ,evans in ,longman's ,magazine 7#ahib74 ,a few examples will suffice3 ,as ,god decreed so we agreed2 ,god above increase our love2 ,this take for my sake2 ,the love is true ,i owe you2 ,in thee my choice ,i do rejoice4 ,posy rings1 like mourning rings1 to be referred to later1 are almost exclusively ,english4 ,as regards the ordinary ornamental ring of the period1 it is to be observed that the diamond1 which came so much to the front at this time1 found a prominent place on it4 ,towards the close of the century1 though enamel-work is still visible1 the purpose of the ring1 as at the present day1 seems to have been nothing more than for displaying the diamond on the finger1 so far as one may judge from some of ,lgar's designs 7,pl4 ,,xl1 #b74 ,the girdle in the seventeenth century was still an important ornament for ladies4 ,the great portrait painters of the ,low ,countries present ladies wearing massive linked chains terminating in elaborate pomanders4 ,not infrequently the lady is shown1 as in a picture by ,gerard ,douffet at ,munich1 holding the pomander in her hand4 ,a fine pomander is seen in a portrait of a ,flemish lady by ,cornelis de ,vos in the ,wallace ,collection1 and one of extraordinary beauty is worn by a ,dutch lady in a splendid picture by ,frans ,hals in the ,cassel ,gallery4 ,amongst the various seventeenth-century girdles to be found in public collections1 without doubt the most remarkable are two examples1 one in the ,victoria and ,albert ,museum and the other in the ,wallace ,collection4 ,they represent the species of enamel-work known as mail en rsille sur verre1 which was employed during the latter part of the sixteenth and the early seventeenth century for miniature and mirror cases--of which specimens in the ,morgan ,collection and the ,louvre have already been noticed--and for the dials of watches4 ,the girdle at ,south ,kensington1 of ,french work of the early seventeenth century1 is formed of twenty-one oblong and slightly convex plates linked together by rosettes4 ,these plates1 of silver1 are filled with glass paste1 which is backed with coloured foils and inlaid with minute designs in translucent enamel on gold1 representing hunting and other country scenes4 ,the chain in the ,wallace ,collection1 which might possibly have been worn as a neck-chain1 is almost identical in subject and design1 save that the oblong links number eighteen1 while the rosettes uniting them are enamelled and set with garnets4 ,the jewel which best represents the various kinds of decoration in the way of engraving and enamel-work applied to seventeenth-century ornaments is the watch4 ,from the early part of the century the round form1 more or less flat1 which has been preserved from that time to the present day1 began to be generally adopted for watches4 ,all the different species of work employed on miniature-cases are found on watch dial-plates and cases4 ,the interesting cosse de pois ornament is represented in the ,british ,museum on the dial-plate of a watch by ,d4 ,bouquet of ,london1 of about #afcj-afdj4 ,it is executed by the rare process just described--the pattern being inlaid on gold upon a ground of green glass or enamel4 ,another watch1 by ,vautier of ,blois1 has the centre of the dial enriched with translucent enamel in gold cloisons on opaque white4 ,among watches with richly decorated cases there is in the same collection another by ,bouquet1 beautifully enamelled with flowers in relief1 of various colours and kinds1 on a black ground encrusted with small diamonds4 ,besides the names already mentioned1 the best-known enamellers of watch-cases from about #afhj to #agjj were the brothers ,huault1 or ,huaud1 of ,geneva1 who worked also at ,berlin4 ,no more examples need be given of the different species of enamel applied to seventeenth-century jewellery4 ,enough has been said to demonstrate the importance and attractiveness of the comparatively little-known enamel-work of this time4 ,during the greater part of the seventeenth century the watch was simply hung by a chain to the girdle1 as we see it on the two portraits 7about #afde7 of the wife of ,john ,tradescant the younger in the ,ashmolean ,museum1 ,oxford4 ,the elaborate chatelaines which attached the watch to women's girdles1 and the chains which hung from the fob-pocket of men1 belong rather to the eighteenth century2 but they were already in use1 and from them were suspended that most attractive article of jewellery1 the seal1 which was then beginning to take the place of the signet ring4 ,evelyn1 in his ,mundus ,muliebris1 or ,voyage to ,marryland 7#afij71 gives a rhyming catalogue of a lady's toilet1 and alludes to the chatelaine3-- ,to which a bunch of onyxes1 ,and many a golden seal there dangles1 ,mysterious cyphers1 and new fangles4 ,the designs of ,lgar contain several charming pendent seals having their shanks or handles finely worked with monograms and other patterns 7,pl4 ,,xl74 ,seals1 however1 together with the chatelaine and the rest of its accompaniments1 will be spoken of later4 ,there remain various pieces of jewellery1 such as buckles1 clasps1 or brooches1 which were sprinkled on different parts of the dress4 ,like the svign or breast ornament1 they often take the form of a tied bow1 and find a place on the arms and shoulders1 and in rows down the front of the bodice and the skirt4 ,in the latter part of the century jewelled buckles replaced the rosette of ribbons on the shoe4 ,thus again ,evelyn speaks of3-- ,diamond buckles too1 ,for garters1 and as rich for shoo 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 ,a manteau girdle1 ruby buckle1 ,and brilliant diamond rings for knuckle4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 ,a saphire bodkin for the hair1 ,or sparkling facet diamonds there3 ,then turquois1 ruby1 emrauld rings ,for fingers1 and such petty things2 ,as diamond pendants for the ears1 ,must needs be had1 or two pearl pears1 ,pearl neck-lace1 large and oriental1 ,and diamond1 and of amber pale4 ,,england1 ,,seventeenth ,,century ,in ,england in the time of ,james ,i1 the love of personal ornament1 among men as well as women1 was even more widespread than before4 ,king ,james1 and also his ,queen1 who herself possessed a highly extravagant taste for jewellery1 set a public example by their patronage of the jewellers2 while the nobility outbid one another in lavish expenditure4 ,john ,chamberlain1 an entertaining correspondent of the day1 writes thus in #afjh to a friend unable to attend a masque3 ,whatsoever the devise may be1 and what success they may have in their dancing1 yet you should be sure to have seen great riches in jewels1 when one lady1 and that under a baroness1 is said to be furnished for better than a hundred thousand pounds2 and the lady ,arabella goes beyond her1 and the ,queen must not come behind4 ,contemporary chroniclers have left no descriptions that show precisely how the ,king's own person reflected the fashions in jewellery of his day1 yet we know that he possessed an almost childish admiration for bravery1 as it then was termed1 particularly such as was intended for the decoration of those about his person4 ,a very curious instance of the ,king's interest in these matters is to be found in the elaborate instructions he issued concerning the despatch of a large consignment of jewels for the use of the ,prince of ,wales1 and his favourite1 ,buckingham1 on their memorable journey to ,spain in #afbc4 ,in the spring of that year orders were given to several officers of ,state1 and with them the jeweller ,heriot1 to repair to the ,tower and make a selection of the finest jewels there--some fit for a woman1 and others for the ,prince to wear4 ,among them a jewel called the ,three ,brothers1 five or six faire jewels to be worn in men's hats1 same to be of #f1jjj or #g1jjj value1 and none under2 the five pendent diamonds that were the ,queen's1 whether they remain upon a string or be made up upon a feather4 ,if none of the ,targett fashion for hats1 the jewels to be broke up to make them4#agi #agi ,historical ,,mss4 ,commission1 ,,iv1 p4 #bhf4 ,to his son and favourite the ,king then addresses a letter1 in which he tells them that he had been choosing the jewells ,i am to send you1 whereof my ,babie is to present some to his ,mistresse1 and some of the best hee is to wear himselfe1 and the next best hee will lend to my bastard brat ,buckingham to wear4 ,on their removal from the ,tower the jewels are carefully inventoried1 and ,heriot is set to work to refashion them4 ,after a fortnight's work he promises that they will be finished in a few days4 ,so1 on the #ahth of ,march1 the jewels1 we learn1 have been delivered4 ,mr4 ,herriot is gone to assist in packing them1 and has sat up day and night to get them completed4#ahj #ahj ,calendar of ,state ,papers1 ,domestic1 ,march #ah1 #afbc4 ,the ,king then writes that he is sending for his ,babie's owin wearing 444 the ,three ,brethren1#aha that you knowe full well1 but newlie sette1 and the ,mirroure of ,frawnce1 the fellowe of the ,portugall ,dyamont1 quhiche ,i wolde wishe you to weare alone in your hatte with a litle blakke feather4 ,to his sweete ,gosseppe he sends a fair table dyamonde4 ,i have hung1 he says1 a faire peare pearle to it for wearing in thy hatte or quhair thow pleasis4#ahb #aha ,see p4 #bji4 #ahb ,nichols1 ,progresses of ,james ,i1 ,,iv1 p4 #hcj4 ,a complete list of the jewels removed from the ,tower is given in ,archologia1 ,,xxi1 p4 #adh4 ,as the result of extensive transactions both with the ,crown and the nobility the jewellers of the day seem to have reaped a rich harvest2 and they attained to positions of eminence by adding banking to their more ancient art of working in the precious metals4 ,of the royal jewellers1 ,george ,heriot of ,edinburgh--rendered immortal by ,sir ,walter ,scott as ,jingling ,geordie--the founder of ,heriot's ,hospital1 comes first to mind4 ,heriot received in #aeig a life appointment as jeweller to ,queen ,anne of ,denmark1 and in #afja ,james made him his own jeweller4 ,he followed the ,king to ,london1 and in #afjc1 together with ,william ,herrick and ,john ,spilman1 was appointed jeweller to the ,king1 ,queen1 and ,prince1 at a yearly salary of #ej4 ,immense sums of money were paid him both as interest on loans and for the jewels supplied to their ,majesties1 of which long lists have been preserved4 ,sir ,john ,spilman1 a ,german by birth and one of the chief jewellers of ,queen ,elizabeth1 executed great quantities of jewellery at the royal commands2 but ,sir ,william ,herrick seems to have obtained an even larger share of the royal patronage4 ,queen ,anne of ,denmark1 who spent an enormous amount on personal ornaments1 received #cf1jjj worth from him alone4 ,queen ,anne1 writes a contemporary shortly after her death1 hath left a world of brave jewels behind2 and although one ,piers1 an outlandish man1 hath run away with many1 she hath left all to the ,prince ,charles and none to the ,queen of ,bohemia her daughter ,elizabeth4 ,in fact1 so many of her jewels were embezzled that scarcely a vestige remained1 though ,herrick produced the models of them and swore to their delivery4#ahc ,the poet ,robert ,herrick1 ,sir ,william ,herrick's nephew1 was a jeweller-apprentice to his uncle for several years1 and his early training seems to have left a strong impression on him1 for his poems throughout betray a love and appreciation for jewels4 ,among other jewellers whose names occur in the ,state ,papers1 the following may be mentioned3 ,philip ,jacobson1 ,arnold ,lulls1 ,john ,acton1 and ,john ,williams--a maker of gold neck-chains and pendent medals4 #ahc ,nichols1 op4 cit41 ,,iii1 p4 #edh4 ,as far as the actual productions of the ,jacobean jewellers are concerned we meet with comparatively few examples2 this want1 however1 is supplied1 to a certain extent1 by means of a beautiful set of contemporary drawings for jewellery preserved in the ,victoria and ,albert ,museum--the work of ,arnold ,lulls1 a jeweller whose name occurs several times in the royal accounts4 ,in conjunction with ,sir ,william ,herrick1 ,lulls supplied the ,king in #afje1 as ,new ,year's gifts for the ,royal ,family1 with jewels to the amount of #c1jjj4 ,for a certain jewel of diamonds1 with pearls pendent1 and two dozen buttons supplied by him and ,jacobson1 and bestowed by ,his ,majesty on the ,queen at the ,princess ,mary's christening the same year1 ,lulls was paid #a1eej4ahd #ahd ,devon 7,f471 ,issues of the ,exchequer1 ,james ,i 7,pell records71 p4 #di4 ,lulls' designs1 drawn in water-colours in a parchment book1 number altogether forty-one4 ,the majority1 set with large table-cut stones and hung with huge pear-shaped drops1 are for pendent ornaments1 for wearing either on the neck-chain1 or as earrings1 or else upon the hat4 ,among the drawings are two designs for a rope of round pearls1 great and orient--forty-seven in number--given to the ,queen1 and several designs for the above-mentioned diamond and pearl ornament given her in #afje2 two drawings for ,georges of the ,order of the ,garter given to ,prince ,henry2 and designs for a large balas ruby with pearl pendant mentioned in an inventory of the ,prince's jewels4#ahe ,the remaining drawings include four of jewelled aigrettes set with diamonds1 rubies1 emeralds1 and sapphires 7,plate ,,xxx1 #a74 ,these remarkable contemporary illustrations of ,english jewellery reveal the change then beginning to take place in the character of personal ornaments4 ,yet1 though precious stones are much in evidence1 in almost every case their settings are coloured1 while the design of each jewel is completed with charming scrollwork enriched with polychrome enamels4 #ahe ,archologia1 ,,xv1 p4 #ai4 ,the finest ,jacobean jewel in existence is the famous miniature-case known as the ,lyte ,jewel1 now in the ,waddesdon ,bequest in the ,british ,museum4 ,miniature-cases of gold elaborately enamelled1 with hinged fronts often set with jewels1 were as much in vogue as in ,elizabeth's time2 and records show that many precious picture cases of the kind were made for ,james ,i as presents to personal friends or to ambassadors4 ,the cover of the ,lyte ,jewel is of open-work1 filled with the letter ,r1 with diamonds on the outside and brilliant enamel within4 ,the back is a white enamelled plate with a design in fine gold lines and ruby enamel1 the edge being enamelled alternately ruby colour and sapphire-blue4 ,within is a portrait of ,james ,i ascribed to ,isaac ,oliver4 ,the first owner of the jewel was ,mr4 ,thomas ,lyte4 ,this gentleman drew up a long pedigree of ,king ,james ,i's ancestry and presented it to the ,king1 who was so much pleased with it that he rewarded ,mr4 ,lyte with his picture in gold1 set with diamonds1 with gracious thanks4 ,the jewel passed from the ,lyte family some generations ago into the hands of the ,duke of ,hamilton4 ,at the dispersal of the ,hamilton ,palace collection it was bought for the sum of #b1hce by ,baron ,ferdinand ,rothschild1 who bequeathed it with his other art treasures to the ,british ,museum4 ,a contemporary portrait of ,thomas ,lyte1 dated #afaa1 in the possession of ,sir ,henry ,maxwell ,lyte shows him wearing it suspended from a brown ribbon round his neck4 ,the jewel is the same1 save that the drop at the bottom1 now a single pearl1 was originally trilobed4 ,this exquisite jewel was probably the work of one of the court jewellers mentioned above4 ,the design on the back1 which corresponds in style with engravings of ,daniel ,mignot and the other earlier designers in the silhouette manner1 exemplifies the influence exercised by the ornamentists on all the jewellery of the period 7,pl4 ,,xli74 ,throughout the reign of ,charles ,i ornaments in the same style as those portrayed in ,lulls' drawings appear to have remained in use4 ,all jewellery was largely influenced by the pattern-books issued from the goldsmith-engravers' shops of ,germany1 ,france and ,flanders4 ,several jewellers themselves came over1 as did the well-known ,michel ,le ,blon1 in the early part of the reign4 ,in #afce the famous goldsmith-enamellers ,petitot and ,bordier likewise visited ,england1 and doubtless made their influence felt on the enamelled jewellery of the time4 ,the period1 on the whole1 though it terminated disastrously for all the sumptuary arts1 seems to have been a prolific one in the production of jewellery4 ,the chief business was shared by the court jewellers--,james ,heriot 7half-brother of ,george ,heriot71 ,philip ,jacobson1 ,thomas ,simpson1 ,john ,acton1 and ,william ,terrey4 ,though he showered commissions on these jewellers1 the ,king had commenced early in his reign the dispersal of the immense hoards of jewellery brought together by his predecessors2 and by selling and pawning raised large sums of money1 to make good the deficiencies caused by the rupture with ,parliament4 ,subsequently1 during the ,civil ,war1 to relieve his personal necessities1 numbers of jewels were sold at home1 and many more pawned and sent over to the dealers at ,amsterdam1 who broke them up for the intrinsic value of their gold and precious stones2 while the remainder were put under the hammer by a commission appointed after the ,king's death to dispose of the works of art in the royal collection4 ,illustration3 ,,plate ,,xlv ,,page ,,from ,,the ,,ledger ,,of ,,sir ,,francis ,,child1 ,,jeweller ,,to ,,william ,,iii ,the fact that all classes during the struggle parted with their valuables to assist their respective champions has rendered jewellery extremely rare4 ,women1 and even little children1 voluntarily sent their necklaces and brooches for the ,king2 while ,cromwell was assisted in the same manner4 ,great luxury in jewellery appears to have been associated with the ,court of ,charles ,,ii4 ,the ,king himself bestowed magnificent presents on his mistresses4 ,amongst his jewellers was that prince of goldsmiths1 ,sir ,robert ,vyner1 who made the crown jewels4 ,later on ,king ,charles had as court jeweller the celebrated ,french traveller and gem merchant ,sir ,john ,chardin1 who settled in ,london with an immense collection of precious stones acquired in the ,east4 ,another eminent jeweller of the time was the banker ,alderman ,edward ,backwell1 whose old books1 still preserved1 are full of interesting accounts for jewels supplied during the ,commonwealth and the reign of ,charles ,,ii4 ,the religious troubles which had led ,chardin to quit ,france induced a number of other ,french jewellers1 after the revocation of the ,edict of ,nantes in #afhe1 to establish themselves in ,england4 ,these foreign jewellers1 like the army of craftsmen in every field that at all times swarmed into ,england1 soon accustomed themselves to their environment and became as ,english as the ,english themselves4 ,english work has ever had its own distinctive mark1 for whatever the native craftsmen themselves borrowed they speedily made their own4 ,the chief jeweller of the latter part of the century was ,sir ,francis ,child--one of the founders of the great banking house that still bears his name4 ,he was appointed court jeweller to ,william ,,iii in #afhi1 and supplied the ,king with a great quantity of jewellery4 ,much of this was intended as presents to ambassadors2 for jewellery1 it appears1 played a very prominent part in the diplomatic affairs of the day4 ,even the most trifling negotiation cost the ,exchequer an enormous amount in presents of this kind1 while foreign envoys were likewise obliged to disburse large sums for the same purpose4 ,lists of these gifts and of other jewels are preserved in the ledgers of this ancient firm of goldsmith-bankers1 and have been published by ,mr4 ,f4 ,g4 ,hilton ,price in ,the ,marygold by ,temple ,bar4 ,a set of drawings for jewels of about the year #afgd from ,sir ,francis ,child's ledger1 with particulars concerning them in the great goldsmith's own handwriting1 is here reproduced 7,pl4 ,,xlv74 ,illustration3 ,design for a pendent miniature-frame by ,pierre ,marchant4 ,,chapter ,,xxxii ,,eighteenth-,,century ,,jewellery ,the jewellery that came into fashion towards the close of the seventeenth century and flourished during the greater part of the eighteenth follows the style known as rococo4 ,rococo ornament with its assemblage of rich fantastic scrolls and crimped conventional shellwork wrought into irregular and indescribable forms1 though overcharged and inorganic1 yet possesses certain beauty and artistic quality4 ,like most objects in this style1 rococo jewellery has a real decorative charm4 ,but the title of baroque or rococo is really less adapted to jewellery than to other art productions of the time1 for jewellery itself never indulged in the same extravagant use of this form of ornament4 ,except for slight changes in design1 eighteenth-century jewellery1 as far as its general form is concerned1 does not at first display any marked variation from that of the previous century4 ,a charming but somewhat superficial sentimentality expressed by means of pastoral subjects results in ornaments on which tokens of friendship are represented in all manner of forms4 ,the naturalistic tendency in ornament is still strong1 but is less striking than it was before1 since feather1 ribbon1 and other conventional designs make their appearance1 mingled with flowers and leaves4 ,these rococo jewels1 on account of the setting and arrangement of the precious stones which entirely govern their composition1 are in their way masterpieces both technically and artistically4 ,unlike the earlier jewels1 one cannot help regarding them rather more as accessories to costume than as independent works of art4 ,the general character of the jewellery of the period with which we are now dealing may best be judged by a notable series of original designs in colour for such objects executed by the ,santini family of ,florence1 and now preserved in the ,library of the ,victoria and ,albert ,museum4 ,this remarkable collection comprises upwards of #chb separate designs1 which are mostly constructed in a manner best calculated to show off the brilliant character and size of the stones and pearls1 on which their effect mainly depends4 ,a large proportion of the drawings take the form of what at this period constituted a parure1 or set of jewels1 composed of three items of similar design--a bow-shaped breast ornament hung with a cross1 and a pair of earrings en suite4 ,in place of the breast ornament is sometimes a ,v-shaped corsage in imitation of hooks and eyes or braidwork1 set with various precious stones4 ,the whole work shows that in the eighteenth century the stone cutter and stone setter had practically supplanted the artist in precious metals4 ,in the metal-work of the settings--in most cases a matter of minor consideration--gold is employed for coloured stones and silver for diamonds4 ,the general tendency is towards the rococo1 but this type of ornament is here by no means strongly marked4 ,in other directions1 however1 it is more apparent1 and already in the seventeenth century we meet with traces of it in engraved designs for jewellery4 ,the best work of this kind is that of ,friedrich ,jacob ,morisson1 a draughtsman and jeweller who worked at ,vienna from about #afic to #afig4 ,he was one of the most popular jewellers of the day1 and his plates1 which are rich in motives for ornaments in precious stones and fine metal-work1 found a wide circulation4 ,they comprise aigrettes1 earrings1 brooches1 pendants1 bracelets1 rings1 tuis1 and seals4 ,other ,germans who have left designs in the same style are ,f4 ,h4 ,bemmel 7#agjj7 of ,nuremberg1 ,d4 ,baumann 7#afie71 ,johann ,heel 7#afcg-agji71 and ,j4 ,f4 ,leopold 7#agjj7--;all of ,augsburg4 ,french designers led ,european taste in jewellery as in furniture1 and published a number of important designs4 ,the most remarkable are those of the master-goldsmith ,jean ,bourguet of ,paris1 whose models for earrings1 pendants1 and clasps1 dated #agab and #agbc1 are set with large faceted stones1 and have their backs chased or enamelled with flower designs4 ,his ,livre de ,taille d'pargne with designs for enamel-work published as models for jewellers' apprentices1 contains amongst other patterns a series of twelve rings set with large faceted stones2 beside each ring is a design for the enamel decoration of its shoulder3 ,petits morceaux he calls them1 de taille d'pargne facile coppier4 ,contemporary with ,bourguet was ,pierre ,bourdon1 of ,coulommiers en ,brie1 who worked at ,paris4 ,his designs1 dated #agjc1 are for seals1 scent cases1 and watch covers of rococo work1 and pendent medallions and miniature frames set with precious stones4 ,among other ,parisian designers are the master-goldsmiths ,briceau 7#agji71 and ,mondon 7c4 #agcj-agfj7 whose ,livre de ,pierreries1 ,pour la ,parure des ,dames contains patterns for earrings1 brooches1 and aigrettes set with brilliants1 and for enamelled and jewelled watches4 ,of ,italian designs for jewellery set with precious stones in the rococo style we may note those of ,g4 ,b4 ,grondoni of ,genoa1 who worked at ,brussels about #agae1 ,carlo ,ciampoli 7#agaj71 and ,d4 ,m4 ,albini1 whose ,disegni moderni di gioiglieri were published in #agdd4 ,the publication in ,london of several series of designs proves that ,england was not far behind the ,continent in the production of high-class personal ornaments4 ,among the most important pattern-books for jewellery1 are those of ,simon ,gribelin1 who was born in ,paris in #affb1 and worked chiefly in ,london1 where he died in #agcc4 ,his work includes ,a book of seuerall ,ornaments inuented and ingraued by ,s4 ,gribelin1 #afhb1 and ,a ,book of ,ornaments usefull to ,jewellers1 etc41 #afig4 ,these were republished in #agjd4 ,gribelin's productions were followed by those of ,j4 ,b4 ,herbst1 who issued in #agjh ,a book of severall ornaments fit for ,juweler1 made by ,j4 ,b4 ,herbst1 and in #agaj ,a ,book of ,severall ,juwelers work1 444 ,sold by ,mr4 ,eymaker1 ,juweler in ,earls ,court drury lane ,london4 ,the patterns are chiefly for seals1 and for breast ornaments and clasps set with rose-cut stones in rococo settings4 ,about the same time similar pattern-books were published by ,j4 ,smith and ,thomas ,bowles4 ,in #agcf appeared ,a book of jeweller's work design'd by ,thomas ,flach in ,london1 engraved by ,j4 ,fessey4 ,it contains designs for buckles1 seals1 watch-keys1 a chatelaine with a watch and another with an tui1 pendants and bow-shaped breast ornaments hung with drop pearls4 ,in #agfb ,j4 ,guien published in ,london a ,livre de jouailleries--,a book of ,ornaments for ,jewellers1 containing various designs in precious stones in the manner of ,morisson and ,grondoni4 ,an isolated phenomenon in the midst of the universal love for precious stones that then dominated the productions of the jewellers1 there stands out ,johann ,melchior ,dinglinger1 who carried the traditions of the sixteenth century far into the eighteenth4 ,born at ,biberach1 near ,ulm1 in #affe1 ,dinglinger worked first at ,augsburg1 and1 having visited ,italy1 was summoned to ,dresden in #agjb by ,augustus ,,ii1 ,elector of ,saxony1 where he lived until his death in #agca4 ,during these thirty years1 aided by his brother ,georg ,friedrich 7d4 #agbj7 and his son ,johann ,melchior 7#agjb-agfb71 he was employed as court jeweller to the ,elector1 whom he assisted in planning and arranging the ,grne ,gewlbe at ,dresden1 which marvellous assemblage of precious objects contains the best examples of his work4 ,all the processes of the ,cinquecento craftsmen1 of whose technique he possessed a fine knowledge1 were employed by ,dinglinger with wonderful care and exactitude--though his productions naturally betray in design the period of their execution4 ,he exercised considerable influence on his contemporaries1 more especially with regard to the revival of the art of enamelling in the second half of the century1 when jewellery made a notable advance in the time of ,louis ,,xvi4 ,a change in style was first experienced on the arrival in power of ,madame de ,pompadour1 who led the way in that coquettish return to simple conditions of life which showed itself in the pastorals of the ,louis ,quinze epoch4 ,it resulted in a preference for simple gold2 this metal1 coloured by alloys such as platinum and silver1 and popular under the name of quatre couleurs1 being at most only set off by enamel painting4 ,this later rococo period1 as far as its technique is concerned1 is one which has never been equalled either before or since4 ,an event of importance in the history of jewellery1 as of art generally1 was the discovery in #agee of the city of ,pompeii1 succeeding that in #agac of ,herculaneum1 buried for centuries beneath the ashes of ,vesuvius4 ,the journeys of artists to ,italy and to ,naples1 and the interest aroused thereby in ancient art1 a weariness with the mannerism of rococo ornament1 and the whim of fashion1 gradually transformed jewellery like other decorative arts1 and resulted in the classicism of the style of ,louis ,,xvi4 ,antique forms as they then were known showed themselves in a very charming manner in well-balanced jewels1 where different coloured gold took the form of classical motives in the midst of ribbons1 garlands1 and the pastoral subjects dear to the previous epoch4 ,enamel returned into fashion1 and accomplished its chief triumph with painting en plein in fine transparent tones over guilloch gold4 ,in conjunction with the art of gem setting and cutting1 and metal chasing1 this species of enamel produced effects which were all the more surprising1 seeing that it was often confined to the smallest of spaces4 ,among the first craftsmen who created1 or followed the fashion1 was the jeweller ,lempereur4 ,some of his designs were published by his pupil ,pouget the younger in #agfb and #agfd1 in a treatise entitled ,trait des pierres prcieuses et de la manire de les employer en ,parure1 the plates of which1 mostly coloured1 and representing models of jewellery of all kinds set with precious stones1 were engraved by ,mlle4 ,raimbau4 ,another pupil of ,lempereur1 ,august ,duflos1 published in #agfj a similar work entitled ,recueil de ,dessins de ,joaillerie4 ,other ,french designers of jewellery at this time were3 ,maria1 a jeweller of ,paris1 who issued about #agfe an important series of plates1 thirty-five in number1 of pendants1 brooches1 clasps1 chatelaines1 aigrettes1 seals1 rings1 and buckles2 ,p4 ,moreau 7#agdj-aghj7 and ,j4 ,b4 ,fay 7#aghj-agij71 both of ,paris2 and ,l4 ,van den ,cruycen 7#aggj7 of ,brussels4 ,in #aggj was published in ,london by ,t4 ,d4 ,saint ,a new book of designs for jewellers' work containing eleven plates of ornaments of various kinds in the style of ,pouget and ,duflos4 ,one of the last ,english jewellers of the old school was ,george ,michael ,moser 7#agjg-aghc71 one of the founders of the ,academy--like ,fuseli1 a ,swiss by birth1 and a native of ,schaffhausen4 ,he was originally a gold chaser--the first in the kingdom1 so ,sir ,joshua ,reynolds described him2 but when that mode of decorating jewellery was put aside in favour of enamels1 he turned his attention to enamel compositions of emblematical figures1 much in vogue for the costly watch-cases of the day1 for chatelaines1 necklaces1 bracelets1 and other personal ornaments4 ,he succeeded so well in this class of work that the ,queen patronised him1 and he executed a considerable number of commissions for the ,king4 ,another eminent jeweller1 who was likewise a painter and enameller1 was ,augustus ,toussaint4 ,he worked principally with his father1 a noted jeweller of ,denmark ,street1 ,soho1 and exhibited at the ,royal ,academy from #agge to #aggh1 sending in both miniatures and enamels4 ,he died between #agij and #ahjj4 ,several of the fine open-work jewelled frames which held the choice miniatures of the day1 were made in the workshop of ,toussaint the elder1 and on his death his son ,augustus is said not only to have retained for his own use all the examples of these frames which were in stock1 but to have continued to supply a few fellow-artists1 with whom he was on terms of intimacy1 with the celebrated ,toussaint frames4#ahf #ahf ,examples of these jewelled frames are preserved in ,mr4 ,pierpont ,morgan's collection of miniatures4 ,for the information respecting them ,i am indebted to the kindness of ,dr4 ,williamson1 author of the catalogue of that collection4 ,the excess of ornamentation and the desire for jewellery formed of precious stones had1 since the seventeenth century1 favoured the use of imitations4 ,rock crystal or quartz had long been employed to imitate diamonds4 ,forgeries and imitations which were intended to pass as precious stones will be spoken of in another place4 ,but at this time even people of great wealth wore imitation jewels1 such as certainly would not be worn by persons in a corresponding position nowadays4 ,these made no profession of being real stones4 ,they were recognised as imitations4 ,the credit of the production of the first satisfactory substitute for the diamond is due to a ,german--,stras or ,strass by name--who about #ageh established himself at ,paris on the ,quai des ,orfvres1 where he met with great success as a vendor of paste imitations of diamonds1 which still bear his name4 ,competitors were not slow in making their appearance1 and one ,chron also gave his name for a considerable time to the false diamonds that issued from his workshop4 ,so large and flourishing did the industry in imitations become that in #agfg a corporation of joailliers-faussetiers was established in ,paris4 ,imitation pearls were likewise very largely worn2 even ladies of high position did not disdain to wear them--,un collier de perles fausses occurs in the inventory of the jewels of ,madame de ,chamillart made on her death in #agca4 ,false pearls first appeared in ,paris about the time of ,henry ,,iv1 the production of one named ,jaquin1 whose descendants carried on a large business in them in ,paris till the middle of the eighteenth century4 ,so well have pearls been imitated1 writes ,pouget the younger1 in #agfb1 that most of those of fine ,orient have found their way back from ,europe to ,asia1 and are so rare in ,france that nowadays one scarcely sees any good specimens4 ,productions such as these were rendered necessary to satisfy the luxury which from the nobility had extended over the whole middle classes1 and also on account of the strained condition of ,french finance4 tienne de ,silhouette1 ,controller of ,finance1 endeavoured to cut down expenses1 and issued in #agei an invitation to the wealthy to bring in their jewels to be converted into cash for the benefit of the ,treasury4 ,such attempts at economy1 though rewarded only by ridicule1 so that portraits henceforth executed in the commonest manner were la ,silhouette1 yet met with this result1 as ,pouget observes1 that since the time of ,m4 de ,silhouette marcasite had become very much the fashion in ,france4 ,in ,switzerland1 too1 since it was forbidden to wear diamonds1 ladies1 he tells us1 wore no other ornaments than marcasite1 and spent a good deal of care and money in the setting of it4 ,the mineral known as marcasite1 a word which was spelled in many ways1 is a crystallised form of iron pyrites cut in facets like rose diamonds1 and highly polished4 ,it was used for a number of ornaments4 ,steel1 likewise cut in facets1 was similarly employed4 ,steel jewellery appears to have been invented in ,england1 and from ,birmingham1 the centre of its manufacture1 found its way all over ,europe1 reaching ,france by way of ,holland4 ,it was carried out largely by ,boulton and ,watt and other firms of ,birmingham1 ,sheffield1 and ,wolverhampton4 ,this steel jewellery1 which was in high favour in the latter half of the eighteenth1 continued to be worn until the second quarter of the nineteenth century1 when it finally went out of fashion4 ,even after that1 cut steel was still made at ,birmingham1 and the firm of ,hipkins1 one of the most prominent1 continued for many years to supply the ,court of ,spain with buttons and buckles ornamented with it 7,pl4 ,,li1 #a1 #b74 ,steel was largely employed as mounts for the fictile cameos of ,wedgwood1 ,tassie1 ,adams1 and ,turner1 which were in considerable demand for rings1 brooches and buttons4 ,mountings for these were also made in silver or ,sheffield plate1 principally the work of ,thomas ,law ,co41 of ,sheffield4 ,in the latter part of the century ,england occupied a unique position with regard to the production of objects of this kind1 which were eagerly sought for throughout the whole of the ,continent4 ,another characteristic of the changed condition of the times was the use in jewellery1 together with strass1 false pearls1 and marcasite1 of various substitutes for gold4 ,the best-known of these substitutes was pinchbeck1 so called after its inventor1 ,christopher ,pinchbeck 7d4 #agcb71 a clock and watch maker1 of ,fleet ,street4 ,this pinchbeck gold was an alloy of copper and zinc4 ,when fused together the metals assumed the colour of fine gold1 and preserved for a time a bright and unoxidised surface1 though in some cases objects thus fashioned received a washing of gold4 ,pinchbeck was much used for cheaper jewellery of all kinds4 ,the larger articles made of this metal were chatelaines1 snuff-boxes1 and tuis1 while watch-cases1 miniature-frames1 buckles1 clasps1 and so forth1 are to be found for the most part ornamented in relief and carefully chased4 ,these several articles to which pinchbeck was suited1 went in those days by the name of toys4 ,the term ,toyman was employed by ,pinchbeck himself1 but the title had1 of course1 no reference to what are now known as toys4 ,in ,france and ,germany a metal composition like gold1 in imitation of pinchbeck1 called ,similor or goldshine1 was produced1 first by ,renty1 of ,lille1 about #agbi1 and subsequently improved by ,leblanc1 of ,paris4 ,but the name of the ,english inventor of the metal was well known in ,france1 where it was retained in such forms as pinsebeck or pinsbeck4 99 99 99 ,the head-ornament--the aigrette--was still an important jewel in the eighteenth century4 ,generally a kind of delicately formed bouquet of precious stone in very light setting1 it continued long in fashion1 together with strings of pearls among the hair4 ,for a while the aigrette was set aside for bows1 small birds1 etc41 made of precious stones mounted upon vibrating spiral wires which were then attached to the hair-pin4 ,these went under the name of wasps or butterflies4 ,in the days of ,marie ,antoinette they were supplemented by hair-pins and aigrettes set entirely with diamonds1 which about #aggj had almost entirely superseded coloured stones4 ,many designs for these head-ornaments were published by ,pouget the younger and ,duflos1 the latter of whom complains in the preface to his work of the tendency shown in his day to do away with the admixture of coloured stones with diamonds2 a proof that up to this date1 in spite of the general preference for the diamond1 taste had not yet learned to do without colour effect in jewellery4 ,illustration3 ,,plate ,,xlvi ,,eighteenth ,,century ,,jewellery1 ,,french ,,and ,,english ,earrings1 as has been noticed in reference to the ,santini designs1 were in particular favour at this period4 ,the majority were composed of large faceted stones or of pearls1 formed girandole fashion--that is to say1 of a large circular stone above1 with three briolettes or pear-shaped pendants below4 ,a pair of earrings of this form1 said to have belonged to ,madame du ,barry1 are in possession of ,lady ,monckton4 ,they are set each with four sapphire pastes of very fine quality2 the three drop-pendants being separated from the upper stone by open spray-work of silver set with white pastes 7,pl4 ,,xlvi1 #e1 #f74 ,similarly elaborate pendent earrings in seven sections composed of brilliants are seen in an original mezzotint portrait of ,queen ,charlotte by ,thomas ,frye 7c4 #agfj74 ,drop-shaped pendants1 mostly diamonds1 were then very highly esteemed4 ,marie ,antoinette had a pair of diamond earrings with stones of this form hanging from a perpendicular line of large brilliants4 ,the designs of ,ciampoli1 ,mondon1 ,guien1 ,pouget1 ,van den ,cruycen1 and ,fay1 all contain varieties of earrings1 mostly girandole fashion4 ,for necklaces the engravings of these same designers supply many patterns4 ,like the carcan of the fifteenth century1 they are often in the form of a band about an inch in width1 composed of precious stones--rubies1 emeralds1 pearls1 and diamonds--in open-work1 or attached to velvet4 ,they are generally constructed so as to reach only half-way round the neck1 the back part being a band of black velvet4 ,portraits of the time frequently exhibit ropes of pearls1 and finally rows of large diamonds1 like the renowned collier of ,marie ,antoinette composed by the ,court jewellers ,boehmer and ,bossange4 ,numerous circumstances connected with it1 too lengthy to relate here1 gave to the affaire of the diamond necklace a world-wide celebrity1 making it one of the chief events of the century4 ,though historically one of the world's most famous pieces of jewellery1 the necklace itself1 described in quaint but vivid language by ,carlyle in his ,miscellanies1 calls for no special comment1 being on the whole of comparatively small artistic importance4 ,its value--#ij1jjj1 a great sum for those days--lay in the size and quality of the brilliants and pendeloques of which it was composed4 ,a favourite point of adornment in female attire was still the breast1 where1 in the first part of the century1 jewelled ornaments1 or svigns1 in the form of bows and rosettes1 hung with pendants and set with table-cut stones or rose diamonds1 continued to be worn4 ,generally they assumed the girandole shape hung with pear-shaped pendants4 ,about #aggj a large bunch of flowers1 or a bouquet-shaped ornament formed of precious stones1 was worn in the breast4 ,for the latter the jeweller ,lempereur enjoyed a great reputation4 ,upon the stiff bodice1 which came into fashion at the end of the seventeenth century1 scope was afforded for a goodly use of ornament1 and soon we find the corsage literally covered with jewels1 in a manner similar to that in which the ladies of the ,renaissance almost completely covered the upper part of their dresses with pendent chain-ornaments4 ,at the time1 however1 of which we now speak the ornaments are single pieces mounted upon the dress and arranged symmetrically in the form of a jewelled stomacher or devant de corsage4 ,the ,santini drawings contain many examples of this kind of open framework composed of precious stones2 and several interesting designs for the same are figured on ,plates #af1 #ag1 and #ah of ,maria's ,livre de ,dessins de ,jouaillerie et de ,bijouterie4 ,at this period also1 when luxury reached its climax1 even the panier or tucked-up upper skirt had the whole of its exaggerated dimensions sprinkled with pieces of jewellery1 so that of this time again it may be said that the ladies of the ,court displayed the whole of their wealth1 and often enough of their credit too1 upon a single dress4 ,fashion endeavoured to fill a corresponding part in gentlemen's attire by adorning coat and waistcoat with buttons of artistic workmanship4 ,to match the beautiful embroidered garments of the time1 buttons were sewn with bugles1 steel beads1 or spangles2 and many have survived which may be reckoned as real articles of jewellery4 ,every material and mode of decoration was applied to them4 ,occasionally we find buttons set with diamonds and other precious stones1 but more often paste1 or with odd natural stones such as agates1 carnelians1 marcasite1 blood-stones1 lapis-lazuli1 or buttons of tortoise-shell1 or of compositions such as ,wedgwood ware1 in frames of cut steel4 ,translucent blue glass or enamel1 mounted or set with pearls1 diamonds or pastes1 and chased and coloured gold1 were all fashionable4 ,on the whole1 cut steel was the most popular4 ,a ,birmingham craftsman by name of ,heeley1 who worked for ,wedgwood about #aghj1 is recorded is being especially skilful at this class of work2 while in ,france a certain ,dauffe had almost a monopoly in the production of steel objects4 ,certainly some of the open-work steel buttons of the time--,english as well as ,french--are jewels of a very high order4 ,bracelets were mostly formed of bands of velvet with oval clasps4 ,the clasp was decorated in a variety of ways1 and was very frequently fitted with a painted or enamelled miniature4 ,the practice of wearing miniatures in this way seems to have been a common one1 judging by the numerous advertisements inserted in the ,london ,public ,advertiser about the middle of the century by ingenious artists1 willing on reasonable terms to paint elegant portraits in miniature for bracelets1 rings1 etc4 ,madame de ,chamillart had amongst other jewels ,un petit portrait en mignature en forme de bracelet garny de quatre diamants1 mont en or4 ,in fact1 according to ,fontenay1 the terms bracelet and bote portrait had for a time practically the same meaning4#ahg ,cameos were sometimes employed as bracelet clasps1 but not to the same extent as they were subsequently under the ,empire4 ,in the ,bibliothque ,nationale at ,paris are two portrait cameos in sardonyx 7,nos4 #ghh and #ibg7 which served as the clasps of the bracelets of ,madame de ,pompadour1 and were bequeathed by her to ,louis ,,xv in #agfd4 ,the work of the celebrated gem-engraver ,jacques ,guay1 the one represents ,henri ,,iv1 and the other1 which is signed1 ,louis ,,xv4 ,the mounting of each1 an admirable example of ,french jewel-work of the time1 is formed of a circlet of emeralds arranged in the manner of a laurel wreath1 and tied at intervals by cords of rose diamonds terminating above and below in knots4 ,among other decorations for bracelets1 mention may be made of the celebrated enamels produced at ,battersea between #agej and #agge1 very many of which1 oval in shape1 were set in gold frames so as to be easily mounted in bracelets4 ,the productions of the rival establishment at ,bilston1 in ,staffordshire1 were similarly employed1 and1 like the former1 were frequently worn as buttons4 #ahg ,les bijoux anciens et modernes1 p4 #bid4 ,illustration3 ,,plate ,,xlvii ,,eighteenth-,,century ,,necklaces1 ,,etc4 ,the finger ring in the eighteenth century was a particularly favourite jewel4 ,that considerable attention was paid at the time to the design and decoration of the ring1 may be judged from ,bourguet's designs1 which contain patterns for enamel-work intended for its enrichment4 ,the beauty of the sentiments displayed on the rings of the time is nowhere more charmingly expressed than on an ,english wedding-ring at ,south ,kensington1 which is formed of two hands in white enamel1 holding between the thumbs and first fingers a rose diamond in the shape of a heart set in silver and surmounted with a jewelled coronet4 ,it bears the date #agjf 7,pl4 ,,xxxvi1 #c74 ,other rings of similar style have the bezel formed of two precious stones in the form of hearts united by a knot4 ,rings which served simply as souvenirs of affection were very popular4 ,in addition to the plain gold ring engraved with a posy or motto1 were rings containing a like sentiment read by means of the first letters of the stones with which they are set4 ,the most typical ring of the period is perhaps the marquise ring1 which dates from the second half of the century4 ,the bezel1 which is oblong1 and either oval or octagonal1 is often of such size that it covers the whole joint of the finger4 ,it is formed of a plaque of transparent blue glass on matted gold1 surrounded with diamonds1 and set either with a single diamond1 or with several arranged at regular intervals1 sometimes in the form of a bouquet4 ,often instead of diamonds are pastes and even marcasite4 ,of other varieties of rings of the time it is necessary only to mention those set with ,wedgwood cameos1 or with stones such as moss-agates1 and a form of agate somewhat similar1 but of lighter colour1 called the mocha stone4 ,mourning and memorial rings1 of which this period was so prolific1 will be spoken of subsequently4 ,an ornament that showed a peculiarly wide development throughout the eighteenth century was the shoe-buckle4 ,various kinds of buckles are recorded in the ,caution to the ,public1 issued in #agcc1 in connection with his famous ware1 by ,edward1 the son of ,christopher ,pinchbeck4 ,they include the following3 buckles for ladies' breasts1 stock-buckles1 shoe-buckles1 knee-buckles1 girdle-buckles4 ,of these the most important was the buckle worn on the shoes of every one--man woman1 and child--attached to the latchet or strap passing over the instep4 ,it assumed all sorts of forms and was made and enriched with every conceivable material4 ,it is interesting to observe that in spite of the immense number produced1 hardly any two pairs of buckles are precisely alike--this is shown in the case of the collection of ,sir ,s4 ,ponsonby ,fane1 which contains upwards of four hundred specimens4 ,towards the last years of the century buckles began to be supplanted by shoe strings4 ,during this period of transition many attempts were made to foster their use4#ahh ,on tickets to public entertainments at the time one occasionally finds a notice that ,gentlemen cannot be admitted with shoe strings4 ,the latter1 however1 won the day1 and about the year #ahjj shoe-buckles disappeared from use4 #ahh ,see ,connoisseur1 ,,xii1 p4 #ha4 ,the chatelaine was perhaps the most characteristic of all eighteenth-century ornaments4 ,it was exceedingly popular1 and formed1 it may be observed1 a very favourite object of the time for a wedding present4 ,it usually consisted of a shield with a stout hook1 suspended from which were several chains united by another plate or shield which carried the watch4 ,besides this were two or more chains for holding the watch-key or seals4 ,extraordinary skill was exercised in the elaboration of chatelaines4 ,the plaques1 hinged or united by chains1 withstood the incursion of the precious stone that dominated all other forms of jewellery1 and afforded peculiar opportunities for the display of the art of the goldsmith in chased and repouss metal-work enriched with exquisite enamels4 ,the jeweller's whole artistic skill was thus exhibited1 not only upon the shields1 but upon the solid links of the chains and upon the various breloques hung therefrom4 ,the chief of the latter was of course the watch4 ,its dial-plate was enriched with enamel1 and chased and coloured gold3 even the hands when made of gold showed a high degree of skilled workmanship within a very small space4 ,the principal ornamental part was1 however1 the outer case2 and it may be maintained that there was not any species of work connected with the goldsmith's art that was not displayed in its finest form upon watch-cases1 more especially in the time of ,louis ,,xvi4 ,illustration3 ,,plate ,,xlviii ,,eighteenth-,,century ,,chatelaines ,beside the watch was hung the watch-key and seals1 and all sorts of ornamental knick-knacks1 as tuis and such-like4 ,the elaborate chatelaine upon which nearly every conceivable kind of trinket could be attached1 is the equipage thus described by ,lady ,mary ,wortley ,montagu in her fourth ,town ,eclogue3-- ,behold this equipage by ,mathers wrought ,with fifty guineas 7a great pen'orth67 bought6 ,see on the tooth-pick ,mars and ,cupid strive1 ,and both the struggling figures seem to live4 ,upon the bottom see the ,queen's bright face2 ,a myrtle foliage round the thimble case2 ,jove1 ,jove himself does on the scissars shine1 ,the metal and the workmanship divine4 ,while women carried elaborate chatelaines1 men hung from the watch in the fob-pocket bunches of seals which dangled beneath their embroidered waistcoats4 ,thus in ,monsieur la ,mode1 published about #agec1 we read of-- ,a repeater by ,graham1 which the hours reveals2 ,almost overbalanced with nick-nacks and seals4 ,it was the seal above all which experienced particular artistic development4 ,ever since the sixteenth century the seal had been worn in addition to the signet ring4 ,though hung perhaps like a pomander from a chain at the neck or from the girdle1 the seal seems to have been but rarely displayed on the person until the general introduction in the early seventeenth century of the watch1 to which for more than a couple of centuries it was a regular accompaniment4 ,the majority of seventeenth-century seals are of silver with the arms engraved in the metal2 others of steel are on swivels and have three faces2 others1 again1 of gold set with stones engraved with heraldic devices1 have finely worked shanks1 occasionally enriched with delicate enamel-work4 ,the gold seals of the eighteenth century1 which are among the best examples extant of rococo jewellery1 are of open-work in the form of scroll and shell patterns1 of admirable design and workmanship4 ,it is out of the question to attempt a description of the numerous attractive forms these pendent seals assumed1 or the peculiar interest they possess from an heraldic point of view4 ,about the year #aggb fashionable men carried a watch in each fob-pocket1 from which hung bunches of seals and chains4 ,from the custom set in ,england of introducing masculine fashions into dress1 ladies likewise wore two watches1 one on each side1 together with rattling breloques1 seals1 and other appendages4 ,in addition to the real watch with beautifully enamelled back which adorned the left side1 they wore on the right what was called a fausse montre or false watch4 ,these false watches were1 however1 often little less costly than the genuine article1 being made of gold and silver1 with jewelled and enamelled backs4 ,the front had either an imitation dial-plate1 some fanciful device1 or a pin-cushion4 ,for those of less ample means the fausse montre was made of gilt metal or even of coloured foils4 ,,chapter ,,xxxiii ,,nineteenth-,,century ,,jewellery ,,the ,,modern ,,revival ,jewellery of the nineteenth century presents a very variegated picture both as regards material and technique1 as well as in the display of every conceivable style4 ,it is not so much a particular character of its own that has marked the jewellery of each epoch of the century1 as a peculiar form of reproduction or rather reconstruction of older styles of art1 based for the most part on false traditions4 ,the whole period was an eclectic one1 and the majority of its productions--the result of nothing less than aimless hesitation and fruitless endeavour to revive the forms of the past--display at least doubtful taste4 ,throughout the greater part of the time ,france led the fashion1 and every one of the political changes she underwent left its mark on her artistic productions4 ,after the desolate epoch of the ,revolution1 under which the whole standard of jewellery was measurably lowered1 a revival of something approaching luxury was experienced under the ,directory4 ,this was succeeded about the year #ahjj1 owing to the stimulating dominance of the ,first ,consul1 by circumstances of real luxury4 ,the period dating from ,napoleon's accession to the ,imperial ,dignity four years later1 till about #ahad1 was one of considerable importance in the history of jewellery4 ,the severe and academic influence of the leading and most popular artist of the day1 the painter ,david1 and of his pupils1 with their extravagant taste for the antique1 was universally felt4 ,yet while the antique celebrated its triumph in all directions1 the ,empire failed to shake itself entirely free from eighteenth-century styles4 ,as far indeed as jewellery was concerned1 the classical revival cannot be said to have been altogether unhappy2 for its ornaments are not without a certain charm4 ,like all else1 they breathed the spirit of the past1 and are not less formal and rigid than the other art productions of the period4 ,it was under the short-lived reign of the associated kings1 termed the ,directory1 that the taste for the antique first became thoroughly dominant4 ,jewellery of all kinds assumed classical forms4 ,the few individuals who were fortunate enough to procure them wore ancient ,greek and ,roman jewels2 the rest had to be content with facsimiles of objects discovered at ,pompeii1 or simple copies adapted from representations on early vase paintings1 sculptures1 or engraved gems4 ,so exaggerated became the enthusiasm for the antique that1 following the lead of ,madame ,tallien and ,madame ,rcamier1 the fashionables of the period adopted in its entirety1 without regard for differences of climate1 what they deemed to be classical costume1 and appeared on public promenades in ,paris with unstockinged feet in sandals that allowed them to exhibit jewels upon their toes4 ,illustration3 ,,plate ,,xlix ,,empire ,,head-,,ornaments ,the affected classicism of the ,republic and ,first ,empire stimulated the use of engraved gems4 ,far from cameos and the less decorative intaglios being considered out of place with fine precious stones1 they often occupied positions of honour1 surrounded and mounted occasionally with important diamonds4 ,in the majority of cases1 however1 they were used alone and were made up into special ornaments by themselves4 ,antiques were worn when procurable1 but the greater number of gems were of modern manufacture1 carefully studied both as regards technique and style from ancient examples4 ,somewhat later1 small mosaics1 on which were figured classical subjects or buildings of ancient ,rome1 were also employed4 ,these1 together with cameos1 generally on shell1 were produced in quantities1 particularly in ,italy1 where cameo cutters and mosaic workers still carry on a somewhat languishing trade in ornaments of this nature1 ,venice1 ,florence1 and ,rome sharing in the industry of mosaic jewellery2 ,rome1 ,naples1 and the whole of ,southern ,italy in that of cameos4 ,the production of both kinds of objects is now in a sterilised condition4 ,they have entirely lost their earlier qualities1 for the reason that they find but little favour and have ceased to be worn by the upper classes4 ,except during the height of the ,first ,empire the fashion for engraved gems never took a very thorough hold4 ,ladies have seldom a taste for archology4 ,if a few1 in accordance with the current idea1 affected a sober and refined style of ornament1 the majority soon wearied of the burden of cameos in the necklace and bracelet1 and preferred sparkling stones to the delicate cutting of the gem4 ,the general and instinctive preference for brilliant jewels did more than anything to kill the attempted employment of antique forms and designs4 ,as regards technique1 the metal-work of the early nineteenth century generally displayed considerable poverty of material4 ,the gold1 if not pinchbeck imitation1 was usually thin1 light1 and of low quality1 with simple designs in the form of clusters of grapes4 ,borders of leaves and flowers in the antique style were stamped and chased sometimes in open-work1 with small rose-shaped ornaments applied4 ,granulated1 beaded1 and purled work was much employed1 and the surface of the metal was often matted4 ,artistic effect in chased work was produced by the use of ornamental inlays1 or rather overlays1 of coloured gold4 ,actual jewel-work and settings1 as a rule1 displayed good quality of workmanship4 ,the general tendency lay in the direction of the coloured stones popular in ancient times--the topaz1 peridot1 aquamarine1 and amethyst2 together with precious stones1 such as emeralds1 rubies1 sapphires1 and diamonds1 and with pearls4 ,the latter were generally reserved only for the most sumptuous ornaments1 but were occasionally used in conjunction with jewels of less value4 ,the stones most commonly used were carnelians1 moss-agates1 turquoises1 garnets1 pink and yellow topazes1 as well as coral1 mingled together4 ,wedgwood ware and its imitations1 popular in the latter years of the eighteenth century1 continued for some time to meet with favour1 while paste jewellery was also worn to some extent4 ,on every species of jewellery the taste for the antique was clearly visible4 ,ornaments for the head took the form of frontlets and diadems1 hair-combs1 hair-pins1 triple chains1 and strings of pearls4 ,earrings were in general use1 together with necklaces1 brooches1 bracelets1 rings1 and girdles4 ,the chief head-ornaments were wide metal combs1 fixed in the hair in such a manner as to be visible from the front4 ,the general form of the ,empire comb1 with its upright rows of pearls or coral1 is well known1 since a number of examples exist4 ,at the same time frontlets or tours de tte were worn on the upper part of the forehead and over the hair4 ,these1 enriched with pearls1 cameos1 or precious stones1 took the form of broad bands or coronets4 ,another ornament1 which did not1 however1 come into fashion till about #ahbj1 was the ferronnire--a band round the head1 with a jewel in the middle of the forehead4 ,it was generally a fine gold chain1 but might be made of velvet ribbon or silken cord1 or strings of beads4 ,the origin of its title has been given in connection with ,italian jewellery of the fifteenth century4 ,cameos and moss-agates entered largely into the composition of necklaces as well as the various coloured stones mentioned above4 ,cameos often assumed considerable proportions4 ,they were occasionally set with precious stones1 and were linked together with fine chains4 ,bracelets were much worn1 three on each arm3 one on the upper part of the arm1 a second just above the elbow1 and a third upon the wrist4 ,they were usually composed of a number of small chains1 or even a band of velvet2 while the clasp was formed by a cameo1 or else an amethyst1 peridot1 or topaz set in stamped and pierced gold4 ,girdles for the most part were fashioned in the same manner as bracelets1 with a large cameo on the clasp4 ,illustration3 ,,plate ,l ,,early ,,nineteenth-,,century ,,jewellery ,the pictures in the gallery at ,versailles afford perhaps the best idea of ornaments in the ,empire style2 since jewellery is more clearly represented on ,french portraits than on any others of the time4 ,among the most striking of such portraits are those of ,marie ,pauline1 ,princess ,borghese1 by ,lefvre1 of ,caroline ,buonaparte1 ,queen of ,naples1 by ,madame ,vige-,lebrun1 and of ,madame ,mre1 by ,grard4 ,the first has a high comb and bandeau1 earrings1 and girdle1 all decorated with cameos1 the second a parure of pearls and cameos1 and the third a head-ornament mounted with a single large cameo4 ,the coronation of ,napoleon in #ahjd furnished the painter ,david with the subject of a picture unrivalled in its kind--,le ,sacre de ,napoleon ,ier ,notre-,dame1 which is exhibited in the ,louvre4 ,this grandiose production1 besides being a truly epic rendering of a great historical event1 serves as a valuable document in the history of jewellery1 in that it represents jewellery of the most magnificent kind carried by ,josephine1 the princesses1 and the ladies of honour4 ,the ,empress is shown wearing comb and diadem of precious stones1 brilliant earrings1 and a bracelet on the wrist formed of two rows of jewels united with a cameo4 ,her suite have1 besides1 necklaces and girdles mounted in several cases with cameos4 ,josephine herself possessed a perfect passion for engraved gems1 and she actually induced ,napoleon to have a number of antique cameos and intaglios removed from the gem collection in the ,royal ,library and made up into a complete parure of jewellery for her own use4 ,a ,german speciality of the expiring ,empire was the cast-iron jewellery1 brought into favour largely on account of the prevailing scarcity of gold and silver4 ,a foundry for its production was first set up in #ahjd at ,berlin1 where articles of great fineness were cast in sand moulds4 ,in the year #ahac1 the time of the rising against the ,napoleonic usurpation1 more than eleven thousand pieces of iron jewellery were turned out1 and among them five thousand crosses of the new order of the ,iron ,cross4 ,in that year appeared the well-known iron rings4 ,during the ,war of ,liberation1 when every man joined the ,prussian regiments to fight against the ,french1 the patriotic ladies who remained behind laid at the ,altar of the ,fatherland their valuable jewels1 which were melted down for the benefit of the national war-chest4 ,for the articles thus surrendered they received in exchange from the ,government iron finger rings bearing the words ,eingetauscht zum ,wohle des ,vaterlandes1 or the famous inscription ,gold gab ich fr ,eisen4 ,in addition to crosses and rings1 other jewels1 such as diadems1 necklaces1 brooches1 and bracelets1 were executed in cast iron1 open-worked and in relief 7,pl4 ,,li1 #h74 ,complete parures comprising a comb1 necklace1 earrings1 and bracelets are not infrequently met with1 and the name of the manufacturer1 such as ,geiss1 ,berlin1 etc41 is sometimes found stamped on them4 ,most of the work is in the antique taste1 and is occasionally adorned with classical heads in the manner of ,wedgwood and ,tassie4 ,considering the material and method of production1 the fineness and lace-like delicacy of this iron jewellery is little less than marvellous4 ,illustration3 ,,plate ,,li ,,buckles ,,and ,,necklaces ,,late ,,eighteenth ,,and ,,early ,,nineteenth ,,centuries ,another kind of nineteenth-century ornament1 particularly popular in the first half of the century1 was hair jewellery4 ,it was favoured possibly in some cases less by inclination than by that necessity which had originally led the way for the use of iron and other less valuable materials4 ,finger rings1 bracelets1 necklaces1 and watch-chains were plaited of the hair of the departed1 brooches and medallions mounted with it1 and even ornamental landscapes constructed of strands of human hair4 ,hair was worn as a gift of affection from the living2 but it was chiefly employed for mourning or memorial jewellery4 ,it will be referred to again when mourning jewellery is dealt with4 ,we enter about the year #ahcj into the ,romantic period--the days of the heroines of ,balzac1 the days when ,byron and ,ossian were la mode1 the days of a fancy chivalry and medival sentimentality1 of ,sir ,walter ,scott1 and above all of the ,gothic revival4 ,gothic motives1 rampant in architecture1 make their appearance also on bookbindings1 furniture1 and other things1 and influence jewellery to a certain degree4 ,among the leaders of the movement so far as it affected jewellery were the goldsmiths ,froment ,meurice1 and ,robin1 whose productions1 executed in accordance with the ,romantic taste1 assumed the form of armoured knights1 on foot1 or fully equipped on horseback1 lords and ladies in medival costume1 and jewels which took the shape of compositions of a similar elegant nature4 ,at this period cameos were still worn1 but seldom of strictly classical character4 ,sentimental hair jewellery likewise continued1 as did the iron jewellery4 ,the latter1 however1 no longer displayed classical forms1 but debased ,gothic designs4 ,chains of various kinds were in considerable favour4 ,they were usually looped up at intervals with circular or oblong plaques of thin and coloured gold set with small turquoises and garnets4 ,with the development of machinery appeared thin goldwork1 ornamented with stamped and pressed designs4 ,work of this kind1 characteristic of its first decades1 extended far into the nineteenth century4 ,as far as men's jewellery is concerned there is little or nothing to chronicle4 ,strangely enough1 the masculine delight in splendid jewels that had existed up to the end of the eighteenth century1 came all at once to an end1 along with that older world on the ruins of which ,napoleon rose4 ,almost all that remained to them was the bunch of seals1 often of considerable size1 that hung by a silken cord from the fob4 ,it is true that occasionally beaux and macaronis actually wore earrings4 ,but these were not employed solely as ornaments1 but largely as the result of a fanciful idea1 still prevalent in certain quarters1 of the value of such objects against diseases of the eye4 ,fashion next1 about the middle of the century1 harked back to rococo1 and imitated the style of ,louis ,,xv4 ,it was rococo of a kind1 but lay as far from the eighteenth century as did ,romantic ,gothic from the ,gothic of the fourteenth and fifteenth centuries4 ,design for the most part was deplorably bad1 defects in this direction being passed off under a glitter of stones4 ,instead of the close setting which had so long satisfied the jeweller1 open setting for precious stones became universal4 ,countless old and valuable ornaments perished4 ,the diamonds and other precious stones were picked out of them and transferred to newer settings1 and the beautiful old metal-work was ruthlessly melted down4 ,many fine jewels during the course of the nineteenth century have likewise been spoiled and reduced in value by their owners attempting to adapt them to a prevailing fashion4 ,vast is the number of family treasures that have undergone the fate of remounting4 ,it is to be hoped that the new-born interest in the beautiful work of earlier craftsmen may help to save what is left from the same sort of destruction that the ancient churches of our land have undergone as the result of ill-judged restoration4 ,,the ,,modern ,,revival ,long prior to the developments that have taken place in recent years1 attention had been attracted to the artistic qualities of gold and an impetus given to the manipulation of the simple material4 ,it was early in the sixties that notice was first drawn to the gold jewellery then being executed in ,rome1 and the discoveries that had been effected in the working of the wrought metal by the firm of ,castellani4 ,the head of this famous family was the goldsmith ,fortunato ,pio ,castellani1 one of the best-known jewellers and dealers of his day4 ,in #ahad1 at an early age1 he started a business in ,rome1 which he developed about #ahbf on the lines of the antique work4 ,the process of production of the old granulated gold jewellery of the ancient ,etruscans--that in which the surface is covered with minute grains of gold set with absolute regularity--had long been a puzzle and problem to jewellers4 ,castellani was deeply interested in the lost art1 and searched ,italy through to find some survival of it4 ,at last in ,st4 ,angelo in ,vado1 a village of the ,apennines1 in the corner of the ,umbrian ,marches1 he found a caste of local goldsmiths who had preserved it in what seemed to be an unbroken tradition4 ,he transported some of them to ,rome1 and together with his sons ,alessandro and ,augusto succeeded in imitating the tiny golden grains of the ,etruscans and soldering them on to the surface of jewels4 ,the work he accomplished in this direction has become famous all the world over4 ,in #ahea ,fortunato retired1 and on his death in #ahfe his property was divided--,augusto retaining the business1 ,alessandro setting himself up as a collector and dealer4 ,augusto1 born #ahbi1 carried on the traditions of his father's atelier1 and was afterwards promoted to the ,directorship of the ,capitoline ,museum4 ,alessandro1 the elder brother1 was perhaps one of the most striking personalities of his age4 ,born in #ahbd1 he first assisted his father2 but his political opinions1 which led him to take an active part in the revolutionary movement in ,rome in #ahdh1 and implicated him in the conspiracy of #aheb1 resulted in his imprisonment in the ,castle of ,st4 ,angelo2 but successfully feigning madness1 he was liberated and sent out of the ,pontifical ,states4 ,he then proceeded to travel about exploiting the productions of the ,casa ,castellani4 ,gradually he devoted himself to archological pursuits4 ,his knowledge of these matters was profound1 and he became the finest expert of his day4 ,he was continually collecting1 and dealt largely1 his chief customers being the museums of ,europe and ,america4 ,the finest of the antique jewellery in the ,british ,museum was purchased from him in #ahgb-ahgc4 ,a few years before1 in #ahfg1 his unrivalled series of peasant ornaments1 gathered together from all parts of ,italy1 was acquired by the ,victoria and ,albert ,museum1 which also made large purchases at the sale that took place after his death in #ahhc4 ,the art of filigree and granulation practised by ,castellani was carried to still greater perfection by another ,italian1 ,carlo ,giuliano1 who was largely indebted to the discoveries of his compatriot4 ,examples of his work1 with that of ,castellani1 are in the ,victoria and ,albert ,museum4 ,since his death1 his business house in ,london has been continued by his sons4 ,another ,italian who has surpassed both ,castellani and ,giuliano in the reproduction of the antique is ,melillo of ,naples4 ,his jewellery1 though copied closely from ancient models1 has a certain modern cachet and is in fact a translation of the most refined ancient art into modern language4 ,an eminent ,english jeweller1 whose name is worthy of record1 was ,robert ,phillips of ,london1 who died in #ahha4 ,he also came under the influence of ,castellani4 ,at the same time he was responsible for the production of some of the most original work executed in ,england during the ,victorian era4 ,a forerunner in ,france of the modern movement in artistic jewellery1 and one entitled to a high place in the history of the art1 was the goldsmith ,lucien ,falize 7b4 #ahch71 who was a partner with ,m4 ,bapst1 crown jeweller of the ,second ,empire4 ,he succeeded ,bapst as official goldsmith to the ,french ,government1 and died in #ahig4 ,another great ,french jeweller was ,eugne ,fontenay1 author of the important history of jewellery1 who died in #ahhe4 ,side by side with the improvement in taste which during the last few years has prompted people to preserve old jewellery1 and a genuine love for its peculiar and indefinable attractions which has induced them to collect it1 the present age has witnessed a truly remarkable revival in the artistic production of articles of personal ornament4 ,the general awakening that has taken place in the industrial arts has nowhere made its influence more strongly felt than in respect to jewellery4 ,owing to the example set by the highest artistic spirits1 which has affected even the ordinary productions of commerce1 there has arisen a new school of jewellery1 the residue of which1 when the chaff of eccentricity on the one hand and coarse workmanship on the other is winnowed from it1 consists in works which combine the charm and sense of appropriateness requisite to objects of personal adornment with qualities that mark them as individual works of art4 ,the ornaments of the past reveal an elemental truth of art which it may be to the ultimate advantage of the decorative artificer of modern times to study and to imitate4 ,they show1 particularly in their most refined periods1 that the simplest materials and the simplest modes of decoration can be associated with beauty of form and purity of design1 and that the value of a personal ornament does not consist solely in the commercial cost of the materials1 but rather in the artistic quality of its treatment4 ,in the revival of the arts in the latter part of the nineteenth century the artistic styles of the past began to be carefully studied1 and for the first time were brought together and exhibited as models4 ,they have undoubtedly exercised a profound influence both on design and technique4 ,it is well at the same time to remember that personal ornaments1 as indeed all productions of former times1 which are thus shown in museums1 must not be reckoned with from one standpoint only4 ,the intention of their public display is to afford material for instruction1 investigation1 and inspiration1 for the craftsman1 the student1 and the man in the street4 ,their function in this respect is not only to produce artists and craftsmen1 or even connoisseurs1 but to inspire the lay public with a love of beauty1 and to induce a divine discontent with the ugliness with which it is surrounded4 ,though it is very well to use and reproduce the forms and motives of the past1 an indefinite persistence in that attitude is liable to be construed as a confession of sthetic sterility4 ,but while empty revivals and false adaptations are to be rejected1 the reckless race after originality1 resulting in the eccentricity which is so rife in modern art1 should especially be avoided4 ,it is the desire for originality instead of a modest devotion to fine workmanship1 a love for the outrageous and the bizarre1 and a lack of proportion1 both in form and in choice of material1 that has ruined much of the jewellery produced under the ,nouveau ,art movement4 ,if colour and form produced by a study of harmony and a limited appeal to nature could be united to elaboration and minuteness of finish1 with symmetrical arrangements freed from purely mechanical detail of ornament2 if more insight could be obtained into the spirit which produced those splendid fragments that have survived from the past1 there would be a gradual return to a style of work wherein the inherent preciousness of material might be accompanied by a fuller appreciation of its artistic possibilities1 and a way opened to the restoration of the art of the goldsmith to the honourable place it once held4 ,apart from matters of design the new movement has resulted in great changes in the artistic aspect of jewellery4 ,in distinction to the tendency hitherto prevalent which bids the metal mounting of jewellery to be rendered almost invisible1 the working of gold and silver has once again become a matter of some moment4 ,a second change1 due to the study of old models1 has been the revival of enamelling--an art which offers many an opportunity for the exercise of the craftsman's taste and skill1 and has once again resumed its proper position as handmaid to the goldsmith4 ,a third change has been the wider choice and employment of stones4 ,till recent years only those stones that are reckoned as fine--the diamond1 ruby1 emerald1 and sapphire--have been allowed a place in jewellery4 ,though their commercial value can never be set aside1 precious stones are now valued1 as they were in ,renaissance times1 for the sake of their decorative properties4 ,the taste for colour effects in jewellery has resulted in the adoption of certain gems not very precious1 yet sufficiently rare1 while the artistic value of broken colour in gems is beginning to be appreciated in purely commercial productions4 ,there is now a welcome tendency to use such stones as the aquamarine1 peridot1 zircon1 topaz1 tourmaline1 chrysoprase1 and others of beautiful colour and high decorative value4 ,for a precious stone1 as has been truly said1 is not beautiful because it is large1 or costly1 or extraordinary1 but because of its colour1 or its position in some decorative scheme4 ,the present master of the jeweller's art is ,ren ,lalique of ,paris1 universally recognised as the greatest of modern artists in this class of the fine handicrafts4 ,he possesses a perfect mastery over materials of all sorts1 even of such as ivory1 horn1 and mother-of-pearl1 and above all enamel1 especially that in open settings4 ,to his wonderful dexterity of technique he unites a fertile imagination and infinite resource of design in the direction of naturalistic forms1 as flowers1 winged insects1 and human figures4 ,the style of ,lalique1 freed entirely as it is from the forms of tradition1 is carried out by several artists of individual talent1 such as ,lucien ,gaillard1 ,gaston ,laffitte1 ,georges ,fouquet1 ,comte du ,suau de la ,croix1 ,vever1 ,ren ,foy1 and ,louis ,bonny4 ,it has1 in addition1 hosts of imitators1 whose productions are wrought with rare skill1 but display1 nevertheless1 singular disregard of appropriateness and utility1 and are further marred in many cases by eccentricities of design4 ,much original1 if not always very attractive1 work has been produced also in ,germany and ,austria since the full expansion of the ,nouveau ,art movement about the year #ahig4 ,among the first in ,germany to display activity in the design and production of jewellery in the new style have been the artists ,hirzel and ,mhring1 and ,piloty of ,munich4 ,van der ,velde1 ,olbrich1 and ,schaper and ,j4 ,h4 ,werner of ,berlin have all obtained a reputation for their work in this direction4 ,the movement has been fostered with success in the leading art schools1 under the superintendence of ,gnauth at ,nuremberg1 ,hammer and ,gss at ,karlsruhe1 ,graff at ,stuttgart and ,dresden1 and ,luthmer at ,frankfort4 ,the chief centres in ,germany for the production of jewellery are ,pforzheim1 ,hanau1 and ,gmnd4 ,the leading craftsmen of ,pforzheim are ,zerrenden1 ,fahrner1 ,friessler1 and ,stoffler2 while ,gmnd possesses the well-known jeweller ,hermann ,bauer4 ,illustration3 ,,plate ,,lii ,,modern ,,french ,,jewellery ,among the leaders of the new art movement in ,austria are the sculptor ,gurschner1 ,dietrich1 ,prutscher1 and ,franz ,hauptmann2 while ,elsa ,unger1 ,anna ,wagner1 and ,eugenie ,munk have carried out distinctive work on the same lines4 ,belgium has produced some able craftsmen in the persons of ,paul ,dubois the sculptor1 ,ph4 ,wolfers1 and ,van ,strydonck4 ,the modern school of ,denmark possesses the artists ,slott-,mller1 ,bindesbll1 ,magnussen1 and ,bollin4 ,england1 the pioneer of the latter-day renaissance of the decorative arts1 can boast of a number of craftsmen of distinction in artistic jewellery4 ,among the leaders of the movement whose style and individuality have secured them recognition are ,mr4 ,h4 ,wilson1 ,mr4 ,henry ,h4 ,cunynghame1 ,mr4 and ,mrs4 ,nelson ,dawson1 ,mr4 ,c4 ,r4 ,ashbee1 ,mr4 ,harold ,stabler1 ,mr4 ,edgar ,simpson1 ,mr4 ,alexander ,fisher1 ,mrs4 ,bethune1 ,mr4 and ,mrs4 ,arthur ,gaskin1 ,mrs4 ,newman1 ,mrs4 ,traquair1 ,mrs4 ,hadaway1 ,mr4 and ,mrs4 ,partridge1 and ,mr4 ,f4 ,s4 ,robinson4 ,one may also name ,h4,h4 ,princess ,louise ,augusta of ,schleswig-,holstein1 and ,h4,h4 the ,ranee of ,sarawak1 in addition to a number of others whose work has figured in exhibitions such as those held by the ,arts and ,crafts ,society4 ,the name of ,mr4 ,a4 ,lazenby ,liberty1 who has done much to foster new design in ,england1 likewise deserves mention4 ,messrs4 ,tiffany of ,new ,york have shown how artistic design may be combined with fine and rare gems--the natural instinct for which will have to be gratified so long as jewellery is worn4 ,a number of other firms both in ,england and ,france have in recent years displayed remarkable advance in this direction1 also1 as in the case of ,messrs4 ,boucheron1 in a skilful combination of coloured stones1 as well as in a reserved use of enamel4 ,a hopeful sign for the future of this refined art is the thoroughness with which it is taught in schools of art throughout the country1 and the eagerness and success with which it is practised also by a number of gifted amateurs4 ,the work produced1 though far behind that of continental craftsmen in point of execution1 avoids many of the extravagances of the new art1 and exhibits1 for the most part1 taste and reserve in design1 and adaptability to ultimate uses4 ,,chapter ,,xxxiv ,,peasant ,,jewellery ,until the middle of the nineteenth century the peasants and natives of every country district of ,europe wore modest gold and silver jewellery1 of small pecuniary value1 but of great artistic interest4 ,a few years ago peasant jewellery was seldom sought for1 and comparatively unknown2 and collectors1 better informed in other respects1 did not think of saving it from the melting-pot4 ,it is now1 however1 beginning to attract some of the attention it deserves4 ,this old peasant jewellery has at the present day nearly all passed out of the hands of its original owners4 ,the chief cause of its disappearance has been increased facilities for travelling1 which resulted in jewellery fashioned wholesale in industrial centres being distributed to the remotest rural districts4 ,the demands of the modern collector1 and improvements in present-day taste among certain of the cultured classes1 which have led to the adoption of old articles of jewellery for personal use1 have also contributed to the disappearance of peasant jewellery in recent years4 ,the wiles of the dealer have induced peasants to yield up heirlooms1 which1 handed down for generations1 have escaped the fate of the jewels of the wealthy and more fashionable4 ,the great museums of art and industry springing up everywhere1 especially in ,germany1 have all obtained a generous share of the spoil1 and have preserved it from what1 until lately1 would have been inevitable destruction4 ,so completely in most parts has this old jewellery gone out of use among the peasantry1 that hardly a trace remains of a once flourishing industry carried on by local craftsmen working on traditional lines1 and untrammelled by the artistic fashion of the moment4 ,machines driven by steam power have crushed out of existence skill to make things by hand1 and the cold and monotonous production of the artisan has taken the place of the old work1 whose peculiarly attractive character is due to its expressing the fresh ideas and inspiration of the artist4 ,the ,french peasant jewel par excellence is the cross4 ,it is suspended from the neck by a velvet ribbon1 and varies in form according to localities4 ,its size is often in proportion to the social condition of the wearer4 ,sometimes it attains considerable dimensions4 ,fixed upon the velvet ribbon1 and drawing it together just above the cross is a slide or coulant1 in the form of a bow1 rosette1 or heart1 and of the same style as the cross itself4 ,in many provinces of ,france1 such as ,savoy1 gold is reserved exclusively for married women--custom having it that all their jewels should be of that metal4 ,silver1 on the other hand1 is often employed solely for girls' jewellery1 possibly because it is considered the natural symbol of virginal purity1 just as in ancient times it was consecrated to the virgin goddess1 ,diana4 ,illustration3 ,,plate ,,liii ,,spanish1 ,,portuguese1 ,,flemish ,,and ,,french ,,peasant ,,jewellery1 ,,etc4 ,the most interesting and perhaps the best-known ,french peasant jewellery is that of ,normandy and the ,auvergne4 ,the chief ,norman jewel is the cross4 ,the most usual form is that which occurs in the districts round ,st4 ,l and ,caen4 ,it is of silver1 formed of five high bosses1 four round and one pear-shaped1 each set with a large foiled rock crystal 7commonly known as ,diamant1 ,caillou1 or ,pierre d' ,alenon7 cut and faceted in the brilliant shape1 and further ornamented with sprays set with small crystals in rose form4 ,the lower limb of the cross1 briolette or pear-shaped1 is hinged1 so as to render it less liable to get bent or broken in wear 7,pl4 ,,liii1 #d74 ,the spaces between the limbs are sometimes completely filled up with branched open-work set with small crystals4 ,in the more northerly parts of ,france the cross is formed simply of large bosses set with crystals2 but round about ,rouen we meet with an abundance of spray-work4 ,other crosses of considerable size are formed of thin plates of pierced gold4 ,the shape of the cross is indicated simply by crystal bosses1 but its form is almost lost in the outline of the jewel4 ,a favourite subject for representation on ,rouennais jewellery is the ,saint ,esprit or ,holy ,dove4 ,employed as a breast-ornament or pendant1 the ,dove is either in gold or silver1 mounted with crystals1 or coloured pastes set close together4 ,it is suspended from an ornament of open knot design1 with a rosette-shaped slide above4 ,in its beak is a branch1 spray1 or bunch of grapes1 generally of coloured pastes4 ,peasant jewellery ceased to be worn in ,normandy about #ahdj1 when native costume was given up4 ,while ,normandy relies chiefly on crystal quartz for its jewellery1 the ,auvergne can boast of a variety of gems1 such as garnets1 opals1 spinels1 and zircons1 which are of frequent occurrence in the volcanic rock of ,central ,france4 ,the jewellery of ,puy is mounted with cabochon stones in large high settings4 ,open-work circular pendants have a central boss with eight similar settings around4 ,the ,saint ,esprit is also a popular jewel1 but in these parts the form of the ,dove is not completely carried out1 the jewel being composed merely of five pear-shaped bosses to indicate the wings1 body1 head1 and tail of the bird4 ,it is to be observed that the patterns of the jewels here alluded to are not entirely original inventions of the peasantry4 ,as a matter of fact1 they are often from precisely the same models as the jewellery in use in the seventeenth and early part of the eighteenth century1 and are very similar in style to the large series of original designs in the ,national ,art ,library1 ,south ,kensington1 executed about that time by the ,santini family of ,florence4 ,their technique is also traditional4 ,this is shown by the presence on many of the peasant jewels of ,southern ,france1 as well as of other districts1 of the painted enamel which came in about #afdj1 and continued in use for upwards of a century4 ,while fashion has shifted scores of times since those days1 types and styles of jewellery then set remained unchanged in these quarters until the great industrial revolution of the nineteenth century and the strange and universal decline of taste that accompanied it4 ,holland is one of the few countries that have retained their peasant jewellery4 ,not only is it displayed in abundance on festal occasions1 such as weddings1 but it is worn in everyday life by the well-to-do natives of the country districts4 ,much jewellery is employed in ,zeeland4 ,the country belles wear jutting out on either side of the lace cap curious corkscrew-like ornaments of gold1 silver1 or gilt metal1 on which they hang pendants sometimes tipped with pearls4 ,in the land of ,goes a square gold ornament is pinned close to the face inside the lace halo that surrounds the head4 ,coral necklaces are worn1 and jet ones for mourning4 ,boys have earrings and gold and silver buttons near the throat4 ,the head-ornaments of ,north ,holland and ,utrecht consist of a broad thin band of gold or silver which encircles the skull and terminates at each end with the above-mentioned spiral ornaments4 ,these bands are covered by a white muslin cap or by a cap decorated with coloured designs4 ,the women of ,gelderland display costly caps of gold beaten out to fit each individual head4 ,in ,overyssel the lace cap terminates with gold ornaments1 and the coral necklace has clasps of gold filigree4 ,men and boys wear flat silver buttons on the coat and gold at the collar4 ,at the waist is a pair of large hammered discs of silver4 ,the natives of the fertile country of ,friesland possess vast stores of jewellery1 generally of gold set with diamonds4 ,very attractive peasant ornaments are still in use in ,belgium4 ,long pendent crosses are worn1 with earrings to match4 ,they are of open-work floral and scroll designs1 and are mounted with small rosettes set with rose diamonds--silver rosettes being applied to gold ornaments1 gold to silver ones4 ,the slide or coulant above the cross here forms part of the pendant1 and is not1 as in ,france1 attached by the ribbon worn with it4 ,the heart 7,sacr ,coeur7 is not worn above the cross1 as in ,france1 but is used as a distinct ornament1 as a rule in silver only4 ,these open-work heart pendants1 commonly found between ,antwerp and ,malines1 and rarely elsewhere1 have an opening in the centre hung with a movable setting1 and a hinged crown-shaped ornament above4 ,instead of a crown is sometimes a flche1 two quivers and a bow--a love token4 ,flemish jewels1 unlike the ,french1 are set entirely with rose diamonds4 ,the peasant jewellery of ,norway and ,sweden is mainly of silver filigree4 ,precious stones do not take an important place in it4 ,when used they are more often than not false1 and are only sparingly applied for the sake of their colour4 ,particularly characteristic of almost all the ornaments of these parts are numerous small concave or saucer-like pieces of metal1 highly polished1 or small flat rings4 ,they are suspended by links1 particularly from the large circular buckle which is the chief article of jewellery4 ,most ornaments are circular in plan4 ,besides being executed in filigree1 many of them are embossed or else cast--a style of work admirably displayed on the huge silver-gilt crowns worn by ,scandinavian brides4 ,the peasant ornaments of ,germany present many varieties of design4 ,silver filigree of various kinds is employed for almost all of them4 ,in the northern districts amber beads are naturally the commonest form of necklace1 while hollow balls of silver are also worn strung together4 ,large flat hair-pins are used1 the expanded heads of which are ornamented with raised filigree4 ,swiss and ,tyrolese peasant jewellery is largely composed of garnets or garnet-coloured glass set in silver filigree4 ,so numerous are the different types of ,italian peasant jewels that it is impossible to mention them all4 ,every small district1 nay1 every township1 seems to have possessed ornaments that differed in some detail from those of its neighbours4 ,many of them display reminiscences of the antique4 ,their manufacture follows--or did till quite recent years--the old methods2 the natives of certain out-of-the-way districts in ,umbria still working in very much the same manner as the ancient ,etruscans4 ,all ornaments are somewhat voluminous4 ,the head is uncovered1 and presents an extensive field for hair-ornaments4 ,the ,lombards have all sorts of hair-pins1 often a couple of dozen1 stuck in nimbus fashion1 and through them crosswise is passed another pin with an oval head at each end4 ,earrings are likewise of considerable dimensions1 but light in spite of their size4 ,their surfaces are very frequently set with seed pearls4 ,the finest existing collection of ,italian peasant jewellery is that in the ,victoria and ,albert ,museum1 purchased from ,signor ,castellani in #ahfg4 ,of great beauty is the jewellery of the shores of the ,adriatic1 and that of the ,greek ,islands1 probably made by descendants of the ,venetian goldsmiths1 and commonly known by the title of ,adriatic jewellery 7,pl4 ,,liv74 ,it is of thin gold1 on which are shallow cells filled with opaque enamels4 ,crescent-shaped earrings are formed of pendent parts hung with double pearls4 ,dating from the seventeenth century are elaborate and delicate pendants in the shape of fully rigged ships enriched with painted enamel and hung with clusters of pearls4 ,beautiful work of a similar nature was also produced in ,sicily4 ,illustration3 ,,plate ,,liv ,,adriatic ,,jewellery ,hungarian and ,spanish peasant ornaments have already been alluded to4 ,in both these countries we find the native filigree enamel in sixteenth-century work1 and painted enamel in that of the seventeenth and eighteenth centuries4 ,spanish jewellery frequently takes the form of pendent reliquaries4 ,it is usually of stout silver filigree1 bearing traces of ,moorish design4 ,the ,moorish style is also felt on ,portuguese jewellery1 which displays in addition a certain amount of what appears to be ,indian influence4 ,it is composed of gold filigree of very fine workmanship4 ,earrings and neck-chains are of such proportions that they reach respectively to the shoulders and the waist4 ,in addition to the cross1 star1 heart1 and crescent-shaped pendants are worn4 ,a favourite form is one resembling an inverted artichoke4 ,openings are left in its surface1 and within these spaces and on the edges of the jewel are hung little trembling pendants 7,pl4 ,,liii1 #b74 ,portuguese jewellery of the eighteenth century1 largely set with crystal1 is admirably represented in the ,museum of ,fine ,arts at ,lisbon4 ,,chapter ,,xxxv ,,jewellery ,,in ,,pictures ,one aspect of the present subject1 more attractive perhaps than any other1 is that which concerns the representation of personal ornaments in pictures4 ,scarcely as yet have pictures been fully appreciated from the point of view of their utility to antiquaries or the light they throw upon matters of historical inquiry4 ,the important part which from the fifteenth century onwards they have played in connection with the subject of jewellery is sufficiently attested by the number of times they have already been referred to during the course of the present inquiry4 ,the truth1 reality1 and accuracy of the artists' work has eminently contributed to the value of these pictures4 ,a sympathetic way of seeing things and reproducing them and a fine feeling for naturalistic detail is characteristic of all the work of the painters of early times1 when a strength of realism made its wholesome influence universally felt4 ,such works1 while they display the grandeur and magnificence of former ages and point out the fashions and customs of our ancestors1 show in detail not only the bright splendour of patterned draperies in many materials1 but also the shimmer of goldsmith's work in the form of a variety of actual ornaments1 now for the most part entirely lost4 ,in this way they set before us details unnoticed by chroniclers1 and convey clearer ideas than can be attained by reading the most elaborate descriptive inventories4 ,the special capability of the early painters for representing articles of jewellery need merely be alluded to again1 seeing the close connection already shown1 that always existed between them and the goldsmiths1 in whose workshops most of them passed their apprenticeship4 ,every jewelled ornament figured in their works is1 in fact1 designed with the full knowledge of a goldsmith versed in his craft4 ,the artists of the fifteenth and sixteenth centuries are notorious for the extreme and elaborate minuteness of their painting of jewels4 ,in the portraits of the time careful accuracy in depicting ornaments was the duty1 and evidently the delight1 of the painter4 ,in every early picture the various details of costume and jewellery are rendered with scrupulous care and refinement4 ,though placed in the most prominent and decorative positions1 jewellery was never1 in the best works1 allowed to intrude or to occupy an exaggerated place in the composition4 ,for however minutely defined these accessories may be1 they are so fused into the general design that they are only apparent if one takes the trouble to look for them4 ,in addition to recognised masterpieces1 there exists a vast number of pictures obviously not by the first masters1 which1 though of only moderate quality1 do not actually offend by their inferiority4 ,these equally well serve to illustrate details of jewellery and dress4 ,in a picture of the first order such details1 of importance in themselves1 sink into insignificance beside the splendid qualities of a work of art3 in less important pictures the ornamental accessories are all in all4 ,it would be of great value to students if all public collections that possess costumes and ornaments could bring together--as has been done with marked success in the ,germanic ,museum at ,nuremberg--series of portraits specially chosen to illustrate these details1 such portraits1 like the actual articles of dress and jewellery1 being1 of course1 old ones1 not modern copies4 ,we may state1 in general1 that jewels figured in portraits are to be relied upon as being the actual objects possessed by the persons represented4 ,all the early painters displayed1 as has been said1 a special love for jewel forms4 ,they not only took their beautiful models as they found them1 but being themselves mostly masters of the jeweller's craft1 they devoted much attention to the adornment and the arrangement of the jewels of their models4 ,it may be urged that painters are apt to indulge their fancy by decorating their sitters with jewels they do not possess1 introduced to improve the colour or arrangement of the picture1 or introduced in accordance with orders1 like those of the good ,mrs4 ,primrose1 who expressly desired the painter of her portrait to put in as many jewels as he could for the money1 and not to be too frugal of his diamonds in her stomacher and hair4 ,it is unlikely1 on the contrary1 that any of the early painters departed from their usual methods of truth1 reality1 and accuracy2 or1 considering the elaborate detail with which they depicted jewellery1 that they ever specially invented it for the portrait in which it occurs4 ,it is much more probable that they worked from what they saw3 for masters of painting have in all ages worked from models in preference to carrying out their own designs4 ,an instance may be cited of the care which painters paid to the ornaments of their sitters4 ,preserved in the ,archivio di ,casa ,gerini at ,florence are certain unpublished documents#ahi of the years #aegi to #aehd relating to the artist ,alessandro ,allori1 in which is a list of the clothes and jewels that had been lent him from the wardrobe of the ,grand ,duchess1 ,bianca ,cappello1 when he was painting her portrait4 #ahi ,kindly communicated by the late ,sir ,dominic ,colnaghi4 ,one or two of the peculiarities of artists in representing jewellery are worthy of being mentioned4 ,it is to be observed that the presence or absence of gilding on jewellery often serves to distinguish between ,german and ,flemish paintings4 ,holbein almost always employed gold upon golden objects2 but in the works of ,mabuse1 so rich in elaborate detail1 paint alone suffices to produce the effect4 ,the artists of those days possessed a marvellous facility for imitating the brilliance of gold by colour alone4 ,in examining the jewellery of sixteenth and seventeenth century portraits numbers of what appear to be black stones are frequently to be seen4 ,these were evidently intended to represent diamonds4 ,from early times1 when the custom existed of improving1 as it was considered1 the colour of all stones by the use of foils1 diamonds--the old stones of ,golconda and ,brazil1 different in colour and quality from the diamonds of to-day--were usually backed with a black varnish composed of lamp-black and oil of mastic4 ,this tinctura1 or colouring of the diamond1 which is alluded to by ,cellini1 would account for the intense and clear blacks and whites used by the artists of the time in depicting that precious stone4 ,in the work of some of the finest painters of the sixteenth and seventeenth centuries1 so masterly is the handling1 that in the contemplation of broad effects one may fail to notice how much detail the artists were able to combine with such breadth4 ,in fact the detail they displayed is hardly less precise than that of the earlier painters4 ,mr4 ,davies#aij has some interesting remarks to make on the different modes of depicting jewellery adopted by first-class painters--by the one who paints it in detail and the other who treats it with freedom4 ,the first paints you1 touch by touch1 his chains1 his bracelets1 his tiara1 link by link1 and gem by gem1 with precision so great that if you called in a fairly capable goldsmith1 of little or no intelligence1 he would use them as a pattern and produce you an exact facsimile4 ,the second obtains his result by summarized knowledge1 letting his line lose itself and find itself again1 a flash on a link1 a sparkle on a gem suggesting all to the eye with a completeness which is fully as complete as the literal word for word translation of the other man4 ,call in a really intelligent goldsmith to this work and he would find it quite as easy as1 or even easier than1 the other to understand and reproduce from1 but it would not do to make a tracing from1 nor give as a pattern to one of his unintelligent apprentices4 #aij ,davies 7,g4 ,s471 ,frans ,hals1 p4 #hh4 ,very attractive and valuable guides to the jewellery of the early period are the early ,flemish-,burgundian paintings 7p4 #ij71 and those of the ,italian masters of the fifteenth century 7p4 #afg74 ,the most fertile of sixteenth-century pictures for the present purpose are the ,german 7p4 #ahi71 as may be judged from ,herr ,luthmer's ,goldschmuck der ,renaissance1 in which are reproduced in colours a number of specimens of jewellery figured in contemporary pictures4 ,in the second half of the sixteenth century and the early part of the seventeenth1 the painters of the ,low ,countries especially excelled in the delineation of jewel forms4 ,among these artists are ,sir ,antonio ,more1 ,peter ,pourbus1 ,lucas de ,heere1 ,zucchero1 ,marc ,gheeraerts1 ,d4 ,mytens1 ,van ,somer1 and ,janssens4 ,by these and by numerous followers of ,holbein1 many pictures were painted1 and exist in ,england at the present day4 ,the technique of the great ,dutch and ,flemish painters of the seventeenth century1 even of such as ,frans ,hals1 was not incompatible1 as ,mr4 ,davies has shown1 with the clear representation of personal ornaments4 ,the majority of pictures of the early part of the eighteenth century offer but slight indication of the jewellery of the time4 ,the conventional style of portraiture which then found favour did not allow such individual characteristics as personal ornaments to obtain a place in the portrait4 ,in the canons for painters laid down by ,c4 ,a4 ,du ,fresnoy of ,paris1 entitled ,de arte graphica1 which ruled artists of the first half of the eighteenth century1 it was particularly enjoined that portraits should not be overladen with gold and jewels4 ,the portrait painters1 as ,reynolds expressed it in speaking of his predecessors as far back as ,lely and ,kneller1 had a set of postures 7and ornaments too7 which they applied to all persons indiscriminately4 ,seeing the reliance that may be placed on the jewellery figured in the portraits of earlier times1 it is not unnatural to expect such detail to be of considerable service in art criticism4 ,in the identification of a portrait much may rest on the identification of its jewels3 for a portrait1 as ,mr4 ,andrew ,lang says1 with the jewels actually owned by the subject1 if not 'the rose' 7for it may be a copy of a lost original7 has certainly been 'near the rose4' ,but critics seldom think of examining the numerous extant royal and noble inventories and other documents such as wills containing lists of jewels1 and of comparing the jewels described in them with those displayed in portraits4 ,this method1 neglected as a rule in criticism1 has been employed by ,mr4 ,lang with conspicuous success in his ,portraits and jewels of ,mary ,stuart1 and has served to identify the remarkable portrait of the ,scottish ,queen in the possession of ,lord ,leven and ,melville4 ,interesting as it is when the jewels depicted in the portraits are identical with those described in their owners' inventories1 it is even more so when the actual jewels thus represented have survived to the present day1 such as is the case with the ,penruddock ,jewel shown in ,lucas de ,heere's portrait of ,sir ,george ,penruddock2 the ,drake ,jewel in ,zucchero's portrait of ,sir ,francis ,drake2 the ,lyte ,jewel in the portrait of ,mr4 ,thomas ,lyte2 the earring of ,charles ,i belonging to the ,duke of ,portland1 shown in ,van ,dyck's portraits2 and the earrings of ,henrietta ,maria in ,lord ,clifford's possession1 shown in portraits of her painted by the same artist4 ,,chapter ,,xxxvi ,,frauds ,,and ,,forgeries ,owing to the important position that jewellery occupies in the domain of virtu1 it is natural that it should receive particular attention at the hands of the fraudulent4 ,on the question of frauds of jewellery we have to distinguish between forgeries--articles professing to be genuine ancient works of art--and counterfeits--imitations of real objects4 ,long before the forger1 as we define him1 set to work on the field of jewellery1 there existed the business of the imitator of precious stones and precious metals--one of counterfeit rather than of forgery4 ,the production of false gems dates from the time that precious stones first came to be generally worn as personal ornaments4 ,the manufacture of imitations1 intended in many cases to pass as real stones1 was an important branch of the art of the famous glassworkers of antiquity4 ,these glass gems1 or pastes as they are termed1 were largely set in rings to meet the tastes of the poorer classes2 and are referred to by ,pliny as the glass gems from the rings of the multitude4 ,would-be smart individuals1 also1 are frequently satirised by ,martial for wearing in their rings glass pastes which they attempted to pass off as real stones4 ,at the same time coloured foils were placed as the backing to transparent stones1 and were employed to give a full hue to inferior-coloured stones4 ,besides being employed for jewellery1 precious stones were made use of by the medival embroiderers to increase the effect of the coloured materials and gold thread in the decoration of their robes4 ,but when we bear in mind the accurate descriptions given by ,theophilus in his ,diversarum ,artium ,schedula of the process of making false gems1 it is only reasonable to assume that many of the so-called jewels were not in fact real gems1 but imitations4 ,certain it is that in medival times the counterfeiting of precious stones was very largely carried on1 while many accounts are preserved in early records of fines and other punishments inflicted on dishonest traders in gems who attempted to dispose of spurious stones1 usually set in finger rings4 ,in ,england and ,france during the fourteenth and fifteenth centuries it was customary for the jewellers' guild of each town to have a rule prohibiting its members from setting paste gems in real gold or real gems in plated metal2 from mounting ,scottish pearls with those of the ,east2 or mingling coloured glass1 or false1 with precious stones4 ,as in earlier periods1 a crystal or a colourless paste was made to imitate a coloured stone by backing it with a foil4 ,at ,south ,kensington an example exists1 set in a gold ring of sixteenth-century ,german work 7,no4 #abjf-'jc71 of a white crystal1 which is cut en cabochon and backed with a red foil1 and bears a striking resemblance to a carbuncle 7,pl4 ,,xxiii1 #ag74 ,many books on precious stones1 both old and new1 give receipts for the manufacture of imitation gems1 made of flint glass and coloured with oxides according to the originals they are intended to counterfeit4 ,apart from these are false gems produced with really fraudulent intent4 ,since imitation stones cannot resist the file1 it is the practice1 besides backing a crystal with coloured foil1 to back a thin layer of genuine stone--intended to resist the test when examined for hardness--with a layer of glass coloured as required4 ,another process of fabrication consists of placing a layer of glass between two layers of true stone4 ,the place of the join in the triplet is hidden by the collet of the setting1 and the deceit can only be detected by unsetting the stone and soaking it in chloroform4 ,another means employed for changing and improving the colours of stones is by heat1 for the colour of nearly all gems is affected by heating4 ,not pastes only but clear crystals have long been palmed off on the unwary for diamonds4 ,perhaps the best-known of these were crystals of quartz found in the ,clifton limestone near ,bristol1 which went by the name of ,bristol diamonds4 ,they are alluded to as worn in the ears by the fop described in ,lenton's ,young ,gallant's ,whirligigg 7#afbi74 ,quartz crystals found in the tin mines of ,cornwall1 and similar stones from the neighbourhood of ,harrogate1 still known respectively as ,cornish and ,harrogate diamonds1 were also much employed for jewellery from the sixteenth century4 ,transparent stones from various parts of the ,continent are given the names of the localities in which they are found4 ,in ,france1 rock crystal1 cut in rose or brilliant form1 went generally by the name of ,pierre d' ,alenon or ,caillou du ,rhin4 ,of the transparent glass paste termed ,stras or ,strass we have already spoken4 ,though an imitation1 the paste of eighteenth-century jewellery does not necessarily belong to the category of frauds and counterfeits1 since it possesses a certain originality of its own1 and does not appear to have been generally worn with intent to deceive4 ,false or mock pearls on the other hand seem in some way to be rather more associated with deception1 though they also can be made to serve for decorative purposes entirely apart from any such intent4 ,to reproduce the lustre or orient characteristic of oriental pearls1 use is made in the fabrication of imitations of a pearly essence known as essence d'orient1 obtained from the silvery scales on the underside of a fish called the bleak4 ,beads of blown glass slightly opalescent and treated with acid to produce an iridescent surface are coated internally with a film of the essence1 and wax is then introduced to give the bead the desired weight4 ,other mock pearls are made up of a vitreous composition formed largely of the pearl essence4 ,their surface when burnished presents a fine lustre4 ,these are generally termed ,venetian pearls4 ,roman pearls are formed of external coatings produced by frequent dippings into a solution made of the pearliest parts of the oyster4 ,from earliest times frauds have been committed in connection with the precious metals4 ,the goldsmiths and jewellers of the ,middle ,ages were forbidden to work in base metal1 to use false stones of glass1 or to put coloured foil beneath real stones4 ,they were further expressly forbidden to manufacture personal ornaments for secular use of gilt or silvered copper or brass4 ,documents in the archives of the ,city of ,london contain many references to the perpetration of fraud in passing off as real1 objects of brass or latten that had been silvered or gilded4 ,in #acfi a conviction and punishment by the pillory took place for selling to divers persons rings and fermails of latten1 of coloured gold and silver1 as being made of real gold and silver1 in deceit1 and to the grievous loss1 of the common people2 and in #acgf a workman was imprisoned for having silvered #bdj buttons of latten1 and thirty-four latten rims for gipcires1 and having maliciously purposed and imagined to sell the same for pure silver1 in deceit of the people4 ,from actual objects that have survived it would seem that the more heinous offence was not infrequently committed of plating with silver the baser metals of tin1 lead1 and pewter4 ,the statutes of the goldsmiths ordained that no jeweller should sell any article of silver unless it was as fine as sterling1 nor sett it to sell before it be touched with the leopard's head and maker's mark4 ,but exceptions were always made in favour of small articles of jewellery which could not reasonably bear the same touch4 ,such materials as pinchbeck and ,similor and the plated objects of modern times hardly fall within the present category4 ,actual forgeries of personal ornaments can scarcely be said to have been committed until comparatively recent years--not1 in fact1 until the demand for specimens of old jewellery on the part of the antiquary and connoisseur rendered their reproduction profitable4#aia #aia ,munro 7,r471 ,archology and false antiquities4 ,eudel 7,p471 ,le ,truquage1 #ahhg4 ,trucs et ,truqueurs1 #aijg4 ,owing to the high prices they command from collectors1 or to various facilities afforded for their production and disposal1 three classes of objects--,greek and ,etruscan jewellery1 medival rings1 and enamelled pendants of the ,renaissance--offer the strongest temptation to the forger2 and he on his part displays such an amount of skill and ingenuity1 that the fabrication of spurious antiquities of this kind may be said to have amounted almost to a fine art4 ,the much sought after gold jewellery of ,greece and ,etruria has received more attention than any other1 partly on account of the fact that gold is subject to but slight oxidisation2 for the patina of age is lacking even on ancient examples4 ,setting aside the beautiful imitations by such artists as ,castellani1 father and sons1 and later by ,melillo and ,giuliano--which clever reproductions are known to have been sometimes foisted upon collectors by unscrupulous dealers--a great deal of really false work made with the intent of passing for old has been produced in ,italy--chiefly at ,rome1 ,naples1 and ,florence4 ,on the subject of such pseudo-antiques ,count ,tyszkiewicz has several good stories to tell in his ,memories of an ,old ,collector4 ,of all objects of this kind1 that which has claimed the largest share of public attention is the notorious ,tiara of ,saitapharnes1 which deceived several well-known authorities1 and reposed for several years as a genuine antique in the ,louvre1 until the revelation in #aijc of the person of its ingenious author--a ,russian ,jew of ,odessa4 ,the disclosure of this remarkable fraud was the climax of a long series of forgeries of ancient ,greek jewellery from ,southern ,russia1 which1 purporting to be recovered from the ,greek tombs of ,olbia and ,kertch1 long renowned for their wealth in such objects1 were purchased by more than one well-known collector4 ,so keenly has the forger pursued his evil course in this particular domain1 that1 apart from that preserved in museums and in the cabinets of collectors whose personal judgment is sound on such matters1 ,m4 ,eudel goes so far as to say that the greater portion of the antique jewellery extant is of recent fabrication4 ,medival ornaments of all sorts are forged at the present day upon the ,continent to a considerable extent1 though less than are those of later times4 ,one important centre of their production is ,paris4 ,another1 in earlier years in particular1 was ,frankfort1 where visitors to watering-places on the ,rhine have long been the victims of fraudulent vendors4 ,such medival objects1 however well supported by a dealer's warranty of place and time of discovery1 require1 says ,mr4 ,king1 to be examined by the amateur with a very suspicious and critical eye4 ,among other personal ornaments of this period that have received attention at the hands of the forger are the leaden badges known as pilgrims' signs4 ,many ingenious forgeries of the kind were produced about forty-five years ago1 and purported to be brought to light by workmen engaged in excavations near the ,thames in the ,city of ,london4 ,these were in large part the work of two illiterate mud-rakers on the banks of the river2 while articles of like kind were shortly afterwards made by two men known as ,billy and ,charley1 who manufactured a number of curious pendent medals of lead and cock-metal4#aib ,the discovery in the ,seine1 about the same time1 of many genuine pilgrims' signs led to the circulation also in ,france of a quantity of spurious objects of a similar nature4 #aib ,archological ,journal1 ,,xxi1 p4 #afg4 ,a collection of pseudo-antiques of the kind made at the ateliers of ,messrs4 ,billy and ,charley1 ,rosemary ,lane1 ,tower ,hill1 is shown in the ,cuming ,museum1 ,walworth ,road1 ,london4 ,renaissance pendants1 the prizes of the connoisseur1 are favourite subjects for reproduction at the present day1 for1 unlike the earlier objects1 they are not ill-adapted for personal use4 ,jewellery in the ,cinquecento style has for several years past been made in large quantities at ,vienna4 ,these jewels are generally not in gold1 like the works they profess to imitate1 but in silver-gilt1 and as a result their enamel is never of fine quality1 their general appearance is not up to the standard of the old1 and their workmanship is mostly very mechanical4 ,apart from these and similar works1 made also in ,france and generally sold in jewellers' shops as modern productions1 there are others which pretend to age4 ,though one seldom meets with examples that approach the best productions of the ,renaissance1 objects of the kind are occasionally imitated with such proficiency1 that in collecting specimens of early jewellery in no instances is it necessary to exercise greater caution than in those of the ,cinquecento4 ,fine jewellery of the eighteenth century1 now almost equally sought after--watches1 chatelaines1 rings1 and brooches--has been multiplied in quantities during recent years4 ,as the brooches of this date are very often mounted with rose-cut diamonds1 care has been taken to employ stones cut in this manner4 ,their settings generally distinguish the copies4 ,again1 as ,m4 ,eudel points out1 when fine old diamond-work has been sent to be reset1 the jeweller preserves the old mounts1 sets them with modern stones or pastes1 and sells them as genuine old work4 ,for the purpose of furthering the deception complete parures purporting to be seventeenth or eighteenth century work are offered for sale in genuine old leather or shagreen cases4 ,a set of jewels may even be made for the special purpose of fitting such a case1 or an entirely new case constructed1 and treated in such a manner as to give it an appearance of age4 ,,chapter ,,xxxvii ,,memento ,,mori ,i will keep it1 ,as they keep deaths' heads in rings1 ,to cry memento to me4 ,the study of the various forms of personal ornament by means of which the memory of the dead or of death itself has been preserved by the living is one which offers a wide field for investigation4 ,the ,egyptians enforced the precept ,memento ,mori by introducing at their banquets a small coffin containing the image of a corpse which1 according to ,herodotus1 was shown to each guest4 ,in classical times skeletons were rarely represented1 though one is sculptured on a tomb at ,pompeii4 ,the warning ,memento ,mori manifested itself in divers fashions in the ,middle ,ages1 the most conspicuous being the famous ,dance of ,death1 which made its dbut in the fourteenth century1 and was figured by ,holbein in the sixteenth4 ,testimony of the desire of all to keep the warning constantly before the mind is borne by personal ornaments of various kinds displaying emblems of mortality4 ,in order to arrive at the meaning of these crude emblems so often applied to objects of jewellery1 regard should be paid to the feelings of the times that gave them birth4 ,during the latter period of the ,middle ,ages the grim and ascetic contemplation of death caused the artists of that period to represent it as the devil1 the father of sin1 horned and cloven-hoofed1 carrying off the sinful souls and forcing them into the mouth of hell4 ,but when during the fifteenth century printing excited men's imaginations1 when the first discovery of the ancient classics roused their emulation and stimulated their unrest1 when the ,renaissance in art increased their eagerness to express their thoughts and multiplied their method of expression1#aic and their conscience was turned to the latter end and the unseen world1 then at length did death appear1 no longer as the father of sin1 but altered into a familiar and human personification4 #aic ,cook 7,t4 ,a471 ,the history of ,rouen1 p4 #bic4 ,side by side with the strange vigour and extraordinary joy in life that marked the period1 there existed a great contempt for the value of life and a gross familiarity with death4 ,it was ,death himself1 according to the imagination of the sixteenth century1 who1 always at hand1 clutched men of every age and condition by the sleeve and hurried them all unwillingly away4 ,the emblems of death were always presented in close touch with the living4 ,the forms they took--the skeleton1 or simply the skull1 or ,death's head1 with cross-bones--were rendered in the sixteenth century by both painter and sculptor2 but it was reserved for the goldsmith--the sculptor and painter in one--to represent them on jewellery through the medium of the precious metals enriched with gems and coloured enamels4 ,they figured on every kind of ornament4 ,brooches with enamelled skulls were fastened as enseignes upon the hat2 golden jewels like funereal objects in shape of coffins holding enamelled skeletons hung from the neck2 rosary beads1 pomanders and watches in the form of human skulls were attached to the waist2 and rings bearing ,death's heads and other emblems were worn upon the fingers4 ,a great impetus was given to the use of such articles of adornment by ,diana of ,poitiers when she became mistress of ,henry ,,ii of ,france4 ,she was then a widow in mourning2 and the complaisant ,court not only adopted her black and white as the fashionable colour1 but covered their personal ornaments with emblems of death4 ,jewels of this description1 it is clear1 were not necessarily carried in remembrance of any special individual4 ,with their legend ,memento ,mori they were simply reminders of ,death in the abstract4 ,as such they characterised exactly the temper of the time1 and were quite commonly worn by the upper and middle classes1 especially by those who affected a respectable gravity4 ,at the time of which we now speak the personal badge or devise1 an obscure expression of some particular conceit of its wearer1 was at the height of fashion4 ,in its elaboration the various emblems of death were largely put under contribution1 their choice for the purpose being the outcome of the special disposition of those who adopted them4 ,perhaps the most notable instance of the representation of a badge of this kind is in ,holbein's famous ,ambassadors1 in the ,national ,gallery4 ,here ,jean de ,dinteville1 who stands on the left of the picture1 wears a circular jewel formed of a white enamelled skull in a gold mount1 pinned as an enseigne to the lower rim of his small black bonnet4 ,amongst sundry ornaments bearing mortuary devices1 there is a good example at ,south ,kensington--a ,memento ,mori charm of enamelled gold in the form of a coffin containing a minutely articulated skeleton4 ,it is ,english work of the ,elizabethan period1 and was found at ,tor ,abbey1 ,devonshire 7,pl4 ,,xliv1 #af74 ,no article of decoration has been more extensively used as a ,memento ,mori or for memorial purposes than the finger ring4 ,the association of the ring is largely with affairs of the heart1 and lovers are united with it4 ,and since the form itself is emblematic of eternity1 so by this same token of affection has the memory of departed friends been kept green4 ,the sepulchral emblems referred to were not made use of for medival ornaments4 ,but in the sixteenth century they were very frequent1 especially on rings4 ,one of the most remarkable specimens of the wonderful mastery over technical difficulties which stamps the goldsmith's work of this time is a ,memento ,mori ring of ,german work in the ,waddesdon ,bequest4 ,its bezel or top is in the form of a book1 decorated at each corner with a diamond1 emerald1 sapphire1 and ruby1 with snakes and toads between them4 ,in the centre is a death's head4 ,the lid on opening discloses a recumbent figure with skull and hour-glass4 ,on the shoulders of the ring1 supporting the bezel1 are figures of ,adam and ,eve representing ,the ,fall and ,expulsion from ,eden4 ,all the figures are enamelled in high relief1 and though merely a fraction of an inch in size1 are executed with extraordinary fidelity4 ,a ring described as having belonged to ,mary ,stuart is in the possession of the ,earl of ,ilchester4 ,its bezel1 composed of a large ruby cut in the form of a death's head and set with diamond eyes1 is supported underneath by cross-bones in enamel4 ,woeiriot's beautiful collection of designs for rings1 of the year #aefa1 contains a ring of this kind surmounted with a skull and cross-bones2 and ,gilles ,lgar's ,recueil of a century later has an engraving of similar pattern 7,pl4 ,,xl74 ,english rings of the sixteenth century have a death's head carved in intaglio on carnelian1 or sunk in the metal of the ring and sometimes filled with enamel4 ,around is the motto ,memento ,mori1 and similar expressions in ,latin or in ,english 7,pl4 ,,xxxvi1 #ab74 ,a certain ,agnes ,hals whose will is dated #aeed bequeathed to her niece my rynge of gold with the wepinge eie1 and to her son my rynge with the dead manes head4 ,from the commencement of the seventeenth century ,memento ,mori rings begin to be worn also as memorials of the departed1 and bequests of money were frequently made for their purchase4 ,the decoration of many of the rings of this period is very curious4 ,on some the death's head in its natural shape is beautifully formed in enamel1 has small diamond eyes1 and is supported on each side by skeletons bent along the hoop of the ring4 ,the bezel of others is of crystal in the shape of a coffin1 the lid of which on being removed discloses a skeleton4 ,widows on the death of their husbands sometimes converted their wedding rings into memorial rings4 ,this was done by engraving outside an elongated skeleton1 the bones of which were brought into prominence by a background of black enamel4 ,inside the memorial rings of the time was often a motto or posy1 appropriate for the purpose1 sometimes rhyming3-- ,prepared be ,to follow me2 or ,i restless live1 yet hope to see ,that day of ,christ1 and then see thee4 ,rings of this kind1 commonly known as mourning rings1 were frequently given1 together with gloves and hat-bands1 to those who attended at funerals4 ,they were inscribed1 in addition to a posy1 with the initials of the deceased and the date4 ,evelyn at his son's funeral in #afeh distributed a number of rings with the motto ,dominus abstulit4 ,at ,pepys' funeral upwards of a hundred and thirty rings were given to friends and relatives4 ,mention must be made1 amongst other memorial jewellery1 of the various objects worn in memory of ,charles ,i4 ,most of these are finger rings containing a portrait of the ill-fated monarch1 which were made and worn by ,royalists after his execution4 ,some are so contrived that the portrait can only be discovered by opening a lid formed of a table diamond4 ,they were doubtless used by those for whom devotion of the kind was dangerous4 ,other jewels worn in memory of the ,royal ,martyr were heart-shaped lockets1 inscribed and decorated in a suitably funereal manner with skulls1 cross-bones1 and like emblems4 ,an important group of ornaments1 dating from the time of ,charles ,,ii to that of ,queen ,anne1 are those in the form of small memorial brooches1 lockets1 bracelet clasps1 buttons1 and slides with loops at the back for attachment to a velvet band4 ,they are of considerable interest in that they represent almost the only surviving examples of ,english jewellery of the time4 ,the ,franks ,bequest in the ,british ,museum contains several specimens4 ,they usually have letters in a fine filigree of gold entwined in a monogram1 laid on a ground of crimson silk1 and covered with a thick crystal set in gold4 ,the gold filigree1 which is of extraordinary delicacy1 is often laid on braids of hair arranged in various designs1 and accompanied by the skull and cross-bones4 ,the crystal covering is sometimes cut in table form1 but is more often rose-cut4 ,the locket surrounded with pearls shown on ,plate ,,xliv has on its surface no less than a hundred facets4 ,memorial rings of the same period have bezels with similar designs beneath a rose diamond or faceted crystal4 ,their hoops are mostly enamelled black on the shoulders4 ,in the second quarter of the eighteenth century the mortuary emblems of skull and cross-bones in general disappear4 ,the hoop of the ring is shaped in the form of a scroll or ribbon1 and set with a small diamond1 a coloured stone1 or usually a white crystal4 ,around the hoop is inscribed in enamel the name and age of the deceased1 and date of death4 ,black enamel was used for those who had been married2 while white was employed for the unmarried--just as it was the practice at the funeral of an unmarried man or woman for the mourners and attendants to be clothed in white4 ,mourning jewellery was extremely popular in ,england towards the end of the eighteenth and in the early part of the nineteenth century4 ,the variety of design in objects of the kind then in use1 and the ingenuity displayed in their production1 may well be judged from a collection numbering upwards of one hundred and fifty specimens in the ,victoria and ,albert ,museum4 ,some mementoes of the deceased are simply miniature portraits1 as well as cameos and silhouettes1 the miniature sometimes taking the form of a single eye set round with pearls or diamonds4 ,but in most cases it appears to have been the custom to wear in lockets1 brooches1 and rings microscopic devices--works of infinite patience and skill--wrought in hair1 with initials and other designs cunningly worked in seed pearls4 ,there were also1 sometimes1 paintings in grisaille 7,pl4 ,,xlvii1 #b1 #c74 ,these often represented a lady in mourning garb weeping over a funeral urn1 in the style of the ornament worn by ,mr4 ,wemmick1 the attorney's clerk in ,great ,expectations1 of whom ,dickens gives the following inimitable description3 ,i judged him to be a bachelor from the frayed condition of his linen1 and he appeared to have sustained a good many bereavements2 for he wore at least four mourning rings1 besides a brooch representing a lady and a weeping willow at a tomb with an urn on it4 ,i noticed1 too1 that several rings and seals hung at his watch chain1 as if he were quite laden with remembrances of departed friends4 ,further on ,mr4 ,wemmick himself describes his personal jewellery1 and concludes by remarking3 ,i always take 'em4 ,they're curiosities4 ,and they're property4 ,they may not be worth much1 but1 after all1 they're property and portable4444 ,my guiding-star always is1 ,get hold of portable property4 ,the painted brooches backed with hair and set round with pearls form1 as a matter of fact1 very pretty jewels1 in spite of the sombreness of their subject and the trivial sentimentality of their mottoes1 which run in this vein3 ,whose hair ,i wear--,i loved most dear4 ,mourning jewellery was usually set with pearls1 garnets1 or more often jet4 ,the last1 until a short while ago1 was in universal favour1 and was fashioned into all sorts of ornaments4 ,it fortunately now meets with but little demand4 ,the same applies to hair jewellery1 of human hair woven in many intricate plaitings into brooches1 rings1 bracelets1 and chains4 ,the brooches of about the forties have a broad border inscribed with the word ,memory1 etc41 in ,gothic letters on black enamel1 and in the centre a panel of plaited hair4 ,the custom of wearing ornaments composed of such sombre and unpleasing material has now to all intents and purposes ceased1 though it is carried on to a certain extent in ,france1 where ouvrages en cheveux in the form of bracelets and lockets are still worn as prcieux souvenirs de famille4 ,after the middle of the nineteenth century the use of mourning rings and other memorial jewellery began to die out4 ,the goddess ,fashion1 who throughout all ages has waged war on the productions of the goldsmith1 has laid a heavier hand on these than on any other forms of personal ornament--a circumstance which accounts for the survival at the present day of a comparatively small proportion of the enormous quantity of objects of this description that must formerly have been produced4 ,most families from time to time have consigned to the melting-pot accumulations of these memorials of their predecessors2 and those who have been long in the jeweller's business confess to the hundreds of such relics that they have broken up4 ,it is to be hoped that the present-day revival may lead to the preservation of what remain of these quaint mementoes of our frail mortality4 ,,bibliography ,akerman 7,j4 ,y474 ,remains of pagan ,saxondom4 ,london1 #ahee4 ,allen 7,j4 ,romilly74 ,celtic art4 ,london1 #aijd4 ,ashbee 7,c4 ,r474 ,see ,cellini 7,b474 ,treatises4 ,translated by ,c4 ,r4 ,a4 ,aveneau de la ,grancire4 ,les parures prhistoriques et antiques en grains d'enfilage4 ,paris1 #ahig4 ,babelon 7,e4 ,c4 ,f474 ,catalogue des cames antiques et modernes de la ,bibliothque ,nationale4 ,paris1 #ahig4 ,bapst 7,g474 ,histoire des joyaux de la couronne de ,france4 ,paris1 #ahhi4 ,barbet de ,jouy 7,h474 ,gemmes et joyaux de la couronne impriale de la ,muse du ,louvre4 ,paris1 #ahhb4 ,barbot 7,c474 ,guide pratique du joaillier4 ,new edition4 ,paris 7#ahhc74 ,barrera 7,mme de74 ,gems and jewels4 ,london1 #ahfj4 ,bartholinus 7,c4 and ,t47 ,c4 ,bartholini ,thom4 f4 de inauribus veterum syntagma4 ,amsterdam1 #afgf4 ,barth 7,h474 ,das ,geschmeide4 ,schmuck- und ,edelsteinskunde4 #b vols4 ,berlin1 #aijc-d4 ,de ,baye 7,j474 ,the industrial arts of the ,anglo-,saxons4 ,london1 #ahic4 ,berlin3 ,kunstgewerbe ,museum4 ,katalog der ,ornamentstich-,sammlung4 ,berlin1 #ahid4 ,bierdimpfl 7,k4 ,a474 ,die ,funde aus der ,frstengruft zu ,lauingen im bayerischen ,nationalmuseum4 ,munich1 #ahha4 ,bishop 7,e474 ,see ,de ,mly 7,f474 ,blanc 7,c474 ,l'art dans la parure et dans le vtement4 ,paris1 #ahgd4 ,english edition4 ,london1 #ahgg4 ,bloche 7,a474 ,la vente des diamants de la couronne4 ,paris1 #ahhh4 ,bock 7,f474 ,kleinodien des heil4 rm4 reiches deutscher ,nation4 ,vienna1 #ahfd4 ,bonnaff 7,e474 ,la collection ,spitzer4 ,vol4 ,,iii4 ,la bijouterie4 ,paris1 #ahia4 ,boselli 7,e474 ,gioielleria1 oreficeria1 oro1 argento e platino4 ,milan1 #ahhi4 ,bosellini 7,c4 ,l474 ,scelta di antichi anelli raccolti da ,c4 ,l4 ,b4 ,parma1 #ahhf4 ,brewer 7,j4 ,s47 ,letters and papers of the reign of ,henry ,,viii4 ,public ,record ,office series4 7,vols4 ,i-,,iv1 edited by ,j4 ,s4 ,b47 ,london1 #ahfb4 ,british ,museum4 ,guide to the third and fourth ,egyptian rooms4 ,london1 #aijd4 ,bucher 7,b474 ,geschichte der technischen ,knste4 ,vol ,,ii4 ,ilg 7,a474 ,goldschmiedekunst4 ,berlin1 #ahhf4 ,buda-,pesth3 ,exhibition1 #ahhd4 ,chefs-d'oeuvre d'orfvrerie4 ,by ,e4 ,molinier1 etc4 #b vols4 ,paris1 #ahhd-h4 ,burlington ,fine ,arts ,club4 ,european enamels4 ,catalogue4 ,london1 #ahig4 ,burnham 7,s4 ,m474 ,precious stones4 ,boston 7,u4,s4,a471 #ahhf4 ,castellani 7,a474 ,antique jewellery and its revival4 ,london1 #ahfb4 ,castellani 7,a474 ,della orificeria italiana4 ,rome1 #ahgb4 ,cellini 7,b474 ,vita4 #agcj1 etc4 ,english translation by ,j4 ,a4 ,symonds4 #b vols4 ,london1 #ahhh4 ,cellini 7,b474 ,due trattati4 #aefh1 #aheg1 etc4 ,treatises on goldsmithing1 etc4 ,translated by ,c4 ,r4 ,ashbee4 ,london1 #ahih4 ,cellini 7,b474 ,see ,churchill 7,s4 ,j4 ,a474 ,bibliografia ,celliniana4 ,cesnola 7,l4 ,p4 di74 ,cyprus4 ,london1 #ahgg4 ,chipiez 7,c474 ,see ,perrot 7,g474 ,church 7,a4 ,h474 ,precious stones4 ,second edition4 ,london1 #aije4 ,churchill 7,s4 ,j4 ,a474 ,the goldsmiths of ,rome under the ,papal authority1 and a bibliography4 7,papers of the ,british ,school at ,rome1 ,,iv1 p4 #afc47 #aijg4 ,churchill 7,s4 ,j4 ,a474 ,bibliografia ,celliniana4 ,florence1 #aijg4 ,claremont 7,l474 ,the gem-cutter's craft4 ,london1 #aijf4 ,cochet 7,abb74 ,normandie souterraine4 ,second edition4 ,paris1 #ahee4 ,cochet 7,abb74 ,le tombeau de ,childric ,ier4 ,paris1 #ahei4 ,cook 7,e4 ,t474 ,a popular handbook to the ,greek and ,roman antiquities in the ,british ,museum4 ,london1 #aijc4 ,croker 7,t4 ,c474 ,catalogue of a collection of 444 rings and personal ornaments formed for ,lady ,londesborough4 ,london1 #ahec4 ,cuming 7,h4 ,syer74 ,articles in the early numbers of the ,journal of the ,british ,archological ,association4 ,cunynghame 7,h4 ,h474 ,the theory and practice of art enamelling upon metals4 ,second edition4 ,london1 #aija4 ,cunynghame 7,h4 ,h474 ,european enamels4 ,london1 #aijf4 ,dalton 7,o4 ,m474 ,catalogue of early ,christian antiquities in the ,british ,museum4 ,london1 #aija4 ,dalton 7,o4 ,m474 ,the treasure of the ,oxus4 ,london1 #aije4 ,dalton 7,o4 ,m474 ,guide to the ,medival ,room of the ,british ,museum4 ,london1 #aijg4 ,darcel 7,a474 ,notice des maux et de l'orfvrerie4 ,muse du ,louvre4 ,paris1 #ahfg4 ,daremberg 7,c4 ,v47 and ,saglio 7,e474 ,dictionnaire des antiquits grecques et romaines4 ,paris1 #ahgg4 ,davenport 7,c4 ,j4 ,h474 ,anglo-,saxon gold and niello finger rings4 7,anglo-,saxon ,review1 ,v47 #aijj4 ,davenport 7,c4 ,j4 ,h474 ,anglo-,saxon enamels on gold4 7,anglo-,saxon ,review1 ,,vii47 #aijj4 ,davenport 7,c4 ,j4 ,h474 ,cameos4 ,london1 #aijj4 ,davenport 7,c4 ,j4 ,h474 ,cantor lectures on the history of personal jewellery from prehistoric times4 ,london1 #aijb4 ,davenport 7,c4 ,j4 ,h474 ,jewellery4 ,london1 #aije4 ,davillier 7,baron ,c474 ,recherches sur l'orfvrerie in ,espagne4 ,paris1 #ahgi4 ,dawson 7,mrs4 ,nelson74 ,enamels4 ,london1 #aijf4 ,day 7,l4 ,f474 ,enamelling4 ,london1 #aijg4 ,dcle 7,a474 ,historique de la bijouterie franaise4 ,paris1 #ahhi4 ,dehaisnes 7,c4 ,c4 ,a474 ,histoire de l'art dans la ,flandre1 etc41 avant le ,,xve sicle4 #c vols4 ,lille1 #ahhf4 ,deloche 7,m474 ,le port des anneaux dans l'antiquit romaine4 ,paris1 #ahif4 ,deloche 7,m474 tude 444 sur les anneaux sigillaires et autres des premiers sicles du moyen ge4 ,paris1 #aijj4 ,dennis 7,g474 ,cities and cemeteries of ,etruria4 ,third edition4 ,london1 #ahhc4 ,earle 7,a4 ,m474 ,two centuries of costume in ,america4 #b vols4 ,new ,york1 #aijc4 ,earle 7,j474 ,the ,alfred jewel4 ,oxford1 #aija4 ,edwards 7,c474 ,the history and poetry of finger-rings4 ,new ,york1 #ahee4 ,fairholt 7,f4 ,w474 ,rambles of an archologist4 ,london1 #ahga4 ,fairholt 7,f4 ,w474 ,costume in ,england4 ,third edition4 #b vols4 ,london1 #ahhe4 ,fairholt 7,f4 ,w47 and ,wright 7,t474 ,miscellanea graphica4 ,london1 #aheg4 ,faussett 7,b474 ,inventorium sepulchrale4 7,edited by ,c4 ,roach ,smith47 ,london1 #ahef4 ,fontenay 7,e474 ,les bijoux anciens et modernes4 ,paris1 #ahhg4 ,forrer 7,r474 ,geschichte des ,gold- und ,silberschmuckes1 nach ,originalen des ,strassburger historische ,schmuck-,ausstellung von #aijd4 ,strasburg1 #aije4 ,fortnum 7,c4 ,d4 ,e47 ,articles in ,archologia1 ,,xli1 ,,xlviii1 ,l2 and ,archological ,journal1 ,,xxvi1 ,,xxviii1 ,,xxix1 ,,xxxii1 ,,xxxiii1 ,,xxxvii4 ,fourdrignier 7,e474 tude sur les bracelets et colliers gaulois4 ,paris1 #ahib4 ,gay 7,v474 ,glossaire archologique du moyen-ge et de la renaissance4 ,paris1 #ahhb4 ,gee 7,g4 ,e47 ,the jeweller's assistant in the art of working in gold4 ,london1 #ahib4 ,gee 7,g4 ,e474 ,the goldsmith's handbook4 ,london1 #aijc4 ,giraud 7,j4 ,b474 ,les arts du mtal4 ,paris1 #ahha4 ,goetze 7,a474 ,gotische ,schnallen4 ,berlin1 7#aijg74 ,gorlaeus 7,a474 ,dactyliotheca4 7,leyden7 #afja4 ,see also ,kirchmann 7,j474 ,guarneri 7,a474 ,esposizione nazionale di ,palermo4 ,catalogo della collezione di antica oreficeria ed argenteria raccolta di ,a4 ,g4 ,palermo1 #ahia4 ,guiffrey 7,j4 ,j47 ,inventaires de ,jean1 duc de ,berry4 ,paris1 #ahid-f4 ,guilmard 7,d474 ,les matres ornemanistes4 ,paris1 #ahhj-a4 ,haberlandt 7,m474 ,die ,vlkerschmuck4 ,vienna1 #aijf4 ,hadaczek 7,k474 ,der ,ohrschmuck der ,griechen und ,etrusker4 ,vienna1 #aijc4 ,hampel 7,j474 ,der ,goldfund von ,nagy-,szent-,mikls1 sogenannter ,schatz des ,attila4 ,budapest1 #ahhe4 ,hampel 7,j474 ,das mittelalterliche ,drahtemail4 ,budapest1 #ahhh4 ,hampel 7,j474 ,alterthmer des frhen ,mittelalters in ,ungarn4 ,brunswick1 #aije4 ,havard 7,h474 ,histoire de l'orfvrerie franaise4 ,paris1 #ahif4 ,hefner-,alteneck 7,j4 ,h4 von74 ,deutsche ,goldschmiede-,werke des #af4 ,jahrhunderts4 ,frankfort1 #ahij4 ,henkel 7,f474 ,der ,lorscher ,ring4 ,treves1 #ahif4 ,his 7,e474 ,dessins d'ornements de ,h4 ,holbein4 ,paris1 #ahhf4 ,humann 7,g474 ,die ,kunstwerke der ,mnsterkirche zu ,essen4 ,dusseldorf1 #aijd4 ,ilg 7,a474 ,see ,theophilus4 ,ilg 7,a474 ,goldschmiedekunst4 ,see ,bucher 7,b474 ,jannettaz 7,e471 etc4 ,diamant et pierres prcieuses4 ,paris1 #ahha4 ,jones 7,w474 ,finger-ring lore4 ,london1 #ahgg4 ,jones 7,w474 ,history and mystery of precious stones4 ,london1 #ahhj4 ,julia de ,fontenelle 7,j4 ,s4 ,e474 ,manuels-,roret4 ,nouveau manuel complet du bijoutier1 du joaillier1 de l'orfvre1 etc4 ,new edition4 #b vols4 ,paris1 #ahee4 ,king 7,c4 ,w474 ,antique gems4 ,london1 #ahfj4 ,king 7,c4 ,w474 ,natural history of precious stones4 ,london1 #ahfg4 ,king 7,c4 ,w474 ,antique gems and rings4 ,london1 #ahgb4 ,king 7,c4 ,w474 ,handbook of engraved gems4 ,second edition4 ,london1 #ahhe4 ,kirchmann 7,j474 ,de annulis liber singularis4 ,accedunt ,g4 ,longi1 ,a4 ,gorlaei1 et ,h4 ,kornmanni de iisdem tractatus absolutissimi4 ,lug4 ,bat41 #afgb4 ,kornmann 7,h474 ,see ,kirchmann 7,j474 ,labarte 7,j474 ,histoire des arts industriels4 ,second edition4 #c vols4 ,paris1 #ahgb-e4 ,labarte 7,j474 ,inventaire du mobilier de ,charles ,v1 roi de ,france4 ,paris1 #ahgi4 ,laborde 7,l4 de74 ,glossaire franais du moyen ge4 ,new edition4 ,paris1 #ahgb4 ,second part of ,notice des maux1 bijoux 444 exposs dans les galeries du ,louvre4 ,paris1 #ahec1 etc4 ,la ,croix 7,p47 and ,ser 7,f47 ,histoire de l'orfvrerie-joaillerie4 ,paris1 #ahej4 ,lang 7,a474 ,portraits and jewels of ,mary ,stuart4 ,glasgow1 #aijf4 ,lanza 7,prince ,p474 ,donne et gioielli in ,sicilia nel medio evo e nel rinascimento4 ,palermo1 #ahib4 ,lasteyrie 7,f4 de74 ,description du trsor de ,guarrazar4 ,paris1 #ahfj4 ,lasteyrie 7,f4 de74 ,histoire de l'orfvrerie4 ,paris1 #ahge4 ,leclercq 7,h474 ,manuel d'archologie chrtienne4 ,chap4 ,,ix4 #b vols4 ,paris1 #aijg4 ,lessing 7,j474 ,gold und ,silber4 ,berlin1 #ahib4 ,liceti 7,f474 ,de anulis antiquis4 ,utini1 #afde4 ,lichtwark 7,a474 ,der ,ornamentstich der deutschen ,frhrenaissance4 ,berlin1 #ahhh4 ,linas 7,c4 de74 ,les origines de l'orfvrerie cloisonn4 #c vols4 ,paris1 #ahgg-hg4 ,lindenschmidt 7,l474 ,altertmer unserer heidnischen ,vorzeit4 ,mainz1 #aheh-gc4 ,longus 7,g474 ,see ,kirchmann 7,j474 ,louandre 7,c474 ,les arts somptuaires4 #c vols4 ,paris1 #aheg-h4 ,luthmer 7,f474 ,goldschmuck der ,renaissance4 ,berlin1 #ahhj4 ,luthmer 7,f474 ,der ,schatz des ,freiherrn ,karl von ,rothschild4 ,frankfort1 #ahhb4 ,luthmer 7,f474 ,gold und ,silber4 ,leipzig1 #ahhh4 ,luthmer 7,f474 ,fhrer durch die ,freiherrlich ,k4 von ,rothschild'sche ,kunstsammlung4 ,frankfort1 #ahij4 ,luthmer 7,f474 ,das ,email4 ,leipzig1 #ahib4 ,marshall 7,f4 ,h74 ,catalogue of the finger rings1 ,greek1 ,etruscan1 and ,roman1 in the departments of ,antiquities1 ,british ,museum4 ,london1 #aijg4 ,martigny 7,j4 ,a474 ,les anneaux chez les premiers chrtiens4 ,macon1 #aheh4 ,maspero 7,g474 ,egyptian archology4 ,london1 #ahhg4 ,matthias 7,j474 ,der ,menschliche ,schmuck4 ,liegnitz1 #ahga4 ,melani 7,a474 ,svaghi artistici femminili4 ,milan1 #ahia4 ,de ,mly 7,f47 and ,bishop 7,e474 ,bibliographie gnrale des inventaires imprims4 #b vols4 in #c4 ,paris1 #ahib-e4 ,mnard 7,r474 ,historie artistique du mtal4 ,paris1 #ahha4 ,molinier 7,e474 ,b4 ,cellini4 ,paris1 #ahid4 ,molinier 7,e474 ,donation de 444 ,a4 de ,rothschild4 ,muse du ,louvre4 ,paris1 #aijb4 ,molinier 7,e474 ,see ,buda-,pesth3 ,exhibition1 #ahhd4 ,montelius 7,o474 ,antiquits sudoises4 ,stockholm1 #ahgc-e4 ,montelius 7,o474 ,la civilization primitive en ,italie4 ,stockholm1 #ahie4 ,neville 7,r4 ,c474 ,the romance of the ring4 ,saffron ,walden1 #ahef4 ,nichols 7,j474 ,the progresses of ,queen ,elizabeth4 #c vols4 ,london1 #ahbc4 ,nichols 7,j474 ,the progresses of ,james ,i4 #d vols4 ,london1 #ahbh4 ,nicolas 7,n4 ,h474 ,testamenta vetusta4 ,london1 #ahbf4 ,odobesco 7,a474 ,le trsor de ,ptrossa4 ,paris1 #ahhi-aijj4 ,oeri 7,j4 ,j474 ,der ,onyx von ,schaffhausen4 7,monographie der historisch-antiquarischen ,vereins ,schaffhausen47 ,zurich 7#ahhb74 ,ondes-,reggio 7,g4 d'74 ,sopra tre anelli antichi ,greco-,siculi4 ,palermo1 #ahia4 ,ouvaroff 7,a474 ,antiquits du ,bosphore ,cimmrien4 #c vols4 ,st4 ,petersburg1 #ahed4 ,palgrave 7,sir ,f474 ,antient kalendars and inventories of the treasury of his majesty's ,exchequer4 #c vols4 ,london1 #ahcf4 ,paris3 ,muse des ,arts dcoratifs4 ,les nouvelles collections4 ,no4 #aj4 ,bijoux4 ,paris1 #aijg4 ,perrot 7,g47 and ,chipiez 7,c474 ,histoire de l'art dans l'antiquit4 #h vols4 ,paris1 #ahhb-aijd4 ,planch 7,j4 ,r474 ,the cyclopdia of costume4 #b vols4 ,london1 #ahgf-i4 ,plon 7,e474 ,benvenuto ,cellini4 ,paris1 #ahhc4 ,pollak 7,l474 ,klassisch-antike ,goldschmiedearbeiten im ,besitze ,sr4 ,excellenz ,a4 ,j4 von ,nelidow4 ,leipzig1 #aijc4 ,pollen 7,j4 ,h474 ,ancient and modern gold and silversmiths' work in the ,south ,kensington ,museum4 ,london1 #ahgh4 ,pouget 7,j4 ,h4 ,p474 ,trait des pierres prcieuses4 ,paris1 #agfb4 ,pouy 7,f474 ,recherches sur l'orfvrerie et la bijouterie4 ,amiens1 #ahgb4 ,price 7,f4 ,j4 ,hilton74 ,a handbook of ,london bankers4 ,london1 #ahij4 ,price 7,f4 ,j4 ,hilton74 ,the ,marygold by ,temple ,bar4 ,london1 #aijb4 ,pulszky 7,f4 von74 ,die ,goldfunde von ,szilgy-,somly4 ,budapest1 #ahij4 ,read 7,c4 ,h474 ,catalogue of the ,waddesdon bequest4 ,london1 #aijb4 ,reynard 7,o474 ,ornements des anciens matres4 #b vols4 ,paris1 #ahde4 ,riao 7,j4 ,f474 ,industrial arts of ,spain4 ,london1 #ahgi4 ,richard 7,j4 ,m474 ,mahaut1 comtesse d',artois et de ,bourgogne4 7#acjb-acbi47 ,paris1 #ahhg4 ,ridgeway 7,w474 ,the early age of ,greece4 ,cambridge1 #aija4 ,riegl 7,a474 ,die sptrmische ,kunst-,industrie nach den ,funden in sterreich-,ungarn4 ,chap4 ,,iv4 ,vienna1 #aija4 ,riley 7,h4 ,t474 ,memorials of ,london and ,london life4 7#abgf-adai47 ,london1 #ahfh4 ,robertson 7,j474 ,inuentaires de la ,royne ,descosse1 ,douairiere de ,france4 ,catalogue of the ,jewels1 etc41 of ,mary ,queen of ,scots1 #aeef-aefi4 7,bannatyne ,club4 ,edited by ,j4 ,r47 ,edinburgh1 #ahfc4 ,robinson 7,sir ,j4 ,c474 ,catalogue of loan collection of works of art at ,south ,kensington ,museum1 #ahfb4 ,london1 #ahfc4 ,rock 7,d474 ,the church of our fathers4 #c vols4 in #d4 ,london1 #ahdi-ec4 ,rodocanachi 7,e474 ,la femme italienne l'poque de la ,renaissance4 ,paris1 #aijg4 ,roger-,mils 7,l474 ,la bijouterie4 ,paris1 #ahie4 ,rosenberg 7,m474 ,aegyptinische ,einlage in ,gold und ,silber4 ,frankfort1 #aije4 ,rosenberg 7,m474 ,niello4 ,frankfort1 #aijh4 ,rcklin 7,r474 ,das ,schmuckbuch4 ,leipzig1 #aija4 ,saglio 7,e474 ,see ,daremberg 7,c4 ,w474 ,schauss 7,e4 von74 ,catalog der kniglich bayerischen ,schatzkammer zu ,mnchen4 ,munich1 #ahgi4 ,schliemann 7,h474 ,mycen4 ,london1 #ahge4 ,schliemann 7,h474 ,tiryns4 ,london1 #ahhf4 ,schlodhauer 7,c474 lments de bijouterie et joaillerie modernes et anciens4 ,paris1 n4d4 ,schneider 7,f474 ,die ,gestaltung des ,ringes vom ,mittelalter bis in die ,neuzeit4 ,nuremberg1 #ahgh4 ,schreiber 7,t474 ,die ,alexandrinische ,toreutik4 ,leipzig1 #ahid4 ,semper 7,g474 ber die formelle ,gesetzmssigkeit des ,schmuckes und dessen ,bedeutung als ,kunstsymbol4 ,zurich1 #ahef4 ,ser 7,f474 ,see ,la ,croix 7,p474 ,smith 7,c4 ,roach74 ,collectanea antiqua4 #f vols4 ,london1 #ahdc-fh4 ,smith 7,c4 ,roach74 ,catalogue of the museum of ,london antiquities4 ,london1 #ahed4 ,smith 7,c4 ,roach74 ,see ,faussett 7,b474 ,inventorium sepulchrale4 7,edited by ,c4 ,r4 ,s47 ,smith 7,c4 ,roach74 ,catalogue of ,anglo-,saxon antiquities bequeathed by ,w4 ,gibbs to the ,south ,kensington ,museum4 ,second edition4 ,london1 #ahgc4 ,smith 7,h4 ,clifford74 ,the ,king's gems and jewels at ,windsor ,castle4 7,connoisseur1 ,,iv1 p4 #bba2 ,v1 pp4 #gg1 #bch47 #aijb-c4 ,smith 7,r4 ,h4 ,soden74 ,the treasure of ,petrossa4 ,london1 #ahfi4 ,smith 7,r4 ,h4 ,soden74 ,catalogue of loan collection of ancient and modern jewellery and personal ornaments4 7,south ,kensington ,museum47 ,london1 #ahgb4 ,smith 7,sir ,william74 ,dictionary of ,greek and ,roman antiquities4 ,third edition4 #b vols4 ,london1 #aija4 ,spitzer ,catalogue4 ,see ,bonnaff4 ,stephani 7,l474 ,compte-rendu de la commission impriale archologique pour l'anne #ahei4 7,explication des objets trouvs 444 en #aheh4 ,by ,l4 ,s47 ,st4 ,petersburg1 #ahfj4 ,stephens 7,g474 ,queen ,dagmar's cross4 ,london1 #ahfc4 ,stockbauer 7,j474 ,der ,metall-,schmuck in der ,mustersammlung der ,bayerischen ,gewerbe-,museums zu ,nrnberg4 ,nuremberg1 #ahhg4 ,strasburg4 ,strassburger historische ,schmuck-,ausstellung4 ,catalogue4 #aijd4 ,streeter 7,g4 ,w474 ,precious stones and gems4 ,london1 #ahgg4 ,studio4 ,modern design in jewellery and fans4 ,london1 #aijb4 ,symonds 7,j4 ,a474 ,see ,cellini 7,b474 ,szendrei 7,j474 ,catalogue de la collection de bagues ,tarnczy4 ,paris1 #ahhi4 ,texier 7,abb74 ,dictionnaire d'orfvrerie4 ,paris1 #aheg4 ,theophilus4 ,schedula ,diversarum ,artium4 ,ilg 7,a474 7,eitelberger von ,edelberg4 ,quellenschriften1 etc4 ,,vii47 ,vienna1 #ahgd4 ,english translation by ,r4 ,hendrie4 ,london1 #ahdg4 ,thomson 7,t474 ,collection of inventories 444 of the royal ,wardrobe and ,jewelhouse of ,scotland1 #adhh-afjf4 ,edinburgh1 #ahae4 ,vernier 7,e474 ,la bijouterie et la joaillerie gyptiennes4 7,institut franais d',archologie orientale du ,caire1 ,mmoires1 ,,ii47 ,cairo1 #aijg4 ,vever 7,h474 ,la bijouterie franaise au ,,xix sicle4 ,paris1 #aijf4 ,vienna3 ,k4 ,k4 ,oesterr4 ,museum fr ,kunst und ,industrie4 ,illustrierter ,katalog der ,ornamentstichsammlung4 ,vienna1 #ahhi4 ,viollet-le-,duc 7,e4 ,e474 ,dictionnaire raisonn du mobilier franais4 ,paris1 #aheh-ge4 ,wahlen 7,a474 ,ordres de chevalerie et marques d'honneur4 ,brussels1 #ahdd4 ,wakeman 7,w4 ,f474 ,handbook of ,irish antiquities4 ,eighth edition4 ,dublin1 #aijc4 ,walters 7,h4 ,b474 ,the art of the ,greeks4 ,london1 #aijf4 ,waterton 7,e474 ,dactyliotheca ,waltonia4 ,,ms41 ,victoria and ,albert ,museum4 #ahff4 ,waterton 7,e474 ,articles in ,archological ,journal1 ,,xvi1 ,,xx1 ,,xxi4 ,way 7,a474 ,promptorium parvulorum4 ,london1 #ahfe4 ,way 7,a474 ,articles in ,archological ,journal1 ,,vi1 ,,vii1 ,,xvi1 ,,xix1 ,,xxv4 ,wessely 7,j4 ,e474 ,das ,ornament und die ,kunstindustrie4 #c vols4 ,berlin1 #ahgg-h4 ,wigley 7,t4 ,b474 ,the art of the goldsmith and jeweller4 ,london1 #ahih4 ,wilde 7,sir ,w4 ,r4 ,w474 ,catalogue of the antiquities of gold in the ,museum of the ,royal ,irish ,academy4 ,dublin1 #ahfb4 ,wilson 7,h474 ,silversmith's work and jewellery4 ,london1 #aijc4 ,wright 7,t474 ,the ,celt1 the ,roman1 and the ,saxon4 ,second edition4 ,london1 #ahfa4 ,wright 7,t474 ,see ,fairholt 7,f4 ,w474 ,miscellanea graphica4 ,,index 4,aah-h4etep1 #c1 #e ,becket1 ,thomas4 ,see ,thomas ,becket ,aberford 7,yorks71 #gb ,abingdon brooch1 #fj ,acorn-shaped pendants1 ,phoenician1 #aj ,acorn-shaped pendants1 worn by ,henry ,,viii1 #bjf ,acton1 ,john1 #cjb1 #cjd ,acus1 xli1 xlii1 #fj1 #abg ,adalbert of ,saxony1 #acg ,adams 7potter71 #cae ,adriatic1 #hc jewellery1 #bdf1 #cdg gean1 #ab gides1 #f ,aetites1 #abb ,aglets1 #bfh-i ,agnus ,dei1 #gb1 #abb ,agnolo1 ,luca1 #ahe ,agrafes1 #adj ,aigrettes1 ,hungarian1 #aih jewelled1 #bcj1 #bca sockets for1 #bcj #ag cent41 #bcj1 #bca1 #bha1 #bij1 #bia1 #cjc #ah cent41 #cji1 #cab1 #caf1 #cag ,aigulets1 #bfh ,aix-la-,chapelle1 ,treasury1 #aah1 #aci ,albacete1 #i ,albert ,v1 ,duke of ,bavaria1 #aid ,,vi1 ,duke of ,bavaria1 #bdh ,albini1 ,d4 ,m41 #cji ,alciatus1 ,a41 #bbc ,aldegrever1 ,h41 #ahe1 #aic1 #aid1 #bej1 #bei ,alenon1 ,pierre d'1 #cdc1 #ceg ,alexandria1 #ic ,alfonso ,i1 ,duke of ,ferrara1 #aeh ,,ii1 ,duke of ,ferrara1 #bib ,alfred the ,great1 #fh1 #fi1 #ga ,jewel1 #fh1 #fi ,algeria1 ,celtic brooch in1 #gf ,algerian women1 head-ornaments of1 #i ,alhstan1 ,bishop of ,sherborne1 #ga ,alicante1 #i ,allori1 ,alessandro1 #cej ,altdorfer1 ,a41 #ahi ,altoetting 7,bavaria71 #hh ,amadas1 ,robert1 #bjh ,ambassadors1 jewellery given to1 ,eng41 #ag cent41 #cjf ,amber in ,anglo-,saxon jewellery1 #eh in ancient ,irish jewellery1 #db in ,german peasant jewellery1 #cdf in early ,italian jewellery1 #bd in prehistoric jewellery1 #ci in ,roman jewellery1 #cj in ,romano-,british jewellery1 #de ,ambergris1 #abe n4 ,amboise1 ,cardinal d'1 #aii ,amethystine quartz1 beads of1 in ,anglo-,saxon jewellery1 #eh ,amethysts1 #ai cent41 #cbh1 #cbi ,amman1 ,jost1 #bgj ,amourette1 #adf ,amphor1 #h1 #aj ,amphora-shaped ornaments1 ,greek1 #af ,amsterdam1 ,charles ,i's jewellery sent over to1 #cje ,amulets1 ,egyptian1 #b ,etruscan1 #be medl41 #ajc1 #abb1 #acb in medl4 rings1 #aea ,roman1 #bi1 #cb ,romano-,british1 #dg ,ananizapta1 #aeb ,androuet ,ducerceau1 ,j41 #bja1 #bai1 #bda1 #bdf1 #bfe1 #bfi ,angell1 ,john1 #bjh ,angles1 #ef ,anglo-,saxon jewellery1 #ea1 #ef-gd ,ankles1 rings for1 #f ,ann ,boleyn1 ,q4 of ,england1 #bab ,anne of ,austria1 wife of ,albert ,v1 ,duke of ,bavaria1 #aie of ,bohemia1 ,q4 of ,england1 #ada of ,denmark1 ,q4 of ,england1 #bfh1 #cja ,annunciation1 on medl4 morses1 #aci on ,renaiss4 pendants1 #bdd-e ,anselm1 #ib ,anthony1 ,dericke1 #bbj ,antioch1 sack of1 #cc ,antonio di ,girolamo1 #age ,antwerp1 corporation of goldsmiths1 #aee engravers of designs for jewellery1 #aif ,hans of4 ,see ,hans4 ,museum1 #bbg n4 port of1 #af cent41 #afg ,annulus vertuosus1 #adg ,aphrodite1 #bh ,arabella ,stuart1 #bii ,arabs in ,spain and ,sicily1 #hd ,ardagh chalice1 #ff ,ark on ,elizabethan jewellery1 #bee1 #bef ,armada jewels1 #bag1 #bee ,armagnacs1 badge of1 #aaj ,armento1 #af ,armill1 ancient ,british1 #da ,roman1 #cj ,armlet1 ,hunsdon1 #bah ,armlets1 xliv ancient ,irish1 #db medl41 #aeg-h ,roman1 #cj ,romano-,british1 #dg ,arphe1 ,juan de1 #bjb ,arrow heads1 prehistoric1 as charms1 in ,etruscan jewellery1 #be medl4 jewellery1 #abb ,art ,nouveau1 #ccg1 #cch ,arundel1 ,eleanor1 ,countess of1 #aac ,ashbee1 ,c4 ,r41 #cci ,ashmole1 ,elias1 #bch ,ashmolean ,museum4 ,see ,oxford ,asia ,minor1 #h1 #ad ,assyria1 #g1 #h ,assyrian art1 #ab ,athelney1 ,isle of1 #fh ,athene1 #af ,athens1 ,national ,museum1 #aa ,attavante1 ,m41 #age ,augsburg1 goldsmiths1 #aib jewellery made at1 #bjb1 #bjc1 #bje in #af cent41 #ahj1 #ahi1 #aih1 #baj ,augustine1 ,st41 #fe1 #ff ,augustus1 ,emperor1 cameo of1 #ajc ,,ii1 ,elector of ,saxony1 #caj1 #caa ,aulmonire1 #afe ,autun1 ,gallo-,roman enamelled jewellery found at1 #df ,auvergne1 peasant jewellery1 #cdb-c ,babelon1 ,e4 ,c4 ,f1 #bff ,bacchus1 #bd ,backwell1 ,edward1 #cje ,bacon1 ,sir ,f41 #ajj ,bactria1 #ea ,baden1 ,margraves of1 #bej1 #bfa ,badges1 #aaf1 #cfe for hats1 medl41 #ajg-ab ,english1 #af-ag cent41 #beg pendent1 medl4 #aaj ,spanish1 #ag cent41 #bjd ,bags1 at girdles1 ,anglo-,saxon1 #fc ,bague1 #beh ,bagues trois grains1 #gc ,bain1 ,p41 #bhb ,baldrick1 #ic1 #afd ,baldung1 ,hans4 ,see ,grien ,baldwin1 ,k4 of ,jerusalem1 #aai ,baltic1 amber from1 in ,anglo-,saxon jewellery1 #eh ,balzac1 ,h4 de1 #cca ,bandeau1 ,french1 #ai cent41 #cbi ,italian1 #ae cent41 #ajg ,bannatyne ,club1 #bbj ,bapst1 ,g41 #cce ,barbarian tribes1 migrations of1 #di ,barbaric jewellery of ,europe1 #di-ee ,barbor jewel1 #bah1 #bed ,william1 #bed ,barcelona1 goldsmiths of1 #bjb1 #bjd ,barclay1 ,a41 #bcf ,baroncelli1 ,pierantonio1 ,maria1 wife of1 #aad1 #bhf ,barnfield1 ,r41 #bfe ,barrows1 or graves1 ,anglo-,saxon1 #eg ,bars of girdles1 medl41 #afb n4 ,basalt1 #e ,basil1 xlv ,basil the ,macedonian1 ,emperor1 #cd ,basle1 ,historical ,museum1 #aib ,basse-taille enamel4 ,see ,enamel ,bast1 #f ,batrachites1 #aea ,battersea enamel1 #cbj ,bauer1 ,hermann1 #cci ,baumann1 ,d41 #cji ,bavaria1 ,dukes of1 #aid1 #bdh ,bavarian ,national ,museum4 ,see ,munich ,baudrier1 #afd ,beaded work1 #ai cent41 #cbg ,beads1 ,anglo-,saxon1 #eh or balls of gold1 on ,anglo-,saxon rings1 #gc ancient ,british1 #dj ,irish1 #db ,egyptian1 #d-f filigree1 for perfumes1 #bfe glass1 ,romano-,british1 #de jet1 ,romano-,british1 #dg ,phoenician1 #aj ,roman1 #bi rosary1 #abd-e ,beatrice ,d',este1 ,duchess of ,milan1 #agb ,beams1 of gypcires1 #afe ,beaumont and ,fletcher 7quoted71 #bfe ,bede1 ,the ,venerable1 #fg ,bees1 gold1 jewelled1 #ec ,belgium1 peasant jewellery1 #cde-f ,belisarius1 #cc ,bells1 hung from medl4 girdles1 #afd ,renaiss4 pendants1 #bej ,belts1 xlv1 xlvi ,anglo-,saxon1 #fc medl41 #aei-fe resemblence to fillets1 #aje military1 medl41 #afc-d ,bentzen1 ,j41 #bhd ,berengaria1 of ,navarre1 ,q4 of ,england1 xliii1 #abh ,beresford-,hope cross1 #cf ,berghem1 ,louis de1 #bji1 #bgg ,berkeley ,castle1 #gc1 #bah1 #bec1 #bfe1 #bff ,elizabeth1 ,lady1 dau4 of ,lord ,hunsdon1 #bah family1 #bgd heirlooms1 #bah ,thomas1 ,lord1 #aaf ,berlin1 ,crown ,treasury1 #bea iron jewellery made in1 #ccj ,museums1 #c1 #i1 #aci pictures in1 #ij1 #ajf1 #afh1 #bfa ,bernal1 ,ralph1 #acc ,berne1 #baj ,museum1 #fd ,bernhard ,,iii1 ,margrave of ,baden1 #bfa ,bettystown1 ,co4 ,louth1 #gh ,betnsse1 #abe ,beuvray1 ,mont1 near ,autun1 #df ,bezel1 xlv ,bezoar stone1 #abb ,bibracte1 #df n4 ,bijouterie1 #bgg ,billy and ,charley1 #cfj ,bilston enamel1 #cbj ,bindesbll1 ,t41 #cci ,birckenhultz1 ,p41 #bca1 #bcd1 #bha ,birds on ,teutonic jewellery1 #eg1 #eh ,renaiss4 pendants1 #bdi ,birmingham1 steelwork1 #cae1 #cai ,bisamapfel1 #bge n4 ,black ,sea1 #ad ,blondus4 ,see ,le ,blon4 ,boccardi1 ,giovanni di ,guiliano1 #age ,bodkins 7hair-pins71 ,renaiss41 #bcb1 #bcc ,bodleian ,library4 ,see ,oxford4 ,boehmer1 #cah ,boethius1 #ajj ,boglars1 #aih ,bohemia1 medl4 pendants1 #aba ,renaiss4 jewellery1 #ahh ,bote portrait1 #cbj ,bollin1 ,m41 #cci ,bologna1 ,church of ,s4 ,maria della ,misericordia1 #agj ,picture ,gallery1 #agj ,bmmel1 ,w4 ,h41 #cji ,bonny1 ,louis1 #cch ,books1 pendent to girdle1 #bgb-d ,bordier1 ,p41 #cjd ,bordone1 ,paris1 #bfc ,borghese1 ,marie ,pauline1 ,princess1 #cbi ,borgia1 ,csar1 #ajj ,bossange1 #cah ,bossington 7near ,stockbridge71 #gc ,bosworth ,jewel1 #bai ,bothwell1 ,earl of1 #bba ,botticelli1 ,sandro1 #afi ,boucheron1 ,messrs41 #cdj ,boulton and ,watt1 #cae ,bourchier1 ,lord1 #aaj ,bouquet1 ,d41 #big ,bouquets1 jewelled1 #ag cent41 #bha1 #bij on the breast1 #ah cent41 #cah ,bouquets d'orfvrerie1 #bie ,bourdon1 ,pierre1 #cji ,bourguet1 ,jean1 #cji1 #cbj ,bow1 jewelled1 on breast1 #ag cent41 #bjd1 #bid #ah cent41 #cjh1 #cah ,bow-shaped brooches1 ,romano-,british1 #df ,bowles1 ,thomas1 #caj ,boyvin1 ,ren1 #bja1 #bfe ,bracelets1 xliv ,byzantine1 #cg clasps1 memorial1 ,english1 #ag-ah cent41 #cfh ,egyptian1 #f ,etruscan1 #be ,greek1 #aj hair1 #ai cent41 #cca ancient ,irish1 #db medl41 #aeg-h ,renaiss41 #bfd-g designs for1 #bfe1 #bfi ,roman1 #cj ,romano-,british1 #dg #ag cent41 #bid #ah cent41 #cji1 #cac1 #cai1 #cbj #ai cent41 #cbi ,brachiale1 #cj ,bracte1 ,greek1 #ai ,bracteate coins1 in ,anglo-,saxon jewellery1 #ei ,bracteates1 gold1 #ac ,brandenburg1 ,fred4 ,william1 ,elector of1 #bch ,brantme1 #aha1 #bjj ,bravery1 #bii ,braybrooke collection of rings1 #bfd ,brazil diamonds1 #cea ,breast ornaments1 medl41 #ace1 etc4 #ag cent41 #bjd1 #bid #ah cent41 #cjh1 #cah ,bremen1 ,kunsthalle1 #aij ,brethren1 ,the ,three4 ,see ,brothers ,briceau1 #cji ,briolettes1 #bia1 #cag1 #cdc ,bristol diamond1 #bei1 #ceg ,britain1 invasion of1 by ,teutonic races1 #ef ,roman occupation of1 #dd ,british ,isles1 prehistoric jewellery1 #ci ,british ,museum4 ,see ,london ,britons1 #ci ,broche1 #abg ,broighter1 near ,limavady1 #dc ,bromsgrove ,church1 #aed ,bronze ,age1 #ci ornaments1 ,british1 #ci1 #da1 #de ,bronzino1 ,angelo1 #bcc ,brooches1 xl-xliv ,anglo-,saxon1 xlii1 xliii1 #ej1 #ei-fb1 #gj ,byzantine1 #cf1 #cg1 #gj ,celtic1 xlii-xliv1 #gd-i1 #aca circular1 xlii1 xliv cruciform1 xlii1 #fa disc-shaped1 xlii1 xliii ,flemish-,burgundian1 #ae cent41 #adc-f ,greek1 #ah1 #ai hair1 #ai cent41 #cca hat1 #ajh4 ,see also ,enseignes by ,holbein1 #bab ,italian1 #ae cent41 #agd ,luckenbooth1 #acc-d1 #afe medl41 #aba1 #abg1 #add ,english1 #ic1 #id inscriptions on1 #abh-cj pectorals1 #ace-df memorial1 ,english1 #ag-ah cent41 #cfh penannular1 xlii1 xliii1 #gd-i radiated1 #fc ,renaiss41 #bfg ring-brooch1 xlii1 xliv1 xlv1 #fb1 #abg-cd ,romano-,british1 #de-g safety-pins1 xli-xliii1 #da ,scandinavian1 #fb ,scottish1 #aca-d on sleeves1 #bfg #ag cent41 #bih #ah cent41 #cji1 #cab ,see also ,fibul ,brosamer1 ,hans1 #aic1 #aih1 #bje1 #bej ,brothers1 ,the ,three ,brothers1 #bji1 #baj1 #cjj ,brueghel1 ,jan1 #bhg ,bruges1 #hi1 #aad1 #bgg goldsmith's shop in1 #ae cent41 #aee port of1 #ae cent41 #afg ,brunswick1 ,dorothea1 ,elizabeth1 and ,hedwig1 ,princesses of1 #bde ,brussels1 ,muse du ,cinquantenaire1 #ajf1 #bga ,alexander of1 #bjh ,bruyn1 ,abraham de4 ,see ,de ,bruyn ,bartholomus1 #ahi ,bry1 ,theodor de1 #aie1 #aif1 #bai ,brythons1 #ci ,bucharest1 ,museum of ,antiquities1 #eb ,buckingham1 ,george ,villiers1 ,duke of1 #baj1 #bcj1 #bce1 #cjj ,buckle1 xlv1 xlvi design for1 by ,aldegrever1 #aid de ,bry1 #aif ,drer1 #aia -plate1 xlvi1 #aei1 #afj ,buckles1 ,anglo-,saxon1 #fc medl41 #aei-fj pinchbeck1 #caf shoe1 #ah cent41 #cba steel1 #cae stock1 #ah cent41 #cbb ,teutonic1 #fd #ag cent41 #bih #ah cent41 #caj1 #cab1 #cbb ,buda-,pesth1 ,national ,museum1 #aab1 #aeg1 #aih ,bugles1 #aj1 #cai ,bull1 ,h4 de4 ,see ,de ,bull ,bull1 ,etruscan1 #bd1 #be ,roman1 #bi ,bulliot1 ,j4 ,g41 #df n4 ,buonaparte1 ,caroline1 ,q4 of ,naples1 #cbi ,burgh1 ,hebert de1 #aea ,burgkmair1 ,h41 #ahi ,burgundian ,court1 luxury of1 #hh-ij ,burgundians 7,gothic tribe71 #ej ,burgundy1 ,dukes of1 #hh-i1 #aad1 #adc ,bussy d',amboise1 #abc n4 ,butterflies1 #caf ,buttons1 jet1 ,romano-,british1 #dg memorial1 ,english #ag-ah cent41 #cfh ,renaiss41 #bfg-h steel1 #cae #ah cent41 #cai1 #cbj ,byron1 ,lord1 #cca ,byzantine1 cloisonn enamel1 #ff influence on medl4 jewellery1 #hc-e1 #aeg jewellery1 #cc-h ,byzantium1 #cc ,c41 ,a41 #bhd ,cabalistic inscriptions on medl4 rings1 #aeb ,cabochon stones1 #hh1 #if1 #ig ,cadboll brooches1 #gg ,cre1 #be ,caillard1 ,j41 #bhb ,caillou d' ,alenon1 #cdc du ,rhin1 #ceg ,cairngorms1 #acc ,cairo1 ,museum1 #c1 #e ,callot1 ,j41 #bhb ,cambridge1 ,fitzwilliam ,museum1 #bbe ,king's ,college1 #aae ,camden1 ,w41 #id ,cameos1 antique1 in medl4 jewellery1 #ach in bracelets1 ,renaiss41 #bfd1 #bff in bracelets1 #ah cent41 #cbj ,elizabethan1 #bag-ah medl4 use of antique1 #aja-d in mourning jewellery1 #cfi ,renaiss41 #bbf enseignes1 #bbg-h pendants1 #bde-f ,roman1 #cj #ai cent41 #cbf-ca ,campbells of ,glenlyon1 #acb ,canning1 ,lord1 #bdi ,canosa1 #gj ,canterbury ,cathedral1 #ajh n41 #aji ,chapel of ,st4 ,thomas ,becket1 #adj ,canterbury ,tales1 #afa1 etc4 ,cappello1 ,bianca1 #bcc1 #cej ,caracts1 #acb ,caract rings1 #aeb ,caradosso1 #afh1 #bbg ,caravel1 or carvel1 #bdf ,carberry ,hill1 #bba ,carcan1 #cag ,carcanets1 #aad ,renaiss41 #bci ,carlyle1 ,t41 #cah ,carmichael1 ,sir ,t4 ,d4 ,gibson1 #bbd ,caroto1 ,g41 #agb ,carrand ,collection4 ,see ,florence1 ,museo ,nazionale ,carteron1 ,s41 #bje ,cassel ,gallery1 #bif ,cassolette1 #bge n4 ,castellani1 #bb1 #cdf1 #cei ,alessandro1 #ccc1 #ccd ,augusto1 #ccc1 #ccd ,fortunato ,pio1 #ccc1 #ccd brooch1 #gj ,cast-iron jewellery1 #ai cent41 #ccj-a ,catherine ,parr1 ,q4 of ,england1 #beb ,caucasus1 #ej ,cavalcant1 ,john1 #bjh ,ceinture1 #aje1 #aei ferre1 #afa ,ceinturier1 #bgj ,cellini1 ,b41 #ba1 #bb1 #afi1 #aga1 #agi1 #ahc-f1 #aib1 #aif1 #aig1 #aii1 #bja1 #bjb1 #bjh1 #bbb1 #bbg1 #bbh1 #bda1 #bgc1 #bgh1 #cea ,celtic brooch1 #gd1 #ge-i1 #aca jewellery1 #aa1 #ci ,period 7late71 #ci1 #dc ,celts1 #dj ,cercles1 #ic1 #aje ,cerro de los ,santos1 #i ,cervetri1 #be ,cesarini1 ,gabriele1 #bbh ,chains1 ancient ,irish1 #dc ,egyptian1 #e ,phoenician1 #i neck1 #ai cent41 #cca ,chains1 worn round the neck4 ,see also ,necklaces and ,neck-chains ,chalke1 ,agnes1 #ajf ,chamberlain1 ,john1 #bii ,chamillart1 ,mdme de1 #cad1 #cbj ,chansons1 #aeb ,chantilly1 #afh1 #ahe ,chape of girdle1 xlvi1 #afj1 #bga ,chapeau montabyn 7montauban71 #bbd1 #bca ,chapelet1 #abe ,chapeletz1 #ic1 #aje ,chaperon1 #aef1 #bbi ,chaplets1 medl41 #aje ,chardin1 ,sir ,john1 #bgh1 #cje ,charity1 figure of1 on ,renaiss4 pendants1 #bdd ,charlemagne1 #ee1 #fe1 #hc1 #hd1 #aah ,charles ,i1 ,k4 of ,england1 #baj1 #bai1 #bcj1 #bhh1 #cjj1 #cjd1 #cje1 #ced ,i1 ,k4 of ,england1 earrings of1 #bce1 #ced ,i1 ,k4 of ,england1 memorial jewellery of1 #cfg ,,ii1 ,k4 of ,england1 #bib1 #cje ,v1 ,k4 of ,france1 #hh1 #aii cameo of1 #ajc1 #acj ,,viii1 ,k4 of ,france1 #aii ,,ix #aii1 #bjj the ,bold1 ,duke of ,burgundy1 #ajg1 #bji1 #bca the ,great1 ,emperor of the ,west4 ,see ,charlemagne ,charlotte1 ,q4 of ,england1 #cac1 #cag ,charms1 #ii-ajd1 #aaa-abj ,chartres1 ,treasury of1 #ajc ,chteaubriand1 ,countess of1 #aha ,chatelaines1 xlvii ,anglo-,saxon1 #fc medl41 #afa pinchbeck1 #caf #ag cent41 #bih #ah cent41 #caj1 #cab1 #cac1 #cbb1 #cbc ,chaton1 xlv ,chaucer1 #ic1 #id1 #aji1 #abi1 #acj n41 #afd ,chelsea1 ring found at1 #gc ,chepstow1 ,monmouthshire1 #df ,chron1 #cad ,chiflet1 ,j4 ,j41 #ec ,child1 ,sir ,francis1 #cje1 #cjf ,child's ,bank1 #cjf ,childeric ,i1 ,k4 of the ,franks1 #ea1 #eb1 #ec ring of1 #fc ,chlotaire ,,ii1 ,k4 of the ,franks1 #ei ,christian ,v1 ,k4 of ,denmark1 #bch ,christianity1 introduction of1 change in jewellery owing to1 #fe1 #ff introduction of into ,ireland1 #ge ,christie's ,auction ,rooms1 #bdg1 #bef ,christina1 ,q4 of ,sweden1 #bhd ,christopher1 ,st41 #adb ,christus1 ,petrus1 #aee1 #bbb1 #bfc ,ciampoli1 ,carlo1 #cji1 #cag ,cingulum1 #afc ,circlets1 xxxix medl41 #ajf ,clanricarde1 ,marquess of1 #bdi ,clarendon brooch1 #gh ,clasps1 xl of girdle1 xlv1 xlvii medl41 #afj1 #afc of mantle1 medl41 #adj1 #ada #ag cent41 #bih #ah cent41 #caj1 #cab ,clifford1 ,lord1 #ced ,cloth of ,gold1 ,field of1 #bjg1 #bcg ,cloisonn enamel4 ,see ,enamel inlay1 #c1 #ce1 #ej1 #ef ,coats-of-arms on rings1 #ca1 #aec ,cobra snake1 #b ,coello1 ,a4 ,s41 #bid ,coiffure1 ,phoenician1 #i ,see also ,head-ornaments ,coins in ,anglo-,saxon jewellery1 #ei in ,byzantine jewellery1 #cf in ,roman jewellery1 #cj1 #cb ,colbert1 ,j4 ,b41 #bhb ,collar1 gold1 ancient ,irish1 #dc of ,order of ,golden ,fleece1 #ij of ,lord ,mayor of ,london1 #aag ,,ss collar1 #aaf-ag ,collars1 ,egyptian1 #e medl41 #aac-aag ,see also ,necklaces ,collaert1 ,h41 #aid1 #aif1 #aig1 #bcd1 #bdg ,collet1 xlv ,collier of ,marie ,antoinette1 #cah ,cologne ,cathedral1 #aaa1 #ade ,cologne1 ,episcopal museum1 #ade ,wallraf-,richartz museum1 #ade ,columban1 #ff ,combs1 ,empire1 #ai cent41 #cbh jewelled1 medl41 #ajg #ai cent41 #cbi ,comines1 ,philip de1 #aji1 #aaj ,commonwealth1 ,england1 #cje ,compostella1 #aji shrine of ,st4 ,james1 #ia ,conques1 #ajb1 #acg ,treasury1 #aab1 #acg ,consolavera1 ,j4 ,b4 de1 #bjh ,constantine1 #cc1 #bbf ,constantinople1 #cc1 #cd1 #di foundation of1 #cc sack of1 #ch ,coral1 in ,dutch peasant jewellery1 #cde medl4 use of1 #abc #ai cent41 #cbh ,corbeil1 ,our ,lady of1 #acg ,corbizi1 ,litti di ,filippo1 #age ,cornaro1 ,catarina1 #bfd ,cornette1 #ajg ,cornish diamonds1 #ceg ,coronals1 ,italy1 #ae cent41 #afi medl41 #ajf round hat1 #bbd ,coronets1 #ajf n4 medl41 #ajf #ai cent41 #cbh ,corsage1 jewelled1 #cjh ,cosse de pois ornament1 #bha1 #bic1 #big ,costantini1 ,g4 ,b41 #bhd ,ctehardi1 #bfg ,coulant1 #cdb1 #cde ,counterfeit1 #cee stones sold to ,henry ,,viii1 #bjh ,courroye1 #bgj ,coventry1 ,st4 ,mary's ,hall1 #aae ring1 #aej ,cramp1 rings worn against1 #aeb ,cranach1 ,lucas1 #ahi1 #bch1 #bej1 #bei1 #bfa1 #bfd ,crapaudine1 #aea ,crete1 #h ,crimea1 #i1 #ab1 #ad1 #ej ,crivelli1 ,carlo1 #afg ,lucrezia1 #agb ,cromwell1 ,oliver1 #bic1 #bid1 #cje ,thomas1 #bjh1 #bac ,crosby1 ,sir ,john1 #aae ,cross1 pendent1 ,byzantine1 #cf medl41 #aah peasant1 #cdb ,renaiss41 #bdb-c the ,true1 relics of1 #aah ,visigothic 7,guarrazar71 #ed ,crotalia1 #bh ,crown1 ,alfred ,jewel1 as ornament of a1 #fi of ,thorns1 relic of1 #aah1 #aai ,crowns1 xxxix1 #ajf ,byzantine1 #ce ,greek1 #ag ,mycenan1 #aa ,scandinavian peasant1 #cdf ,visigothic1 #ec1 #ed ,croy1 ,celtic brooch from1 #gg ,crusaders1 #cd ,crusades1 influence on jewellery1 #aja jewellery brought back from1 #hd1 #ic ,cryspyn1 ,john1 #bjh ,crystal1 #cac1 #cdb1 #cdc1 #cdg1 #cef1 #ceg of ,lothair1 #aci ,cuir bouilli1 #ig ,cunynghame1 ,h4 ,h41 #ce1 #hf1 #cci ,cupreous glaze1 #b ,cuthbert1 ,st41 #fh ,cyprus1 #h1 #aj1 #ab1 #ba ,d41 ,a41 #bhe ,dagobert1 ,k4 of the ,franks1 #aee1 #bbb ,dalton1 ,o4 ,m41 #cd n1 #ea n4 ,dance of ,death1 #cfc ,danes1 invasion of1 #fh ,danube1 ,irish missionaries on1 #fg valley1 enamel-work1 #aih ,dark ,ages1 #ea ,darnley1 ,henry1 #bag jewel1 #bag1 #beg ,dartrey1 ,earl of1 #bhh ,dashr1 #e ,dauffe1 #cai ,dauphin1 badge of1 #aaj ,davenport1 ,c4 ,j4 ,h4 7quoted71 #ga ,david1 ,gerard1 #adj1 #aee1 #bfc ,j4 ,l41 #cbf1 #cbi ,davies1 ,g4 ,s4 7quoted71 #cea1 #ceb ,davillier1 ,baron ,c41 #bjb1 #bdi ,davy1 ,william1 #bjh ,dawson1 ,nelson1 #cci ,death's head1 #cfd-g ,de ,boot1 ,a41 #ajj ,debruge-,dumnil collection1 #acj1 #bde ,de ,bruyn1 ,abraham1 #aig ,de ,bull1 ,h41 #bhd ,defontaine1 ,j41 #bhb ,de ,heem1 ,jan1 #bhg ,de ,heere1 ,lucas1 #beb1 #ceb ,de la ,quewellerie4 ,see ,la ,quewellerie ,delaune1 ,etienne1 #aig1 #bja1 #bgb ,de ,leeuw1 ,john1 #aee ,demi-ceint1 or demysent1 #afd ,desborough 7,northants71 #gd ,devant de corsage1 #cah ,devices1 #bbc on ,elizabethan jewellery1 #baf-g ,renaiss41 sewn to garments1 #bfh ,devise1 #bbc1 #cfe ,dextrocherium1 #cj ,diadems1 xxxix ,byzantine1 #cd ,egyptian1 #c ,etruscan1 #bc ,greek1 #af1 #ag medl41 #ajf ,english1 #ic ,phoenician1 #i ,roman1 #bh #ai cent41 #cbh ,diamant d' ,alenon1 #cdc ,diamond1 #bgf-i of ,charles the ,bold1 #bji earrings of ,marie ,antoinette1 #cag necklace of ,marie ,antoinette1 #cah ,diamonds1 the brilliant1 #bgi ,bristol1 #bce1 #bei and n4 cutting of1 #bcj1 #bgg-i false1 #bce1 #cac1 #cad1 #ceg in pictures1 #cea the point1 #bgg1 #bgh pointed1 in rings1 #bfj in ,renaiss4 jewellery1 #agi in rings1 #ag cent41 #bif rose cut1 #bhb1 #caj in ,flemish peasant jewellery1 #cde roses1 #bgh-i table1 #bgh-i taille en seize1 #bgi use of1 in early jewellery1 #bgg in #ah cent4 jewellery1 #cjh1 #cai ,dickens1 ,charles 7quoted71 #cfi ,dietrich1 #cci ,dinanderie1 #aab n4 ,dinglinger1 ,george ,friedrich1 #caj ,johann ,melchior1 #caj 7junior71 #caa ,dinteville1 ,jean de1 #cfe ,dionysius of ,halicarnassus1 #bj ,dionysos1 #bd ,diptychs1 pendent1 medl41 #aai-bj ,directory1 #cbe-f ,discs of gold4 ,see ,plates of gold ,dog 7,talbot71 on ,renaiss4 pendants1 #bdi ,dombild1 #ade ,dorchester ,house4 ,see ,london ,douce1 ,francis1 #ec1 #bfd ,douglas1 ,lady ,margaret1 #bag ,douffet1 ,gerard1 #bif ,dove1 symbol of ,holy ,ghost1 #bdi in peasant jewellery1 #cdc ,dowgate ,hill brooch1 #fi ,dragon1 ,renaiss4 pendant in form of1 #bdi ,drake1 ,sir ,francis1 #bec1 #bff1 #ced ,sir ,f4 ,fuller-,eliott1 #bah1 #bcj n41 #bec jewels1 #bah1 #bcj n41 #cec ,drawings for jewellery by ,barcelona goldsmiths1 #bjb ,drawings for jewellery by ,sir ,f4 ,child1 #cjf by ,drer1 #aij by ,holbein1 #baj-bac by ,lulls1 #cjb by ,mielich1 #aie by the ,santini family1 #cjh ,drury ,fortnum4 ,see ,fortnum ,dresden1 ,picture ,gallery1 #bfa ,grne ,gewlbe1 #bea1 #caa ,dress1 ornaments sewn on1 ancient ,irish1 #dc ,renaiss41 #bfh ,dress-fasteners1 prehistoric1 xliii ancient ,british1 #da ,dressche1 ,reinecke van1 #aci ,du ,barry1 ,madame1 #cag ,du ,bellay1 ,g41 #bjg ,dublin1 ,irish ,national ,museum1 #db1 #dd1 #gg1 #gh ,national ,gallery of ,ireland1 #bej ,royal ,irish ,academy1 #db1 #gh ,trinity ,college1 #gh ,dubois1 ,paul1 #cci ,ducerceau4 ,see ,androuet ,ducerceau ,duflos1 ,august1 #cab1 #cag ,du ,fresnoy1 ,c4 ,a41 #cec ,dunstan1 ,st41 #fg ,drer1 ,a41 #ahe1 #ahg1 #aij1 #aia1 #bej ,du ,suau de la ,croix1 ,comte1 #cch ,duvet1 ,jean1 #bjj ,eagle ,fibula1 #ace ,eagle stones1 #abb ,eanred1 #gb ,earle1 ,j41 #fi ,ear-picks1 ,renaiss41 #bej-a ,earrings1 xxxix1 xl ,anglo ,saxon1 #eh ancient ,british1 #dj ,byzantine1 #ce1 #cg in ,middle ,ages1 #aab ,egyptian1 #d ,english1 #af-ag cent41 #bcd-e ,etruscan1 #bc ,frankish1 #eh ,greek1 #ae1 #af medl41 #aab1 #aac ,english1 #ib worn by men1 #bcd-e1 #ccb ,merovingian1 #eh ,phoenician1 #i ,renaiss41 #bcc-e ,roman1 #bh-i #ag cent41 #bia #ah #cji1 #cag #ai #cbh ,east ,anglia1 #fj ,edict of ,nantes1 #cje ,edinburgh1 ,high ,street1 #acc ,st4 ,giles' ,church1 #acc ,national ,museum of ,antiquities1 #gg1 #acb1 #aej1 #afe ,edmer1 #ib ,edward the ,confessor1 ,k4 of ,england1 #ib1 #ajb1 #aah ,i1 ,k4 of ,england1 #fg1 #ib ,,ii #ic1 #afb ,,iii #ic1 #aba1 #afa1 #afb ,,iv #aae1 #aaf ,,vi #bah1 #bai ,prayer ,book of1 #bgd ,,vii #bag1 #bbd ,effigies1 sepulchral1 jewellery on1 #hb ,eglentine1 ,prioress1 jewel worn by1 #abi ,egyptian jewellery1 #a-g1 #di ,elch1 ,lady of1 #i1 #aj ,electrum1 primitive ,italy1 #bd ,elenchi1 #bh ,eligius1 ,st4 ,see ,eloy ,elizabeth1 ,q4 of ,bohemia1 #cja ,england1 #bac-bj1 #bcb1 #bcd1 #bcg1 #bci1 #bea-bef1 #bfe1 #bfg1 #bfi1 #bgc1 #cja ,gonzaga1 ,duchess of ,urbino1 #agb ,eloy1 or ,eloi1 ,st41 #fg1 #aee ,emeralds1 ,spanish1 #bje ,empire jewellery1 #cbf ,enamel1 #di ,battersea1 #cbj basse-taille1 #hg1 #ig1 #ach ,bilston1 #cbj ,byzantine1 #ce ,celtic1 #da champlev1 ,english1 #af cent41 #baa medl41 #he1 #ach ,romano-,british1 #de on rings1 #ag cent41 #bie ,spanish1 #ag cent41 #bjd #af-ag cent41 #bhc etc4 #ag cent41 #bib cloisonn1 #gj1 #acf1 #bhc ,anglo-,saxon1 #ff1 #fh ,byzantine1 #ce1 #cf medl41 #hd ,tara brooch1 #ff1 #gh ,egyptian1 #c mail en blanc1 #hg mail en rsille sur verre1 #bgc1 #bic1 #bif mail en ronde bosse1 #hg1 #bbe ,english #af cent41 #baf #ah #cac filigree enamel1 7,draht-,email71 #aih1 #cdg ,french1 #ah cent41 #caa1 #cab ,gallo-,roman1 #df gold wire1 #bbd ,greek1 #ac1 #ae1 #ag ,hispano-,moresque1 #bje ,irish1 #ff1 #gh ,limoges1 medl41 #hf ,renaiss4 for enseignes1 #bbi ,louis ,treize1 #bhf1 #bhi1 #bic medl41 #hd-hh opaque1 ,french1 #af cent41 #aii1 #bjj painted1 #cdf1 #cdg on peasant jewellery1 #cdd1 #cdg #ag cent41 #bhe1 #bib1 #bic1 #bie ,renaiss41 #ahj ,romano-,british1 #de ,toutin firing an1 #bhe1 #bhi transluscent1 #ag cent41 #bhc #ah #cab ,see ,basse-taille white1 mail en blanc1 #hg #ag cent41 general1 #bhc1 #bih on watches1 #big #ah cent41 #cab #ai cent41 revival of1 #ccg ,england1 medl4 jewellery1 #ia-ih #af cent4 jewellery1 #bjf-bba #ag #bii-cjf #ah #caj ,engraved designs for jewellery1 ,english1 #ah cent41 #caj1 #cab ,engraved designs for jewellery1 ,french1 #af cent41 #bjj1 #bja ,engraved designs for jewellery1 ,flemish1 #af cent41 #aif1 #aig ,engraved designs for jewellery1 ,german1 #af cent41 #ahf-g1 #aia-d ,engraved designs for jewellery1 #ag cent41 #bhj-i1 #bia-h ,engraved designs for jewellery1 #ah cent41 #cjh-aj1 #cab1 #cbj ,engraved gems1 antique1 in medl4 jewellery1 #adh1 #aec1 #aed medl4 use of1 #aja-d in rings1 ,romano-,british1 #dg #af cent41 #bbg1 #bde #ai cent41 #cbf1 #cbg ,enkomi1 ,cyprus1 #ab ,enseignes1 #aef1 #afi medl41 #ajg-aaa1 #adf ,renaiss41 #bbb-bcj1 #bfg with skulls1 #cfd1 #cfe ,equipage1 #cbc ,erasmus1 ,d41 #aji ,eros1 #ae1 #af ,escarcelle1 #afe ,esclavo1 #bjd ,escoffion1 #ajg1 #aef ,esguillettes1 #bfi ,espreuves1 #abc ,essen1 ,treasury of1 #adc medl4 brooches at1 #adc-ade ,essence d'orient1 #ceh ,estampes1 ,duchess of1 #aha ,este1 ,beatrice d'1 ,duchess of ,milan4 ,see ,beatrice ,isabella d'1 ,marchioness of ,mantua4 ,see ,isabella ,estrennes1 #aec1 #bac ,ethelbert1 ,k4 of ,kent1 #fe ,ethelswith1 #ga ring of1 #gb ,ethelwulf1 ,k4 of ,wessex1 #ga ring of1 #gb ,ethred1 #gb ,eton ,college1 #aae ,etruscan goldsmiths1 #h jewellery1 #bj-bf1 #ccc tuis1 ,eng41 #ah cent41 #cji1 #caj1 #cbc pinchbeck1 #caf ,renaiss41 #bgb ,eudel1 ,p41 #cfj1 #cfb ,euphues1 #bgc ,eustachio1 ,fra1 #age ,evans1 ,a4 ,j41 #dc ,sir ,j41 #dg1 #fb1 #bif ,evelyn1 ,john1 #bih1 #bii1 #cfg ,evil ,eye1 #afd1 #bej ,exeter ,book1 #eg ,exmewe1 ,thomas1 #bjh ,ex voto1 #acf ,eyck1 van1 #ajf ,john van1 #ij1 #aee ,eyelets1 ,renaiss41 #bfh ,eymaker1 #caj ,faon d',angleterre1 #afb ,fahrner1 ,t41 #cci ,faience1 ,egyptian1 #b1 #g ,falize1 ,lucien1 #cce ,falkland1 ,viscount1 #bie ,fane1 ,sir ,s4 ,ponsonby1 #cbb ,fans1 ,renaiss41 suspended to girdles1 #bgb ,fashion1 influence on jewellery1 #bh1 #hj1 #agh1 #cgj ,fausse montre1 #cbd ,faversham1 #eg ,fay1 ,j4 ,b41 #cab1 #cag ,feathers1 jewelled1 as aigrettes1 #ag cent41 #bca ,feather jewel for hats1 ,english1 #ag cent41 #cjj ,fedeli1 ,ercole1 #aeh ,feder1 von1 #aij ,federigo of ,montefeltro1 ,duke of ,urbino1 #aga ,felicini altar-piece1 #agj ,felicini1 ,bartolomeo1 #agj ,felspar1 green1 #c ,fenwolf1 ,morgan1 #bjh ,ferdinand of ,tirol1 ,archduke1 #ahh ,ferenzuola1 ,giovanni da1 #ahe ,fermail1 #ic1 #abh1 #aca1 #acg1 #ada ,fermailleurs1 #aca ,ferronnire1 #agb1 #cbh ,fessey1 ,j41 #caj ,fibul1 xlii1 xliii1 #abg ,anglo-,saxon1 #ei1 #abg ,byzantine1 #cd ,etruscan1 #bd ,roman1 xlii ,romano-,british1 xlii1 #df spectacle1 xlii ,see also ,brooches ,field of ,cloth of ,gold1 #bjg1 #bcg ,filigree1 #ai ,byzantine1 #ce influence in ,europe1 #ce ,etruscan1 #bd gold1 in ,portuguese jewellery1 #cdg gold1 in #ag cent4 memorial jewellery1 #cfh ,greek1 #ac1 #af in ,jewish wedding rings1 #bfb silver1 in ,german peasant jewellery1 #cdf ,fillets1 xxxix ,etruscan1 #bc medl41 #aje ,phoenician1 #i ,roman1 #bh ,finger rings4 ,see ,rings ,finger-ring ,lore1 #bif ,finiguerra1 ,tommaso 7,maso71 #afh ,firens1 ,p41 #bic ,firmacula1 #ib1 #ach ,fisher1 ,alexander1 #cci ,fitzhardinge1 ,lord1 #gc1 #bgd ,flach1 ,thomas1 #caj ,flanders1 influence of1 in #ae cent41 #adb ,fleece1 ,golden1 #bd ,order of1 #ij ,flemish-,burgundian jewellery1 #adc-f1 #bac ,flemish brooches1 #ae cent41 #adf paintings1 jewellery in1 #hi-ij peasant jewellery1 #cde ,renaiss4 #aif1 #aig ,fleurs-de-lis1 #ic1 #ajf ,florence1 #afg ,bargello4 ,see ,museo ,nazionale ,cathedral1 #age ,museo ,nazionale 7,bargello71 #acj ,museo ,nazionale 7,bargello71 ,carrand collection1 #ade ,pitti ,gallery1 #agj1 #bcc1 #bid ,spedale di ,santa ,maria ,nuova1 #aad ,uffizi ,gallery1 #aad1 #aag1 #add1 #afh1 #agb1 #bfd1 #bhf1 #bid ,uffizi ,gallery1 ,galleria delle ,gemme1 #bbh n4 #ae cent4 jewellery1 #agd ,fltner1 ,peter1 #aic ,flower1 pendant called1 #baj1 #bag ,flowers1 natural1 designs in jewellery1 #bhc1 #bhe-i ,fob-pocket1 #bih1 #cbc1 #cbd1 #ccb ,foil1 gold1 ,anglo-,saxon1 #fj ,foils for precious stones1 #fj-fc1 #ahj1 #bfj1 #cea1 #cee1 #cef ,fontenay1 ,e41 #d1 #dh1 #gb1 #cbj1 #cce ,fontevraud1 #ada ,foppa ,ambrogio1 called ,caradosso1 #afh ,forgeries1 #cac1 #cee-fb ,fornarina1 #bcc ,fortnum collection4 ,see ,oxford1 ,ashmolean ,museum ,foulc1 ,e41 #bfc ,fouquet1 ,georges1 #cch ,foy1 ,ren1 #cch ,foy1 ,st41 #aab1 #acf1 #acg ,foyle1 ,lough1 #dc ,france1 barbaric jewellery1 #ef medl4 jewellery1 #hh peasant jewellery1 #cdb1 #cdc ,renaiss4 jewellery1 #aii-bja #ag cent4 jewellery1 #bgf #ah #cji #ai #cbe ,francesca1 ,piero della1 #aga ,francia1 ,f41 #afi1 #agj1 #baj ,francis ,i1 ,k4 of ,france1 #agb1 #aha1 #aii1 #bjj1 #bjh1 #bbg ,frankfort-on-the-,main1 #aie ,rothschild collection1 #aig ,stdel ,institute1 #bcc ,franks1 the1 #ef ,franks1 ,sir ,a4 ,w41 #gb1 #ahe ,see also ,london1 ,british ,museum1 ,franks ,bequest ,frauds1 #cee-fb ,freeman1 ,john1 #bjh ,friessler1 ,l41 #cci ,fritillaries1 painted on enamel1 #bhg ,froment-,meurice1 #cca ,frontlets1 ,egyptian1 #c ,greek1 #af #ai cent41 #cbh ,fruit-shaped pendants1 medl41 #abe ,frye1 ,thomas1 #cag ,fugger family1 #ahh ,jacob1 #baj ,fuller-,eliott-,drake4 ,see ,drake ,fuseli1 ,h41 #cab ,gaillard1 ,lucien1 #cch ,gallo-,roman jewellery1 #df ,garlande1 ,jean de1 #aca ,garnets1 in ,anglo-,saxon jewellery1 #eg1 #eh1 #fj1 #fa1 #fc1 #fg in barbaric jewellery1 #di1 #ec in mourning jewellery1 #cgj in ,swiss peasant jewellery1 #cdf ,garter1 ,order of1 #bed pendent ,george of1 #cjb ,gaudees 7gauds71 #abd1 #abe ,gaskin1 ,arthur1 #cci ,gaul1 #ej invasion of by ,teutonic races1 #ef ,gaveston1 ,piers1 #fg1 #ic ,geiss1 #ccj ,gems1 engraved1 antique1 in medl4 jewellery1 #adh1 #aec1 #aed in enseignes1 #af cent41 #bbg in girdles1 #bga in pendants1 #af cent41 #bde in pendants1 #ag cent41 #bia1 #bib #ai cent41 #cbf-ca sewn on dress1 ,byzantine1 #cd ,see also ,engraved gems ,george1 ,st41 enseigne of1 #bbd1 #bbe ,george1 of the ,order of ,garter1 #cjb ,george ,,iii1 ,k4 of ,england1 #cac ,genista1 #aaj ,grard1 ,f41 ,baron1 #cbi ,gerini1 ,casa1 #cej ,germanic tribes1 #ej ,germany1 peasant jewellery1 #cdf #af cent41 jewellery1 #ahg-if #ag cent41 jewellery1 #bgf ,gheeraerts1 ,marc1 #ceb ,ghemert1 ,h41 van1 #bhd ,ghent1 #hi altar piece by the ,van ,eycks1 at1 #ajf ,ghiberti1 ,lorenzo1 #afh1 #baj ,ghirlandaio1 ,domenico del1 #afi1 #agj1 #baj1 #bfc ,ridolfo del1 #agj ,ghirlande1 #afi ,gibbons1 ,grinling1 #bhg ,gibbs ,bequest4 ,see ,london1 ,british ,museum ,gigates1 #dg ,giovio1 ,paolo1 #bfj ,gipcire1 #afe beams1 #afe ,giraldus ,cambrensis1 #aji ,girandole1 #cag1 #cah ,girdle1 medl41 in picture1 #aef -buckle1 xlv1 xlvi1 #aei1 #afj design by ,aldegrever1 #aid de ,bry1 #aif ,drer1 #aij -buckles1 #ah cent41 #cbb -hangers1 ,anglo-,saxon1 #fc ,girdlers' ,company of ,london4 ,see ,london ,girdles1 xlv1 xlvi ,anglo-,saxon1 #fc ,greek1 #ah medl41 #aei-fe ,england1 #ic1 #id ,renaiss41 #bgj-b #ag cent41 #bif-g #ai cent41 #cbi ,giuliano1 ,carlo1 #bb1 #ccd1 #cei ,giustinian1 ,s41 #bjf ,glass1 armlets1 ,romano-,british1 #dg beads1 ,phoenician1 #aj ,roman1 #bi ,romano-,british1 #de diamond rings for writing on1 #bfj ,egyptian1 #c1 #f millefiori1 in ,anglo-,saxon jewellery1 #ei millefiori1 in ,romano-,british jewellery1 #df painted1 in jewellery1 verre glomis1 #bjc-d paste1 #a1 #di1 #eb ,glastonbury1 #fg ,glenlyon brooch1 #aaa1 #acb ,glockendon missal1 #age ,glomy1 #bjc ,glossopetr1 #abb1 #abc1 #aef ,gloves1 rings worn over1 #adi1 #bei slashing of1 #bei1 #bfe ,gmnd1 #cci ,gnadenmedaillen1 #bdh ,gnauth1 #cci ,gnostics1 #aja ,godberta1 ,st41 #aee1 #bfc ,godstow ,priory ring1 #aej ,golconda1 #bgh1 #cea ,gold1 coloured1 #caa1 #cbh imitation1 #ceh1 #cei ,golden ,fleece1 #ad collar of1 #ij ,hind1 #bec ,goldshine1 #caf ,goldsmiths of ,paris1 medl41 #acd ,company of ,london4 ,see ,london workshops1 interiors of1 #ih1 #aee1 #aef1 #aeh1 #agf1 #bja ,gondola1 pendent jewel1 in form of1 #aig1 #bdg ,gonzaga1 ,elizabeth1 ,duchess of ,urbino4 ,see ,elizabeth ,gorget1 from ,petrossa1 #eb ,gorgets1 ancient ,irish1 #db ,gss1 #cci ,gothic ornament1 appearance of1 #hf nations1 #di1 #ej revival1 #ai cent41 #cca style1 #ai cent41 #ccb ,grco-,phoenician jewellery1 #h ,graff1 ,c41 #cci ,grains de chapelet1 #abe ,granulated gold1 #cbg1 #ccc ,granulation1 ,byzantine1 #ce ,etruscan1 #ba1 #bd ,greek1 #ab1 #ac ,phoenician1 #h ,granson1 battle of1 #baj ,greek jewellery1 #h1 #aa-ai ,islands1 peasant jewellery1 #bdf1 #cdf ,green1 ,j4 ,r4 7quoted71 #ff ,gregory ,,xvi1 ,pope1 #bb ,gresham1 ,sir ,t41 #bcg ,grey1 ,lady ,jane1 #bed ,gribelin1 ,simon1 #caj ,grien1 ,hans ,baldung1 #ahi1 #bfa ,grimani ,breviary1 #age ,grondoni1 ,g4 ,b41 #cji1 #caj ,guarrazar1 #ej1 #ec ,guay1 ,j41 #cbj ,guien1 ,j41 #caj1 #cag ,guilds1 goldsmiths'1 #acd rules against forgery1 #cef1 #ceh1 #cei ,guilloch gold1 #cab ,gurschner1 ,g41 #cci ,gypcire1 #id ,habsburg1 family1 #bid ,hadaway1 ,mrs41 #cci ,hailler1 ,d41 #bhd ,hair1 jewellery of1 #cfh-gj #ai cent41 #cca ornaments for the1 medl41 #aad ,renaiss41 #bbc #ag cent41 #bia #ah #caf ,hair-pins1 xl1 xli ,anglo-,saxon1 #eg ,etruscan1 #bc ,german peasant1 #cdf ,greek1 #ag ,renaiss41 #bcb-c ,roman1 #bh ,romano-,british1 #de #ah cent41 #caf #ai #cbh ,hall1 ,bishop1 #bei ,edward1 #bjg1 #baa1 #bbd ,hals1 ,agnes1 #cff ,frans1 #bif1 #cfb ,hamilton brooch1 #gj ,palace collection1 #cjc ,hammer1 #cci ,hampton ,court ,gallery1 #bde ,hanau1 #cci ,hannibal1 #cb ,hans of ,antwerp1 #bjh1 #bac ,harlay1 family1 #bff ,haroun al-,raschid1 #hd1 #aah ,harrogate diamonds1 #ceg ,harvey1 ,gabriel1 #bfa ,hastings1 ,lord1 #df ,hat-badges4 ,see ,enseignes bands1 jewelled1 #bbd1 #bcj ornaments1 medl41 #aji ,hats1 jewelled1 medl41 #ajg jewels on1 ,english1 #ag cent41 #cjj1 #cja rings worn on1 #bfa ,hauer1 ,j4 ,p41 #bhg ,hauptmann1 ,franz1 #cci ,hays1 ,cornelius1 #bjh ,head-appendages1 ,greek1 #af dresses1 ,roman1 #bh ornaments1 xxxix ,dutch1 #cdd ancient ,irish1 #db ,italian1 #ae cent41 #aga1 #agb medl41 #aje-ab ,renaiss41 #bcb #ah cent41 #caf #ai #cbh ,hearts1 peasant jewels in form of1 #cdb-e ,hecke1 van den4 ,see ,van den ,hecke ,heel1 ,johann1 #cji ,heeley1 #cai ,heem1 ,jan de4 ,see ,de ,heem ,hefner-,alteneck1 ,j4 ,h4 von1 #aie ,hendrickje ,stoffels1 #aia ,henin1 #ajg ,henlein1 ,peter1 #bgd ,henrietta ,maria1 ,q4 of ,england1 earrings of1 #ced ,henry ,i1 ,k4 of ,england1 #ib ,,ii #ada ,,iii #ib1 #ada1 #aea ,,iv #ie1 #aae1 #aaf1 #adj1 #adb1 #afb1 #afd ,v #ie1 #aaj ,,vi #aae ,,vii #baf1 #bai ,,viii #aii1 #bjf-ac1 #bai1 #bbd1 #bbe1 #bbf1 #bcg1 #bch1 #bej1 #beb1 #beh1 #bfc1 #bfe1 #bfg1 #bfh1 #bfi ,,ii1 ,k4 of ,france1 #bjj1 #cfe ,,iii #bjj1 #bcd ,,iv #cad1 #cbj ,k4 of ,castile1 #aji ,prince of ,wales1 son of ,james ,i1 #cjb-c ,hentzner1 ,paul1 #bad ,hera1 #ai ,herbals1 precious stones in1 #ajj n4 ,heraclius1 ,emperor1 #ei ,herbst1 ,j4 ,b41 #caj ,herculaneum1 #bi discovery of1 #caa ,herculean knot1 rings shaped like1 #cb ,heriot1 ,george1 #bfh1 #bgc1 #cjj1 #cja1 #cjd ,james1 #baj1 #cjd ,heriot's ,hospital1 #cja ,hermitage ,museum4 ,see ,st4 ,petersburg ,herodotus1 #cfc ,herrick1 ,nicolas1 #bbj ,robert1 #bbj1 #cjb ,sir ,william1 #bbj1 #cja1 #cjb ,heyl1 ,baron von1 #acf ,highland brooches1 #aca-c ,hilary1 ,st41 #ajd jewel of1 #ajc1 #acf ,hilliard1 ,nicholas1 #bai1 #bec1 #bee ,hipkins1 ,w4 and ,co41 #cae ,hirzel1 ,h4 ,r4 ,c41 #cch ,hispano-,moresque jewellery1 #bje ,hissarlik1 #i ,holbein1 ,hans1 the younger1 #aij1 #baj-ac1 #bbd1 #bdc1 #beb1 #bgc1 #cea1 #ceb1 #cfc1 #cfe ,holford1 ,major1 #bhh ,holinshed1 ,r41 #bjg1 #bce ,holland1 peasant jewellery1 #cdd-e ,hollar1 ,w41 #aij1 #bge ,holtzendorff treasure1 #bfg family1 #bch ,holy ,land1 jewellery brought back from1 #hd1 #hf ,holyrood1 #aae ,homer1 #ai ,honervogt1 ,j41 #bhb ,honyson1 ,guillim1 #bjh ,hooks and loops1 medl41 #adj eyes1 ,renaiss41 #bfh ,hoop 7of ring71 xlv ,hornick1 ,erasmus1 #aic1 #aid1 #bea ,horus1 #b ,huaud or ,huault1 #bih ,hungary1 #af cent4 jewellery1 #aig-h peasant jewellery1 #cdg ,hunsdon1 ,george ,carey1 ,lord1 #bah1 #bfe ,henry ,carey1 ,lord1 #bah1 #bec1 #bgd jewels1 #ic1 #bah1 #bec1 #bgd ,hunterston brooch1 #gi ,hurtu1 ,j41 #bhe ,hyderabad1 #bgh ,ialysos1 #ab ,iconoclastic decrees1 #cd ,iklyngton ,coler1 #aae ,ilchester1 ,earl of1 #cff ,il ,rosso4 ,see ,rosso ,impresa1 #bbc ,imitation diamonds1 #cac-ad gold1 #ceh1 #cei pearls1 #cad precious stones1 #ah cent41 #cac ,imitations1 #cee-fb ,incrustation 7or inlay71 process of1 #di-ee ,initials1 jewelled1 ,renaiss41 on garments1 #bfh jewels in form of1 #baa-ab pendants in form of1 ,renaiss41 #bdh ,inlaid jewellery1 #ce1 #di-ee ,anglo-,saxon1 #fj ,innocent ,,iii1 ,pope1 #if1 #adh ,intaglio cutting on gold1 ,greek1 #ac medl41 #ach ,intaglios1 antique1 in medl4 jewellery1 #ajb ,renaiss41 #bbg ,roman1 #cj #ai cent41 #cbf ,inventories1 jewellery in1 #hb1 #hh-i1 #ib-f1 #adb1 #bae1 #beh1 #bfc1 #cec ,ionia1 #bb ,ipsamboul 7,abu ,simbel71 #d ,ireland1 cloisonn enamel1 #ff introduction of ,christianity into1 #ge prehistoric ornaments in1 #dj-d ,irish missionaries1 their influence on ,anglo-,saxon jewellery1 #ff1 #fg ,iron jewellery1 #ai cent41 #ccj1 #cca prehistoric1 #ci ,isabella d',este1 ,marchioness of ,mantua1 #aeh of ,france1 ,q4 of ,england1 #aad ,italian jewellery1 #ae cent41 #aff-gf #af #ahc-f peasant jewellery1 #ccd1 #cdf ,jacobson1 ,philip1 #cjb1 #cjd ,james ,i1 ,k4 of ,england1 #baj1 #bcj1 #bca1 #bce1 #bch1 #beg1 #bfh1 #bii1 #cjj-d ,,ii #aai ,st41 of ,compostella1 #aji ,jane ,seymour1 ,q4 of ,england1 #bab ,janssens1 ,c41 #ceb ,jaquin1 #cad ,jet jewellery1 #dh medl41 #abd mourning jewellery1 #cgj ,romano-,british1 #de1 #dg ,jewish wedding rings4 ,see ,rings ,jingling ,geordie1 #cja ,joaillerie1 #bgg ,joailliers-faussetiers1 corporation of1 #cad ,joanna of ,navarre1 ,q4 of ,england1 #ada ,jocalia1 #ib1 #ach ,john ,anwarpe4 ,see ,hans of ,antwerp of ,cambridge1 #ajf the ,constant1 ,elector of ,saxony1 #bfa ,frederick1 ,elector of ,saxony1 #bfa of ,leyden1 #bej ,st41 ,baptist1 head of1 #bbf1 #bbg n4 ,evangelist1 #cf1 #ii1 #ajc ,king of ,england1 #ib1 #if ,,ii1 ,king of ,france1 #hh ,jones1 ,w41 #bif ,jonson1 ,ben1 #aea ,jrg1 ,a41 #bhd ,josephine1 ,empress1 #bi1 #cbi-cj ,juliers1 ,william1 ,duke of4 ,see ,william ,jupiter1 cameo of1 considered to represent ,st4 ,john1 #ajc ,capitolinus1 temple of1 #cb ,justinian1 ,emperor1 #cc1 #cd ,jutes1 #ef1 #ei ,k41 ,p4 ,r41 #bhj1 #bhd ,kameiros1 #ab ,kann collection1 #afi ,karlsruhe1 #aij ,kaufmann collection1 #bfc ,kayle1 ,hugh1 #bbj ,kensington 7,south7 ,museum4 ,see ,london1 ,victoria and ,albert ,museum ,kent1 #fj ,kentish cemeteries1 #ef1 #eg1 #fc ,kertch1 #ad1 #af forged jewels1 said to come from1 #cfj ,kha-em-uas1 #e ,khepera1 #b ,kilbride1 ,west1 #gi ,kilmainham brooch1 #gg ,kimmeridge shale1 #dg ,king1 ,c4 ,w4 7quoted71 #ajj ,kings of the ,east1 ,three1 #ajb1 #aaa1 #abi1 #acb1 #aej1 #aeb ,kingston brooch1 #fj -on-,thames1 #adb ,klein-,meister1 #aia-d ,kneller1 ,sir ,g41 #cec ,knives1 ,renaiss41 suspended to girdles1 #bgb ,knotwork1 in ,anglo-,saxon jewellery1 #eg ,koul-,oba1 #ad ,kraft1 ,adam1 #abj ,kreuterbuch1 #ajj n41 #abf ,labarre1 ,p41 #bhb ,laborde1 ,l4 de1 #bgg ,laffitte1 ,gaston1 #cch ,lalique1 ,ren1 #cch ,lang1 ,andrew1 #bba1 #cec ,lange1 ,jehan1 #bjh1 #bji ,latten1 #afa ,la ,quewellerie1 ,g4 de1 #bhd1 #bie ,lannoy1 ,baldwin de1 #ij ,raoul de1 #aaf ,lapis-lazuli1 #b1 #acf ,lark ,hill1 near ,worcester1 #aed ,latium1 #bd ,laton1 #afa ,lauingen1 #bcj1 #bcb ,laverstoke1 #gb ,law1 ,thomas and ,co41 #cae ,lazos1 #bjd1 #bid ,lead1 medl4 jewels of1 #ajh-aj1 #aca1 #afa models for jewellery1 #aib-c ,leblanc1 #caf ,le ,blon1 ,m41 #bhd1 #cjd ,leda and the ,swan1 by ,cellini1 #ahe1 #bbh ,ledyard1 ,adam1 #abd ,lefebure1 ,f41 #bhb1 #bia ,lefvre1 ,r41 #cbi ,lgar1 ,gdon1 #bhb1 #bhg ,gilles1 #bgi1 #bhb1 #bhg-i1 #bia1 #bic1 #bid1 #bif1 #bih1 #cff ,leicester1 ,robert ,dudley1 ,earl of1 #bci1 #bgd ,leland1 ,j41 #bjg ,lely1 ,sir ,p41 #cec ,leman1 ,baptist1 #bjh ,le ,mans1 xliii1 #abh ,lemersier1 ,b41 #bhb ,lempereur1 #cab1 #cah ,lennox1 ,henry ,stuart1 ,earl of1 #bag jewel1 #bag1 #beg ,lenton1 ,f41 #bce1 #ceg ,leo ,,iii1 ,emperor1 #cd ,leonardus1 ,c41 #ajj1 #aja ,leopold1 ,j4 ,f41 #cji ,letelen1 ,albert von1 #aci ,letters1 jewels in form of1 #baa pendants in form of1 ,renaiss41 #bdh ,leven and ,melville1 ,earl of1 #bba1 #cec ,leyden1 ,john of1 #bej ,liberale di ,giacomo da ,verona1 #age ,liberation1 ,german ,war of1 #ccj ,liberty1 ,a4 ,lazenby1 #cci ,lichtwark1 ,a41 #aic ,limoges enamel1 medl41 #hf enamelled enseignes made at1 #bbi ,limavady treasure1 #dc ,lion's head on ,egyptian jewellery1 #e ,phoenician jewellery1 #i ,lions on archaic ,greek jewellery1 #ab ,lipona1 ,countess1 #af ,lippmann1 ,f41 #aij ,lisbon1 ,museum of ,fine ,arts1 #cdg ,linas1 ,c4 de1 #eb n4 ,little masters 7,kleinmeister71 #aia-f ,liverpool1 ,mayer collection1 #fj ,lively1 #aaj1 #aaf-g ,livre de ,taille d'pargne1 #cji ,llewellyn1 #aeb ,llys-fn1 ,carnarvonshire1 #ga ,loch ,buy brooch1 #acc ,lochner1 ,stephan1 #ade ,lockets1 memorial1 ,eng41 #ag-ah cent41 #cfh #ag cent41 #bic ,lombard ,street1 #aae ,lombards 7,gothic tribe71 #ej ,lombardy1 peasant jewellery1 #cdf ,london1 ,british ,museum1 #c1 #d1 #h-aj1 #ab1 #ag1 #bc-h1 #cd1 #cg1 #dd1 #df1 #ea1 #fj1 #fc1 #fi1 #gb1 #gd1 #gf1 #ajh1 #aai1 #abb1 #abi1 #acb1 #acc1 #ach1 #aij1 #baa1 #bgc1 #big ,british ,museum1 ,franks ,bequest1 #cg1 #aaj1 #ade1 #adh1 #bdf1 #bfd1 #cfh ,british ,museum1 ,gibbs ,bequest1 #eg1 #fb1 #fc ,british ,museum1 ,waddesdon ,bequest1 #abe1 #ahd1 #bbf1 #bca1 #bdh1 #bgb1 #cjc1 #cff ,british ,museum1 ,sloane collection1 #bah1 #bee ,british ,museum1 ,gold ,ornament ,room1 #aed1 #bib ,british ,museum1 ,carlisle collection1 #bdf ,british ,museum1 ,room of ,greek and ,roman ,life1 #bc ,cuming ,museum1 ,walworth ,road1 #cfa n4 ,dorchester ,house1 #bbe1 #bhh ,girdlers' ,company1 #afa1 #bgb ,goldsmiths' ,company1 #aca1 #bac ,guildhall ,museum1 #ajh1 #afe ,national ,gallery1 #adj1 #aga1 #agd1 #bch1 #bei1 #bfd1 #cfe ,national ,portrait ,gallery1 #ada n41 #bab1 #bbb1 #bce1 #bed ,royal ,academy1 #cab1 #cac ,st4 ,helen's ,church1 ,bishopsgate1 #aae ,st4 ,paul's ,cathedral1 #aae1 #ach ,south ,kensington ,museum ,jewellery ,exhibition1 #ahgb1 #bda ,south ,kensington ,museum4 ,see ,london1 ,victoria and ,albert ,museum ,temple ,church1 #abh ,tower1 #cjj ,victoria and ,albert ,museum1 #ca1 #cf1 #ea1 #gb1 #gc1 #abj1 #abb1 #abi1 #acj1 #ach1 #aci1 #afc1 #bjc1 #bah1 #bbf1 #bca1 #bdf1 #bdh1 #bdi1 #bed1 #beg1 #bff1 #bgb1 #bgc1 #bid1 #bif1 #cba1 #ccd1 #cdg1 #cef1 #cfe1 #cfi ,victoria and ,albert ,museum1 ,art ,library1 #cjh1 #cdd ,victoria and ,albert ,museum1 ,dyce collection1 #bic ,victoria and ,albert ,museum1 ,jones collection1 #bic ,victoria and ,albert ,museum1 ,waterton collection1 #adi1 #bfd ,wallace collection1 #bbf1 #bgb1 #bif1 #big ,londesborough collection1 #abi1 #bfd ,loops 7clasps71 medl41 #adj ,renaiss41 #bfh ,lord ,mayor of ,london1 collar of1 #aag ,loreto1 ,santa ,casa1 #ia ,lorn1 brooch of1 #acc ,lothair ,,ii1 ,k4 of the ,franks1 #aci ,lotto1 ,lorenzo1 #bfc ,lotus flower1 #d ,louis ,,ix1 ,st41 ,k4 of ,france1 #aai ,,xi1 ,k4 of ,france1 #aji1 #aaj1 #aaf ,,xii #aii ,,xiii #bgi1 #bhf1 #bib ,,xiv #bff1 #bgi1 #bhb1 #bic ,,xv #caa1 #cbj ,,xvi #caa1 #cbc ,louise ,augusta1 of ,schleswig-,holstein1 ,princess1 #cci ,luckenbooth brooches1 #acc-d1 #afe ,ludovico ,sforza1 ,duke of ,milan1 #afh1 #agb ,ludwig ,i1 ,k4 of ,bavaria1 #af ,lulls1 ,arnold1 #bca1 #cjb1 #cjd ,lunul1 #db ,luthmer1 ,f41 xxxiv1 #hb1 #ace1 #aig1 #bdj1 #cci1 #ceb ,lyly1 ,j41 #bag1 #bgc ,lyons1 #bgg ,lyte jewel1 #beg1 #bic1 #cjc1 #cjd1 #ced ,sir ,h4 ,maxwell1 #cjd ,thomas1 #cjc1 #cjd1 #ced ,mabell1 #bfi ,mabuse1 #bfa1 #cea ,macdougals of ,lorn1 #acc ,macleans of ,loch ,buy1 #acc ,macneals of ,firfergus1 #acc ,macquoid1 ,mrs4 ,percy1 #abj ,madrid1 ,royal ,armoury1 #ec ,museum of ,antiquities1 #i ,mnad1 #ae ,magi4 ,see ,kings of the ,east ,magna ,grcia1 #ad1 #ag1 #ah ,magnussen1 ,e41 #cci ,mainz1 #ace-g ,mainz ,cathedral1 #acg ,treasury1 #acg ,museum1 #acf ,matres ornemanistes1 #bdf ,malone1 ,e41 #abc n4 ,mammillary fibul1 xliii1 #db ,mantle clasps1 medl41 #adj1 #ada ,manuscripts1 representation of jewellery in1 #hb1 #ig1 #agd1 #age1 #agf ,marbode1 ,bishop of ,rennes1 #ajj n4 ,marcasite1 #cae1 #cai1 #cba ,marchant1 ,pierre1 #bha1 #bib1 #cjf ,margaret1 ,q4 of ,scotland1 #aad-aae ,maria1 #cab1 #cai ,marie ,antoinette1 ,q4 of ,france1 #caf1 #cag1 #cah ,mariette1 ,p4 ,j41 #bhh ,martial1 #ca1 #cee ,martin1 brothers1 #bjd ,sir ,richard1 #bbj ,mary1 the ,blessed ,virgin1 #cf1 #cg monogram of1 #ig1 #bjd1 #bdi of ,burgundy1 ,empress1 #adf n41 #bdf n4 daughter of ,james ,i1 #cjb ,q4 of ,england1 #bjg1 #bai1 #bcg1 #bed1 #bfi ,q4 of ,scots1 #bbj1 #bba1 #bcd1 #bfe1 #bfh1 #bfi1 #cec1 #cff ,marygold by ,temple ,bar1 ,the1 #cjf ,matsys1 ,quentin1 #aef1 #bbg n41 #bfc ,mathias ,corvinus1 ,king of ,hungary1 #age ,mauricius1 ,emperor1 #ei ,mayer collection4 ,see ,liverpool ,maximilian1 ,archduke of ,austria1 #bdh ,i1 ,emperor1 #aia1 #adf n4 ,,ii #ahh ,mazarin1 ,cardinal1 #bgi ,medallions on the hat1 #bbi4 ,see also ,enseignes ,medals1 pendent1 ,renaiss41 #bdg-h ,english1 #beg ,medici1 family1 #aad1 #bfj1 #bid device of1 #bfj ,costanza de'1 #agj1 #bfc ,cosimo de'1 #bfj ,francesco de'1 #bcc ,guiliano de'1 #aga ,lorenzo de'1 #aga1 #bfj ,lucrezia de'1 #bib ,piero de'1 #bfj ,mediterranean1 #h1 #ba ,melillo1 #ccd1 #cei ,melos1 #ag ,memento ,mori1 #cfc-gj ,memorial jewellery1 #cba1 #cca rings1 #cfd-gj ,merchants' marks on rings1 #aec ,mermaids1 pendants in form of1 ,renaiss41 #bdi1 #bej1 #bea hung with bells1 #afd n4 ,merman1 ,renaiss4 pendant in form of1 #bdc1 #bdi1 #bea ,merovingian dynasty1 #eb1 #ee jewellery1 #df1 #ef ,merovingians1 #ej ,meuse1 jewels found in1 #adc ,michelangelo di ,viviano1 #aga ,mielich1 ,hans1 #aie1 #bbf ,mignot1 ,d41 #aic1 #bca1 #bhj1 #bhd1 #cjd ,migrations of the ,tribes1 #di ,milan1 ,ambrosiana1 #agb ,brera ,gallery1 #aga ,crespi ,gallery1 #bbe ,poldi-,pezzoli ,museum1 #bag1 #bee1 #bef ,s4 ,eustorgio1 #aaa school of painting1 #afg ,millefiori glass in ,anglo-,saxon jewellery1 #ei in ,romano-,british jewellery1 #df ,milvian ,bridge1 battle of1 #bbf ,minden1 #aci ,miniature cases1 #bah ,elizabethan1 #bef ,english1 #ag cent41 #cjc #ag cent41 #bha1 #bic1 #big frames1 pinchbeck1 #caf #ag cent41 by ,marchant1 #cjf jewelled1 #ah cent41 by ,toussaint1 #cac ,miniatures in bracelets1 #cai-bj memorial jewellery1 #cfi ,minster ,lovel jewel1 #fi ,minuteria1 xxxiii1 #bbg n4 ,mirror of ,france1 #cjj ,mirror cases1 medl4 #adf ,renaiss41 #bgb #ag cent41 #big ,mithridates1 #bi ,mitres1 jewels on1 #ig1 #ih ,mocha stone1 #cba ,models for jewellery in lead1 #aib-c ,mhring ,b41 #cch ,monckton1 ,lady1 #cag ,moncornet1 ,b41 #bhb1 #bhg1 #bhh ,monday1 ,john1 #bjh ,mondon1 #cji1 #cag ,monilia baccata1 #bi medl41 #aba1 #ach ,roman1 #bi ,monograms1 pendants in form of1 #bjd1 #bab1 #bdh1 #bdi sewn on garments1 #bfh ,monogrammists1 #bhd ,montauban1 #bbd1 #bca ,montagu1 ,lady ,mary ,wortley1 #cbc ,monte di ,giovanni1 #age ,montefeltro1 ,federigo of1 ,duke of ,urbino4 ,see ,federigo ,moorish influence on ,portuguese peasant jewellery1 #cdg influence on ,spanish peasant jewellery1 #bje1 #cdg ,mordant1 xlvi1 #aei1 #afj1 #afb1 #bga ,more1 ,sir ,antonio1 #ceb ,moreau1 ,p41 #cab ,moreelse1 ,peter1 #bcb ,morgan1 ,sir ,matthew1 #bff ,octavius1 #adh ,pierpont1 collection1 #afi1 #agc1 #bag1 #bdh1 #bed1 #bef1 #bic1 #big1 #cac n4 ,morisson1 ,f4 ,j41 #cjh1 #caj ,morlire 7of ,orleans71 #bhg ,mors de chape1 #acg ,morses1 #aba1 #acg-dj ,mosaic jewellery1 #ai cent41 #cbg ,mosaics1 ,byzantine1 #cc1 #cd1 #cf ,mosbach1 ,h41 #bhb ,moser1 ,g4 ,m41 #cab ,moss agates1 #ah cent41 #cba #ai cent41 #cbh-i ,mottoes on rings1 #bie-f ,moulds for casting jewellery1 #ajh1 #abb ,mount ,charles1 ,countess of1 #bdj ,mourning jewellery1 #cca1 #cfi1 #cgj rings1 #bif1 #cfd-gj ,mummies1 #a1 #f ,munich1 #aid ,antiquarium1 #c1 #af ,bavarian ,national ,museum1 #fb1 #abj1 #aeg1 #aib1 #aie1 #bca1 #bcb1 #bdg ,coin ,cabinet1 #bdh jewels made at1 #bde ,pinakothek1 #bfa1 #bfc ,royal ,library1 #aie1 #bbf ,royal ,treasury1 #aie1 #bea in #af cent41 #ahh1 #ahi ,munk1 ,eugenie1 #cci ,murat1 ,joachim1 #af ,museums1 collections of jewellery in1 #ccf portraits and jewels in1 #cdi ,mycen1 #aa1 #ai1 #dj1 #dc ,mycenan jewellery1 #aa period1 #ba1 #bb ,mytens1 ,d41 #ceb ,nail1 ,holy1 #bjd ,nancy1 battle of1 #ajg ,nantes1 ,edict of1 #cje ,napoleon ,i1 ,emperor1 #aah1 #cbe1 #cbi1 #ccb ,,iii #aah ,narwhal1 #abc ,nassaro1 ,matteo del1 #bbf1 #bbg ,national ,gallery1 ,london4 ,see ,london1 ,national ,gallery ,navette pendants1 #bdf ,neckam1 ,a41 #ib ,newman1 ,mrs41 #cci ,neck-chains1 xl medl41 #aac-ag ,renaiss41 #bcf-da ,necklaces1 xl1 xliv ,anglo-,saxon1 #eh1 #ei1 #gd ancient ,british1 #dj ,egyptian1 #d ,etruscan1 #bd ,greek1 #ag hair1 #ai cent41 #cca ,italian1 #ae cent41 #agb-c medl41 #aac-ag1 #aba ,phoenician1 #aj ,renaiss41 #bcf-db1 #bff1 #bhe perfumes worn in1 #bfe rings worn on1 #aeb1 #bfa ,roman1 #bi ,romano-,british1 #de #ag cent41 #bia #ah #cac1 #cag1 #cah #ai #cbh-ca ,necklets1 #aac-ag ,renaiss41 #bci-dj ,neck-ornaments1 ancient ,irish1 #db ,nef1 #bdf jewel1 #beb ,nene1 #gb ,neolithic ,age1 #dg ,nephthys1 #e ,neuburg1 ,amalia ,hedwig of1 #bcb ,counts ,palatine of1 #bcb ,dorothea ,maria1 wife of ,otto ,henry1 ,count of1 #bca ,otto ,henry1 ,count ,palatine of1 #bcj ,newcastle1 ,william ,cavendish1 ,duke of1 #bfc ,new ,college jewels1 #if-h4 ,see also ,oxford ,new ,year's gifts1 #aec1 #bac1 #bae1 #bbj1 #bfe1 #cjb ,niello1 ,anglo-,saxon1 #ga-c ,byzantine1 #cf ,italian1 #ae cent41 #afc1 #afh1 #agc on medl4 brooch1 #acj on ,tara brooch1 #gh ,niello designs1 engraved1 #bhd1 #bie ,nolin1 ,p41 #bhe ,norfolk1 ,duke of1 #bba badge of1 #aaj ,norman ,conquest1 #fe ,normandy1 peasant jewellery1 #cdb1 #cdc ,norsemen1 ravages of ,england1 #fh ,northumbria1 #fj ,norway1 peasant jewellery1 #cde ,nose-ornaments1 ancient ,british1 #dj ,nouches1 #gj1 #ic1 #aaa1 #aba1 #ada1 #adb1 #ade1 #bbc ,nowche or nuche1 #ada1 #bbc ,nummi bracteati1 ,anglo-,saxon1 #ei ,nuremberg eggs1 #bge ,nuremberg1 #aid jewellery made at1 #bjb ,germanic ,museum1 #bcb1 #bch1 #bgb1 #cdi ,st4 ,lawrence's ,church1 #abj ,town ,library1 #age #af cent41 #ahh1 #ahi ,nutwell ,court1 #bec ,odobesco1 ,a41 #eb n4 ,olbia1 forged jewels said to come from1 #cfj ,olbrich1 ,j4 ,m41 #cch ,oldano1 #bge n4 ,oliver1 ,i41 #cjc ,p41 #bic ,olonne1 ,countess d'1 #bhh ,oppenheim1 ,baron ,a41 #aee ,opus interrasile1 ,byzantine1 #cd1 #ce ,roman1 #cj ,orleans1 ,duke and ,duchess of 7#adjh71 #afb ,orles1 #ajf ,ornament engravings4 ,see ,engraved designs for jewellery ,orpheus1 #ajj ,osma1 ,j4 ,g4 de1 #bjd ,ossian1 #cca ,otho ,,ii1 ,emperor1 #cd ,ouch or owche1 #ada1 #bbc4 ,see also ,nouches ,oxford1 ,ashmolean ,museum1 #bi1 #fj1 #fh1 #gc1 #bch1 #bih ,ashmolean ,fortnum collection1 #bfd ,bodleian ,library1 #fc1 #bfd ,new ,college1 #abc1 #adb1 #adi ,university ,galleries1 #bic ,oxus treasure1 #ea ,paillons1 #ahj1 #bfj ,palestine1 jewellery brought back from1 #hd1 #hf ,palissy1 ,bernard1 #bbi ,palmer1 ,col4 ,n41 #fh ,thomas1 #fh ,panier1 #cai ,pantikapaion1 #ad ,paphos1 #ag ,paris1 ,bibliothque ,nationale1 ,cabinet des ,mdailles et ,antiques1 #cj1 #eb1 #ec1 #ajc1 #ahe1 #bjj1 #bbe1 #bbh1 #bde1 #bff1 #bib1 #cbj1 #ccj ,dutuit collection1 #aci goldsmiths of1 medl41 #acd ,louvre1 #c1 #e1 #f1 #i1 #ab1 #agb1 #bgb1 #bia1 #big1 #cbi ,campana collection1 #bc1 #bd ,davillier ,bequest1 #bea ,galerie d',apollon1 #acg1 #aci1 #aed1 #bdi ,adolphe ,rothschild ,bequest1 #aci1 #bdj1 #bde ,salle des ,bijoux ,antiques1 #bc ,sauvageot collection1 #aed ,muse ,cluny1 #ec1 #ajh1 #aci1 #bej1 #bea ,notre-,dame1 #cbi ,quai des ,orfvres1 #cad ,parmigianino 7,mazzuola71 #bcc ,parrot1 ,renaiss4 pendant in form of1 #bdi ,parthey1 ,g4 ,f4 ,c41 #aij-ia ,partridge1 ,affabel1 #bbj ,mr4 and ,mrs41 #cci ,parure1 #ah cent41 #cjh ,pastes1 #cee-g imitating garnets1 in ,barbaric jewellery1 #di-ed ,paste jewellery1 #ah cent41 #cad #ai #cbh ,paternosterers1 #abd ,paton1 ,j41 #ii ,patrick1 ,st41 #ge ,pattern-books for jewellers1 #ag cent41 #bhj1 #cjd ,pattern-books for jewellers1 ,english1 #ah cent41 #caj ,paul ,,iii1 ,pope1 #aii ,paul's windows1 #hg ,peacocks1 #ce1 #cg ,pea pod ornament1 #bha1 #bhi1 #bib1 #bic ,pearls1 #cad baroque1 in ,renaiss4 pendants1 #bdd toothpicks1 #bea in ,byzantine jewellery1 #cc earrings1 #bcd1 #bce1 #bia ,q4 ,elizabeth's1 #bae false or mock1 #cad1 #cae1 #ceg1 #ceh pendent cluster1 on jewels1 #bec #cdg pendent from ,renaiss4 jewels1 #bdc perles potences1 #agd ropes of1 in the hair1 #bcb1 #caf as necklaces1 #aac1 #bci1 #cah ,roman1 #ceh in ,roman jewellery1 #bh ,scottish1 #aba1 #acc1 #cef setting of1 #ae cent41 #agd ,venetian1 #ceh #ai cent41 #cbh ,peasant jewellery1 #cda-g ,dutch1 #cdd-e ,flemish1 #cde ,french1 #cdb-d ,german1 #cdf ,hungarian1 #aig-h1 #cdg ,italian1 #cdf ,norwegian and ,swedish1 #cde-f ,portuguese1 #cdg ,spanish1 #bje1 #cdg ,pectoralia1 #ach ,pectorals1 ,egyptian1 #e medl41 #ace-df ,pembroke1 ,earl of1 #aaf ,penannular brooch1 xlii1 xliii1 #gd ,pendants1 xl ,anglo-,saxon1 #eh ,egyptian1 #e ,etruscan1 #bd ,flemish1 #af cent41 #aif girdle1 medl41 #aei-fj ,renaiss41 #bgb1 #bge ,italian1 #ae cent41 #afi1 #agc medl41 #aah-bf1 #aef ,phoenician1 #aj ,renaiss41 #bdb-eg ,english1 #bab1 #bea-g forgery of1 #cfa worn on hats1 #bbc ,roman1 #bi1 #cj #ag cent41 #bha1 #bia-d #ah #cji ,pendeloques1 #bia1 #cah ,pendulum1 #ic ,penicuik jewel1 #bba ,penruddock jewel1 #beb1 #cec ,sir ,george1 #cec ,pent--col 7pentacols71 #aac1 #aba1 #bdb ,pepys1 ,s41 #cfg ,peres de eagle1 #abb ,perfumes in bracelets1 #bfe in earrings1 #bcd in necklaces1 #bfe in pomanders1 medl4 #abe-f ,renaiss41 #bge ,persia1 #cc1 #cd1 #ej ,persian origin of inlaid jewellery1 #eb ,peru1 emeralds from1 #bje ,peruzzi1 ,vincenzo1 #bgi ,petitot1 ,j41 #bhh1 #bic1 #cjd ,petrossa1 treasure of1 #ej1 #eb ,peutin1 ,john1 #ij ,pewter1 jewels of1 #aaa1 #aca1 #afa ,pforzheim1 #cci ,philibert1 ,margrave of ,baden1 #bej ,philip the ,good1 ,duke of ,burgundy1 #hi n41 #ij1 #aee ,phoenicians1 #ba ,phoenicians jewellery1 #g-aj ,phoenix jewel1 #bah1 #bed1 #bee1 #bhf ,phillips1 ,robert #cce ,phylacteries1 #abb ,pichon1 ,baron1 #aai1 #acj1 #bfd ,picture-cases 7miniature-cases71 ,english1 #ag cent41 #cjc ,pictures1 jewellery in1 #hb1 #cbi1 #cdh-ed ,flemish jewellery in1 #hi1 #ij ,german jewellery in1 #ade1 #ahi ,italian1 #ae cent41 jewellery in1 #afg-gf ,italian1 #af cent41 jewellery in1 #ahc medl4 necklaces in1 #aad-ae rings in1 #aee-f ,pierre d' ,alenon1 #cdc1 #ceg ,piers ,plowman1 #aec ,pilgrims' signs1 #ajg-aa1 #bbb forgery of1 #cfj-a ,piloty1 #cch ,pinchbeck1 #cae-af1 #cbg1 #cei ,christopher1 #caf1 #cba ,edward1 #cba ,pinnow1 #bch1 #bfg ,pins1 xi-xli ,anglo-,saxon1 #eg1 #gd ancient ,british1 #da ,romano-,british1 #de ,pinturicchio1 ,b4 ,b41 #bfg ,plaquettes1 #aic ,plate-inlaying1 #ej ,plates or discs of gold1 #aa ancient ,irish1 #dc ,mycenan1 #ab ,platinum1 #caa ,pliny1 #bh1 #cj1 #cb1 #dg1 #cee ,plon1 ,eugne1 #ahd ,ploumyer1 ,allart1 #bjh1 #bji ,plume decoration on hat1 #aaa ,points1 ,renaiss41 #bfg-i ,poison1 medl4 tests for1 #abc in rings1 #cb ,poitiers1 ,diana of1 #bff1 #cfd ,pollaiuolo1 ,a41 #afh1 #agd1 #baj ,p41 #afh ,polypsephi rings1 #cb ,pomander1 design for1 by ,drer1 #aia medl41 #abe-f1 #afj ,renaiss41 #bgj1 #bge in form of skulls1 #cfd #ag cent41 #bif ,pomeambre1 #abe ,pompadour1 ,madame de1 #caa1 #cbj ,pompeii1 #caa1 #cbf1 #cfc ,pompey1 #bi ,pompoms 7buttons71 ,renaiss41 #bfh ,pont-y-,saison1 #df ,portinari1 ,tommaso1 #aad daughter of1 #aad1 #aae1 #aag ,maria1 wife of1 #aad1 #add ,portland1 ,duke of1 #bba1 #bce1 #ced ,portraits1 enamelled1 as pendants1 #ag cent41 #bib on bracelet clasps1 #cai-bj on rings1 ,roman1 #ca #ah cent41 #cbj ,portugal diamond1 #cjj ,portugal1 peasant jewellery1 #cdg ,posy 7posies71 #abh1 #aeb1 #bfb1 #bie1 #bif1 #cba ,pottery1 glazed1 #a ,pouches1 medl41 #afe ,pouget1 the younger1 #cab1 #cad1 #cag ,pourbus1 ,peter1 #ceb ,prague1 #ahh1 #aih ,cathedral ,treasury1 #aba ,prneste1 #bd ,prato1 ,girolamo del1 #ahe ,prayer-books1 enamelled gold1 #bah1 #bgc1 #bgd ,precious stones1 imitation of1 #cee-h in modern jewellery1 #ccg1 #cch setting of1 in ,renaiss4 jewellery1 #ahj1 #bfj mystery of1 #ii-ajd #ai cent41 #cbh ,predis1 ,ambrogio da1 #agb ,prerogative ,royal1 #dd ,price1 ,f4 ,g4 ,hilton1 #cjf ,primavera1 #afi ,primrose1 ,mrs41 #cej ,prutscher1 ,o41 #cci ,ptolemaic jewellery1 #f ,pulvisculus aureus1 #ba ,purbeck1 ,island of1 #dg ,purled work1 #ai cent41 #cbg ,purses1 ,anglo-,saxon1 #fc medl41 #afe ,puy1 peasant jewellery1 #cdc ,pylon1 #e ,pynson1 ,r41 #bcf ,pyrites1 iron 7marcasite71 #cae ,quartz1 #cac crystals1 #ceg ,raab1 ,h41 #bhg ,rabelais1 ,f41 #aii ,raibolini1 ,francesco4 ,see ,francia ,raimbau1 ,mlle41 #cab ,raleigh1 ,sir ,walter1 #bce ,rameses ,,ii1 #d1 #e ,raphael1 #ahb1 #bbf ,ravenna1 #cc1 #gj ,sant' ,apollinare ,nuovo1 church of1 #cf ,san ,vitale1 church of1 #cc1 #cf ,raynes1 ,robert1 #bcg ,reasons1 #aeb ,rcamier1 ,madame1 #cbf ,reccesvinthus1 #ed ,red ,sea1 #bh ,re1 ,p4 ,j41 #bge ,relics1 #ajb1 #ajh1 #aaa1 #aah1 #abe in rings1 #aeb ,reliquaries1 ,byzantine1 #cf ,italian1 #ae cent41 #agc medl41 #aah-ai1 #aba1 #afj ,spanish1 #bjc1 #cdg ,rembrandt1 #bia ,renaiss4 jewellery1 its general characteristics1 #agg-ahc ,renty1 #caf ,repouss work1 #aa ,byzantine1 #cd ,egyptian1 #c ,etruscan1 #ba ,greek1 #ac ,irish1 #dc ,renaiss41 #bbg ,resons1 #aeb ,reynolds1 ,sir ,joshua1 #cac1 #cec ,rhenish enamels1 #he-f ,rhine1 ,irish missionaries on1 #fg ,rhodes1 #ab ,richard ,i1 ,k4 of ,england1 xliii1 #abh ,,ii #id1 #aaj1 #aad1 #aaf1 #ada ,,iii #aaf1 #bbb ,ring-brooch4 ,see ,brooch ,ring-money1 #dj1 #dc ,rings1 xliv1 xlv ,anglo-,saxon1 #fb1 #ga-c betrothal1 #bfa-b ancient ,british1 #dj ,byzantine1 #cg charm1 #aea-b with coins1 ,roman1 #cb with death's heads1 #cfd decade1 #aej devotional1 #adi1 #aej1 #aeb signets1 #aec made by ,st4 ,dunstan1 #fg ecclesiastical1 #adg-i ,egyptian1 #b1 #fg engagement1 #bfa-b1 #bif engraved designs for1 #bfc1 #bfd1 #bhd1 #bie1 #bif episcopal1 xlv1 #adh1 #adi ,etruscan1 #be1 #bf fede1 #aeb1 #bfa fyancel1 #aeb giardinetti1 #bie gimmel1 #aeb1 #bfa ,greek1 #ah with hair1 #cca worn on hats1 #bfa iconographic1 #adi1 #aej of investiture1 #adh ,italian1 #ae cent41 #agj jet1 #dg ,jewish1 #bfb key-rings1 ,byzantine1 #cg ,roman1 #ca marquise1 #cba medl41 #adg-eg with antique gems1 #if1 #aja1 #ajc1 #adh-i1 #aec-d with false stones1 #cef forged1 #cfj memento mori1 #cfe-gj memorial1 #cfd-gj mourning1 #bif1 #cba1 #cfg ,merovingian1 #fb1 #gc ,mycenan1 #aa worn on necklaces1 #aeb1 #bfa nielloed1 ,anglo-,saxon1 #ga-c ,italian1 #ae cent41 #agc ornamental1 xlv medl41 #aed-e ,renaiss41 #beh1 #bei #ag cent41 #bie1 #bif papal1 #adh ,phoenician1 #aj in pictures1 #aee-g1 #bfa1 #bfc1 #bie poison1 #cb polypsephi1 ,roman1 #cb posy1 #aeb1 #bfb1 #bie1 #bif1 #cba1 #cfg with relics1 #aeb religious1 #adi-ej ,renaiss41 #beh-fd arranged along a roll of parchment1 #aee1 #aef1 #agj1 #bfc ,roman1 #ca ,romano-,british1 #dg ,samothracian1 #cb in ancient sculpture1 #ah signets1 xlv1 #bih of ,childeric ,i1 #ec1 #fc ,egyptian1 #f ,greek1 #ah medl41 #aec-aed ,roman1 #ca #ag cent41 #bih talismanic1 #aaa ,teutonic1 trois grains1 #gc wedding1 xlv medl41 #aeb converted into memorial1 #cfg ,jewish1 #bfb ,renaiss41 #bfb #ag cent41 #bif #ah cent41 #cba #ag cent41 #bie-f #ah cent41 #cji1 #cab1 #cbj1 #cba ,rivard1 ,c41 #bhb1 #bia ,rivers1 ornaments found in1 #ajg ,roach ,smith nouche1 #fi ,robin1 #cca ,robinson1 ,f4 ,s41 #cci ,rococo1 #cjg1 #cjh1 #caa1 #cbd1 #ccb ,rogart1 #gg ,roman de la ,rose1 #aac1 #afd ,roman jewellery1 #bg-cb ,romano-,british jewellery1 #dd-dh ,romantic jewellery1 #cca style1 #ccb ,romanus1 ,emperor1 #cd ,rome1 ,barberini ,palace1 #age ,baths of ,petus1 #ahb ,castle of ,st4 ,angelo1 #ccd ,national ,gallery1 #bbe ,vatican1 #bb ,appartamento ,borgia1 #bfg ,gallery of ,constantine1 #bbf ,library1 #age ,loggie1 #ahb ,romerswael1 ,marinus van1 #aef ,romney1 ,earl of1 #bgc ,rosenheim1 ,max1 #aic n41 #bid ,rssel1 das goldene1 #hh ,rosso1 ,il1 #bja ,rosaries1 #abd-e1 #aef as bracelets1 #aeg ,rosary beads in form of skulls1 #cfd ,rosette1 jewelled1 on breast1 #ag cent41 #bid ,rothschild1 ,baron ,f41 #cjc ,baron ,k41 #aig ,rotterdam ,gallery1 #bcb ,rouen1 #abh peasant jewellery1 #cdc ,roy1 #bcg ,rubens1 ,p4 ,p41 #bhg ,rubies1 #adh1 #bfj of ,charles the ,bold4 ,see ,three ,brothers ,rudolf ,,ii1 ,emperor1 #ajj1 #ahh1 #ahi ,rudolphine ,period1 #ahh ,runic characters on ,hunterston brooch1 #gi ,russia1 ,byzantine jewellery in1 #ch ,greek jewellery in1 #ad-af ,sabines1 #bj ,sabra1 princess1 #bbd ,sacr ,coeur1 #cde ,safety-pins1 xli-xliii1 #da ,saint1 ,t4 ,d41 #cab ,st4 ,angelo in ,vado1 #ccc ,st4 ,denis ,cathedral1 #acg treasury1 #ajc ,saint ,esprit1 #cdc ,st4 ,germain1 ,muse des ,antiquits ,nationales1 #df ,st4 ,helen's ,church1 ,bishopsgate4 ,see ,london ,st4 ,hilary1 jewel of1 #ajc ,st4 ,paul's ,cathedral4 ,see ,london ,st4 ,petersburg1 ,hermitage ,museum1 #i1 #ae1 #af ,saitapharnes1 tiara of1 #cfj ,salting1 ,george1 #aai1 #agf1 #bbd1 #bdh1 #bfc ,santini family1 drawings by1 #cjh1 #cag1 #cah1 #cdd ,sapphires1 #ed1 #aea ,saragossa1 treasury of the ,virgen del ,pilar1 #add1 #bjc1 #bdi ,sarawak1 ,ranee of1 #cci ,sardinia1 #h1 #i1 #ba ,sardonyx1 #ca ,sarre1 #ei brooch1 #fj ,sarum1 #ach ,saur1 ,c41 #bhd ,savoy1 peasant jewellery1 #cdb ,saxons #ej1 #ef ,scandinavians1 #ej ,scarabs1 #b1 #e1 #f1 #aj1 #be ,scent-cases1 #abe-f1 #bge ,schaffhausen onyx1 #ajc1 #ajd1 #acf ,schaper1 ,hugo1 #bch ,schliemann1 ,h41 #aa1 #dj ,schneider1 ,f41 #acg ,schnbrunn1 #bid ,schpfer1 ,h4 #bej ,schotenornamentik1 #bha ,schwarzornamente1 #bhc1 #bhi ,scissors suspended to girdle1 #bgb ,scorpion1 jewelled1 #agb ,scotland1 introduction of ,christianity into1 #ge ,celtic brooches1 #ge-i medl4 brooches1 #aca-d ,scott1 ,sir ,walter1 #cja1 #cca ,scythian tribes1 #ad ,seal stone1 ,egyptian1 #f ,seals1 medl41 #aci pendent1 #ag cent41 #bih #ah cent41 #cji1 #cab1 #cbb-d #ai #ccb ,seffrid1 ,bishop of ,chichester1 #adi ,seghers1 ,d41 #bhg ,seneca1 #bi ,serpent bracelet1 ,roman1 #cj ring1 ,greek1 #ah ,set-,hathor1 #e ,svigns1 #bid1 #bih1 #cah ,shagreen jewel-cases1 #cfb ,shale1 ,kimmeridge1 #dg ,shakespeare1 ,w41 #aea1 #baf1 #bbi1 #bcg portrait of1 #bce ,shank 7of ring71 xlv ,sheffield plate1 #cae steelwork1 #cae ,sherborne ,castle1 #bfg ,ships1 pendants in form of1 #bdi1 #beb1 #bec1 #cdg ,shoe-buckles1 #bii1 #cba1 #cbb -strings1 #cbb ,shoes1 rosettes on1 #bii ,shore1 ,jane1 #aae ,shrines1 jewels on1 #ia1 #ajh ,sicily1 #bg ,arabs in1 #hd peasant jewellery1 #cdg ,roman plunder of1 #bg ,siena ,cathedral1 #age school of painting1 #afg ,signacula1 #aji1 #aaa ,signs of pilgrimage1 #ajg ,silhouette1 ,etienne de1 #cad designs1 #bhc1 #bhd1 #bhi1 #cjd portraits1 #cad ,silhouettes in mourning jewellery1 #cfi ,silver jewellery worn by virgins1 #cdb ,similor1 #caf1 #cei ,simon1 ,james1 #afc ,simpson1 ,e41 #cci ,t41 #cjd ,sippenaltar1 #ade n4 ,sirens1 pendants in form of1 #bej ,skeletons1 #cfc-g ,skulls1 #cfd-f ,slashes in garments1 #bei1 #bfe1 #bfh-i ,slides1 #cdb1 #cdc memorial1 ,english #ag-ah cent41 #cfh ,sloane1 ,sir ,hans1 #gb1 #baa1 #bee ,slott-,mller1 ,h41 #cci ,smith1 ,c4 ,roach1 #fb1 #fi ,j41 #caj ,r4 ,soden1 #bfd ,sodoma 7,bazzi71 #bcc ,solder1 ,egyptian1 #c ,etruscan1 #bj1 #ba ,greek1 #ac ,phoenician1 #h prehistoric1 #ci ,solis1 ,virgil1 #aic1 #aid ,somerset1 ,alfred in1 #fh ,anne1 ,duchess of1 #bcc1 #bgc ,edward ,seymour1 ,duke of1 #bcc1 #bgc ,robert ,carr1 ,earl of1 #bce ,southampton1 ,henry ,wriothesley1 ,earl of1 #bce ,south ,kensington ,museum4 ,see ,london1 ,victoria and ,albert ,museum ,spain1 ,arabs in1 #hd ,phoenician sculpture in1 #i peasant jewellery1 #cdg #af cent4 jewellery1 #bjb-bje #ag cent4 jewellery1 #bid ,spangle money1 #ei ,spenser1 ,e41 #bag ,sphinxes1 #e1 #af ,spilman1 ,sir ,j41 #cja ,spinther1 #cj ,spiral ornament1 #aa ,celtic1 #ci1 #ge ,spitzer collection1 #bdf ,,ss ,collar1 #aaf-ag ,stabler1 ,harold1 #cci ,stafford1 ,lady1 #aed ,stalagmia1 #bi ,steatite1 #e ,steel jewellery1 #cae1 #cai ,stephan1 ,master4 ,see ,lochner ,stephanus4 ,see ,delaune1 ,etienne ,stock-buckles1 #cbb ,stoffels1 ,hendrickje1 #bia ,stoffler1 ,w41 #cci ,stomacher1 #cah1 #cej ,stone ,age1 #dg ,stowe1 ,j41 #bjg ,stras or ,strass1 #cad1 #cae1 #ceg ,strawberry ,hill1 #beg1 #bhh ,strigel1 ,bernard1 #ahi1 #bch ,stuart1 ,arabella1 #bii ,henry1 ,earl of ,lennox4 ,see ,lennox ,stubbes1 ,philip1 #bae1 #bcd1 #bgb ,studded girdle1 #afa ,suffolk1 ,henry ,grey1 ,duke of1 #bed ,sulla1 #bh ,sumptuary laws1 #bg1 #ic1 #id1 #afa ,sustermans1 ,j41 #bid ,svinthila1 #ej1 #ed ,swans on ,byzantine jewellery1 #cg ,sweden1 peasant jewellery1 #cde ,switzerland1 use of marcasite in #ah cent41 #cae peasant jewellery1 #cdf ,symonds1 ,j4 ,a4 7quoted71 #afh1 #ahe ,symony1 ,p41 #bhb1 #bhd ,tableau or tabulet1 #abj ,tablets1 votive1 pendent1 #aai ,tag of girdle1 xlvi1 #afj ,tags 7aglets71 #bfi ,talaura1 #bi ,talbot1 #bdi ,earl of ,shrewsbury1 badge of1 #aaj ,talismans1 #cj1 #ii1 #aja1 #aji1 #aaa1 #aba1 #abi1 #acb1 #adg1 #aea ,talismanic inscriptions on ,scottish brooches1 #aaa1 #aca ,tallien1 ,madame1 #cbf ,taman1 #ad ,taplow buckle1 #fc ,tara brooch1 #ff1 #gh1 #gi ,tassels1 ,greek1 #ah of medl4 clasps1 #adj ,phoenician1 #i ,tassie1 ,j41 #cae1 #ccj ,tauric ,chersonese1 #ad ,tavernier1 ,j4 ,b41 #bgh ,terrey1 ,william1 #cjd ,tet1 #b ,teutonic jewellery1 #ea1 #ec nations1 #ef1 #eg ,tharros1 #i1 #aj ,theban dynasties1 #c ,theodamas1 #ajj ,theodora1 ,empress1 #cc ,theophano1 #cd ,theophilus1 #he1 #cef ,thirty ,years' ,war1 #ahi1 #bch1 #bgf ,thomas ,becket1 ,st41 #ia1 #if1 #aji1 #adj ,three ,brothers1 jewel called1 #bji1 #cjj ,three ,kings of the ,east4 ,see ,kings ,tiara of ,saitapharnes1 #cfj ,tiffany1 ,messrs41 #cci ,tinctura1 #bgh1 #cea ,titian1 #bfd ,titulus1 #acb ,toadstones1 #ajj1 #abc1 #aea ,toes1 jewels on1 #ai cent41 #cbf ,tongue of buckle1 xlvi ,toothpicks1 #bej-a ,tor ,abbey1 ,devonshire1 #cfe ,tornabuoni1 ,giovanna1 #afi ,torque1 from ,petrossa1 #eb ,torques bracchialis1 #cj ,torques1 #bcf ancient ,british1 #dj ,irish1 #db1 #dc ,touching-pieces1 #abc ,tournai1 #eb ,tours de tte1 #cbh ,tousches1 #abc ,toussaint1 ,augustus1 #cac ,toutin1 ,h41 #bhe1 #bie ,j41 #bhe1 #bic1 #bie ,j41 in his workshop1 #bhi ,tovaloccio ,piero1 ,giovanni and ,romolo del1 #ahe ,tower of ,london4 ,see ,london ,townley brooch1 #gj ,toys1 ,toyman1 #caf ,tradescant1 ,john1 the younger1 wife of1 #bih ,translucent enamel on relief4 ,see ,enamel1 basse-taille ,transylvania1 #eh ,traquair1 ,mrs41 #cci ,treasure hoards1 #ea ,trove1 #dd ,treasuries1 jewellery preserved in1 #hc ,trender1 ,peter1 #bbj ,tressoures1 #ic1 #aje ,triplet1 #ceg ,triptychs1 pendent1 #aai-bj ,triquetra1 #gh ,triton1 pendant in form of1 #bdc1 #bdi ,troad1 #i ,trumpet pattern1 ,celtic1 #dc on ,tara brooch1 #gh1 #gi ,tucher1 ,baron1 collection of1 #bbe ,tulipomania1 #bhf ,tulips painted on enamel1 #bhf ,turkey stone1 #aea ,turquoise1 #c1 #fg1 #aea ,turner 7potter71 #cae ,tuscany1 schools of painting1 #afg ,twiselton1 ,john1 #bjh ,tymborychoi1 #ac ,tyrol1 peasant jewellery1 #cdf ,tyszkiewicz1 ,count1 #ag1 #cfj ,tytler1 ,p4 ,fraser1 #beg ,ucker-,mark 7,n4 ,germany71 #bfg ,ugadale brooch1 #acc ,uffila brooch1 #fb ,uffizi ,gallery4 ,see ,florence ,umbria1 peasant jewellery1 #cdf ,unger1 ,elsa1 #cci ,unicorn1 ,master of the1 #bjj ,unicorn's horn1 #abc ,unicorns on medl4 jewels1 #ade on ,renaiss4 jewels1 #bdc ,uniones1 #bh ,university brooch1 #gh ,urus1 #b ,urban ,,vi1 ,pope1 #abb ,usekh collar1 #e ,usertsen ,,iii1 #e ,utrecht1 ,john of1 #bjh ,uza or utchat1 #b ,van den ,hecke1 ,j41 #bhg ,van der ,cruycen1 ,l41 #cab1 #cag ,doort1 ,abraham1 #bai ,goes1 ,h41 #aad1 #aag1 #add ,gow1 ,j41 #bac n4 ,van de ,velde1 ,h4 ,c41 #cch ,van ,dyck1 ,a41 #ced ,van ,somer1 ,p41 #ceb ,van ,strydonck1 ,l41 #cci ,van ,thielen1 ,j4 ,p41 #bhg ,vasari1 ,g41 #afh1 #bbg ,vatican4 ,see ,rome ,vauquer1 ,j41 #bhg-i1 #bic ,vautier1 #big ,velasquez1 #bid ,venetian pendants1 ,renaiss41 #bdf ,venetians1 sack of ,constantinople by1 #ch ,veneto 7,veneziano71 ,bartolommeo1 #bbe ,venice1 ,byzantine jewellery in1 #hc-hd ,library of ,st4 ,mark's1 #age in ,middle ,ages1 #hi port of1 #ae-af cent41 #afg school of painting1 #afg ,vermiculated patterns in gold1 ,anglo-,saxon1 #fc ,vernicles1 #acj ,veronese1 ,paolo1 #agb ,veronica1 #acj n4 ,verre glomis1 #bjc-d ,verrocchio1 ,andrea del1 #afh1 #agd #baj ,versailles1 ,picture ,gallery1 #cbi ,verus1 ,lucius1 #bib ,vespasian1 #bh ,vespucci1 ,simonetta1 #afh ,vesuvius1 #caa ,vever1 #cch ,victoria1 ,q4 of ,england1 #beg ,vienna1 ,imperial ,art ,collections1 #cj1 #ade1 #ahe1 #bdg ,imperial ,art ,collections1 ,antiken-,kabinet1 #bbh ,picture ,gallery1 #aee1 #bab ,treasury1 #ahh jewellery in1 #ah cent41 #cjh reproductions made in1 #cfa ,vige-,lebrun1 ,madame1 #cbi ,vinci1 ,leonardo da1 #agb ,virgin1 ,the4 ,see ,mary1 the ,blessed ,virgin ,visigoths1 #ej1 #ed ,vos1 ,cornelis de1 #bif ,vovert1 ,j41 #bhe ,vulci1 #bc1 #bd ,vyner1 ,sir ,robert1 #cje ,waddesdon ,bequest4 ,see ,london1 ,british ,museum ,wagner1 ,anna1 #cci ,walpole1 ,horace1 #bad1 #beg1 #bhh ,walsingham ,priory1 #ia1 #ajh ,war of ,liberation1 ,german1 #ccj ,wars of the ,roses1 #ie ,warwick1 ,earls1 badge of1 #aaj ,wasps1 #caf ,watches1 #af cent41 #bgd #ag cent41 #bgd1 #bge1 #big-h #ah cent41 #cji1 #cbc-d egg-shaped1 #bge false1 #cbd in form of skulls1 #cfd ,watch-cases1 pinchbeck1 #caf #ah cent41 #cac -chains1 hair1 #cca -keys1 #ah cent41 #caj1 #cbb-c ,waterton1 ,edmund1 #ga1 #adi n41 #bfd collection4 ,see ,london1 ,victoria and ,albert ,museum ,way1 ,albert1 #beg ,wedgwood1 #cae1 #cai1 #cba1 #cbh1 #ccj ,weimar1 ,picture ,gallery1 #bfa ,wells ,cathedral1 sculpture on1 #abh ,werner1 ,j4 ,h41 #cch ,westminster1 #baa1 #bfh ,abbey1 #ib1 #ajb1 #aai1 #ada1 #bae ,whistles1 pendent1 #aij1 #aic1 #aih1 #bej1 #bea ,wight1 ,isle of1 #ef1 #eg1 #ei1 #fj ,wild jewel1 #bah1 #bed ,wilde1 ,w4 ,r41 #db n4 ,william ,i1 ,k4 of ,england1 #ia ,,iii #cjf ,duke of ,juliers1 #bej1 #bei ,st41 of ,york1 #ada of ,wykeham4 ,see ,wykeham ,williams1 ,john1 #bch1 #beg1 #cjb ,wilson1 ,h41 #cci ,wilton ,house1 #aaf ,winchester ,cathedral1 #ih1 #adh ,windsor ,castle1 #bai1 #bbd1 #bbe1 #bdi1 #beg1 #bib ,witham1 #gd ,wittislingen1 #fb ,woeiriot1 ,pierre1 #bja1 #bai1 #bcd1 #bdf1 #bfc1 #cff ,wolfers1 ,p41 #cci ,wolgemut1 ,m41 #ahi ,wolsey1 ,t41 ,cardinal1 #bjh ,wootton-under-,edge 7,gloucestershire71 #aaf ,worley1 ,nicolas1 #bjh ,wreaths1 ,byzantine1 #ce ,greek1 #af medl41 #aje ,wright1 ,t41 #aja ,wykeham1 ,william of1 ,bishop of ,winchester1 #if-h1 #adb1 #adi ,yecla1 #i ,york ,minster1 #ach shrine of the head of ,st4 ,william1 #ada ,zerrenden1 ,f41 #cci ,zona1 #ic ,zucchero1 ,f41 #bec1 #ceb1 #cec ,zundt1 ,mathias1 #aid ,,printed ,,by ,,william ,,brendon ,,and ,,son1 ,,ltd4 ,,plymouth