CHAPTER XXX. SEVENTEENTH-CENTURY JEWELLERY (GENERAL), 276

" XXXI. SEVENTEENTH-CENTURY JEWELLERY (_contd._), 290 ENGLAND, SEVENTEENTH CENTURY, 299

" XXXII. EIGHTEENTH-CENTURY JEWELLERY, 307

" XXXIII. NINETEENTH-CENTURY JEWELLERY --THE MODERN REVIVAL, 325

" XXXIV. PEASANT JEWELLERY, 341

" XXXV. JEWELLERY IN PICTURES, 348

" XXXVI. FRAUDS AND FORGERIES, 355

" XXXVII. MEMENTO MORI, 363

BIBLIOGRAPHY, 371

INDEX, 381

LIST OF ILLUSTRATIONS

B. M. = British Museum. V. and A. M. = Victoria and Albert Museum.

_A page-number appended to a description indicates place of reference in the text._

I. SIXTEENTH-CENTURY PENDENT JEWELS OF ENAMELLED GOLD _Frontispiece_ 1. Pendant in the form of a Triton. Italian. (Marquess of Clanricarde.) _p. 249._ 2. Pendant in form of a winged dragon. Spanish. _p. 249._ (Louvre.)

II. PHOENICIAN JEWELLERY _p. 8._ 1-8. From Cyprus and Sardinia. (B. M.) 1-4. Four gold earrings. _p. 9._ 1. Chrysalis form. 2-3. A pair: birds perched above a bushel of grain. 4. Long oval ring terminating with a cross. 5-6. Two necklaces with pendent heads in the Egyptian style, from Tharros in Sardinia. _p. 10._ 5. Beads of glass and gold. 6. Carnelian bugles. 7-8. Two seal pendants of silver, set with sard scarabs.

9. Ibero-Phoenician stone bust, known as the "Lady of Elché." _p. 9._ (Louvre.) (_Photo, Giraudon._)

III. EARLY GREEK JEWELLERY _p. 12._ 1. Three gold plates or discs from Mycenæ. _p. 11._ (National Museum, Athens.) 2-7. Gold ornaments of the Mycenæan period. _p. 12._ (B. M.) 2. Pendant from Ægina: figure in Egyptian costume grasping geese. 3. Plaque from Kameiros: winged goddess, with two lions in the round, and owls at the top. 4. Diadem of spiral ornament, from Enkomi (Salamis), Cyprus. 5-6. Pair of leech-shaped earrings, from Enkomi. 7. Pendent pomegranate of granulated gold, from Enkomi.

IV. GREEK JEWELLERY (EARRINGS, NECKLACE AND HAIR-PIN). (B. M.) _p. 16._ 1-3. Three earrings. _p. 15._ 1. Head of a goat with garnet eye. 2. Pendent Cupids and Victories (Kyme, in Æolis). 3. Eros with a jug (Crete). 4. Gold necklace with pendent tassels in form of pomegranates (Kyme). 5. Pair of gold earrings set with garnets and emeralds, connected by a plaited chain. (Tyszkiewicz Collection.) 6. Gold pin from Paphos, Cyprus. _p. 17._

V. GREEK JEWELLERY (CROWN, NECKLACES, BRACELET, RINGS). (B. M.) _p. 18._ 1. Gold crown from Magna Græcia, second century B.C. (Tyszkiewicz Collection.) _p. 17._ 2. Necklace with enamelled rosettes and filigree. (Blacas Collection.) 3. Enamelled gold necklace from Melos. _p. 17._ 4. Gold bracelet with bulls' heads. (Blacas Collection.) 5. Four rings. 1. Gold, demon with Sphynx and panther (early Ionic). 2. Silver, surmounted by gold fly (Cyprus). _p. 10._ 3. Gold, engraved with figures of Aphrodite and Eros. 4. Gold, with busts of Serapis and Isis (Græco-Roman).

VI. ETRUSCAN JEWELLERY (PINS, NECKLACES, EARRINGS). (B. M.) _p. 22._ 1. Hair pins and balls of granulated gold, from Etruria. 2. Primitive necklace of amber, gold, and electrum, from Præneste. _p. 24._ 3. Necklace hung with pendent vases and heads of Io. 4. Necklace with pendent head of a faun. _p. 24._ 5. Chain with pendent head of a negro. _p. 24._ 6. Necklace of plasma and gold beads, with basalt amulet pendant. _p. 25._ 7-8. Earrings. _p. 23._ 7. Saddle-shaped, with fine granulation. 8. Pendent cock in white enamel.

VII. ETRUSCAN JEWELLERY (BROOCHES, DIADEM, BRACELET, RINGS). (B. M.) _p. 24._ 1. Early fibula from Cervetri, surmounted with figures of lions. _p. 25._ 2. Gold diadem of ivy leaves and berries. _p. 23._ 3. Fibula from Tuscana, with meander pattern in fine granulation. 4. Early bracelet from Cervetri, with minute granular work. _p. 25._ 5-8. Four rings. 1. Bezel mounted with intaglio, gold border with tendril pattern (Chiusi). 2. Cartouche with figures of shepherd and dog (Chiusi). 3. Intaglio bezel supported by lions. _p. 25._ 4. Large oval bezel bordered with dolphins and waves (Bolsena). _p. 26._

VIII. ROMAN JEWELLERY _p. 30._ 1-6. (B. M.) 1. Gold necklace set with garnets, and a pendant in form of a butterfly. 2. Gold necklace, with a pendent aureus of Domitian. _p. 30._ 3. Gold hair-pin from Tarentum surmounted by a figure of Aphrodite. _p. 28._ 4-6. Three gold rings. _pp. 31-32._ 4. Serpent form. 5. Open-worked, set with a nicolo intaglio--a mask of a Satyr. 6. Eye-shaped, with open-work shoulders, set with a nicolo. 7-15. (V. and A. M.) 7-10. Earrings. _pp. 28-29._ 7. Porphyry drop. 8. Two pearls (_crotalia_) suspended from yoke. 9. Basket of fruit set with garnet, a carnelian bead, and an emerald pendant. 10. Large hook set with sapphire, an emerald below, and three pearl drops. 11. Gold bracelet in form of a serpent. _p. 30._ 12-15. Four rings. 12. Gold: tragic mask in high relief. 13. Gold: quintuple, set with two sapphires and three garnets. 14. Gold: raised open-work bezel set with a sapphire and a chrysoprase. 15. Gilt bronze: bust of Serapis in relief. _p. 32._

IX. BYZANTINE JEWELLERY, AND ENAMELLED JEWELLERY IN THE BYZANTINE STYLE _p. 36._ 1-7 and 9-11. (B. M.) 8. (V. and A. M.) 1-2. Pair of gold loop earrings: a cross patée between two peacocks confronted. About seventh century. _p. 35._ 3. Gold pectoral cross with a text from Galatians vi. 14. Eleventh century. _p. 36._ 4-5. Pair of gold and enamelled loop earrings. Twelfth century. _p. 35._ 6. Nielloed gold wedding ring: Christ and the Virgin blessing a bride and bridegroom. About tenth century. 7. Engraved gold signet ring. About fifth century. 8. Beresford-Hope cross: cloisonné enamel. About eighth century. _p. 36._ 9. The Castellani brooch: portrait in cloisonné enamel. North Italian, seventh century. _p. 70._ 10. Gold inscribed key ring. Fourth century. _p. 37._ 11. Townley brooch. Probably Rhenish work, with Byzantine cloisonné enamels. Tenth or eleventh century. _p. 70._

X. PREHISTORIC GOLD ORNAMENTS OF THE BRITISH ISLES (B. M.) _p. 40._ 1. Ring, found at Bormer, near Falmer, Sussex. 2. Plaited ring, found near Waterford, Ireland. 3. "Ring Money" of gold and silver, found at Rustington, Sussex. 4. Torque fastened by a ring, found at Boyton, Suffolk. 5. Disc, found at Castle Treasure, near Douglas, Co. Cork. 6. Dress fastener, found at Crif Keran Castle, Co. Armagh. 7. Bracelet, found at Bexley, Kent.

XI. ANGLO-SAXON AND ROMANO-BRITISH BROOCHES, ETC. (B. M.) _p. 60._ 1-5. Anglo-Saxon inlaid jewellery. 1. Gold brooch, from Sarre, Kent. _p. 61._ 2. Silver brooch, from Faversham, Kent. _p. 60._ 3. Gold pendant, from Faversham. _p. 58._ 4. Bronze brooch, from Wingham, Kent. _p. 60._ 5. Gold brooch, from Abingdon, Berks. _p. 61_, note. 6-7. Romano-British brooches. 6. Bronze brooch set with slices of Roman millefiori glass, from Pont-y-Saison, near Chepstow, Mon. _p. 46._ 7. Enamelled bronze brooch, found in London. (Hastings Collection.) _p. 46._

XII. ANGLO-SAXON AND FRANKISH JEWELLERY (FIFTH TO SEVENTH CENTURIES) _p. 62._ 1-6. (B. M.) 1. Gold necklace with garnets, from Desborough, Northants. _p. 74._ 2. Gold bracteate, from Ash, near Sandwich, Kent. _p. 59._ 3. Saucer-shaped brooch, bronze gilt, from East Shefford, Berks. _p. 61._ 4. Square-headed brooch, from Chessell Down, Isle of Wight. _p. 62._ 5. Cruciform brooch, bronze gilt, from Sleaford, Lincs. _p. 61._ 6. Inlaid and jewelled gold buckle, from Taplow, Bucks. _p. 63._ 7. "Radiated" brooch of silver, enriched with gold and inlay of garnets. The back inscribed with the name UFFILA. Seventh century. From Wittislingen on the Danube. 6½ inches long. _p. 62._ (Bavarian National Museum, Munich.)

XIII. LATE ANGLO-SAXON JEWELLERY (SEVENTH TO NINTH CENTURIES) _p. 68._ 1-2. The Alfred Jewel. _pp. 68-69._ (Ashmolean Museum, Oxford.) 3. St. Cuthbert's cross. _p. 68._ (Durham Cathedral.) 4. Dowgate Hill brooch: cloisonné enamel and pearls. _p. 69._ (B. M.) 5. Ethelwulf's ring. _p. 72._ (B. M.) 6. Nielloed gold ring with two bezels, found in the Nene, near Peterborough. _p. 72._ (B. M.) 7. Ethelswith's ring. _p. 72._ (B. M.) 8. Gold ring, found in Garrick Street, London. (B. M.) 9. Alhstan's ring. _p. 71._ (V. and A. M.) 10. Nielloed gold ring. _p. 73._ (Lord Fitzhardinge.) 11. Silver ring found in the Thames at Chelsea. _p. 73._ (V. and A. M.)

XIV. THE TARA BROOCH. _p. 78._ (Collection of the Royal Irish Academy, National Museum, Dublin.)

XV. THE JEWELS OF WILLIAM OF WYKEHAM. NEW COLLEGE, OXFORD. _p. 96._ 1. Monogram of the Virgin: gold, enamelled, and set with rubies, emeralds and pearls. 2. Silver-gilt decorations of the mitre: comprising two quatrefoils set with turquoises, two rosettes set with pastes, and hinged bands of brasse-taille enamel set with pearls and crystals. English, late fourteenth century. _pp. 96-98._

XVI. ANTIQUE CAMEOS IN MEDIÆVAL SETTINGS. _p. 102._ 1. The Jewel of St. Hilary. _p. 103._ (Bibliothèque Nationale, Paris.) 2. The Schaffhausen onyx. _p. 104._ 3. The cameo of Charles V of France. _p. 103._ (Bibliothèque Nationale, Paris.) (_Photo, Giraudon._)

XVII. MEDIÆVAL HEAD-ORNAMENTS. _p. 110._ 1-4. Pilgrims' signs of lead. _p. 110._ (B. M.) 1. Head of St. Thomas with swords, within a cusped border. 2. Ampulla for blood of St. Thomas. 3. St. George within a border. 4. Head of St. John the Baptist. 5-8. Retainers' badges of lead. _p. 110._ (B. M.) 5. Hart lodged (Richard II). 6. Crowned ostrich feather (Duke of Norfolk). 7. Rose and fetterlock (Edward IV). 8. Collared hound (Talbot, Earl of Shrewsbury). 9. Silver-gilt crown or circlet, set with pearls and coloured pastes. French, fourteenth century. _p. 106._ (Musée du Cinquantenaire, Brussels.) 10-12. Three fifteenth-century gold enseignes. 10. Antique onyx cameo, outer frame set with rubies. Spanish. _p. 111._ (V. and A. M.) 11. "Pelican in her Piety," set with a ruby and diamond. Flemish (found in the Meuse). _p. 111._ (B. M.) 12. Figure of a dromedary in white enamel in frame set with pearls. Flemish. _p. 146._ (Museo Nazionale, Florence.) (_Photo, Alinari._)

XVIII. MEDIÆVAL PENDANTS (RELIQUARIES, ETC.) _p. 120._ 1. Silver reliquary set with crystal. German, fifteenth century. _p. 121._ (Bavarian National Museum, Munich.) 2. Silver-gilt reliquary, from the treasury of Enger, near Herford, in Westphalia. Fifteenth century. (Kunstgewerbe Museum, Berlin.) 3. Silver-gilt pomander opening into four sections. German, about 1480. _p. 126._ (Bavarian National Museum, Munich.) 4. Gold Reliquary of Charlemagne, containing a fragment of the True Cross. German, ninth (?) century _p. 118._ 5. "Reliquary of St. Louis," gold, enriched with translucent enamels, containing a thorn from the Crown of Thorns. French, fourteenth century. _p. 119._ (B. M.) 6. Gold bracelet. German, twelfth century. _p. 157._ (Bavarian National Museum, Munich.)

XIX. MEDIÆVAL PENDANTS _p. 124._ 1. Silver-gilt pendant containing figures of saints and angels, surmounted by the Virgin and Child. German, fifteenth century. _p. 120._ (Bavarian National Museum, Munich). 2-3, 5-8, and 10. German fifteenth and sixteenth centuries. (V. and A. M.) 2. Coronation of the Virgin, silver gilt. 3. _Agnus Dei_, silver gilt. Inscribed: IECUC (JESUS) MARIA JOHANNES ANNUS (AGNUS). On the back: JESUS MAIRA (MARIA) JOHANNES MARIA HILF. _p. 122._ 4. Nielloed pendant, silver gilt: with the Annunciation on one side, and the sacred monogram on the other. Italian, fifteenth century. _p. 173._ (V. and A. M.) 5. St. Sebastian, silver gilt. 6. The Crucifixion, silver gilt. 7. Figures of four saints, silver gilt. 8. Gold cross, set with rubies and pearls. Fifteenth century. 9. The Devil of Temptation, silver gilt. Flemish or German, fifteenth century. _p. 120._ (Mrs. Percy Macquoid.) 10. Rosary of boxwood, with emblems of the Passion in silver. _p. 124._

XX. MEDIÆVAL BROOCHES (RING-BROOCHES, ETC.) _p. 130._ 1-6. GOLD RING-BROOCHES (_fermails_). 1. Set with pearls and precious stones, and with four bosses of animals. Fourteenth century. _p. 129._ (B. M.) 2. Enamelled blue and white, and inscribed with a text from St. Luke iv. 30. French, fourteenth century. _p. 130._ (Museo Nazionale, Florence.) (_Photo, Alinari._) 3. Set with rubies and sapphires, the back nielloed. French, thirteenth century. _p. 130._ (V. and A. M.) 4. Heart-shaped, inscribed. French, fifteenth century. _p. 139._ (V. and A. M.) 5. Circular: inscribed, and set with two rubies and four small emeralds. English (from Enniscorthy Abbey), fourteenth century. (B. M.) 6. Set with rubies and emeralds. French, thirteenth century. _p. 130._ (Museo Nazionale, Florence.) (_Photo, Alinari._) 7. Silver-gilt brooch in form of St. Christopher. English (from Kingston-on-Thames), fifteenth century. _p. 142._ (B. M.) 8-12. FLEMISH-BURGUNDIAN GOLD BROOCHES (_nouches_). Fifteenth century. 8. Two standing figures, enamelled, and set with a ruby, diamond, and pearls. _p. 146._ (Imperial Art Collections, Vienna.) 9. Seated female figure with golden rays behind: enamelled and set with pearls. _p. 144._ (Essen Treasury.) 10-12. Brooches found in the Meuse. _p. 143._ (B. M.) 10. Enamelled and set with a ruby and diamond. 11. A female figure, set with a sapphire, diamond, and three rubies. 12. Set with a ruby amidst foliage, with traces of enamel.

XXI. MEDIÆVAL SCOTTISH BROOCHES. THE GLENLYON AND LOCH BUY BROOCHES. (B. M.) _p. 132._ 1. The Glenlyon brooch. Silver gilt, set with amethysts, pearls, and rock crystal: the back inscribed. Fifteenth century. _p. 132._ 2. The Loch Buy brooch. Silver, set with rock crystal and pearls. About 1500. _p. 133._

XXII. MEDIÆVAL BROOCHES (PECTORALS AND MORSE) _p. 136._ 1. The "Eagle Fibula"; gold and cloisonné enamel. Early twelfth century. _p. 135._ (Mainz Museum.) 2. Gold brooch in form of an eagle, set with emeralds, lapis-lazuli, a sapphire, and a ruby. Thirteenth century. _p. 136._ (Baron von Heyl.) From an etching in _Kunstgewerbe-Blatt_, III. (By permission of the artist, Prof. P. Halm, of Munich.) 3. Silver-gilt morse, made in 1484 for Albert von Letelin, Canon of Minden, by the goldsmith Reinecke van Dressche of Minden. _p. 139._ (Kunstgewerbe Museum, Berlin.)

XXIII. MEDIÆVAL AND LATER RINGS _p. 148._ 1-2. Episcopal rings of William of Wykeham. Fourteenth century. (New College, Oxford.) 1. Gold set with a ruby. _p. 149._ 2. Silver gilt, with representation of the crucifixion, set with a crystal. 3. Gold, episcopal, set with a sapphire. English, fourteenth century. (V. and A. M.) 4-5. The Coventry ring (two views). Gold, engraved with the five wounds of Christ and their names. English, about 1457. _p. 150._ (B. M.) 6. The Godstow Priory ring: a gold love-ring, with legends and forget-me-nots. English, fifteenth century. _p. 150._ 7. Gold, episcopal, projecting bezel set with a sapphire. French, fourteenth century. (V. and A. M.) 8. Gold, episcopal, of complex design, set with a sapphire. Italian, fifteenth century. (V. and A. M.) 9. Silver, set with a toadstone. German, sixteenth century. _p. 151._ (V. and A. M.) 10. "Papal" ring. Gilt metal with cardinal's hat and crossed keys. On shoulders Virgin and Child and Saint. Inscription on hoop: EPISC. LUGDUN--Cardinal de Bourbon (?), Archbishop of Lyons, 1466-1488. Italian, fifteenth century. _p. 148._ (V. and A. M.) 11. Antique gem in red jasper, set in gold Italian mount of the fourteenth century, inscribed: S. FR. DE COLUMPNA. _p. 154._ (V. and A. M.) 12. Gold, set with a wolf's tooth, and inscribed with the charm motto: +BURO+BERTO+BERNETO+CONSUMMATUM EST. English, fourteenth century. _p. 152._ (V. and A. M.) 13. Gold ornamental ring, chased, enamelled, and set with emeralds. Italian, sixteenth century. (B. M.) 14. Gold signet ring with the arms of Mortimer. English, seventeenth century. (V. and A. M.) 15. Silver-gilt wedding ring, set with two teeth. North German, seventeenth century. _p. 262._ (V. and A. M.) 16. Fede ring, nielloed silver. Italian, fifteenth century. _p. 173_ (V. and A. M.) 17. Ornamental ring of silver gilt, set with a foiled crystal. German, sixteenth century. _p. 356._ (V. and A. M.) 18. The Percy signet. Gold. Inscribed: "NOW YS THUS." From Towton Field, W. R., Yorks. English, fifteenth century. _p. 153._ (B. M.) 19. Ornamental ring of silver gilt, with stag and foliage in open-work. German, late fifteenth century. (V. and A. M.) 20. Gimmel rings, enamelled gold. German, sixteenth century. _p. 261._ (B. M.)

XXIV. PICTURE, KNOWN AS THE "LEGEND OF ST. ELOY AND ST. GODEBERTA," REPRESENTING THE INTERIOR OF A GOLDSMITH'S SHOP IN THE FIFTEENTH CENTURY. By PETRUS CHRISTUS, OF BRUGES. _p. 155._ (Baron A. Oppenheim, of Cologne) _p. 156._

XXV. FIFTEENTH-CENTURY PENDANTS, ETC. (ITALIAN AND FLEMISH) _p. 170._ 1. The "Felicini" jewel, by Francia. Reproduced from a picture in the Bologna Gallery. _p. 170._ 2. Enamelled gold pendant, figured with the Annunciation. Italian, fifteenth century. _p. 173._ (Mr. J. Pierpont Morgan.) 3. Pendent jewel of Charles the Bold, Duke of Burgundy, set with three rubies ("the Brethren"), a diamond, and four pearls. _p. 209._ 4. Two silver-gilt girdle-plates, with figures of Samson and St. Michael. Flemish, fifteenth century. _p. 163._ (Herr James Simon, of Berlin.)

XXVI. DESIGNS FOR JEWELLERY BY DÜRER AND HOLBEIN. (B. M.) _p. 190._ 1. Drawings for two ring-shaped pendent whistles by Dürer. _p. 190._ 2-3. Etchings for (2) a buckle and buckle-plate and (3) a girdle-end, by Hollar, from lost originals by Dürer. _p. 191._ 4-9. Drawings by Holbein. _p. 212._ 4. Jewelled pendant: a monogram of the letters R and E. 5. A pendant of open goldwork with ribbon ornament; a diamond in the centre, surrounded by six pearls, and a pearl below. 6. Pendant formed in a monogram of the letters H and I. 7-8. Two pendants each formed of two stones, one above the other, set in goldwork, with three pearls below. 9. Pendant: a bust of a woman holding before her a large stone, on which are the words _Well Laydi Well_.

XXVII. DESIGNS FOR JEWELLERY by SOLIS, WOEIRIOT, HORNIC, AND BROSAMER _p. 194._ 1-2. Engravings for pendants by Virgil Solis. _p. 194._ (B. M.) 3. Engraving for a pendant by Pierre Woeiriot, dated 1555. _p. 201_ (B. M.) 4-6. Engravings for pendants by Erasmus Hornick: Neptune and Amphitrite, and St. George and the Dragon. _p. 194._ (B. M.) 7. Drawing for pendent whistle by Han Brosamer, fitted with toothpick, etc. _pp. 193, 250._ (Mr. Max Rosenheim.)

XXVIII. RENAISSANCE JEWELLERY OF ENAMELLED GOLD. (His Majesty the King) _p. 218._ 1. Painted enamel back of a "lesser George" of the Garter, belonging to Charles II. English, seventeenth century. _p. 292._ 2. Enamelled gold enseigne, with figures of St. George and the Dragon. Venetian, sixteenth century. _p. 224._ 3. Enamelled gold pendant, with figures of Apollo and Daphne: inscribed: DAPHNEM PHEBVS AMAT, etc. Italian, sixteenth century. 4. The Lennox or Darnley Jewel. Scottish, sixteenth century. _pp. 217 and 257._ 5. Miniature case of enamelled gold, open-worked and set with diamonds and rubies. English, late sixteenth or early seventeenth century. It contains a lock of hair of Charles I taken from his coffin. _p. 257._

From the _Connoisseur_ (1903). By permission of Mr. J. T. Herbert Baily.

XXIX. RENAISSANCE ENSEIGNES OF ENAMELLED GOLD _p. 226._ 1. Head of John the Baptist on a charger. Italian, sixteenth century. _p. 226._ (V. and A. M.) 2. Bust of Helen. Italian, sixteenth century. (Poldi-Pezzoli Museum, Milan.) 3. Battle scene. Italian, sixteenth century. _p. 225._ (Bibliothèque Nationale, Paris.) 4. Head of a negro in agate. German, sixteenth century. _p. 228._ (Bibliothèque Nationale, Paris.) 5. Leda and the Swan. By Cellini. _p. 228._ (Antiken Kabinet, Vienna.) 6. Cameo bust of Nero on sardonyx, in enamelled mount set with diamonds and rubies. French, sixteenth century. (Bibliothèque Nationale, Paris.) (Photo, Giraudon.) 7. Cameo of Diana on sardonyx in enamelled setting. French, sixteenth century. (B. M.) 8. Onyx cameo, winged female head in enamelled setting. French, sixteenth century. (B. M.)

XXX. HAT-ORNAMENTS (AIGRETTES, ETC.). LATE SIXTEENTH AND EARLY SEVENTEENTH CENTURIES _p. 230._ 1. Two coloured drawings for jewelled aigrettes. By Arnold Lulls, jeweller to James I. _pp. 231 and 302-3._ (V. and A. M.) 2. Gold enseigne of Sir Francis Drake: enamelled and set with diamonds, rubies, and opals. _p. 230._ See also Plate XXXIV, 3. (Sir F. Fuller-Eliott-Drake.) 3. Socket for an aigrette, enamelled gold set with rubies: initials D. M.--Dorothea Maria, wife of Otto Henry, Count Palatine of Neuburg. _pp. 230-1._ (Bavarian National Museum, Munich.) 4. Enamelled gold aigrette set with emeralds, pearls, etc. S. German, early seventeenth century. (Formerly the property of Sir T. D. Gibson Carmichael.)

XXXI. GERMAN AND FRENCH RENAISSANCE PENDENTS _p. 244._ 1. Necklace and pendant of enamelled gold set with diamonds, rubies, and pearls. German, late sixteenth century. (Lady Rothschild.) 2. Pendant of enamelled gold. In the centre a table-cut emerald with a triangular emerald above. French, sixteenth century. (Bibliothèque Nationale, Paris.) 3. Gold pendant: on the front two raised shields of arms; on the back the initials D. A. German, about 1530. _p. 248._ (V. and A. M.) 4. Cameo bust of a woman, the head carnelian, with amethyst drapery, jewelled gold crown; gold background and black enamelled frame. German, sixteenth century. (His Majesty the King.) 5. Pendant in the shape of a Sphynx. The body formed of a large baroque pearl. Head, breast, and arms are flesh-coloured enamel; the claw opaque white with gold scales; the tail green, set with diamonds. On the breast is a ruby. The base mounted with a row of diamonds on white enamel, the creatures at each end being green. The chains, of white enamel set with diamonds, hang from a ruby, from which is suspended a heart-shaped pearl. German, late sixteenth century. (Lady Rothschild.) 6. Portrait cameo in agate. Gold mount enamelled black and white and set with four rubies and two diamonds, with a pendent pearl. The portrait (unidentified) is represented on a contemporary medal by a north Italian artist. The mount, French, sixteenth century. (Bibliothèque Nationale Paris.) 7. Gold pomander case: enriched with brilliant blue, red, and translucent green enamel, and opaque white. Set with rubies and pendent pearls, German, late sixteenth century. (Lady Rothschild.)

XXXII. THREE PENDENT JEWELS _p. 246._ Gold, enriched with polychrome enamels, set with precious stones and hung with pearls. German, about 1600. (Lady Rothschild.)

XXXIII. PENDENT JEWELS BY HANS COLLAERT, ETC. _p. 248._ 1. Enamelled gold pendant: in centre a figure of Charity with three children, on each side a pilaster set with diamonds and rubies alternately, with a cupid above, and beyond each pilaster a figure of Faith on one side and Fortitude on the other. German, sixteenth century. (B. M., Waddesdon Bequest.) 2. Design for a pendant by Hans Collaert (1581). _p. 196._ (Mr. Max Rosenheim.) 3. Pendant in the style of Collaert: enamelled gold, in the form of a ship, with figures of Antony and Cleopatra. _pp. 197, 247._ (Mr. Charles Wertheimer.)

XXXIV. RENAISSANCE PENDANTS, ETC., OF GOLD, ENAMELLED AND JEWELLED. SPANISH (1-2) AND ENGLISH (3-6). _p. 254._ 1-2. SPANISH PENDANTS, LATE SIXTEENTH CENTURY. From the Treasury of the Virgen del Pilar, Saragossa. 1. Jewel in form of a parrot: translucent green enamel, the breast set with a hyacinth. _p. 249._ 2. Jewel of enamelled gold: a dog standing on a scroll, set with diamonds, rubies, and an emerald. (V. and A. M.) 3-4. THE DRAKE JEWELS: presented to Sir Francis Drake by Queen Elizabeth. 3. Enseigne of enamelled gold set with diamonds, rubies, and opals; the centre ruby engraved with the Queen's orb and cross. _p. 230._ 4. Enamelled gold pendant, containing a miniature of Elizabeth by Hilliard. _p. 253._ (Sir F. Fuller-Eliott-Drake.) 5-6. THE ARMADA JEWEL. Believed to have been presented by Queen Elizabeth to Sir Francis Walsingham. Possibly the work of Nicholas Hilliard. 5. Front: Gold bust of the Queen. 6. Back: Ark resting peacefully on troubled waves. Inside: Miniature of Elizabeth by Hilliard. _p. 255._ (Mr. J. Pierpont Morgan.)

XXXV. ELIZABETHAN JEWELLERY _p. 256._ 1. The Phoenix Jewel. _p. 255._ (B. M.) 2. Drake pendant in the form of a ship. _p. 253._ (Lord Fitzhardinge.) 3. Pendent miniature case, with carved medallion in mother-of-pearl. _p. 256._ (Poldi-Pezzoli Museum, Milan.) 4. The Barbor Jewel. _p. 254._ (V. and A. M.) 5. The Hunsdon Armlet. _p. 265-6._ (Lord Fitzhardinge.) 6. Onyx cameo in gold mount, presented to Queen Elizabeth by Archbishop Parker. (Described in _Arch. Journ._ Vol. XIX.) (Mr. G. E. Lloyd Baker.) 7. Edward VI's Prayer Book. _p. 274._ (Lord Fitzhardinge.)

XXXVI. RENAISSANCE AND LATER RINGS. (V. and A. M.) _p. 262._ 1. Gold wedding ring: open-work hands (_fede_), inscribed within: QVOD DEVS CONIVNVIT HOMO NON SEPARET. Florentine, sixteenth century. _p. 262._ 2. Jewish wedding ring of enamelled gold. Italian, sixteenth century. _p. 262._ 3. Gold wedding ring, set with rose diamond between enamelled hands. English, dated 1706. _p. 321._ 4. Gold, set with a pointed diamond. English, seventeenth century. _p. 260._ 5. Jewish wedding ring of enamelled gold in form of a temple. German, sixteenth century. _p. 262._ 6. Enamelled gold, set with a diamond. Italian, sixteenth century. 7. Enamelled gold, figure of Cupid with a garnet on the breast. Seventeenth century. 8. Gold, set with a miniature portrait of James Stuart, the Old Chevalier. 9. Giardinetti ring: a basket of flowers composed of diamonds, rubies, and emeralds. English, eighteenth century. _p. 295._ 10. Giardinetti: set with diamonds and rubies in the form of a vase of flowers. English, late seventeenth century. _p. 295._ 11. Memorial: chased with death's head in white enamel, and having diamond eyes. English, seventeenth century. _p. 367._ 12. Memorial: with enamelled skull. Inscribed: BEHOLD THE ENDE. (Said to have belonged to Charles I.) _p. 366._ 13. Memorial: bezel enclosing painted female figure, bearing inscription: NOT LOST BUT GONE BEFORE. English, dated 1788. _p. 369._ 14. Memorial: bezel enclosing funereal urn in hair and gold. English, dated 1781. _p. 369._

XXXVII. RENAISSANCE BRACELETS _p. 266._ 1. Gold bracelet of circular fluted links with enamelled clasp. German, late sixteenth century. _p. 266._ (V. and A. M.) 2. Bracelet of enamelled gold. French, seventeenth century. _p. 294._ (V. and A. M.) 3-4. Bracelet of Diana of Poitiers, enamelled gold, set with cameos. _p. 266._ (Bibliothèque Nationale, Paris.) (Photo, Giraudon.) 5. Gold bracelet of Otto Henry, Count Palatine of Neuburg (d. 1604), with his wife's initials-- D M P B R G H Z W V T (Dorothea Maria Pfalzgräfin bei Rhein geborne Herzogin zu Wirtemberg und Tek.) Compare _p. 230._ (Bavarian National Museum, Munich.)

XXXVIII. RENAISSANCE GIRDLES _p. 272._ 1. Italian, fifteenth-century girdle of gold tissue with gilt metal mounts. _p. 163._ (V. and A. M.) 2. Silver gilt chain girdle. German, late sixteenth century. (Mrs. Percy Macquoid.) 3. Nuremberg girdle of leather, with silver-gilt mounts. Seventeenth century. _p. 272._ (V. and A. M.)

XXXIX. ENGRAVED DESIGNS FOR JEWELLERY BY DANIEL MIGNOT. _p. 280._ (Mr. Max Rosenheim.) _p. 280._

XL. ENGRAVED DESIGNS FOR JEWELLERY BY GILLES LÉGARÉ AND PAUL BIRCKENHULTZ _p. 282._ 1-2. Designs for pendants, seals, and rings; from Gilles Légaré's _Livre des Ouvrages d'Orfévrerie_. _p. 282._ (B. M.) 3. Seal in the style of Légaré. The upper part gold with painted enamel; below, engraved on steel, the Royal Arms of the Stuarts, with bâton sinister, of Anne Fitz Roy (b. 1661, d. 1721, married 1674, Lord Dacre, created Earl of Sussex), daughter of Barbara Villiers, Duchess of Cleveland, and Charles II. (Col. Croft Lyons.) 4. Design for a pendant by Paul Birckenhultz. _pp. 280-1._ (Mr. Max Rosenheim.)

XLI. ENGRAVED PATTERNS FOR JEWELLERY, AND ENAMELLED JEWELS EXECUTED FROM SIMILAR DESIGNS. LATE SIXTEENTH AND EARLY SEVENTEENTH CENTURIES _p. 284._ 1. Design for enamelled jewellery by Hans Hensel, of Sagan (1599). _p. 284._ (Mr. Max Rosenheim.) 2. Gold ring set with flat heart-shaped garnet: design on shoulders reserved in gold on white enamel. Early seventeenth century. _p. 295._ (B. M.) 3. Design for jewellery in champlevé enamel, by Guillaume de la Quewellerie, of Amsterdam (1611). _p. 284._ (V. and A. M.) 4. Gold ring: the shoulders enamelled in the champlevé manner with design in black and white. Late sixteenth century. (V. and A. M.) 5. Design for an enamelled ring by Hans van Ghemert (1585). _p. 284._ (V. and A. M.) 6. Design for enamel-work by Jean Toutin (1619). _p. 285._ (Mr. Max Rosenheim.) 7. The Lyte Jewel, containing a portrait of James I by Isaac Oliver. Reverse side, with "silhouette" pattern in gold and ruby champlevé enamel on white ground. English, about 1610. _pp. 303-4._ (B. M., Waddesdon Bequest.) (Enamel-work of identical design occurs on the back of a miniature-case, containing a portrait of Charles I by Peter Oliver, dated 1626, in the collection of Mr. J. Pierpont Morgan.) 8. Design for enamel-work in the "niello" or "silhouette" manner, by Stephanus Carteron (1615). _p. 285._ (Mr. Max Rosenheim.)

XLII. SEVENTEENTH-CENTURY ENAMELLED PENDANTS, ETC. _p. 290._ 1. Gold pendant, containing an onyx cameo surrounded by ribbon-work and flowers of coloured enamel, set with rose diamonds. French. (Mr. Jeffery Whitehead.) 2-3. Pair of earrings _en suite_ formed of a hand holding a bow and bunch of flowers. 4. Pendant: an interlaced monogram of turquoise enamel suspended from a crown-shaped ornament, enamelled and set with diamonds. French. (Mr. Jeffery Whitehead.) 5. Gold pendant of variegated enamel (translucent and opaque) in form of a basket filled with fruit, with flowers above, and a bird on the top. (H. C. S.) 6. Small aigrette of silver in form of a bunch of flowers springing from a vase, set with rose diamonds, and bearing traces of enamel. (H. C. S.)

XLIII. SEVENTEENTH-CENTURY ENAMELLED MINIATURE-CASES, LOCKETS, ETC. _p. 292._ [A]1. Gold miniature-case by Jean Toutin: the design reserved in gold on a ground of black enamel. _p. 293._ (Mr. J. Pierpont Morgan.) 2. Gold miniature-case, translucent green enamel, with pattern in white, from a design by Pierre Firens. _p. 293._ (V. and A. M., Dyce Collection.) [A]3. Gold miniature-case of translucent green enamel (_émail en résille_) with "pea-pod" design in green and red; enclosing miniature of Charles II by Samuel Cooper. _p. 293._ (Mr. J. Pierpont Morgan.) [A]4. Crystal reliquary mounted in enamelled gold and set with a plaque of _verre églomisé_. Spanish, about 1600. _p. 203._ (Mr. J. Pierpont Morgan.) [A]5. Gold locket of purple enamel with floral design in white, yellow, and green on gold (_émail en résille_). French. (Mr. J. Pierpont Morgan.) 6. Pendant, set with a cameo of Lucrezia de' Medici in open-work floral border of painted enamel. French. _p. 292._ (Bibliothèque Nationale, Paris.) [A]7. Gold miniature-case of open-work design enamelled in green, blue, and white; containing a miniature of James I. English. (Mr. J. Pierpont Morgan.) 8. Gold locket with painted ("Louis-Treize") enamel of various colours in relief on blue ground. English. _p. 293._ (Mrs. B. Spring-Rice.)

[A] Reproduced by permission of Dr. Williamson, acting on behalf of Mr. J. Pierpoint Morgan. Copyright reserved.

XLIV. RINGS, SLIDES, AND PENDANTS (CHIEFLY MEMORIAL). SEVENTEENTH AND EARLY EIGHTEENTH CENTURIES _p. 294._ 1. Memorial ring, black enamel: set with crystal over a skull and cross-bones; dated 1740. 2. Gold memorial locket with faceted crystal enclosing hair; inscribed behind: "_Of such is the Kingdom of God_." English, late seventeenth century. _p. 368._ 3. Memorial ring, black enamel; dated 1777. 4. Memorial ring, white enamel; dated 1739. 5. Memorial ring, white enamel; dated 1793. 6. Memorial ring, black enamel; set with faceted crystal enclosing minute pattern in gold wire. English, early eighteenth century. (1--6--H. C. S.) 7. Back of a gold slide: painted enamel with initials E. J. beneath a coronet. (Viscount Falkland.) 8. Gold ring: open-work floral pattern in painted enamel; inscribed with a posy. _p. 295._ (Viscount Falkland.) 9. Silver locket surrounded by pearls, with faceted crystal enclosing monogram in gold wire. English, late seventeenth century. _p. 368._ (Mrs. Stewart King.) 10-14. Memorial slides, with various devices and initials in gold wire over hair or ribbed silk beneath faceted crystal. English, late seventeenth and early eighteenth centuries. _p. 368._ (Mr. Jeffery Whitehead.) 15. Gold pendant set with an antique Roman cameo in open-work floral border of painted enamel. English, seventeenth century. _p. 292._ (His Majesty the King.) 16. "Memento Mori" jewel of enamelled gold; inscribed round the sides: "_Through the resurrection of Christe we be all sanctified_." English, about 1600. _p. 365._ (V. and A. M.) 17. Gold pendant set with a cameo of Lucius Verus, in border of "pea-pod" ornament. From a design by Pierre Marchant. French, early seventeenth century. _p. 292._ (B. M.)

XLV. PAGE FROM THE LEDGER OF SIR FRANCIS CHILD, JEWELLER TO WILLIAM III. About 1674. Preserved at Child's Bank, No. 1 Fleet Street, London, E. C. _p. 306._ (By permission of Mr. F. G. Hilton Price.) _p. 304._

XLVI. EIGHTEENTH-CENTURY JEWELLERY, FRENCH AND ENGLISH _p. 316._ 1-3. Pendant, and two earrings _en suite_ containing paintings _en grisaille_ on mother-of-pearl, in gold frames set with rubies, diamonds, and strings of pearls. French, Louis XVI. (Mr. Jeffery Whitehead.) 4. Rosette-shaped brooch pavé with white paste of fine quality. English, early eighteenth century. (Col. Croft Lyons.) 5-6. Pair of _girandole_ earrings with paste sapphires. Formerly the property of Madame du Barry. French, Louis XV. _p. 217._ (Lady Monckton.) 7. Necklet and pendant of pink paste and marcasite. English, about 1760. (Col. Croft Lyons.)

XLVII. EIGHTEENTH-CENTURY NECKLACES, ETC. (Mr. Jeffery Whitehead) _p. 320._ 1. Necklet and pendant of paste in silver setting. English. 2-3. Pair of oval memorial clasps containing _grisaille_ paintings within pearl borders. English. _p. 369._ 4. Necklace of cut steel with Wedgwood cameos in white on blue. English.

LXVIII. EIGHTEENTH-CENTURY CHATELAINES (Mr. Jeffery Whitehead) _p. 322._ 1. Chatelaine (equipage) of cut steel mounted with Wedgwood ware in white cameo on blue jasper ground, hung with a watch and two watch keys. English, about 1780. 2. Chatelaine (equipage) of gold formed of a hook with five pendants--a scissor-case, two thimble or scent cases, and two needle or bodkin cases. French, Louis XV. _p. 323._ 3. Oval memorial clasp of blue enamel with minute design in carved ivory and pearl work, mounted in paste frame. English. _p. 369._

XLIX. EMPIRE HEAD-ORNAMENTS _p. 326._ 1. Empire tiara of rose diamonds set in silver, on gold mounts. (Mrs. Kirby.) 2. Empire head-ornament (_bandeau_) of gold, enriched with blue enamel, and set with twenty-five carnelian intaglios. Formerly the property of the Empress Josephine. (Mr. M. G. Lloyd Baker.) 3. Empire comb _en suite_ set with four carnelian intaglios. (Mr. M. G. Lloyd Baker.)

L. EARLY NINETEENTH-CENTURY JEWELLERY _p. 328._ 1-2. Pair of earrings in form of baskets of flowers, enamelled, and set with turquoises and pearls. (Mr. Jeffery Whitehead.) 3-4. Pair of bracelet clasps of beaded goldwork set with various coloured stones, with Crown and Royal cypher in enamel. Formerly the property of Queen Charlotte. (Mr. Jeffery Whitehead.) 5. Necklace and pendent cross, with brooch and earrings _en suite_: of beaded gold and filigree, set with pink topazes and pearls. English. (Lady Ramsay.) 6. Necklace, with brooch and earring _en suite_, of coloured gold set with amethysts and pearls. English. (Lady Ramsay.)

LI. BUCKLES AND NECKLACES. LATE EIGHTEENTH AND EARLY NINETEENTH CENTURIES _p. 330._ 1-2. Pair of steel buckles partly plated with silver. Signed W. Hipkins. _p. 315._ (H. C. S.) 3. Girdle-clasp of faceted steel. English (Birmingham), late eighteenth century. _p. 315._ (V. and A. M.) 4. Gold shoe-buckle. English, eighteenth century. _p. 322._ (V. and A. M.) 5. Silver girdle-buckle. English, eighteenth century. (H. C. S.) 6. Silver shoe-buckle. English, eighteenth century. (H. C. S.) 7. Necklace of delicate gold filigree enriched with blue enamel and set with sapphire pastes. Early nineteenth century. (Mrs. Holman Hunt.) 8. Necklace of cast iron mounted with gold: the oval plaques, in open-work, alternately a spray of flowers and a figure subject in the style of an antique gem. Prussia (Berlin), early nineteenth century. _p. 330._ (V. and A. M.)

LII. MODERN FRENCH JEWELLERY. (V. and A. M.) _p. 338._ 1. Enamelled gold brooch. By Georges Fouquet. 2. Neck-ornament (_plaque de collier_): carved horn, set with pink baroque pearls. By René Lalique. 3. Pin for the hair, gold, set with opals and diamonds. By Gaston Laffitte. 4. Gold pendant set with diamonds and an opal, and enriched with open-work translucent enamel in high relief. By Comte du Suau de la Croix. 5. Enamelled gold pendant, set with diamonds, opals, and emeralds. By G. Gautrain.

LIII. SPANISH, PORTUGUESE, FLEMISH, AND FRENCH PEASANT JEWELLERY, ETC. _p. 342._ 1. Bow-shaped breast-ornament of gold set with emeralds, and having large emerald pendant. Spanish, seventeenth century. _p. 204._ (Mrs. Close.) 2. Earring of gold filigree hung with pendants. Portuguese. _p. 347._ (Lady Cook, Viscondessa de Monserrate.) 3. Gold pendant set with rose diamonds mounted on silver rosettes. Flemish, eighteenth century. _p. 345._ (H. C. S.) 4. Silver cross set with crystals. French (Normandy). _p. 342._ (H. C. S.) 5. Pendent badge of brass, enamelled black, white, and blue, containing a crowned monogram of the Virgin. Spanish (Barcelona), seventeenth century. _p. 204._ (H. C. S.)

LIV. "ADRIATIC" JEWELLERY. _p. 346._ 1. Pendant in form of a ship, enriched with coloured enamels and hung with clusters of pearls. (Mr. Jeffery Whitehead.) 2. Ship pendant of gold filigree hung with pearls. (Mr. Jeffery Whitehead.) 3-4. Pair of enamelled earrings hung with clusters of pearls. (Mr. Jeffery Whitehead.) 5. Long earring of gold filigree mounted and hung with pearls. (Mr. Jeffery Whitehead.) 6-8. Pendant and pair of earrings, of gold filigree enriched with coloured enamels. From the Island of Patmos. (Mr. Cecil H. Smith.)

ILLUSTRATIONS IN THE TEXT

Safety-pin xli Romano-British brooch or fibula with bilateral spring xlii Brooch formed of double spiral discs of concentric wire ("Spectacle" fibula) xlii Celtic brooch xliii Ring-brooch (Tomb of Queen Berengaria of Navarre, wife of Richard Coeur de Lion, at Le Mans) xliii Buckle, with buckle-plate and tag. German, about 1490. (Victoria and Albert Museum) xlvi Bronze fibula. (Ireland) xlvii Collar of the Order of the Golden Fleece, made in 1432 by John Peutin, of Bruges, jeweller to Philip the Good, Duke of Burgundy. (From the portrait of Baldwin de Lannoy by John van Eyck at Berlin) 90 Interior of a jeweller's shop. From _Kreuterbuch_. (Frankfort, 1536) 98 Gold ring engraved and enamelled with figures of the Virgin and Child and St. John the Evangelist. Scottish, fifteenth century. (Nat. Museum of Antiquities, Edinburgh) 104 Necklace worn by the daughter of Tommaso Portinari in Van der Goes' triptych in the Uffizi Gallery, Florence 117 Pomander. From _Kreuterbuch_. (Frankfort, 1569) 126 A mediæval lapidary. From _Ortus Sanitatis_. (Strasburg, about 1497) 134 Mantle clasp (portion) on effigy of Henry IV. (Canterbury Cathedral) 140 Brooch of the Virgin in Lochner's "Dombild." (Cologne Cathedral) 145 English gold ring, fifteenth century. Engraved with the "Annunciation," and the words _en bon an_. (Mr. E. Richardson-Cox) 150 French gold ring, fourteenth century. (Louvre) 154 A goldsmith in his workshop. From _Hortus Sanitatis_. (Strasburg, 1536) 158 "Luckenbooth" brooch of silver. (Nat. Museum of Antiquities, Edinburgh) 165 Pendant worn by one of the Three Graces in Botticelli's "Primavera." 169 Jewel, in Ghirlandaio's portrait of Giovanna Tornabuoni 170 Brooch worn by the Virgin on fifteenth-century Florentine picture (No. 296, National Gallery, London) 174 A fifteenth-century jeweller. From _Ortus Sanitatis_. (Strasburg, about 1497) 176 Design for a pendent whistle by Hans Brosamer 198 Design for a pendant by Hans Brosamer 205 Earring, from Portrait of a Lady by Sodoma. (Frankfort Gallery) 233 Design for a pendant by Jacques Androuet Ducerceau 241 The Penruddock Jewel 252 Triple rings set with pointed diamonds. Device of Cosimo de' Medici. From Paolo Giovio's _Dialogo dell' imprese_. (Figured in Botticelli's "Pallas" in the Pitti Gallery) 260 Rings on a roll of parchment. From _Kreuterbuch_. (Frankfort, 1536) 263 Design for a bracelet by Jacques Androuet Ducerceau 269 Jean Toutin in his workshop, firing an enamelled jewel 289 Design for a pendent miniature-frame by Pierre Marchant 306

PREFACE

The term Jewellery is used generally in a very wide sense, and it has been necessary to impose certain limitations upon its meaning for the purpose of the present work. Jewellery may be defined as comprising various objects adapted to personal ornament, precious in themselves or rendered precious by their workmanship. The jewel worn as a personal ornament may be merely decorative, such as the aigrette or the pendant, or it may be useful as well as ornamental, such as the brooch or the girdle. Gems and precious stones are not jewels, in the present sense, until the jeweller's skill has wrought and set them. This definition will be found to correspond with the term _minuteria_ adopted by Italian writers on the goldsmith's art for objects in precious materials employed for the adornment of the person, as distinct from _grosseria_--those fashioned for household use or ornament.

With the exception of a chapter dealing with Egyptian jewellery, I have confined myself solely to Europe. The work falls into four main divisions. The first deals with the jewellery worn during classical times, and until the ninth century of our era. The second treats of the jewels of the Middle Ages. The third is devoted to the jewels of the Renaissance, and the fourth includes those of subsequent times. In the chapters dealing with Renaissance and later jewellery I have endeavoured to utilise the valuable evidence, hitherto generally overlooked or neglected, which may be derived from the engraved designs and working drawings of jewellers, from personal inventories, and from pictures by the old masters. Perhaps too generous a share of attention has been bestowed on English work; but this may be pardoned when it is remembered that the previous literature of jewellery has been almost entirely from the pens of French and German writers. While fully appreciating the importance and interest of the recent revival of artistic jewellery, I have not thought it necessary, in a book intended mainly for the connoisseur, to give more than a rapid review of the main features of the modern movement, with a brief mention of some prominent craftsmen therein employed. For similar reasons no general account is given of the processes of manufacturing articles of jewellery, though references are made to technical methods when they serve to explain points of artistic importance.

Assistance has been supplied by numerous works. The largest debt is due to the learned art historian Ferdinand Luthmer, whose standard work _Gold und Silber_ has afforded most important aid. From Rücklin's _Schmuckbuch_ I have constantly derived instruction; and Fontenay's _Bijoux anciens et modernes_ has been a storehouse of information. Other books which have been of service are included in the Bibliography.

It is now my duty and pleasure to express my obligations to all those whose unvarying kindness has facilitated my researches. Special thanks are due: to Lady Rothschild, who has presented me with photographs, specially taken for the purpose, of some of her choicest jewels; to Lady Fuller-Eliott-Drake, who at considerable personal inconvenience brought the Drake jewels to London; to Mr. Jeffery Whitehead, who despatched for my use a number of jewels from his collection; to Mr. Max Rosenheim, who, besides placing at my disposal his unrivalled series of engraved designs for jewellery, has read through and corrected the portion of the subject dealing with engraved ornament; to Sir John Evans, K.C.B., who has guided me personally through his splendid collections of early jewellery; and to Dr. Williamson, for assisting me in many ways, and for the loan, on behalf of Mr. J. Pierpont Morgan, of copyright photographs of the finest enamelled miniature-cases from his catalogue of Mr. Morgan's collection, with leave to describe and reproduce such of them as I might select for this volume.

Among those who have favoured me with permission to publish the treasures in their possession I must gratefully mention Lady Cook (Viscondessa de Monserrate), Lady Ramsay, Lady Monckton, Mrs. Holman Hunt, Mrs. Percy Macquoid, the Marquess of Clanricarde, Viscount Falkland, and Lord Fitzhardinge; also Herr James Simon, of Berlin, and Lieut.-Col. G. B. Croft Lyons, who have presented me with photographs of their jewels. Thanks are also due to Dr. Kitchin, Dean of Durham, for the photograph of St. Cuthbert's Cross; to Dr. Spooner, Warden of New College, for permission and aid in photographing the New College jewels; to Dr. J. Anderson, Director of the National Museum of Antiquities of Scotland, for the loan of blocks of two jewels in the Edinburgh Museum; to Mr. F. G. Hilton Price, who enabled me to photograph the old ledgers in Child's Bank; and to Mr. J. T. Herbert Baily, for leave to reproduce illustrations to my articles on the King's gems and jewels at Windsor Castle in the "Connoisseur" (1902-3). The names of many others, who have kindly lent me jewels or photographs, will be found, attached to the individual objects, in the List of Illustrations.

I would especially thank, amongst others, the following officers of the Continental museums who have generously presented me with photographs of articles of jewellery in the collections under their charge, or have aided me with their advice:--Sir Henry Angst, K.C.M.G., British Consul-General for Switzerland, late Director of the Zurich Museum; M. E. van Overloop, Conservator of the Royal Museums, Brussels; Dr. Lindenschmidt, Director of the Mainz Museum; Dr. Hermann J. Hermann, Keeper of the Imperial Art Collections, Vienna; Dr. Wilhelm Behncke, late of the Kunstgewerbe Museum, Berlin; Dr. H. Graf, Director of the Bavarian National Museum, Munich; Dr. L. Curtius, of the Antiquarium, Munich; and M. J. de Foville, of the Cabinet des Médailles, Bibliothèque Nationale, Paris.

Grateful acknowledgment is also due to the officers of the British Museum for the help they have given me, particularly to Mr. Cyril Davenport for numerous valuable suggestions. To my colleagues in the Victoria and Albert Museum I owe cordial thanks for much encouragement and help, particularly to Mr. A. Van de Put for his aid in reading through the proofs of this volume; and above all to Mr. Martin Hardie, A.R.E., who, besides executing the pen-drawings which illustrate the text, has assisted me in various ways, and throughout the whole course of the present work has favoured me with constant advice and suggestions.

H. CLIFFORD SMITH

INTRODUCTION

The love of ornament prompted by vanity is inherent in the human race. A most primitive instinct of human beings is to make their persons more beautiful, more imposing, or more striking by ornamentation. This inclination is as old as dress itself, nay, perhaps, dates even further back. For there are tribes to whom climate and civilisation have not yet suggested the necessity of clothing the body, but who nevertheless possess ornaments of some degree of development. From the rudest of beginnings up to the last refinements of art, jewelled ornaments have ever the same purpose in view--to give prominence to individual parts of the body by means of glittering, beautiful objects which involuntarily draw the eye of the spectator in the desired direction.

Jewellery is not only worn with the purpose of attracting attention and setting off the beauty of the person, but satisfies the desire, not less deep-rooted in humanity, of establishing a distinctive mark of rank and dignity. In fact the wearing of certain kinds of ornaments has at times been fixed by legislation.

Among savages, and races not far removed from barbarism, it may be observed that the love of ornament is chiefly characteristic of men. As civilisation advances it is displayed more and more by women alone. Yet even a century ago, among the most civilised nations of Europe, the "beaux" and "macaronis" adorned themselves with jewellery of all kinds. To-day, however, it is confined, and with greater propriety, almost entirely to women. Desirous always of pleasing, the gentle sex has ever sought to add to its charms by adorning itself with jewels.

Two methods of dealing with the history of the present subject present themselves. One method consists in taking individual classes of jewellery, tracing their complete development, and following the changes they undergo during the various periods of civilisation. By the other--the historical method--all types of jewellery in existence at a particular time are examined side by side within the historical period to which they belong. The general changes that take place at one epoch find an echo in every piece of jewellery that belongs to that epoch. The different classes of jewellery during every period all bear a distinct relationship of style. For instance, the changes which take place in the aspect of the necklace at a particular epoch will be found to occur at the same time in that of the bracelet and girdle. But there may exist the widest divergence in style and idea between a particular piece of jewellery and its successor of a subsequent period. For these reasons an historical and chronological mode of treatment has been adopted, which will allow more completeness of observation, and fuller and more scientific investigation of style and craftmanship. Certain difficulties are nevertheless encountered, because periods and fashions naturally overlap. This is particularly the case in times when communication was not easy; since some people would cling to an old form of jewellery, while others, more travelled or more fashionably minded, would prefer a new.

In proceeding towards a systematic classification of personal ornaments it may be advisable, instead of dealing with the separate ornaments of each period according to their relative importance or prominence, to follow a simpler and more natural plan. Thus, the ornaments dealt with in each succeeding epoch will in every case be those worn: (1) on the head--diadems, tiaras, aigrettes, hair-pins, jewels for the hat and cap, and earrings; (2) on the neck--necklaces and neck-chains hung with numerous varieties of pendants; (3) on the breast--brooches, clasps, buttons; (4) on the limbs--armlets, anklets, bracelets, rings; and (5) on the body and waist--girdles and their various attachments, chatelaines, and miscellaneous pendent ornaments, such as pomanders, scent-cases, rosaries, etc.

A few preliminary words may be said respecting the evolution of some of the various ornaments employed on the different parts of the body.

The custom of decorating the head with jewelled ornaments was probably suggested by the natural idea of encircling it with flowers in token of joy or triumph. The use of diadems was in early times generally reserved for those of noble birth. From the fillets employed for binding the hair, developed circlets, which with the addition of precious stones assumed the dignity of crowns.

The use of earrings as personal ornaments seems to have originated in the East, where they have always been in favour. Earrings formed an important article of jewellery during the classical ages, but they were not commonly worn again in Europe until the seventeenth and eighteenth centuries. At the present moment fashion does not decree their general use.

The necklace--one of the most primitive of ornaments--is worn either close round the throat, loosely round the neck, or low down upon the breast. Occasionally, as among savage peoples, it takes the form of a ring; but as a rule it is formed either of a simple cord, or a chain formed by the appropriate linking together of rings, perforated discs, or pierced balls. Artistic effects are produced by a regular alternation of these details, as well as by the tapering of the chain from the middle towards the ends. Neck-chains with symbolic elements are those worn as orders and as signs of dignity.

The necklace may be further ornamented by a row of pendants, or more generally a single pendent ornament. The pendant thus employed has become, perhaps, the most beautiful of all articles of adornment. It occupies a conspicuous position upon the person, and possibly for this reason has evoked the greatest skill and refinement of the jeweller's art. Its varieties are manifold--from the primitive charm, and the symbolic ornaments of the Middle Ages, to the elaborate pendant, for the most part purely decorative, dating from Renaissance times.

Next comes the important group of ornaments worn chiefly on the breast, comprising brooches, clasps and pins, employed for fastening the dress. All have their origin in the simple pin. To this class belongs the hair-pin, of which the most handsome and varied examples are to be found in ancient work. Unlike modern hair-pins which are provided with two points, they have a single cylindrical or slightly conical stem, pointed at one end, and terminated at the other with a knob or some other finial.

A simple pin for the dress was uncommon in antiquity, and its general use for this purpose belongs to comparatively recent times. Its place was always taken, especially in early periods, by a brooch--an outcome of the pin--which supplied the want of buttons. The brooch, an ornament of very considerable importance, can be traced down from the earliest civilisation, and is a valuable criterion in questions of ethnic movements. The story, however, of the growth of each of the different classes into which primitive brooches may be divided, the periods at which these ornaments made their appearance, and the deductions of ethnographical interest that may be drawn therefrom, must of necessity lie outside the scope of the present work.

All brooches, as has been said, originated from the simple pin, which itself was preceded by and probably derived from a thorn. At an early period this pin, after having been passed through the garment, was for greater security bent up, and its point caught behind the head. Later, in order that the point might be held more securely in the catch, the pin was given a complete turn, which produced the spring, as seen in the common form of our modern safety-pin. Thus constructed, the brooch, though in one piece, may be said to consist of four parts; (_a_) the acus or pin; (_b_) the spring or hinge; (_c_) the catch or locking apparatus, which forms the sheath of the pin; and (_d_) the bow or back--the framework uniting the spring with the catch.

From this primitive safety-pin, which is the foundation form of all brooches with a catch, developed the numerous varieties and patterns of the brooch or fibula of succeeding ages. Amongst these is the Roman fibula, which instead of being made of one piece of metal, is of two pieces--the bow and the acus. The pin here works on a hinge--the result of gradually extending the coils of the spring symmetrically on each side of the pin into what is known as the double-twisted or bilateral spring, and placing a bar through the coils thus made. From the brooch hinged in this manner originated the Roman provincial fibula of the #T#-shaped type common in France and Britain, and later the cruciform brooch of Anglo-Saxon times. The brooch with with a hinge was exclusively used until the revival of the "safety pin" with a spring, patented as a new invention in the nineteenth century.

In addition to the above brooches or fibulæ (group 1)--all developments of the safety-pin type--there are three other large groups of brooches: (2) the circular disc type; (3) the penannular or Celtic brooch; and (4) the ring-brooch. The first of these--the type generally worn at the present day--may be described as a flat disc fitted with a hinged pin. In cemeteries belonging to the Early Iron Age in Southern Europe circular plates have been found fitted with a pin. These plates appear[1] to have been developed by the conversion of a primitive disc of spiral concentric wire into a circular plate. From the brooch of this type sprang the circular brooch of the Roman period, often inlaid with enamel, as well as the splendid circular brooches of Anglo-Saxon times, and all other disc-shaped brooches. In all early periods, and even in Roman times, the bow or safety-pin type of brooch was commoner than the disc and also more practical, as it offered room for the gathered folds of the garment. In modern times the disc-shaped brooch fitted with a hinged or sometimes with a spring pin has been principally used.

[1] Ridgeway (W.), _Early Age of Greece_, p. 437.

The two remaining groups of brooches--(3) the Celtic brooch and (4) the ring-brooch--are both developments of the simple pin in combination with a ring--in the former case penannular and in the latter annular. The Celtic brooch, with penannular ring and long pin, is apparently the result of fitting a pin to a prehistoric form of fastening for the dress--a penannular ring terminating with knobs, known as a mammillary fibula. The ring-brooch with complete ring, and pin of the same length as the diameter of the ring, which was popular in mediæval times, is the outcome of fitting a complete ring of wire to a pin to prevent the head of the pin from slipping through the material--which ring in course of time became the more important member. It is improbable that the Celtic brooch originated in the same way, from the union of a long pin with a small ring. Nor is it likely that these two forms of brooches were evolved the one out of the other by the shortening or lengthening of the pins. As a matter of fact the two appear to have arisen independently side by side.

Bracelets and armlets may be considered together, for though the bracelet is properly only a decoration for the wrist, the term has become descriptive of any ornament worn upon the arm. The bracelet, together with the necklace, were the earliest ornaments used for the decoration of mankind. Amongst savage tribes both were worn in some form or another--the necklace as an ornament pure and simple, but the bracelet serving frequently a practical purpose, sometimes as a shield for the arm in combat, sometimes covered with spikes, and used for offensive purposes. While used universally by women in the form of a band, closed, or open on one side, or else in the shape of a spiral, or fashioned like a chain, the bracelet has been worn from the earliest times in the East by men also, especially by princes as one of the insignia of royalty, and by distinguished persons in general.

Of all jewels the simplest and at the same time perhaps the most interesting and important is the finger ring. It is universally employed as an article of personal ornament, and has been worn by both sexes at almost all times, and in nearly every country. Sometimes it is an object of use as the signet ring, or a token of dignity as the bishop's ring. Sometimes it has a symbolical significance, as the wedding-ring. Sometimes it is purely ornamental. Most finger rings may be said to be formed of two parts--the circular portion which surrounds the finger, known as the hoop or shank, and the enlarged or upper portion which is called the bezel. This latter term, applied to the upper side of the ring, which is broadened to receive an ornament of some kind, generally a stone, seems to have originally designated the basil or projecting flange, that retained the stone in its setting. The term _collet_, also used for the whole top including the stone or seal, is similarly derived from the flange or collet in which the stone is set. From its box-like shape this part of the ring is also called the _chaton_.

The belt or girdle was worn round the waist by men as a means of suspending weapons, by women sometimes merely as an ornament, and generally by both sexes for the practical purpose of confining the clothing. It is commonly formed of a band of leather or textile material. The part as a rule which receives particular attention is the fastening. This is either in the form of a clasp, or more often a buckle. The clasp consists of two parts, generally symmetrical, one of which can be hooked into the other. The buckle, another combination of a ring with a pin, is similar to the mediæval ring-brooch, but differs from it in that while the pin of the brooch pierces the material twice, that of the buckle pierces it only once. It may be described as a rectangular or curved rim having one or more hinged pins or spikes attached on one side of it or on a bar across its centre, and long enough to rest upon the opposite side. The buckle is made fast to one end of the girdle; whilst the other end, drawn through on the principle of a slip knot, is kept fast by pushing the point of the pin or tongue through a hole made in the material of the girdle. The girdle is attached by means of sewing a fold of it round the bar or round one side of the rim of the buckle. As a great strain was put upon the doubling of the leather or stuff, this soonest gave way. Consequently a plate of metal was passed round the bar or edge of the buckle, and the two portions of it received the end of the strap between them. The whole was then made fast with rivets. The plate is known as the buckle-plate. One end of the girdle being thus furnished, the other was frequently made to terminate with a metal chape to enable it to pass easily through the ring of the buckle in the process of buckling and unbuckling. This chape is known also as the _mordant_. The chief point of the girdle to be decorated was the buckle-plate, which was often in one piece with the buckle, or hinged to it. The _mordant_ or tag was commonly decorated too, while ornaments of metal of similar design, sometimes jewelled, were applied at regular intervals to the strap or band of the girdle. In later years the girdle often took the form of a chain, on which, as in the case of chains for the neck and wrists, artistic effects were produced by a regular sequence of links. Fastened by a clasp, it was worn by women chiefly as an ornament, or to carry small objects for personal use. For the latter purpose it was subsequently supplanted by the chatelaine.

JEWELLERY

EARLY JEWELLERY