Jewellery

[1] Ridgeway (W.), Early Age of Greece, p. 437.

[2] Fontenay (E.), Les bijoux anciens et modernes, p. 98.

[3] Babelon (E. C. F.), Catalogue des camées antiques de la Bib. Nat. (No. 367), p. 199.

[4] Dalton (O. M.), Catalogue of early Christian antiquities in the British Museum. 1901.

[5] Cunynghame (H. H.), European enamels, p. 40.

[6] Niello: a composition of lead, silver, sulphur, and borax.

[7] Wilde (W. R.), Cat. of antiquities of gold, p. 12.

[8] Bulliot (J. G.), Fouilles de Mont Beuvray (ancienne Bibracte) de 1867 à 1895. 1899.

[9] Archæologia, LVIII, p. 240, 1902.

[10] Dalton (O. M.), The treasure of the Oxus, 1905.

[11] A remarkable book descriptive of this treasure has been published by Professor Odobesco, of the University of Bucharest, in which the whole process of inlaying is discussed at considerable length. The same subject has been treated with the most minute care by the well-known art historian, M. Charles de Linas.

[12] Abbé Cochet, Le tombeau de Childéric I^er, 1859.

[13] Lasteyrie (F. de), Description du trésor de Guarrazar, 1860.

[14] De Baye (J.), The industrial arts of the Anglo-Saxons, p. 45.

[15] Faussett (B.), Inventorium sepulchrale, p. 78, Pl. 1.

[16] Arch. Journal, IV, p. 253. Another similar brooch from Abingdon is in the British Museum. See Akerman (J. Y.), Remains of pagan Saxondom, Pl. iii.

[17] Archæologia Cantiana, II, Pl. iii.

[18] Catalogue of Anglo-Saxon antiquities, p. xv.

[19] Green (J. R.), Short history of the English People (1875 ed.), p. 21.

[20] The Alfred Jewel, p. 45. 1901. Others consider that the jewel was the head of a book-marker or pointer.

[21] M. Molinier (Histoire générale des arts appliqués à l’industrie, IV, p. 93) is of the opinion that the enamel is English, and not, as some hold, of Byzantine origin. See also Victoria County History of Somerset, I, p. 376. 1906.

[22] Archæologia, XXIX, p. 70, Pl. x.

[23] Catalogue of the Alfred the Great millenary exhibition in the British Museum. 1901.

[24] Proc. Soc. Antiq., 2nd Series, XIX, p. 304. Such long stout pins could only have served to fasten coarse, loosely woven fabrics.

[25] J. R. Allen (Celtic Art, p. 219) describes the exact function of this brooch, and illustrates its use in ancient and modern times. (See also Reliquary, 2nd Series, I, p. 162. 1894.)

[26] Anderson (J.), Scotland in early Christian times, 2nd Series. 1881.

[27] Luthmer (F.), Gold und Silber, p. 50.

[28] Luthmer, op. cit., p. 72.

[29] Ibid., p. 50.

[30] Ilg (A.), Theophilus Presbyter, p. xliii.

[31] Cunynghame (H. H.), European enamels, p. 69.

[32] Kunstdenkmale des Königreiches Bayern, I, iii, p. 2364. 1903.

[33] Some estimate of their magnificence and extent may be obtained by means of contemporary inventories. The most remarkable inventory is perhaps that of John’s eldest son, Charles V—“the Wise”—drawn up in 1379 and published by J. Labarte. Scarcely less remarkable are the jewel inventories of his three other sons, Louis Duke of Anjou, John Duke of Berry, and Philip (le Hardi) Duke of Burgundy, which have been published respectively by L. de Laborde, J. Guiffrey, and B. Prost.

[34] Several inventories of the contents of the Burgundian treasury have been preserved. Lists of the magnificent jewels of two of the most powerful and wealthy, those of Philip the Good (1396-1467) and his son Charles the Bold (1433-1477) have been published by Laborde in his Ducs de Bourgogne, Pt. 2, Vol. II.

[35] Bateson (M.), Mediæval England, p. 13.

[36] Ibid., p. 148.

[37] Published by the Society of Antiquaries in 1789. pp. 332-353.

[38] Rymer, Fœdera, II, 1, pp. 203-205.

[39] Kalendars and Inventories of the Exchequer, III, p. 137.

[40] See list of his jewels in Inventories of the Exchequer, III, p. 166, and his Great Wardrobe Accounts (Archæologia, XXXI, p. 55).

[41] Paton (J.), Scottish national memorials, p. 337.

[42] The foremost interpreter of their mysteries in the Middle Ages was Marbode, Bishop of Rennes (1095-1123), in his De Lapidibus Pretiosis Enchiridion.

[43] King, Precious stones, p. 12.

Treatises on precious stones frequently find a place in sixteenth-century Herbals, and are often accompanied by very spirited woodcuts representing the working of precious stones and the process of adapting them to personal ornaments, together with designs of actual articles of jewellery in which they are set. Two of the finest books of the kind are—an Ortus Sanitatis (Strasburg, circa 1497), and a Kreuterbuch printed at Frankfort in 1536.

[44] Bock (F.), Das heilige Köln. Schatzkammer des Kölner Domes, p. 27.

[45] The Abbey of Conques, near Rodez, in the Department of Aveyron. See Darcel (A.) Trésor de Conques, p. 66.

[46] Rock (D.), Church of our fathers, III. 1, p. 393.

[47] Babelon (E. C. F.), Catalogue des camées de la Bib. Nat., p. 107.

[48] St. Luke, iv. 30; and St. John, viii. 2.

[49] Babelon, op. cit., p. 1.

[50] For a full description of this jewel, see a monograph by J. J. Oeri, entitled Der Onyx von Schaffhausen.

[51] Riley (H. T.), Memorials of London, p. 313.

[52] No attempt will here be made to enumerate the various forms of crowns and coronets. A general outline of the subject is set forth in chapter xxvi of Mr. Fox-Davies’ Art of Heraldry.

[53] Lambecius, Bib. Caes. Vindobon., II, p. 516; Laborde, Ducs de Bourgogne, Pt. 2, II, p. 113, no. 3100.

[54] Several writers on Pilgrims’ Signs state that a furnace destined for the same purpose may still be seen in an upper chamber in Canterbury Cathedral. Inquiry on the spot has failed to confirm the truth of this statement. The furnace in question has been used solely for the purpose of casting leadwork for repairing the roof. The badges were probably made somewhere in the Cathedral precints.

[55] Compare, An “Esmail d’Arragon,” by A. Van de Put (Burlington Magazine, VIII, p. 421, 1906; X, p. 261, 1907).

[56] Figured in Exposition de Budapest, 1884, Chefs-d’œuvre d’orfévrerie, I, Pl. I. There is a reproduction of this remarkable specimen of Dinanderie in the Victoria and Albert Museum.

[57] Shaw (H.), Dresses and decorations, Pl. 60.

[58] Hist. MSS. Comm., IX, p. 56.

[59] Kalendars and Inventories, II, p. 165, etc.

[60] Archæologia, XXXIX, p. 264.

[61] Mr. Hartshorne (Arch. Journ., XXXIX, p. 366) considers the origin of the letters SS—par excellence the “crux antiquariorum,” he terms it—to lie between the words Seneschallus, Souverayne, and Sanctus, and of these he appears to be in favour of the first.

[62] See Jahrbücher des Vereins von Alterthumsfreunden in Rheinlande, XXXIX, p. 272. Bonn, 1866.

[63] Wall (J. C.), Tombs of the Kings of England, p. 197. Evelyn’s Diary, Sept. 16, 1685.

[64] Kalendars etc., III, pp. 185, 188.

[65] Podlaha (A.), and Sittler (E.), Der Domschatz in Prag, pp. 113-132. 1903.

[66] A relic of this superstition still exists in the coral baubles hung with bells, with which infants are aided in cutting their teeth.

[67] Quoted from Bussy d’Amboise (1607) by Malone, commenting on the passage, “Unicorns may be betray’d with trees” (Julius Cæsar, II, i).

[68] Riley (H. T.), Memorials of London and London life, p. 455.

[69] Read (C. H.), Catalogue of the Waddesdon Bequest, No. 231.

[70] Probably abbreviated from ambregis (ambergris), the well-known odoriferous substance, so called from its resemblance to grey amber. It was the most highly prized of all perfumes in mediæval times; and though its use is now almost entirely confined to perfumery, it formerly also occupied no inconsiderable place in pharmacy.

[71] Arch. Journ., III, p. 76.

[72] St. Luke, iv. 30.

[73] A Veronica, or Face of our Lord, frequently figured on hat-ornaments. Thus: “A vernicle hadde he sewed upon his cappe” (Chaucer, Canterbury Tales, l. 688). This jewel may perhaps have been a hat-brooch.

[74] Sometimes called (by metathesis) fremailleurs.

[75] Luthmer, op. cit., p. 74.

[76] Kunstgewerbe-Blatt, III, p. 21, 1887.

[77] Barbet de Jouy, Gemmes et joyaux de la couronne, Pl. XI.

[78] Rock, op. cit., III, iii, p. 101.

[79] Dugdale, History of St. Paul’s Cathedral (1818 ed.), p. 310.

[80] Fabric Rolls of York Minster (Surtees Society), p. 222.

[81] Compare p. 121.

[82] Shaw, Decorative arts of the Middle Ages, Pl. 7.

[83] It is intended, however, to be looked at from the reverse side through the crystal—when the device appears like a cameo.

[84] Archæologia, LIX, p. 25.

[85] Figured by Shaw, Dresses and decorations, Pl. 88, where it is erroneously described as the clasp of the Emperor Charles V.

[86] Pollen, Gold and silversmith’s work in the S. Kensington Museum, p. 98.

[87] Beissel, Kunstschätze des Aachener Kaiserdomes, Pl. XIII.

[88] Barbet de Jouy, op. cit., Pl. X.

[89] Molinier, Donation de Adolphe de Rothschild, Pl. XIX.

[90] Giraud, Les arts du métal, Pl. VII.

[91] Probably a corruption of the Latin words nusca, nuxa, a brooch or fibula (Prompt. Parv., p. 359).

[92] Testamenta Eboracensia (Surtees Society), I, p. 267.

[93] This effigy, and that of Anne of Bohemia, and of Henry IV and his Queen, may be studied from reproductions in the National Portrait Gallery.

[94] Kalendars and Inventories of the Exchequer, III. p. 344, etc.

[95] Revue de l’art chrétien, 1887, p. 276; and Humann (G.), Die Kunstwerke der Münster-Kirche zu Essen, Pl. 62.

[96] Compare this jewel with “un damoisell seant en un solaill” in Henry IV’s inventory.

[97] Compare Henry IV’s “i. damoisell et i. unicorn.”

[98] The same motive is figured on a morse shown on the left wing of a picture in the Cologne Museum known as the “Sippenaltar” (by the Meister der heiligen Sippe), dating from the end of the fifteenth century. The jewel is worn by S. Nicasius. It is trefoil in shape, and decorated with the figure of an angel, full face, holding a large stone in front.

[99] This jewel once formed part of the treasure of the House of Burgundy, and came into the Imperial Collections through the marriage of Mary of Burgundy with the Emperor Maximilian I.

[100] Amongst others there are three in each of the cathedrals of Chichester, York, Winchester, and Durham, and two at Hereford (Archæologia, XLV, p. 404).

[101] Waterton (E.), “Episcopal rings” (Arch. Journ., XX, p. 224), 1863.

[102] Archæologia, XVIII, p. 306.

[103] Arch. Journ., XX, p. 195.

[104] Archæologia, XXXVI, p. 200.

[105] Cartwright (J.), Isabella d’Este, I, p. 73.

[106] Many admirable representations of girdles are figured in Stothard’s Monumental effigies of Great Britain.

[107] Riley (H. T.), Memorials of London and London life, p. 154.

[108] Riley, op. cit., p. 399.

[109] Inventories of the Exchequer, III, p. 142.

[110] Archæologia, XXXI, p. 55.

[111] Inventories, etc., III, pp. 174, 184.

[112] These bars of metal were attached vertically at intervals to the belt or girdle to maintain the rigidity of the material. The word bar (corresponding to the French clou) was subsequently applied to all such attachments, which were sometimes perforated to allow the tongue of the buckle to pass through them (Way, Prompt. parv., p. 24).

[113] Hartshorne (A.), “Swordbelts of the Middle Ages” (Arch. Journ., XLVIII, p. 320).

[114] Way, Prompt. parv., p. 27, n. 2.

[115] There is the possibility that bells were worn as amulets, though not necessarily intended as such by their wearers. “Le son de l’airain,” like the tinkling ornaments of the daughters of Zion (Isa. iii. 18), was thought to have a prophylactic virtue. The double-tail mermaids of silver still worn in Naples as charms against the evil eye are always hung with little bells (Elworthy, The evil eye, p. 368).

[116] Inventories of the Exchequer, III, p. 337.

[117] Symonds (J. A.), Renaissance in Italy—The Fine Arts, p. 91.

[118] Williamson (G. C.), Francia, pp. 2, 3, 21, 38.

[119] For a photograph of this jewel, and for the information respecting it and the other works of this artist, I am indebted to the kindness of Dr. Williamson.

[120] Wölfflin (H.), The art of the Italian Renaissance, p. 234.

[121] The whole of this magnificent work has been reproduced by Sijthoff, of Leyden, under the direction of Scato de Vries and Dr. S. Morpurgo.

[122] This tendency is as common as ever in the East, particularly among high-class natives of India, 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 value. (See Nineteenth Century, LVIII, p. 290, 1905, “The origin of money from ornament.”)

[123] Proc. Soc. Antiq., XIV, p. 180.

[124] Reproduced by Quaritch in 1897 from a copy now in the possession of Mr. Max Rosenheim.

[125] Lichtwark (A.), Der Ornamentstich der deutschen Frührenaissance, p. 111.

[126] Most of Mielich’s works have been reproduced by Hefner-Alteneck in his Deutsche Goldschmiede-Werke des 16^ten Jahrhunderts.

[127] Jannettaz, Diamant et pierres précieuses, p. 423.

[128] Bucher, Geschichte der technischen Künste, II, p. 307.

[129] La collection Spitzer, III, p. 53.

[130] Brewer (J. S.), Henry VIII, I, p. 10.

[131] Letters and Papers of Henry VIII, II, p. 1441, etc.; III, p. 1533, etc.

[132] Letters and Papers, XII, No. 47.

[133] Lambecius, Bibliotheca Cæsarea Vindobonensi, II, p. 512.

[134] Kalendars and Inventories of the Exchequer, II, p. 304.

[135] That pendants were termed “flowers” is clear from W. Thomas’s Italian Grammar (1548), where a fermaglio is defined as “the hangeing owche, or flowre that women use to tye at the chayne or lace that they weare about their neckes” (Way, Prompt. parv., p. 359, n. 3).

[136] His family name was Van der Gow or Van der Goes. See L. Cust, Burlington Magazine, VIII, p. 356.

[137] An enormous number of these exist. A catalogue of them has been drawn up by Mr. F. M. O’Donoghue, of the British Museum.

[138] British Museum. MSS. No. 4827.

[139] Strickland, Queens of England, IV, pp. 262, 416.

[140] Vertue (G.), Catalogue of the collection of Charles I, p. 47.

[141] “He gave me a jewel the other day, and now he has beat it out of my hat” (Timon of Athens, Act iii.)

“Honour’s a good brooch to wear in a man’s hat at all times” (Ben Jonson, Poetaster).

“And his hat turned up, with a silver clasp on his leer side” (Ben Jonson, Tale of a Tub).

[142] Bonnaffé (E.), La collection Spitzer, III, p. 134.

[143] Burlington Fine Arts Club, Catalogue of enamels, 1897.

[144] Letters and Papers of Henry VIII, IV, Nos. 1907 and 6789.

[145] L’Arte, II, p. 432, 1899.

[146] Hefner-Alteneck (J. H. von), Deutsche Goldschmiede-Werke des 16^ten Jahrhunderts, Pl. 12.

[147] This legend is the subject of a striking picture by Quentin Matsys (itself rich in representation of jewellery), which forms the left wing of the magnificent “Deposition” (No. 245), in the Antwerp Museum. A famous relic, the skull of the saint in Amiens Cathedral, exhibits a hole over the eyebrow.

[148] I trattati dell’ oreficeria. Ed. Milanesi, 1857. Chapter on Minuteria.

[149] In the night of December 17th, 1860, the Galleria delle Gemme of the Uffizi was entered by thieves, who carried off a large number of gems and jewels. Most of the gems were recovered, but nearly all robbed of their settings. All the jewels were lost (Gotti, A., Le Gallerie di Firenze, pp. 229 and 388).

[150] Kenner (F.), Cameen und Modelle des XVI. Jahrhunderts, p. 27 (Jahrbuch der Kunsthistor. Sammlungen des Kaiserhauses, IV), 1886.

[151] A jewelled enseigne known as the “Star Jewel,” once the property of Sir Francis Drake, belongs to Sir F. Fuller-Eliott-Drake. It is enriched with translucent red enamel, and has rubies set in the rays, with opals and diamonds interspersed in the border, round an engraved ruby in the centre. It has four loops behind for attaching to the hat.

[152] Archæologia, XXI, p. 152.

[153] Inuentaires de la Royne Descosse Douairiere de France (published by the Bannatyne Club), p. 87.

[154] Crystal quartz found in the Clifton limestone, and known as Bristol diamonds.

[155] Nichols (J.), Illustrations of the manners and expenses of ancient times in England, Pt. III, p. 26.

[156] Nuremberg: Germanisches Museum. Mitteilungen, 1894, p. 73.

[157] Letters and Papers, IV, No. 1907.

[158] Nichols, Progresses of Queen Elizabeth, II, p. 498.

[159] Luthmer, Gold und Silber, p. 100.

[160] Davenport, Cameos, 1900.

[161] Cf. “Une petite nef d’or, estoffée de tout son appareil” (Invent. of Mary, dau. of Charles the Bold of Burgundy, and wife of Maximilian I. Lille: Archives du Nord, VIII, p. 171.)

[162] Cf. “A juell of golde, wherein is a parret hanging” (New Year’s gifts to Queen Elizabeth, 1578-9).

[163] Henry VIII, Letters and Papers, IV, No. 6789.

[164] Nichols, Progresses of Q. Elizabeth, I, pp. 380, 412; II, p. 52.

[165] See Connoisseur, V, p. 80. The gems and jewels at Windsor Castle, by H. Clifford Smith.

[166] Way(A.), Cat. of antiquities and historical Scottish relics, Edinburgh, 1859, p. 163. See also Connoisseur, loc. cit.

[167] See note, p. 235.

[168] Calendar of State Papers, Domestic, Aug., 1596.

[169] Compare pp. 293 and 297. See Darcel (A.), Notice sur émaux et de l’orfévrerie (Louvre), p. 81. See also Labarte (J.), Les arts industriels (2nd ed., II, p. 136, 1873), “L’émaillerie cloisonnée sur cristal.”

[170] See p. 301.

[171] I will have my pomander of most sweet smell,
Also my chains of gold to hang about my necke.
Book of Robin Conscience (circa 1600).

[172] The only modern French word for the pomander is cassolette. In German and Italian there is a tendency to revive the old titles Bisamapfel and Oldano.

[173] Reproduced by Quaritch in 1888.

[174] Burlington Magazine, VIII, p. 130, 1905.

[175] Reproduced by Quaritch in 1888.

[176] Mariette, Abecedario, IV, p. 133.

[177] These are described in the Connoiseur, V, p. 243.

[178] See pp. 273 and 297.

[179] Historical MSS. Commission, IV, p. 286.

[180] Calendar of State Papers, Domestic, March 18, 1623.

[181] See p. 209.

[182] Nichols, Progresses of James I, IV, p. 830. A complete list of the jewels removed from the Tower is given in Archæologia, XXI, p. 148.

[183] Nichols, op. cit., III, p. 548.

[184] Devon (F.), Issues of the Exchequer, James I (Pell records), p. 49.

[185] Archæologia, XV, p. 19.

[186] Examples of these jewelled frames are preserved in Mr. Pierpont Morgan’s collection of miniatures. For the information respecting them I am indebted to the kindness of Dr. Williamson, author of the catalogue of that collection.

[187] Les bijoux anciens et modernes, p. 294.

[188] See Connoisseur, XII, p. 81.

[189] Kindly communicated by the late Sir Dominic Colnaghi.

[190] Davies (G. S.), Frans Hals, p. 88.

[191] Munro (R.), Archæology and false antiquities.
Eudel (P.), Le Truquage, 1887. Trucs et Truqueurs, 1907.

[192] Archæological Journal, XXI, p. 167. A collection of pseudo-antiques of the kind made at the ateliers of Messrs. Billy and Charley, Rosemary Lane, Tower Hill, is shown in the Cuming Museum, Walworth Road, London.

[193] Cook (T. A.), The history of Rouen, p. 293.