Early History of Jewelry: Ancient Times to the 17th Century

Ancient world jewellery

Jewellery is a form of adornment that is universal. Prehistoric jewellery made of shells, stone, and bones has survived. It is likely that it was worn as a protection from life's dangers or as a mark of status or rank from the beginning.

The discovery of how to work metals was a critical stage in the development of the art of jewellery in the ancient world. Metalworking techniques became more sophisticated over time, as did decoration.

Before 1783, this collar was discovered in a bog in Shannongrove, Co. Limerick, Ireland. We don't know what it was for, but it was most likely a ceremonial collar. A hole is located on the inner side of the collar, beneath each of the circular terminals. The collar was most likely worn on the chest and was held in place by a chain that ran between the two holes and around the back of the neck.

The Shannongrove Gorget collar, maker unknown, late Bronze Age (probably 800-700 BC), Ireland. M.35-1948 Museum No. London's Victoria and Albert Museum

Medieval jewellery 1200–1500

The jewellery worn in the middle Ages reflected a society that was highly hierarchical and status-conscious. The nobility and royalty wore gold, silver, and precious gems. The lower classes wore base metals like copper or pewter. Colour and protective power (provided by precious gems and enamel) were highly valued. Some jewels bear cryptic or magical inscriptions that are thought to protect the wearer.

Gems were usually polished rather than cut until the late 14th century. Their value was determined by their size and lustrous colour. Enamels, which are ground glasses that are fired at a high temperature onto a metal surface, enabled goldsmiths to colour their designs on jewellery. They employed a variety of techniques to produce effects that are still widely used today.

The images on the back of this cross were frequently used as a focus for meditation in the late middle age of periods. The scenes on the lid depict the Crucifixion's Instruments of the Passion, which included a scourge, whip, lance, sponge, and nails. A tiny fragment of one of them may have formed a relic and been stored within the now-empty interior of the cross. Pearls represented purity, and red gems may have represented Christ's sacrificial blood.

Unknown maker pendant reliquary cross, circa 1450-1475, Germany. 4561-1858 Museum No. London's Victoria and Albert Museum

Renaissance jewellery

Renaissance gems reflected the era's desire for opulence. Enamels became increasingly ornate and colourful, frequently covering both sides of the gem, while innovations in cutting methods boosted the shine of stones.

The immense importance of religion in everyday life was reflected in jewellery, as was worldly power – many outstanding items were worn as a symbol of political authority. The designs reflect the renewed interest in the classical world, with legendary figures and scenes becoming increasingly popular. The old technique of gem engraving was resurrected, and the usage of portraits represented another cultural trend: a greater creative awareness of the person.

Stones were supposed to guard against certain diseases or threats ranging from toothache to the evil eye. They might also stimulate or discourage traits like boldness or depression. This scorpion etching originates from the 2nd or 1st century BC, but it was repurposed in a mediaeval ring. In the Middle Ages, carved Greek or Roman stones were highly appreciated. They were discovered in excavations or in surviving older items of jewellery and traded across Europe. The scorpion has a long history as a protective charm. It was thought to treat poisoned sufferers and, being the emblem of the Zodiac sign Scorpio, it was connected with water and hence considered to have a cooling effect on fever.

Poisoning remedies were also created by infusing scorpions in oil and herbs. Grand Duke Francesco I of the Medici (d. 1587) wrote a formula for an anti-poison oil that was effective against "all forms of poisons consumed by mouth, stings and bites."

Ring, unknown manufacturer, 15th century setting, centre 2nd century BC-1st century BC. No. 724-1871 at the Museum. London's Victoria & Albert Museum

17th century jewellery

Changes in fashion have brought new forms of jewellery by the mid-17th century. Whereas dark materials necessitated complex gold jewellery, the new gentler pastel colours served as beautiful settings for diamonds and pearls. Gemstones became increasingly accessible as global trade expanded. Gemstones sparkled more in candlelight because to advancements in cutting techniques.

Large bodice or breast embellishments that required to be fastened or sewed to stiff garment materials were frequently the most striking jewellery. The whirling foliate pattern of the diamonds demonstrates a renewed interest in bow motifs and botanical embellishments. This necklace's center bow is a beautiful example of a mid-17th century gem. The painted opaque enamel was a relatively new invention, invented by a Frenchman named Jean Toutin of Châteaudun. Around this time, this stunning colour combination was often utilized in enamels.

Necklace with a sapphire pendant, bow around 1660, chain and pendant circa 18-1900, Europe. M.95-1909 Museum No. London's Victoria & Albert Museum

18th century jewellery

The brilliant-cut with its numerous facets had evolved by the end of the preceding century. Diamonds shone like never before, and they started to dominate jewellery design. Magnificent sets of diamond jewellery, sometimes plated in silver to emphasise the stone's white colour, were needed for court life. The larger decorations were worn on the bodice, while lesser ones might be spread throughout an ensemble.

Due to its great intrinsic value, very little diamond jewellery from this era has survived. Owners frequently sold it or re-set the jewels in more stylish settings.

Light swords with short, flexible, pointed blades appeared around 1640 in response to new fencing techniques that emphasised thrusting at speed. They were increasingly worn with civilian clothes as'small swords,' providing a means of self-defense but primarily denoting status for the well-dressed gentleman.

Small swords were male jewellery. By the 1750s, their elaborate gold and silver hilts, set with precious stones and fine enamelling, were the work of the goldsmith and jeweller rather than the swordsmith. They were frequently given as rewards for distinguished military and naval service.

'PRESENTED by the Committee of Merchants &c OF LONDON to LIEUT.T FRANCIS DOUGLAS for his Spirited and Active Conduct on Board His Majesty's Ship the REPULSE.' Hugh Inglis Esq.r Chairman of the Marine Society, May 1o 1798. Ja.s Alms Esq.r Commander during the MUTINY at the NORE in 1797.

James Morisset sword, 1798-9, England. 2-1869, Museum no. 274-1. London's Victoria and Albert Museum

In 1797, Francis Douglas was rewarded for his part in putting down a violent mutiny among sailors at the Nore, a Royal Navy anchorage in the Thames Estuary. According to an eyewitness account published in The Sheerness Guardian 70 years later, the ship, Repulse, made a "miraculous" escape from the mutineers, reaching shore despite receiving "as many as two hundred shots." This sword was commissioned from James Morisset, one of London's most renowned makers of enamelled gold dress-swords and boxes.

19th century jewellery

The nineteenth century saw significant industrial and social change, but the emphasis in jewellery design was often on the past. Classical styles were popular in the early decades, evoking the splendours of ancient Greece and Rome. New archaeological discoveries fueled this interest in antiquities. Goldsmiths attempted to revive ancient techniques by creating jewellery that imitated or was inspired by archaeological jewellery.

Jewels inspired by the Medieval and Renaissance periods were also popular. Jewellers such as the Castellani and Giuliano worked in archaeological and historical styles at the same time, demonstrating the period's eclecticism.

Naturalistic jewellery, with clearly identifiable flowers and fruit, was also popular during this time period. With the widespread interest in botany and the influence of Romantic poets such as Wordsworth, these motifs first became popular in the early years of the century. This large flower spray with a pin fastening at the back would have been worn as a bodice ornament. Some of the diamond flowers are set on springs, which would magnify their radiance as the wearer moved. Individual flower sprays could be removed and worn as hair accessories.

By the 1850s, the delicate early designs had given way to more extravagant and complex flower and foliage compositions. Flowers were used to express love and friendship at the same time. Colored gemstones matched the colours in nature, and a 'language of flowers' spelled out special messages. Unlike in previous eras, more elaborate jewellery was almost exclusively worn by women.

Bodice ornament in the shape of a floral spray, probably made in England around 1850. M.115-1951 Museum No. London's Victoria and Albert Museum

Arts & crafts jewellery

The Arts and Crafts movement, which emerged in the late nineteenth century, was founded on a profound dissatisfaction with the industrialized world. Its jewellers rejected the machine-led factory system, which had become the source of the most affordable pieces, and instead concentrated on hand-crafting individual jewels. They believed that this process would improve both the worker's soul and the final design.

Large, faceted stones were avoided by Arts and Crafts jewellers in favor of the natural beauty of cabochon (shaped and polished) gems. They substituted curving or figurative designs, often with symbolic meaning, for the repetition and regularity of mainstream settings.

C. R. Ashbee, the designer of this brooch, was a man of enormous talents and energy who was a pivotal figure in the Arts and Crafts Movement. In 1888, he established the Guild of Handicraft in London's East End with the goal of revitalizing traditional craft skills and providing satisfying employment in a deprived area of the city. Originally trained as an architect, he is also known for his highly innovative furniture, metalwork, silver, and jewellery designs.

Ashbee's favorite and most distinctive motif was the peacock, and he is known to have designed about a dozen peacock jewels around 1900. According to family legend, this brooch was created for his wife, Janet. Ashbee's Guild of Handicraft Ltd. created it at Essex House on London's Mile End Road.

Pendant-brooch designed by C.R. Ashbee and made by the Guild of Handicraft in England around 1900. M.31-2005 Museum No. London's Victoria and Albert Museum

Art Nouveau jewellery and the Garland style 1895–1910

The Art Nouveau style influenced jewellery design dramatically, peaking around 1900 when it won the Paris International Exhibition.

Its followers created sinuous, organic pieces with eroticism and death undercurrents that were a far cry from the floral motifs of previous generations. René Lalique, for example, moved away from traditional precious stones in favour of focusing on the subtle effects of materials such as glass, horn, and enamel.

However, the style's daring appearance was not for everyone or every occasion. Excellent diamond jewellery was created in the 'garland style,' which was a highly creative re-interpretation of 18th- and early 19th-century designs.

Philippe Wolfers, the designer of this orchid hair ornament, was the most prestigious Art Nouveau jeweller in Brussels. He, like his Parisian contemporaries René Lalique, was heavily influenced by nature. Both artists use exotic orchids in their work. The technical achievement of enameling on these undulating surfaces in plique-a-jour (backless) enamel is extraordinary.

Philippe Wolfers hair ornament, Belgium, 1905-7. M.11-1962 Museum No. London's Victoria and Albert Museum

Art Deco jewellery to the 1950s

Despite being buffeted by boom, bust, and war cycles, jewellery design between the 1920s and 1950s remained both innovative and glamorous. Sharp, geometric patterns reflected the machine age, while exotic creations inspired by the Near and Far East suggested that jewellery fashions were truly global. As a fashion centre, New York now rivalled Paris, and European jewellery houses could expect to sell to, as well as buy from, the Indian subcontinent.

Art Deco jewellery is distinguished by dense concentrations of gemstones. Gold was popular again around 1933, partly because it was less expensive than platinum.

Philippe Wolfers hair ornament, Belgium, 1905-7. M.11-1962. London's Victoria and Albert Museum

Contemporary jewellery

The boundaries of jewellery have been constantly redefined since the 1960s. Successive generations of independent jewellers, often educated at art college and immersed in radical ideas, have challenged conventions.

New technologies and non-precious materials, such as plastics, paper, and textiles, have challenged the traditional notions of status implicit in jewellery.

Avant-garde jewellers have investigated the interaction of jewellery with the body, pushing the limits of scale and wear ability. Jewellery has evolved into a form of wearable art. The debate over its relationship to Fine Art is still ongoing.

Malcolm Appleby designed and engraved this brooch, which was made by Roger Doyle in 1975 in England. M.314-1977 Museum No. London's Victoria and Albert Museum