Scottish jewellery

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Examples of silver brooches in the form of Scottish Claymore swords with Targe shields Silver Jewellery in the form of Scottish Claymore swords with Targe shields.JPG
Examples of silver brooches in the form of Scottish Claymore swords with Targe shields

Scottish jewellery is jewellery created in Scotland or in a style associated with Scotland, which today often takes the form of the Celtic style. It is often characterised by being inspired by nature, Scandinavian mythology, and Celtic knot patterns. [1] [ self-published source? ] Jewellery has a history in Scotland dating back to at least the Iron Age. [2]

Contents

Traditional examples

Penannular brooch from the St Ninian's Isle Treasure Silver Brooch, National Museum of Scotland (6930614532).jpg
Penannular brooch from the St Ninian's Isle Treasure

Traditional examples of Scottish jewellery are often functional objects that have been decorated and over time have become jewellery items. Over time, these necessary objects took on more and more decorative appearances, and are now considered an aesthetic item that is more of an accessory.[ citation needed ]

Kilt pin

The kilt pin is a functional object that weighs down the edge of the apron of a kilt to keep it in place during movement. [3] [ self-published source? ]

Penannular/ Celtic brooch

The ring and pin style penannular brooch, also known as the Celtic or Viking brooch, had the original purpose of being a fastener for clothing. Also native to Ireland, its design was meant to mirror that of the torc. The first examples of this style of brooch date from circa 700CE. [4] These items were first produced for the elite class out of precious metals, and over time the more simple item of the thistle brooch emerged from this tradition.[ citation needed ]

Thistle brooch

Examples of Luckenbooth brooches with varying decorative styles Luckenbooth brooches .jpg
Examples of Luckenbooth brooches with varying decorative styles

The thistle brooch is a simpler version of the penannular brooch, with less surface decoration, which gained popularity around 1100. The thistle is the national flower of Scotland and acts as an emblem. Today, thistle brooches are often made of silver and contain a thistle motif, and are not necessarily a penannular brooch.[ citation needed ]

Luckenbooth brooch

The Luckenbooth brooch is a style of brooch that originated on the Royal Mile in Edinburgh. It is a kind of annular brooch that is heart shaped. It often comes in the form of two hearts woven together, with more ornate brooches also containing a crown pattern. The name Luckenbooth comes from the locked booths along the royal mile that had a similar pattern. This style first gained popularity in the 17th century, and had a revival in the 19th century in the form of pebble jewellery. They were traditionally given as a token of love or as an engagement present. [5] [ self-published source? ]

A set of 16th Century Scottish pebble jewels, made of agate, gold and enamel Scottish pebble set jewellery 16th century.JPG
A set of 16th Century Scottish pebble jewels, made of agate, gold and enamel

Pebble jewellery

Pebble jewellery, featuring the stones agate or "Scotch Pebbles", Cairngorm, jasper, jaspagate, and sometimes bloodstone, freshwater pearls, gold, silver and granite, is a style of jewellery that has a long history associated with Scotland. [6] Queen Victoria helped make the style become fashionable and she collected cairngorm stones on her walks on Beinn a' Bhùird near Balmoral Castle. [7] Pebble jewellery refers to a style rather than a specific item, with many examples of pebble brooches and bracelets, though other items such as pendants have also been known to be decorated in this style.[ citation needed ]

Materials

The materials traditionally used to create jewellery in Scotland are also found in the local area such as the agate mined from volcanic rocks north of Dundee. [8]

Metals

The most common forms of metal in Scottish jewellery are silver, enamel, gold and pewter. [9] [10] These are often the backing to a stone setting in the case of rings and brooches, but can also provide decoration through casting and other decorative methods. Gold can be found in Scotland around the areas of Lowther Hills, Wanlockhead, and Leadhills. The first documentation of gold in the area is from the 16th century, and this gold was made into the Scottish Crown and supported a community of goldsmiths around the country who are still active today. [11] There was even a short-lived gold rush in the 1860s. Silver was also actively mined in Scotland, with over five individual sites that, over time, have had silver extracted from them. There was a silver mine at Hilderston near Bathgate in 1608. [12]

Stones

Stones such as agate, cairngorm citrine, jasper, malachite and granite were mined in the hills of Scotland and were popular in jewellery. Agate was made popular in Scottish jewellery styles in the 19th century, popularised by Queen Victoria. [13] [ self-published source? ] These stones are often found on bracelets, pendants and brooches.

Sapphires, although rare in Scotland, can be mined from the Isle of Harris. [14]

Scottish pearls

Pearls are often used in jewellery in Scotland. [15] They were added to the Scottish Crown in the 16th century, and embroidered on the costumes of Mary, Queen of Scots and Anne of Denmark. They come from a pearl-bearing mussel, M. margaritifera , half the population of which are native to Scotland. [16] A daughter of Thomas Thomson, an apothecary to the Queen of Scots, wore a head dress set with 73 Scottish pearls all of equal size. [17]

The Privy Council of Scotland regulated the collection of pearls in Scottish waters. In 1622 the pearl trade was investigated. A few pearls had been sold without licence in Aberdeen. Pearls were found in the Forth, the Cart near Paisley, and in some of the Galloway rivers. [18] In 1620 Thomas Menzies of Durn and Cults, Provost of Aberdeen, gave James VI and I a valuable pearl found in the Kellie burn, a tributary of the River Ythan. [19] The pearl is said to have been set in the royal crown. [20]

Techniques

Throughout history, metalworkers did not only produce jewellery, but also worked to produce handles and decorative cookware. [21] Cold metalworking techniques can be used to make penannular brooches, beginning with wire and then flattening the ends to create the brooch shape. [22]

History

A pendant with a Celtic pattern from Iona Iona Celtic Art pendant.jpg
A pendant with a Celtic pattern from Iona

The crafting of jewellery or fictional items that could have been embellished to create a form of jewellery has a history in Scotland dating back to at least 300BCE, with the emergence of the "Celtic" style of decoration. [23] The Celtic style and the Pictish style are very similar and both have an influence in Scottish jewellery today. Pictish has been discovered through archaeological investigation since the 18th century, and is commonly made of silver. A sizeable example of a discovery of Pictish jewellery was found at the Gaulcross hoard in Aberdeenshire, with examples of fragments of silver bracelets, brooches, and pendants from the post-Roman period. These finds contain examples of chain work, and ornate decoration on the fragments. They are now on display at the National Museum in Edinburgh. Other Pictish hoards have often found torcs, and different kinds of penannular brooches, some zoomorphic, though bronze brooches are more common than silver. [24]

In the Middle Ages, ornate jewellery was a sign of a high class. Lower-class people tended to wear more simple items that were primarily functional and made of more simple materials such as copper or pewter, compared to richer materials such as silver or gold. [25]

During the 1800s, a boom in the production of Scottish-style jewellery resulted due to the building of railways in Britain and increased access to travel. Scotland became a holiday destination, and jewellery was in demand as a souvenir. As a result, the styles of Scottish jewellery started to be produced in England, specifically Birmingham and Exeter. [26]

A resurgence of Celtic and medieval style Scottish jewellery occurred in the 19th century, [27] as did the popularisation of agate pieces, also known as "pebble jewellery". [28] During this period there was a rise in creation and wear of brooches and bracelets set with Scottish stones due to Queen Victoria's interest in agates, cairngorms (smoky quartz), and citrines (quartz). [29] The interest in agate re-emerged again in the 1970s. The Victoria and Albert Museum has many examples of Scottish jewellery from the later half of the 19th century, both pebble styles and Celtic designs. [30]

The modernist period of jewellery making began in Britain in the 1950s, inspired by the sleek, simple style of Scandinavian designs from earlier in the 20th century. [31] According to the National Museum of Scotland, "British Modernist jewellery became defined by the use of textural, sculptural gold work, inspired by nature and often incorporating large gemstones". [32]

Modern

Today, Scotland offers a wide range of styles of jewellery, ranging from the traditional Celtic style, to vintage Victorian and Edwardian pieces, to contemporary art deco and art nouveau styles. [33]

The tradition of jewellery making in Scotland continues today with many courses offered in Colleges around Scotland in various levels of difficulty in jewellery making. [34]

Crown Jewels

The Scottish Crown in 2011 The Queen at the Scottish Parliament.jpg
The Scottish Crown in 2011

Despite the Honours of Scotland often being referred to as the "crown jewels", there are no pieces of pure jewellery in the usual sense in the set. It consists of the crown, the sceptre, and the Sword of State. [35] The crown is the only object of the three that is supposed to have been made in Scotland. It was originally dated from approximately 1503, but was remodelled due to damage in 1540 by the Edinburgh goldsmith John Mosman. [36] Over six weeks, Mosman added 68 Scottish freshwater pearls, 41 ounces of gold, and 44 gemstones to the new crown, but also made use of the gold and jewels from the original state crown. [37]

Other Noteworthy Pieces

This section contains information on other famous pieces of jewellery that either originate from or are associated with Scotland.

Stewart Jewels

The Stewart Jewels are items of jewellery that originate from the Stewart dynasty who ruled Scotland for generations and went on to rule England after the death of Elizabeth I. The set consists of three items, all of which are on display with the Honours at Edinburgh Castle: the St. Andrew Jewel, a collar of the Order of the Garter, and a ring with a ruby set into it. [38]

Lorne Jewels

The Lorne Jewels, part of the Secondary Honours of Scotland, were gifted to the nation in the 1930s by Princess Louise, Duchess of Argyle. The jewels consist of a single necklace with a pendant and a locket that was made in London in the 1870s and was a gift from the 9th Duke of Argyll to his soon-to-be wife. It consists of a chain made of diamonds studded with pearls, the pendant has a pearl set in the centre which is surrounded by two rows of diamonds of different shapes. The locket hangs from the bottom of the pendant and is attached by 2 emeralds shaped into the likeness of bog myrtle. The locket itself is shaped like a pear and is encrusted with diamonds, with extra decoration in sapphires depicting the motto of the House of Lorne and the Galley of Lorne. This piece is also on display at Edinburgh Castle. [39]

Noteworthy jewellers

Matthew Auchlek

Matthew and John Auchlek worked for James IV and Margaret Tudor. They were recorded making chains and necklaces. They gilded the sceptre, the king's spurs and the buckles of the queen's bridle and horse harness. Matthew Auchlek gilded a reliquary of Saint Duthac. [40]

John and James Mosman

The two Mosman men, John and his son James, were members of a family of goldsmiths who worked in Edinburgh in the 16th century. They served as court jewellers to the Stewart family during their Scottish rule, and worked at the Scottish mint. They are also known for owning the John Knox House in Edinburgh. [41] The identities of the two men are often confused, with some sources being unclear on who is the father and who is the son. John Mosman is most famous for remodelling the Scottish crown in 1540. [42] He made a reliquary for a bone of St Adrian of May for James V from Scottish gold. [43]

James Mosman was a son of John Mosman. He and James Cockie were made free men of the Edinburgh incorporation of goldsmiths on 1 May 1557. [44] He was the court jeweller for Mary of Guise, and reportedly produced pieces for both her and the royal family. [45] Mosman was executed for his loyalty to Mary, Queen of Scots, after the siege of Edinburgh Castle in 1573. He pledged Mary's jewels for loans and set up a mint for silver coins in the castle. He was hanged on 3 August 1573. [46]

Thomas Foulis

Thomas Foulis was a goldsmith who made silver plate for James VI and others. He was an apprentice of Michael Gilbert and became an important financier of the crown. [47]

Jacob Kroger

Anne of Denmark employed Jacob Kroger as her personal jeweller for four years, until he ran away to England with a stable hand and a bag of her jewels. [48]

George Heriot, elder and younger

George Heriot (died 1610) was an important member of the Edinburgh Goldsmith's incorporation. His son George Heriot (1563-1624) is known for supplying jewels to Anne of Denmark, at least two pieces survive. He founded a school in Edinburgh. [49]

Charles Rennie Mackintosh

Although Charles Rennie Mackintosh was not a jeweller himself, he made a significant contribution to influencing the style of jewellery through his work as a designer. Today, "Charles Rennie Mackintosh" jewellery is sold that are pieces made to replicate decorative work he did on furniture, buildings, and light fixtures. [50]

Related Research Articles

<span class="mw-page-title-main">Jewellery</span> Form of personal adornment

Jewellery consists of decorative items worn for personal adornment, such as brooches, rings, necklaces, earrings, pendants, bracelets, and cufflinks. Jewellery may be attached to the body or the clothes. From a western perspective, the term is restricted to durable ornaments, excluding flowers for example. For many centuries metal such as gold often combined with gemstones, has been the normal material for jewellery, but other materials such as glass, shells and other plant materials may be used.

<span class="mw-page-title-main">Necklace</span> Jewellery worn around the neck

A necklace is an article of jewellery that is worn around the neck. Necklaces may have been one of the earliest types of adornment worn by humans. They often serve ceremonial, religious, magical, or funerary purposes and are also used as symbols of wealth and status, given that they are commonly made of precious metals and stones.

<span class="mw-page-title-main">Brooch</span> Large ornament with a pin fastening

A brooch is a decorative jewellery item designed to be attached to garments, often to fasten them together. It is usually made of metal, often silver or gold or some other material. Brooches are frequently decorated with enamel or with gemstones and may be solely for ornament or serve a practical function as a clothes fastener. The earliest known brooches are from the Bronze Age. As fashions in brooches changed rather quickly, they are important chronological indicators. In archaeology, ancient European brooches are usually referred to by the Latin term fibula.

<span class="mw-page-title-main">Tara Brooch</span> Irish Celtic brooch

The Tara Brooch is an Irish Celtic brooch, dated to the late-7th or early-8th century. It is of the pseudo-penannular type, and made from bronze, silver and gold. Its head consists of an intricately decorated circular ring, and overall, its front and reverse sides are equally decorated; each holds around 50 inserted cast panels packed with filigree. The brooch was constructed from numerous individually made pieces; all of the borders and its terminals contain multiple panels holding multi-coloured studs, interlace patterns, filigree, and Celtic spirals. The brooch is widely considered the most complex and ornate of its kind and would have been commissioned as a fastener for the cloak of a high-ranking cleric or as ceremonial insignia of high office for a High King of Ireland.

<span class="mw-page-title-main">Luckenbooth brooch</span> Scottish heart-shaped brooch often with a crown above one or two hearts

A Luckenbooth brooch is a Scottish heart-shaped brooch. These brooches often have a crown above one heart, or two intertwined hearts. They are typically made of silver and may be engraved or set with stones.

<span class="mw-page-title-main">History of jewellery in Ukraine</span>

Jewellery as an art form originated as an expression of human culture. Body ornamentation, one purpose of jewellery, has been known since at least the Stone Age. The history of jewellery in Ukraine reflects the influence of many cultures and peoples who have occupied the territory in the past and present.

<span class="mw-page-title-main">Jewels of Elizabeth II</span> Historic collection of British royal jewellery

Queen Elizabeth II owned a historic collection of jewels – some as monarch and others as a private individual. They are separate from the gems and jewels of the Royal Collection, and from the coronation and state regalia that make up the Crown Jewels.

<span class="mw-page-title-main">Celtic brooch</span> Ring-and-pin clothing fastener

The Celtic brooch, more properly called the penannular brooch, and its closely related type, the pseudo-penannular brooch, are types of brooch clothes fasteners, often rather large; penannular means formed as an incomplete ring. They are especially associated with the beginning of the Early Medieval period in Ireland and Britain, although they are found in other times and places—for example, forming part of traditional female dress in areas in modern North Africa.

<span class="mw-page-title-main">Medieval jewelry</span>

The Middle Ages was a period that spanned approximately 1000 years and is normally restricted to Europe and the Byzantine Empire. The material remains we have from that time, including jewelry, can vary greatly depending on the place and time of their creation, especially as Christianity discouraged the burial of jewellery as grave goods, except for royalty and important clerics, who were often buried in their best clothes and wearing jewels. The main material used for jewellery design in antiquity and leading into the Middle Ages was gold. Many different techniques were used to create working surfaces and add decoration to those surfaces to produce the jewellery, including soldering, plating and gilding, repoussé, chasing, inlay, enamelling, filigree and granulation, stamping, striking and casting. Major stylistic phases include barbarian, Byzantine, Carolingian and Ottonian, Viking, and the Late Middle Ages, when Western European styles became relatively similar.

Costume and gold and silver plate belonging to Elizabeth I were recorded in several inventories, and other documents including rolls of New Year's Day gifts. Arthur Jefferies Collins published the Jewels and Plate of Queen Elizabeth I: The Inventory of 1574 from manuscripts in 1955. The published inventory describes jewels and silver-plate belonging to Elizabeth with detailed references to other source material. Two inventories of Elizabeth's costume and some of her jewellery were published by Janet Arnold in Queen Elizabeth's Wardrobe Unlocke'd.

Victorian jewellery originated in England; it was produced during the Victoria era, when Queen Victoria reigned from 1837 to 1901. Queen Victoria was an influential figure who established the different trends in Victorian jewellery. The amount of jewellery acquired throughout the era established a person's identity and status.

<span class="mw-page-title-main">Jewels of Diana, Princess of Wales</span> Collection of jewels

Diana, Princess of Wales, owned a collection of jewels both as a member of the British royal family and as a private individual. These were separate from the coronation and state regalia of the crown jewels. Most of her jewels were either presents from foreign royalty, on loan from Queen Elizabeth II, wedding presents, purchased by Diana herself, or heirlooms belonging to the Spencer family.

<span class="mw-page-title-main">Jewels of Mary, Queen of Scots</span> Jewels belonging to Mary, Queen of Scots

The jewels of Mary, Queen of Scots (1542–1587), are mainly known through the evidence of inventories held by the National Records of Scotland. She was bought jewels during her childhood in France, adding to those she inherited. She gave gifts of jewels to her friends and to reward diplomats. When she abdicated and went to England many of the jewels she left behind in Scotland were sold or pledged for loans, first by her enemies and later by her allies. Mary continued to buy new jewels, some from France, and use them to reward her supporters. In Scotland her remaining jewels were worn by her son James VI and his favourites.

<span class="mw-page-title-main">John Mosman (goldsmith)</span> Scottish goldsmith

John Mosman or Mossman was a Scottish goldsmith based in Edinburgh who served the royal court and was involved in gold mining.

<span class="mw-page-title-main">James Mosman</span> Scottish goldsmith

James Mosman or Mossman was a Scottish goldsmith. He and his son John Mosman were supporters of the cause of Mary, Queen of Scots. James Mosman was executed in 1573 for counterfeiting coins in Edinburgh Castle. John Mosman carried letters for Mary, Queen of Scots, and was under surveillance by Francis Walsingham.

<span class="mw-page-title-main">Jewels of Anne of Denmark</span> Jewels belonging to Anne of Denmark (1574–1619)

The jewels of Anne of Denmark (1574–1619), wife of James VI and I and queen consort of Scotland and England, are known from accounts and inventories, and their depiction in portraits by artists including Paul van Somer. A few pieces survive. Some modern historians prefer the name "Anna" to "Anne", following the spelling of numerous examples of her signature.

<span class="mw-page-title-main">Jewels of James V of Scotland</span> Jewels belonging to James V of Scotland

The jewellery and jewels owned by James V of Scotland are mainly known from the royal treasurer's accounts and inventories. James V reinforced his authority by lavish display.

<span class="mw-page-title-main">Jewels of Mary I of England</span> Jewels belonging to Mary I of England

An inventory of the jewels of Mary I of England, known as Princess Mary or the Lady Mary in the years 1542 to 1546, was kept by her lady in waiting Mary Finch. The manuscript is now held by the British Library. It was published by Frederic Madden in 1831. Some pieces are listed twice. Two surviving drawings feature a ribbon with the inscription, "MI LADI PRINSIS". The British Library also has an inventory of the jewels she inherited on coming to the throne in 1553.

<span class="mw-page-title-main">Jewels of Margaret Tudor</span> Jewels belonging to Margaret Tudor

Several documents list the jewels of Margaret Tudor, daughter of Henry VII of England and Elizabeth of York. Margaret married James IV of Scotland in 1503.

<span class="mw-page-title-main">Jewels of Arbella Stuart</span> Jewels belonging to Arbella Stuart

Jewels belonging to Arbella Stuart were noted in several lists. They include jewels which she inherited from her grandmother, Margaret Douglas, Countess of Lennox, which were taken to Scotland by her mother's executor.

References

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  47. ↑ Julian Goodare, (2004, September 23). 'Foulis, Thomas (c. 1560–1628), goldsmith, financier, and mining entrepreneur', Oxford Dictionary of National Biography. Retrieved 29 Sep. 2018, doi : 10.1093/ref:odnb/73674, subscription or library login required.
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