Victorian jewellery

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Victorian jewellery originated in England. Victorian jewellery was produced during the reign of Queen Victoria, whose reign lasted from 1837 to 1901. Queen Victoria was an influential figure who established the different trends in Victorian jewellery. [1] The amount of jewellery acquired throughout the Victorian era established a person’s identity and status. [2]  Within the Victorian period, jewellery consisted of a diverse variety of styles and fashions. These periods can be categorised into three distinct timeframes: The Romantic period, the Grand period and the Aesthetic period.

Contents

Identity and status

Victorian woman wearing jewellery Anna Brassey 438-victorian-woman-writing-jornal.gif
Victorian woman wearing jewellery

The role of jewellery within Victorian culture was important in determining a person’s identity and social status. The Western world has often objectified jewels as aesthetic objects that are highly desired. Jewels are much sought after due to their association with respectability, class prestige, monetary value and current trends within society. [2] Additionally, given its status, jewellery was viewed as a commodity that contributed to Victorian capitalism. [2] A person’s status in society could be demonstrated by wearing jewellery. Consumerism was crucial in prompting the purchasing of different types of jewels, which were able to determine a person’s wealth and social class. [2] Due to the financial value of jewels, lower classes could not afford to keep up with this fashion trend. If a woman did not wear jewellery, it was assumed it was because she was unable to afford it due to her position in the working class. [2] Due to such a large demand for particular jewels, rapid manufacturing assisted in producing jewels. The imitation of these particular jewels were made more affordable for middle class people. [2] During the Victorian era, jewels were mostly worn by women. It was unconventional for men to wear jewels given jewels were considered a feminine object. [2] Women that wore jewels were considered an object of beauty. [2] Although men did not wear jewels, men commonly gifted jewels to a woman they admired. [2]

Different periods of Victorian jewellery

Jewellery throughout the Victorian era remains prominent for its design and composition. The production of jewellery throughout the Victorian era was distinct, as it marked change and innovative practices through the use of new machinery. [3] Machinery allowed fast production of jewellery and replaced work that could be done by an individual. The collection of jewellery created throughout the Victorian era was diverse, for this reason Victorian jewellery can be divided into three distinct periods: The Romantic period, the Grand period and the Aesthetic Period. Each period consists of key features. These features consisted of different sources of inspiration, different materials and prominent types of jewellery.

A cameo used throughout the Romantic period Victoria and Albert Museum Jewellery 11042019 Cameo Ariel M.274-1921 England About 1840 3184.jpg
A cameo used throughout the Romantic period

The Romantic period (1837-1861)

The first period in Victorian jewellery is known as the Romantic period or early Victorian period. [4] During this period, inspiration derived from the Renaissance, Middle Ages and the natural world. [4] This period saw a rise in the use of gold material, [4] which contributed to the construction of jewellery.

Key features in this period consisted of:

Gold mourning ring used during the Grand period Victorian 18ct mourning ring with hair.jpg
Gold mourning ring used during the Grand period

The Grand period (1861- 1885)

The second period in Victorian jewellery is known as the Grand period or the mid-Victorian period. [4] This period saw a sharp change in design from delicate to bold which paralleled the changing social roles and representation of women at the time. [4] During this period, imitations of jewellery were prominent and costume jewellery originated. [4]  This period witnessed the emergence of women in business and politics and saw women demanding to study at university, the right to vote and to earn their own money. [4]

Key features in this period consisted of:

The death of Queen Victoria’s husband, Prince Albert in 1861, also inspired the use of mourning jewellery in this period (see Victorian jewellery § Mourning jewellery)

The Aesthetic period (1885-1901)

The third period in Victorian jewellery is known as the Aesthetic period or the late Victorian period. [4] During this period, there was a distinct change in how women wore jewellery. This period encouraged the agency of women in society, with women’s rise to power with the creation of their own political organisations. [4] This change encouraged freedom of thought and less of a desire to be seen as feminine. Due to this, significantly less jewellery was purchased with women only choosing to wear jewellery on special occasions, and little jewellery being worn casually throughout the day. [4]

A typical Victorian engagement ring from the Aesthetic period Victorian, Aesthetic period, Burmese pink Sapphire, double heart, engagement ring.webp
A typical Victorian engagement ring from the Aesthetic period

Key features in this period consisted of:

During this era, Queen Victoria also continued to inspire the wearing of mourning jewellery (see Victorian jewellery § Mourning jewellery).

Hair jewellery

A mourning brooch containing hair Mourning brooch containing the hair of a deceased relative. Wellcome L0036393.jpg
A mourning brooch containing hair

Hair jewellery became an established fashion during the mid eighteenth century. Hair jewellery became increasingly prominent in the 1850s with this trend lasting until the 1880s. [7] Although hair jewellery existed before 1861, its use by Queen Victoria after the death of her husband, Prince Albert, reignited and heightened the popularity of hair jewellery. [7]

The practice of using hair as mourning jewellery forms part of the Victorian relic culture. The idea of incorporating hair strands into jewellery is a method of materialising the mourning process. Hair is incorporated into jewellery as a memento, considering it is the only part of the body that does not change or decay after death. [8] The use of hair jewellery stems from the material need to create an emotional connection with the departed, even beyond the grave. [7] Hair was considered a versatile material that was incorporated into a variety of jewellery. Hair was commonly interwoven into bracelets, earrings, brooches, rings and watch chains. [7] Materials such as pearls, gold, gems and enamels were commonly added to hair jewellery as decoration. [7] A common use for hair jewellery was to acknowledge and remember the departed and the second use of hair jewellery was to commemorate the departed throughout funeral ceremonies. Funeral ceremonies permitted women to wear specific hair ornaments. Hair ornaments incorporated motifs of skeletons, coffins, angels and crossbones. [9] The use of braided hair was also incorporated in the floral arrangements used at funerals. [9]

Other than their use as a romantic keepsake and their use at funerals, hair jewellery represented a material object and popular fashion accessory. Hair jewellery was not worn and accessible for all, its use was limited to middle class and upper class women. Hair jewellery was seen as a use of tangible objects that could signify a woman’s femininity and status within society. [8] The creation of hair jewellery by a woman expressed her femininity and became a common craft. A woman’s ability to produce handicrafts such as hair jewellery demonstrated she was an ideal homemake r. [7] Women that successfully produced hair jewellery demonstrated their domestic skills and womanhood within society. [7] The craft of creating jewellery using woven hair was a skill that was transferred between a mother and her daughter. [9] The large demand for making hair jewellery called for a woman's desire to be industrious from the comfort of her own home. Hair jewellery was often produced within the home environment using tools such as a curling-iron, tweezers, gum, a porcelain pallet and a knife. [7] An increase in women individually creating their own hair jewellery stemmed from a lack of trust for jewellers. The act of sending hair fragments of a beloved person to a jeweller was considered a dangerous act given that there was no assurance that the hair incorporated in the jewellery belonged to their beloved. [3] Due to this, women began the craft of creating their own hair jewellery. [3]

Apart from its main use as mourning jewellery, hair jewellery also had a secondary use. This use accounts for the exchanging of sentimental jewellery by using hair from living persons to represent friendship. [7]

Mourning jewellery

Queen Victoria, Prince Albert and the royal family Queen Victoria - Queen Victoria, Prince Albert and the Royal Family.png
Queen Victoria, Prince Albert and the royal family

The process of mourning was a long-lasting and was performed by both men and women. During the process of grieving, mourning jewellery was predominantly worn by females. [3] The idea of women wearing jewellery during their mourning period pertains to the idea of womanhood and how women must keep their status alive to represent their husband, even whilst in deep mourning. [3] Following the death of Queen Victoria’s husband Prince Albert, Queen Victoria entered a mourning period. This mourning period spanned more than 40 years until the death of the Queen. [10] Many grievers participated during the mourning of Prince Albert. Queen Victoria enforced a mourning period upon the court. [10] Throughout this mourning period Jet jewels were the only acceptable jewellery that could be worn. [10] The practice of wearing black mourning jewellery continued even after the mourning period of Prince Albert given the high infant mortality rate existing in England at the time. [9]

Victorian mourning brooch Brooch decorated with human hair, Europe, 1701-1900 Wellcome L0058631.jpg
Victorian mourning brooch

After the death of a beloved, a ritual of mourning applied for grievers. The ritual commenced from the day of the person’s death until at least one year after the death of the person. [3] During this time grievers were not permitted to wear shiny or reflective materials and must be entirely dressed in black, this was inclusive of clothes and jewellery. [3] In contrast, the second year of mourning permitted grievers to wear more subdued colours such as white or colourless materials, pearls and diamonds. [3]

Wearing mourning jewellery displayed the strong connection between a beloved and the deceased person. For this reason, the Victorian mourning period saw the development of personalised jewellery that were used as momentos. [3] Mourning jewellery often displayed initials or the names of the deceased and their date of death which were engraved into the jewellery in remembrance of the departed. [3] A mourning ring for the author Charlotte Brontë, for instance, was rediscovered in 2019 - it was inscribed with her name and death date (March 1855), and held a braid of her hair behind a locked panel. [11]

The symbol of eyes had a powerful significance in mourning jewellery. [3] A single eye was often included in jewellery such as brooches. [3] An eye signified a spiritual presence of the departed with the person who wore the jewellery, in this way the departed could watch over the person who was wearing the jewellery. Another element often incorporated into jewellery were pearls which represented tear drops. [3] The fashion of mourning jewellery gradually declined in 1901 following the death of Queen Victoria. [9]

Throughout the mourning period, there were two main materials that became frequently sourced in jewellery. In order to keep up with the demand for these materials sourced in mourning jewellery, imitations of these materials were discovered. [9] Some of these imitations include hardened rubber also known as “french jet”, black enamel and black glass. [9] The two main materials used to create mourning jewellery consisted of jet and black onyx jewels. [9] [10]

Jet jewels

Throughout the mid nineteenth century, jet was a material that was much sought after due to its use in mourning jewellery. Due to large demand for jet, in Whitby (England), a large industry was established. [9] The fossilised material, jet was valued because it was lightweight, intense black in colour, durable, inexpensive and could be easily carved. [3] [10] Jet was used to design mourning jewellery such as bracelets, necklaces, brooches, cameos and pendants. [9] [10] After the death of Prince Albert, Queen Victoria’s love of jewellery was less evident. The Queen mostly wore jet jewels, hair jewellery containing the prince’s hair and her wedding ring. [1] [9]

Black onyx jewels

Black onyx necklace Black Onyx Necklace 12.jpg
Black onyx necklace

Black onyx was also commonly used to make mourning jewellery. Black onyx otherwise known as black-dyed chalcedony, was a material mostly used in constructing cameos and was used in beadwork. [3] [9]

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">Victorian fashion</span> Fashions and trends in British culture during the Victorian era

Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion.

<span class="mw-page-title-main">Mourning</span> Sorrow (and its conventional manifestation) for someones death

Mourning is the expression of an experience that is the consequence of an event in life involving loss, causing grief, occurring as a result of someone's death, specifically someone who was loved although loss from death is not exclusively the cause of all experience of grief.

<span class="mw-page-title-main">Tiara</span> Jeweled head ornament

A tiara is a jeweled head ornament. Its origins date back to ancient Greece and Rome. In the late 18th century, the tiara came into fashion in Europe as a prestigious piece of jewelry to be worn by women at formal occasions. The basic shape of the modern tiara is a (semi-)circle, usually made of silver, gold or platinum, and richly decorated with precious stones, pearls or cameos.

<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 jewelry 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">Jet (gemstone)</span> Mineraloid and minor gemstone

Jet is a type of lignite, the lowest rank of coal, and is a gemstone. Unlike many gemstones, jet is not a mineral, but is rather a mineraloid. It is derived from wood that has changed under extreme pressure.

<span class="mw-page-title-main">Parure</span> Set of jewelry

A parure is a set of various items of matching jewelry, which rose to popularity in early 19th-century Europe.

<span class="mw-page-title-main">Charm bracelet</span> Chain bracelet on which collectible charms may be hung

A charm bracelet is a type of bracelet which carries personal jewelled ornaments or "charms", such as decorative pendants or trinkets. The decorative charms usually carry personal or sentimental attachment by the owner.

<span class="mw-page-title-main">Hair jewellery</span>

Hairwork, or jewelry or artwork made of human hair, has appeared throughout the history of craft work, particularly to be used for private worship or mourning. From the Middle Ages through the early twentieth century, memorial hair jewelry remained common. Hair, considered to be a remnant off the person it was cut from, also has often played a part in myths and legends; in a Swedish book of proverbs, one can read that “rings and bracelets of hair increase love”. One example can be found in Denmark, at Rosensborg’s palace, which is a bracelet of precious metal with a simple braided lock of hair - a gift from King Christian IV (1577-1648) to his queen. Another example would be the rings commemorating the execution of King Charles I of England (1600-1649), which circulated among his faithful supporters. Other famous people who owned hair jewelry include Napoleon, Admiral Nelson, Queen Victoria and her large family, Christina Nilsson and Jenny Lind.

<span class="mw-page-title-main">Mourning ring</span> Type of finger ring

A mourning ring is a finger ring worn in memory of someone who has died. It often bears the name and date of death of the person, and possibly an image of them, or a motto. They were usually paid for by the person commemorated, or their heirs, and often specified, along with the list of intended recipients, in wills. Stones mounted on the rings were usually black, and where it could be afforded jet was the preferred option. Otherwise cheaper black materials such as black enamel or vulcanite were used. White enamel was used on occasion particularly where the deceased was a child. It also saw some use when the person being mourned had not married. In some cases a lock of hair of the deceased person would be incorporated into the ring. The use of hair in mourning rings was not as widespread as it might have been due to concerns that the hair of the deceased would be substituted with other hair.

<span class="mw-page-title-main">Jewels of Elizabeth II</span> Historic collection of 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">Wedding dress of Queen Victoria</span> Dress worn by Queen Victoria at her wedding to Prince Albert in 1840

Queen Victoria of the United Kingdom married Prince Albert of Saxe-Coburg and Gotha on 10 February 1840. She chose to wear a white wedding dress made from heavy silk satin, making her one of the first women to wear white for their wedding. The Honiton lace used for her wedding dress proved an important boost to Devon lace-making. Queen Victoria has been credited with starting the tradition of white weddings and white bridal gowns, although she was not the first royal to be married in white.

<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.

<span class="mw-page-title-main">Roman jewelry</span> Jewelry worn in Ancient Roman

Ancient Roman jewelry was characterized by an interest in colored gemstones and glass in contrast with their Greek predecessors, who focused primarily on the production of high-quality metalwork by practiced artisans. Extensive control of Mediterranean territories provided an abundance of natural resources to utilize in jewelry making. Participation in trade allowed access to both semi-precious and precious stones that traveled down the Persian Silk Road from the East. Various types of jewelry were worn by different genders and social classes in Rome, and were used both for aesthetic purposes and to communicate social messages of status and wealth. Throughout the history of the Roman Empire, jewelry style and materials were influenced by Greek, Egyptian, and Etruscan jewelry.

<span class="mw-page-title-main">Scottish jewellery</span>

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. Jewellery has a history in Scotland dating back to at least the Iron Age.

<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">Jewelry of the Swedish royal family</span>

Jewelry of the Swedish Royal Family is the set of ceremonial jewels been owned by members of the Swedish royal family or by the Bernadotte family foundations. The Swedish national regalia, which have a symbolic meaning and are not to be regarded as jewelry, are, on the other hand, owned by the Swedish state.

<span class="mw-page-title-main">Jewels! The Glitter of the Russian Court</span>

Jewels! The Glitter of the Russian Court was the second jubileum exhibition in Amsterdam by the Hermitage Amsterdam, focussed on the personal taste for luxury by Russian nobility. The show, which was planned to run from 14 September 2019 to 15 March 2020, suffered from the pandemic and was extended twice, ending finally 16 October 2020.

References

  1. 1 2 Gere, Charlotte (2012). "Victoria & Albert Love and art: Queen Victoria's personal jewellery" (PDF).
  2. 1 2 3 4 5 6 7 8 9 Arnold, Jean (2011). VICTORIAN JEWELRY, IDENTITY, AND THE NOVEL : prisms of culture. Routledge. pp. 1–32.
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  8. 1 2 Lutz, Deborah (2011). "The dead still among us: Victorian secular relics, hair jewelry and death culture". Victorian Literature and Culture. 39 (1): 127–142. doi:10.1017/s1060150310000306. ISSN   1060-1503.
  9. 1 2 3 4 5 6 7 8 9 10 11 12 Magulis, Marlyn Irvin (2002). "Victorian mourning jewelry". Antiques & Collecting Magazine. 3: 20–23.
  10. 1 2 3 4 5 6 Carvalho, Luís Mendonça de; Fernandes, Francisca Maria; Nunes, Maria de Fátima; Brigola, João (2013). "Whitby jet jewels in the Victorian age". Harvard Papers in Botany. 18 (2): 133–136. doi:10.3100/025.018.0206. hdl: 10174/10071 . ISSN   1043-4534.
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