whole group is a special development within the British Isles of the art of the mid-European Early Iron age, which in its turn had been considerably influenced by early Mediterranean culture. In its early stages its special marks are combinations of curves, with peculiar central thickenings which give a quasi-naturalistic effect; a skilful use of inlaid enamels, and the chased line. After the introduction of Christianity, a continuous tradition combined the old system with the interlaced winding scrolls and other new forms of decoration, and so led up to the extreme complexity of early Irish illumination and metal work.
A remarkable group of gold ornaments of the pre-Christian time (probably of the 1st century) was discovered about 1896, in the north-west of Ireland, and acquired by the British Museum. It was subsequently claimed by the Crown as treasure trove, and after litigation was transferred to Dublin (see Archaeologia, lv., pl. 22).
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Fig. 29.
Figs. 29 and 30 are illustrations of two brooches of the latest period in this class of work. The first is 13th century; the latter is probably 12th century, and is set with paste, amber and blue.
Rings are the chief specimens now seen of medieval jewelry from the 10th to the 13th century. They are generally massive and simple. Through the 16th century a variety of changes arose; in the traditions and designs of the cinquecento we have plenty of evidence that the workmen used their own designs, and the results culminated in the triumphs of Albert Dürer, Benvenuto Cellini and Hans Holbein. The goldsmiths of the Italian republics must have produced works of surpassing excellence in workmanship, and reaching the highest point in design as applied to handicrafts of any kind. The use of enamels, precious stones, niello work and engraving, in combination with skilful execution of the human figure and animal life, produced effects which modern art in this direction is not likely to approach, still less to rival.
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Fig. 30.
In fig. 31 illustrations are given of various characteristic specimens of the Renaissance and later forms of jewelry. A crystal cross set in enamelled gold (a) is German work of the 16th century. The pendant reliquary (b), enamelled and jewelled, is of 16th century Italian work, and so probably is the jewel (c) of gold set with diamonds and rubies. The Darnley or Lennox jewel (d), now in the possession of the king, was made about 1576–1577 for Lady Margaret Douglas, countess of Lennox, the mother of Henry Darnley. It is a pendant golden heart set with a heart-shaped sapphire, richly jewelled and enamelled with emblematic figures and devices. It also has Scottish mottoes around and within it. The ear-ring (e) of gold, enamelled, hung with small pearls, is an example of 17th century Russian work, and another (f) is Italian of the same period, being of gold and filigree with enamel, also with pendant pearls. A Spanish ear-ring, of 18th century work (g), is a combination of ribbon, cord and filigree in gold; and another (h) is Flemish, of probably the same period; it is of gold open work set with diamonds in projecting collets. The old French-Normandy pendant cross and locket (l) presents a characteristic example of peasant jewelry; it is of branched open work set with bosses and ridged ornaments of crystal. The ear-ring (j) is French of 17th century, also of gold open work set with crystals. A small pendant locket (k) is of rock crystal, with the cross of Santiago in gold and translucent crimson enamel; it is 16th or 17th century Spanish work. A pretty ear-ring of gold open scroll work (m), set with minute diamonds and three pendant pearls, is Portuguese of 17th century, and another ear-ring (n) of gold circular open work, set also with minute diamonds, is Portuguese work of 18th century. These examples fairly illustrate the general features of the most characteristic jewelry of the dates quoted.
During the 17th and 18th centuries we see only a mechanical kind of excellence, the results of the mere tradition of the workshop—the lingering of the power which when wisely directed had done so much and so well, but now simply living on traditional forms, often combined in a most incongruous fashion. Gorgeous effects were aimed at by massing the gold, and introducing stones elaborately cut in themselves or clustered in groups. Thus diamonds were clustered in rosettes and bouquets; rubies, pearls, emeralds and other coloured special stones were brought together for little other purpose than to get them into a given space in conjunction with a certain quantity of gold. The question was not of design in its relation to use as personal decoration, but of the value which could be got into a given space to produce the most striking effect.
The traditions of Oriental design as they had come down through the various periods quoted, were comparatively lost in the wretched results of the rococo of Louis XIV. and the inanities of what modern revivalists of the Anglo-Dutch call “Queen Anne.” In the London exhibition of 1851, the extravagances of modern jewelry had to stand comparison with the Oriental examples contributed from India. Since then we have learnt more about these works, and have been compelled to acknowledge, in spite of what is sometimes called inferiority of workmanship, how completely the Oriental jeweller understood his work, and with what singular simplicity of method he carried it out. The combinations are always harmonious, the result aimed at is always achieved; and if in attempting to work to European ideas the jeweller failed, this was rather the fault of the forms he had to follow, than due to any want of skill in making the most of a subject in which half the thought and the intended use were foreign to his experience.
A collection of peasant jewelry got together by Castellani for the Paris exhibition of 1867, and now in the Victoria and Albert Museum, illustrates in an admirable manner the traditional jewelry and personal ornaments of a wide range of peoples in Europe. This collection, and the additions made to it since its acquisition by the nation, show the forms in which these objects existed over several generations among the peasantry of France (chiefly Normandy), Spain, Portugal, Holland, Denmark, Germany and Switzerland, and also show how the forms popular in one country are followed and adopted in another, almost invariably because of their perfect adaptation to the purpose for which they were designed.
Apart from these humbler branches of the subject, in the middle of the 19th century the production of jewelry, regarded as a personal art, and not as a commercial and anonymous industry, was almost extinct. Its revival must be associated with the artistic movement which marked the close of that century, and which found emphatic expression in the Paris international exhibition of 1900. For many years before 1895 this industry, though prosperous from the commercial point of view, and always remarkable from that of technical finish, remained stationary as an art. French jewelry rested on its
