NOW
& THEN
Memento
Mori
THE
THEMES OF DEATH AND THE PASSING OF TIME ARE ASSOCIATED WITH THIS
TYPE OF JEWLELERY.
DEATH
WHY
‘Death Jewels’ became particularly popular during the
C16th, being worn as a remembrance of ones OWN inevitable death.
It was expressed in art, literature and jewellery. Plague, bad sanitation,
poor medical treatment and wars resulted in their being many deaths
and many realised death could come knocking at any time.
WHAT
DID THE JEWELLERY LOOK LIKE
Various motifs were used including skeletons, skulls, cross bones
and coffin. The late C16th early C17th rings tended to have the
skull enamelled onto a flat bezel. By the C18th designs were becoming
more intricate with three dimensional enamelled skulls being produced
which in some cases could swivel. Fashions changed quickly and the
skulls forming the bezel were loosing popularity by the end of Queen
Anne’s reign in 1714
PASSING
OF TIME
WHY
This theme was popular as it expressed how our time could run out
at any time.
WHAT
DID THE JEWELLERY LOOK LIKE
The scythe and hour lass were popular symbols. In the C16th it was
common for watches to be turned into pendants, this emphasised the
importance of time. Skulls, skeletons and coffins were also popular
to express the passing of time.
Gradually
over time from the C16th Memento Mori Jewellery was adapted to REFLECT
THE LOSS OF A SPECIFIC LOVED ONE, referred to as mourning jewellery.
MOURNING
JEWELLERY
Early mourning jewellery was very similar in design to Memento Mori
jewellery. Many would leave instructions in their wills for a quantity
of rings to be made and distributed to specific people in remembrance
of the deceased.
Early
rings would be simple in design. Plain gold band with a skull, bones,
skeleton depicted in black and white enamel. Inscriptions, dates
and initials would be engraved on the inside of the band Inscriptions
on the outside of the band – often in raised gold –
were influenced by French design. This was popular until the Neo-classical
period in the last quarter of the C18th. It is during this time
that the jewellery becomes more delicate and concentrates less on
ones own morality but more on love and sentiment. By this time more
people were dying at a very young age and consequently young love
and mourning were often felt at the same time.
Neo
classical influences in mourning jewellery in the eighteenth century
Virginal and unmarried states were represented by white enamel or
ivory and by 1750 had also become popular for memorial jewellery.
Neo-classical fashions were particularly popular at this time.In
1742, Edward Young published “Night Thoughts on Life, Death
and Immortality” which fuelled the popularity of memorial
jewellery.
The shocking motif of a skull representing death was replaced by
more subtle representations. These included scenes of sorrow and
the contemplation of death such as – standing by an urn with
or standing alone, a sorrowful women. These images became quite
elaborate, decorated with seed pearls and gold detail.
Hair was often incorporated into designs – sometimes incorporated
as a tree representing the “Tree of Life” often seated
with a spaniel representing comfort.
Popular Mourning Motifs
“Not lost but gone forever”
“Fate lost her early to the pitying skies”
“I have your portrait strongly”
Crystal
covered hair pendants with gold initials over the hair were popular
as they were made to commemorate Charles I. Royal blue or turquoise
silk decoration denoted rank.
Heart
shaped mourning pendants start to be seen in the middle
of the C18th. The most common design being an enamel border around
a crystal under which a lock of hair was placed. Other popular subjects
were classical scenes painted on ivory or enamel. Through allegorical
subjects people were really looking at death from the side and reflecting
on the sorrow that it left behind, rather than staring death straight
in the face.
Hair
started to be incorporated in the picture rather than just as a
lock of hair under the crystal. Hair would be used to make it look
like a tree either as the tree of life or as a weeping willow. Brown
sepia or grey was used to draw the rest of the picture and colour
the hair. Pictures may have included a young widow stricken with
grief leaning against the tomb under the willow tree. Urns and brooks
symbolised eternity.
Mottos were also used such as “not lost but gone before”
.
The
Painting of the pictures is often referred to as “en grisaille”
ie painting in one colour, normally grey
VICTORIAN
MOURNING JEWELLERY
This style of jewellery continued until the Victorian period when
death and remembrance became extremely popular. Queen Victoria was
very strict regarding memorial jewellery and unfortunately led to
the public no longer enjoying memorial jewellery because of the
high mortality rate and spending most of their lives in mourning,
but also the design became less intricate.
An
interesting example of mourning jewellery from the early period
is in the Victoria and Albert Museum. It commemorates the death
of Princess Amelia on 2 November 1810. She was not only the youngest
but also the favourite daughter of George III. The initial A is
surmounted by a crown on black enamel and bordered by white enamel
(white enamel was used since C17th to reflect virginity) bearing
the inscription ‘remember me’ This sad loss is said
to have contributed to the madness of the king.
Coiled
Serpent
Symbol of eternity
When associated with turquoise seen as a talisman – protection
against poison or evil spirits
Jet
Used as early as the C16th but used extensively in the C19th.
Whitby jet documented as being exported to Italy in the C11th.
French Jet
An imitation of Whitby jet – not jet at all but glass which
shows purple tinges around the edges
Hairwork
Romantic remembrance and physical link to a loved one
C18th images included a weeping willow made of hair then plaited
and incorporated into the jewel. By Victorian period hair jewellery
was a fashion in its own right.
Many manufacturers of hair jewellery were unscrupulous and substituted
the original hair for a strangers or even worse used horse hair.
Popular books to consult were
“Lock of Hair “ by Alexanna Speight, “A Jewellers
Book of Patterns in Hairwork” by William Halford. By 1860’s
and 70’s not just enough to incorporate the hair into a design
but now popular to make a whole item of jewellery with hair. Particular
popular in France as well as England
Lyre
motif – attribute of Apollo as patron of poetry,
music and leader of the Muses
Apollo was one of the 12 gods of Olympus and was the embodiment
of the classical Greek Spirit, standing for the rational and civilised
side of man’s nature. He is portrayed as the most handsome
and physically fit.
Popular
motifs and materials used for mourning were
Pearls – associated with tears
Serpent – associated with eternity often appeared around the
edge of bezels.
Hair
The forget-me-not – popular from the 1830s often carved in
black and white onyx and then set into brooches and rings.
Now
& Then runs from 17th July to 28th September 2008.
Salts Mill is open weekdays from 10am – 5.30pm and weekends
10am – 6pm. For further information call 01274 599790.