Nineteenth Century Jewelry Part I

To some, nineteenth century jewelry, although containing some very dainty and charming pieces, seem to “bring before our eyes a hideous vision of hair bracelets, slabs of moss-agate in coarse settings, and heavy gold chains, almost massive enough to restrain an unruly elephant. Such things certainly form a very large part of the ornaments which appealed to Victorian taste, but also we find other classes of work which, while it never reaches a very high standard, yet has merits of its own.” At least MacIver Percival thought so in 1901.

It is instructive to read further of MacIver Percival’s insights and comments written over a century ago on jewelry of the nineteenth century. It is helpful to be able to view the photos, water colours and sketchings of the many antique treasures of the past.

It is in France that we must seek the history of the origin of the nineteenth century modes, as we have of those of the eighteenth. The English might fight and fear Boney, but, nevertheless, it was from across the Channel that the fashions came, so that we shall note the social changes in France that led to alteration of taste

there. It was during the years of the Directory, 1795-99, that a different style of jewellery began. Out of it was afterwards evolved the style known as the Empire. It is, in a way, merely an accentuation of the taste for the antique, to which during the last half of the eighteenth century the pendulum had been swinging back, as a recoil from the vagaries of the rococo, but now it was carried to the most exaggerated lengths ; instead of the refined severity that had preceded it (which was always tempered with a little hint of a lurking frivolity), we find a coldness and formality of design which leads to poverty of effect. There was a great lack both of gold and stones, for the purpose of ornament. Either the emigres had taken them out of the country, or those who owned them were afraid of displaying anything which might tempt the cupidity of an enemy. So almost the only stones used were cheap ones, either such things as moss-agates and other pebbles, or stones cut as cameos in the antique style. These were mounted in settings of low-grade gold and its substitutes, such as Pinchbeck. The whole idea of fashionable costume was to get as near the antique model as possible. An elaborate affectation of classic simplicity led to ladies appearing in public in extraordinary (and somewhat indelicate) adaptations of Greek and Roman draperies. Naturally the sparkling prettinesses of the former regime, made to be worn with delicate laces and voluminous brocades, were felt to be unsuitable for the exceedingly sparse covering in which the fair citoyennes chose to disport themselves. The ornaments of this date are more quaint than pretty, and their value lies more in their interest as a “footnote to history,” than in any particular artistic merit.

It will no doubt appear strange that in such a short time we should pass from workmanship of the very highest class to pieces which are, from a craftsman’s point of view, beneath contempt, for it is astonishing how thorough the change was. To a certain extent, no doubt, jewellery of the old styles still continued to be made for a time, but there was no great demand for it even in England, for it was the time when there was a wave of feeling in favour of ” Jacobinism and Equality,” while in France of course, anything that savoured of the aristocrat was anathema.

Many of the best workmen were scattered to other countries; many had lost their heads, for it was a dangerous matter to have served the aristocracy even in a humble capacity. Probably the real cause lay in the fact that in France the principle of apprenticeship was done away with definitely in 1791. The system had, of course, led to many abuses, but at the same time it did ensure that before a man set up a workshop for himself, he was at least a capable workman. This new arrangement brought about a very different state of things. Instead of men brought up from their youth to the knowledge of their craft, and with traditions of good workmanship behind them (amounting sometimes to an almost religious reverence for honest attention to minor details), another class pushed to the front.

The old workmen who remained were unwilling or unable to carry out the new ideas, so contrary to all they had learnt and taught, and thus other more adaptable workers who had found the task of learning the groundwork of their trade thoroughly too great drudgery, were enabled to set up establishments of their own, being unfettered by any restrictions. They were willing to do work (and to do it cheaply) in the new fashion, and their workmanship satisfied clients who had not been brought up to appreciate delicate niceties of craftsmanship. The result is we can identify the work of the time by the absolute breaking away from all previous traditions. A great deal was made, but not very much remains. Earrings were large and round, or consisted of a simple setting surrounding glass or shell cameos. Clasps for the girdle and pseudo-classic head ornaments were a special feature. The state of the general industry in Napoleon’s time was rather more satisfactory, and the work is better and the materials used are often of the richest. But we feel the lack of the instinct of the true jeweller for ornament. The jewels of this period seem calculated to display wealth and splendour, rather than to accentuate the wearer’s beauty or dignity. The old firms attempted to reorganise their workshops on the old plan in order to carry out the new fashions, but failed to make headway. The new firms often had considerable knowledge of classical art, but artistic taste, however cultured and refined, is a poor substitute in matters of applied art for sound craft knowledge. A travelling Hindu goldsmith knowing nothing outside his trade would be more likely to design a really beautiful ornament than a Royal Academician who knew nothing of processes, tools, or materials.

Continued: Nineteenth Century Jewelry Part II

Tagged as: 19th century, Bracelet, brooch, Earrings, georgian, history, jewelry, MacIver Percival, Regency, Victorian