After the collapse of the Roman Empire in 476, its western territories were occupied by Var tribes who had their own distinctive culture. Jewelry styles of medieval culture are interesting for modern man richness of ornamental and decorative forms, dynamism and expressiveness of compositional solutions of products. So:
Jewelry styles - Middle Ages
Photo: Celtic style jewelry
Ornament is the most characteristic element of Celtic culture: it covered the surfaces of many objects. Celtic ornaments are characterized by abstraction, which consists of fantastic interweaving of its elements with the rare inclusion of images of real objects. It was forbidden to arbitrarily change the elements of the ornaments, since it was believed that they were bestowed by the gods and had magical powers: the weaves symbolized the spiritual and earthly Path of man. Each image was a magical sign. Thus, birds were considered heavenly messengers and each of them had its own omen: the dove was a symbol of love and spirituality, the partridge was cunning, the heron was vigilance, etc. The hare was a symbol of prosperity and abundance, snakes were the owners of healing powers, fish were the personification of the Highest wisdom, horse is an emblem of fertility goddesses, etc. Celtic crosses symbolize the union of earthly and heavenly forces, the inner circle of which depicts their consolidation.
The most popular Celtic decorations were brooch buckles, bracelets, crosses and torcs - neck torcs, which are a massive metal hoop.
The mystery and complex intricacies of Celtic ornament fascinate, leaving no one indifferent. All over the world, jewelry in the Celtic style is very popular, and, often, their copies are made without transforming the ornamental forms: they look surprisingly modern and do not require any changes!
Viking style jewelry
The Vikings, or Varangians, were fearless medieval sailors whose homeland was the northern lands: the territories of Denmark, Sweden, and Norway. Viking art left a deep mark on culture due to its originality and spread in the process of conquering new lands.
Viking jewelry was made primarily from silver, bronze, copper and Arab coins; gold was rarely used. Brooches, massive hryvnias, chains with pendants, and bracelets were popular.
Photo: Viking style jewelry
Viking ornaments, which were used to cover all household items, and not just jewelry, had zoomorphic motifs and included images of highly stylized animals with unnaturally twisted bodies. In addition, images of plants, leaves, and curls were used in ornamental compositions, but the “animal style” was decisive.
The number of jewelry a woman had indicated the wealth of the family: if the husband’s income was 10 thousand dirhams, then the wife had one precious chain on her neck, if it was 20 thousand dirhams, then two jewelry, etc.
Viking style jewelry is at the height of fashion in 2011. Alber Elbaz, creative director of Lanvin, has developed a collection of jewelry inspired by the unusualness and originality of Viking art. The collection is based on such features of Viking jewelry as their massiveness and volume, shapes, colors that evoke associations with old copper and bronze, as well as imitation leather, which was actively used in jewelry, but has not survived to this day.
Gothic style jewelry
The Gothic style in cultural history is characterized by the flourishing of crafts, including jewelry. Gothic style jewelry - necklaces of large relief shapes made from a round gold rod, chains with pendants, agraphs, rings, belt buckles.
Agraphs are decorations connecting the edges of the neckline, replacing brooches. They were often given by knights to their lovers, so the theme was appropriate: motifs of pierced hearts, entwined hands, keys, flowers, engraving of love inscriptions.
Rings acquired particular significance: they were worn by everyone in large quantities, since the precious stones of the inserts were amulets. The symbolism of Gothic stones was highly revered: they were valued for their size, richness of color and ascribed power. In the late Gothic period, agraphs and rings were decorated with enamels with religious themes.
And a new way of life. There was a split in society, serfs and feudal lords were formed. Culture was in decline, and the main factor became land and rights to it.
The Crusades, which began in the 11th century, contributed to the emergence of new trade routes and the development of various crafts. All this gave impetus to the formation of new cities and the formation of urban culture. What did they wear in the Middle Ages? We will talk about this in today's article.
Main characteristics of a medieval costume
The costume of the Middle Ages reflected the social status of a person, his belonging to a certain stratum of society, class.
During the early Middle Ages, fabrics were produced on the estates of feudal lords from flax, wool, and sometimes hemp was added to them. Rich feudal lords could afford silk outfits purchased from overseas merchants.
The color of medieval clothing was a kind of symbolism. So, for example, executioners wore red robes. They tried to avoid yellow shades in clothing, as they were considered the colors of hatred and betrayal. Black personified not only grief and loss of a loved one, but also eternity. The color white was associated with purity of body and soul, innocence, as well as virtue. Blue was the color of tenderness, and gold was considered a symbol of the energy of God and the Holy Spirit.
Gained great popularity among the nobility green color, which was associated with the embodiment of the Gardens of Eden, and was also considered a symbol of hope.
Differences between the costumes of the poor and the rich
The styles of the medieval period did not differ in any variety; the cut of dresses and suits of rich and poor representatives of this era differed only in the fabrics used. But rich feudal lords and nobles tried in every possible way to stand out, using belts embroidered with precious stones, expensive noble fabrics and other decorations.
The rich people of the Middle Ages wore bright clothes, while the clothes of the poor consisted of suits in gray, black or brown tones. The edges of the costumes of the rich were framed with a decorative border; this border was often decorated with plates of precious metals and stones. All the clothes of rich people of the Middle Ages were decorated with various ornaments and trimmed with fur.
The ideal of beauty that medieval women strove for
How did girls dress in the Middle Ages? In the early medieval era, representatives of the fair half of humanity were forbidden to demonstrate their beauty, so women's clothing was loose suits, under which the outlines of the body were not visible. The woman's hair was completely tucked under her cap, and there should be no paint on her face.
In addition, that representative of the fair sex who had an elongated face, a high forehead and a humble look was considered beautiful. In those years, many women, in order to make their faces appear elongated, shaved their hair near the forehead, as well as their eyebrows. The presence of protruding breasts was considered a sign of women from the people, and aristocrats were supposed to be thin and completely flat.
Women's attire of the early Middle Ages
Medieval women's clothing is characterized by straight lines and simple cut. The women's arms, legs, neck and chest were completely covered. The influence of the church was also visible in the styles of clothing, which completely hid all the outlines of the figure. At this time, women wore dalmatics and veils.
The women's costume consisted of several layers: a long tunic with narrow sleeves, called a kott, was put on the body, and on top of it was another tunic of the same length, but with wide and shorter sleeves, called a surcoat. It was cut like a poncho. The lower tunic was also worn not on the naked body, but on a special linen shirt - a kamiza.
These tunics looked like trapezoids, which widened towards the bottom, and the upper part was secured with a belt. The waistline of the upper tunic was high.
The outerwear of the fair half of humanity in this era was an elongated cloak, tailored in the shape of a semicircle.
Men's clothing of the early Middle Ages
During this period, men also wore two tunics (kamiza and cotta). The kamiza was made from one-piece fabric and had long sleeves, while the kott tunic was made from expensive materials and had shorter sleeves or no sleeves at all; it was always belted.
At the beginning of the Middle Ages, men wore short shirts and tunics, and in the middle of the ninth century long tunics, almost reaching to the ground, came into fashion. Short tunics remained the prerogative of only young men and commoners.
As outerwear, men in the Middle Ages also used a semicircular cloak, which had a clasp on the right shoulder.
Changes in women's costume during the Romanesque period
In the twelfth century, the surcoat tunic began to be draped in the abdominal area, especially for the outfits of pregnant women, since in the era of wars and rampant diseases, Europe was in dire need of replenishing the population and pregnant women were given special honor.
The outer dress became narrower, fitting at the waist, and had lacing in the form of ribbons on the sides or on the back. But the skirt began to expand thanks to sewn-in wedges, which formed beautiful wide folds. This dress had long sleeves, often reaching to the ground, but the belt lost its original role and became an exclusively decorative element, which was now located on the hips.
The outer clothing for women of the Middle Ages still remained cloaks, which now had bright colors. The inside of such a raincoat was lined with contrasting fabric, and in cold weather - with fur.
Women wore only long dresses (blio), covering the entire body, from the neck to the very bottom. A narrow vest was worn over the blio, which both acted as an element of decoration and helped support the chest. The vest was decorated with embroidery and galloon trim.
Knight costume
The basis of the costume of a medieval knight was chain mail, which was worn over a felt caftan. The chain mail consisted of closely woven steel rings. The knight's gloves and stockings were also made from steel rings.
To protect themselves from the sun and bad weather, knights wore a surcoat over their chain mail. The sword and shield were integral parts of a knight's costume, thanks to which the knight could repel blows in battle. The defender's head was crowned with a round helmet.
The owner's coat of arms was depicted on the outside of the shield; it could be an animal or a mystical character. At the end of the twelfth century, feudal coats of arms began to be applied to shields, which then became family ones.
Also an invariable attribute of the knight was his beard; it was divided into several strands, which were sometimes entwined with a golden cord.
Fashion of the Middle Ages: Gothic period
During this period, the first generally accepted fashion trends appeared, which all representatives of the European nobility had to adhere to. The Gothic era was marked by the heyday of Burgundian fashion, which dictated special rules:
- exaggeratedly long sleeves;
- uncomfortable clothing that interferes with any actions;
- shoes with long toes;
- hats of various fancy shapes.
The church at the legislative level divided costumes into women's and men's. However, no one was allowed to wear a costume of the opposite sex.
Now in aristocratic circles the headdress was not mandatory attribute suit. But commoners had to tidy up their hair; only a small strand could be left, shaped near the forehead in the form of a curl or a ring.
It is worth noting that during the Gothic period, clothes were made taking into account the characteristics of each person’s figure. All suits hugged the figure and emphasized the advantages of the silhouette.
Women's gothic costume
Waist women's suit in this era, it still remained overpriced, but an impressive neckline appeared. A completely open neckline was not allowed; it was draped with expensive fabric, in most cases transparent.
At this time, the most popular material for women's dresses was brocade, which was decorated with threads of gold or silver, various embroideries, pearls and precious stones.
Now women's dresses hugged the figure, starting from the shoulders and ending just below the waist, giving the woman grace. The sleeves of the upper tunic were shaped like a bell, and the lower ones fell almost to the ground.
The attire was valued for its rich decoration with precious stones and furs, as well as the use of gold jewelry (bells, bells). Aristocrats could have a train, but its length was clearly defined: the greater the status a woman had in society, the longer the train of her dress was.
Types of dresses of the Gothic period
The Gothic period brought into being two types of dress: a kirtle dress, the bodice of which was decorated with long lacing, and the sleeves were fastened separately, and a rob dress, which had a neckline, a full skirt, a belt under the bust and a train.
At this time, the first corset consisting of metal rods was born. However, its role was limited to giving the figure a look as if the woman was pregnant, since this time was marked by the cult of pregnancy. Some women even put small pillows under their dresses to make their bellies appear rounder.
The sleeves of dresses were attached to the outfit separately; they could have a narrowed shape and hide the thumb on the hand, or they could be very wide, draped with brocade and decorated with embroidery.
Over the dress, as in the early Middle Ages, women wore a surcoat or upeland, which appeared during this period. The latter was intended for celebrations and had a fur trim.
Hats
Often, women's headdresses were replaced by an intricately tied veil or a blanket made of light fabric that hid their hair. The way the veil was tied indicated the mood of its owner: if it covered the face, then the woman was sad, and if it was located only on the head, then she was in a good mood.
Men's costume during the Gothic period
The Gothic period was marked by the appearance of hose pants in the men's wardrobe, which were a kind of stockings, individually fastened to a special belt. These trousers fit tightly around the legs, and in front had a kind of codpiece in the form of a piece of fabric, also attached with pins or ribbons.
Men also used upeland as outerwear, which could be either knee-length or ground-length. Also, as outerwear, medieval men wore purpuen, which was a very narrow caftan with a bulge in the chest area. Thanks to him, the waist became narrow and the shoulders attractively wide.
In the later Gothic period, the wardrobe of men was replenished with a jacket, which was a shortened type of clothing with an emphatically narrow waist and something like a full skirt radiating from it. The sleeves of the jacket had slits for the arms and flowing ends.
What kind of clothes were worn in medieval Rus'?
The clothing of medieval Rus' for noble persons was the same as that of European aristocrats. Men from the people dressed in linen shirts and trousers made of coarse linen - ports. The edges of the shirt were decorated with various ornaments and images of amulets, and it was girded with a cord, and in holidays- painted belt.
Women wore simple long dresses and straight-cut sundresses made of the same coarse fabrics, and a long linen shirt was worn underneath. Married women wore a paneva over their dresses, which was a skirt made of several pieces of fabric, the hem of which was lavishly decorated.
Material from Wikitranslators
Earrings during Late Middle Ages were considered a sign of marginality; sometimes Jews, Muslims, prostitutes, executioners and criminals were forced by special decrees to wear earrings, thus demonstrating their isolation from “decent” society. Surprising as it may seem to us, fishermen were considered similar renegades, whom the “landers” looked upon with suspicion. Wearing an earring in the right ear was a custom among men in fishing villages.
However, at the end of the 15th century, “marginal” fashion began to become increasingly widespread. The wealthy strata of the city and countryside drew attention to the precious earrings, shrewdly discerning in this unusual decoration a way of profitable investment of capital. The fashion for earrings captured the entire society, and now marginalized people were prohibited from wearing earrings by special decrees. Doctors insisted that ear piercing was unhygienic and simply dangerous to health, but, as usual, without any success.
Rings made of simple metals for people of modest means, gold and silver rings for the wealthy strata of the city and countryside were a common decoration. It should be noted that in the Middle Ages, wearing a wedding ring was exclusively a female prerogative and extended to men no earlier than the 19th century. Rings were worn on all fingers, sometimes putting several on each; the fashion of wearing rings not only at the base of the finger, as is customary now, but also at the middle phalanx may seem somewhat unusual to us. Thumb rings were supposed to symbolize strength and power.
Smooth rings were relatively rare, and on the contrary, skilled jewelers from one piece of gold or silver were able to cast a ring in the shape of a waist belt with a buckle, or a heart attached to the rim. The rings were decorated with chasing and carved patterns. Signets were also known that were supposed to serve as an imprint on the wax with which the letter was sealed; such rings could bear the image of the coat of arms of their owner. Mottos, including love ones, were also common. A man’s ring with the word “The One” written on it has survived to this day. Rings with a precious or semi-precious stone in a frame were supposed to serve as talismans for the owner; the stones were prescribed the ability to maintain health, ward off troubles, help their owner in business, etc.
Bracelets, both men's and women's, were decorated with chasing or carved patterns depicting ornaments, plants, animals or birds. This is how the bracelet with squirrels is known, dating back to the 14th-15th centuries. Bracelets were worn as a sign of love; there are known cases when a knight, receiving a bracelet from his lady, put it on his left hand, pledging to fight for it with anyone who dared to answer the challenge.
| Rings, bracelets, earrings | ||||
 |
 |
 |
 |
|
| The ring on the thumb acted as a symbol of power and strength, a similar style was preferred by men from the aristocratic classes. Hans Memling "Young Man at Prayer" (fragment). OK. 1475. National Gallery, London |
Medieval fashion corresponded to both narrow and massive rings and rings with chased patterns and precious stones. Gerard David “Portrait of a Jeweler” (fragment). 1505. Kunsthistorisches Museum, Vienna |
Married woman she had to wear a wedding ring; others depended on her personal taste and family wealth. Rogier van der Weyden (workshop) “Portrait of a Woman” (fragment). OK. 1460. National Gallery, London |
Copper bracelet from the last years of the Middle Ages. England, 1500 or later. Private collection of Peter Reavill, England |
Earrings came into fashion in the last years of the medieval era. Francesco Ubertini "Sibyl" (fragment). OK. 1525-1550. Kunsthistorisches Museum, Vienna |
Highly prized in the medieval era necklaces remained mainly the prerogative of the propertied classes, although cunning servants, who did not want to lag behind their owners, sometimes ordered similar jewelry for themselves from cheap metals and glass “pearls”. The fashion of the early 14th century required complex and bulky shapes, woven from many chains, so wide that starting at the base of the neck they covered the shoulders and chest. Simple links intertwined with each other were interspersed with plant and floral motifs. To ensure that the necklace did not become crooked in any way or take an unattractive position, it was secured on the chest with a clasp. At the request of the owner or owner, pendants or bells were additionally attached to the necklace. However, at the beginning of the subsequent 15th century, short necklaces and chains became common for women, which no longer hid the neckline, and on the contrary, with their metallic shine, they set off the whiteness of women’s skin. Men soon also adopted the new trend, but until 1420, long necklaces were still found on a par with short ones, and finally, in the second twentieth century, short necklaces finally won. However, the “well forgotten old” managed to return in 1460-1480. when the threads of beads and interlacing chains lengthened again, as before, covering the shoulders and chest, only to then disappear until the end of the Medieval era.
There were so many whimsical forms and varieties of this decoration, beloved by the aristocracy, in those days that it is not possible to classify them. Most likely, a lot depended on the individual taste or whim of a particular customer. Thus, the simplest known form of “neck decoration” was a string of pearl beads. An expensive necklace could consist of two or more threads with pearls strung on them, sometimes the pearls were interspersed with other precious stones matched to match; the string of pearls could end in a pendant or pendant. For those who could not afford pearls, which were quite expensive, there were artificial varieties, however, made quite crudely. These were glass balls filled with mother-of-pearl from the inside. On the other hand, unlike genuine pearls, artificial ones could be given any shape, which women of modest means readily used.
Gold and silver chains were also in fashion, usually double-row, with metal links interspersed with enameled ones. Such a chain was often accompanied by a cross or pendant richly decorated with enamel and precious stones; in addition, at the owner’s request, additional decorations could include embossed or enameled leaves and the usual bells. Also, heavy gold chains were an indispensable attribute of the order's vestments - thus, the knights of the Order of the Golden Fleece have maintained the custom on special occasions of wearing a forged gold chain with a pendant in the shape of a tiny lamb skin made of cast gold.
And finally, the same cross, pendant or pendant could be worn on a silk or satin ribbon, and finally, the original type of “necklace” was a leather or woven scarf, no less lavishly decorated with precious stones and hammered metal leaves.
| Necklaces | ||||
 |
 |
 |
 |
 |
| Long necklaces descending to the chest are characteristic of the 14th century. Neroccio de Landi “Portrait of a Lady” (fragment). OK. 1485. National Gallery, Washington |
Twisted necklaces were especially difficult to make. Braided necklace from the 15th century. Hans Memling “Portrait of Maria Portinari” (fragment) - “Tommaso and Maria Portinari” (diptych, right wing). OK. 1470. Metropolitan Museum of Art, New York |
Short necklaces that fit tightly around the neck were very fashionable in the first quarter of the 15th century. Rogier van der Weyden “Portrait of Isabella of Portugal” (fragment). 1445-50. Getty Museum, Los Angeles |
Pendants were usually worn on forged or twisted chains. Hans Memling “Portrait of a Young Woman” (fragment). 1480. Memling Museum, Bruges |
Men preferred neck chains, on which a pendant or sign of the order could be placed if desired. Rogier van der Weyden “Portrait of Philip the Good” (fragment). OK. 1450. Museum of Fine Arts, Dijon |
But the most unusual accessory of that time was, of course, bells(fr. grelots, or sonnettes). It was a purely noble decoration, covered with the glory of ideal chivalry. In one of the most famous novels of the courtly era, “Tristan and Isolde,” a magic bell is on a gold chain worn around the neck magic dog calmed worries and gave peace to everyone who heard its ringing, and therefore Queen Isolde, realizing that the bell was taking away her love, softening the pain of separation, gently removed it from the dog’s neck and threw it into the sea.
IN real life bells served as decoration for both heraldic and ordinary costumes. Fashionistas and fashionistas could not deny themselves the pleasure of attaching a bell to a glove, where it passed onto the forearm into a sharp wedge or to the bottom of a belt bag. However, there were even more dandyish possibilities, for example - ordering yourself to make a neck chain, on the links of which bells were attached at certain intervals, or in the same way attaching them to a belt, putting on a rattling bunch in the manner of a sword belt - from the shoulder to the opposite side, attaching the lower the end to the belt, either leaving it hanging freely, or lowering a long chain with bells from the belt to the knees, securing its second end to the back - again, the options depended solely on the imagination of a particular dandy or dandy.
La Hire, a comrade-in-arms of Joan of Arc, wore bells, for example, on his scarlet cloak; there are also references in documents dating back to 1369 about a certain rich man who ordered a gippon, to each clasp and button of which (not forgetting about the belt purse) should be attached on a silver bell. But everyone was eclipsed by the famous spendthrift, dandy and heartthrob - Duke Louis of Orleans, and the younger brother of King Charles VI, who ordered to make for himself in honor of the festive entry of his daughter-in-law - Queen Isabella of Bavaria into Paris " purple velvet... on the upper part of which, above the waist, there were forty sheep and forty swans, embroidered with pearls, while a bell was attached to the neck of each sheep, and each swan had the same bell in its beak" It’s easy to imagine what a deafening ringing all 80 bells made with every move of the high-ranking fashionista. Two more purpuens, made for the same holiday, were not so lavishly decorated, however, both were accompanied by a “rattling” neck chain.
| Bells | ||||
 |
 |
 |
 |
 |
| Silver bell. England, 15th century or later. Museum and art Gallery Derby |
A bunch of bells and a glove with a bell. Pseudo-Jacquemart “Three Dead and Three Living” (fragment) - “Small Book of Hours of the Duke of Berry” (Lat. 18014), fol. 282. National Library of France, Paris |
Belt bells on a woman's dress. Unknown artist “Portrait of Lisbeth van Duvenvoorde” (fragment). OK. 1430. State Museum, Amsterdam |
Drop-shaped belt bells. Master of prayer books around 1500 "The Lover and the Friend" (fragment) - "Romance of the Rose" (Harley 4425), fol. 67v. OK. 1490-1500. British Library, London |
Neck bells. Master Beaufort's Apprentice "A Cup of Poisoned Wine is Presented to Alexander" (fragment) - "The Book of Talbot Shrewsbury" (Royal 15 E VI), fol. 22v. 1444-45. British Library, London |
The medieval bell consisted of two interconnected hemispheres, sometimes polished and smooth, sometimes decorated with carvings or chasing. A slot was necessarily made in the lower hemisphere for better sound, and the upper hemisphere also necessarily ended with a metal ear, necessary for attaching to a dress. However, teardrop-shaped bells are sometimes visible on surviving miniatures. There was always a ball of metal or durable clay rolling inside, and sometimes just a small pebble.
Vladislav Shipilov. Copying is permitted for non-commercial purposes only.
As we know, periods in the history of art were associated with the culture of different historical eras: Renaissance, Baroque, Art Deco... And the history of jewelry is inextricably linked with each era.
So, we settled on jewelry that was created in the Middle Ages. What happened next?
The Middle Ages are replaced by the Renaissance.
Netherlands. Late 16th century.
Renaissance. The Renaissance is an era of search and revival of beautiful ancient traditions. Expeditions, travel and the beginning of world trade led to discoveries in technology, the emergence of new materials and, of course, the influence of stylistics different countries. If in the Middle Ages interest in gold predominated, during the Renaissance the main role was occupied by stones in settings. In the cache of a European jeweler of that time, emeralds from Colombia, topazes from Brazil, ionites from Sri Lanka, rubies from India, lapis lazuli from Afghanistan, turquoise from Persia, peridot from the Red Sea, opals from Bohemia, amethysts from Hungary were discovered.
Brooch "Leda and the Swan" Cellini, Benvenuto 16th century / Gold, lapis lazuli, pearls. Borgello Museum. Florence
In 1660, Jean-Baptiste Travernier brought the cursed “Diamond of Hope” to France. Antiquity becomes the leitmotif of all Renaissance jewelry: Greek and Roman gods, mythical characters, historical figures, philosophical topics. The products of jewelers of this time are a hymn to nature and man as its greatest creation; each of them is individual and unique. The increased popularity of themes of animals, birds, and plants, which were used mainly in the decoration of pendants, medallions and brooches, is significant. With the beginning of the period of great geographical discoveries, marine themes became popular, especially in Northern Europe: dolphins, mermaids and other sea creatures, ship pendants.
Cameo depicting Athena. Gold, chalcedony. Archaeological Museum
At that time, they wore a variety of massive chains and elegant chains, pendants, medallions, and many rings and rings. From the second half XVI centuries, men and women wore brooches and buckles on their hats, images of saints and monograms woven from the letters of the name. Ladies wore earrings in the form of flowers and pearls; men could wear one earring. Pendants were usually worn on chains, which themselves were a work of jewelry art: each link was a small composition of plant motifs or figurines, richly decorated with enamel and ornaments. In the 16th century, diamonds increasingly predominated in pendants. When combining diamonds with colored stones, colored foil was often placed under them.
Drop-shaped pendant with a crucifixion scene. Gold, amber, pearls; carving, enamel. Silver Museum
Florence. Belongs to the Medici treasures
Cameo with a portrait of Charles the Fifth. Leoni, Leone 1536 Gold, enamel, lapis lazuli, jasper
Height 6.3 cm Metropolitan, New York
The jewelry of Renaissance jewelers was marked by the completeness of the compositions, imagination, and their decoration - by careful elaboration. Jewelry acted as a kind of signs that revealed the social status of their owner; in their function as amulets, they had a magical meaning (even in ancient times, mystical influence was attributed to precious stones and metals).
Changes in jewelry design gradually spread from Italy to France and then to Germany and England, following the new style of painting and sculpture of the first half of the 16th century.
A. Dürer, H. Holbein the Younger, and Benvenuto Cellini turned to the creation of jewelry at the end of the 15th and 16th centuries. Thanks to the latter (and his Treatises on Sculpture and Gold Work by Benvenuto Cellini) we have a complete understanding of the techniques used by Renaissance goldsmiths. When Emperor Maximilian I of Habsburg married Bianca Maria Sforza of Milan in 1494 his court opened to Italian art . The spread of the Renaissance through the Holy Roman Empire was slow and gradual and Gothic jewelry continued to be popular until around the mid-16th century. However, German craftsmen adopted the Renaissance style in mid-century and their cities became important centers of production that attracted jewelers and designers from all over Europe. Augsburg became one of the main cities for jewelry production.
Materials. A direct sea route to India, discovered by Vasco da Gama in 1497-1499, allowed European merchants to obtain gems directly, which caused an influx of diamonds. Lisbon replaced Venice as the main trading center for Indian gemstones. Bruges, which was a major diamond center in the 15th century, replaced Antwerp, where the business flourished until 1585, when the city became embroiled in the 80 Years' War. Antwerp was blocked from accessing the sea this year, crippling international trade. Most diamond cutters moved further north to Amsterdam, which became, and remained, the new diamond center of Europe until the 20th century.
Gems also remained very popular: Sapphire, ruby and emerald, etc. Moreover, corundum was supplied directly from Sri Lanka. Of the rubies, Burma rubies were the most highly prized due to their purity of color. Pearls were extremely popular and were mainly sourced from the Persian Gulf.
Production. Favorite types of Renaissance jewelry included breast pendants and hat decorations. Cabochons were often used as material for them. irregular shape or a fancy pearl. imitation stones also flourished. Glass stones were common. Imitation diamonds made from glass, rock crystal or colorless zircon from Sri Lanka have also found their niche in the market. In Venice, the production of artificial pearls reached such a serious pace that city legislators were forced to strictly regulate all this: 10 years of exile and the loss of their right hand.
During the reign of the Medici, the art of stone cutting and the art of Florentine mosaics flourished. The Limoges enamel school became famous in France. In Germany during this period, in addition to precious stones, coconut shells and other exotic nuts, ostrich eggs, and nautilus shells were used in jewelry. Pearls and corals with mother-of-pearl were very popular in Germany.
Salamander pendant, Germany, 1575,
Victoria and Albert Museum
In the 16th century, the art of enamel portrait miniatures flourished. In the best works made using the technique of painted enamel, one is struck by the master’s subtle sense of composition: the original painting is used in organic connection with the shape of the object and its purpose. The bulk of objects created using the technique of painted enamel, in their style, already belong to the Renaissance. The external manifestation of the style of jewelry art of this time turned out to be the cult of antiquity. Using original items found during excavations, jewelers, when reviving items, do not leave them unchanged: using gold frames, gems and enamels as new decor, they give the revived items a brightness unusual for antiquity, which creates a feeling of richness of materials and decorative elements. The Hermitage houses a pendant in the shape of a boat, the body of which consists of a large irregularly shaped pearl. The edges of the pearl are dotted with tiny red and blue cabochons in an openwork gold frame. The sail and mast are made of gold with white opalescent enamel. The elegant lantern on the bow and the curl of the bowsprit are entwined with a thin web of filigree shrouds and ladders.
Such pendants on long chains are becoming the most fashionable decoration for both women and men. Cupids and angels, female figures, centaurs and dragons, ships and fantastic beasts on pendants do not look like just miniature sculptures.
Baroque.
Baroque is one of the most lush and picturesque historical styles, which gave way to the clear and restrained harmony of the Renaissance. But perhaps the Baroque style can be characterized even more accurately by the epithets “magnificent” and “solemn.” In the art of jewelry, the Baroque style received its most striking development in the works of French craftsmen, suppliers to the court of Louis XIV. This style is characterized, first of all, by bright pomp, expressiveness and cheerfulness. Ladies wrapped strings of beautiful pearls around their open necks, very fashionable in the Baroque era. Luxurious earrings with three girandole-shaped pearl pendants sparkled in her ears.
Bartholomeus Spranger, Bianca Capello. Grand Duchess of Tuscany (1548-1587).
Museum of Art History. Vein.
Pearls, very fashionable in the Baroque era, adorn the hair, ears and neck of a lady. Several rows of pearls are sewn around the neckline of her brocade dress.
The fashion of that time was favorable to expensive rings with rubies and emeralds, assigned to high castes. Precious buckles for clothes and shoes can serve as a sign of the times. The presence of numerous draperies in the costume required various pins. Previously, agraphs were used, but now they have been replaced by brooches, which first came into use in the Baroque era. Large decorative brooches, decorated with bright stones - emeralds, rubies, sapphires, pearls - decorated the neckline of the bodice and emphasized the lady's wasp waist. Small rosette brooches decorated with precious stones fastened the then fashionable numerous slits on dresses. But, perhaps, the most characteristic of the “luxury style,” as the art of this time is sometimes called, are openwork “brooches-slavages” strewn with stones - they were attached to a neck ribbon and accentuated by deep necklines. All brooches of that time, in accordance with Baroque fashion, had lush, strictly symmetrical shapes and were richly decorated with deep-colored precious stones.
"Baroque pearls" or baroque pearls.
Pendant "Hercules". France, around 1540.
The history of the origin of the term “Baroque” is interesting. As the researcher of art styles V.E. Vlasov wrote, “the slang word “baroque” was used by Portuguese sailors to refer to defective pearls of irregular shape, and in the middle of the 16th century it appeared in spoken Italian as a synonym for everything rough, clumsy, and false.”
Suspension. Hungary, 17th century. Hungarian National Museum - Budapest.
Somewhat later, French masters began to use the word baroquer quite widely, but in their dictionary it already meant “to soften, dissolve the contour, make the form softer, more picturesque.” As a term denoting a specific artistic style, the word “Baroque” came into scientific use only in the 19th century, and its etymology to a certain extent reveals the content of the style.
Pendant "Eagle and snake". France, 16th century.
Indeed, Baroque is one of the most lush and picturesque historical styles; it does not have that “correctness,” clarity and restrained harmony that are characteristic of works of the Renaissance.
Reinhold Vasters (German, Erkelenz 1827-1909 Aachen):
The Baroque style still evokes associations with pomp and wealth. The southern and northern seas abound with luxurious pearls of all shapes and colors - from perfectly round to luxuriously whimsical. Baroque pearls are born in shells caressed by underwater currents, and as if marked by the touch of sea waves, which gave the pearls fluid, dynamic outlines and plastic lines.
Pendant "Rooster". Hamburg, around 1600.
Baroque pearls (or baroque pearls) include all pearls that are “irregular,” that is, not round in shape. Pear-shaped and teardrop-shaped, ellipsoidal, oval, button-shaped or tablet-shaped - all these shapes are characteristic of baroque pearls.
Pendant "Dragon". Spain, 1500-1599
Each baroque pearl has a unique shape and a special, exquisite play of color - from sunny gold to sky blue.
Pendant "Swan". Netherlands, 1590s Collection of the Hermitage.
Baroque pearls are traditionally not as expensive as round pearls, but certain types of pearls are valued on a par with perfectly round pearls. For example, pear-shaped or teardrop-shaped pearls look great in pendants, earrings and tiaras. The ideal teardrop or pear shape is quite rare among baroque pearls. There are also celebrities among them. For example, the “Hope Pearl” weighs 90 grams with a color varying from greenish-golden to white. Its length is 51 mm, the largest diameter is 114 mm, the smallest is 83 mm. Or the pearl “La Peregrina” (Spanish for “incomparable”), famous for its bright white color and perfect pear-shaped shape (its diameter is 238 mm, weight 6,400 g). The history of this pearl is shrouded in mystery. According to the Guinness Book of Records, the gem laboratory in San Francisco valued the pearl at $40 million.
Pendant "Toothpick". Germany or Italy, 16th century. Collection "The Trustees of the British Museum".
A fairly large group of baroque pearls consists of sea pearls, whose shape resembles the silhouettes of various animals or objects: the back of a frog, the head of a horse, the wings of a bird, a dog’s tooth, or even the torso of a person and even his facial features. Such pearls are called paragons; miraculous properties have long been attributed to them. Paragons are traditionally set in gold and decorated with precious stones.
Pendant in the form of a sitting cat. Spain, late 16th - early 17th century.
The most popular decoration of the 16th century was the pendant. He replaced the brooches and brooches that had previously been in favor. Pendants were worn on necklaces, long chains, or pinned to a dress. Pendants were often made double-sided, decorated with precious stones on one side and an enamel pattern on the other. Pendants also became popular, which at the same time had practical use, for example, served as a toothpick or ear cleaner. The most interesting surviving pendant of this type is a pistol pendant with a retractable tooth- and ear-cleaner and scraper.
Pistol pendant, late 16th century, England. Victoria and Albert Museum
Pendant in the shape of a lamb with a flag - a symbol of Christ. France, 16th century.
Religious themes still remained in fashion: pendants in the form of a monogram of the name Jesus, miniatures depicting biblical scenes. Some decorations were designed to remind people of the inevitability of death. They were called “memento mori”, “remember death”.
Memento Mori pendant, England, mid-16th century.
Victoria and Albert Museum
Style and technique
Pendants with the initials of the wearer or his beloved were also popular.
Along with biblical themes, mythological subjects also appeared in jewelry: nymphs, satyrs, mermaids, dragons.
Reinhold Vasters (German, Erkelenz 1827-1909 Aachen)
Pendant "Mermaid" (everyone remember "The Pregnant Mermaid"?)). Europe, possibly 1860.
Suspension. Germany, mid-17th century. The Metropolitan Museum of Art.
Pendant "Lion". Spain or Germany or the Netherlands, second half of the 16th century.
Pendant "Neptune". Netherlands, early 17th century.
Pendant "Fortune". Probably Alfred André (French, 1839-1919).
Pendant "Centaur". Spain, late 16th - early 17th century.
Pendant "Parrot". Possibly Spain, late 16th - early 17th century.
Rings were worn on each finger, and sometimes several on one. Many rings had secret places in which aromatic herbs were usually hidden: in those days hygiene was poor, and if the bad smell was really bothering you, you could bring your hand with the ring to your nose and inhale the aroma of the herbs. Another popular decoration of that time, the pomander, had the same practical purpose. It was a small vessel in which ambergris and perfume oils were hidden. It was usually worn on a belt, which could also have mirrors and prayer books.
Another popular type of ring of the time was friendship and love rings. On the inside of such rings there was always some kind of romantic inscription, such as “my heart belongs to you” or “together forever.” There were also so-called Venetian rings: poison was hidden in them in order to take revenge on an unfaithful lover or to get rid of an unwanted person.
In those days, gemstones were believed to have healing powers. For example, sapphire was considered to cure skin diseases, and topaz supposedly relieved dementia. Therefore, talisman jewelry was popular, usually rings. Usually they were intended to prevent any disease, to ward off the evil eye.
Jewelry was now not only hung over the dress, but also sewn directly onto the fabric. Collars, bustiers, sleeves, a belt and a headdress, which in those days any self-respecting lady had to wear, were all decorated with sewn-on precious stones.
Men decorated themselves no less than women, and sometimes even more. Rings, brooches, chains, belt buckles and even earrings were necessary for an aristocrat to appear worthily at court. The English king Henry VIII was especially fond of jewelry. After his death, 234 rings, 324 brooches and a pendant with a diamond the size of a walnut remained, not counting 79 suits embroidered with gold, precious stones and pearls.
Famous brands periodically returned to the jewelry traditions of the Renaissance in their creations (the collections feature accurately recreated pendants, necklaces, brooches, earrings and bracelets made of metals of gold and silver tones with pearls and semi-precious stones), the products of which are considered collectibles today. Among them: Florenza, ModeArt, Hollycraft, West Germany, 1928. The latter, for example, thanks to an exclusive agreement with the Vatican Library, received the right to reproduce objects and jewelry from the collection of religious exhibits of the Vatican! Using these resources, the 1928 Jewelry Company created the Vatican Library Collection, a line focused on religious-themed jewelry. This inspired collection features bejeweled angels, crosses, crucifixes, clasped hands, rosaries, bookmarks and more.
In general, many of these companies' vintage jewelry collections were created to pay homage to the exquisite style and design of the Renaissance.
The history of jewelry begins with the advent of the first people who, regardless of race, religion or culture, used jewelry as a form of self-expression, thereby indicating their social status, wealth or membership in a certain circle. Based on archaeological findings, experts have concluded that the first jewelry was worn by Cro-Magnons, the ancestors of Homo Sapiens, 40,000 years ago. From time immemorial, it has been the case that the greatest passion for jewelry was experienced by women, who in ancient times used for this purpose “improved materials” such as bones, animal teeth, pebbles, shells, plants and much more. At the early stage of its development, humanity used this kind of decoration in its original form, that is, without applying or partially applying processing to them, but even then primitive. Through evolution, the materials and techniques used to make jewelry have evolved in many ways. Over the course of its existence, humanity has achieved incredible technical progress, but jewelry made in such a way as in primitive times amazes the imagination of our contemporaries. And jewelry made in the ancient manner, for example, beads or bracelets made from shells stretched on a string, which women have worn since time immemorial, is a fashion accessory that dominates jewelry fashion today.
The function that jewelry served, jewelry has changed over time, going from being used as a form of currency to a fashion accessory and finally to a form of artistic expression.
In ancient times, jewelry was jewelry with symbolic overtones; to a greater extent, they served as talismans; they were believed to be endowed with magical and spiritual properties. Having analyzed the course of historical development, the social and prestigious significance of jewelry pieces gradually begins to prevail over their religious and mystical function.
Egyptian jewelry
Many researchers are of the opinion that Egyptian jewelry laid the foundation for modern jewelry. This is no coincidence, because it is in Ancient Egypt jewelry production became a profession, and methods and skills made it possible to create jewelry of various styles and variable forms, which was achieved, accordingly, by expanding the range of materials used. Ancient Egyptian jewelry art was at a high stage of development, and the materials used were gold, amethyst, lapis lazuli, bronze, obsidian and emeralds, chasing, cold enamel, and engraving were used. Having mastered all the components of jewelry making, Egyptian jewelers created unsurpassed jewelry, the artistic forms of which are highly valued today. The favorite material of Egyptian craftsmen was gold; they adored its shine and valued it for its ease of processing. In Egypt, gold was considered a symbol of power and wealth; it was “worn” even after death. This is evidenced by numerous finds in the tombs of Egyptian pharaohs. Most of these finds are currently in the Cairo Museum.
Greek and Roman jewelry
Early Greek and Roman jewelry varied widely in style and form, having been "borrowed" from other cultures and neighboring countries. In Greek jewelry, cultural symbolism played a large role, since the jewelry of this period personified mythological, heroic and religious scenes from the life of the ethnos. Also during the time of Alexander the Great, miniature sculpture was common. Rome was a thriving center for the early development of jewelry craftsmanship, and the jewelry trade was considered coherent, which was not equal before the Renaissance in Europe. Jewelry was so common that even low-ranking people wore it; in Greece and Rome, wearing jewelry became a universal tradition. Gold, for example, was even used in decorating furniture and household items. The Romans are known to have used colored stones such as topaz, emerald, ruby, sapphire and pearl to make jewelry.
Medieval jewelry
With the adoption of Christianity in jewelry, cultural styles to some extent mixed with each other. Jewelry at this time was primarily items symbolizing the Christian faith. In the early Middle Ages, Christian monasteries were responsible for producing most of the world's jewelry. It was during this period that the monasteries supplied jewelry “goods” to the market and were engaged in the selection of jewelry craftsmen. The growing demand for jewelry led to the appearance of fakes, but with the formation of the first guild, such a rule as quality control of jewelry came into practice. It was with the formation of the first guild of jewelry makers that the history of the development of jewelry art and precious jewelry received a serious platform that contributed to its new development.
Renaissance Jewelry
Until the beginning of the Renaissance, jewelry served primarily as an expression of a certain symbolism, which was an integral part of religious and cultural beliefs. During the Renaissance, the roles of jewelry began to diverge, and they increasingly began to be used as body adornment, created solely for the purpose of enhancing a personal image of beauty. During the Renaissance, many famous people tried their hand at making jewelry, such great artist, how Leonardo da Vinci, starting his career, worked with famous jewelers of the time. It is also known that da Vinci, during his career, made jewelry for some famous people, who supported his artistic and inventive endeavors. The equally famous Renaissance artist Botticelli received his early artistic training in a jeweler's shop. All art during the Renaissance reached a new qualitative level. At this time, greater emphasis began to be placed on the beauty of precious stones, which were used to decorate jewelry, paintings and other works of art. People began to pay attention to the color of precious stones, their brilliance and radiance, holding less and less beliefs about their mystical function. For the first time in history, diamonds began to be used, which accordingly entailed a search for methods and approaches to its processing.
XVII–XX century
The increase in the welfare of the population and a chain of other social and economic factors contributed to the fact that precious metals, such as gold and silver, now became available to the lower strata of the population. WITH early XVII centuries of jewelry art, determine new trends that were caused by a genuine interest in flora and fauna, as a result of which jewelry creations begin to take on floral, ornamental forms. The fashion for them remained until the twentieth century. Other forms of jewelry were also used, such as animals, but plant decoration became the dominant theme in the works of jewelry makers. In the 17th-18th centuries, in the art of jewelry there was a growing interest in pictorial effects, which were largely achieved through embossed relief and complex color combinations of colors, the fashion for which was dictated by the Baroque style popular at that time. New, pompous, sometimes unusual jewelry was still in demand at that time and remained relevant until the middle of the 18th century, until the world was “conquered” by elegant, delicate, originally designed jewelry in the Rococo style. It was during the Rococo period that an assortment of jewelry developed, generally unchanged to the present day. Brooches and aigrettes in the form of bouquets and cascades are becoming fashionable; diamonds are becoming extremely popular; with the improvement of their processing methods, the classic diamond cut has appeared. By the way, watch production begins at this time. As for the twentieth century, it was marked by an incredible variety of trends in jewelry.
- Modern trends in jewelry
Today, jewelry is considered as a form of artistic expression, that is, in our time it is customary to talk about jewelry craftsmanship as an art. This trend continues to grow due to the development of production, the technological equipment of jewelry enterprises, the use of highly professional tools and the availability of those used in jewelry making materials. Significant improvements in technology mean that jewelry is built from readily available resources, as well as synthetic materials that rival the beauty of the most expensive natural gemstones and metals. These factors are the reason why the focus in jewelry began to focus more on design, creative and artistic expression. The changing fashion for jewelry leads to an increase in the rate of change in jewelry collections, which are now considered a form of self-expression. Modern jewelry trends, continuing to grow and develop, bring diversity and a huge contribution to the history of jewelry as a whole.