Classicism in the 19th century is just as precious to the collector of the 18th century. While the jewels that were produced were of a higher volume, their sentiment and design are just as important. It speaks to society's desire to connect with history, embrace its cultures, languages and strengths. Much in the same way that people travel today and collect a memento of their time abroad, the objects that returned sparked the imagination.
Jewels of regional Mediterranean cultures challenged modernity, leading to the popularity of cameos and intaglios. The archaeology that was discovered in around the Mediterranean led French and British designers to instil the elements of classical design in their jewellery. Etruscan, Roman, Greek, Assyrian, Egyptian and all the cultures that were under heavy excavation during the 1860s offered a new way of displaying sentimental language in jewellery design.
Carved shell cameo ring with Etruscan details. Note that the ring setting is contoured for the original carving.
While the sentimental jewels of this time often used a balance of cameo and woven hair to establish a sentimental connection between the wearer and beloved, mourning jewels adapted elements of classical design in a more subtle way.
This diminutive brooch benefits from the classical styling that also evolved from the 1840s in the Gothic Revival. Many design styles of the 19th century were picked and chosen for their aesthetic quality, rather than being a full replication of what was seen in the ancient world. 18th century designs copy much of the archaeological busts and art found in Herculaneum and Pompeii.
Neoclassical ring and a bust of Diogenes. Bust courtesy of Newel.
For the Gothic Revival, the late Baroque styles were chosen, but these evolved easily into the twisting, organic styles that emulate urn drapery seen in classicism. It also utilised the motifs seen for flora designs that could be seen in corinthian columns. Within this little brooch, 'IN MEMORY OF' cascades down the ribbon, much the same as drapery. The gold inlay morphs into the loose floral pattern, with the fleur-de-lis seen most prominently.
Five years before Victoria was crowned, jewellery with the motto ‘IN MEMORY OF’ was becoming an international sensation. Mourning jewels were being exported internationally for their cultural relevance in mourning. It is to note that Victoria was highly impressionable in her sentimentality, with her first birthday present being a heart shaped locket containing the woven hair of her mother, Princess Victoria of Saxe-Coburg-Saalfeld, and her father, Prince Edward, Duke of Kent and Strathearn. ‘In memory of’ had replaced ‘remember me’ as the popular epitaph of choice.
The Sydney Monitor (NSW : 1828 - 1838), Sat 7 Apr 1832, Page 1
Ladies' garnet, emerald, turquoise, pearl and ruby rings, richly set in chas'd gold, English weddings rings, Gentlemen's pure gold enamel'd mourning rings, (motto) in memory of - Gentlemen's belcher and other rings, Ladies' fine gold seals and keys with turquoise, garnet &c.
In the reverse, the woven human hair is still set under glass and worn over the heart or as a charm. If used in regular wear, it has survived quite well for a piece that would likely have hung from a chain.
It's amazing just how such a small and overlooked brooch can tell such a story about its time. This is why collecting can be the most fascinating joy, because it opens so many doors. It is affordable, easy to discover at many smaller vintage/antique stores or at auction. Because of its low grade value in gold, it has existed for us to enjoy today.
I hope you have many jewels that display 'IN MEMORY OF' and these jewels are shared so that they can live again.
