Meyer Franz. A Handbook of Ornament
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JEWELRY.
481
Meyer,
Handbook
of
Ornament.
The
Pin.
Plate
271.
31
•
482 The Pin.
—
The
Button.
27.
Modern,
French, Filigree
work with pearls and brilliants,
•
(Gewerbehalle).
28
—33.
Antique, bronze, United
collections,
Carlsruhe.
34
—
35. Etruscan,
Gold.
36.
Elxuscan, spiral
-brooch, bronze,
United
collections, Carlsruhe.
37.
Modern, (Gewerbehalle).
The Button.
(Plate
272.)
The objects, which we have
here classed as Buttons, serve
va-
rious
purposes.
They
appear
as
Pendants
to necklets and similar
things,
as
BullsB (an antique pendant like
an
amulet
with symbolic signifi-
cance),
as Ornaments of Belts, Garments,
Harness,
&c.,
and as
Buttons,
in the
strict sense of the
term,
for fastening
garments. According
to
its
uses, the Button takes
the
form
of
the
sphere, the hemisphere, or
the disc.
As
a Pendant
it
resembles
a drop
with
the character of a
free-ending (fig.
26).
One end is then furnis,hed with a ring by
which
it may
be suspended or sewed-on. The double-buttons
or
Links,
shown in figs.
1,
14 and 27 form a special subdivision. The principal
materials are again
the metals, enamelled, damaskeened, set with gems,
or as
filigree-work. Buttons
are
also manufactured
in
ivory, mother-
of-pearl,
amber, glass, and similar materials;
discs of
wood
are covered
with
silk, and metal threads, adorned with
gold -foil,
&c.
Standard
examples are furnished
by the Antique, the Renascence, and
many
Modern national
costumes, while the modern
wholesale
factory
-made
Button
has
scarcely any
artistic
value.
Our
examples
have been
taken
from the periods named
above; and are mostly the same size as the
originals.
PiATE 272.
The
Button.
1.
Antique,
double-button, gold. United
collections,
Carlsruhe.
2
—3. Etruscan,
gold
with gems and
pearls.
4, 5, 6,
7, 11, 12,
14,
15, 16,
17, 19,
27,
28 and 29. Buttons
and
double
-
buttons
of
various origin, of metal, %vith fiUgree-
work, enamelled,
&c.
In
the
possession
of Prof. Marc
Rosenberg, Carlsruhe.
8
—
9.
Renascence, gold, enamelled and
set
with pearls,
Regalia,
Berlin,
(Luthmer).
10.
Renascence, from
a belt.
13.
Modem, filigree.
18.
Renascence,
enamelled.
National
Museum, Munich
20
and
23. Buttons by a
Frankfort maker of the 18th century, in
the
collection
of Mr. J. Werneck,
Frankfort,
silk,
gold-
thread and foil, (Kunsthandwerk).
JEWELRY.
483
20.
»
The
Button.
Plate
272.
31*
484
The Button.
—
The Ring.
21.
Renascence,
the gallery
Schleissheim,
(Luthmer).
22
and
24.
Renascence, from pictures
in Worlitz
and Gotha,
(Luthmer).
25.
Indian, silver filigree, from
Sumatra, United
collections,
Carlsruhe.
26. Modern, pendant of a necklet,
(Gewerbehalle).
The
Ring.
(Plate
273.)
The
Finger-ring
is
universally employed
as an article of personal
adornment; and
it is
one which has
been worn by both sexes at al-
most all times, and in almost all countries. The manner of wearing
it
was determined partly
by
fashion, partly
by
edicts.
Sometimes it
was considered good taste to wear only a single ring, at other times
both hands were covered with rings; it is worn sometimes under, and
sometimes over the
glove;
plain,
comfortable
forms give way
to
monstrous shapes; sometimes it is purely
ornamental, sometimes
it
has a symbolic significance, as in the wedding
ring
(a
legacy of
heathendom
to Christianity); sometimes it is a token
of dignity,
as
in
the
fisherman's
ring of the Pope, and of
Emperors, Kings,
&c.
The form is
manifold.
The Signet -ring,
formed partly of a
single
piece
(fig.
4),
partly
of a hoop in which
a
cut
gem revolves
(fig.
1),
occurs in the Egyptian style. Spiral rings
with the serpent
motive (figs.
7 and
8),
and rings opening on one side
(fig.
12),
are
not rare in the Antique. Besides these: other
forms appear,
which
are still
popular.
Sometimes
the upper side
was
broadened to
receive
some
ornament
or a gem (figs.
5, 9, 10,
13),
a method
which was
used
in
the Renascence
(figs.
20^29),
while the Middle
Ages
preferred
cylindrical,
ribbon
-
like
bands
(figs.
14
and
16),
and
architectural
motives
(fig.
17).
It
was
reserved for Modern times to give
the
Wedding-
ring
its smooth, convenient, but
artistically
unimportant
form. The
predominant material is
gold. Niello, enamel, pearls,
and gems,
are
used for
its
further
decoration. The
ring
has
frequently
given rise
to artistic freaks,
e.
g.
where two or three
separate
rings are so
constructed that they
may
be
interlocked.
Plate
273.
The
Ring.
1
—3.
Egyptian,
signet, (Menard et Sauvageot).
4.
Roman, signet,* found in
the Crimea.
5.
Egyptian, with
enamel and two
horses in free relief.
6. Egyptian, with
pierced work,
(Racinet^.
7—8.
Greek.
9
—10.
Roman, found in
the Crimea.
1 1 Etruscan,
gold,
Vulci, (Bliimner).
JEWELRY. 4S5
The Ring.
Plate 273.
486 The
Ring.
—
The Chain.
12.
Pompeian.
13.
Ancient
Italic.
14 and 16.
So-called
"Jewish
wedding- rings",
15th and
16th cen-
turies,
collection of the
late architect
Oppler,
Hanover
(Luthmer).
15.
Renascence,
with cut onyxes,
Collection in
Cassel,
(Luthmer).
17.
Gothic, 13th
century,
(Mothes).
18.
Renascence,
enamelled,
representing the
Fall
of
Man.
19.
Renascence,
with clasped
hands.
20.
Renascence,
from
a
picture,
dated
1572,
Museum,
Cologne.
21.
Renascence, Museum,
Sigmaringen,
(Luthmer).
22
—
23. Renascence,
from pictures
at Gotha
and
Darmstadt,
(Luth-
mer).
24.
Renascence,
from a picture,
Germanisches
Museum, (Luth-
mer).
25 and 27. Renascence,
private
collection,
Mainz,
(Luthmer).
26.
Renascence,
Hildeshcim,
with
niello -work,
(Luthmer).
28, 29, 31,
and 32.
Renascence,
(Hefner-
Alteneck).
30
and
32.
Renascence,
after Hans
Mielich,
Middle
of the
16th
century.
The
Chain. (Plate
274.)
Chains
are an
interesting
chapter in
ornament.
The task of
art
here is to
treat
the
stubborn
metal in
such
a way
that
it
will pro-
duce
flexible,
easily
-
moving
forms,
which
shall
still
be
absolutely
unyielding
to
tension.
This is
done by
the system of
links.
Rings,
perforated discs,
balls
with
an
eye,
<fec.,
are
linked
together in
appro-
priate ways to
form a
whole.
In
the
common
Chains
of everyday
use,
nothing but
strength
and
flexibility are
expected;
in
ornamental
chains,
attention
must be
paid to
the
artistic effect.
This is
sought
to be
attained, less by
lavishing care
on
the single
link,
than
by
an
elegant
rhythmic sequence
of
links
of different
kinds, by
effective
alternations of form,
size,
and
treatment- (comp.
Semper
II,
p.
497).
Chains used
for personal
adornment,
at
least as
far
so
they are of
artistic
consequence,
are
almost
always like a
Band.
All the
figures
of
the Plate
belong to
this class,
with
the
exception
of figs.
6,
8»
11,
and 16.
The
arrangement
may be
such
that
the
chain,
held
horizontally, is
neutral,
that is,
of the
same
design
upwards and
downwards,
right
and
left
(figs.
1,
4,
1*5,
17,
18);
or it
m.ay
have
an *up
and down"
(figs. 9
and
13);
it
may also have
a
lateral direction,
in which case
it is
chiefly
used to
suspend
objects
(figs.
3,
10,.
and
12).
Chains
are
sometimes
made
tapering
towards
the end,
which
is
done
by
making
each
successive,
link
smaller
than the
preceding.
The ends
of chains
terminate
in
Hooks,
Eyes,
Rings, &c.,
according
JEWELRY.
487
The
Chain.
Plate 274.
^
488 The
Chain.
—
The Necklace.
to
their
use,
as Necklets and
Belts, or to suspend
Watches, Bags,
SuioUing-bottles, and similar articles.
Heraldic
and
symbolic elements
are
often found on
Chains
of
Orders
and
Office, something like tig.
12.
The size and material vary with the
purpose. The
materials arc the
precious and ordinary
metals, sometimes with gems and pearls, enamel,
niello, and filigree-work.
This last seems to
be
especially suited
for
chains, as it readily conveys the
idea of being light and flexible.
Plate
274.
The Chain.
1.
Egyptian,
(Racinet).
2.
Etruscan,
LouvrOj
Paris, (Racinet).
3.
Greek, filigree, found in the Crimea,
Hermitage, St. Peters-
burg,
(Kunsthandwerk).
4. Etruscan, bronze
spirals. United
collections, Carlsruhe.
5.
Antique, bronze.
United collections,
Carlsruhe.
6.
Gallic,
bronze.
7.
Indian, silver filigree, from
Sumatra, United
collections, Carlsruhe.
8.
Small prismatic, from
Sumatra,
United
collections, Carlsruhe.
9.
French,
Chain-belt, 16th
century,
Sauvageot
collection,
(L'art
tous).
10. Renascence, from
a Chatelaine,
with
enamel
and pearls.
11
—
12. Renascence,
gold, Griines
Gewolbe,
Dresden.
13
—
15.
Renascence,
H. Holbein.
16. Pierced
ellipsoid links,
Griines
Gewolbe.
17. Renascence, exhibition,
Carlsruhe, 1881.
18. Modern.
The Necklace,
or
Necklet.
(Plate
275.)
The Necklace has
always been a
favourite
article of
feminine ad-
ornment.
It is
worn
either alone
or
with a
pendant.
Three
classes
may
be distinguished.
The first
is a
ring,
consisting
of a
clasping
hoop with
or
without a
pendant
(figs. 7
and
8),
and
mostly used
by
savage
peoples. The
second is
formed
of
links in
a
similar
manner
to
the chain^belt
(fig.
10).
The
third,
and at
the
same
time
the
most
perfect
form,
is
that in which
a row
of
pendants
hangs
from
a cord
or a slender
chain,
and
encircles
the neck,
thus
giving
expression to
the idea
of a free
pendant ending
as
well as to
that
of an
encircling
band.
Striking artistic effects
may be
obtained by
the
rhythmic
alter-
nation of the links, and by a
tapering
from
the
middle
towards
the
ends.
Egyptian and Antique necklets
are
frequently
constructed
on
this
principle; as are also the
neck
ornaments
of
primitive
peoples,
who replace the pendant by
shells,
shining
insects,
corals,
or
the
teeth
of animals.
Sometimes the three
classes
are
combined;
it
is
not
rare
JEWELRY.
489
The
Necklace.
Plate
275.
490
The
Necklace.
—
The
Bracelet.
to find several
necklets
of different
circumferences worn
one above
the
other; and
producing
a good
effect. Metal, precious stones,
pearls,
&c.,
play the
chief part
in
Necklaces.
Plate 275.
The
Necklace.
1. Egyptian, with
enamelled
pendant,
(Menard
et
Sauvagcot).
2. Egyptian, with
golden flies
(symbolic), (Menard
et
Sauvageot).
3.
Antique,
with
stamped
sheet-metal
ornaments, found in
Rhodes,
(Menard
et
Sauvageot.)
4. Egyptian,
(Menard
et Sauvageot).
5. Etruscan, gold,
Campana
collection, Paris, (L'art
pour tous).
6. Oriental, gilt silver
filigree,
(L'art pour tous).
7.
Old
Italic, Neck-ring,
bronze. United
collections, Carlsruhe.
8. Barbaric, Neck-ring,
iron,
from
the
White
Nile, United collections,
Carlsruhe.
9.
From portrait,
Henry
VI,
of England.
10.
From portrait,
1572,
municipal
museum, Cologne,
(Luthmer).
11. Filigree.
12.
Modern,
(Gewerbehalle).
The Bracelet.
(Plate
276.)
The Bracelet, which
is now exclusively
an
articlr
of
feminine
adornment,
was
formerly
worn
by
men also, not merely
on the wrist
as at the present day, but
on the arm too. But even the
Antique
considered this custom, and
that of wearing
bangles on
the
ankles,
to be
a
relic of
barbaric
times.
Bracelets are
either
closed rings
or
bands (figs.
9
and
11);
or they are open
on
one side
(figs.
2, 6,
8,
13 and
14);
or
rolled spirally
(figs. 3 and
7);
or, finally, the
bracelet
may
be a
closed chain with
a greater or lesser number of
links
(figs.
10
and
16).
Another
division is formed by the twisted example
(fig.
5).
As
the Bracelet
is an object
of
some size,
it
is, more
fre-
quently than other ornaments,
made
of silver rather
than of
gold; the
Antique
shows a
preference for
bronze.
Plate 276. The Bracelet.
1.
Egyptian, pierced
-
work, (Menard
et
Sauvageot).
2. Assyrian, bronze. Louvre,
Paris, (Bliimner).
3
—
4.
Roman,
found in Pompeii.
5.,
Antique, (M6nard
et Sauvageot).
6.
Bronze,
found near Ladenburg, United collections,
Carlsruhe
7.
Spiral wire, United
collections,
Carlsruhe.
8.
Bronze, United
collections, Carlsruhe.