Meyer Franz. A Handbook of Ornament
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JEWELRY.
491
The
Bracelet.
Plate
276.
492
The Bracelet.
—
The Girdle,
the Buckle,
and Clasp.
9.
Bronze, found near Ladenburg,
United
collections,
Carlsrulie.
10.
From
portrait,
16
th century,
Gotha,
(Luthmer).
11.
Venetian,
16 th
century,
(Mothes).
12. Javanese,
black wood, United
collections,
Carlsruhe.
13
—
15.
Modern Egyptian, silver.
Grand Ducal
Landesgewerbeballe,
Carlsruhe.
16.
Modern,
(Gewerbehalle).
17.
Modern, by
Dir.
A. Ortwein, Granz,
(Gewerbehalle).
The
Girdle, the
Buckle, and Clasp.
(Plate
277.)
The
Girdle was
originally used by men
to suspend
weapons
from; and by
women to
confine the clothing at
the waist;
later -on,
it
was worn
merely as an
ornament, or to carry
pouches,
fans,
scissors,
&c.
Its form is
either that of
the Chain-girdle (comp.
Plate
274),
or
Bands of
leather
or
textile
material are decorated
by ornaments
of
metal sewed or
threaded
-
on.
Particular attention is usually given
to
the
fastening,
which
is generally a
Clasp or Buckle (figs.
1, 7,
8
and
15).
The
Agraffe (Lat. agrappa) or
Hook, and
the
Buckle are
applied to
other purposes
besides
fastening
Girdles; the
former are
used
as
fastenings for garments;
the latter
on the straps of weapons,
harness, &c.
The Buckle is
complete in
itself,
consisting
of a
ring
or hoop with
a movable
pin; and the
fastening is done by
pushing
the pin
through a hole in
the leather or
textile band
(figs.
2,
4
and
5).
The Clasp consists
of two parts,
generally symmetrical,
one
of
which
can be hooked
into the other
(figs.
9
—
13).
Clasps
and Buckles are
both old
inventions; and are
found in very
early times. As
they are
objects of
practical use
rather than
ornament,
they
are
more often
made of the
common than
of the precious
metals.
The terminations
of
clasps are
mostly designed as
free
•
endings
,
which
gives them a
certain
similarity
with decorated
hinges.
Plate 277. The
Girdle,
the Buckle,
and
Clasp.
1.
Greek
Girdle,
gold
and
hyacinths,
tomb in
Ithaca.
2.
Ancient
Italic or
Roman Buckle,
bronze,
United
collections.
Carlsruhe.
8.
Roman Clasp,
silver,
(M6nard
et
Sauvageot).
4.
Alemannic, Buckle,
bronze,
found
near Mosbach,
United
col-
lections, Carlsruhe.
5.
Mediaeval' Buckle,
Scandinavian,
(Weiss,
Kostiimkunde).
6.
Gallic Girdle,
St.
Germain
Museum,
(L'art pour
tous).
7.
Gothic Buckle,
15th
century,
from a
picture,
municipal
mu-
seum,
Cologne,
(Luthmer).
JEWELRY.
493
8.
The Girdle, the
Buckle,
and Cliisp. Plate 277.
494
The Girdle, &c.
—
The
Pendant.
8.
Renascence
Girdle,
17
th century,
National
Museum,
Munich,
9.
Renascence Clasp.
10. Renascence Clasp,
National
Museum,
Munich.
11. Renascence Clasp,
Kunstgewerbemuseum,
Berlin,
(Gewerbe-
halle).
12
—13.
Barocco
and Rococo
Clasps,
National
Museum,
Munich.
14
Modern Norwegian
Girdle,
brass
and
leather.
United
collec-
tions, Carlsruhe.
15
Sumatran
Girdle
-
fastening,
silver,
United
collections, Carls-
ruhe.
The
Pendant.
(Plate
278.)
Pendants
are
among the
most beautiful
of articles
of
adornment.
Their forms
and uses, are manifold. We
find
them as Lockets, with
and without
symbolic meaning; as
Ornaments for
the hat
and
the
biretta;
as "Charms" on watch-chains, and,
less richly finished,
on
Harness.
The
Pendant is naturally designed
on the principle
of the
fiee-ending.
Sometimes it. assumes the form of
the Cross, the
Me-
dallion,
the Votive -tablet, or the Monogram.
It serves as a setting
for
gems,
miniatures, coins, &c. It offers
the proper field for
all
kinds
of little banging
ornaments; and
for
the full display of the gold-
smith's
versatile skill.
Examples
of exceptional
beauty have been
transmitted
to
us by the
Antique,
and still more
so
by
the Renascence.
Not
only did the first
artists of
this
period
occupy
themselves
practi-
cally
with such
things; but they designed
numerous patterns for them,
e.
g.
Hans Holbein,
in
his
sketchbook
for Henry VIH, of England.
We can
only offer a small selection from
the copious material.
Plate
278.
The
Pendant.
1. Egyptian, gold
and
enamel,
(Racinet).
2. Gold, found
in
Rhodes, Louvre,
Paris, (M6nard et Sauvageot).
3.
Greek, gold filigree, found near
Kertsch, Hermitage,
St.
Petersburg,
(Kunsthandwerk).
4.
Etruscan,
gold, Campana collection, (L'art pour tous).
5.
Ancient
Italic, bronze.
United collections,
Carlsruhe.
6.
Turkish,
harness in
the Booty
of
Prince
Ludwig
of
Baden,
United collections, Carlsruhe.
7
—
9. Renascence, (Hefner-Alteneck).
10. Renascence,
1637,
Exhibition,
Carlsruhe, 1881.
11.
Empire
period, gold
filigree, collection
of Prof. Marc
Rosen-
berg, Carlsruhe.
12.
Renascence, Antique
cameo set
in
enamelled gold
and
jewels,
Paris,
(L'art pour tous).
JEWELRY. 495
The
Pendant.
Plate
278.
iBB
The Pendant
—
The Ear-ring.
13.
Renascence,
by Hans
Brosamer,
(Formonschatz).
14. Renascence,
by Hans
Holbein.
15
—16.
Renascence,
by
Hans
Holbein,
(Formenscbatz).
17. Renascence, (Luthmer).
18.
.
Renascence,
17
th century,
Silver coin,
set.
19.
Renascence,
by
Julius
Bernic,
(Luthmer).
20.
Modem,
(Blatter fiir
Kunstgewerbe).
21
—23.
Modern,
(Zeitschrift
des
Kunstgewerbevereins).
24.
Modern,
(Gewerbeballe).
25.
Modern,
French.
The Ear-ring.
(Plate
279.)
The
custom of wearing
Ear-rings as articles of
adornment seems
to be of
ancient oriental
origin; and
to
have penetrated
tlirough Asia
Minor
to the civilised
countries of the West.
It has been practised
from the
earliest times
by
the Arabs, in Spain, and
in Sicily.
Both
sexes, among
the ancient
.
Germans and Gauls,
decked themselves
with
Ear-rings. As
the wearing
of
them implies
either that the ear
must
be pierced or the
ornament hung
on to
the
ear, .neither of
which
processes
.
are particularly aesthetic;
the custom has fallen out of
fashion,
and become obsolete.
The
forms
in general, are two: the
Ring
and the Drop.
The
Rings
are either not quite closed (figs.
1,
3, 9,
and
10);
or
they
are fastened by a catch of one kind or ano-
ther
(figs.
7,
14,
20,
21,
and
31).
Drops, usually
terminate
in a
wire loop
by
which they
may
be
suspended (figs.
6, 16, 16,
26,
27,
29,
and
30).
As these objects must be
light,
they are
generally
o
delicate
form, and modest dimensions,
manufactured
of the
precious
metals,
in
sheet
or wire-filigree. As
Pendants
they have the
character
of
free -endings, frequently consisting of
different moveable members.
The standard examples
are
furnished by the Antique
and the East.
Plate
279. The
Ear-ring.
1
—3.
Egyptian, (Racinet).
4
—
12. Etruscan,
Louvre, Paris, (Racinet).
13.
Greek,
in the form of a siren, gold, found
in
Itbaca.
14
—21.
Roman, National Library, Paris,
(L'art poirr tons).
22.
Bronze, found near Niedereggenen, Baden,
United collections
Carlsruhe.
as. Old Prankish.
24. Renascence, from portrait,
castle
at
Gotha,
(Luthmer).
25. Louis XVT,
gold
of various
colours,
(Racinet).
26
—
27.
Modern,
by
Dir.
A.
Ortwein,
Graz,
(Gewerbeballe).
28
—29. Modern, Tunis, United collections,
Carlsruhe.
JEWELRY.
497
Meyer,
Handbook of
Ornament.
The
Ear-ring.
Plate 279.
32
498
JEWELRY.
Plate 280.
Miscellaneous
Jewelry.
Miscellaneous
Jewelry.
499
Miscellaneous Jewelry. (Plate
280.)
Final!
J,
we may mention
a
number of articles of
adornment
which,
from
their nature, are less generally used; either
because they
are
worn only by
certain persons, or that, as objects
for daily
use
they only
fall
within
the category
of
decorative
objects
when they are
richly finished. Among them are
decorations for the
head, for
example, the
Diadem,
Bridal
and
other
Chaplets, Insignia of
Orders
of
Knighthood, Combs, Scent -bottles. Seals,
Needle-cases,
&c.
The so-called
"Chatelaine", was in common use in
the Middle
Ages;
and has
been
revived lately.
It
is suspended from the belt or some
other part
of
the
dress; and
is furnished with hooks, from which
Bags,
Keys,
Fans, Scissors, Watches,
Scent
-
bottles,
&c.
may
be hung
(figs.
7, 8,
13
and
14).
We may also add Spangles,
which were
sewed
as
a decoration on garments
in
the
Aoitique; and
sometimes in
later periods (fig.
3).
We
give
a few examples
of these
objects,
without
any
pretension
to
system or exhaustiveness.
Plate 280.
Miscellaxeous Jewelry.
1. Egyptian Diadem, gold
incrusted
with
gems and enamel, with
the badge of King
Amesis.
2.
Greek Head-dress,
gold-plate, found
in Mykenae,
(Bliimner).
3.
Greek Spangle, ornament
of
a dress from Mykenae,
(Bliimner).
4.
Greek Diadem, gold, found
near Kertsch,
Hermitage,
St.
Peters-
burg, (Kunsthandwerk).
5.
Renascence,
Smelling-bottle,
as
Pendant.
6. Barocco, Smelling-bottle.
7
—
8.
French Chatelaines,
18
th
century,
(Racinet).
9
—
10.
Barooco, Seals,
Exhibition,
Carlsruhe,
1881.
11.
Modem,
Needle-case, in
anchor-form
as
a Pendant,
private
collection, Carlsruhe.
12.
Modem,
Comb, (Gewerbehalle).
13.
Modem,
French,
Chatelaine,
(Gewerbehalle).
14.
Modem, Chatelaine,
by Dir. A. Ortwein,
Graz,
(Gewerbehalle).
32
«
p.
HERALDRY.
Heraldry has
so
many
points of contact
with Ornament that it
cannot
be
omitted from a work
that deals
with
the
whole art of
Decoration.
Heraldry
includes both
the
science
and
the
art of armorial
bearings.
The former
contains the rules of
framing and
bearing
coats
of arms;
the latter
is the practical art of
"blazoning" or designing
and
depicting
such
coats.
Armorial
bearings are distinct Badges,
fixed
according to certain principles, which
individuals, families and
corporations
are
entitled
to
bear in perpetuity.
Armorial bearings
arose
during
the
crusades, towards the end of
the 11th century.
The elevation of the
nobles
into
a corporation,
the
addition of the
family
or surname
to the baptismal name, the peculiar usages of
Chivalry,
the custom of military
games and tournaments, are
all
closely
connected
with the introduction
of
armorial bearings.
Heraldry
as
a science did
not arise till
a later time (about the 18 th century).
Armorial bearings,
whose origin
is
contemporary with the custom
of
wearing
such
Badges, and
whose right to be borne was afterwards
tacitly recognised,
are distinguished
from
the later bearings, the right
to
bear which
was granted
by
Letters
-
patent from princes
or
their
plenipotentiaries.
Besides the
nobles, the right of armorial bearings
was
possessed by
other patrician,
though not noble, families. Their
bearings
have
frequently
arisen from monograms,
family
tokens,
and
trade
-
mai-ks.
The
inscription
on a coat
of
arms of
the
Fuggers
of
the
year
1382 runs:
"Dises zaichen,
wirt Vlrich
Fugger,
vorbemelten
Hansen
Fuggers
Bruder,
gepraucht
haben,
Welchs hernach Jacob
Fugger, des
namens
der
erst, angenommen,
und
das sambt seinen