Antique 16th and 17th Centuries Earrings.
The Renaissance
During the 15th century in northern Europe the fashion for very elaborate and complex head coverings continued: the voluminous double horned headdress was extremely popular as well as the sugarloaf headdress hennine. In early Renaissance Italy this fashion subsided and the natural beauty of the hair was appreciated once more. This did not mean that very elaborate coiffures were not devised to enhance that beauty. Indeed a popular type of hair arrangement consisted of the hair drawn up into a chignon at the back with a wide band, a ribbon or a strand of pearls known as frenello encircling the head and usually decorated at the centre with a jewel in the form of a flowerhead cluster. With such an abundance of jewels on the head and with the ears concealed beneath the head-band, there was still no point in wearing earrings.
This can clearly be seen in the portrait of Battista Sforza (circa 1465) by Piero Bella P 36 Francesca, in which the Duchess displays a great number of jewels on her head, one fastened to the band at the top and three smaller clusters securing the very elaborate coil of hair placed over the ears. Also popular were rich be-jewelled hairnets placed at the back of the head with the hair combed over the ears and the stones set amongst the gold threads. An inventory of the jewels of Ippolita Sforza given to her on the occasion of her marriage to Alfonso of Aragon in 1465 mentions a net set with 89 rubies and 464 pearls. There was, therefore, no place for earrings. Even when no head jewels were worn the hair was left hanging down in curls over the ears. Throughout the 15th century in Italy, earrings are never mentioned in inventories.
After centuries of neglect, earrings begin to make a timid appearance in Italy around the 1530s, mainly prompted by a change in fashion in hairstyles in favour of parting the hair at the centre and drawing it away from the face which was framed by a padded roll. The design of the new earrings was fairly simple: usually a plain gold hoop with a single pearl drop. This type of earring is depicted frequently in contemporary portraiture but hardly any examples survive. This is because pearls are one of the few organic materials employed in jewellery, and, unlike gemstones, they only last about 300 years.
Another design for which there is pictorial evidence can be seen in a portrait, by Moroni of the mid-to-late I 500s in the National Gallery, London. It shows a pearl drop suspended from a gold spherical element and connected to the gold hoop in the ear by a satin ribbon bow matching the colour of the dress. This is one of the earliest records of this kind of earring, but the combination of satin or velvet ribbon bows and jewelled elements becomes a recurring feature in early and mid-17th century earrings. All earrings were worn with pierced ears: a hoop was threaded through the ear to support the pendent element. The screw and clip fitting is a comparatively recent innovation apparently unknown during the Renaissance. The single mention of the clip earrings which occurs in Cellini’s autobiography merely proves that they were not in common use: Cellini describes dressing up a friend to impersonate a woman at a party given by Michelangelo: ‘In his ears I placed two little rings, set with two large and fair pearls: the rings were broken; they only clipped his ears as though they had been pierced.’
In other parts of Europe, and especially the north, earrings remained out of fashion, the reason again being that elaborate headdresses such as the horseshoe bonnet went on the back of the head and down over the ears.
Towards the end of the 16th century the use of pendent earrings was still limited
36 not so much now by headgear but by the new fashion for very high and stiff ruff collars. The extreme examples of the high ruff occur in Spain, England and France, and in these countries women continued to be unable to wear earrings for about one hundred years after their reintroduction in Italy. They are seldom seen in portraits and are not mentioned in contemporary inventories such as those of the jewels of the French crown from Francois I to Henri III; grand parures of jewels are repeatedly referred to but these include not earrings but items known as `bordures d’oreilletes’, a jewelled ornament that encircles the head from one ear to the other. The only mention of earrings comes in the Chronique du Bourgeois de Paris, in a descriptor of the jewels worn by Eleonore of Austria at her arrival in France for her marriage with Francois I in 1529: ‘hanging from her ears were two large stones as big as nuts’. The earrings were part of the jewellery which she had brought from Spain, and reflect a southern European fashion. In fact her fondness for large, Spanish style earrings is displayed in a portrait where she wears large elliptical gold ones set with three pearls supporting a fringe of a further three pearls.
Shortly before i 60o the high ruff collar gave way to the standing collar, freeing the area around the neck, and long pendent earrings finally began to make their appearance in northern Europe. They are clearly visible in the portrait of Queen Anne of Denmark painted by De Critz at the beginning of the 17th century — large baroque pearls linked by gold-set lozenge-shaped diamonds to gold suspension loops which are completely concealed by red ribbon bows. Two features are noteworthy: the use of the ribbon bows, which had already appeared half a century before in Italy and continued to be favoured in the first half of the 17th century; and the use of large faceted diamonds. It was around this time that improved techniques of gem-cutting prompted a shift in emphasis from the gold and enamel setting typical of Renaissance jewellery to the faceted gemstone.
The 17th Century
As earrings began to gain independence at the beginning of the 17th century a variety of new designs made their appearance, exemplified by those of Arnold Lulls, a Netherlands-born jeweller (active in England circa i585—circa 1621) greatly favoured by James I of England and his consort Anne of Denmark. Prominent among them were aigrettes (a plume-shaped ornament) and earrings set with faceted gemstones. His book of coloured drawings includes three pages of designs for earrings; one page shows two different pairs of earrings. The first has three green pear-shaped stones, the largest at the centre, suspended from a gold crescent enamelled in white and set with a step-cut ruby-, the green enamel suspension loop is in the form of a serpent with four square-cut diamonds set on its head. The second pair is similar but has only one drop, the central element being set with faceted diamonds and the hoop with rubies. Another page shows a pair of earrings, each formed from two pear-shaped pearls with a larger green gemstone suspended from an openwork surmount set with eleven table-cut diamonds. It is worth pointing out that at this time all diamonds portrayed in designs and paintings were painted black, the reason being that diamonds were set in closed settings backed by a black foil or varnish and therefore would appear, in reality, nearly black.
By the early 1600s designs were already fairly elaborate compared to the plain pearl drops which had been common up to then: noteworthy is the serpent-shaped hoop and the use of faceted gemstones reflecting the new interest in cut stones and especially diamonds in consequence of the improved techniques of cutting. Also new is the use of the three drops which will remain a favourite form of earring for two centuries. It most probably derives from the three pearl drops, a larger one in the middle flanked by two smaller, always found suspended from Renaissance pendants. It is interesting that in early 17th-century earrings all elements remain very separate: the hoop, the central element and the drop, and it is only at the end of the century that all parts of earrings begin to be conceived of as a whole. Besides conventional earrings, the rather bizarre fashion for earstrings developed in Britain around 1620. These were suspended not from the ear but from a cord at the sides of the face or a loose corkscrew of hair.
The popularity of earrings at the turn of the 17th century is clear from an inventory of the personal items of Catherine de M6dicis, Queen of France, compiled in 161o, which lists nine pairs of earrings all set with faceted diamonds and gemstones.
One of the best collections of this period is the Cheapside Hoard, now in the Museum of London and the British Museum, part of a jeweller’s stock, probably hidden in London about 16¢o because of the English Civil War. It includes an elaborate pendent earring in the form of three white enamel links supporting ten amethyst briolettes; the suspension loop is missing. Again evident is the interest in cut stone and in a complex design.
During the second quarter of the 17th century there was a change in favour of greater simplicity in dress and ornament, but this seems not to have disturbed the newly established popularity of earrings. Very large pearl drops were one of the favourite types. The difficulty of finding two beautiful pearls matched in size, shape and colour made these earrings extremely valuable and sought after; they were known as ‘union d’excellence’ earrings, the large pear-shaped pearls emerging from flowing curls. At times it is one large pearl, at others one may find two or three pearls hanging
P. 37 from one ear, as can be seen in the English portrait of Ann Carr, Countess of Bedford, painted by Anthony Van Dyck (1599-16¢¢). The fact that so few of these examples have survived is partly because they have decayed and partly because pearls can easily be mounted in a new setting and, unlike a faceted gemstone, are not easy to identify. exceptional pair earrings still exists Only one exceptional pair of pearl earrings still exists today, though not in their original 17th-century setting. They are two extremely large natural pear-shaped pearls known as the Marie Mancini pearls; they were given by Louis XIV to his mistress Marie Mancini, niece of Cardinal Mazarin.
The importance attached to pearl earrings is also substantiated by contemporary literature: Francis de Sales, in his Introduction d la vie devote of 16o8 which was reprinted (mainly in Antwerp) thirteen times in the 17th century alone, writes in a chapter entitled ‘Advice to the Married’ that:
Women of both ancient and present times customarily hang pearls from their ears because of the pleasure they derive (as Pliny observes) from feeling them swing when they touch each other. But because I know that God’s great friend, Isaac, sent earrings as the first token of his love to the pure Rebecca, so do I believe that this jewel signifies spirituality; that the first part that a man must have from his wife and which the wife must faithfully preserve is the ear, so that no speech or sound may enter in other than the sweet sound of chaste words which are oriental pearls of the Gospel.
The expression ‘pearls of the Gospel’ derives from the parable of the merchant searching for rare pearls in Matthew 13 and is used by Sales as a metaphor for Christ’s teachings.
Around the middle of the l7th century earrings had become an essential item of adornment and their shapes were becoming increasingly complex and interesting. It is known that Louis XIV gave an important pair of emerald and diamond earrings to his mistress Madame de Soubise, who used them to signal to the king that her husband had left Paris and that they were free to meet. Typical of the new complexity of design is a pair of polychrome enamel, turquoise and ruby earrings designed as an openwork garland of floral motifs carrying a fringe of pearls, the centre decorated with a tulip, and suspended on a flowerhead cluster surmount. As well as the overall intricacy, it is interesting to notice how the contemporary interest in flowers, especially tulips, is reflected in these earrings. At the end of the i 6th century a garden with hothouses in Paris had plants which served as models for designers of embroidery; later the establishment was bought by Henri IV and the Jardin du Rol, as it was then called, remained a centre for the study of rare and beautiful flowers. But it was the increased European contacts with the Levant that brought exotic flowers to the forefront, and the tulip, first seen in the West in 1559, conquered Europe; in 1634. it generated a real tulip `rage’ known as tulipomania. This explains why tulip motifs are to occur so prominently on contemporary jewels. On one pair of pendent earrings the front is typically set with faceted gemstones, rubies and emeralds supporting a fringe of pearls; but the back is decorated with three tulip flowerheads in painted black and red enamel on a light blue enamel ground.
Around 166o the girandole, which became a very successful form of earring, emerged. It consisted of two main elements worked into a coherent design: a stylized ribbon bow surmount supporting three pear-shaped drops. The bow motif undoubtedly derives from the ribbon bow used in earlier earrings made of satin or velvet in a colour to match the dress; the three drops derive from early 17th-century examples, such as those of Arnold Lulls, going back ultimately to the three pearl drops suspended from Renaissance brooches. The girandole is an extremely becoming shape of earring, as it fills out the space around the ear to complement the face. Its popularity is attested by numerous engravings of the i 66os, such as those by Gilles Legare and Francois Lefebvre. The engraved designs frequently show front and back views of the girandole; the front was set either entirely with faceted gemstones or with three pear-shaped pearls; the back was decorated with enamelwork, a feature that distinguished the early girandoles from later examples. Frequently the designs for the girandole earrings are accompanied by those of brooches of similar design known as sevignes which would have been worn together as a set. Drawings which record the earrings owned by Anne of Austria, the wife of Louis XIII, show girandoles of great elegance set with diamonds of exceptional dimensions; while the inventory of the jewels of Marie Therese, the wife of Louis XIV, dated 1691, lists various girandoles: two pairs set with diamonds, one with very rare stones, the other with pearls.