Jewellery in the 16th century

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Jewellery in the 16th century

The end of the Middle Ages manifests itself in a rebirth of the Human. The individual gains self-confidence, discovers his capacity for free will – a new idea after centuries of determinism and fatalism. The Renaissance is marked by a thirst for life, a desire for knowledge and a passion for antiquity, now a great source of inspiration.

The aristocracy set about building the marvellous castles of the Loire Valley. First Chambord by King François I who returns from Italy with many artists, in particular Leonardo da Vinci, bringing the Mona Lisa in his luggage. The ensuing effervescence also manifests itself in the field of jewellery and goldsmithery.

At that time, in Europe, there was a certain homogeneity in the style of jewellery. The exchange of gifts between the royal courts unified fashion. In addition, the printing press, which had just been invented, allowed the circulation of designs throughout the countries.

The jewels are only very rarely signed.

Dessin d'une bague joaillerie du 16eme siecle
Dessins de bagues du 16eme siecle

Source: Archives of the Decorative Arts Library in Paris

Gold, enamel, stones and pearls

On the whole, in the 16th century, gold was often combined with enamel, which had just been invented in Limoges, and set with baroque stones and pearls from distant lands.

Rock crystal was also used.

Vue de face d'un médaillon du 16ème siecle, vers 1550-1560.

Pendant circa 1550-1560 source metropolitain museum of art

Montre Renaissance en or et cristal de roche du 16ème siècle, vers 1560-1590.

Watch circa 1560-1590 source metropolitain museum of art

Inspiration in antiquity

Some jewels display a Greco-Roman inspiration, characteristic of the Renaissance, with sober lines, a search for balance and nobility. They often represent themes from antiquity.

Medaillon allégorique de la musique en lapis lazuli et or de la Renaissance conservé au Louvre.

Renaissance medaillon ‘music’ displayed at Louvre

Pendant circa 1540 source J. P. Getty Museum

But, especially towards the end of the 16th century, some goldsmiths took the opposite tack to classical perfection. It is the time of mannerism, the precursor of baroque, which introduced movement and arabesques.

représentation d'une bague renaissance.

Renaissance ring circa 1600 source Albion Art Institute

Men and women wear a lot of jewellery, on their fingers, around their neck, on their belts. Women also wear jewellery in their hair and at their ears.

Portrait de Catherine de Medicis par François Clouet vers 1556

Catherine de Medicis, by Clouet François circa 1556, source Réunion des Musées Nationaux-Grand Palais

Jewelry of a surprising originality

Certain types of jewellery, characteristic of this period, are surprisingly original. This is the case, for example, of the “fede” rings, with two interlaced hands, symbol of union.

Ring circa 1580, source Albion Art Institute

Catherine de Medicis arrived in her turn from Italy with “pomanders”, jewels containing fragrant pastes or powders that have health virtues. They are supposed to fight diseases and help to survive the great epidemics.

Pomander en vermeil, un bijou à compartiment qui peut contenir des pâtes ou poudres parfumées de la Renaissance.

Pomander Renaissance, source Musée du parfum Fragonard

Curiously, toothpicks or earpicks made of precious metal are worn on the belt, in the same way as prayer books.

Tooth and ear cleaner in gold with a baroque pearl from the 16th century source National Museum of the Renaissance

The jewels “memento mori” or “cogita mori”, evoking death in the form of skeletons, skulls, coffins or inscriptions should remind us that we are mortal and encourage us to follow the precepts of the church in order to have access to paradise later. This kind of jewelry will remain widespread in the 17th century, but its meaning will change. It will be used more to remember the disappearance of a loved one.

Une alliance en or du 16ème siècle avec l'inscription memento mori pour rappeler que nous sommes mortels, afin de nous inciter à vivre selon les préceptes de l'église.

Ring « memento mori » circa 1500 – 1530, source V&A

Bijoux du 16ème siècle représentant un cercueil avec un squelette à l'intérieur.

Pendant « memento mori » 16th century, source British Museum

The church no longer had a monopoly on orders, and rich merchants and aristocrats alike became patrons. The subjects are no longer exclusively religious. This medallion, for example, represents a woman choosing between two men, one young and one old.

Médaillon Renaissance, vers 1520, qui représente une femme qui choisit entre un jeune et un vieux.

Medaillon circa 1520, source Met

However, not all the jewels were as refined as those shown above.

Bague Renaissance en or et émeraudes

Two 16th century rings, source Galerie des Arts décoratifs in Paris

In this brief overview of 16th century jewellery, I have not told you about the creation of the “crown jewels” by Francis I, a fundamental event, which I have already covered in the article on the origin of the French jewellery tradition.

Jewellery in the 17th century

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