There is no stone that I am as picky about the color as the lovely aquamarine, the ethereal birthstone for March. A colored variety of the mineral beryl, aquamarine, receives its color from traces of ferrous iron! I discuss a bit about the science behind minerals and impurities in my Garnet post. Due to the presence of iron, this gem ranges from a light blue to a deep teal-green. My pickiness, however, comes from the fact that many aquamarines tend to be very light, in many cases, nearly colorless. Whether set in gold or silver, not many untreated (heated or faceted) gems have that deep blue crystalline hue. However, when you do manage to get one, it is incomparable!

Named after the Latin word for seawater—aqua, meaning “water,” and marina, meaning “of the sea”—this gemstone is attached to ocean mythology. It was said to calm the waves and keep sailors safe. As a result, the stone was associated with the figure of Neptune/Poseidon, but also with Aphrodite/Venus. Born from the sea foam, Aphrodite has strong, primordial connections to the sea, and sailors in the ancient world would pray to ‘Aphrodite Pontea’ (lit. ‘Aphrodite of the Sea’) before a voyage.1 As such, many shrines were located in ports or coastal settlements, such as Kos in the Aegean.2

Gemstones from the beryl family tend to form in large crystals, making them ideal for large faceting and carving, as well as suites of jewelry. One notable example is the Dom Pedro, one of the largest cut aquamarine gems in the world, currently on display at the Smithsonian. Discovered in the 1980s in Minas Gerais, Brazil, the gem was originally a three-foot-long mineral that weighed 100 pounds! After an on-site accident, it snapped into three pieces, one of which was faceted by Bernd Munsteiner into the obelisk we see today.3 Not surprisingly, Brazil remains the top supplier for aquamrine gems.

But the Dom Pedro was not the only notable aquamarine found in Brazil; Queen Elizabeth II’s Brazilian aquamarine tiara began its life as a necklace and a pair of pendant earrings! Given to her by the President of Brazil, Getúlio Vargas, on behalf of the Brazilian people, to mark her coronation in 1953.4 Soon after, she approached the famed jewelry house of Garrard to create a tiara that would complement the necklace and earrings, creating one of the most colorful suites of jewels in the Royal Collection, known as the Brazilian Aquamarine Parure.

Later in 1958, a bracelet and a brooch were added to the suite, with an additional gift from the Brazilian people 10 years later, aquamarine and diamond hair ornaments, completing the whole set. In 1971, the tiara went through additional alterations, with four fan-shaped motifs topping the bandeau. A new center stone was added, taken from the pendant hanging from the necklace from 1953. This new center stone in the top ornament was then later replaced with a much larger emerald-cut aquamarine.5

Because aquamarine gems form in large crystals, their price does not depend on their size, but rather on the depth and purity of the color!6 The pieces in the queen’s tiara are especially striking with their deep blue hue.

However, the most prized aquamarines are those named ‘Santa Maria,’ after the gems found in Brazil’s Santa Maria de Itabira mine. These are considered to be the most sought-after and therefore, expensive, aquamarines in the world.7 To call an aquamarine Santa Maria is to denote a deep, medium-toned, highly saturated blue color.

Given their rich history and even richer, watery hues, it’s no surprise that this gem remains a favourite amongst jewelry lovers, and frankly, I’m still searching for one myself.

It’s no secret that Mia Goth’s stunning red ‘rosary’ necklace has stolen the show in Guillermo del Toro’s Frankenstein.1 Actually, I would argue that costume designer Kate Hawley’s work often has this effect. This striking piece was custom-made for the film and co-designed by Hawley and Tiffany & Co. It features three strands of carnelian beads terminating in a Latin cross with a red scarab nestled at its center. Symbolically speaking, this talisman is quite complex and loaded with meaning as it pertains to the film and adapts the essence of Mary Shelley’s novel.

Part of what makes del Toro’s films so captivating is the way he utilizes costume and clothing as narrative tools, using them as emotional and symbolic storytelling anchors for the characters. In this case, the brilliant crimson necklace is worn with Elizabeth's (Mia Goth) spectacular wedding dress. Not only does the cross continue the film's running motif of the color red (representing passion, immortality, even violence) throughout, but it also evokes rebirth. The scarab is an ancient symbol, going back to the Egyptians, as one of regeneration, a not-so-subtle (yet elegant) pointer to the main theme of the story.

Subscribe now

However, more than anything, the beetle/scarab motifs used throughout the film are indicative of Elizabeth herself. Her love for the natural world and her place within the story as a symbol of compassion and innocence. The beetle-iconography is also accurate to Mary Shelley’s time period. The 19th century was buzzing with this motif and appears quite often in jewelry and fashion.2 The first example that always comes to mind is the brilliant green beetle dress worn by actress Ellen Terry as Lady Macbeth, as painted by artist John Singer Sargent in 1889. Her so-called ‘Beetle-wing’ dress was designed by Alice Comyns Carr and adorned with over a thousand iridescent wings from green jewel beetles (Buprestidae family).3

While ancient cultures in Asia also used the wing cases to create stunning, shimmering effects in elite clothing, the 19th century revived this technique, and jewels depicting beetles and insects became quite popular. This is attributed to the overwhelming interest in Natural History and Entomology (the study of insects). As urbanization grew a la the Industrial Revolution, as well as the work of Darwin, the Victorians grew more and more interested in finding their way back to nature.4 Suddenly, live beetles were pinned to bodices and updos, bugs dangled from golden chains, and insects were set en tremblent “trembling,” with springs under their wings, to mimic real movement.5 Worn under gaslighting, these accessories had a delightful shimmering effect.

While not accurate to the book, Del Toro’s decision to make Elizabeth a budding entomologist decked in beetles and scarabs was not historically inaccurate. The macabre was everywhere for fine elite ladies during this time period, with many even taking up taxidermy as a hobby, which can be seen by Eva Green’s character in Penny Dreadful.

Furthermore, while beetlewing embroidery was popular during the Victorian period, this tradition actually dates back centuries! As mentioned, the ancient Korean Silla Kingdom (c. 57 BCE–676 CE), having noticed the jewel-like characteristics of local emerald green beetles, utilized them as ornamental inlays for gold crowns, saddles, and cloaks. Several tombs have been unearthed with the remains of these ‘jewel beetle’ wings. It represented opulence, power, and luxury. In the Victorian period, however, the craze for this trend actually drove several species to the brink of extinction. Furthermore, archeological-revival jewelry, such as scarabs pilfered from Egyptian excavation sites, connects to the relationship between the dissemination of scientific and historical knowledge and British colonial power, especially regarding the Suez Canal, the scramble for Africa, and British presence in Egypt in 1883.6

Subscribe now

Especially captivating is Lady Granville's beetle parure (jewelry set), created from the “dried South American weevils (lamprocyphus augustus) with iridescent green wing cases, mounted in gold in the Egyptian taste with lotus motifs.”7 Described in the attached museum commentary as “macabre, yet compelling,” this parure is the height of the bug-crazed fashion trend and is the result of a stroke of diplomacy. In 1884, Lord Granville (George Leveson-Gower, 2nd Earl Granville, 1815–91), in his position as Foreign Secretary, was offered a piece of beetle jewellery by the Portuguese ambassador to mark the conclusion of the Anglo-Portuguese trade treaty regarding the Congo River basin.8

Fearing it could be seen as bribery, Lord Granville refused but allowed his wife, Lady Granville (Castalia Rosalind, Countess Granville, 1847–1938), to accept the beetles, which he then later had mounted for her by the Phillips Brothers, known for their recreations of historic and archeological works.9

Beetle-embroidery was also present during India’s Mughal Period (1526-1756), where beetle elytra (the hard and thick forewings of beetles that serve as protective armor) were utilized to adorn jewelry, textiles, and other elite luxury objects.10 “Typically, the beetle elytra were cut, shaped, and applied in floral designs to white cotton muslin cloth.”11 These textiles were imported into Europe, where they created quite the craze for the iridescent details, usually placed along the borders of hems and sleeve cuffs. The Jivaro people in Peru and Ecuador, and the Naga in Myanmar, have also used them.12 When India became a colony of the British Empire in 1757, the beetle-wing-embroidered textile was among the many commodities appropriated.

Since the release of Frankenstein, I’ve noticed more and more people are arguing about what makes a good adaptation. Is it a 1:1 play-by-play of the book? Is that even possible? What concessions for film, a visual medium, have to be made in adapting a book? The answer depends on who you ask. My own definition has changed much throughout the years, and it depends on the adaptation/work. In this case, I think making entomology a part of Elizabeth’s characterization was a wonderful decision.

Not only does it give her more agency and character than she has in the book, but it is actually very historically accurate for Shelley’s time period. That, and the costumes and jewelry are to die for, which is always a plus!

The Jewelry Casket began as a way for me to write about historical jewelry and to stretch my art history muscles on a long-time favourite research subject. The funny thing is, the more I continued researching historical techniques and trends, the more I kept discovering brands and makers who are keeping them alive or making ancient and vintage pieces new again. All this to say, I felt inspired to write a little greatest-hits (in my mind) of my favourite modern makers and collectors.

Subscribe now

For the love of enamel

Enamel (and enameling) has to be one of my favourite materials, so much so that I wrote an entire post about its history, which you can read here! Enamelling has been found on jewelry as early as the 13th century BCE, becoming especially popular during the Byzantine Empire and early Medieval France. However, despite its long trajectory, enamel and engraving have been undergoing a bit of a renaissance lately, with several jewelers/artists making it their hallmark. Reviving and modernizing historic techniques for contemporary audiences, incorporating their own mythologies and stories. In fact, whenever someone mentions enamel jewelry, these two women-led brands are the first to pop into my head. And, frankly, they need little introduction.1

Cece Jewellery

Inspired by Cece’s art history background at Exeter University (and a love of old school sailor tattoos!), the eponymous jewelry brand is a true melding of history, art, and imagination. Cece Fein-Hughes fell in love with enamel during her studies at the British Academy of Jewellery and has since reinvigorated its breathtaking history with her unique, evocative designs. Drawing from a rich well of folklore, fairytales, and drawings, these personal talismans come alive on a canvas of buttery 18k gold.

Not only are they beautifully hand-made, but there is a lot of intention and thought that goes into her pieces. Working closely with her clients, she creates bespoke pieces that serve as a mode of storytelling, with a personalized design that belongs only to one special person—helping them write their own story —a fusion of beauty and meaning. Best known for her bespoke designs, the brand’s ready-to-ship collection of universally beloved symbols is what first drew my eye way back when.

Cece Jewellery staples include lockets, charms, and of course, the classic enamel signet rings! Here, flaming hearts, budding florals, graceful swans, and soaring swallows run rampant, all tied together by the art of enamel. Her triptych design functions less as jewelry and more as an objet d’art. In art history, triptychs are three-paneled artworks that originated as sacred altarpieces. Like real triptychs, Cece’s pendants open to reveal a sumptuous, hidden world only hinted at in the outer panels. Revealing esoteric sacred secrets just for the wearer.

Step into her world

Each piece begins its odyssey at Cece’s desk as a watercolor sketch in pencil, paper, and paint, before being realized in gold and enamel. This ancient craft embodies the brand's allure. All handcrafted by goldsmiths in London’s Hatton Garden district, Cece turns to a master of champlevé enamel to realize her vision. Modern masters of this technique are few and far between, as it requires the meticulous addition of vitreous enamel (traditional powdered glass that is kiln-fired) into engraved recesses in the gold, melting and fusing it with heat.

But her enamel-work is not without its gems. The Apple Of My Eye Ring reinvents the classic solitaire diamond ring by featuring hand-painted enamel scenes along the sides, flanking a heart-shaped diamond at the center. Here, a fruit bowl overflows with ripe grapes, a peach, and an apple, alongside a blooming peony. Inspired by Fragonard’s painting, The Swing, this ring speaks to passion, temptation, and the all-consuming emotion of letting yourself fall in love with abandon.

Gwen Barba

What I love most about jewelry is that two makers and artists can use the same materials, and yet, in their individual hands, create something utterly unique. Gwen Barba’s approach to enamel captivated me from day one with its softness and ephemerality! With her MFA in printmaking from the Rhode Island School of Design, Gwen’s jewelry collections, handcrafted in her Los Angeles studio, make the intangible, tangible. By freezing slowly blooming buds in time, the ripeness of an apple, and the rustling sound of leaves as the seasons shift, she creates a modern, feminine twist on an ancient technique.

Her jewelry captures the quiet wonder and fleeting moments we experience in our day-to-day lives: the way the light dances off the trees, or our favourite flower poking through a fence. Here, simplicity and restraint evoke feeling and memory.

What I really love about Gwen’s designs is how playful her interpretation of nature is. Each piece contains secret enamelled details that are privy to no one but the wearer—a juicy apple shines on the front of a signet ring, with the seeds and core on the back, and falling leaves at the side! Actually, a majority of her signet rings have these little hidden details that make admiring the jewelry feel like a discovery.

Most of all, she highlights the deep meaning inherent in simple things: Ginkgo blooms for quiet meditation, lemons and oranges to encourage a zest for life, and blue hydrangeas for when you’re craving open skies. Aesthetically, she aims for her work to feel minimal yet evocative, and her background in painting and printmaking shapes her approach to each piece. Inspired by Japanese woodblock prints, aquatint etchings, and contemporary painters, Gwen focuses on layers, shifting color gradients, and the balance of positive and negative spaces in her small canvases.

Step into her world

From “doodle to done,” her pieces begin their journey as drawings, a seed that is nurtured and ultimately blooms in champlevé vitreous enamel. She enamels every single piece in her studio, and because of that, her work evolves alongside her own technical growth. In Gwen’s hands, this ancient technique is delicately applied, with slight variations from piece to piece, making each one a work of art. Equally simple and sublime.

The Antique & Sentimental

Another trend that is alive and well nowadays is buying vintage and antique jewelry. With the focus on making something old new again, these brands are collectors, curators, and jewelry-enthusiasts all in one! And are revitalizing these vintage pieces with custom engraving services or even just connecting clients with their dream jewels. These vintage curated jewelry brands present jewelry as intimate pieces meant to be passed down as heirlooms, sourcing one-of-a-kind antique finds for new jewelry boxes.

Florence & Nell

With 20 years as a jewelry designer, Joanne Oswald is no stranger when it comes to the jewelry industry. Holding a degree from Central Saint Martins, Jo has worked with many international brands over the years. However, her own jewelry brand, Florence & Nell, has a distinct character and beauty. Named after her two grandmothers, Florence & Nell was born from Jo’s lifelong passion for collecting vintage and antique jewellery. The spirit and soul of her grandmother’s tales from the 1940s can be felt in the choice of every piece, inspiring an appreciation for jewelry that has withstood the test of time.

Step into her world

The soul of the brand definitely lies in their personalized engraving service. Immortalizing treasured words, song lyrics, lines from a poem, a motto that keeps you going, anything and everything that means the most to you, accompanied by a brilliant starburst gemstone. While Florence & Nell provides several pendant options, it is their cufflink pendants that first caught my eye! Uniquely converted from sourced vintage cufflinks, these pieces are given new life as one-of-a-kind pendants, engraved with messages full of meaning by the talented master engraver James, whom you can read all about here.

The best part of the engraving process (to me) is seeing the mockups of the pendants engraved with your chosen phrase and inset stones. It adds such a personal touch to Florence & Nell’s interactions with their customers, and lets them fully appreciate the process of working together to create something beautiful. At the end of the day, I see their engraved jewelry as a collection of stories told in silver and gold rather than the pages of a book.

History and craftsmanship live in harmony in this brand, and this is especially seen in their newest addition: the LOVE(D) Acrostic pendant. Continuing a sentimental tradition that began in the Victorian Period, Acrostic jewelry uses the first letter of each gemstone to spell out secret messages or sweet words of endearment. It allowed people to convey sentiments that were not acceptable to express in public, especially in Victorian England. While words like ADORE and REGARD were written out in traditional gemstones, Florence & Nell’s version has fun with their choice of stones!

Lemon sapphire, Orange sapphire, Violet sapphire, Emerald, Diamond, unexpected choices that spell out the sweetest of emotions. By combining the collection and sourcing of pre-loved antique jewelry with modern engraving, this brand does something truly special: telling new stories with old canvases, reviving them, and making them playful and intimate, injecting them with new life.

MaeJean Jewelry

Even in the vintage jewelry world, no two curator-collectors are ever alike. MaeJean Vintage is one of those businesses I’ve had my eye on for a long time; their wonderful personalized client showcases are always a joy to watch, and show how focused and intentional they are with their clientele and their personal styles. Founded and run by two sisters, Laura Mae and Amanda Jean, in the heart of Lancaster, Pennsylvania, MaeJean focuses on providing access to genuine vintage, antique, and estate jewelry pieces from the Victorian, Edwardian, Art Deco, and Mid Century eras.

Being GIA-graduate gemologists, they focus on authenticating and saving heirloom-quality jewelry for new homes. One detail I appreciate is how they list their pieces; each listing reads as a detailed inventory of the item, listing authentication (style, make, era), materials, and whether the piece has undergone restoration (which they also offer!). It’s this kind of detail and transparency that really makes MaeJean stand out for me. When investing in a quality piece of antique/vintage jewelry, you want as much information as possible!

Step into their world

They also tend to source the coolest (and weirdest, in a good way) pieces I’ve ever seen: From 1940s swallow brooches and amber-spider pendants, to chunky 1960s owl rings with inset gemstone eyes! Their connection to history and traditional craftsmanship is unmistakable, with pieces from bygone eras finding new homes just as they are. Pieces and styles that are simply not being made anymore, or are not as well-made. My personal favourite is their collection of Toi e Moi rings, a style that is slowly coming back; it was popularized in 1796 when Napoleon Bonaparte proposed to Josephine with a pear-shaped sapphire and diamond ring! A bold choice at the time.

From celebrating professional milestones to celebrating an anniversary or birthday, MaeJean has helped each person pick the perfect piece to mark the occasion. Not only is it a well of tradition, art, and history, but love and meaning as well. By buying an antique piece, you are not just investing in its inherent material value, but in its stories as well. There is no better way to mark a special occasion.

Inspired by History

When one hears the phrase ‘inspired by history,’ one tends to think of perfect replicas of artifacts and jewels seen in paintings. Exact copies that seem as if they’ve been plucked out of a Renaissance or Medieval portrait, or even taken from a museum display. But very few manage to capture the soul or essence of history in their pieces. The brands I have chosen for this section have a deep sense of the past in their work, taking inspiration from and highlighting the details, textures, and craftsmanship of their source material; the heart of the matter.

PamelaCard Jewelry

It's no secret that I am a great lover of gold jewelry. But the way PamelaCard Jewelry works with silver is stunning. Designed and completely hand-crafted in East Railtown, Vancouver, Pamela’s eponymous brand began to take form during her time living in Paris and Turkey, and traveling throughout Italy and Greece. This time abroad shaped the approach of her jewelry, which ties into antiquity in multiple ways, not just in aesthetics but in longevity and tradition. Her work embodies and blends Roman, Greek, Byzantine, and Ottoman material culture; a mix of elements that is as detailed and tactile as it is modern.

Her Allure of Liguria and Trompe L’Oiel necklaces are opulence incarnated. The bold medallions draw inspiration from the trompe-l’oeil frescoes of the Italian Riviera and the intricacy of window-frame mouldings from Portofino's pastel homes! Trompe-l’oeil is a French term meaning “to fool the eye” and has been used in art and architecture since ancient Rome. Indeed, these pendants appear to be fallen pieces of Italian architecture!

Step into her world

This focus on perspective and visual opulence is achieved through the Lost-Wax casting technique, an ancient, precise metalcasting technique for precious objects. By creating a wax model and covering it in ceramic or plaster, the wax is then burned out, leaving a hollow cavity. This is then filled with molten metal. This method is perfect for giving highly detailed, intricate creations, and is what gives PamelaCard the ability to create such sculptural designs. It’s also what allows the brand to have a 100% hands-on approach, cutting out waste. The material of choice? Solid gold, sterling silver, and 24k gold vermeil, creating luscious, brilliant pieces that appear as if they have been excavated.

Artistic, playful, and experimental, multiple designs pay homage to famous sites, deities, and artwork through symbols and intricate details. The Lost Opulence earrings echo the gilded walls and woodwork of the Igreja de Santo António in Lagos, Portugal, with their ornate flowers and curvilinear cross design. L’Origine Du Monde necklace in silver honors the divinity in the female form. Inspired by Courbet’s painting of the same name, the seashell gives shape to femininity and is associated with the birth of Venus/Aphrodite. This pendant is a decadent celebration of womanhood and everything associated with it, softness, garndeur courage, and sacrality.

Studio Advel

Sasha Dubodel of Studio Advel proves that the art historian-to-jeweler pipeline is strong. However, it wasn’t until her then fiancé (now husband) decided to make her a wedding ring that she fully threw herself into metalsmithing! With a Master’s in art history from the Institute of Fine Arts at NYU, Sasha has combined her formal education with independent research and instruction from jewelers, as well as through experimentation and self-teaching. Informed by her educational background and a love of jewelry history, Studio Advel focuses on creating small-batch run pieces that reinterpret historical designs with recycled materials for today’s “treasure hunters who appreciate pieces that don’t hide the human touch” (Sasha Dubodel).

What caught my eye many moons ago was the references and echoes of history in her jewelry: the antique settings, the sculptural tactile finish, and the romance of the handmade in each piece. Signet rings have a long history, dating back to Mesopotamian civilizations as markers of power, correspondence, and identity. Still, in Sasha’s hands, they have been transformed into adornments for another millennium. Using traditional metalsmithing and ancient lost-wax casting techniques, these Water Signet Rings ring true to their name, appearing as if they have caught and trapped waves beneath their surface.

Step into her world

In the Victorian period, hand-shaped pendants and motifs were all the rage. The seemingly stuffy Victorians were actually quite a passionate group, and found still more creative ways to communicate messages of love in socially respectable ways. The different hand motifs were defined by the gesture of the sculpted hand (the fede hands were clasped together in prayer, symbolizing faith). Here, an entire language of hands in jewelry existed, many of which included different items. Hands holding daggers, such as the one in Studio Advel’s Protection Amulet, symbolized protection and safety.

Her materials include not just solid 14k gold, but sterling silver, bronze, and a range of stones that I rarely see in fine jewelry anymore: rock crystal, beloved by the ancients, blue chalcedony, carnelian, and strawberry quartz! By drawing from history and art, Studio Advel is proving why timelessness is a factor of endurance. These styles were full of meaning and sentiment in their own time, but continue to connect with modern jewelry-lovers, centuries later. More than ever, the handmade, the sculptural, and the historic are being sought out. In an increasingly modernized world, this is a maker who defies the death of detail.

Some Dreams, Magic & Whimsy, Please

I have a soft spot for anything whimsical. That spark of playfulness carried over from childhood sees the magic in every detail and values happy surprises over ‘must-have’ trends. The brands in this section have their own, unique way of translating the enchanting world of myth, nature, and beauty into their jewelry. Their own language of detail, dreams, motifs, and lore. Unafraid and uninhibited in their own individuality and style, these brands combine elegance and tradition with modern shapes, textures, and patterns.

Ophelia Eve

Created and designed by two generations of family, Samantha and Beth Yorn founded Ophelia Eve in 2024. Since then, the NYC-based brand has featured pieces that straddle the divide between modern and magic, made to embody antique luxury. The hallmark of their collections is in the details, those elements that make you do a double-take: offset diamonds, kite and pear-shaped gemstones, eye pendants that seem to wink with signature flourishes in 18k gold.

But more than anything, the piece that captured my imagination is the Garden Gate Antique Doorplate Necklace. This intricately crafted pendant is full of ornate flourishes surrounding a keyhole within a rectangular shape. For something so simple, this piece catapulted my mind into The Secret Garden, one of my favourite books as a child. Speaking of mysteries, secrets, hidden gardens, and the magic of the threshold. What could be on the other side? How do I get in? This pendant in my mind’s eye is covered in ivy and endless possibilities, and really speaks to the focus of storytelling in Ophelia Eve’s jewelry.

Step into their world

Here, meaning lies in intricate, definitive details, and when I think of Ophelia Eve, I think of their eye-shaped pendants. Dating back to antiquity, as symbols of protection, the ‘evil eye’ is a timeless motif of intuition and regality that has been reimagined here in brushed gold. The juicy peach tourmaline at its center adds zest and brightness to an ancient symbol that continues to connect with those who understand its power.

By designating a majority of their jewelry as made-to-order, Ophelia Eve focuses on craft and the handmade aspect of turning jewelry into long-lasting heirlooms. This model also allows them to cut down on waste, only creating when someone decides to add a piece to their collection! Color, romance, and whimsy abound as Ophelia Eve reimagines the old and sentimental with a modern edge. Dedicated to turning 19th-century doorplates into tokens of personal expression and rings into bearers of starbursts. No complaint from me.

Uncommon Fox

But not all dreams, or beautiful jewelry, come in gold or silver. Uncommon Fox demonstrates that whimsy and beauty can be crafted from anything, especially a material as versatile as brass. Brass is an alloy (mix) of copper, zinc, and tin, and is known for its shimmering gold-like appearance. A lightweight and durable material, which allows Ariana Fox to create the most surreal pieces! The jewelry brand began as a way to create a pair of earrings for her friend Rachel, and inspiration blossomed from there. “Inspiration struck, and I figured it would be a fun weekend project. That weekend project quickly snowballed, and with the help of a few friends, the uncommon fox came to life” (Ariana Fox).

Anyone who knows me well recognizes my love for statement earrings, and Ariana’s creations bring all the whimsy and elegance of nature and her own imagination to create works of art. The Waterfall Cloud earrings made me gasp and stop in my tracks the first time I saw them when I came across her work earlier this year. Most jewelry is marketed as ‘wearable art,’ but with Fox’s jewelry, this description fits perfectly.

Step into her world

While brass is the main material Fox uses as a metalworker, she also combines vintage components and gemstones in her creations, creating small-batch drops that allow her to focus on quality and sustainability. The Cancerian earrings feature stunning slabs of blue Afghanite stone, held together by a crab, sea shells, and chain dangles, a riot in color and detail that reminds me of the incredible oversized earrings made by ancient Hellenistic Greek artisans.

The Isolde Earrings are a similar combination of craft and romance, featuring a star-stitched sky with swooping doves and a crescent moon. They appear to have been plucked out of a medieval manuscript. Cut and soldered by hand, each pair is made-to-order and thus carries its own unique marks and details, making each pair distinctive for the wearer! Given the detail and work that goes into each creation, certain pieces, like the Waterfall Cloud earrings, have a waitlist, ensuring thoughtful and thorough creation.

To Conclude

I like to think of these artists and jewelers as the latest chapter in what is a very long history in their respective techniques and approaches. From the ancient art of enamelling and engraving to the transformation of raw materials and the discovery of antique pieces for new collectors, each of these brands is bringing the past into the present in its own unique ways. Tapping into art, history, craftsmanship, architecture, nature, and imagination, I look forward to seeing what magical things they do next.

There are many lovely opportunities inherent in January; the possibility of starting anew, shedding old habits, and stepping into something greater. In the case of The Jewelry Casket, the opportunity to discuss my favourite gemstone of all time: the garnet. Wine-red and brilliant, this stone is intrinsically romantic, with its deep hue reminiscent of heart's blood. Due to this connection, it was a popular stone for symbolizing passionate love, especially in the Victorian period.

Subscribe now

The word garnet comes from the Latin granatus (possibly from granatum), which means “grain, seed,” and is the etymological origin for the pomegranate, as the garnet is similar in color to the fruit’s pulp and resembles its brilliant red seeds. In Middle English and Old French: pome grenate, from pome ‘apple’ and grenate ‘pomegranate’ (from Latin (malum) granatum ‘(apple) having many seeds’, from granum ‘seed’).1

While popularly associated with a deep red, like the Sapphire, garnets come in a variety of colors! Interestingly, ‘garnet’ is the name of the mineral group from which the gemstone originates. Every gemstone is merely the jewelry-grade or colored variety of a mineral (peridots come from the mineral olivine; sapphires from corundum). However, garnet is unique in that it has several species as well as varieties of ‘garnets.’2 They form in what gemologists call a series or blend of these species, and they never occur in their pure state, but always in different combinations with each other in blends.3

The most common series is the rich purplish-red almandine-pyrope garnet blend, followed by the almandine-pyrope-spessartine blend.4 Almandine, pyrope, and spessartine are all individual species of garnet, but are almost always found in combinations. The difference between them lies in the dominant impurities present in the mineral (which largely affect the color). Many pure minerals are actually colorless, and these impurities give them their color.

Moreover, almandine is iron-dominant, with pyrope being magnesium-dominant, and spessartite being manganese-dominant.5 This means that almandine and pyrope form beautiful, rich reds, wine reds, and purple burgundies, while spessartite forms more reddish-brown to orangish-red garnets.6 Furthermore, since garnet species are always found together, the dominant species gives its name to the gem. For example, a garnet that is 80% almandine and 20% pyrope is an almandine garnet.

However, some blends are so unique in their characteristics (usually color) that they are seen as distinct. These are varieties that stem from within the species. Take Rhodolite, the purplish-red variety of garnet that is a 70-30 blend of almandine and pyrope.

Subscribe now

Still with me after all the science? Good, let’s get into the mythos!

Being the most abundant and widely distributed, almandine has been a popular gemstone since ancient times. It was utilized in jewelry across ancient cultures, with the Egyptians using the stone as early as 3,500 BCE. In the ancient world, garnets were often lumped with other red stones like rubies and spinels, termed ‘carbuncles,’ by the Roman historian Pliny the Elder. This term was often used when describing a deep red stone in a cabochon cut.7 While many carbuncles have proven to be garnets, others have been spinels. The word ‘carbuncle’ comes from the Latin carbunculus for a small, hot coal, given that these stones have a brilliant, fiery internal light!

“In the first rank among these is carbunculus, so called from its resemblance to fire; though in reality it is proof against the action of that element […]”

— Pliny the Elder, Natural History, Book 37.25

Due to the stone’s resemblance to pomegranate seeds, it is linked to the myth of Hades and Persephone. In Greek myth, Persephone, the goddess of Spring, was abducted by Hades, the god of the Underworld. In his realm, she was persuaded to eat the seeds of a pomegranate before returning her to her mother, Demeter, who, in retaliation, had abandoned the harvest, causing humans to die of starvation. She ate six seeds, which meant she had to return and stay in the Underworld for that amount of time. This resulted in the Autumn and Winter months.

Due to this connection, the garnet has come to represent the return of a loved one, as well as love, friendship, and inner fire! They were seen as gems of protection for travelers and the sick across cultures and periods. In Europe during the Middle Ages, the clergy valued garnets as symbols of Christ’s blood and sacrifice. It was believed to provide protection, at least against blood diseases, due to its color, which was thought to improve circulation and prevent hemorrhages. Furthermore, many believed that dragons had eyes made of garnets, tying them to the fiery connotations.

However, garnets were especially popular during the 17th to 19th centuries, when Bohemian garnet (modern-day Czech Republic) deposits were discovered around 1500. What began was an enormous production that created some of the most beautiful jewelry in history, with Bohemia becoming the center for garnet jewelry. The garnets in Bohemian deposits are of the pyrope species, with a red color that resembles ruby more than the wine-soaked hue usually associated with garnets. In fact, due to its fiery red color, its name is derived from the Greek pyropos, meaning “firelike.”

Traditionally, Bohemian artisans set garnets in rounded clusters in gold settings, creating pavé designs that were popular throughout the Victorian Era. Pavé designs feature closely clustered gems that resemble a ‘paved’ road, which maximizes brilliance, color, and luster! Indeed, many garnet pieces created in this style resemble a sea of red. Elizabeth Stuart, Queen of Bohemia, dubbed ‘the Winter Queen,’ was famous for her large garnet pendants.

Although she has several portraits where she seems to be wearing these pendants, not much information can be found on their make or history. Despite the fact that her pendants are enormous (as pictured above), there does not seem to be much commentary on them. Either way, modern jewelry-lovers seem to share her love for garnets, and I don’t think that will be changing anytime soon.

If you love jewelry history as much as I do, check out these other posts below!

Read on ✨

When it comes to antique rings, and especially Victorian jewelry, Rose of Sharon rings are among the most unique and beautiful! Generally featuring a purple amethyst ring, with its signature intaglio floral design at the center, accented with gold leaf, was viewed as a symbol of perseverance and longing. Intaglios are created by carving the gemstone into the gemstone, versus cameos that are raised in relief.

Popular during the mid to late-Victorian period, these sentimental tokens represented being “consumed by love” during a time of separation. While a majority display a single flower with a stem and multiple leaves, other designs may also display small bouquets or a bird with a flower, often with inlaid pearls or antique rose-cut diamonds.

Surprisingly, the name is a misnomer and does not strictly refer to a rose.1 Actually, the flower to which the name does refer to, is still being debated amongst historians. The name, however, has biblical origins and first appears in the Hebrew Bible or Tanakh.

“I am the rose of Sharon, and the lily of the valleys.
As the lily among thorns, so is my love among the daughters.”
— Song of Songs, 2:1

This poem, also known as the Song of Solomon, describes the passionate love between a woman — who describes herself as the ‘rose’ — and her lover. The poem symbolizes, by way of metaphors and dreams, the intense desire and joy of intimacy that occurs between the two lovers, as they experience the different phases of love before resulting in the sexual love of marital union. Many also see it as a representation of the rewards of God’s love and that of a deep spiritual intimacy, as well.

The name itself, ‘Rose of Sharon,’ is a loose translation at best. The Hebrew phrase: חבצלת השרון‎, or ḥăḇaṣṣeleṯ haššārōn was translated as ‘Rose of Sharon’ in the King James Version of the bible.2 Others have translated it as “flower of the field” from the Greek (Septuagint), simply a “flower of the field” from the Vulgate Latin ego flos campi. It has also been translated as ‘lily’ (Lilium candidum) in other sections of the poem within the same translations.

The descriptive reference to this so-called ‘rose’ has been thought to be a crocus, lily, tulip, or even a hibiscus. Turns out, the name ‘Rose of Sharon’ has come to refer to different flowering plants in different parts of the world! In the Americas, ‘Rose of Sharon’ does refer to the Hibiscus syriacus, which does have a lovely pink-purple shade that is reminiscent of an amethyst.

However, when it comes to the poem, a hibiscus would not be the flower in question. Sharon is a place! The Plain of Sharon is located along the coast of Israel along the Mediterranean Sea, and the Samarian Hills, east of the Jordan River. And the flowers that grow there are lilies, tulips, and crocuses! But no hibiscus flowers. As such, ‘Rose of Sharon’ is thought to be a mistranslation of a Hebrew word that generally refers to crocus flowers (also purple!).

How these rings came to be called ‘Rose of Sharon’ is a mystery. And it is not inaccurate to say that it might have been due to their dual association of faith and love. Although there is not a ton of information available about these rings, they have continued to be a beloved style, and for good reason.

Cursed objects are nothing new in the realm of mythology and folklore. Oftentimes, it’s the smallest, innocuous object that can bring a kingdom, or in this case, an entire family lineage, to ruin. A poisoned apple here, a stolen artifact there, the idea of an object bringing misfortune upon its owner is a tale as old as time.

Subscribe now

One particularly fascinating example comes from a rather obscure story of Greek mythology. The Necklace of Harmonia was crafted as a gift for its eponymous owner by Hepheastus in revenge for his wife, Aphrodite’s infidelity. The minor goddess Harmonia was the daughter of Aphrodite and Ares, the god of war. She presided over the ideals of harmony, unity, and balance: in marriage, on the battlefield, and in the cosmos. She is the counterpart of the Roman goddess Concordia, and despite her name, her life and that of her descendants were filled with turmoil, misfortune, and discord.

The necklace was a wedding gift to commemorate Harmonia’s marriage to Cadmus, a Greek hero and the founder of the city of Thebes. He was responsible for slaying a deadly dragon and, following Athena’s instructions, sowed the serpent’s teeth into the soil, resulting in the Spartoi (“sown”), those who would become the founding families of the city. Of course, the dragon, unluckily, belonged to Ares, who forced him to serve eight years of service as penance.

At the end of those eight years, the gods gave him Harmonia. The resulting dynasty was substantial, as they had five children together, almost all of whom met disastrous ends (Polydorus and four daughters: Agave, Autonoë, Ino, and Semele). All because of one accessory. Several plays were written describing the fates of Cadmus and Harmonia’s descendants: Euripides’ The Bacchae and Sophocles’ Oedipus and Antigone, all detail the different ways in which they suffered.1 Pentheus, Agave’s son, was ripped apart by Maenads under Dionysus’ influence, with his mother among their number. Agave, thinking she had killed a lion, had actually decapitated her own son.2 The plight of Jocasta and Oedipus needs little introduction, as does Antigone’s place in history as a tragic heroine. Needless to say, the curse stuck around.

However, like many objects in Greek myth, the Necklace of Harmonia doesn’t actually exist. Much like the Shield of Achilles in Homer’s Iliad (also crafted by Hepheastus), the necklace is an ekphrasis, a literary technique that vividly describes a visual artwork or object.3 These lengthy and detailed descriptions allow the readers to “see” or paint a picture of an object that does not actually exist through words. The only substantial description of the necklace can be found in Nonnus’ epic poem, Dionysia (5.135-189).4

Subscribe now

“…a clever work of Hephaistos set with sparkling gems in masterly refinement. This he had made for his Cyprian bride…”

§ 5.144-185 “It was like a serpent with starspangled back and coiling shape…so that magnificent necklace twisted shaking its crooked back, with its pair of curving necks, which came to meet at the navel, a flexible twoheaded serpent thick with scales…the golden circle of the moving spine bent round, until the head slid about with undulating movement and belched a mimic hissing through the jaws.

With the two mouths on each side…was a golden eagle that seemed to be cutting the open air, upright between the serpent’s heads, high-shining with fourfold nozzle of the four wings. One wing was covered with yellow jasper, one had the allwhite stone of Selene…A third had the gleaming pearl…Right in the middle of the other, the Indian agate spat out its liquid light…

[the eagle] Over the shining front, rubies in the eyes shot their native brilliancy…Proud with the manifold shapes of stones was a sea, and an emerald stone grass-green welcomed the crystal adjoining like the foam, and showed the image of the white-crested brine becoming dark; here all clever work was fashioned, here all the brinebred herds of the deep sparkled in shining gold as though leaping about, and many a supple traveller danced halfseen, the dolphin skimming the brine…flocks of many-coloured birds – you might almost think you heard the windy beat of their flapping wings, when Cythereia gave the glorious necklace to her girl, golden, bejewelled, to hang by the bride’s neck.”

The lengthy, impossible nature of this description would have been apparent to ancient readers, who did not expect it to depict a real necklace. Rather, it appealed to their imagination through the rich imagery within the text. While not necessarily a real object, the idea of the ‘Cursed Necklace’ is certainly an intriguing one, and one that is found throughout literature: the titular ‘The Necklace’ by Guy de Maupassant, where a borrowed (ultimately fake) diamond necklace leads to misfortune, as well as the unforgettable opal necklace in Harry Potter. Sometimes, it’s better to suffer through a poisoned apple.

I enjoyed writing about August’s birthstone so much that I decided to (slowly but surely) dedicate a post to all the birthstones (not in order, though) :)

Subscribe now

All that is gold does not glitter; not all sapphires are blue!

This famous gemstone has held our attention for millennia, and appears naturally in a range of hues. The name “sapphire” comes from the Greek word sappheiros, which likely referred to lapis lazuli, another stunning blue gem.1 Others believe it came from the Sanskrit word sanipriya, which meant “dear to Saturn.” For centuries, this precious stone has been associated with royalty, romance, nobility, truth, and sincerity. Like the peridot, the sapphire has a long, rich history of use and symbolism, going back to the ancient Etruscans and throughout the Middle Ages.2

Sapphires are the gem variety from the mineral corundum, and appear in every single color except red—this would be the ruby! In the ancient Mediterranean, the elites believed that blue sapphires were apotropaic, meaning they would offer protection from envy and harm. This can be interpreted as a predecessor to the blue Evil Eye talismans still in use in the region. Some sources even state that the ancient Persians “…believed the earth actually rested on a giant sapphire, which made the sky blue.”3

Many engraved gems (cameos and intaglios) were carved from sapphires! The material, size, and color of the stone would reflect the wealth and taste of its patron. They are often found in India, Myanmar, Thailand, Vietnam, Sri Lanka, China, Australia, Brazil, Africa, and North America (mainly Montana). Their origin can affect a number of characteristics, including color and clarity. While blue sapphires are among the most famous and coveted, their range of blues is quite diverse. From the almost-black saturated shade of deep blue, to the lovely elegance of cornflower blue found in Ceylon (Sri Lankan) Sapphires.4

Sapphires are also among the few stones that can naturally develop a ‘star’ pattern. These ‘stars’ are actually an optical phenomenon that is caused by microscopic rutile or needle-like inclusions within the stone. Weighing over 563 carats, the Star of India is one of the most notable sapphires. It is also due to the star patterns on both sides of the stone! In Hindu tradition, sapphires were associated with the planet Saturn, Saturday, and the deity known as Shani.5 In Hindu cosmology, gemstones are far more than just shiny baubles!

“The fifth-century text Ratnapariksa illustrates how gemstones are imbued with symbolic value relating to deities, planets, and days of the week.”6 While some stones are considered capable of malignant energy (such as ruby, sapphire, coral, and cat's eye), others, including pearl, emerald, and diamond, are beneficent.7

It’s always so interesting how different cultures view the same object or color – the meanings can change so much!

Due to its deep, rich blue color, sapphires have long been associated with sacred and healing symbolism. During the Middle Ages and through the Renaissance, blue was the color of Heaven and the Virgin Mary. The clergy often wore blue sapphires and thought it would attract heavenly blessings. Medieval Europeans also believed that sapphires could cure plague boils and diseases that affected the eyes, as well as serve as an antidote to poison.8 While the sapphire was never as costly as the ruby, it was one of the most popular gems during the Renaissance.

Quite the hardworking gemstone 💎

Some of the most notable sapphire pieces were created in the ancient world, such as a pair of Byzantine earrings with dangling bright blue cabochon sapphires. Sapphires, then called hyakinthoi (hyacinths), became popular in Byzantine jewelry in the sixth century. To the Greeks, the stone was called hyacinth — named as such by Pliny the Elder— due to its blueish-purple color that resembled the flower of the same name.

In mythology, Hyacinthus was the name of Apollo’s young mortal lover, whom he accidentally killed in a game of discus. In one version, the jealous Zephyr (god of the west wind) blew the disc off course, killing Hyacinthus instantly. In his grief, Apollo transformed Hyacinthus's blood into the flower.

Given the sapphire’s beauty and durability, it’s no surprise that it continues to be one of our most beloved gemstones! No matter the color, it makes quite the impression. Although I think this post will prove that blue is king for a reason.

No stone is quite as contentious as the peridot, the birthstone for August. Either you love it or you don’t; a middle ground does not seem to exist when it comes to this yellow-green stone. Described as either a lovely, grassy green or crystallized snot…this gemstone operates in extremes. However, the contention behind this stone befits its formation, as peridot is known for forming under extreme conditions: it can be found in the “...hardened lava that carried it from deep within Earth’s mantle as well as in meteorites that traveled from outer space.”1

Subscribe now

The word “peridot” comes from the Arabic faridat, meaning ‘gem.’ This stone was valued in many ancient and medieval cultures, accumulating 3,500 years of history — and lore. Often mistaken for emeralds, Peridot is the rare gem-quality variety of the common mineral olivine. In gemology, each gemstone is merely the jewelry-grade version or variety of a naturally occurring mineral or stone that can be cut and polished. Emeralds, aquamarines, and morganite all emerge from the beryl mineral, while rubies and sapphires come from the mineral corundum. Essentially, all gemstones are minerals, but not all minerals are gemstones.

The use of peridot in jewelry can be traced back to ancient Egypt, with many gemologists and historians claiming that Cleopatra’s famed emeralds were likely peridots. According to the American Gem Society, peridot “…came from deposits on a small volcanic island in the Red Sea called Topazios, now known as St. John’s Island or Zabargad.”2 Peridot was also used during the Crusades to adorn religious objects. It became especially popular in jewelry during the 19th century in Europe, where it was christened with the name ‘peridot.’

Some of the most remarkable pieces of peridot jewelry, however, were made as lavish sets.

The first is a peridot parure from the Victoria & Albert Museum in London. Created by Bridge and Rundell in 1816, the set comprises a necklace featuring a cross, a pair of earrings, a ring, two bracelets, and a brooch. The set was commissioned by the Prince Regent, the future George IV, for a ‘Miss Coats’ to wear at the marriage of his daughter, Princess Charlotte, to Prince Leopold of Saxe-Coburg.3 ‘Miss Coats’ was likely either Charlotte or Lucy Cotes, who were both ladies in Princess Charlotte’s household. They had been entrusted by the Prince Regent with keeping a close eye on the princess between 1814 and 1816, much to Charlotte’s chagrin, who referred to them as ‘Famine & consequences.’ Supposedly, the other sister (it’s not clear which one) received a similar set composed of amethysts.

The other peridot set of note belongs to the Habsburg family. The diamond and peridot parure consists of a necklace, a tiara, a pair of earrings, a devant de corsage, and two brooches. The set contains peridots of a deep, dark olive color. The set was reportedly designed by Kochert, the court jeweller to the Habsburg family, in the 1820s, for Henrietta of Nassau-Weilburg, who married Archduke Charles, Duke of Teschen. It was eventually left to Archduke Friedrich (their grandson) and worn by his wife, Archduchess Isabella of the House of Croÿ.4

The impressive necklace has seven large pear-shaped peridot pendents that can be removed and attached to the top of the tiara. The tiara itself has embellished delicate floral motifs and three large peridot stones.

Today, peridots are having a moment — at least I like to think so. Even those with a lime green hue are finding their way into people’s hearts, especially those who want something just a little bit different. So, whether you love or absolutely hate this stone, I think we can all agree that it has some of the most interesting lore out of all the different gems. No matter what, peridot is definitely memorable and makes quite the impression.

It’s been a while, dear readers :)

For everyone who has stuck around in the nosebleed seats during this past (I’m calling it a Sabbatical, much more fun) – thank you! Between switching programs, final exams, grading papers, moving to a new home, and a long-overdue family trip, there has been no time for the writing desk. You will never know how much your support and readership mean to me.

To all the writers who keep up with their Substack despite the things I mentioned above — I salute you 🫡

And now onto the good stuff! 💎

Fancy French Words

The terms Champlevé and Cloisonné refer to two distinct enameling techniques that have been used for the production of precious objects since antiquity. While there are several techniques and notable schools, we are going to concentrate on these two for simplicity’s sake and also because they’re simply awesome.

These techniques (the big Cs) are two of the most important and widespread, and are still being used by many contemporary jewelers. In a nutshell:

Champlevé is a decorative technique that involves cutting away troughs or cells in a metal surface and filling them with pulverized vitreous (glass) enamel through the application of heat, melting and fusing it to the metal.1 The use of vitreous enamel goes back to the 13th century BCE and is present in many Mycenaean and Cyprian artifacts.

Cloisonné is a technique for creating designs on metal vessels by placing colored-glass paste within compartments enclosed with hammered wire, known as cloisons (French for “cells” or “partitions”).2

Subscribe now

The term ‘champlevé’ comes from the French for “raised field,” the ‘field’ being the uncut metal background. The oldest use of this technique can be seen in the Celtic art and jewelry created before and during the Roman occupation of Gaul (modern-day France), particularly in the Rhine River valley around Cologne and the Meuse River valley in Belgium. Early Celtic champlevé, known as La Tène style, consisted of heating the glass into a soft paste and pushing it into place, although this is more akin to glass inlay.

Champlevé — and what we still practice today — was perfected during the time of the Romans (hello, glassmaking techniques!).3

Like its sister technique, cloisonné can be seen as far back as the ancient world with the Egyptians. Utilized mostly for small jewels and tomb objects, the Pectoral of Senusret II, from his daughter's grave, is a great example. I mean…just look at it (above). This pendant lives in my brain rent-free. While it uses inlaid stones rather than enamel, the gold partitions that make it cloisonné can be seen clearly. So, yes, it counts. This technique was also heavily used in Mycenae and Greece.4

Limoges & Beyond

It wasn’t until the 11th and 12th centuries that these enamelling techniques exploded in popularity — hence our association of this ‘look’ with early Medieval art. Limoges (South-western France) is especially renowned for its use of cloisonné and champlevé enamel, dominating the industry in production during the Late Byzantine period, from 1100 to 1370. It was established in the early 12th century when goldsmiths at the Benedictine Abbey of Conques in the ancient province of Rouergue began to create enamels “…whose jewel-like colors and rich, golden surfaces belied their fabrication from base copper.”5

By the 1160s, the enamels created at Limoges became known as opus lemovicense, a hallmark of the region. While France was not officially part of the Byzantine Empire, their enameled objects certainly reflected the tastes and craftwork of the Eastern Mediterranean.

Producing many beautiful reliquaries (containers for relics) and other precious religious objects, almost 8,000 pieces of Limoges enamelwork survive today. The majority of reliquaries are known as “chasse caskets” or box reliquaries in the shape of lovely houses or churches. These boxes would be richly decorated with inlaid gemstones or enamel decoration of religious figures and scenes. The fact that Limoges was one of the main pilgrimage routes to Santiago de Compostela in Galicia, Spain, likely helped (a lot) with distribution.6 Other objects include crucifixes, jewelry, vases, candlesticks, and manuscript covers, many of which exist all over Europe.

While Limoges certainly steals the show, these enamelling techniques can be found across cultures, with Chinese cloisonné becoming especially prominent during the Ming Dynasty (early 14th to 15th centuries).7 During this period, it was common to use cloisonné objects to furnish important temples, palaces, and aristocratic homes. This isn’t surprising given how beautiful these objects are! A glimpse at any of these foliated dishes and you’ll be wondering how these objects could ever be made by human hands!

Imported from the Islamic world into China via Yunnan under Mongol rule, these objects (dishes, vases, bottles, etc.) developed their own aesthetic and stylistic techniques, concentrating on floral patterns with bright colors.

Indian and Islamic objects also made great use of these techniques, with Limoges enamel exhibiting significant Islamic influence from an early stage in its production. The enamelling utilized in India, Iran, and Afghanistan is known as Meenakaari, a STUNNING and intricate decorative technique that uses enamel as paint, fusing the underlying metals with brilliant colors! Many examples include floral and avian patterns along with other animals on a floral background in electric colors like blue, green, yellow, and red. This art form, however, had been present in Iran since the time of the Parthians, with the meticulous ornamental work being developed in the 15th century. It spread to India during the Mughal Empire later in the 17th century, becoming a fundamental part of their cultural heritage.8

Enamelling reached its peak during the 18th and 19th centuries, with the likes of Fabergé, René Lalique, Tiffany and Co. producing some of the most beautiful decorative objects in art history. These include perfume bottles, lamps, jewelry, and many other objets d’art. These houses and artists pushed the boundaries of these inherited techniques and even developed new ones, such as guilloché and plique-à-jour. With such a long, rich, and varied history, it’s easy to see why enamel continues to be a beloved material to work with.

Not as long as I’d hoped it would be, but this bite-sized dive into the world of enamel is preferable to subjecting all of you to a thesis-length spiel on the subject. Either way, I hope you enjoyed reading, and it’s nice to be back!

xo Odette

If you enjoy my writing, please consider subscribing to have By Odette delivered to your inbox. Subscriptions are free! But if you’d like to support my writing, I’ve added a “Buy Me a Coffee” tip jar button below. No pressure, and thank you for reading!

Buy Me a Coffee

While I continue working on my Greece series (Part 2, Santorini coming soon!), let’s dive into one of my favorite historical figures Empress Elisabeth “Sissi” of Austria – and her jewelry! Frankly, I blame Romy Schneider’s regal depiction of this incredible woman for my lifelong interest, even if it was at the end of the day, far from the truth.

The Empress

Born in Munich on December 24, 1837, Duchess Elisabeth Amalie Eugenie became Empress of Austria when she married Emperor Franz Joseph at the tender age of 16.1 She is well-known as one of the most beautiful and notable women of 19th-century Europe. Affectionately known as “Sissi,” Elisabeth was, and still is, a beloved royal figure, famous for her kindness, beauty, rebellious nature, and her affectionate match with Emperor Franz Joseph I.

Subscribe now

Although she led a tumultuous and suffocating life in Vienna marked by bouts of illness and depression (she is well-known to have detested the strict, formal nature of Habsburg court life), she was an avid traveler, horse rider, and advocate for Hungary and Hungarian rights.2 The Austro-Hungarian Compromise of 1867 created the dual monarchy of Austria-Hungary, despite her mother-in-law’s (Archduchess Sophie) hatred for the Hungarians. Coming from an informal, hands-on upbringing by her parents, not to mention her shy and introverted nature, it is easy to imagine the shock she experienced by the brusque change in her environment after her marriage. However, she was also a bit of a rebel, headstrong, and to many, neurotic and self-involved.

She openly expressed her displeasure at not being able to actively raise her children, shirked her duties at court, smoked, and even got herself a tattoo in Corfu, Greece, one of her favorite places to visit.3 The tattoo was a small anchor supposedly placed on her left shoulder as an expression of Sissi’s great love for the sea. It was also very appropriate considering how unmoored and adrift she likely felt in her (largely) unhappy life.

Sissi was also, of course, known for her strict self-care rituals, her most recognizable and iconic feature being her unbelievably long, thick, chestnut hair, which grew all the way down to her feet. According to biographer Brigitte Hamann:

“Elisabeth considered her hair her crowning glory. She was proud of nothing so much as the cascade that enveloped her like a cloak when it was loosened.”4

I always find myself captivated anytime I see one of Sissi’s portraits, as generally, the only “jewel” she wore was her hair cascading down her back or braided, dressed in deceptively simple white or cream gowns. So it’s no surprise that one of her most famous jewels was designed to accentuate her beloved tresses, immortalized in her most famous portrait.

The Portrait

There are few portraits as famous, admired, or frequently quoted as Empress Elisabeth’s 1865 portrait by Franz Xaver Winterhalter. This iconic painting by the German artist is perhaps, just as famous as the empress herself, with her half-turned pose, sweet serene smile looking over her bare shoulder, her lush white satin evening dress covered with thousands of silver foil stars shimmering under a delicate layer of tulle, echoed in the incredible diamond and pearl “edelweiss” stars woven throughout her dark braided hair. She was 28 years old at the time the portrait was completed.

Originally commissioned by her husband, Winterhalter also completed two private portraits of Sissi meant for her husband, which he [Franz Joseph] hung in his study (above).5 The artist painted the empress four times. In the 1865 portrait, she is wearing an evening ball gown, believed to be created by Charles Frederick Worth the most renowned dressmaker of the 19th century.6 Like Queen Victoria, Sissi was considered to be a trendsetter and many aristocratic women and princesses followed her lead, imitating her dress, her style, her signature coiffure — and even her stars!

The Stars

While described as “stars,” these hairpins are actually imitating the edelweiss, the emblematic flower of the Austrian Alps. White, delicate, and star-like, the edelweiss was a natural source of inspiration for the Austrian monarch. An 1858 commission by A. E. Köchert (designed and made by Imperial Court Jeweler Alexander Emanuel Köchert) for Empress Elisabeth of Austria, the stars were a set of 27 diamond pearl hair pins featuring 10-pointed stars of diamonds fanning out around one enormous pearl in the center.7 Interestingly, a second set of 27 diamond stars, this time without pearls, was later commissioned and made by the former Court Jeweler of Rozet & Fischmeister.

These stunning stars were not just hair pins but could be worn as a necklace, tiara, pendant, or brooch.8 Sissi wore these regal accessories to a number of events, including her brother’s wedding in Dresden, before eventually gifting them to her ladies-in-waiting and members of her family. Her granddaughter, Archduchess Elisabeth, the daughter of Crown Prince Rudolf, inherited the full set of 27 stars (the Rozet & Fischmeister set) and wore them for her wedding to Prince Otto of Windisch-Graetz in 1902.9

Today, only a few stars remain in Austria. In 1998, Gerald Blanchard, once called the “world’s most ingenious thief,” stole one of the stars from an exhibit at the Schönbrunn Palace in Vienna commemorating the 100th anniversary of Sissi’s death. He replaced it with a replica from the gift shop and the star was not recovered by Canadian police until 2007, when it was returned to Austria. After admitting his crimes and returning the Sissi star his sentence was reduced to 8 years in prison.10 He was released in 2012.

Even today, the stars of Empress Elisabeth still captivate and enchant, as her 1865 portrait by Winterhalter continues to enchant. From Emmy Rossum in The Phantom of the Opera (2004) to Romy Schneider (1957) and Cara Delevigne (2014), Sissi’s legend, beauty, and story endures and inspires.

If you enjoy my writing, please consider subscribing to have By Odette delivered to your inbox. Subscriptions are free! But if you’d like to support my writing, I’ve added a “Buy Me a Coffee” tip jar button below. No pressure and thank you for reading!

Buy Me a Coffee

Subscribe now

What is an Acrostic?

For non-English majors (myself included), an acrostic is a poem or message in which certain letters in each line form another word(s). Acrostics are all over the place; in poems, advertising, and music!

One of the most famous examples is a lovely poem John Keats wrote about his sister-in-law, Georgiana Augusta Keats, when she married his brother, George:

Give me your patience, sister, while I frame
Exact in capitals your golden name;
Or sue the fair Apollo and he will
Rouse from his heavy slumber and instill
Great love in me for thee and Poesy.
Imagine not that greatest mastery
And kingdom over all the Realms of verse,
Nears more to heaven in aught, than when we nurse
And surety give to love and Brotherhood.

Each first word in each line of the poem ends up spelling G E O R G I A N A vertically!

In jewelry, acrostics take the very first letter of the gemstone that is used to write secret messages or sweet words of endearment! By spelling out a name or loving word in gemstones, the jewelry became even more meaningful. It also allowed people to convey sentiments that were not acceptable to express in public, especially in Victorian England. A lover could spell out a sweet sentiment in precious gemstones as a personal and intimate declaration of love, for their eyes only.

For instance, let’s say you have a ring with five stones. An Amethyst, Diamond, Opal, Ruby, and Emerald spell ADORE – revealing a sentiment of adoration and admiration.

The Language of Gemstones

Although it is largely associated with the Victorians, acrostic jewelry was actually born in the court of Marie Antoinette.1 Invented by the French jeweler, Jean-Baptiste Mellerio (1765-1850), acrostic jewelry was reportedly known as the “language of gemstones.”2 Mellerio is said to have created a ring for the famous French queen that spelled out “j'adore,” French for “I love,” studded with jade, amethyst, diamond, opal, ruby, and emerald.

Napoleon Bonaparte became so enchanted with the trend that in 1806, he commissioned several bracelets for Empress Josephine from his court jeweler, Marie-Étienne Nitot. Founder of the jewelry house Chaumet (1780), Étienne Nitot became the official jeweler of the Emperor and his court in 1802 and was responsible for many of the jewels commissioned under Napoleon’s reign.

Josephine’s prized bracelets were created to spell out the names of her children: Eugene (Emerald, uniaxial crystal (a crystal with a unique axial structure that does not show light), a garnet, an emerald, a nicolo (a blue intaglio), and emerald), and Hortense (a hessonite, an opal, a ruby, a turquoise, an emerald, a nicolo, a sapphire, and an emerald).3

Acrostic jewelry continued to gain popularity in Georgian England during the 1820s and 1830s and peaked during the Victorian era. “REGARD,” “ADORE,” and “DEAREST” are some of the most popular terms of endearment used for lovers and family members. Gems were also used to spell out birthdays and private messages. Thinking back on this period, the private and sentimental Victorians certainly got creative with their emotional expressions. Queen Victoria even mourned her beloved Albert by wearing a bracelet that spelled out his name in amethyst, lapis, beryl, emerald, ruby, and turquoise.

Acrostic jewelry was not limited to rings or bracelets, either. Brooches, pendants, lockets, and more were sprinkled with hidden messages! Many of them even use the stones in creative ways, using them to form different flowers, adding another layer of symbolism.

Pansies and other small flowers were particularly popular, as pansies symbolized thoughts of love and affection, representing the sentiment “think of me.” Later in history, acrostic jewelry was also used to express political views and spelled out words such as “REPEAL” and “SUFFRAGE.”

Acrostic Alphabet

While the list of gemstones has changed a bit throughout the years, there is no hard and fast rule – use whatever gemstone you like to spell out your bejeweled love note! For convenience, here is a list:

A Amethyst, Alexandrite, Aquamarine, Andalusite, Apatite, Amazonite, Amber, Ametrine, Aventurine

B Beryl, Benitoite, Bloodstone

C Citrine, Carnelian, Chalcedony, Chrysoberyl, Coral

D Diamond, Diopside

E Emerald

F Feldspar, Fluorite 

G Garnet

H Hematite, Howlite, Hessonite

I Idocrase, Iolite

J Jaspar, Jadeite, Jet

K Kunzite, Kyanite

L Labradorite, Lapis Lazuli, Liddicoatite

M Malachite, Maw-Sit-Sit, Moonstone, Morganite, Moisannite

N Nephrite, Niccolite (Nicolo)

O Opal, Onyx, Obsidian

P Peridot, Pearl

Q Quartz

R Ruby, Rhodochrosite

S Sapphire, Spinel, Sphene, Scapolite, Sodalite

T Tourmaline, Tanzanite, Topaz, Tsavorite, Turquoise, Tiger’s Eye

U Uvarovite, Unakite, Uniaxial crystal

V Variscite, Villiaumite

W Wulfenite

X Xanthite, Xonotlite

Y Yttrium Aluminium Garnet, Yugawaralite

Z Zircon, Zoisite, Zunyite

What message would you compose?

If you enjoy my writing, please consider subscribing to have By Odette delivered to your inbox. Subscriptions are free! But if you’d like to support my writing, I’ve added a “Buy Me a Coffee” tip jar button below. No pressure, and thank you for reading!

Buy Me a Coffee

The serpent is one of the oldest and most widespread mythological symbols in the world. As such, when it comes to jewelry, art, and design, there is no motif more popular or enduring than the snake! Snakes have been featured in jewelry since antiquity; a beloved symbol of rebirth, fertility, transformation, healing, and eternal love.

Snakes have been crafted into rings, bracelets, earrings, pendants, and armbands across cultures throughout history. And while snakes also have many negative connotations — the phrase “snake in the grass” didn’t invent itself — they are viewed as complex and largely positive creatures. Their mystical allure, combined with their elegant, sinuous forms and versatility makes it easy to see why they continue to be a beloved and enduring motif in jewelry.

Subscribe now

Snakes in Antiquity

As usual with most trends, snake jewelry finds its origins in the ancient world. Bracelets with snakes (as well as other animals), appeared in Western Asia from the 8th century BCE and spread to Greece in the 5th century BCE, before arriving in Egypt with the Ptolemaic Dynasty (Macedonian Greek rule in Egypt).1 Other examples of snake jewelry also come from Hellenistic Greece, Imperial Pompeii, Rome, Ptolemaic and Roman Egypt, India, as well as Thailand.

In all these cultures, snakes were seen as guardians, symbols of wisdom and power! Across the ancient world, serpents were viewed as divine protectors, and it wasn’t until the Middle Ages that they started to gain a more sinister reputation.

Egyptian Pharaohs wore headdresses with rearing King Cobras – known as the Uraeus – as a marker of divinity and power. The Uraeus represented the goddess Wadjet, the cobra goddess and one of the oldest deities in the Egyptian pantheon! She was the patroness of the Nile Delta and Lower Egypt. By including this symbol in their regalia, Egyptian Pharaohs communicated that Wadjet’s power was on their side.

In Greek and Roman culture, snakes also had strong associations with healing and well-being which can be seen in the attributes of the god Asclepius; son of Apollo, and the Greek god of medicine. The modern symbol for medicine is meant to be a version of Asclepius’ rod – the staff with an encircling snake. His daughter, the goddess of health and cleanliness, Hygeia (where we get the word hygiene from), is also depicted with a snake.

Subscribe now

Pompeii was filled with snakes. Serpents decorated everything from household shrines to wall paintings and public temples. They were often depicted in Larariums, household shrines for the Lares (guardian household spirits), and were seen as bringers of abundance and good fortune. They were depicted together with the gods, in garden scenes, with bushy, abundant garlands, and even wrapped around altars. Snakes are also seen in connection with Ceres (Demeter), goddess of agriculture, who rides in a chariot drawn by snakes!2

Snakes were also seen as symbols of love and marriage. When Hera flew into a murderous rage from Zeus’ (constant) infidelity, she sent two serpents to kill baby Hercules in his crib. Unusually strong as a demi-god, he strangled the serpents and formed what we know today as a Hercules knot (a knot with two interlocking loops). As such, snake bracelets were often given to young children as protective talismans.

What does this have to do with love? Well, the Hercules knot is actually the originator for the phrase “to tie the knot” in connection to marriage because it gets tighter the more you pull it. It then became a symbol of everlasting love and commitment.

All symbolism aside, snakes were made for jewelry! Their long, coiled bodies easily allowed for decorative and lifelike pieces to be made: sculptural bracelets, armbands, rings, and even brooches. Honestly, the topic of snakes in the ancient world can fill up an entire book(s).

Snakes in the Middle Ages

Possibly the most interesting serpent motif is the ouroboros, that of a snake or dragon eating its own tail. Literally meaning “tail-devourer” in Greek, the ouroboros originated in Egyptian and Greek iconography, eventually becoming an important alchemical symbol in the Middle Ages and the Renaissance.3 This was largely thanks to the alchemist Cleopatra.4 Known as Jörmungandr or the Midgard Serpent in Norse Mythology, the ouroboros represented the cyclical nature of all things: the earth, the seasons, life, death, renewal, and eternity.

The oldest-known depiction of the ouroboros appears on a golden shrine in the tomb of King Tutankhamun from the 13th century BCE!

However, during the height of the Middle Ages, the serpent became almost entirely associated with evil, the devil, darkness, and sinfulness. Suddenly, the snake was a symbol of temptation, treachery, and lust; the snake in the Garden of Eden and the evil Basilisk in Medieval Bestiaries (essentially, a “book of beasts”). Despite the negative religious connotation, the serpent’s positive mystical alchemical counterpart existed at the same time, adding a layer of ambiguity and fluidity to the motif.

During the Renaissance (c. 1300-1600) snakes were mostly depicted in connection with the triumph of faith and virtue over temptation. Many depictions of Adam and Eve and scenes of the Virgin Mary stomping on a snake abound during this period. It's not surprising that the demand for snake jewelry took a dive. But it wasn’t for long! By the 18th century, snake jewelry once again slithered its way into the hearts and minds of the upper echelons of society due to archaeological discoveries during the period and the reawakening of Classical culture.

However, it wasn’t until Queen Victoria’s reign that snake jewelry really took off, as the famous queen was very vocal about her love for serpentine jewelry.

Snakes in the Victorian Era

Queen Victoria’s engagement ring was ahead of its time. There’s no other way to describe it. In 1839, Prince Albert, knowing how much she loved snake jewelry, commissioned a snake-shaped engagement ring that he had designed himself, set with rubies, diamonds, and emeralds! He even commissioned a beautiful portrait of Victoria’s late mother before he died, framed by a pearl-laden ouroboros surrounding the miniature.

During this time, ouroboros snakes appeared in both love and mourning jewelry, often accompanying the name of lost loved ones in the latter. Turquoise snake necklaces – where the snake’s mouth and tail become the clasp – were also very popular. Symbolizing love and friendship, the blue color of the turquoise was meant to recall forget-me-nots, a delicate blue flower that also symbolizes love and tender feelings.

Both men and women wore snake jewelry, with men wearing them as rings, brooches, or tie pins. In fact, George IV wore a snake pinky ring when he was painted by Sir Thomas Lawrence in 1822. In portraits, women tended to wear snake jewelry in the form of bracelets and rings, and there are many, many beautiful examples (way too many to fit in here). So, whether it’s the poisonous asp of Cleopatra, the slithering snakes of Medusa, or the turquoise trinkets of the Victorians, the snake has won its place as one of the most powerful and enduring symbols in art and jewelry design.

Would you ever wear a snake ring?

If you enjoy my writing, please consider subscribing to have By Odette delivered to your inbox. Subscriptions are free! But if you’d like to support my writing, I’ve added a “Buy Me a Coffee” tip jar button below. No pressure, and thank you for reading!

Buy Me a Coffee

Except perhaps a coral cornicello but that’s another story!

Subscribe now

The story of my first cameo ring begins in Florence, steps from the Uffizi, in the tourist trap known as the Ponte Vecchio, overlooking the Arno River. While many will tell you – with good reason – to avoid Ponte Vecchio, I have to say, that I got lucky! I loved the experience and the little shop we happened to wander into, near the entrance.

To this day, I look at that ring and can still hear the bells of Maria Fiore, taste the decadently thick hot chocolate from the Uffizi café, and feel the crisp October breeze of the city on the river. It was a cloudy autumn day when we headed out on a day trip to the Renaissance city. My two roommates and I all had something we wanted to see or get on the trip.

For myself, I was dying to get a piece of cameo jewelry!

Precious and beautiful, my interest in cameos was awakened during a class on Rome during the Grand Tour: a traditional trip through Europe, particularly Italy, undertaken by wealthy upperclassmen as an important component of their education. With the influx of visitors, this era saw the rise of tourism and with it, the rise of souvenirs! Cameos were a popular choice amongst travelers, especially women, as they were small, portable, and replicated many of the famous works from antiquity and the Renaissance people had gone to see. By the 19th century, the cameo craze was in full swing and even Josephine Bonaparte was not immune, as can be seen by her elaborate cameo tiaras.

Josiah Wedgwood, an English potter and founder of the Wedgwood company (est. 1759) even developed a new type of pottery known as Jasperware, a type of stoneware with an unglazed matte “biscuit” (unglazed, white porcelain) finish. Jasperware would feature relief decorations in contrasting colors, with white against the famous ‘Wedgwood blue,’ being the most popular. This cameo effect was designed to appeal to the Grand Tour crowd and the appeal for classical culture.

Humanity’s consistency is incredible. To this day, when you travel to a destination, the urge to bring back proof that you were actually there in the form of a souvenir is deeply embedded. It has become a defined part of the experience, obtaining a tangible reminder of the journey; like bottling up a memory!

I mean, were you ever really there if you did not bring back a memento? While it sounds ridiculous, I can appreciate the thought. Like physical prints, I love filling my life with reminders of my odysseys. Letting me say things like “Oh, that? I picked it up in Florence.”

No biggie.

If that makes me a walking braggart or cliche, so be it. It’s fun!

While nothing like the Grand Tour, our escapade into Florence was extremely educational. After an entire day spent in the Uffizi, we made our way to Ponte Vecchio to hunt for cameos. We didn’t have to search for long as many shops had cameos on display for purchase. Overwhelmed by choices, we ducked into one of the first shops we saw, Fratelli Peruzzi Jewelry. Inside, the shop assistant was a tall woman with a short black bob and a kind smile. She was very excited and wanted to show us every single piece she had.

After explaining what a cameo was and the different price points, she gave us some excellent advice: “When it comes to cameos, don’t worry so much about the metal or the stone type…make sure it’s a face you like.” That sentiment rings true, as most of the cameos you’ll find on the market are ‘Portrait’ or ‘bust cameos’ – meaning they depict the portrait of a person, usually in profile. Other cameos replicate famous paintings or scenes from classical mythology, although, those usually carry a heftier price tag. And for good reason! The stone or material is not nearly as important as the craftsmanship and artistry, and complex scenes need a masterful hand, and a long time, to create them.

Cameos are made by taking a hard stone or shell and making a delicate raised relief carving in contrast to the background. Usually, the lighter color is chosen for the main subject while the darker color is left as the backdrop. To achieve this, multi-colored or banded stones like agate and sardonyx were (and still are) a popular choice for cameos, as these stones allowed artisans to take advantage of the different colored layers to create stunning scenes and portraits. This created the illusion of a miniature sculpture! Other stones included carnelian, amethyst, chalcedony, jasper, onyx, and even coral, amongst others. Those who could not afford cameos created from gemstones bought cameos made from glass.

In contrast, intaglios are created by carving inward, creating a depression or ‘sunken relief.’ Intaglios have been in production since antiquity, believed to have originated in southern Mesopotamia dating back to the 4th millennium BCE.1 They were used as signet rings and identifying seals that were pressed into wax or clay tablets “to establish ownership, ensure authenticity on legal documents, or to safeguard the privacy of rooms, cupboards, and letters.”2 Essentially, they were used as signatures, a means of identification, as amulets and talismans, and as personal ornamentation. It wasn’t until the 5th century BCE that cameos (raised relief carvings) came onto the scene in Hellenistic Greece.3

Cameos and intaglios are studied under the wider umbrella of glyptology or gem engraving and are considered to be the oldest forms of gem carving.

One particularly famous cameo is the notable ‘Great Cameo of France,’ the largest cameo to survive antiquity (or possibly ever) — it measures around 12 x 10 inches! Dated to 23 CE (or 50–54 CE – it is still being debated), this monumental jewel is a five-layer Sardonyx cameo depicting members of the Roman Julio-Claudian dynasty. It contains 24 engraved figures, with “…the dead placed in the upper part, while the middle register represents the world of the living.”4

While the ancients created cameos mainly out of precious gemstones, the 16th century in Italy saw the use of shells to meet the high demand for these miniatures. Several shells are used to make these cameos including Carnelian shell cameos, with their orange-red color that mimics the stone of the same name; Haliotissardonica, valued for its reddish-brown color; Cassis rufa, with its pink outer layer and a dark reddish interior; Cassis cornuta, a large shell with a whitish outer layer and orange inner layer; and Strombusgigas, or the queen conch, with its gorgeous blushing pink interior. Even lava was used to create cameos at one point!

Regardless of materials, cameos were set as rings, brooches, earrings, necklaces, diadems, bracelets, watch fobs, and even pins.

In the shop we entered, there was mostly a mix of blue and red agate cameos and Carnelian shell cameos. The blue agate seemed to be the most popular because it was everywhere. However, this adorably delicate red agate cameo ring just jumped and screamed out at me! A young woman with flowing long hair in profile, delicately clasping her pearl necklace, the center of the stone was a brilliant red, while the sides diffused into a softer pink. I loved that the sterling silver setting was adjustable, making it comfortable to wear.

I also bought my mom a blue agate cameo pendant (to match her eyes) for Christmas. Where mine is a woman in quiet contemplation, my mother’s cameo had a free, dreamy look to her; her hair tied up and flowing in the wind. It was perfect for her! She calls it ‘her Lady.’ Eventually, I would also buy one for my sister but from Eredi Jovon on my trip to Venice. Hers is befitting her bright and bold personality, her cameo is dainty but has a lovely girl with a large, elaborate updo with flowers and a sweet smile. One of my roommates also bought herself a blue agate cameo, but as a brooch, which, we were told, can double as a pendant.

We spent close to 2 hours in the shop, and the shop assistant was patient as can be, and gave me an excellent deal for both – moderately sized cameo pieces (about half an inch tall), and told me to wear them in good fortune.

How Do You Know It’s Real?

Besides the history of cameo production, the shop assistant gave us some excellent tips on buying future cameos!

“The first and best indication of a fake cameo is a closed back,” she explained. When you buy a cameo, you should be able to see the translucency of the piece, and the silhouette of the design, when you hold it up to the light. If a cameo has a closed back or the jeweler does not let you hold it, it’s generally a bad sign. Second, cameos have a soft matte finish and are not glossy or overtly shiny like glass or plastic. It should also feel cool and gritty to the touch, as plastic and resins tend to be warmer and smoother.

When you’re in a jewelry shop dedicated to cameos, you will tend to see the same or very similar designs, depending on their popularity. However, even the same design, in a pair of earrings, for example, should have some irregularities due to its handmade nature. In this case, imperfections are a good thing. Finally, when in doubt, use a magnifying glass! As a real, hand-carved cameo, you should be able to see very fine markings or indentations from the tools. Plastic or resin imitations would be completely smooth and flat.

With the ever-increasing disappointment of Etsy and the slow disappearance of the ‘handmade item,’ I’ve realized that travel allows us to, not just see and experience new places, but to find and collect some truly unique treasures! The jewelry I have bought abroad is a wonderful way to carry the memory of that journey with me forever.

And so we left Florence with our new treasures, continuing a souvenir tradition that is more than 200 years old: Go to Italy, look at museums, and buy a souvenir. Although it wasn’t as simplistic as all that, it remains one of my fondest memories in Italy – there’s very little that can beat buying a handcrafted piece of jewelry in the middle of Florence.

If you enjoy my writing, please consider subscribing to have By Odette delivered to your inbox. Subscriptions are free! But if you’d like to support my writing, I’ve added a “Buy Me a Coffee” tip jar button below. No pressure at all, and thank you so much for reading!

Buy Me a Coffee

— Sir Walter Scott, The Bridal of Triermain, canto XXVI

Long known as the “Queen of Gems,” pearls have enamored jewelry lovers for millennia. Since the time of the ancient Greeks pearls were considered to be more valuable than any other gemstone or precious material, including gold or diamonds! No matter what Marilyn says, it was pearls that were considered to be the best-loved gem throughout history. Seneca once wrote of a woman who “loved her pearls more than her sons!” In fact, it is well documented that Julius Caesar himself was obsessed with pearls!

We’ll get to that in a moment, it’s quite a story.

They were so popular in the ancient world that the Roman author Pliny the Elder even stated: “The first rank then, and the very highest position among all valuables, belongs to the pearl.”1 For the fourth installment of The Jewelry Casket, we are going to talk about one of my favorite gemstones, the pearl. This is a long one, so brew the coffee and tea, and get cozy — andiamo!

Subscribe now

Pearls of Wisdom

Cherished for their rarity, beauty, and lustrousness, pearls have appeared in art, jewelry, and mythical stories across cultures since they were first recorded in 2206 BCE by a historian in ancient China.2

It’s a GEM but not a STONE: Like amber and coral, pearls are ‘organic gems,’ and are made by living creatures.

Pearls are created when an irritant [also called a nucleus] lodges itself in the mantle or soft tissue of a living mollusk. The mollusk's mantle tissue (a thin layer of flesh that lines its shell) reacts by forming a sac and begins to coat nacre over the irritant, which eventually forms a pearl.3

Bear with me on this! The nucleus (irritant) is what triggers the process, acts as the pearl’s core, and as a template for its final shape. The rounder the nucleus the rounder the pearl! This is true for both natural and cultured pearls which are chemically and physically, exactly the same. It's also why getting a perfectly round pearl is difficult and rare.

It’s Baroque, Don’t Fix It

The formation of baroque pearls (any irregularly shaped pearl) occurs when the nacre-layering process is interrupted by sudden changes in temperature or the environment. This causes the nacre to become…unpredictable, and results in the beautiful irregular shapes that characterize baroque pearls!

In the 16th and 17th centuries, the rage for pearls was at a fever pitch! Baroque pearls, especially, were utilized to make some of the most interesting and fashionable pieces of the time. I’m talking about those fantastical Renaissance baroque pearl pendants, in which the pearl’s shape is cleverly used to determine the design. Precious gemstones, gold, and enamel work would be included to create detailed miniature sculptures of sirens, tritons, gods, mythical beasts, and even ordinary animals.

These jewels were worn as pendants or brooches. They are truly an ingenious use of the baroque pearl. If I had to pick a favorite, it would be the Swan, it looks incredibly grumpy and endearing.

Some of the most remarkable shapes, however, come from the so-called Keshi pearls, which are formed when the oyster rejects or fractures the implanted irritant before the culturing process is completed. These pearls do not have a nucleus, and so, develop odd (but fun!) shapes: crosses, sticks, hearts, buttons, and chicken feet (yes, you read that correctly).

Share By Odette

The Black Pearl & Some Roman Gossip

Although most pearls in art and jewelry are creamy white, pearls can appear in a range of colors that few gems match: black, blue, silver, pink, purple, brown, gold, and even green, determined by the color of the mollusk’s “lip” or outer shell.

One of the most famous pearls in history was actually a black one. Known as “Servilia’s pearl,” this exceptional gem was given by Julius Caesar to his favorite mistress, Servilia, who was the mother of his future murderer, Brutus. Caesar purchased the pearl at a whopping 6 million sesterces, making it one of the most valuable gems of all time!4

Caesar was known as quite the pearl connoisseur. Roman critic (gossiper) Suetonius once snidely called Caesar's invasion of Britain a glorified search for pearls. It may sound juicy, but it's not entirely true. More likely, he aimed to overshadow Pompey, who is credited by Pliny the Elder with giving the Romans a taste for pearls.5

Pompey the Great was a Roman general who, in 61 BCE, defeated Mithradates, King of Pontus. He is said to have displayed “33 pearl crowns” and had artists fashion “images from pearls.”6 To top this, Caesar created a breastplate entirely made of British pearls and dedicated it to the temple of Venus Genetrix, from whom he claimed that he was descended.

Cultivating Pearls

Finding a natural pearl is – quite literally – one in several million.7 Natural pearls almost disappeared entirely due to over-harvesting.8 From the Renaissance and through the 1800s, pearls continued to be the beloved favorite of artists and amongst women. As can be seen in many paintings of the period. Johannes Vermeer is often called the “painter of pearls,” as pearls appear in 18 of his 36 paintings.9

The Dutch Republic participated in the thriving trade in pearls. The Gulf of Mannar was “…one of the pearl diving hotspots in the 17th century.”10 Divers sometimes had to collect more than 1,000 oysters before they came across a single attractive pearl.

This overconsumption led to the rise in cultured pearls at the end of the 19th century. The first successfully cultured pearl was achieved in 1893 by the “Pearl King” Kokichi Mikimoto, founder of the luxury jewelry company, Mikimoto!

“My dream is to adorn the necks of all women around the world with pearls.” —founder Kokichi Mikimoto

Dragons, Goddesses, & Queens

The pearl has been associated with beauty, love, wisdom, and purity across cultures. To the Greeks and Romans, pearls were the tears of the goddess Aphrodite, born from the sea foam. They believed that pearls promoted happiness in marriage and thus were a symbol of purity and loyalty.

In his “Natural History,” Pliny the Elder describes how Cleopatra (69 BCE - 30 BCE), the Egyptian queen, dissolved a large, expensive pearl earring — “the largest […] of all time…” — in vinegar, and drank it, to win a bet against Marc Anthony. She had wagered that she could spend 10 million sesterces [$500,000 on the gold standard] on one meal, and thanks to the pearl cocktail, she did. It was a brilliant power move by the Egyptian queen and a delightful show of Egypt’s wealth!

In ancient China, pearls were symbols of wisdom and purity, often depicted as being held by dragons. One legend set in the rural province of Sze Chuan tells the story of a young boy who became a dragon by swallowing a magical pearl to protect it from the corrupt emperor. As a dragon, he became the protector of his province.

When it comes to learning about a gemstone and its place in history, you would be hard-pressed to find one as impactful and enduring as the pearl. From Europe to Asia and beyond, pearls have a place in just about every culture and myth. I hope you enjoyed this mini dive into the world of pearls – but the fun part is, it’s only just scratching the surface.

Until next time!

Post Script — Wow, this is exciting and scary, but here goes! If you enjoy my writing, please consider subscribing to have By Odette delivered to your inbox. Subscriptions are free! But if you’d like to support my writing, I’ve added a “Buy Me a Coffee” tip jar button below. No pressure at all, and thank you so much for reading!

Buy Me a Coffee

And I’m back! To say I haven’t found time to write is an understatement. It has been a while; June has come and gone in the blink of an eye and it feels like July is in a hurry to be finished as well. Life has been time-consuming and hectic lately, leaving no room for the writing desk. But I am glad to finally be able to give this newsletter some much-needed love and attention. Put on the kettle (or moka pot) and grab a cozy blanket, this is a long one as we are going to be discussing the gorgeous colorful jewelry of the Byzantine period, andiamo!

Subscribe now

The Byzantine Empire

First some background! In 330 CE, Emperor Constantine the Great transferred the ancient imperial capital from Rome to the city of Byzantion, which he later renamed Constantinople (modern-day Istanbul), “the city of Constantine.”1 It was also referred to as “New Rome,” but I think he liked Constantinople better. This divided the Roman Empire in half, between Rome and Constantinople. However, this wasn’t the first time the empire had been divided.

In fact, in 286 CE, Emperor Diocletian split the Roman Empire into eastern and western provinces to manage an increasingly unstable empire. At this point, the empire was way too big for one person to handle, and emperors were dropping like flies. Splitting the empire between four rulers (2 for each half), known as the Tetrarchy, was seen as a good solution.

The eastern half would come to be known as the Byzantine Empire. It covered much of the Mediterranean, including what is today Italy, Greece, and Turkey, along with portions of North Africa, including Egypt, Asia Minor, and the Middle East.2 It’s also important to keep in mind, however, that the people of Byzantium did not refer to themselves as such; they referred to themselves as ‘Romans.’3 The term Byzantine/Byzantium was not coined until way later in the 16th century by historians.

It serves as a convenient label to differentiate the Eastern Roman Empire from the Western Empire which fell in the 5th century CE. Byzantium remained the engine of the empire, and the strongest force in Europe, throughout the rest of late antiquity and the Middle Ages.

“The Christian, ultimately Greek-speaking state ruled from that city, which would come to be called Byzantium by modern historians.”4 The Byzantine Empire survived until 1453 when Constantinople fell to the Ottoman Turks.5 After which, the city became known as Istanbul.

Wearable Art

Ok, now onward to jewelry!

If there were one word I would use to describe Byzantine-era jewelry, it would be colorful! The jewelry of Byzantium is known for its avid use of different colored gemstones and glass, sophisticated metalworking techniques, and a range of jaw-dropping decorative motifs. While earlier Roman jewelry also used gemstones and elaborate goldwork, there’s just something about Byzantine jewelry that sets it apart. So much so that we are still drawing influence and ideas from this period (Dolce and Gabbana, I’m looking at you).

For one thing, it’s on the maximalist side of the fence! Like the mosaics, icons, reliquary crosses, and book covers also created during this period, every piece of jewelry glows with light and color. It’s also the result of ingenious, delicate, and masterful craftsmanship.

Gold, Glass, & Gemstones

Byzantine jewelry was a full continuation of earlier Roman traditions and formed the foundation for their jewelry-making. This included gold-working techniques such as granulation and filigree (wirework), creating fine, intricate, and delicate bracelets, earrings, fibulae (brooches), belts, rings, and necklaces – oftentimes very small in scale! The Etruscan art of repoussé – creating a relief by raising the surface of sheet gold from the back – also continued in Byzantine jewelry production.6

Byzantine artisans were especially skilled in the art of opus interrasile, a particularly demanding, time-consuming technique that involved delicately piercing gold sheets to create fine patterns (see “Basket” earring above). “The patterns formed by piercing the metal ground encouraged the play of light and shadow across an object's surface.”7 In some examples, this work becomes so fine, so elaborate, that the gold looks like a glittering spider’s web! It’s so beautiful, Arachne herself would give it her stamp of approval.

The use of Niello also served to highlight intricate details, patterns, and inscriptions in jewelry.8 Niello is a chemical alloy that turns engraved areas black through oxidation, offering a lovely contrast between the pattern and the surrounding gold.

Some of the most beautiful examples of Byzantine jewelry include the use of semi-precious and precious gemstones and colored glass. Although they didn’t practice faceting, which came much later, Byzantine jewelry prominently featured cabochon-cut stones. Sapphires, pearls, emeralds, garnets, green chalcedony, and amethysts were polished and smoothed to increase color, light, and vibrancy. Pearls were harvested from the sea and tended to be small, in a range of colors, and were applied to clothing and jewelry alike.9

We see this avid use of stones and glass in elaborate and complex diadems, bracelets, earrings, and even multiple-finger rings! One notable example is from the Metropolitan Museum of Art, a two-finger gold ring created with amethyst, emerald, glass, and pearl. It’s incredible how modern ancient jewelry is sometimes. There’s even a flamboyant (if uncomfortable) Roman-Syrian triple-finger ring containing five colorful gems! Another favorite piece is this emerald and gold necklace sold at Christie’s (6th-7th century CE). The brilliant green of the emeralds is absolutely captivating.

“Composed of thirteen cell-work links, each link a triangle formed from ten circular cells each set with an emerald, a piriform element below joined to a wire threaded through an emerald bead, the links hinged together by dome-topped pins threaded through loops and splayed at their ends, with hollow conical terminals looped at their ends, with a hook-and-loop closure.”

The Byzantines were also very well known for their cloisonné enamel work, which used strips of gold to create small cells filled with glass and then fired, creating gorgeous polychrome patterns! Gem carving, a popular tradition in antiquity, continued in the Byzantine era with gorgeous intaglios and cameos being created with Christian images such as the Madonna and Child and Saints.

Meaning & Motifs

As in many ancient cultures, jewelry in Byzantium was not just for adornment but communicated complex messages about identity, status, and religious beliefs. Christian iconography did not become popular until the 5th century. Most designs featured ornamental geometric, vegetal, or floral designs. Images of Greco-Roman deities also continued to be featured prominently in jewelry.10

Even when Christianity became the dominant religion, the classical imagery of antiquity continued to be worn as a symbol of erudition and learning. Actually, many designs were prescribed double meanings that blended Christian and Classical symbolism. For example, grape vines could symbolize abundance and fertility, evoking the Greek god of wine, Dionysus. They could also reference Christ and the Eucharist.11

Christian motifs such as the cross or gems engraved with scenes from the bible were worn as protective amulets. Eventually, enkolpia pendants used for personal prayer and devotion became quite popular in the 10th and 11th centuries. They can be described as objects worn around the neck — pendants, medallions, miniature reliquaries, etc. —created using luxurious materials such as gold, enamel, pearls, and precious stones. These intimate objects were often inscribed with personal prayers, indicators of religious devotion, and spiritual well-being.

Thank you for reading my musings and ramblings! If you liked this post, please hit that <3 button and subscribe for more.

An Ancient Amulet

We call it a ‘gemstone,’ but coral is actually a soft, organic material created from the skeleton of polyps found underneath the ocean. The colors of coral range from soft orange to vivid red, salmon, and pale pink. It’s easy to shape and work with and has been used in jewelry since ancient times.

In ancient Rome, it was believed that wearing Italian red coral warded off the evil eye, bad luck, and disease! Children and infants in Rome were often gifted necklaces with branches of brilliant red coral that served as protective amulets. Pliny the Elder, the ancient Roman author and scholar, stated that “Branches of coral, hung at the neck of infants, are thought to act as a preservative against danger.”1

Subscribe now

It was also believed that coral had medicinal properties, “Calcined, pulverized, and taken in water, coral gives relief to patients suffering from griping pains in the bowels, affections of the bladder, and urinary calculi.”2 It was also added to wine and described to alleviate symptoms of fever, and improve blood circulation. Although I definitely wouldn’t advise doing this!

The tradition of giving children strands of red coral for protection continues to this day! Paintings from the Late Medieval and Renaissance periods often depict the Christ Child holding or wearing beaded coral necklaces similar to rosaries. Coral was also used as a teething aid for young children.

Interestingly, branches of coral have been compared to the human circulatory system, imitating the branching appearance of blood vessels in the body. While coral does NOT contain a “true” circulatory system due to the lack of a heart and blood vessels, their gastrovascular cavities act like a “circulatory system” because they help transport nutrients throughout the organism.3 This is one of those moments when you think about how incredible and intentional nature is!

Myth & Magic

Coral also appears in Greek mythology! Perseus, after killing Cetus the sea monster with Medusa’s head, places it on the riverbank while he washes his hands. When he picked it up, her blood had turned the surrounding plants and stones into red coral! Since her gaze had the power to petrify men, her blood also carried this potent power.4

The hero washes his victorious hands in water newly taken from the sea:
but lest the sand upon the shore might harm the viper-covered head, he first prepared
a bed of springy leaves, on which he threw weeds of the sea, produced beneath the waves.
On them he laid Medusa's awful face…and the living weeds, fresh taken from the boundless deep, imbibed the monster's poison in their spongy pith: they hardened at the touch, and felt in branch and leaf unwonted stiffness….Even from that day the coral has retained such wondrous nature, that exposed to air it hardens.—Thus, a plant beneath the waves becomes a stone when taken from the sea.5

In Hindu mythology, red coral is associated with the god of war and courage, Mangal, the counterpart of the god Mars/Ares. It is said to enhance the wearer’s vitality and courage as a result. Several beautiful examples of coral jewelry from Nepal exist at The Metropolitan Museum of Art, created with turquoise, silver, and other precious materials! In Chinese culture, coral jewelry was regarded as something that could prolong the wearer’s life.6 And Arab physicians in the 11th century thought coral to produce good humor in a person as well.7

Although coral is not directly mentioned in the original myth, in Frederick Sandys’ painting Medea (1866-1868), the multiple strands of beaded coral that the titular character wears serve a symbolic purpose. In Greek mythology, Medea was a beautiful princess and sorceress, the daughter of the King of Colchis and the niece of the witch Circe. The story goes that Medea fell in love with Jason, who came in search of the Golden Fleece. They married and had two children. However, Jason later abandoned her to marry the princess Glauce. Greek myths are so romantic.

In revenge, Medea killed Glauce and murdered her two children in front of him. In the painting, Medea is shown casting the spell to kill Glauce with a dress that bursts into flames (because why not?!) She is pulling her coral necklace viciously – a stone thought to protect children from evil – as her hatred drowns out any maternal love she has for her children.

Coral Jewelry In the Georgian & Regency Periods

First, a little bit of clarity on these terms: Georgian and Regency tend to be used interchangeably when, in fact, they correspond to slightly different points in time. The Georgian era spans the years from 1714 to 1837, named as such after the reigns of King George I, II, III, and IV. The Regency period spans only 9 years, from 1811 to 1820, and refers to Parliament’s Regency Act of 1811. This act appointed King George III’s (aka “Mad King George”) eldest son as Prince Regent. Regent = Regency.

In 1820 King George III died and his son became known as King George IV. It may seem picky, but the Regency is seen as a sub-period by historians within the larger Georgian era, which culminates in 1837 when Queen Victoria was crowned, thus beginning the Victorian era.

Now, back to jewelry! Coral jewelry continued to be used during the Georgian era and throughout the Victorian period. Most 18th and 19th-century portraits of women showcase the beautiful assortment of coral jewelry they commonly wore. Whether carved into simple beads or elaborate cameos, coral was worn as necklaces, bracelets, earrings, brooches, elaborate diadems, and simple pins.

One of the reasons why I love the 2020 version of Emma by director Autumn de Wilde is the sheer beauty of the fashion! Emma often wears coral jewelry throughout the film, including this stunning dinner look (above) where she wears a coral diadem, a double-stranded coral bead necklace, and drop earrings with three hanging pendants. When compared to portraits of women from around the same period, it’s easy to see how the film isn’t far off from historical accuracy. Coral was one of the few accessories that could be worn appropriately during the day, as well as the evening.

By the 19th century, coral was no longer believed to be a protective talisman. However, it remained a popular christening gift just the same. Little girls would receive beaded necklaces while boys were given coral rattles that also functioned as teething aids. The sheer number of paintings of women wearing coral is truly a testament to its popularity and availability. And it’s easy to see why. The brilliant red adds the right touch of vivacity and brightness to any portrait, drawing the eye and denoting beauty and class.

Thank you for reading my musings and ramblings! If you liked this post, please hit that <3 button and subscribe for more!

This gorgeous solid gold bracelet was found in the eponymous House of the Golden Bracelet, one of the most elegant houses in Pompeii’s Regio VI, in what is known as the Insula Occendentalis. The three-story house is famous for its spectacular illusionistic garden frescoes and luxurious floor decoration, mainly its colored marble mosaics (opus sectile). Mythological paintings and reproductions of original Greek works of the 4th century can also be found in this grand complex!

The bracelet is composed of a curved shaft with terminals in the shape of serpent heads grasping a central disc between their jaws. The disc is decorated with the bust of the goddess Luna (Selene), depicted as a young girl crowned by seven stars and a crescent moon above her head. Her arms are lifted as if pulling back a thin veil, billowing dramatically behind her.

The bracelet was worn by one of the victims trying to flee during the volcanic eruption. Incredibly, it was found intact and gleaming on the arm of its long-passed owner. According to Barbara McManus:

The woman was also carrying a casket containing 40 aurei and 180 denarii, indicating that they were people of ample means.1

The bracelet is so incredible, that the house where it was found was immediately named after it, eclipsing the fantastical wall paintings and garden views. While the eruption and scorching temperatures meant the demise of the city’s inhabitants, the preservation of the bodies, objects, and paintings is due to the protective layer of volcanic ash and pumice that buried the city.

Gold & Value

Numbers incoming, bear with me!

For some context into the value of the bracelet, it’s important to keep in mind that, in the ancient world, jewelry did not act solely as an accessory but as a ‘portable banking system.’2 Jewelry allowed people to wear their wealth, storing and displaying it simultaneously in an age before widespread banking.3 Think of wearing your nest-egg pile of gold coins as a pair of earrings, necklace, or stunning bracelet instead of locking them away in a safe.

The overall value of a piece of jewelry was often equated with the weight of a single golden aureus (the standard gold coin for the Roman period), which, in the latter part of the 1st century, was measured at 7.2 g – this was also the average worker’s salary for an entire month!4

The bracelet weighs a whopping 610 g (roughly 1.3 pounds). That means this bracelet was worth nearly 7 years’ wages in gold value alone! (83.9 months). To say nothing about craftsmanship, time, design, and other possible labor costs. It is truly an exceptional example of not just wealth, but Pompeian craftsmanship and creativity!

Snakes & Goddesses

I don’t know about you, but I hate snakes. They terrify me. But, in the ancient world, they were seen as positive symbols for renewal, rebirth, and fertility! You can find snakes in wall paintings, shrines, and yes, even jewelry! Actually, snake bracelets, arm bands, and rings were extremely popular and many examples have been found in Egypt, Italy, and Greece.

Snakes were sacred to many deities, including Aesclepius, the god of medicine; Isis, the Egyptian goddess of love and fertility; the demi-god Hercules, who tied two snakes together when they were sent by Hera to kill him as a baby (yikes!), and Demeter, whose chariot was pulled by snakes. Considering the popularity of snakes as powerful guardians and symbols, it makes sense that they would be used in the bracelet’s design.

The central disc of the bracelet portrays the Roman goddess Luna, who was considered to be the divine embodiment of the moon itself! Her Greek counterpart is the goddess Selene, who evolved and was eventually merged with the goddess Diana/Artemis. However, there was a great period when Luna was worshiped independently from Diana and the Greek Selene. Varro, an ancient Roman polymath and author, actually categorizes her among the 20 principal gods of Rome, distinct from Diana, who appears on the list as well.5

Like the gods Helios and Sol, who were also eventually merged under Apollo, Luna/Selene drove a chariot led by bulls! The goddess was also included in the Cult of Mithras, a mystery Roman religion surrounding the figure of the bull, due to the horn-like appearance of the crescent moon above her head.

Like many artifacts from the ancient world, it’s difficult to know who made the bracelet and its design, much less who commissioned it and for whom. However, I think we can all agree that it is one of the most beautiful examples of Pompeian artistry and goldsmithing in existence!

Thank you for reading my musings and ramblings! If you liked this post, please hit that <3 button and subscribe for more.

Emphasis on a love for jewelry. I began this newsletter by retracing my steps in Italy as a graduate student, and those reflective travel stories will continue—I love writing them!

However, after I finished writing one of my last posts on Galleria Doria Pamphilj and the notorious Olimpia Maidalchini, I was inspired to start a new section on By Odette.

Subscribe now

The Jewelry Casket will feature mini-essays on historical jewelry from antiquity to the present, concentrating on many pieces currently residing in museums worldwide. I will start publishing these every other week between regular By Odette travelogues, so expect it every week(ish) or so in your inbox, but this may change in the future.

We will also explore jewelry in art, sculpture, and portraits, as the wearer often used adornment to communicate important personal aspects, status, power, and wealth. There is so much to talk about when it comes to jewelry throughout history.

I have always loved jewelry; my mother, grandmother, and yes, even great-grandmother saw jewelry as being beyond mere accessories or adornment: they were investments, beautiful heirlooms to be worn, cherished, and passed down for generations. And the cultures of the ancient world through the Renaissance and beyond saw them the same way.

While studying art history in Rome, my obsession with ancient jewelry began in earnest; traveling through museums and collections, I realized the jewelry of these ancient cultures was the foundation for today’s styles and aesthetics. I remember being completely enthralled by the history, beauty, and intricacy of each piece – buildings were laid to ruin, but 3,000 years later, gold jewelry resurfaced, gleaming and intact.

The Jewelry Casket will also explore jewelry throughout the ages, apart from antiquity:

• Georgian Era (1714 – 1837)

• The Victorian Era (1837 – 1901)

• Edwardian Era (1901 – 1915)

• Art Nouveau (1890 – 1910)

• Art Deco Era (1920 – 1945)

• Retro Era (1939 – 1950)

The Victorian era is a particular favorite of mine! During this period, archaeological discoveries in Italy spurred the production and popularity of Revival Jewelry — pieces that imitate ancient artifacts and draw inspiration from the past.

So, why The Jewelry Casket? It’s a strange name, but there is a method to the madness. While the term casket reminds us of funerals today, historically, caskets were a type of small, ornate chest that held jewelry and other small valuables. Jewelry caskets have been used since the time of the ancient Egyptians, and many are works of art in themselves, being made with ivory, enamel, and other precious materials.

At one point, the term casket began to be used interchangeably with the word coffin in North America, which is the proper word for the box used to bury the dead. This was likely due to the thought that the person concealed within was a jewel themselves. It’s a sentimental thought.

But no, The Jewelry Casket is NOT where glittering dreams go to die; it’s where I can share all the love and knowledge I have on antiquities, jewelry, and art with all of you. I can’t wait to get started!

Thank you for reading my musings and ramblings! If you liked this post, please hit that <3 button