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Stuart jewellery refers to the exquisite pieces crafted during the Stuart period in Britain, spanning the years 1603 to 1714. This remarkable era began with the ascension of James I of England (also James VI of Scotland), uniting the crowns of England and Scotland for the first time. It ended with the reign of Queen Anne, the last Stuart monarch.
Design Periods
Marked by sweeping political and religious changes, including civil war, the execution of Charles I, the rise and fall of the Commonwealth, and the eventual restoration of the monarchy, this period was as tumultuous as it was culturally rich.
Amidst this backdrop of upheaval, jewellery served as a powerful expression of personal allegiance, sentiment, and fashion. Stuart era jewels are not merely decorative; they reveal stories of loyalty, love, mourning, and identity during one of the most dramatic centuries in British history.
£15,000
£8,500
£19,500
£9,800
1603–1649: The Early Stuart Period
Under the reigns of James I (1603–1625) and Charles I (1625–1649), the Stuart court embodied the extravagance of the Renaissance and early Baroque periods. Jewellery mirrored the grandeur of courtly life, borrowing heavily from continental styles. Rich materials such as luminous pearls, table cut diamonds, Burmese rubies, Ceylon sapphires, and Colombian emeralds were highly prized. Enamel work, too, was regarded as a true art form.
Women of the aristocracy wore layers of pearl necklaces, ornate earrings, elaborate brooches, and gemstone rings. Each piece conveyed a message of wealth, lineage, or romantic devotion. Men were no less adorned, favouring hat badges, jewelled buttons, and brooches. A popular accessory was the portrait miniature, delicately hand painted and set into lockets or rings, often exchanged as tokens of love or political allegiance.
Much of our knowledge of early Stuart jewellery comes from the Cheapside Hoard, discovered in 1912 by workmen in London’s Cheapside district. Concealed in a wooden casket beneath a cellar floor, this extraordinary find included hundreds of pieces of 17th century jewellery and gemstones. The Hoard remains the most significant source of early Stuart jewellery in existence.
The Hoard revealed not only the wealth of materials in use but also the sophistication of craftsmanship. Necklaces, in particular, were highly fashionable, often worn in layers and adorned with enamel and coloured stones. A major innovation of the time was opaque enamel painting, a technique attributed to Jean Toutin of Châteaudun, which allowed for more detailed and colourful designs.
1649–1660: Royalist Sentiment and Stuart Crystals
The execution of Charles I in 1649 marked a turning point in jewellery design. The monarchy had fallen, and England was declared a republic under Oliver Cromwell. During this period, opulent jewellery was deemed frivolous by Puritans, and courtly adornment gave way to modest, often symbolic pieces.
Royalist supporters, however, found subtle ways to express their loyalty. Mourning jewellery emerged as a quiet yet powerful form of resistance. Stuart crystal jewellery, named for its association with the royal house, featured small portrait miniatures, ciphers, or initials of Charles I placed beneath faceted rock crystal. Some included locks of hair and motifs like skulls, crowns, and hearts. These jewels were intimate, deeply personal, and often discreet enough to be worn during the politically sensitive Interregnum.
Stuart crystals became enduring symbols of remembrance and loyalty, and by the late 17th century, they were also used as love tokens or marriage gifts, containing romantic symbols such as love knots, flowers, and hearts.
1660–1688: The Restoration and Baroque Influence
With the restoration of the monarchy in 1660 and the coronation of Charles II, jewellery once again embraced grandeur. The Royal Goldsmith, Sir Robert Vyner, was commissioned to recreate the crown jewels, as the original Tudor regalia had been destroyed during Cromwell's rule. Valued at over £12,000 at the time, these recreated items form the basis of the crown jewels used today.
The Restoration court was extravagant, and fashion followed suit. Rose cut diamonds and vibrant gemstones were set in dramatic, high relief designs. Jewellery became bolder, richer, and heavily influenced by the opulent Baroque style. Enamelwork remained popular, especially in mourning jewellery.
Rings continued to bear mourning inscriptions and imagery, skulls, coffins, and black enamel. Perhaps made more important due to the great plague of 1665 and the fire of London in 1666.
Stuart crystal jewels evolved to commemorate loved ones, featuring initials and motifs beneath a domed crystal. Pearls remained fashionable, especially in necklaces.
Men’s jewellery during this time became more restrained but still symbolic. Fewer items were worn overall, and a more minimalist approach emerged compared to earlier periods. Political and religious symbolism remained key.
1688–1714: The Later Stuart Period
The Glorious Revolution of 1688 ushered in further political transformation, with William and Mary taking the throne. Queen Anne, the final Stuart monarch, ruled from 1702 to 1714. This later period saw jewellery reflecting a growing focus on personal sentiment and legacy.
Memorial and mourning jewellery became increasingly refined. Rings inscribed with mottos such as “In Memory Of” or “Not Lost but Gone Before” became common. Hairwork, urns, cherubs, and angelic motifs featured prominently. Black enamel and gold bands were often worn to mark the death of a loved one.
Fashion among women remained elaborate, especially at court. Bodice ornaments, drop earrings, and pearl studded necklaces were worn with intricate gowns. Men adopted more modest accessories such as stickpins and seal rings. Despite ongoing economic and political pressures, including the aftermath of the Great Fire of London in 1666, jewellery continued to flourish in design and sentiment.
Materials and Craftsmanship
Expanding global trade brought a wider array of gemstones to England. Colombian emeralds, Burmese rubies, and Ceylon sapphires were imported, their beauty enhanced by evolving cutting styles. The softer pastel shades of court fashion were complemented by gemstone jewellery, especially diamonds, which became more accessible and were reserved for evening wear to catch the romantic candlelight.
Faceting techniques also advanced. The earlier table cut style gave way to more rounded, faceted forms, precursors to the cushion old cuts of later centuries. These innovations allowed gemstones to sparkle more vividly, further enhancing their allure.
While jewellery remained largely a privilege of the upper classes, by the end of the Stuart era, mourning and sentimental jewels had begun to trickle down to the emerging middle classes. This shift marked the beginning of a more personal, emotionally expressive use of jewellery across broader society.
Legacy
The Stuart era ended in 1714 with the death of Queen Anne and the succession of George I, marking the beginning of the Georgian period. Yet the jewellery of the Stuart age endures. Today, collectors and historians alike treasure Stuart pieces for their craftsmanship, symbolism, and historical depth. Whether it’s a Stuart crystal locket holding a lock of hair or an enamelled mourning ring inscribed with a name long forgotten, each jewel tells a timeless story.
These are not just beautiful artefacts; they are fragments of lives once lived, love once cherished, and loyalties once fiercely held. In them, the drama, and humanity of the 17th century lives on.
Stuart Jewellery at Berganza
Visit Berganza’s Hatton Garden showroom or view our collection online to explore our fascinating collection of Stuart jewellery.
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