Comet Brooches: A Legacy of the 19th Century’s Sidereal Wanderers

“This great comet has fled from the gaze of man, and thirty generations of astronomers will pass away before it will submit itself to human scrutiny.” —H.A. Howe

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Halley’s Comet brooch, 1835. Ann Longmore-Etheridge Collection.

This piece from my collection is an antique English, 9-carat gold comet mourning pin. It is beautifully made, with a hand-chased stylized tail, black enamel embellishment, and a glittering foiled paste stone in silver settings, clearly displaying a black spot to simulate the open culet of a diamond.

The unusual shape of the brooch commemorates the return of Halley’s Comet in 1835. Although this piece neither contains a loved one’s hair nor bears an inscription, the use of black enamel almost certainly associates it with loss during the comet pass year.

Halley’s Comet is named after English astronomer Edmond Halley, who studied previous sightings and correctly predicted its 1758 apparition. The comet returns every 75 years, with its last apparition in 1986 and its next to come in 2061. I will be 98, if I live to see it.

The first report of the comet is from its pass above China in 467 B.C. (Centuries later, during another apparition, the Chinese would call it by the beautifully evocative name, “Broom Star.”) The British Museum, London, holds other documentation in the form of cuneiform tablets describing the comet’s appearance over Babylonia in late September, 164 B.C.

Continue reading “Comet Brooches: A Legacy of the 19th Century’s Sidereal Wanderers”

The Silent Ones

Some pieces of mourning jewelry offer enough facts to fill volumes. Others are stealthy and secretive, unwilling to share the stories of the dead or their grief-stricken survivors.

 

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A large and beautifully carved Whitby jet mourning brooch for E.M.H., circa 1860. Purchased in Newbury, England.
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A tiny mourning or sentimental brooch, circa 1825, featuring the hair of two unknown individuals. What looks like finely woven hair inside some brooches is actually fabric called “checkered silk” inserted by the manufacturer, over which the hair relic was meant to be laid. Here, the contents of the viewing chamber clearly show the hair atop a scrap of this cloth.
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A Regency-era, gold eye-shaped memorial or sentimental brooch, circa 1800, purchased in Hungerford, England. It is more likely this is a lover’s-eye type brooch and not a mourning piece, although it is impossible to know with certainty. The brooch contains one person’s hair looped into a Celtic knot with similarly colored checkered silk behind it.
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This mourning brooch, circa 1870-1875,  features Prince of Wales hair plumes of two individuals. It is a large brooch, measuring about 3 inches wide. The brooch is pinchbeck, but beautifully done and in immaculate condition. Sadly, there is no inscription. The date I assign is early 1870s, but this is provisional and based on what I can glean from references. It may be later; it may be earlier, but I doubt by more than five years in either direction. Purchased in Hungerford, England.
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This English mourning or sentimental brooch of coral and Gold, circa 1820, contains what is likely braided locks from two people. While this may be a mourning item, coral was considered a protective substance for children. It may be that this tiny brooch, usually called a lace pin, may contain the hair of two siblings or of a child’s parents, or perhaps a child’s godparents.
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Agate mourning brooch of pinchbeck, agate, and black enamel, circa 1850. Inside is the interwoven hair of two deceased individuals. The gothic letters that encircle the viewing compartment read “In Memory Of,” a phrase used used throughout the 19th Century on mourning jewelry.

His Good Late Majesty: Memorial Jewelry for King Charles I

In Britain in the 1800s, the widow’s grief of Queen Victoria helped spur the creation of mourning jewelry, but in the 1600s, the impetus was the judicial murder of an anointed king.

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A mid-17th Century gold mourning ring for King Charles I with an enameled portrait covered by cut crystal. National Gallery of Victoria, Melbourne; gift of Mrs Stubbs, 1923.

Charles Stuart, later King Charles I,  was born in Fife, Scotland, 19 November, 1600, to  King James VI of Scotland, later James I of a unified Britain, and his wife Queen Anne of Denmark. He was a second son, never meant to rule. Yet, Charles had the role of heir foisted on him at the death of his beloved, handsome, and accomplished older brother, Henry, Prince of Wales, who died unexpectedly in 1612.

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This circa-1700 mourning pendant, sold by the auction house Christie’s in 2016, contains a painted oval portrait of Charles I against a blue ground within black dot decoration, beneath faceted rock crystal. The reverse features a sepia crown and cypher ‘C. R.’ above the date ‘Jan 30 1648/9’ and an image of a skull and crossed bones upon a plinth, under crystal.

Charles was small, sickly, and had a stammer. He was also intellectual, loved and patronized the arts, favored elaborate high Anglican worship in the age of the Puritans, and married a Roman Catholic—the delicate and beautiful Princess Henrietta Maria of France, known as Queen Mary, after whom the U.S. state of Maryland is named. Charles also believed profoundly in the Divine Right of Kings, was willful and stubborn, and refused to make the compromises that could have prevented a civil war, the destruction of the monarchy, and his own death.

As had the life his similarly-natured paternal grandmother, Mary, Queen of Scots, his own earthly days ended in execution by beheading on 30 January, 1649. His final words were “I go from a corruptible to an uncorruptible crown, where no disturbance can be.”

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The inscribed band and reverse image of the National Gallery of Victoria ring, showing the initials C. R. (“Charles Rex”) between a skull, with a crown and laurels floating above.
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A Heart-shaped gold and enamel pendant, circa 1650, containing a miniature of Charles I, an interwoven arrangement of his hair, and a part of the blood-stained linen shirt he wore at his execution. Courtesy National Museums of Scotland.

Continue reading “His Good Late Majesty: Memorial Jewelry for King Charles I”

A Treasure Without Meaning to Its Clan

All of this historic context, moreover the genetic material of their ancestress, was not valued by her descendants, who found her mourning brooch too disgusting to keep.

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Memorial brooch for Mary Palmer showing her russet hair with snippets of what might be gold thread that once formed a small design, but which have since become unglued and tarnished. Ann Longmore-Etheridge Collection.

In about 1996, while trawling for hair-work brooches on eBay with a tax return smoldering in my pocket, I found a listing with a ridiculously blurry photo of what looked like—just maybe—a Regency-Era mourning brooch. The accompanying item description encapsulated the prevailing 20th-Century attitude toward mourning jewelry. As I recall, it read something very close to “We found this pin that belonged to grandma. It has hair in it! Eww! Get it out of our house!” I obliged for about $40; no other bidders were willing to take the chance with that kind of sales photo. One- by three-quarters-inch in size, this type of small brooch was known as a “lace pin” and used to secure veils, ribbons, pelerines, and other accessories. They were also worn by men as lapel pins.

The 210-hundred-year-old gem that I received was made of 10-karat or higher plain and rose gold with completely intact niello and inset faceted jet cabochons. (Niello is a black metallic alloy of sulfur, copper, silver, and usually lead, used as an inlay on engraved metal.) The brooch was in pristine condition, bearing the inscription “Mary Palmer. Ob. 3 July 1806, aet. 38.” The abbreviation “Ob.” is from the Latin obitus—“a departure,” which has long been a euphemism for death. “Aet.” is from the Latin aetatis—“of age.”

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In Memory Of

Victoria’s grief drove into high gear the already strong public market for jewelry to be at worn during all stages of mourning.

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A selection of mourning jewelry from the Ann Longmore-Etheridge Collection. The difference is marked between the Regency and early Victorian pieces (far left and center) and the heavy black later Victorian items.

At the close of the 18th century and the early years of the 19th, memorial pieces with hair were generally small, delicate, and graceful. However, the oncoming Victorian era would turn “the entire ritual of mourning into a public display, and the jewelry changed accordingly, becoming larger, heavier, and more obvious,” wrote the curators of the Springfield, Illinois-based Museum of Funeral Customs in Bejeweled Bereavement: Mourning Jewelry—1765-1920.

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Victoria in mourning. Courtesy British Museum.

In December 1861, Queen Victoria’s beloved consort, Prince Albert of Saxe-Coburg-Gotha, died of what is thought to have been typhoid fever. Married for twenty-one years, their happy union resulted in the birth of nine children. The forty-two-year-old prince’s demise shattered Victoria. For the rest of her life, the queen wore mourning and required many courtiers who served her and who attended court functions to do the same.

Victoria’s grief drove into high gear the already strong public market for jewelry to be worn during all stages of mourning. For example, in the first nine months, the only acceptable jewelry was made of black glass, dyed pressed animal horn, gutta-percha (a latex plastic derived from tropical evergreens), vulcanite and ebonite (rubber treated with sulfur and heat), bog oak (fossilized peat), or carved from jet (a fossilized wood that washes up on west coast Yorkshire beaches, and was extracted from shale seams, particularly around between Robin Hood’s Bay and Boulby). In later stages of mourning, gold or pinchbeck (a composite metal) and hair-work jewelry commemorating the deceased was worn. Many of these items bore the motto “In Memory Of” and featured heavy black enameling.

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Tales of Innocence and Darkness

The eerie and eclectic photography of Caroline Leech

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All photos copyright Caroline Leech.

Carolyn, an English woman who lives in Spain, writes of herself: “I am an obsessive Victorian and lover of all things Gothic. As a child I would often rather spend my pocket money in the local antique shop on postcards, photos, stamps or coins than in the toyshop. History just always fascinated me.”

31912891283_65cf2621f8_b“I then developed an interest in spirits and faeries and fell in love with writers such as my beloved Charles Dickens, Sheridan LeFanu, Emily Dickinson and with the whole world of Victorian spiritualism, mourning, the faery painters of the time and also the darker aspects of Victorian society.”

32681174485_02339b8c1e_k“I live in a watermill in the middle of a forest, which is always an inspiration to me. I feel I am surrounded by all sorts of spirits.”

30342997980_f63fb34691_k“I have been an antique dealer and visionary artist for years and am also a keen amateur photographer of anything mysterious. My greatest love is of course Victorian photography, these amazing ghosts which pleasantly haunt the pages of my book and the drawers and cabinets of my bedroom.”

25955709410_3133c5fda8_bCaroline’s book of photos and poetry can be purchased at Amazon. You can also visit her Flickr photostream. Ω

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Salt Life and Death

“In terms of symbolism, the loss of the soul is the same as that of the body, representing a crossing over to a place that we do not know or understand.”

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Nautical-themed memorial brooch to M. Thayer. Ann Longmore-Etheridge Collection.

This unusual mourning brooch, which dates to between 1830 and 1840, is a late example of the sepia painting technique popular up to a century earlier. Sepia miniatures in the neoclassical style, such as the one below right, were painted with dissolved human hair on ivory tablets and typically feature weeping women and willows, funeral urns, graves, and other scenes and symbols of loss.

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This gold brooch in a navette shape, circa 1790, features a sepia painting of a grieving widow with the bust of her husband. Courtesy C.J. Antiques.

This brooch is dedicated by reverse inscription to “M. Thayer,” but little more can be known about the deceased, as the inscription includes no dates of birth or death. Thayer was likely occupationally connected to the sea, although the image may be wholly allegorical. A ship sailing toward a distant safe haven, accompanied or guided by birds, may be read as the soul journeying toward the afterlife in the company of angelic beings.

“Being lost at sea strikes an image of loss and departure that evokes the very essence of sadness. In the very literal sense, there is the loss of the body that prevents the kind of closure that physical remains offer. Yet, in terms of symbolism, the loss of the soul is the same as that of the body, representing a crossing over to a place that we do not know or understand. It is not surprising that symbolism featuring the sea has been appropriated by mourning jewellery. The physical and symbolic departure of the soul away from the mourner as a result of a death at sea, during both peace and war times, are depicted in 18th and 19th century jewellery,” writes Lord Hayden Peters at the magnificent site, The Art of Mourning. His article on this topic deserves to be read in full, rather than summarized by me.

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Ann Longmore-Etheridge Collection.

A mourning piece connected to a sailor or ship’s officer would have been worn by someone like the young woman above, were she widowed. In this detail of a circa-1850 daguerreotype, the couple were portrayed likely on their wedding day. The groom wears gold hoop earrings, marking him as a career sailor who may have transversed the world several times.

“Men’s earrings are nothing new, old salts will tell you. Even before the days of pirates, mariners who had sailed the China seas or had done any Asiatic duty took to wearing earrings as a mark of their service in the Orient. It was the campaign ribbon of its day. The modern gob, after he has sailed in Asiatic waters, gets his ears pierced and a ring inserted, then goes to a tattoo parlor and has various Chinese legends etched on the shank of his left leg. But not all men who wear earrings are veterans of Asiatic sea service. The custom has been adopted by many who have sailed in the Central, South, or Southwest Pacific without entering the waters of the China Sea,” wrote Hal J. Kanter in the Saturday Evening Post, December 8, 1945.

Sailors of old believed that piercing their earlobes increased their eyesight and hearing or would prevent sea sickness. They were also quite concerned about dying at sea and not receiving a land burial. Sailor victims of shipwrecks hoped the value of their gold earrings would be put toward a proper Christian burial by those who found their bodies washed up on shore. Ω