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Jewelry in the 17th and 18th Centuries
Jewelry of later periods falls into two main groups: diamond
jewelry, which was usually conservative in design, and jewelry
that reflected changing fashions in clothes and the arts. With
the introduction in the 17th century of new methods of faceting
gems to give them greater brilliance, the diamond became the
preferred stone for precious jewelry, a reference that remains.
At the same time, in the 18th and 19th centuries, industrial
development brought mass production of more popular jewelry in
cheaper materials. In addition to diamond tiaras, rings, and
brooches of naturalistic design, there was less costly jewelry
in the neoclassical style inspired by originals excavated at
Pompeii, and in revivals of Gothic, Renaissance, and Egyptian
styles (see Neoclassical Art and Architecture). The materials
utilized, in addition to gold and semiprecious stones, included
base-metal alloys, paste (for imitation gemstones), steel, and
cast iron. Techniques included mechanical processes for stamping
and cutting out patterns and settings.
In the case of both luxury jewelry and popular jewelry, a
characteristic arrangement was a matched set, or parure. A
woman's parure often included a tiara or ring in addition to the
basic combination of necklace, earrings, and brooch. A man's
parure, in the 18th century, consisted of buttons, shoe buckles,
sword hilt, and the insignia of knightly orders. Many
magnificent parures and other jewels were created for the royal
houses of Europe, which for several hundred years have
accumulated permanent collections of coronation regalia, state
and personal jewelry, and important single stones like the
Koh-i-noor and Hope diamonds. Many of the brilliant crowns have
been reset, broken up, or lost, but a variety of impressive
collections remain in the Tower of London, the Vienna Treasury,
and the Kremlin. Jeweled accessories were also fashionable.
These included watchcases, snuffboxes, seals, and thimble cases.
The jewelry worn in colonial America was mostly imported from
Europe. Although records exist of simple jewels made in the
colonies at the time, almost none has survived.
The most opulent jewelry was made during the Second Empire in
France, when a demand for costly gems set the style for the
lavish use of diamonds and pearls. With the emphasis on
extravagant display and the intrinsic appeal of precious stones,
the workmanship of the metal settings was neglected and became
inferior. Only at the end of the 19th century did Peter Carl
Fabergé reintroduce exacting craftsmanship in jewelry and in
such accessories as boxes, cane handles, fans, and picture
frames. Like the goldsmith-jewelers of the Renaissance, Fabergé
specialized in the contrast of colors and materials, and his
most original designs are those that combine gold, enamel, and
various gems.
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