Mastery of Design: The Temperance Bodice Ornament , 1610-20

Dress Ornament
1610-1620
Germany
The Victoria & Albert Museum

Dress or bodice ornaments were sewn onto garments for decorative effect. These small decorations were often made of the finest precious metals and stones.  Usually, they were made in matching sets of differing sizes so that they could be worn in rows across sleeves, the bodice, or a jacket.  They were worn by both men and women.

Here, we see an openwork gold ornament which was made in Germany between 1610 and 1620.  It features a cast female figure at the center, holding two goblets, presumably of water, and, therefore, identified as “Temperance” whose attribute was twin goblets.  She, therefore, may have been part of a large set of ornaments depicting the cardinal Virtues (Prudence, Justice, Fortitude, Temperance).  These were usually paired with the theological Virtues (Faith, Hope and Charity).

The whole piece is enameled in white, blue, green and black.

Mastery of Design: The Temperance Bodice Ornament, 1610-20

Dress Ornament
1610-1620
Germany
The Victoria & Albert Museum

Dress or bodice ornaments were sewn onto garments for decorative effect. These small decorations were often made of the finest precious metals and stones.  Usually, they were made in matching sets of differing sizes so that they could be worn in rows across sleeves, the bodice, or a jacket.  They were worn by both men and women.

Here, we see an openwork gold ornament which was made in Germany between 1610 and 1620.  It features a cast female figure at the center, holding two goblets, presumably of water, and, therefore, identified as “Temperance” whose attribute was twin goblets.  She, therefore, may have been part of a large set of ornaments depicting the cardinal Virtues (Prudence, Justice, Fortitude, Temperance).  These were usually paired with the theological Virtues (Faith, Hope and Charity).

The whole piece is enameled in white, blue, green and black.

Gifts of Grandeur: The Hull Grundy Bodice Ornament, c. 1650

Click image to see larger picture.
Hull Grundy Bodice Ornament
Spain, Seventeenth Century
The British Museum

This bodice ornament of gold is set with table-cut emeralds and diamonds. The upper section of the piece features an openwork design in a bow form incorporating foliate tendrils and volutes. This is hinged to a section which works the initial “S” in pierced openwork.

The reverse of the jewel is enameled in pink and black on a ground of white in a floral pattern.

At one point, this piece was in the collection of Dame Joan Evans, but ended up in the catalogue of the Hull Grundys who presented this as part of a large gift to the British Museum. It’s believed that the ornament has significance to a Spanish religious confraternity.

Mastery of Design: The Meller Brooch, c. 1850

Bodice Ornament
France, 1840-1850
Given by Frederick Meller to
The Victoria & Albert Museum

As mid Nineteenth Century jewelers strove for naturalism in their designs, they created pieces defined by densely-set stones in forms based on the beauty of nature. The next natural step in this fashion was to add movement to jewels which would replicate the motion of a breeze through plants and flowers or the motion of insects.

We’ve talked about tremblers before. These flexible, coiled stalks or springs created a sensation of shimmering nature. As the wearer moved, the jewel would sway and quiver. The overall effect was one of immense glamour and opulence.

While most of these pieces were tremendously expensive diamond creations, jewelers made some with less-costly pastes so that this fashion could be available to a wider range of customers.

This floral spay brooch is a great example of the clever use of pastes. In candlelight or gaslight, these brilliant-cut pastes, set in silver, shimmered almost as much as diamonds, and, with the novelty of motion, these costume pieces were quite convincing. It was made in France around 1840 -1850 and features articulated pendants which would have swayed as the wearer walked. The jewel was to give the impression of flowers bathed in a gentle rain.

History's Runway: The Cory Lilies of the Valley Spray, 1830-70

Bodice Ornament
1830-70
The Victoria & Albert Museum 

This spray of diamonds is another perfect example of the mid Nineteenth Century sensibility for naturalistic jewelry. Such jewels often depicted floral arrangements, sometimes peppered with jeweled “insects.” This piece shows the trend of adding “tremblers”—jeweled pieces mounted on thin wires which moved as the wearer walked. Dense clusters of diamonds, like the bodice ornament we see here, were the height of fashion during this period.

This ornament, owned by Lady Cory, was made in Britain between 1830 and 1870 and features a plethora of brilliant-cut and European-cut diamonds mounted in silver and backed in gold. Of particular note is the sprig of lilies of the valley which surmounts the piece. Such sprays were designed to be worn on the bodice, either centrally or to one side at the shoulder.

By the Twentieth Century, these pieces were still fashionable, but many were broken apart to make other jewelry. So, it's quite exceptional when they survive unaltered. Not surprisingly, in the 1920s when densely set diamond pieces were once again in vogue, many of these remaining sprays found new popularity--worn on coats.

History's Runway: The Exotic Bird Bodice, 1700-29

Bird Bodice
Eighteenth Century
The Victoria & Albert Museum

Women’s clothing of the Eighteenth Century was particularly complicated to put on and uncomfortable to wear for extended periods of time, yet, fashion and propriety dictated that, at formal events, a woman should be outfitted in a certain way.  Nevertheless, when at home, a woman could dress a little less uncomfortable and would often wear an informal bodice such as this one under a loose robe which was left open at the front. 

What we see here is only the front of a bodice.  The back has long since been lost to time.  

The yellow silk bodice is adorned with an embroidered pattern in colored silks of exotic birds, large blossoms and leaves rendered in a chinoiserie style. The background is cord quilted, a quilting technique wherein thin cords are inserted between parallel lines of stitching.

It was made between 1700-1729  by an unknown embroiderer.  

Mastery of Design: The Meller Brooch, c. 1850

Bodice Ornament
France, 1840-1850
Given by Frederick Meller to
The Victoria & Albert Museum

As mid Nineteenth Century jewelers strove for naturalism in their designs, they created pieces defined by densely-set stones in forms based on the beauty of nature. The next natural step in this fashion was to add movement to jewels which would replicate the motion of a breeze through plants and flowers or the motion of insects.

We’ve talked about tremblers before. These flexible, coiled stalks or springs created a sensation of shimmering nature. As the wearer moved, the jewel would sway and quiver. The overall effect was one of immense glamour and opulence.

While most of these pieces were tremendously expensive diamond creations, jewelers made some with less-costly pastes so that this fashion could be available to a wider range of customers.

This floral spay brooch is a great example of the clever use of pastes. In candlelight or gaslight, these brilliant-cut pastes, set in silver, shimmered almost as much as diamonds, and, with the novelty of motion, these costume pieces were quite convincing. It was made in France around 1840 -1850 and features articulated pendants which would have swayed as the wearer walked. The jewel was to give the impression of flowers bathed in a gentle rain.

Mastery of Design: The Cory Floral Bodice Ornament, 1840-1850

Click Image to EnlargeHair Ornament/Brooch
Enameled Gold, Garnets, Foiled Rock Crystals, Pearls
1840-1850
The Victoria & Albert Museum

This gem, from the monumental collection of Lady Cory, began its life as a hair ornament around 1840 to 1850 when naturalism in jewelry was at its most fashionable. Pieces like this were usually made in pieces so that they could be worn as a large, dramatic jewel for formal occasions or broken apart to be worn on a daily basis as smaller gems.



This ornament of foiled rock crystals, pearls and garnets set in enameled gold has been altered over time. The individual sections of this jewel were merged, removing some segments to use the gemstones for other pieces of jewelry. What remained was made into the brooch that we see today. 

Mastery of Design: The Cory Lilies of the Valley Spray, 1830-70

Bodice Ornament
1830-70
The Victoria & Albert Museum 

This spray of diamonds is another perfect example of the mid Nineteenth Century sensibility for naturalistic jewelry. Such jewels often depicted floral arrangements, sometimes peppered with jeweled “insects.” This piece shows the trend of adding “tremblers”—jeweled pieces mounted on thin wires which moved as the wearer walked. Dense clusters of diamonds, like the bodice ornament we see here, were the height of fashion during this period.

This ornament, owned by Lady Cory, was made in Britain between 1830 and 1870 and features a plethora of brilliant-cut and European-cut diamonds mounted in silver and backed in gold. Of particular note is the sprig of lilies of the valley which surmounts the piece. Such sprays were designed to be worn on the bodice, either centrally or to one side at the shoulder.


By the Twentieth Century, these pieces were still fashionable, but many were broken apart to make other jewelry. So, it's quite exceptional when they survive unaltered. Not surprisingly, in the 1920s when densely set diamond pieces were once again in vogue, many of these remaining sprays found new popularity--worn on coats.

Mastery of Design: The Grundy Bodice Ornament, c. 1650

Click image to see larger picture.
Hull Grundy Bodice Ornament
Spain, Seventeenth Century
The British Museum

This bodice ornament of gold is set with table-cut emeralds and diamonds. The upper section of the piece features an openwork design in a bow form incorporating foliate tendrils and volutes. This is hinged to a section which works the initial “S” in pierced openwork.

The reverse of the jewel is enameled in pink and black on a ground of white in a floral pattern.

At one point, this piece was in the collection of Dame Joan Evans, but ended up in the catalogue of Hull Grundy who presented this as part of a large gift to the British Museum. It’s believed that the ornament has significance to a Spanish religious confraternity.

Mastery of Design: The Temperance Ornament, 1610-1620

Temperance Dress Ornament
Germany, Seventeenth C.
The Victoria & Albert Museum

This ornament of gold openwork is graced with a central female figure. She holds two goblets of water—an attribute of “Temperance.” She’s enameled in white, blue, green and black. 

The work of an unknown goldsmith, it’s believed this jewel was made in Southern Germany between 1610 and 1620. The piece was likely made as a dress ornament and was probably sewn directly onto the fabric of the gown. It’s possible that this was one of a set of four such ornaments, each depicting the cardinal virtues of Prudence, Justice, Fortitude, and Temperance. 

Mastery of Design: The Cory Floral Bodice Ornament, 1840-1850

Click Image to EnlargeHair Ornament/Brooch
Enameled Gold, Garnets, Foiled Rock Crystals, Pearls
1840-1850
The Victoria & Albert Museum

This gem, from the monumental collection of Lady Cory, began its life as a hair ornament around 1840 to 1850 when naturalism in jewelry was at its most fashionable. Pieces like this were usually made in pieces so that they could be worn as a large, dramatic jewel for formal occasions or broken apart to be worn on a daily basis as smaller gems. 

This ornament of foiled rock crystals, pearls and garnets set in enameled gold has been altered over time. The individual sections of this jewel were merged, removing some segments to use the gemstones for other pieces of jewelry. What remained was made into the brooch that we see today. 

Mastery of Design: The Cory Lilies of the Valley Spray, 1830-70

Bodice Ornament
1830-70
The Victoria & Albert Museum 

This spray of diamonds is another perfect example of the mid Nineteenth Century sensibility for naturalistic jewelry. Such jewels often depicted floral arrangements, sometimes peppered with jeweled “insects.” This piece shows the trend of adding “tremblers”—jeweled pieces mounted on thin wires which moved as the wearer walked. Dense clusters of diamonds, like the bodice ornament we see here, were the height of fashion during this period.

This ornament, owned by Lady Cory, was made in Britain between 1830 and 1870 and features a plethora of brilliant-cut and European-cut diamonds mounted in silver and backed in gold.  Of particular note is the sprig of lilies of the valley which surmounts the piece.  Such sprays were designed to be worn on the bodice, either centrally or to one side at the shoulder.  

By the Twentieth Century, these pieces were still fashionable, but many were broken apart to make other jewelry.  So, it's quite exceptional when they survive unaltered.  Not surprisingly, in the 1920s when densely set diamond pieces were once again in vogue, many of these remaining sprays found new popularity--worn on coats.  

Mastery of Design: The Temperance Bodice Ornament , 1610-20

Dress Ornament
1610-1620
Germany
The Victoria & Albert Museum

Dress or bodice ornaments were sewn onto garments for decorative effect.  These small decorations were often made of the finest precious metals and stones.  Usually, they were made in matching sets of differing sizes so that they could be worn in rows across sleeves, the bodice, or a jacket.  They were worn by both men and women.

Here, we see an openwork gold ornament which was made in Germany between 1610 and 1620.  It features a cast female figure at the center, holding two goblets, presumably of water, and, therefore, identified as “Temperance” whose attribute was twin goblets.  She, therefore, may have been part of a large set of ornaments depicting the cardinal Virtues (Prudence, Justice, Fortitude, Temperance).  These were usually paired with the theological Virtues (Faith, Hope and Charity).

The whole piece is enameled in white, blue, green and black.