Object of the Day: Museum Edition: A Medieval Sapphire Ring, 1250-1300

Ring
Engraved Gold and Cabochon Sapphire
1250-1300
Possibly English or French
The Victoria & Albert Museum

The human fascination with gemstones has thrived for thousands of years. In the middle ages, gems were cherished not only for their inherent value, but for their talismanic properties. Sapphires were most especially coveted. They were considered quite exotic—coming mostly from Sri Lanka, and were, therefore assigned great monetary value. However, they were also assigned significant spiritual powers which made them all the more desirable.


Sapphires were considered as contributors to peace, reconciliation and chastity. Furthermore, the wearer of a sapphire was said to have a clearer communication with God who would be more inclined to hear the wearer’s prayers more favorably.

The Victoria & Albert Museum

Jewelers options were limited. The tools available in the medieval period didn’t allow for intricate facets and cuts on gemstones. Stones such as rubies and sapphires were not faceted, but rather polished into shining cabochons, usually of irregular shapes.

This ring from the collection of the Victoria & Albert Museum in London dates to between 1250 and 1300 and shows the predominant trend of jewels of the era. The sapphire has been polished into a cabochon and secured to the ring in a thick claw setting. The setting is mounted at quite a height. Though it seems ridiculous to modern eyes, this tall setting allowed for more light to enter the stone. The ring itself is crafted from engraved gold with the kind of foliate pattern which appealed to medieval sensibilities. This was the stuff of the very wealthy and, unfortunately, very few pieces of jewelry from this time period survive.

To Serve and Project: An Oak Coffret, 1300-1400

Coffret
England, 1300-1400
This and all related images from:
The Victoria & Albert Museum

This coffret, or casket was made to hold valuables and jewels. As such, it was as elegantly appointed as the objects it was meant to protect. During the medieval period, when many traveled for pilgrimages of various types such a casket was quite important as a means of containing what amounted to the lion’s share of a person’s important possessions. While at home, a coffret such as this one would have been proudly displayed, not only as a symbol of the household’s wealth, but also because it was attractive in its own right.


Such caskets would have been considered a suitable gift for a future bride or a couple about to be wed, and also would have been given as a gift of courtship between future bride and from. Often, the coffret was inscribed with a message of love or adorned with a scene of courtship.

For example, this coffret must have been given as a token as affection. The leather veneer is worked with a courting scene and emblazoned with love inscriptions. A lady and gentleman are depicted amongst flowers and a border of ribbons and branches. On the lid, we see a scene of knights mounted on griffins with two nudes who are holding clubs and shields. Typically such a combination of images implied that the giver of the casket meant to fight his primal desires to pursue a chaste and honorable courtship. 

The leather over the rounded oak carcase has been colored and gilt. The legend reads, “du bon du,” “mo naves,” “du bon du Coeur,” and “mon couer vous avez.” In short, that the knight meant—“with good willing”--to deliver the lady from being captured by savages and that she had his heart.

At some point, likely the 1960s, the thing was coated with shellac, which did it no favors. Still, we can imagine how brilliant it must have been when made in the 1300s. 

The Home Beautiful: The Tristan and Isolde Casket, 1350-1370

Click images to enlarge.
Jewel Casket
1350-1370
This and all related images from:
The Victoria & Albert Museum

Made in the Fourteenth Century, the carved figures on the lid of this jewel casket depict a scene from the fabled medieval romance of Tristan and Isolde. In the story, the adulterous lovers arrange a clandestine rendezvous at a fountain where they are spied upon by Isolde's husband, King Marke, and a dwarf who are hiding in a tree—as one does.

The sides of the casket are adorned with hunting scenes as well as depictions of a lady and a “wild man,” and a couple playing chess.

When this casket was purchased by the Museum in 1855, it had been over-painted in a dark color which obscured the original bright colors with which the figures were painted. It took twenty years to strip away the layers of dark paint to reveal the original polychrome color scheme which was, remarkably, well-preserved beneath.

Such a jewel casket, in the Fourteenth Century, would have been presented to a bride as a wedding gift. They often were emblazoned with scenes of courting and affection. This one, with its cautionary tale of adultery, is quite unusual.

The Home Beautiful: The Tristan and Isolde Casket, 1350-1370

Click images to enlarge.
Jewel Casket
1350-1370
This and all related images from:
The Victoria & Albert Museum

Made in the Fourteenth Century, the carved figures on the lid of this jewel casket depict a scene from the fabled medieval romance of Tristan and Isolde. In the story, the adulterous lovers arrange a clandestine rendezvous at a fountain where they are spied upon by Isolde's husband, King Marke, and a dwarf who are hiding in a tree—as one does.

The sides of the casket are adorned with hunting scenes as well as depictions of a lady and a “wild man,” and a couple playing chess.

When this casket was purchased by the Museum in 1855, it had been over-painted in a dark color which obscured the original bright colors with which the figures were painted. It took twenty years to strip away the layers of dark paint to reveal the original polychrome color scheme which was, remarkably, well-preserved beneath.

Such a jewel casket, in the Fourteenth Century, would have been presented to a bride as a wedding gift. They often were emblazoned with scenes of courting and affection. This one, with its cautionary tale of adultery, is quite unusual.

Mastery of Design: A Hungarian Headband, mid to late Thirteenth Century

Fragment of a Headband
Thirteenth Century
Images Courtesy of The British Museum

While just a fragment now, once this headband would have adorned the brow of a wealthy Hungarian lady of the mid to late Thirteenth Century.  What remains is the frontmost piece of the band.  Two smaller sections would have flanked this and, from these, a ribbon would have been attached to tie at the back of the wearer's head.

Set in gold, cabochon rubies, sapphires and emeralds are joined by seed pearls, making a regal statement against the elegant filigree-work.

The fragment is now housed in The British Museum.

Mastery of Design: A Belgian Silver Reliquary, 1250-1300

Reliquary
Parcel Gilt Silver Sheeting
1250-1300, Belgium
The Victoria & Albert Museum

This falls into the category of beautifully creepy—a category into which a lot of religious artifacts fall. Here, we see a sheet silver, parcel-gilt reliquary in the shape of a man’s hand wearing a ring, set with mica and a gemstone. It rests on a modern wooden base.

Orpha Polk could use this.

A reliquary is a container for displaying precious relics. Such relics are usually bones, hair or possessions associated with Christ and the saints. Museums and churches are filled with reliquaries which are, in turn, filled with stuff which is purported to have belonged to a notable theological figure. My father and I often joke that there are enough wrist bones of St. Anne in reliquaries around the world that she must have had hundreds of arms and that there are enough pieces of the true cross floating around to construct a bridge across the ocean. Nevertheless, these little fragments are assigned particular value by the faithful and, for that reason alone, are worth preserving and appreciating.

In the Middle Ages, such relics were thought to have miraculous powers and were greatly venerated. The faithful truly believed that by praying near, and, especially, by touching a reliquary that contained something special, they would receive protection against sickness and ill fortune. Sadly, most reliquaries have been stripped of their relics, but the containers themselves, regardless of their religious value, have a great deal of artistic and historical appeal.

Most reliquaries were crafted of precious materials – gold or silver, with enamel or gems – and were made in a variety of forms. Some of them were modeled to represent the saint, or a portion of the saint such as a body part: an arm, leg, head, foot or finger. Others were designed in the form of a temple, shrine or monstrance (from the Latin meaning “to show”), with the relic on view inside a glass compartment.

This particular reliquary comes from Belgium and dates to the mid-to-late Thirteenth Century. It is in the shape of a hand and may have been part of a larger collection of reliquaries which also included an arm. The relics (now lost) would have been visible through the windows in the fingers. You’ll notice that the ring is worn almost at the fingertip. This was a common practice throughout the Middle ages which lasted well into the 16th century.

Painting of the Day: A Leaf from a Calendar, 1510-60

Leaf from a Calendar or Book of Hours
1510-60
Simon Bening
This and all related images from:
The Victoria & Albert Museum

Dating between 1510 and 1560, this double-sided leaf is thought to be from the calendar of a book of hours.  The sides appear to illustrate, on one side, the month of April, and, on the other, side the month of May.

April depicts music-makers by a canal while in the fields beyond them a cow is being milked as sheep are taken out to graze and stork makes its nest on a chimney pot.

Meanwhile, May shows a scene of typical May Day merrymaking, including a boat trip with musicians, a floral procession and joyful dancing in a town square.

This is the work of Simon Bening, from Bruges, who was one of the most celebrated illuminators of his time. He worked mainly in Bruges. His works often look more contemporary than they really are and he was responsible for many an illuminated manuscript like this one.  

In the late medieval period, Books of Hours, like the one from which this page was taken, were a type of prayer book meant for private use by the worshipful. These portable books consisted of psalms and devotions for the eight canonical hours of the day.

Object of the Day: Museum Edition: A Medieval Sapphire Ring, 1250-1300

Ring
Engraved Gold and Cabochon Sapphire
1250-1300
Possibly English or French
The Victoria & Albert Museum

The human fascination with gemstones has thrived for thousands of years. In the middle ages, gems were cherished not only for their inherent value, but for their talismanic properties. Sapphires were most especially coveted. They were considered quite exotic—coming mostly from Sri Lanka, and were, therefore assigned great monetary value. However, they were also assigned significant spiritual powers which made them all the more desirable.


Sapphires were considered as contributors to peace, reconciliation and chastity. Furthermore, the wearer of a sapphire was said to have a clearer communication with God who would be more inclined to hear the wearer’s prayers more favorably.

The Victoria & Albert Museum

Jewelers options were limited. The tools available in the medieval period didn’t allow for intricate facets and cuts on gemstones. Stones such as rubies and sapphires were not faceted, but rather polished into shining cabochons, usually of irregular shapes.

This ring from the collection of the Victoria & Albert Museum in London dates to between 1250 and 1300 and shows the predominant trend of jewels of the era. The sapphire has been polished into a cabochon and secured to the ring in a thick claw setting. The setting is mounted at quite a height. Though it seems ridiculous to modern eyes, this tall setting allowed for more light to enter the stone. The ring itself is crafted from engraved gold with the kind of foliate pattern which appealed to medieval sensibilities. This was the stuff of the very wealthy and, unfortunately, very few pieces of jewelry from this time period survive.

The Home Beautiful: An Oak Coffret, 1300-1400

Coffret
England, 1300-1400
This and all related images from:
The Victoria & Albert Museum

This coffret, or casket was made to hold valuables and jewels. As such, it was as elegantly appointed as the objects it was meant to protect. During the medieval period, when many traveled for pilgrimages of various types such a casket was quite important as a means of containing what amounted to the lion’s share of a person’s important possessions. While at home, a coffret such as this one would have been proudly displayed, not only as a symbol of the household’s wealth, but also because it was attractive in its own right.


Such caskets would have been considered a suitable gift for a future bride or a couple about to be wed, and also would have been given as a gift of courtship between future bride and from. Often, the coffret was inscribed with a message of love or adorned with a scene of courtship.

For example, this coffret must have been given as a token as affection. The leather veneer is worked with a courting scene and emblazoned with love inscriptions. A lady and gentleman are depicted amongst flowers and a border of ribbons and branches. On the lid, we see a scene of knights mounted on griffins with two nudes who are holding clubs and shields. Typically such a combination of images implied that the giver of the casket meant to fight his primal desires to pursue a chaste and honorable courtship. 

The leather over the rounded oak carcase has been colored and gilt. The legend reads, “du bon du,” “mo naves,” “du bon du Coeur,” and “mon couer vous avez.” In short, that the knight meant—“with good willing”--to deliver the lady from being captured by savages and that she had his heart.

At some point, likely the 1960s, the thing was coated with shellac, which did it no favors. Still, we can imagine how brilliant it must have been when made in the 1300s. 

The Home Beautiful: A German Wrought Iron Chandelier, 1450-1500

Chandelier
Wrought Iron, 1450-1500
Germany
This and all related images:
The Victoria & Albert Museum

Here we see a chandelier of painted and gilt wrought iron designed in a triangular form, and surmounted by a large suspension ring. The entire fixture is adorned with cusped arches, pinnacles and Gothic foliage with branches and pans for 6 candles. Each cup features borders of openwork running foliage while the central socket of the chandelier shows a fitting for either thinner candle or the figure of a saint.


This is a chandelier in its purest form since, after all, a “chandelier” is literally a “candleholder,” with its name deriving from the French word for candle, “chandelle.” Hanging chandeliers have always been important functional and decorative interior details.

The earliest chandeliers evolved from “candle-beams” which were essentially two pieces of wood which were nailed together in the form of a cross with spike at each end. Candles of animal fat (or tallow) were fixed on the spikes. By the Fifteenth Century—when this example was made, chandeliers had evolved into the ring or crown designs with which we’re most familiar. These became popular in cathedrals and the palaces and estates of the wealthy. Over the course of the Fifteenth Century, chandeliers became increasingly ornate, and, ultimately were hung with glass or rock crystal. The finest chandeliers of this era came from Germany especially from the areas around the lower Rhine near Cologne and in northern Germany.

This chandelier came from a church and is a rare surviving example of ecclesiastical Fifteenth Century lighting. Furthermore, it is an equally dear example of an iron chandelier, created during a time when most chandeliers were made of less-expensive cast brass. This fixture was one of the Victoria & Albert Museum's early purchases. It was bought in 1857 for £25 and signalled a change in direction in the Museum's collecting priorities under the direction of John Charles Robinson who began as curator in 1853. 

Mastery of Design: An Annular Brooch, 13th C.

Annular Brooch
Gold, Rubies, Sapphires
Thirteenth Century, France
The British Museum

This late medieval brooch (Thirteenth Century) was made in France. Crafted of gold, ruby and sapphire, the brooch features punched decoration and enameling. It is inscribed:


IO SUI ICI EN LIU DAMI: AMO 
(I am here in the place of the friend I love)

This was the sort of jewelry which was exchanged between lovers in the Thirteenth Century. These jewels—brooches, or rings, mostly—were inscribed with sentimental sayings or “posies.” Brooches, like this one, were annular—in the shape of a ring—to show the eternity of the sentiment. 

This example was bequeathed to the British Museum by Sir Augustus Wollaston Franks in 1897.

The Home Beautiful: The Tristan and Isolde Casket, 1350-1370

Click images to enlarge.
Jewel Casket
1350-1370
This and all related images from:
The Victoria & Albert Museum

Made in the Fourteenth Century, the carved figures on the lid of this jewel casket depict a scene from the fabled medieval romance of Tristan and Isolde. In the story, the adulterous lovers arrange a clandestine rendezvous at a fountain where they are spied upon by Isolde's husband, King Marke, and a dwarf who are hiding in a tree—as one does.

The sides of the casket are adorned with hunting scenes as well as depictions of a lady and a “wild man,” and a couple playing chess.

When this casket was purchased by the Museum in 1855, it had been over-painted in a dark color which obscured the original bright colors with which the figures were painted. It took twenty years to strip away the layers of dark paint to reveal the original polychrome color scheme which was, remarkably, well-preserved beneath.

Such a jewel casket, in the Fourteenth Century, would have been presented to a bride as a wedding gift. They often were emblazoned with scenes of courting and affection. This one, with its cautionary tale of adultery, is quite unusual.