Often when appraising jewels, it’s easy to lose sight of their fashionable purpose, of promoting an aesthetic that is beautiful and enhances the nature of the wearer. This particular piece is easy to stand back from and simply admire.

Spanish sentimental pendant 1700

This particular piece is said to have its origins in Spain or northern Italy (possibly Milan), however, its composition is consistent with pieces on the Continent and in the UK for its time.

The regal nature of this piece, extenuated by the green and white enamel transcend the latter basis of symbolism and are used for the purpose of being opulent adornments to the hair memento underneath crystal.

Spanish 1700 Pendant Enamel

The fleur-de-lis pattern surrounding gives credence to the Continental flavour of the piece, but certainly the most extraordinary is the size, the use of the green enamel and the pearls which all indicate its source.

Courtesy: Sarah Nehama

Further Reading:
> Revisiting a Pearl and Blue Glass/Enamel Brooch: How Trade Opened Up New Possibilities in the 18th Century
> Louis XVI Royalist Supporter French Ring
> The Further the Distance the Tighter the Knot; Eternity and Romantic Symbolism on a French Sepia Miniature

One of the joys and perils of knowing a little bit about old jewellery is that people want to know what they have. Though Antiques Roadshow makes it look very easy to spot a piece and be able to wax lyrical about it for hours on end, the truth of the matter is that a lot of research goes into a single viewing. Personally, I like to be certain about a piece and I can often be wrong, so in the interest of opening the door for all us amateur historians, let’s take a quick look at this pendant and try to reach some conclusions.

Stylistically, it lends itself to the first half 18th century, the lack of facets and the curve to the crystal is more common with that era, as opposed to the sharper edges of the earlier times. Then there is the conflict of the cipher inside, which is more common with earlier pieces, but for the period of 1680-1740, that was quite common, so it’s not really a conflict at all.

You’ve got the fleur-de-lis forming together the crown, which is rather nice, though they are a little ill-defined for a piece of high quality, though that could simply be the pictures.

Also, the wire-work to the surrounding gold is rather simply done in that it is uneven and forms heavier at the bottom in the dollop of gold.

With the arrow and quiver, you’ve got the motifs for mortality, so that combined with the initials up front makes it quite likely a mourning piece. The crown may denote either a literal or figurative connection with royalty (to be considered royalty or actual aristocracy) and all in all, I rather like it.

It’s obviously had a bit of a life as well, I think the imperfections make it special, but as far as a ‘Georgian Heart’ goes, I think it fits the category well.

But, is any of that correct? This piece was submitted by Rob Jackson and this is the first time I’ve seen it. I’ve made some rather grand statements and I’d prefer to back a lot of it up with proper evidence. What are your thoughts?

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