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. 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
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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