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The second period in Victorian jewellery is known as the Grand period or the mid-Victorian period. [4] This period saw a sharp change in design from delicate to bold which paralleled the changing social roles and representation of women at the time. [4] During this period, imitations of jewellery were prominent and costume jewellery originated. [4]
Victorian decorative arts refers to the style of decorative arts during the Victorian era. Victorian design is widely viewed as having indulged in a grand excess of ornament. Victorian design is widely viewed as having indulged in a grand excess of ornament.
Holbeinesque jewellery includes pendants, brooches and earrings in the neo-Renaissance or Renaissance Revival style, and once again became fashionable in the 1860s. The designs differ from the older stylised and pious neo-Gothic jewellery, in that they are extravagantly opulent – this richness of form and colour which had appealed to the Tudor court was rediscovered by Victorian jewellers ...
Acrostic rings were developed in France in the early 19th century by the jewelry company Mellerio dits Meller, and later became popular in England. [3] [4] They were given and worn during the Georgian and Victorian eras. [5] Acrostic rings were given as romantic gifts, and their messages were sentimental. [6]
Although diminutive, the silver crown follows the standard design for British crowns. It is made up of two arches joining at a monde surmounted by a cross. Each of the arches runs from a cross pattée along the rim of the base. Between each cross pattée is a fleur-de-lis.
The company was known for its ability to be on the forefront of fashion and design and had a history of sending its designers to Europe. In 1925, James Napier attended the World's Fair Exposition Internationale des Artes Decoratifs et Industriels Modernes in Paris, and brought back with him business ideas, including designs influenced by Parisian and European fashion.
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