By the end of the 18^th century, there began a standardisation of styles in memorial jewellery that drew itself from the rising popularity and social necessity of the jewels during stages of mourning. From this grew the mourning industry, an industry that fed itself through this new style of fashion. With cultures that began to have greater social mobility and access to wealth (as well as the chance to actually create wealth), requesting a portion of money be dedicated to the creating of mourning jewels in a will was not uncommon.

Stylistically, certain forms and shapes in jewellery are seen to be similar and common. The style of the ‘band’ accommodated memorialisation, as the name or dedication could be etched into the band itself, facilitate different colours of enamel to denote the symbolism for whom was being mourned and it became an adaptable style, regardless of being produced in the fashion of the Baroque or Rococo. This particular ring is straight in its band, with the shoulders leading into the rosette bezel. This was a very formal style for rings of the time and quite typical from the 1680-1720 period. This would adapt as Rococo became more popular and show the ribbon/twist motif to the band itself.

The ruby flanked with diamonds on the shoulders is not uncommon, but when combined with the white enamel, we can see that this particular ring was very special for its time. Notice the square cut to the ruby, it’s close to the sharper edges of the crystal cut pieces of the time. The ring would have been worn for someone of wealth, as it is as decorative as it is sensitive to its mourning heritage – the white enamel uses this to high effect. It was created for J Scotts who passed on at age 20, so we can assume the unmarried/virginal status of the dedication from this.

Follow the articles below for similar pieces from the time and learn about the evolution of the style.

Courtesy: Barbara Robbins
Country: England
Year: Ob 9 Jan 1699 AE 20
Dedication: J Scotts

Further Reading:
> Textiles Tuesday: 17th Century, Part 1
> Textiles Tuesday: 17th Century, Part 2
> Eternity in a Twist: The Hon Alice Nugent in a 1730 Mourning Locket and the Hairwork Eternity
> Skull and Hairwork in a 1697 Stuart Crystal Ribbon Slide
> c.1680 Memento Mori Skeleton Ring
> The Eternity Twist, Hairwork, Crystal and the Early 18th Century / Ring
> Skull and Hairwork in a 1697 Stuart Crystal Ribbon Slide
> Queen Mary II Memento Mori Slide
> 17th Century Crystal Memento Mori Ring: A Study
> Spotlight On: Sir William Ellis Mourning Ring
> Spotlight On: Charles II Pendant

This ring is a fine example of French memento mori jewellery and is a wonderful contrast to the English style of the time.The stone is a carnelian with intaglio and the exceptional gold work (notably the styling to the base) is typical of its time. The inscription reads ‘Discite Invitatium’.

Rings of the time, particularly after the death of Charles I in 1649, used many of the aforementioned symbolism, but the difference of putting the portrait of Charles I, or pieces with the initials CR, shows a distinct change of memento mori as a statement to one of reverence.

The distribution of rings had been written into wills of the late 16th and early 17th Centuries. Most famously, William Shakespeare in 1616 declared that in his will that his daughter and wife should have rings stating “Love My Memory” . This custom, though used, was not as popular as the latter half of the 17th Century would prove, though it provides a good basis for what was to come. Posy rings, typically bands with inscriptions, were popular for sentimental purposes during the 17th Century.

In this particular ring, one must look at the symbolism of the skull on the plinth, its design and the country it was made in. Only then can we separate it from the concept of ‘mourning’ that the Memento Mori symbolism often appropriates in the mainstream mind.

This ring was created in France, a culture that differed from the standardised English interpretations of Memento Mori, mostly due to the confluence of religion, from the Protestant to Catholic, as France does not have the isolation of the British Isles. Much more cultural influx from surrounding European countries and the wide variety of fashion caused a wider variety in styles of mourning, leading to a lesser standard of linear mourning evolution. Design reflects the eventual look of a piece, but the intent (such as it being court ordained to wear a specific colour at a certain stage of mourning) is more malleable. Simply put, the nature of mourning as a personal event, rather than one ordained by a court or religion wasn’t as simple to control over a broad culture, whereas the English could enforce specific styles.

So, we have a ring with Memento Mori symbolism at a time when the symbolism wasn’t as defined as the culture that we recognise as cementing its ideals today. We have a culture that was looked to as the centre of fashion and hadn’t just suffered a civil war, a culture that defined itself.

It isn’t a stretch to consider that this ring was made for the intellectual purposes of Memento Mori, rather than the concept of death. Rather, it is a piece which reflects knowledge and mortality. The importance of these are the fundamental concept of living life to its utmost, as one day you will die.

Beyond this, the ring is an intaglio and has the rosette shape under the bezel. A pronounced ring that could be used to reverse out as a seal, a personal statement of living. Add to this the fleur-de-lis and we have a proud statement of French fashion and individuality.

Read on for more about concurrent styles that grew alongside this ring.

Country: France
Year: c. 1680-1700
Dedication: Discite Invitatium

Further Reading
> How Society Entered Mourning: c.1680-1700 Memento Mori Mourning Ring
> c1770 Garnet Paste Ring

Unlike any other form of memorial jewellery, rings show the greatest evolution over time. This is due to the nature of rings having a varying degree of quality, making them accessible to the poorer classes and never leaving mainstream fashion.

Previous to the 17th Century and the rise of more recognisable ‘memorial’ jewellery, pieces to commemorate a loved one, event or as a gift were prevalent in societies dating to the ancient. The example to the left, from Miller’s Cameos Old and New, depicts an earlobe being pinched, with the inscription ‘MNHMONEYE MOY’ – ‘Remember Me’. This example is 3rd Century Roman and at its most fundamental level is a cameo of and only qualifies as a ring due to its elegant 18th Century setting. Culturally, pieces with remembrance inscriptions can be traced back to different cultures, so beginning to talk about rings from the 17th and 18th Centuries is only a direct relation to the beginning of the modern form.

As discussed in other sections, a piece with that denotes ‘memento mori’ does not indicate a mourning piece. The motifs used in memento mori jewellery lay the groundwork for the mourning mentality, such as skulls, skeletons, hourglasses and other symbols of mortality, but only by the 17th Century, or more appropriately during the Stuart Era, did this form of jewellery being to take on a personal mourning ideal. One of the earliest ‘modern’ mourning rings can be dated back to the fifteenth century. This piece, inscribed ‘iohes godefroy‘ was decorated with skulls and a worm; one of the earliest pieces to adapt the memento mori motifs.

Formerly a ribbon slide, this Stuart crystal converted ring is still a perfect version of its form. The skeleton with its memento mori motifs (life cut short / passage of time), the gold wire cipher and the hair combined with the gold surround make it a piece that has survived in wonderful condition.

Enamelled skulls on rings and Stuart crystals with gold wire cipher, hair and often silk underneath grew in use frequently during the latter 17th Century. As the 18th Century approached, the style would gradually change, with the larger crystal bezels becoming smaller and more rectangular and the greater use of hair underneath. Skulls, skeletons and the memento mori symbolism started to recede and become smaller (when used) as well.

Read the articles below for further study on memento mori and its impact on society.

Courtesy: Barbara Robbins
Country: England
Year: c. 1680-1700

Further Reading:
> Skulls, Rings, the 19th Century… What We Must Ask
> How Society Entered Mourning: c.1680-1700 Memento Mori Mourning Ring
> Memento Mori in Jewellery: Anachronistic 1780s White Enamel Ring Where Memento Mori Meets Neoclassicism
> Spotlight On: Ribbon Slides
> Spooky! Skeletal Rings, Memento Mori and the Evolution of the Symbol
> Symbolism Sunday, The Trumpet
> 17th Century Crystal Memento Mori Ring: A Study
> Defining Memento Mori Though Presentation: 18th Century Skull on Pendant

This is one of the last pieces in the traditional mourning style for its time. The bold ‘in memory of’ is still retained in black enamel around the outside and the dedication is within. Look back to earlier bands of the mid 18th Century and 19th Century to see the evolution of this style.

Mourning rings did not end at this time, however. For the individual, they have moved on from this style, but whenever a significant event happens, mourning rings are produced. Look to rings made for J.F.Kennedy in 1963, or the pieces made for the firemen killed in the September 11 , 2001 attacks in New York.

Black and white Bakelite rings in the 1940s with photographs in the place of a hair memento were popular for a short while, but not popular enough to continue.

Fundamentally, mourning rings are not as formal in a modern society as they have been in the past. A mourning ring can merely be a keepsake from a lover or someone close who has passed on. The symbolism and structure is an anachronism in today’s culture, but that does not mean it is gone. Groups still practice hairworking and some jewellers still place hairwork inside rings for people. As long as there is death and sentimentality, memorial jewellery will always have a place in culture, as it did in pre-history and has continued to this very day.

Country: Australia
Year: 1911, 11/11/11
Dedication: Marion Julia Little

The fashion of mourning and sentimentality was being challenged, just as it had during the Neoclassical era, with new perspectives on lifestyle and art. A push towards more organic and natural styles, the influx of silver use in jewellery and the changing perspectives of the role of the female in the family created a rebellion against a mainstream sentimental style that had lasted longer than many of the fashions of the previous century. Much of this was due to the static monarchy; Victoria compared with a ruler such as George IV couldn’t have been further apart. George nurtured excess and fashion, whereas Victoria’s post-mourning period reflected a static style and family value that had its basis in security and morality.

While good for mourning and sentimental jewellery, it inevitably began to lose its grip by the turning of the 20^th century and Victoria’s death 1901. Hairwork bands for their memorial and sentimental values were considered a reflection upon the previous generation, that isn’t to say that they disappeared overnight, but there were new and more personal ways to display love for another. A new aesthetic took control and affectation of jewellery adornment and its combination with fashion overtook the sentiment of giving.

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