26 Land & Water May 2, 1918 
Famous Jewels in America : By G. C. Williamson 
WE h.ave a habit in England of making use of 
one word and giving to it diverse meanings. 
An employer will say to his typist, late in the 
afternoon, that he desires her to "stop," but 
would be amazed if she "ceased work," as he 
meant her to "remain later and continue her work." So 
with regard to the word "jewels." The dealer in Hatton 
Garden may mean stones ; 
the jeweller, ornaments set 
with precious stones ; the 
virtuoso, objects in enamel 
or metal without a stone 
upon them ! 
Mr. Pierpont Morgan used 
the term in its generic sense, 
and even included amongst 
his precious jewels objects 
in rock crystal, exquisite 
wood-carving, and portable 
reliquaries in enamel, and 
so on. 
Let us attach the word 
"pendent" when we speak 
i)f some of the jewels he 
collected, and group to- 
gether a few fine things 
from his famous collection 
of treasures that will easily 
come under that heading. 
Here, for example (A) is a 
p jewel of wrought gold 
enamelled, French work of 
the sixteenth century, adorned with an oblong ruby 
and ten diamonds in shuttle-shaped mounts, and on the 
reverse a figure of a woman in ermine and green, 
represented in fine enamel, the whole supported by chains 
of pearls and gold, a very dainty ornament ; while (B) is 
a very rare badge of the Order of the Annunziata in wrought 
gold and enamel, without any precious stones upon it, which 
belonged to the .'\bbot of St. Gallen, who was, in virtue of his 
position, a knight of the Order in perpetuity, and whose 
monastery was at one time considered as the chapel of the 
Order and meeting-place of the knights. 
Hence this badge differs somewhat from that usually worn 
in the Order. The love knots about it are symbolic of the 
affection the knights should feel for each other. 
Then regard two otlier jewels, of Itahan sixteenth-century 
work, each largely composed from baroque pearl cunningly 
wrought and exquisitely mounted. 
In one (D) we see a mermaid mounted in rich enamel, with 
rubies and diamonds, hold- 
ing a mirror of labradorite 
in her hand and an hour- 
glass of pearl and ruby, 
while in the other (C) we 
find the baroque pearl 
adapted to form a dolphin 
upon whicli desports a 
figure of Fortune, nude, 
waving a scarf, which she 
holds as a sail to catch the 
first breath of a favourable 
wind. 
Here the clever goldsmith 
has adapted a design made 
by Hans Collaert, of 
Antwerp, who in the 
sixteenth century issued a 
book of designs for workers 
in gold and enamel. The 
goldsmiths of that day 
seldom designed in -tlj'eir 
entirety the jewels they 
wrought. They used the 
books of designs in 
existence, but they never copied them 
ingeniously adapted them to their own ideas. 
Take, as an instance, a pendant (E) which came 
from Augsburg, and formed part (it is believed) of a 
wedding-gift sent to the Emperor Ferdinand II. by his 
brother's wife Philippina Welser, an Augsburg lady whose 
brother married a Countess Fugger, a member of the great 
mercantile house of that city whose daughters married into 
the noblest houses of Europe. Here, and in a pendent 
jewel (F), representing a pehcan "in its piety," seated upon 
its nest, with three young ones, wonderfully wrought in gold 
D 
slavishly, but 
Top Row (Left to Right) : A, F, B. Bottom Row (Left to Right) : G, H, E. 
