In Death Lamented

In Death Lamented

by | European jewellery, Reviews

The Tradition of Anglo-American mourning jewelry

In Death Lamented

Updated August 08, 2024

Jewellery serves many more purposes than just being pretty, and that is what I love about it. One of those purposes is to accompany its wearers through major events – like dealing with the death of a loved one. In Death Lamented by Sarah Nehama presents an overview of mourning jewellery in the Anglo-American world.

In Death Lamented: the exhibition and the book

In Death Lamented is the companion volume with the exhibition of the same name, held in 2012 in Massachusetts. And oh, would I have loved to see that! Instead, I am super lucky to now own the book, and I love it. Because, as Sarah writes in her introduction, she approaches this jewellery from a historical perspective – and you know that is what makes me tick, too!

The book showcases the collection of the Massachusetts Historical Society alongside the private collection of Sarah herself. Together, they illustrate the development of mourning jewellery over time.

Mourning jewellery across centuries

In Death Lamented presents an overview of mourning jewellery from the 17th century to the late 19th century. As the title says, its focus is on Anglo-American jewellery, and as such this is the historical perspective as well.

That overview starts out in the 15th and 16th centuries. In this timeframe, jewellery with a memento mori-theme (‘remember you must die’) was created to remind the wearer of their own mortality. Actual mourning jewellery, so in remembrance of a loved one, also existed during this period.

The popularity of mourning jewellery took off when the English King Charles I was executed – mourning his death became an act of resistance among his supporters and jewellery became a secret token of allyship. The book shows a few of these pieces, and describes how these customs crossed the Atlantic to continue to flourish there.

Mourning jewellery in colonial America

The next chapter explores mourning jewellery in 17th and 18th century, mostly in the New World. A completely new practice, at least for me, was handing out mourning rings at funerals – apparently, attending as many funerals as possible and collecting these almost like souvenirs [p. 23] was quite the rage!

This chapter discusses the evolving stylistic elements of mourning jewellery, including the incorporation of hair. That is a topic I particularly love, as hair has very strong personal and ritual capacities in so many cultures. The catalogue with this chapter illustrates those evolving styles: with each piece of jewellery, an elaborate description places the jewel in its cultural context and presents what is known about the persons they commemorate: I loved reading this little personal histories.

Mourning jewellery of the New Republic

The story of mourning jewellery then continues in the late 18th and 19th century. Here, we see the imagery change, reflecting changes in funerary customs as well. [p. 42] I found it fascinating to read how the visual language of the Classical world made an appearance in mourning women, silent urns and weeping willows [p. 42] and how the visual codes changed from skulls and bones to more hopeful symbols.

This transition is also abundantly shown in the catalogue with this part: here as well, personal histories of the persons remembered intertwine with political history. I learned that the death of George Washington spurred another flurry of mourning jewellery, illustrated by a locket holding a few of his hairs.

Mourning jewellery before the Civil War

In the 19th century, archaeological revival styles became fashionable and left their mark on mourning jewellery as well. Increasingly, medieval (notably Gothic) and Etruscan styles became popular. The language of particular materials such as pearls or diamonds was reinforced by the language of flowers, a development I also read about in this book on Lover’s Eyes jewellery.

Following the death of Prince Albert, Queen Victoria famously went into heavy mourning that set off an entire industry of jet jewellery. This was picked up upon on the other side of the Atlantic as well, and jet and hair jewellery became very, very popular. And of course, there was a new invention that added another layer to the intensity of mourning jewellery: photography.

Mourning jewellery from the Civil War to the end of the 19th century

The book concludes with the surge in mourning jewellery as a result of the Civil War, the death of Prince Albert and the murder of Abraham Lincoln. It also discusses how mourning jewellery came to an end: hairworks became to be perceived as ‘unsanitary’, life circumstances improved in general, and ostentatiously showing loss and grief became less socially acceptable.

In Death Lamented: a wonderful overview of mourning jewellery

It’s safe to say I have learned again a great deal in reading this book. I loved how the author places jewellery against its historical and cultural background and explains how styles evolved, symbolism changed and mourning jewellery continued to take on new meanings. The many photographs are large, clear and very insightful.

The descriptions of the jewellery are also consistent and precise. Especially with objects that carry text, it really helps to know what the original, surviving text is, and where individual letters or numbers have been reconstructed. This, along with the guidelines for measurements given, is explained in the editorial note at the beginning of the book.

This is absolutely a book you will love – whether you’re studying, selling or just are interested in this particular type of jewellery!

More about In Death Lamented

In Death Lamented. The Tradition of Anglo-American Mourning Jewelry. By Sarah Nehama (2012). 128 pages, full-colour, in English. Published by University of Virginia Press.

Available with the publisher and the Massachusetts Historical Society

See more about Sarah’s research on mourning jewellery here!

I purchased the book directly from Sarah.

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S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on the jewellery of the Egyptian zar-ritual. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only.

The Maria Theresia Thaler

The Maria Theresia Thaler

by | Objects

Coins in jewellery

The Maria Theresia Thaler in Middle Eastern jewellery

Published Feb 26, 2024

The Austrian Maria Theresia Thaler was to become the most widespread and well-known coin in Africa and Asia. It is the first international coin, and it was particularly popular in the Middle East and North Africa. What is the story behind this popular coin?

The Maria Theresia Thaler: its history

The Maria Theresia Thaler gets its name from Habsburg heiress Maria Theresia. Maria Theresia ascended to the throne of the Habsburg empire in Vienna aged 23, on the death of her father Charles VI. She was crowned Queen of Hungary in 1741, Queen of Bohemia in 1743, and bore the title of Empress from 1745, when her husband became Holy Roman Emperor Francis I.  From 1741 onwards, she had her own coins minted.

Maria Theresia ruled for forty years. She had sixteen children, one of which was the ill-fated Marie-Antoinette who would, much later, be beheaded in the French Revolution. But what she really managed to pull off was improving the economic situation of the empire. When she came to the throne, it had serious debts, and it took a determined CFO to get the empire afloat again.

From 1753, the Maria Theresia Thaler became increasingly popular; the empress officially announced the silver content of this and other coins to be minted in Bavaria and Austria, and set the exchange rates and the design standards in a treaty with Bavaria.

Being officially guaranteed and very hard to forge due to the intricacies of the design, the coin quickly became much sought after by traders and merchants. 

What does the name thaler mean?

The word thaler refers to the Joachimsthal (meaning Joachims’ Valley) in Bohemia, and it was here that silver was mined and minted into large silver coins. After the source of the silver, they were called thalers. Soon this German word became the generic term for basically any large silver coin and, as such, was quickly absorbed into various other languages. And you are very familiar with it: this word became ‘dollar’ in English.

Maria Theresia Thaler: enduring heritage

When Maria Theresia died in 1780, the coin was still in such high demand that it continued to be struck, forever bearing the date of 1780. These are called restrikes. It was accepted as official currency in Austria until 1858, when it continued to be in use as official trade coinage, but no longer as domestic currency. Since then, the coin has been in almost continuous production.

It played an important role in the coffee trade, was used in World Wars I and II to pay North-African allies and has acted as official currency innumerable times. Today, it is still used in the markets of Oman as a solid weight to measure silver objects. Actually, it is still produced by the Vienna Mint, and estimates have anywhere between 300 million and a staggering 800 million MTTs in existence today.

Maria Theresia Thaler: its many names

In European shorthand, the Maria Theresia Thaler is often abbreviated to MTT.

The MTT was the most popular coin in circulation in North Africa and the Middle East and went by many names: Abu Tayr (Father of Birds) referring to the imperial eagle; Abu Nuqta (Father of Dots) a reference to the number of pearls on the brooch of the empress; and Abu Rish (Father of Feathers) a name suggested by the eagle’s many tail feathers.

All these distinctive features were used to check the authenticity of the coin. Because, as I will show you later, this coin was imitated as a large scale. In purely monetary terms, the coin was referred to as Riyal Faransawi, (French Riyal) or Riyal Nimsawi, (Austrian Riyal).

Maria Theresia Thalers in jewellery from North Africa and the Middle East

The MTT is used in jewellery from the Maghreb all the way to Southeast Asia. You’ll find it in three ways:

1 – As complete coin. The coins are added to headdresses, necklaces, face veils and even rings. They may have bails added to them to facilitate stringing, or holes pierced into them to sew them firmly to a textile backing.

Usually, the visible side of the thaler is the reverse, depicting the eagle and coat of arms; since representations of human beings are forbidden in Islam, the coin is usually worn with the effigy of the empress on the underside.

2 – Fashioned into another shape. In this case, the coin has been altered, but can still be recognized. Examples are the crosses from Ethiopia, where the central element of the coin can still be seen in the centre (so the portrait of the empress or the coat of arms).

3 – Invisibly. Unbeknownst to most people, the thaler even has an invisible presence. Its high-grade silver content made it the material of choice for a lot of silver jewellery. Occasionally, the coin was fashioned into a pendant, on which traces of the original can still be seen, but the coins were more commonly melted down and reused completely.

Most thalers in jewellery are restrikes, all bearing the date of 1780. That does not mean they are actually from 1780: in fact, they may be relatively new.

Just like the pillar dollar, this coin was imitated very often, too. This was to serve more as a status symbol than as actual currency, and so you’ll find imitations in a varying range of success.

The Maria Theresia Thaler: the most popular coin in jewellery

You’ll see MTT’s used in jewellery very, very often! Sometimes, they have sat together for so long that it reflects in their wear patterns, and sometimes they are so new that the design is still crisp and fresh. Both old and new coins, as well as their imitations, reflect the importance of a steady source of silver for both economical purposes and jewellery: a tradition that has continued for 3 centuries!

This article is based on my book Desert Silver.

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References

[1] Although the pillar dollar was a coin of equal importance, many more books have been dedicated to the Maria Theresa Thaler. See for example Gervais, R. 1982. Pre-Colonial Currencies: A Note on the Maria Theresa Thaler, in: African Economic History No. 11 and Pond, S. 1941. The Maria Theresa Thaler. A famous Trade Coin, in: Bulletin of the Business Historical Society Vol. 15 No. 2. A very helpful book is Semple, C. 2005. A Silver Legend: the story of the Maria Theresa Thaler, Barzan Publishing.

[2] Vale describes how in Siwa oasis silver coins, obtained after selling a good harvest, were sent to the silversmiths to be melted down and turned into jewellery. See Vale 2011, p. 32.

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The Bedouin Silver Jewellery Blog: Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.

Djerba gilded pendants

Djerba gilded pendants

by | Objects

Tunisian jewellery

Gilded and enameled pendants from Djerba

Published Feb 07, 2024

A selection of pendants from Tunisia, that show how jewellery may be reflecting the world of its wearers in its design. These illustrate the relation you might not think of immediately: that between jewellery, and architecture.

A set of Djerba pendants

In the gallery above, you’ll see a series of photos of a collection of square pendants. They were collected in Sousse, Tunisia, and clicking on the images will enlarge them, so you can take in their gorgeous details.

What do we know of these? All of them are made of silver. The majority have been gilded, and some are finely embellished with enamel. Enameling is characteristic of jewellery from Djerba: according to Gargouri-Sethom the art of enameling almost disappeared after the second World War, when many Jewish craftspeople moved to Israel. [1]

These pendants would be worn in sets of five, on a necklace with coral and lapis lazuli beads strung on woolen cord. The ensemble is called malāb (sometimes also spelled malaab) and was worn in Djerba, Tunisia. [2] A red fabric backing makes the design stand out even more: in an original stringing, it would match the red woolen cord.

Djerba necklace: reading the design

That design is after the mihrab or prayer niche. [3] This is the niche in every mosque that indicates the direction of Mecca. That is the direction that is prayed in, so this is a primary architectural element. It is often beautifully ornamented. Including it in jewellery brings the necklace and its wearer into the realm of faith and religion.

And there are more elements that serve to enhance its meaning. As you see (click on an image to enlarge it), each pendant repeats the mihrab motif three times, and has three dangles.

The presence of five of these on the necklace is also significant: it refers to the 5 daily prayers and the 5 pillars of Islam. ⁠The deliberate inclusion of the number five is another form of wearing a khamsa.

See why a khamsa does not always have to be in the shape of a hand here.

The red fabric and woolen cord also help keep evil at a distance: the colour red has been used as primary colour to fight evil for millennia.

Djerba pendants: the value of collecting

As you see, these are all different, even if ever so slightly: their collectors loved the shapes and collected them for their differences, not to complete a set.⁠ That is another angle of collecting than striving for completion and perfection: the choices you make as a collector have an impact on what a collection is going to look like.

So, these may not contain a complete set, but they certainly do hold information value. They showcase the variety and the skill of the craftsmen that made these, and in that way this collection adds to our understanding of Tunisian jewellery beautifully.⁠

And they also tell us what happened to these necklaces. Eventually they were broken up and their beautiful coral and lapis lazuli beads sold individually. The pendants have been sold separately as well for a long time, and found their way into the available literature as such, too. [4]

So you see, even loose bits and pieces may contribute to the history of its wearers!

These pendants are in the Van Dam-Canton Tunisian heritage collection of the Qilada Foundation.⁠

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References

[1] S. Gargouri-Sethom1986, Le Bijou Traditionnel en Tunisie, Edisud, p. 50.

[2] N. Baklouti, Les bijoux d’Argent de Tunisie, Office National de l’ Artisanat, p. 124.

[3] N. Baklouti, Les bijoux d’Argent de Tunisie, Office National de l’ Artisanat p. 124;  Les Bijoux de Tunisie, Dunes Editions, p. 146.

[4] Les Bijoux de Tunisie, Dunes Editions, p. 152 also shows individual, different pendants as collected items.

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S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only.

Quick guide: how do amulet cases open?

Quick guide: how do amulet cases open?

by | Magic & Amulets

Islamic amulet containers

Quick guide: how do amulet cases open?

Published Feb 05, 2024

Amulet cases look straightforward at first glance – until you try to open one. Across North Africa and Southwest Asia, silver containers called hirz were made to hold folded texts or small protective items, and their opening mechanisms can be surprisingly diverse. Some use a slider lid, others a hinged cap, and a few hide the opening in the decoration. In this post, part of my series on amulets in jewellery, I’ll walk you through the most common constructions, what the exterior hardware can tell you, and why – sometimes – the most responsible choice is not to open an amulet case at all.

How amulet cases open

Before you dive in: this article shows the three main types of silver amulet cases and their historic development. It may be useful to scroll through this one again to refresh your memory. So, let’s see how these open!

Amulet case type 1: how to open tubular amulet cases

These invariably open on the side. One of the caps at the end functions as the lid. This is clearly visible with the Yemeni container shown above (click to enlarge the photos).

Often, you may find the opening cap integrated into the chainwork, as shown above with the Egyptian cases, or sporting a suspension loop of its own as in the container from Iran.

This is an extra failsafe in case the container opens: the cap would still be attached to the chain.

Amulet case type 2: how to open slim rectangular, square and triangular amulet cases

These may open in two different ways: using a sliding mechanism on one of the sides or its top, or by removing the cap on either side.

The triangular case from Egypt, shown above, has a sliding lid that opens by pulling the upper suspension loop (the one on top)

Amulet case type 3: how to open larger amulet boxes

These usually have a lid that can be removed, much like a locket. The hinge often doubles as suspension loop.

Spendid silver fibula set from Algeria
A stunning silver and coral necklace from Yemen.

Closed amulet cases: containers that cannot be opened

Not all amulet containers can be opened. That may be because the cap or lid has been welded shut, and I would advise to leave it that way. We’re not supposed to see what’s inside.

But a much more common reason is that many of the designs were created without an opening in the first place. That is for example the case with the jewellery shown above. All of these carry amulet cases in one form or another, and none of these can be opened. The Tunisian pendant is even designed as a bead in the shape of a cylindrical amulet case: the chain runs right through it.

Their shape associates them with their presumed contents: it’s not so much ‘form follows function’, but rather ‘form takes over function’.

How to spot if and where an amulet container opens

Observe the construction of your amulet container very closely. Look for seams, edges or lines that suggest a point of separation. This can be a thin line around the edges that the other end does not have, or a small gap. If the amulet is firmly closed, this may be nearly impossible to spot.

Sliding mechanisms usually have either small ridges or grooves, or tiny protrusions (and that could be the suspension loop from which the pendant itself hangs). Both serve to facilitate the sliding.

Hinges are usually visible: here as well, look for any seams or gaps that may indicate the lid is openable.

Should you open amulet containers….?

If you decide to inspect your amulet containers for opening mechanisms, I’d advise to do so very carefully. Avoid the use of excessive force to pry them open, as vintage to antique objects damage easily. If the lid is jammed, welded shut or stuck otherwise, leave it be.

I’d also advise to consider the reasons for opening an amulet container. When you’re studying its contents, it may contribute a great deal to our understanding of the culture the wearer comes from. But afterwards, perhaps it would be best to put its contents back inside.

Its contents were not meant to be seen by anyone but the wearer, so from that point of view, it would be a sign of respect not to open them, or at least to keep their contents private. Whatever is inside, it once made someone feel secure and safe – a feeling we can easily honour.

Conclusion: function before ornament

Understanding how an amulet case opens starts with recognising its function. The lid, loops, and cord channels were designed to protect contents that mattered—texts, blessings, and personal safeguards. For collectors and curators, that means reading the object before handling it: identify the mechanism, note weaknesses, and consider the ethical and conservation implications. In many cases, the amulet’s meaning is preserved best by leaving it closed. These are objects of belief first and ornament second, and their construction tells that story clearly.

Frequently Asked Questions about amulet cases

Why do some amulet cases refuse to open?
Many were closed tightly to protect the contents. Old repairs, corrosion, or grit in slider grooves can also jam the mechanism.

What types of openings do amulet cases use?
The most common are slider lids (a sleeve pushed along a track), hinged caps with tiny pins, and end caps that twist or pull.

How can I tell where the opening is?
Look for joins in the metal, a slightly raised track for sliders, or a small pin at one end for hinges. Cord channels are not openings.

Is it safe to open an amulet case?
Often no. Contents can be fragile paper or organic material; forcing a mechanism risks damage. When in doubt, consult a conservator.

What might be inside an amulet case?
Folded or rolled text (prayer, verse, numbers), tiny written charms, or occasionally small inclusions like threads or beads.

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The Bedouin Silver Jewellery Blog: Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery, and obtained her PhD at Leiden University on jewellery, informal ritual and collections. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only. Sigrid strongly believes in accessibility of knowledge, and aims to provide reliable and trustworthy content: that’s why the Bedouin Silver blog provides references and citations.

Sand in my Eyes

Sand in my Eyes

by | Reviews

Sudanese Moments

Sand in my Eyes

Published on Jan 31, 2024

Sharing a book with you that I have treasured for a decade: the beautiful photographs of Sudan and its people by Enikö Nagy. Sand in my Eyes presents a unique portrait of the many peoples living in Sudan.

Sand in my Eyes: the photographs

This book is a visual treasure of Sudanese cultures and their diversity. The photos are colourful, lively and full of movement: beads swinging across a head, dust twirling in a wrestling match, cattle moving.

Others are tranquil: a detail of jewellery, a tasbih or prayer beads hung on a tree, hands clasped in a moment of rest.

There is an incredible number of jewellery and dress sprinkled throughout the book: photos of a silversmith in his workshop, men and women wearing beads, bracelets, necklaces…These images, from various parts of the country, present a colourful impression of dress and adornment in Sudan.

And it’s not just dress and adornment, of course: you will read fortune in a cup, travel with herds across the plains, place your sandals at the entrance of a house, drink from a calabash, join in dance, wrestling, prayer and song. Admiring the photographs will take you on a journey through Sudan that feels both intimate and relatable.

Sand in my Eyes: the wisdom

But this book is more than a collection of photos. With every photograph, a quote has been included. This can be a proverb, lines of a song, a tale that has been passed down through generations. Through these, the soul of its people accompanies the photographs themselves.

As an archaeologist, the saying ‘He who has nothing old has nothing new’ (p. 241) resonated with me – but there are many more gems like this!

It is these fables, legends, rituals, poems and other texts bring the depth of Sudan’s cultural heritage across, and that is why this is one of my treasured books: nothing brings you closer to people than learning what they think, believe, wish and dream.

Sand in my Eyes: a portrait of Sudan

This book is a beautiful portrait of Sudan. It contains vibrant photographs of people from over 45 tribes and brings you their thoughts, hopes, fears and wisdom. The texts are both in English and Arabic.

The book is structured in five parts, following the five daily prayers that guide the rhythm of life for these communities. And much to my joy, it contains extensive notes and references, so you will be able to understand the texts in their cultural context – and read more! Especially in these days, seeing the beauty of Sudan and learning about its people helps us feel connected to the many people suffering as a result of war.

I love this book, and I think you will, too!

Sand in my Eyes. Sudanese Moments. By Enikö Nagy (2014). 800 pages, full-colour, in English and Arabic.

Available  with the author on the project website.

I purchased the book a decade ago.

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S. van Roode, [write the title as you see it above this post], published on the Bedouin Silver website [paste the exact link to this article], accessed on [the date you are reading this article and decided it was useful for you].

Sigrid van Roode

Sigrid van Roode is an archeologist, ethnographer and jewellery historian. Her main field of expertise is jewellery from North Africa and Southwest Asia, as well as archaeological and archaeological revival jewellery. She has authored several books on jewellery. Sigrid has lectured for the National Museum of Antiquities in Leiden, Turquoise Mountain Jordan, and many others. She provides consultancy and research on jewellery collections for both museums and private collections, teaches courses and curates exhibitions. She is not involved in the business of buying and selling jewellery, and focuses on research, knowledge production, and education only.