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.

Restringing ethnic jewellery

Restringing ethnic jewellery

by | Tips for collectors

ethnic necklaces

Restringing ethnic jewellery

Published Jan 19, 2024

‘This necklace is on its original stringing’ is something you may read in jewellery descriptions. But what does ‘original stringing’ mean? In this article, I’ll zoom in on stringing and restringing: it’s cultural context and 5 practical points to inspect when checking for restringing.

Ethnic jewellery: the many lives of necklaces

What I love about ethnic jewellery is that these jewellery pieces lived. They were part and parcel of everyday life, they moved along with their wearers, they bumped into other things, they got dented, banged up, damaged.

Take a necklace, for example. It may have been gifted to a bride on her wedding day, or assembled from treasured beads by a girl. It was worn on festive occasions or maybe every day, it was seen, admired and cherished.

And at one point during its long life, it broke. The thread snapped, perhaps after a sharp edge of a bead had chafed at it relentlessly, or simply because years of wear finally made it give way.⁠

It was repaired, and at that point may have been embellished: another silver bead added because finances had been good, maybe another amber bead found its way in the composition as well…

And there you have it: a second incarnation of the same necklace. Rinse and repeat: one necklace may have been repaired or changed countless times.⁠

An antique Kabyle necklace with coral and silver pendants
Close-up of a spectacular Amazigh Berber necklace from the Draa Valley in Morocco, showing its abundance in coral, amber and trade beads

Restringing ethnic jewellery: a part of life

Now this applies to straightforward, single strand necklaces, but also to beaded necklaces with multiple strands, lots of beads, silver amulets strewn in between…pieces like these would eventually break, once or several times, and be repaired.

That is for example visible in the Kabyle necklace in the gallery above. Clicking it will enlarge the image. It is still on an original stringing as the wearer had intended it, but upon closer inspection, the pendants are not all of the same age. Some have lost all their enamel, while others still have it; some have become smoothly worn, while others look more crisp. This necklace has been restrung at least once, in which a different selection of pendants was made.

Necklaces might also intentionally have been taken apart to be restrung with newly acquired beads, or to be divided up into smaller necklaces for children.⁠

The point is that a piece you see *today* is not necessarily the same as when it was first created. Jewels were altered over time, adapted, improved, taken apart, made smaller…altering ethnic jewellery is a regular practice.

A heavy silver Omani somt necklace with Maria Theresia Thalers
A gorgeous heavy silver somt necklace from Oman

Restringing ethnic jewellery: an example from Oman

A great example are these two necklaces from Oman: click the photos above to see both necklaces.

The first necklace is an older one that is still on its last stringing. The thick hemp rope has darkened over time, the knot at the closure is frayed, and the dirt is also visible between and underneath the beads. A trick often used to make a necklace look old, is to darken its stringing. Looking between and underneath the beads may help assert if it actually has been worn, or that it just looks that way.

The second necklace is on a clean rope. You also see how the necklace is closed in a very different way: the two ends have been stitched together. It is much younger: this piece was a gift to a foreign teacher in the 1980s. Her Omani students wanted to present her with a parting gift, and financed this necklace together. The teacher never wore it, but instead treasured it at home.

Both are on original stringing, but one has not been worn as intensively as the other. And what is more: necklaces like these were restrung from time to time, too. [1] When the rope would get too stained or dirty, or new beads or pendants were added, the necklace would be restrung in its entirety.

Old silver jewellery in Marrakech
Glinting Maria Theresia Thalers in a silversmith's workshop, Amman
Old silver jewellery in Cairo's Khan el Khalili

Restringing ethnic jewellery: materials

This continuous stringing and restringing also means that it is perfectly possible for new materials to sit next to older ones. It’s not uncommon to find plastic beads added to coral, or to see newer coin pendants find their way into a necklace of older ones. As the photos above show (click to enlarge them), you will find bits and pieces of older jewellery lying around in just about every workshop from Marrakech to Cairo and beyond.

Because of these elements, the necklace forms a biography of the culture of its wearers. Who were they in contact with, who did they trade with, what materials made an appearance? Nylon fishing line, for example, has been in use since the 1960s to string necklaces with – it’s not necessarily a sign of modern stringing.

And that brings me to another aspect of restringing: the composition of a necklace.

Coral and amber Draa Valley necklace

Restringing ethnic jewellery: composition

There is, generally speaking, a set of standards within a culture as to what a necklace is supposed to look like.  It’s a ‘type’ of necklace that is specific to a particular group, tribe, region etc. The individual components may vary, but the overall lay-out remains the same.

Over time, these compositions change, too: fashion will always play a part in how ethnic necklaces are created. The next generation always wants to do things a little differently, and these changes are visible in small or large details.

Looking at old photographs can be very helpful here (bearing in mind the complications these may bring – read more about that here). Looking at jewellery that has with certainty been collected before a particular date, or that has been in a family for generations, is also very helpful (you did not really think you were getting an article without me pointing out the importance of provenance, did you…?).

Restringing ethnic jewellery: our coloured view

So, the jewellery that we see, is the end result of years of threads breaking, fashions changing, beads bought, silver traded for cash, new elements acquired, dividing up larger necklace among kids…there is a depth of life behind these that is just amazing.

But these last incarnations are the ones that get published in jewellery books, shown in exhibitions and presented online. And that is often when they ‘freeze’: they are taken out of their living context, shown as beautiful objects in their own right, and become the main sources for studying jewellery.

The last composition we see, can’t readily be used to unequivocally establish that this is how a piece of jewellery always is ‘supposed’ to look. ⁠Not on the level of ‘but there are supposed to be three blue beads here’, anyway. But what they are very useful for, is establishing what the predilections of the time were, what the overall design is and which materials were in use.

Restringing ethnic jewellery: how is a piece presented to you?

By now, I suppose it will be clear that restringing is standard practice. But I’m guessing that is not what you want to know…because ‘original stringing’ often is connected to a form of authenticity. ‘This is the real deal’, that sort of thing. A restrung necklace however, can be just as real.

The thing to be aware of is how a necklace is presented to you. I have seen pieces presented as ‘19th century on original stringing’, but including beads that did not exist in the 19th century.

There is a fine line between original restringing, and modern compositions made to look old. What you really want to know, is the difference between the two.

Restringing ethnic jewellery: how to check for restringing

Restringing is the norm, not the exception. But how to see if you’re looking at an actually old piece, or a new one made to look original? Here are five tips:

1 – You will need to be aware of styles and types worn by the particular people the piece is from, and the timeframe it is supposed to be from. There’s no escaping that. Look at the overall composition carefully;

2 – Next, zoom in and see if the individual materials used match with that timeframe. Again, it’s not uncommon, for example, for plastic beads to find their way into an incarnation of a necklace, but when this is presented to you as ’19th century, never altered’ that is cause for concern;

3 – Zoom in a little further and check if the thread has been artificially aged: inspect the space between the beads and in the bead openings. Do note however that when a necklace is densely strung, the thread may remain cleaner than the rest;

4- Inspect the closure. This is often altered over time to allow for easier wearing. Here again, it helps to be aware of how these pieces were fastened. A loop-and-knot/bead/coin closure can be, but is not always the original way of fastening a necklace (and please remember that nothing is easier to pick up a stray coin to use – coins do not automatically date a piece of jewellery). S-hooks almost always indicate restringing.

5- Read the description carefully, if it concerns a necklace on offer. Does it say ‘in the style of’ or ‘based on’ or ‘composed of’? That indicates restringing or even a design creation by the seller.

And there is nothing wrong with that, by the way! In fact, all of my ethnic Dutch necklaces have been restrung, for example – I don’t want them to break when I wear them. Also the replacement of closures with S-hooks is nothing dramatic, and in fact adapts the necklace to a new stage in its life where it is wearable again.

Just as long as one is transparent about what is simply restringing, and what is altering (or even designing) the composition itself.

Restringing ethnic jewellery: living jewellery

Jewellery is not frozen in time, but grows old with us, and like us, changes appearances along the way. We see its last identity as it were, and it’s up to us to be aware there have been multiple lives before that!⁠ Restringing is normal. In that light I would suggest to replace ‘on original stringing’ with ‘on an original stringing‘ – it does do more justice to the many lives a necklace has had.

This article will continue with an article on how to spot alterations in ethnic jewellery, and an article on what to think of before you start restringing necklaces that are still on an original stringing – stay tuned!

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References

[1] This practice was shared with me by mrs. Alix Normandeau.

Would you like to quote this article? Please do! Here’s how:

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.

Draa Valley necklace

Draa Valley necklace

by | Objects

Amazigh Berber jewellery

Amber and coral necklace from the Draa Valley, Morocco

Published Jan 17, 2024

A coral and amber stunner in the signature arrangement of the Draa Valley, Morocco. In this article, I’m zooming in on its composition, its meaning and its many lives.

A glorious Draa Valley amber and coral necklace with colourful woollen tassels
Close-up of a spectacular Amazigh Berber necklace from the Draa Valley in Morocco, showing its abundance in coral, amber and trade beads

An Amazigh necklace from the Draa Valley

You’ll find this type of necklace presented as Berber or Amazigh necklace: while ‘Berber’ is the word almost everyone knows, ‘Amazigh’ is actually how its people prefer themselves referred to. I’ll go into the reasons behind that in another post: this article analyzes the meaning and history of this beautiful piece of jewellery.

This huge, gorgeous Berber necklace was worn in the Draa Valley, Morocco. As you see in the gallery above (click the image to enlarge it), it’s made of eight strands of large branch coral beads and a central arrangement of chunky amber beads flanked by shells.⁠

This necklace was worn by a married woman. As its individual components, notably the sizeable pieces of branch coral and amber, are quite expensive, the necklace was also a show of wealth. [1]

Draa Valley necklace: amulets and beads

Between the coral abundance is a treasure of other beads. Amazonite, agate, glass, shell and smaller amber beads are strung in with a variety of beads and pendants in low grade silver: there are coins, cones, cornerless cubes, bell-shaped beads and a few amulets.⁠ [2]

The amber holds several meanings: this is where you’ll find specific information about the hidden powers of amber in Berber jewellery. Amazonite beads were believed to be associated with fertility, because of its green colour: an association found with many green stones.

Ancient trade beads are a testimony to the long history of trade and commerce in the region. As are the polished brown and green agate beads, that were imported on a large scale from Idar Oberstein in Germany.

And it holds several low-grade silver beads, amulets and pendants. These are lovely in their variety, and are randomly strung in with the rest: this is where you’ll find the personal preference of the wearer reflected most closely, as these are the items that she would have selected herself.

She may have collected various beads and pendants over time. They may also come from other pieces of jewellery that had fallen apart – and that is another factor to consider when looking at these necklaces: they fell apart at some point during their lives.

Berber jewellery from the Draa Valley: its many lives

This piece is still in its original stringing. But what does that really mean? I think it’s important to consider that this is the last stringing with the purpose of wearing it within the culture itself.

‘Last’, because during its life, it would have been restrung multiple times anyway. Its threads would become worn after years of beads weighing them down. Eventually one of them would break, and then it would be restrung. That was also the perfect occasion to add some more beads and other pendants. So, with several actions of restringing, which ‘incarnation’ is the original one…? That’s why I think looking at its purpose is an important factor in determining whether stringing is ‘original’.

Another indicator of ‘original stringing’ is its closure, so let’s go into that next.
⁠

" Necklaces have several lives: they are restrung multiple times, each time with tiny differences to its arrangement and composition'

Draa Valley necklace details: its closure

What is even more remarkable about this Amazigh necklace is that it still has its original closure: the two large tassels of woolen cords. These are quite heavy themselves, and form a perfect counterweight to the weight of the beads.⁠

They are held together by a woolen band. Like a scrunchy in your hair, that is what keeps the two heavy tassels together. The idea behind the tassels is not to knot them, that would be uncomfortable to wear, but to simply tie them closely together.

There are other cultural reasons to avoid knots in general: you’ll find those here.

You may find similar necklaces outfitted with a simple knot-and-loop closure: that is a later alteration to make these necklaces more suited to the taste of collectors who’d want to wear them. And that brings me to their afterlife.

Draa Valley necklace: its afterlife

Necklaces like these, in their original setup, are becoming increasingly rare. Many of these have been broken up in the past to be sold, as its individual coral, amazonite and amber beads may fetch a handsome price.

You’ll also find modern arrangements reflecting the style of the Draa Valley, sometimes put together with antique elements and sometimes with entirely newly made beads.

Some of these are used in traditional dance performances (you don’t want your antique piece snapping apart on stage, after all) both in Morocco itself and abroad. As such, the design of this necklace is still communicating the cultural identity of its wearers, and I think that is a beautiful thing!

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References

[1] Berber Women of Morocco, Fondation Pierre Bergé – Yves Saint Laurent 2014, p. 73.

[2] See the chapter Jewelry Art by Cynthia Becker in Berber Women of Morocco, Fondation Pierre Bergé – Yves Saint Laurent 2014.

Would you like to quote this article? Please do! Here’s how:

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.

Islamic amulet cases

Islamic amulet cases

by | Magic & Amulets

History of amulet containers

Types of Islamic amulet cases

Published Jan 1, 2024

What is the origin of Islamic amulet cases? Often called hirz, higab or taweez they come in various shapes and forms, and those forms tell us more about their history. These cases hold (Islamic) talismans, and the nature of this talisman is hinted at by the shape of the container. Because ‘form follows function’ is not just a designer’s oneliner: looking at the shape of an amulet container is very revealing of its historic origins and its setting.

This post brings you up to speed with the 3 elementary shapes of amulet cases – it takes less than 3 minutes!

Amulet case type 1: Tubular amulet cases

These go way back! Evidence backing up the use of amulet cases in the shape of a tube already stems from ancient Egypt, as the example above shows (click the image to enlarge it). In Iraq, an alabaster jar excavated near Baghdad contained ten amulet cases. [1] The shape of all these containers is revealing of two things: their long-gone contents, and the incredible time span they have been in use.

Tubular amulet cases are designed to hold scrolls. You’ll see some examples of Islamic amulets for protection above (click to enlarge the photos). These you would roll up and insert them into the amulet case.

This is a practice that stems from the times that writing was done mainly on papyrus sheets. These can’t be folded very well (although it happened occasionally, but it was never considered a huge success), so they were usually rolled into scrolls. Large scrolls would contain complete books, and tiny scrolls could accommodate just a few words. Like spells, or religious texts.

The scroll as the essential form of a written amulet is so old, that once paper was invented, the practice of writing, and even printing, the use of talismanic scrolls continued. [2] Never change a winning form, right?

Amulet case type 2: Slim rectangular, square and triangular amulet cases

When writing materials changed, a new shape of amulet cases popped up. Unlike papyrus, paper can easily be folded, and tucked into a rectangular or square amulet case. In the Mediterranean, this form of amulet case started to develop in the early Middle Ages.

These can contain more than just a sheet of paper: they may hold complete books. When books began to be designed in the form we know today (a bunch of pages held together by a spine and two covers), they could also be created in miniature form.

A special style of Islamic case is the Qur’an holder, which contains a complete version of the Qur’an.

Triangular amulet cases were created even later. These may also hold written texts or prayers, but here their form is important, too: it refers to the number 3. Click here for the surprising ways numerology is present in jewellery!

Amulet case type 3: Larger amulet boxes

An entirely different form is that of the amulet box. Here, the amulet case is shaped like a box. Its opening is significantly larger than that of a regular, slim amulet container: these often have an actual lid instead of a narrow, letterbox-like slot. The amulet box also has more space inside.

This design is also very old. Above you’ll see some examples: a gold amulet box called bulla, and a gold necklace holding such an amulet box. Click on the images to enlarge them and to see the accompanying captions.

Originally, box-like amulet cases are not designed to hold texts, but things. Their origins lie in the use of amulet pouches. Based on the advice of a healer or ritual practitioner, the boxes would hold magical materials that were believed to be helpful.

Later on, they were also used to hold folded pieces of paper, custom-made miniature books, and fragrance. Today, they may hold a variety of things, from very personal mementoes to texts, fragrances, prayers and more.

Islamic amulet cases: rooted in a long history

All of these forms are still used in Islamic amulet cases of North Africa and the Middle East. Above are some examples from Tunisia, Syria, Oman, Yemen, Egypt and Iraq. And of course, these basic shapes are not limited to the Islamic world: protecting oneself is one of the oldest human traditions, and as such similar shapes are found worldwide. Looking at the shape of a jewel may tell you a lot about its historic origin and uses!

…and in case you’re wondering how amulet cases actually open: Read this quick guide next!

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What is inside amulet cases and how were they used? Find out in the e-course on amulets & charms!

More posts on amulets? Browse them all here!

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References

[1] Read more about this find here with the Metropolitan Museum of Art

[2] See for block printed talismanic scrolls K. Schaefer 2022, The material nature of block printed amulets: what makes them amulets?

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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.