Earrings in Romanticism period

Many whimsical fashions were introduced in the extravagant eighteenth century. Cameos that were used in connection with jewellery were the attractive trinkets along with many of the small objects such as brooches, ear-rings and scarf-pins. Some of the necklets were made of several pieces joined with the gold chains were in and bracelets were also made sometimes to match the necklet and the brooch. 

Over the course of the century, the three stones of the girandoles were gradually replaced by a single pear-shaped pendant to form a new type of earring, the pendeloques. These earrings were particularly heavy, so much so that they were sometimes fitted with ribbons and hooks intended to transfer the weight to the hair or the upper part of the ear,. At the end of the Century the jewellery with cut steel intermixed with large crystals was introduced by an Englishman, Matthew Boulton of Birmingham.

Starting in the late 18th century, Romanticism had a profound impact on the development of western jewellery. Perhaps the most significant influences were the public's fascination with the treasures being discovered through the birth of modern archaeology and a fascination with Medieval and Renaissance art. Changing social conditions and the onset of the Industrial Revolution also led to growth of a middle class that wanted and could afford jewellery. As a result, the use of industrial processes, cheaper alloys, and stone substitutes led to the development of paste or costume jewellery. 

Distinguished goldsmiths continued to flourish, however, as wealthier patrons sought to ensure that what they wore still stood apart from the jewellery of the masses, not only through use of precious metals and stones but also though superior artistic and technical work. One such artist was the French goldsmith François-Désiré Froment-Meurice. A category unique to this period and quite appropriate to the philosophy of romanticism was mourning jewellery. It originated in England, where Queen Victoria was often seen wearing jet jewellery after the death of Prince Albert, and it allowed the wearer to continue wearing jewellery while expressing a state of mourning at the death of a loved one.

In France, the French Revolution led to a sudden change in fashion. The abolition of corporations and the scarcity of precious stones led to the creation of more modest jewelry. In addition, the ostentatious style of jewelry from the Ancien Régime did not sit well with the egalitarian principles of the Republic. This climate favored the appearance of economical, thin, and flat earrings: the poissardes. Held by a hook locked on the front, these earrings were sometimes decorated with enamel or glass paste.

The coronation of Napoleon I marked the return of very demonstrative jewelry sets. Girandoles and pendants reappeared in a lighter version thanks to filigree and cannetille work. Earrings tended to become longer and reached shoulder level in the 1830s.

The repoussé style appeared at this time. Designed from gold leaf worked by embossing, these earrings were particularly light and inexpensive. Very economical in gold, the repoussé style quickly replaced cannetille earrings.

Between the 1840s and 1850s, the return of ear-covering hairstyles and the popularity of tiaras temporarily eliminated the earring from evening wear. At this time, the sleeper earring appeared, a very small earring, similar to today's studs. Worn at night, its sole role was to prevent the hole from narrowing.

Earrings reappeared from 1850 on the initiative of Queen Victoria who took to wearing large pendants in public. The jewelry of the time was very varied, frivolous and humorous. From burlesque to offbeat, all sorts of curious motifs were worn as earrings.

The Victorian era also saw important archaeological discoveries that led to a renewed interest in classical forms. Crotalia and baule were made again, and themes from Antiquity (ram 's head, amphorae) resurfaced. Cameos and micromosaics also became common earrings. Fringes made of very fine metal chains were often added to all the motifs of the period.

Around 1890, ear piercing lost popularity and was quickly replaced by screw-on earrings.

In the United States, this period saw the founding in 1837 of Tiffany & Co. by Charles Lewis Tiffany. Tiffany's put the United States on the world map in terms of jewellery and gained fame creating dazzling commissions for people such as the wife of Abraham Lincoln. Later, it would gain popular notoriety as the setting of the film Breakfast at Tiffany's. In France, Pierre Cartier founded Cartier SA in 1847, while 1884 saw the founding of Bulgari in Italy. The modern production studio had been born and was a step away from the former dominance of individual craftsmen and patronage.

This period also saw the first major collaboration between East and West. Collaboration in Pforzheim between German and Japanese artists led to Shakudō plaques set into Filigree frames being created by the Stoeffler firm in 1885. Perhaps the grand finalé – and an appropriate transition to the following period – were the masterful creations of the Russian artist Peter Carl Fabergé, working for the Imperial Russian court, whose Fabergé eggs and jewellery pieces are still considered as the epitome of the goldsmith's art.

Sourced from Wikipedia