RENAISSANCE NECKLACES, NECK-CHAINS, AND COLLARS NECKLACES or neck-chains worn by both sexes are a prominent feature in Renaissance jewellery. Just as in primitive times the neck was encircled by a torque, so at this later period it was the custom to carry heavy chains of pure gold, which were worn in different ways, either round the throat, or else upon the shoulders and low down over the breast. Sometimes one long chain was wound several times round the neck so that the uppermost row closely encircled the throat. Not satisfied with one, women in particular occasionally wore as many as half a dozen chains of different design covering the body from neck to waist. From the fifteenth until the middle of the seventeenth century neck-chains were a frequent adjunct to male costume, and allusion is made to them in Barclay's Ship of Fools (printed by Pynson in 1508):— Some theyr neckes charged with colers, and chaynes As golden withtthes: theyr fyngers ful of rynges: Theyr neckes naked: almoste vnto the raynes; Theyr sleues blasinge lyke to a Cranys wynges. Men's necklaces, apart from the chains and collars of distinction belonging to particular orders or guilds, seem to have been mostly of pure gold, and in the Pictures without number exhibit these ponderous neck-ornaments, while contemporary wills teem with references to them. That they were very much worn in Shakespeare's time would be apparent had we no other authority than his frequent allusion to them, as for instance in the Comedy of Errors, where there is a great ado about a chain. Indeed, no gentleman was considered properly equipped unless he had his chain of gold upon his shoulders. With regard to their form, it seems that chains which appear as though made of plaited wire, and were known in mediÆval times, remained still in use. But the majority of chains are composed of rounded links of various designs. They are usually of great length, so as to encircle the neck and shoulders several times. These heavy linked or twisted chains were worn principally by men, but not exclusively, as is clear from numerous early portraits—those, for instance, by the German painters Bernard Strigel and Lucas Cranach, whose ladies (as in the portrait by Cranach in the National Gallery) almost invariably have massive gold chains. Though generally composed of metal rings, men's chains, especially those worn by men of high rank, were occasionally composed of cylinders or plaques linked together and enriched with enamel and precious stones. Such jewelled collars were, however, chiefly reserved for women. Henry VIII's numerous The jewelled neck-chain worn by women, and composed of strings of precious stones, "ropes of pearls", or of jewelled and enamelled sections, is often represented in pictures as being gathered in a festoon at the breast and hanging in loops at each side as low as the waist. A chain of gold of this character—one amongst many similar presented by the Earl of Leicester to Queen Elizabeth—was "made like a pair of beads, containing eight long pieces, garnished with small diamonds, and four score and one smaller pieces, fully garnished with like diamonds." Besides the chains or collars worn round the neck and upon the shoulders, there were the actual necklets worn round the throat, and often only distinguishable from the collar proper by their length (Pl. XXXI, 1). These necklaces, or carcanets, which almost invariably had as a central ornament an elaborate pendent jewel, are figured in such profusion in sixteenth-century portraits, particularly by the painters of the German school, that it is needless to mention particular examples. In Henry VIII's time they were worn in great abundance. The King loaded his wives with sumptuous jewels, and encircled their throats—on which the axe was eventually to fall—with jewelled and enamelled necklaces. The "carkyonetts" of Queen Elizabeth, of which she received an immense number, were equally magnificent. A New Year's The forms of the necklaces and jewelled neck-chains differ so much that the reader must be referred to the various collections of this country and the Continent. Occasionally necklaces of chain formation or of plaited wire are set with stones, but of more frequent occurrence are those where every single link shows a special development of a bijou kind. In the Renaissance necklace every link is for the most part treated as a symmetrical composition, either cartouche-shaped or of pendent form. Hence it happens that in collections, as Herr Luthmer suggests, The great display of necklaces and long neck-chains ceased about the middle of the seventeenth century. In common with other similar objects they entirely disappeared in England during the Protectorate; nor were they ever worn again in any greater profusion than they are at the present day. image |