Prominent example of traditional French diamond Cross Pendant

The silver cross pendant consists of irregularly cut diamonds in domed settings, graduating in size and with ornamental claws: in the center a large diamond, flanked by three forming the horizontal cross arms, and seven for the vertical lower arm. The plain, flat backplate is gilded to avoid tarnishing and marking the skin/or textile when worn and finely engraved below the Roman numerals ‘XV’. Attached to the pendant loop with oval hallmark ‘CS’ (?) (assay office code or maker’s mark? and probably French mark in form of an owl) is an oval gold ring with same diamond-set decoration in small. Some hallmarks, are indistinct, and yet to be identified. The pendant shows signs of wear through age and is in good wearable condition.    

Literature:

This devotional cross pendant, also known as a “Croix Jeannette arlésienne,” and was traditionally worn in the Provence, France. One such example can be seen on a portrait painting of an unknown lady from this area which is suspended from multiple gold chains and a diamond-studded rosette clasp to match at the front of the neck, and  further examples, see: Michael C. W. Fieggen, Les bijoux des Français, vol. I, Bijoux régionaux de la vie rurale aux 18e et 19e siècles, Michael C. W. Fieggen 2021, pp. 204-205 and for French hallmarks, pp. 295 ff. Varying Arlesian cross pendants of the same design can be found in the Provençal Museum of Costume and Jewellery, in the Clapier-Cabris mansion, in Grasse, cf. also Rémy Kertenian, Bijou provençal, Aubanal 2003, pp. 127, 59. These cross pendants are made of silver with the gilt-backing, and are either set with glass pastes, or as in this more prominent example with diamonds. The term “croix Jeannette” originates from the practice of hiring servant girls on St. John’s Day, 24^th June and “arlésienne,” being worn by the women of Arles in the Provence. For further information on the term and wearing of such crosses in France, see: Jane Perry, Traditional Jewellery in Nineteenth Century Europe, London 2018, pp. 68-73

Traditional jewellery is worn with national and regional costume as a sign of identity. However, designs for French traditional jewellery were less conservative, and more fashionable following the current styles of the time, as here, the cross in the style of the eighteenth century with its gem-set arrangement. With the discovery of new diamond mines in Brazil in the 1720s the gemstone became more affordable. Similar gem-set cross pendants were fashionable in different parts of Europe, but only worn by Catholics, cf. varying examples in the British Museum, London, see: Hugh Tait (ed.), The Art of the Jeweller, A Catalogue of the Hull-Grundy Gift to the British Museum, London 1984, no. 75-78. 

 J-89129