Reframing the Victorians. Eccentricity: Mourning Jewellery.
“For the Victorians, artifacts […] held […] the sublime,
fetishistic
magic” – Deborah Lutz.
magic” – Deborah Lutz.
It is well documented that Victorians displayed an interest
in myriad topics, although their preoccupation with death is particularly
evident as you examine Victorian culture and its many death-related sub-genres,
such as taxidermy, resurrectionists, grave culture, and the overall fascination
with death itself. This interest manifested itself, specifically in the
resurgence of mourning jewellery. Mourning jewellery is jewellery worn after
the death of a loved one, and they commonly contain fragments of the departed’s
body, such as hair, or teeth. Many Victorians latched onto the fashion for mourning
jewellery, as continued and greater levels of religious doubt were expressed as
to the idea of the hereafter, and in the idea that once people die they cease
to exist in all realms, and in any form. This uncertainty caused mourner’s to
want their loved ones close to them, a kind of physical proximity, resulting in
the popularity of mourning jewellery, as the jewellery held a remnant of those
who have passed.
Image of a pendant,
front, back and interior compartment in which hair was stored.
As Deborah Lutz discusses within her article Relics and Death Culture in Wuthering
Heights, Victorian society was “Caught up in the struggle with faith, in
the occasional deep doubt […] of what the dead body might mean and if and how
it lingers with the still living” (Lutz, 8). This confusion as to the existence
of a spiritual hereafter, intensified as advancements were made in scientific
and technological fields. Consequently, established philosophies regarding
death, the body and the hereafter were thrown into doubt. It is for this reason
that Victorian society developed a fondness for mourning jewellery, because the
relics become emblematic of the hope that mourners harbour, that the dead aren’t
truly gone, just inaccessible for a time. Mourning jewellery was a way to keep
your loved ones close to you, because even though they had passed on the relic
contained a fragment of the departed’s essence, so a part of them was still
with the mourner.
Yet mourning jewellery holds another key importance to the
wearer, as the material incorporated within the jewellery is used to dual
purpose. The hair interwoven into the jewellery is primarily used to acknowledge
the loss of a loved one, but it also gives comfort to the grieving, by
acknowledging that their loved ones aren’t truly beyond reach as long as they
possess a fragment of their being. As Lutz discusses “objects hold a fragment
of that selfhood […] and seem to ‘prove’ that this self still exists in some
sort of afterworld” (Lutz, 391). This argument highlights an obscure hope, upon
which mourner’s depend, as it captures the essence of mourner’s desire, to be
able, to if not pass through to the next realm, then at least to be able to
communicate with those who have. It is for this reason relics, were so greatly
treasured, because they contained the possibility
for contacting the other side, much like séances.
Image of a brooch,
with skeleton image inlaid above a woven hair background.
The idea of “Even inanimate matter might serve as a window
onto the vigour that occurs after death” (Lutz, 393) figures prominently within
Emily Bronte’s Wuthering Heights as Heathcliff,
mourning the loss of Catherine, “steals into her death chamber and, finding a
locket around her neck […] [places] […] his own black lock [within]” (Lutz,
399). This serves to emphasize the idea that not only do mourner’s seek to keep
their departed close to them in any manner possible, but that the deceased also
desire to keep their loved ones close, even in death and beyond. The duality of
the mourning jewellery, and its uses for both those who have passed and those
who are living, serve to highlight the devotion both parties feel towards one
another, and their extreme desires to keep as much as possible the ones they
loved close to them, in any manner imaginable.
Images above of a locket, front and back, with woven lock of
hair, on display behind the image.
Another layer to the mourning jewellery saga, is the ideas
that as mourning jewellery becomes entangled with all that death culture represents
within Victorian society, the relics themselves, also come to represent the unanswered
questions of death and the hereafter. The mourners desire to like Heathcliff “peer
[…] into, touch [the relics], and eventually trying to get into a postlife
place” (Lutz, 390), such is their fascination with what comes after. The tangling
of death culture and relic culture, results in the relics becoming symbolic of “the
life death divide […] in imagining what happens after animation has left the
body. […] Dwelling with death means […] dabbling in its tangible, touchable
presence: in […] dead hair and flesh” (Lutz, 390). The intertwining of ideology
questions accepted ideas’ regarding the essence of a person’s being once it
leaves the body, and the deeper fascination with the body, and its animating
properties after death.
As questions to the re-animating properties of the dead body
were discussed by Victorians, many “held to a belief in general ‘vitalism’. While
the bodily functions shut down, a ‘vital principal’ might persist, and it could
then ‘leak out of its usual vessels’ […] and move to other forms of living and
inanimate material” (Lutz, 394-395). This idea leads to the possibility of a
bastardised version of pantheism, coming into play, in regards to mourning
jewellery. Pantheism is “the belief that God and the material world are one and
the same thing and that God is present in everything” (Encarta Dictionary). The
theory of ‘vitalism’ creates the idea that the deceased person may have
released their essence from their body, to inhabit certain items that contain
fragments of their previous vessel. This idea emphasizes earlier ideas of the
possibility of the mourning jewellery being imbued with the departed’s essence.
The materialised presence of a departed loved one in a relic
can be further read as an attempt to romanticise and sexualise not just the
mourning jewellery but the dead body itself. This is particularly evident as Heathcliff
bribes the crypt keeper within Wuthering
Heights to disinter Catherine and bury Heathcliff in the same grave,
together, upon his death. This creates the romantic idea of an eternal union,
in which both Heathcliff and Catherine will be together. It is also sexualised
because both bodies will be as one in the grave. As Heathcliff has yet to die,
he longs for all reminders of her presence; he begs Catherine’s spirit to haunt
him. This extravagant longing for any fragment of Catherine’s existence romanticises
the mourning items that belonged to Catherine because he is desperate to
possess any fragment of her being, be it in spirit form or in the items that
she owned while alive, and seemed to imbue with her essence in death.
Although relics infused with a person’s being have become
traditional mourning jewellery, they were not originally intended as such. Initially,
relics were only held in significance if they were belonging to a saint and God
had established a frozen animation on it, so that it could not be damaged. A second
type of relic was the ‘celebrity’ relic, which was an item belonging to someone
famous such as the “ball that killed Nelson […] to give them a sense that they
had played some role in these events, now vividly brought back to life in the souvenir”
(Lutz, 3). The third type, had been for individuals who cared for someone, and
had an item made containing a lock of their hair. These types of jewellery were
“often tokens of friendship, familial affection or love” (Lutz, 2-3). This highlights
a key aspect in relic history, as the relics were not intended for mourning
purposes, but as affectionate tokens.
In conclusion, as my visit to the Victoria and Albert Museum
has found out, there is a wide variety of mourning jewellery and their primary function
during the Victorian era, was to signify the loss of a loved one. For Victorian
society mourning jewellery becomes emblematic of the “bereavement and the hope”
(Lutz, 399) that the mourner suffers, upon the loss of a loved one, because
they are now the only physical reminders, remaining, of those who are no longer
living. As Victorian society longs for those who have passed beyond the veil, “their
love aims to attain the static union before and beyond social divisions and
compromises, it transforms into a love for death” (Lutz, 390). This desire to
dwell in the grief they feel at the loss of a loved one, contributes towards
the eccentricity and fascination Victorians have with not just mourning jewellery,
and relic culture but also with ideas of death and the body.
Works Cited:
Lutz, Deborah: Relics and Death Culture in Wuthering Heights. North Carolina; Duke University Press,2012.
Lutz, Deborah. The Dead Still Among Us: Victorian Secular Relics, Hair Jewellery, and Death Culture. Cambridge; Cambridge University Press, 2010.
Encarta Dictionary. Microsoft Corporation, 2009.
Bronte, Emily. Wuthering Heights. London; Penguin Group, 2003.
http://collections.vam.ac.uk/item/O156399/bracelet-unknown/
http://collections.vam.ac.uk/item/O126125/pendant-unknown/
http://collections.vam.ac.uk/item/O126147/slide-unknown/
http://collections.vam.ac.uk/item/O126187/clasp-unknown/
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