Jewellery Historian
and purity. These two bracelets are completely articulated thanks to hinges and springs. The bracelets are set with diamonds and brightly coloured gems. Princess Mathilde, cousin of Napoleon III, was extremely partial to these type of bracelets. As early as under the First Empire, enamel was widely used in Mellerio’s creations and it became one of their essential decorative component. The magazine “La Mode” described Mellerio’s enamels as “a mirror of reality. Excellently painted they manage to create an optical illusion (...).” The use of enamel became more and more elaborate, colourful and advanced in cutting techniques increasing the brightness of the stones. Thus vibrant greens, delicate purples, flamboyant reds, royal blues, brilliant whites, deep blacks are combined with dazzling success. Under the Second Empire, Mellerio collaborated closely with the renowned enamel expert Armand-Désir Riffault. Different types of enamelling (cloisonné, plique-à- jour, painted) with various types of enamels (transparent, opaque, painted) and varied techniques (guilloché, paillonné) were used making every creation a unique and original work of art. In 1833, the King of France, Louis-Philippe the 1st, decided to save Versailles from ruin by creating the Museum of France’s History. During the Second Empire, the Empress Eugenie, fascinated by Marie Antoinette with whom she seemed to share a tragic relationship with the French people, provoked a very strong sense of identification. She surrounded herself with furniture belonging to the Queen, restored the Petit Trianon gardens, had a portrait painted by Franz Xaver Winterhalter where she iswearing a XVIIIth century costume. The universal exhibitions originated during the industrial revolution and were platforms and showcases where the state-of-the-art for different artistic and industrial technologies were brought together. Receiving awards at these exhibitions was a prestigious guarantee for commercial success. Approximately a million visitors came from all over the world to visit the first universal exhibition organized in London in 1851 at the Crystal Palace in Hyde Park. Following the success of this event, the Emperor Napoleon the third decided to hold a universal exhibition in Paris to compete with the one held in London. Mellerio understood very quickly the importance of this international market and made their first presentation to the public in the jewellery section of the 1855 Universal Exhibi-
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tion in Paris. During the two previous years, they pursued their innovative and artistic ascension. They particularly refined their technique of the flexible stem manufactured in order to introduce it at the universal exhibition. Mellerio was awarded the “Grande Médaille d’Honneur” for the flexible stem technique, duly sold all the creations presented at the show and doubled their clientele. In 1862, the Universal Exhibition held in London enabled Mellerio to strengthen its international reputation an confirm its artistic creativity and technical expertise. The archaeological influence was very strong. Mellerio also embraced the naturalistic style and their creations dominated the market and reflected their expertise workmanship with their graceful and pure lines. The collections gained in lightness and refinement. The 1862 exhibition was a commercial and artistic success; the Empress Eugenie bought the dragonfly brooch named “Demoiselle” and the yellow gold ancient Greek frieze necklace. Once again, Mellerio was distinguished with the “Prix d’Excellence” design award and the “Prize Medal” for the excellence of technique and execution of the designs. The Paris Universal Exhibition was inaugurated on the 1st April 1867. All the famous jewellers were present at the event. Faced with a very strong competition, Mellerio wanted to stand out with a spectacular display. In early 1865, they purchased precious gems from the East India Company in London and worked on many new designs to prepare for the exhibition. Little by little, they created the most breath-taking jewellery stand to display their incredible extravaganza and expertise. Mellerio was once again rewarded with the “Medaille d’Or” and universally praised by the critiques. Mellerio also sought inspiration from the XVIIIth century designs such as for the “Rocaille tiara” presented at the Universal Exhibition of 1867 in Paris. Created with several shells, characteristic of the time of Louis XV, this tiara, entirely set with diamonds, is in platinum, silver and gold. Seven pearl drops and pear diamonds drops were mounted as pendants. The technical accomplishment of this creation was recognized and admired by all. The Queen of Spain, Isabel II, purchased it for her daughter’s wedding. This tiara is still worn today by Queen Letizia of Spain. For the 1867 Universal Exhibition in Paris, Mellerio presented to the public for the very first time a unique brooch in the shape of a peacock feather. Created by Henri Foullé, head of the Mellerio workshop, it rapidly became the emblem of the House, reuniting all of their expertise