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Hamnet-era mourning jewel from celebrated painting rediscovered after 400 years
TL;DR
A mourning jewel from the Hamnet era has been rediscovered after 400 years, originally depicted in the 1635 painting 'Sir Thomas Aston at the Deathbed of His Wife' by John Souch. The heart-shaped pendant is part of a family portrait housed in the Manchester Art Gallery.
Key points
- Mourning jewel rediscovered after 400 years
- Depicted in 1635 painting by John Souch
- Painting shows Sir Thomas Aston and his deceased wife
- Housed in the Manchester Art Gallery
- Inscription in the painting highlights grief
Mentioned in this story
John SouchManchester Art GallerySir Thomas AstonMagdalen Aston
Hamnet
A Hamnet-era mourning jewel has been rediscovered four centuries after it was immortalised in one of Britain’s most enigmatic and celebrated 17th‑century family portraits.
The heart‑shaped pendant was depicted in Sir Thomas Aston at the Deathbed of His Wife, the 1635 life‑size, mourning masterpiece that was painted predominantly in black and white by the Cheshire artist John Souch. It hangs in the Manchester Art Gallery.
Sir Thomas Aston at the Deathbed of his Wife by John Souch, 1635. Photograph: Bridgeman Images
Aston’s beloved wife, Magdalen, had died in childbirth months earlier and is depicted after death, lying beside the wicker cradle of their dead baby. Her bereaved husband, dressed in black, stands with their sole surviving child, three-year-old Thomas, who points to an inscription: “Grief is immeasurable.”
They experienced more than their fair share of tragedy. Young Thomas was to die a year later, and their other children, Robert, Elizabeth and Jane, also perished as youngsters.
In the painting, Aston is wearing the pendant that had been made to commemorate the loss of Robert in 1634, aged just six. Its tassel was created from the child’s blond hair.
No one imagined that this long-lost memento mori jewel had actually survived.
Souch was an English portrait painter who was particularly admired for his rendering of details such as drapery and jewellery.
Despite his precision in painting the pendant, it is only through the discovery of the actual object that its full meaning, details and inscriptions can now be understood.
Within a golden wreath, it is enamelled in black and white with a death’s head skull and inscriptions in Latin on both sides, translated as: “Your Robert died 4 May 1634 … In whom was our delight, through whom was our consolation, with whom the hope of his parents first perished.” The inscription cannot be read from the painting.
The pendant had remained with the Aston family until its sale in 1862. The present owners acquired it 30 years ago, long after its poignant history had been forgotten.
On a chance visit to an exhibition that featured Souch’s painting, they spotted their depicted jewel and realised its significance.
Q&A
What is the significance of the mourning jewel rediscovered from the Hamnet era?
The mourning jewel is significant as it connects to a poignant 17th-century portrait that captures themes of grief and loss.
Who painted 'Sir Thomas Aston at the Deathbed of His Wife'?
'Sir Thomas Aston at the Deathbed of His Wife' was painted by Cheshire artist John Souch in 1635.
Where can the painting featuring the mourning jewel be found?
The painting is housed in the Manchester Art Gallery.
What does the inscription in the painting 'Sir Thomas Aston at the Deathbed of His Wife' say?
The inscription in the painting reads: 'Grief is immeasurable.'
