The craftsmanship and inventiveness of Parisian jewellery during the second half of the nineteenth century were unparalleled at the time, and its chief exponents continue to be celebrated to this day. This particularly rich period in terms of artistic sources was stimulated by a number of factors, ranging from local architectural restorations and far-distant excavations to the energising discovery of artifacts from Japan. Jules Wièse embraced both medieval and Classical iconography, while Imperial jeweller Gustave Baugrand famously incorporated Egyptian motifs in his pieces. Distinguished goldsmith Eugène Fontenay was profoundly influenced by the compositions and techniques of ancient jewellery; Emile Froment-Meurice’s inspiration was chiefly drawn from Romanticism and the Renaissance. Frédéric Boucheron’s creations were remarkably eclectic in style, material and technique. While Fernand Thesmar and Eugène Feuillâtre embraced the decorative vocabulary of Japan in their works of art, Lalique combined this with his meticulous observation of the natural world, pioneering the Art Nouveau movement in jewellery.