The iconic double-clefted heart symbol originated in the Middle Ages.
Since the era of Ancient Egypt, the heart has been intrinsically linked to love. The Egyptians held the belief that the heart was the epicentre of all romantic emotions. Furthermore, they considered it the soul's seat, destined to be weighed upon death. For successful passage into the afterlife, it was imperative that the heart be as light as a feather.
An illustration depicts Nauny, a Chantress of the god Amun-Re, who sang ritual hymns for the deities, at the end of her life in her 70s. In the Hall of Judgment, she stands beside the scales, anticipating the weighing of her heart against Maat, the personification of cosmic order. The balanced scales signify Nauny's ethical life, qualifying her for the eternal afterlife. This is extracted from The Book of the Dead for the Chantress of Amun, Nauny, circa 1050 B.C., housed in The Metropolitan Museum of Art.
For the Ancient Romans, the connection between the heart and love was unequivocal. They are also credited with the tradition of placing wedding rings on the fourth finger, believing it housed a vein directly linked to the heart.
While the heart was significant for love in ancient cultures, the narrative of the double-clefted icon commences only in the Middle Ages.
An early representation of the heart symbolising love portrays it akin to a pinecone, not yet assuming its familiar shape. This is evident in 'The Romance of the Pear', dated 1250.
Believed to be the earliest depiction of the heart icon is found in the illuminated manuscript 'Romance of Alexander' by Jehan de Grise & his workshop, between 1338 and 1344, preserved in the Bodleian Libraries.
Thus, the heart symbol as we recognise it today, was conceived in the 14th century.
The initial heart designs were simple decorative motifs, likely inspired by nature, adorning the margins of medieval manuscripts. In medieval Europe, where literacy was scarce, symbolism played a vital role. During the 13th and 14th centuries, this particular shape began to represent love, a correlation that has endured since.
Courtly love in medieval Europe epitomised virtuous affection, characterised by nobility and chivalry. "God Speed" by Edmund Leighton, 1900, depicts this theme and is available on Wikimedia Commons.
The crown crafted for the wedding of Anne of Bohemia and Richard II. Anne succumbed to the plague in 1394, leaving Richard so grief-stricken that he razed Sheen Manor, where she passed away. He commissioned a double-tomb for them both, featuring life-sized bronze effigies, crowned and hand-in-hand. Although now damaged, their tomb resides in Westminster Abbey, dating back to 1399. This image is courtesy of Allie Caulfield on Wikimedia Commons.
In part as a respite from the mundanities of daily existence (a sentiment many can relate to), the medieval fantasy was steeped in the concept of love, specifically chivalric love. The ideal knight was not only a warrior but also embodied kindness, courtesy, and unwavering devotion to his lady. This period saw the emergence of the tale of King Arthur and the Knights of the Round Table.
A medieval heart-shaped brooch with three loops for pendants (now missing). The reverse is inscribed in medieval French with "I am yours forever", dating from 1400-1464. This artifact is housed in The British Museum.
Image description: A wolf-tooth encased in a heart-shaped bezel. The ring bears an inscription of a magical incantation for toothache relief: "Buro + Berto + Berneto" along with "Cosummatum + Est" - believed to be Christ's final words on the cross, traditionally used to quell storms. This piece, from the 14th century, is part of The Victoria & Albert Museum's collection.
This era also marked the time of Geoffrey Chaucer and the nascent celebrations of Valentine’s Day. In 1382, following five years of negotiations, Anne of Bohemia wed Richard II of England. To commemorate their union, Chaucer penned the love poem “The Parliament of Fowls,” in which he references Valentine’s Day.
"For this was on Saint Valentine's Day, when every bird comes there to choose his mate" — Parliament of Fowls, Chaucer, 1382.
Geoffrey Chaucer was not alone in associating Valentine's Day with romance. The French poet Oton de Grandson penned "Saint Valentine's Dream." Such literary musings on hearts and love led to a proliferation of heart motifs — in books (including heart-shaped volumes), on tapestries, and in heart-shaped jewellery.
Reverse of a gold brooch, inscribed in Medieval French "Ours and always at your desire," circa 1400. Held at The Victoria & Albert Museum.
Left : A painting celebrating a Renaissance marriage depicts Cupid, the son of Venus, in a mischievous act. "Venus and Cupid" by Lorenzo Lotto, 1520s. Exhibited at The Metropolitan Museum of Art.
Right : During the Counter-Reformation, Catholics maintained the medieval concept of surrendering one's heart to God. "Allegory of Charity" by Francisco de Zurbarán, circa 1655. Displayed at Museo del Prado.
Throughout the Renaissance, Cupid, the impish offspring of Venus, began to eclipse the heart as the emblem of love. However, the heart symbol persisted, appearing intermittently, especially in Catholic iconography, although Cupid relegated it to a more marginal status.
Martin Luther's seal — known as the Lutheran rose — featuring a red heart at its centre, in Our Lady Church, Memmingen, Germany.
Then, in the 16th century, Martin Luther revitalized the heart symbol by incorporating it into his personal seal. With his endorsement, the heart became one of the few symbols acceptable in both Protestant and Calvinist contexts, symbolizing both religious and romantic love.
Left : Silver heart-shaped brooch, inscribed, "Love" on the reverse. In the late 1800s, those open-heart brooches made in Edinburgh began to be known as luckenbooths, from the Gaelic words for the small stalls where they were sold. National Museums Scotland.
Right : A "witch's heart," distinguished by its right-curved tail. By the 18th century, it shifted from being a protective amulet to signifying being 'bewitched' by love. National Museums Scotland.
While Martin Luther championed the heart symbol in Germany during the 16th century, in Scotland, a silver open heart-shaped brooch had become a traditional betrothal gift. Following marriage and the birth of a child, this brooch was pinned to the infant's clothing as a charm against witches or malevolent fairies seeking to replace the child with a changeling.
Left : A loyal heart. Following King Charles I's execution in 1649, commemorative jewellery like this heart was crafted for royalists as a symbol of allegiance. From 1649, available at The Victoria & Albert Museum.
Right : The reverse of the heart supporting Charles I, 1649. Located at Victoria & Albert Museum.
In 1741, the London Foundling Hospital was established to care for the city's growing number of abandoned children. Mothers leaving their infants would often leave a small token for identification, in case they could return. Pictured is a ruby and diamond ring left with child number 1036 in 1752, currently at the Foundling Museum, London.
By the 18th century, the heart had become the quintessential symbol for various forms of love, with every version gaining popularity: asymmetrical witches' hearts, blazing hearts, twin hearts (representing intertwined love), crowned hearts (signifying loyalty), and hearts adorned with pearls (symbolizing beauty), among others.
In 1843, Franz Xaver Winterhalter painted a "secret picture" of Queen Victoria as a birthday present for her husband, Prince Albert, on his 24th birthday. This artwork may include the depiction of a glass, heart-shaped locket containing a strand of Prince Albert's hair, a piece which the Queen reportedly wore 'day and night' before her marriage.
A heart-shaped locket containing hair from Prince Albert's childhood, sent to Queen Victoria by his nurse in 1867.
Throughout the 19th century, Queen Victoria, a renowned jewellery enthusiast, consistently brought the heart motif to the forefront. She had a particular fondness for jewellery with sentimental value, and heart-shaped pieces resonated with her deeply. Her collection included a charm bracelet with enameled heart lockets, each holding a lock of hair from one of her children. Heart-shaped jewellery was a staple in her wardrobe, worn during both joyful and mournful times.
Queen Victoria's endorsement significantly popularised the heart motif during the Victorian era.
Left : An onyx heart inscribed with the name of Queen Victoria's daughter Alice, who tragically passed away from diphtheria in 1878 at the age of 35.
Right : The reverse side of the locket, containing a lock of Alice's hair. This item fetched £25,200 at a Sotheby's auction in March 2021, far exceeding its initial estimate of £2,000-£3,000.
Left : The same heart-shaped necklace featured in two portraits by Dante Gabriel Rossetti: 'Monna Pomona' (1864), currently housed at the Tate Museum.
Right : 'Regina Cordium' (1866), located at the Glasgow Museum.
Despite their rejection of Victorian industrialism, Arts and Crafts artists embraced the heart motif enthusiastically. Their fondness for medieval themes included a particular affinity for heart-shaped designs. In the 19th century, the heart motif was universally popular, transcending political views and social status, and this fascination continues into the present day.
Left : A paste-set heart brooch, presented to Jane Morris, the wife of William Morris, by Dante Gabriel Rossetti. Jane Morris was frequently the subject of Rossetti's paintings, and he was known for his penchant for scouring London's curiosity shops for exotic jewellery and accessories for his artwork. This piece is part of the collection at the Victoria & Albert Museum.
Right : A portrait of Dante Gabriel Rossetti's mistress, Fanny Cornforth, featuring her wearing the heart pendant that Rossetti later gifted to Jane Morris, dated 1865. This portrait is part of the collection at The Barber Institute of Fine Arts.
Let us revisit Chaucer's depiction of Valentine's Day. This holiday, characterised by its emphasis on heart-shaped symbols, had been firmly established since the 17th century. In Britain, the tradition of gift-giving could extend for as long as a week, rendering it predominantly an upper-class celebration. However, by the 18th century, the practice of crafting handmade cards, sealed with wax and discreetly left on a lady’s doorstep, became a universally embraced custom.
The genesis of mass-produced Valentine's cards can be traced back to the innovative efforts of Esther Howland of Worcester, Massachusetts. In 1847, she not only designed her own cards but also managed a team of women who meticulously crafted them. Remarkably, Howland generated as much as $100,000 in a single year from this venture. The advent of mass-produced cards rapidly overshadowed their handmade counterparts. Nonetheless, the widespread adoption of mass-produced Valentines does not diminish the longstanding tradition they represent. This practice dates back to the feast of St. Valentine in 5 A.D., firmly establishing it as a tradition that predates the founding of Hallmark in 1910.
