Goldsmithing

“ Of these four sorts of stones, the ruby, the sapphire, the emerald, and the diamond, you must know that the first is far the most costly. A ruby, for instance, of five grains of wheat, & of as fine a fire as you could wish, would be worth about 800 golden scudi, and an emerald of the same size and beauty would run to about 400, similarly a diamond would be worth 100, & no more, while a sapphire would fetch about 10. These few facts I thought might be worth having to all those many youths always springing up and eager to learn the beautiful art of the goldsmith. ”

“ Carefully then do you proceed to spread the amalgam over the places you want to gild. True it is that some have put quicksilver on first, and then spread the amalgam after, but this is not a good method, for too much mercury dulls the colour and the beauty of the gold. Others, again, have thought to do better by putting the gold on in successive times. This I have likewise seen done, but have come to the conclusion that the best way is to put all the gold on at once that you want for your gilding, and then heat it over a slow fire, till all the quicksilver goes off in fumes. ”

“ Fine granules of gold are made by cutting gold wire into short lengths, mixing the cut pieces with charcoal, placing the mixture in a crucible and then heating the whole up to the melting point of the metal. ”

“ When the crucible is red you throw into it some of the mixed quicksilver and gold, hold it over the fire, and with a glowing ember gripped in a pair of tongs stir it thoroughly together. Your eye & the feel of your hand will tell you whether the gold be dissolved and united with the quicksilver. Great care has to be taken to aid the solution by rapid stirring, for if you hold it too long, the gold, or rather the amalgam will get too thick ”

“ With the fourteenth century the splendour of the goldsmith’s art ceases to display, as its exclusive object, ecclesiastical decoration and embellishment; but it suddenly became so developed among the laity that King John (of France) desiring, or pretending to desire, to restore it to the exclusive line it had till then retained, prohibited by an ordinance, in 1356, the goldsmiths from “working (fabricating) gold or silver plate, vases, or silver jewellery, of more than one mark of gold or silver, excepting for the churches.” ”

“ I do not know anything so perfectly commonplace in design as most modern jewellery. How easy for you to change that and to produce goldsmiths’ work that would be a joy to all of us. The gold is ready for you in unexhausted treasure, stored up in the mountain hollow or strewn on the river sand, and was not given to you merely for barren speculation. There should be some better record of it left in your history than the merchant’s panic and the ruined home. We do not remember often enough how constantly the history of a great nation will live in and by its art. ”

“ Vast quantities of jewelled objects, which must have been in great part native productions, have also been tabulated in the inventories of our monarchs, princes, guilds, and corporations. Judging from extant examples of English painted glass, sculpture, and particularly embroidery, some estimate can be formed of the high quality of the goldsmiths' work, which was scarcely excelled in the Middle Ages by that of any other country in Europe. The English goldsmiths, in fact, after the Norman Conquest seem to have lost none of the skill which is displayed on their earlier productions. ”

“ Apart from matters of design the new movement has resulted in great changes in the artistic aspect of jewellery. In distinction to the tendency hitherto prevalent which bids the metal mounting of jewellery to be rendered almost invisible, the working of gold and silver has once again become a matter of some moment. A second change, due to the study of old models, has been the revival of enamelling—an art which offers many an opportunity for the exercise of the craftsman's taste and skill, and has once again resumed its proper position as handmaid to the goldsmith. ”

“ The covers of the Textus in the Victoria and Albert Museum are highly important examples of goldsmiths' work; they are of gold and silver, decorated with enamel and set with stones, probably dating from the 12th century.
Celtic.-The skill in metal-working of the Celtic people in the British Islands, especially in Ireland, in Pagan and Christian times, is well known, and need hardly be emphasized here. While much has perished, much happily remains in proof of their extraordinary skill in working gold and silver, particularly in jewelry. ”

“ Indeed, nearly every artist, before applying himself to painting, architecture, or sculpture, began with the study of the goldsmith's craft, and "passed the years of his apprenticeship in the technical details of an industry that then supplied the strictest method of design." [117]
The names of several artists of the Renaissance have been handed down who are specially recorded as having worked at jewellery. One of the earliest of those who began their career in the goldsmith's workshops is Ghiberti (b. 1378) , who throughout life remained faithful to that species of work. ”

“ It is more probable that the art began in the workshops of the goldsmiths, who were so skilled in engraving upon metal that impressions of much artistic value have been taken from work executed by them in the twelfth century, showing that they really were engravers obliged to remain goldsmiths, because the art of printing from metal plates was unknown. [1] By their knowledge of design and their artistic execution, at least, if not by their mechanical inventiveness, the goldsmiths were the lineal ancestors of the great engravers of the Renaissance. ”

“ Here is no glittering shop with ornaments and precious vessels in the window, as in a London street, but an archway or a booth of mud exactly like his neighbours'. The goldsmith himself is at work with his blowpipe at a little brazier, softening and shaping a piece of gold into a bangle for a customer. He is a busy man, for the country women bring him their silver to be made up into the ornaments they love, and he has always a store of ear-rings and bracelets to sell. ”

“ The plumber’s art of the middle ages is wrought out like colossal goldsmith’s work, and we have found striking correspondence between the two [77] arts as well in the methods of application as in the forms admitted: gilding and applied colour here replace enamel.” The design is of tabernacle work with figures and the whole was clearly intended to recall a shrine of goldsmith’s work. Large engraved patterns filled with black used alone on the silvery lead become great niellos, exactly parallel to the method of treating silver.
Fig. 36.—Painted Decoration, Bourges. ”

“ There is a proverb, uncomplimentary to the goldsmiths, to the effect that a goldsmith cannot make an ornament even for his wife, without first secreting some of the gold or silver given him for working upon.
It has been noted * [2] that "in Madras, an exceedingly poor country, there is one male goldsmith to every 408 of the total population; in England, a very rich country, there is only one goldsmith to every 1,200 inhabitants. In Europe, jewellery is primarily for ornament, and is a luxury. In India it is primarily an investment, its ornamental purpose being an incident." ”

“ THE ABBEY OF MERIADEK CHAPTER I.
ELOI THE GOLDSMITH.
A gold and silversmith's shop is a sight agreeable to the eye of the artisan who, freeman or slave, has grown old at the beautiful art made illustrious by Eloi, the most celebrated of all Gallic goldsmiths. The eye rests with pleasure upon the burning furnace, upon the crucible where the metal boils, upon the anvil that seems to be of silver veined with gold—so much gold and silver has been beaten on it. ”

“ The splendid love of life which finds expression in every production of Renaissance art exercises a pervading influence over its jewellery, and determines the subjects to be represented. All the larger objects, and indeed every object which is not of a purely decorative pattern, is given to the depicting of a subject. Throughout the finest period of jewellery, goldsmith's work was closely associated with sculpture; and the human figure, or figures of animals either real or imaginary, wrought in relief or executed in the round, find a place on almost every jewelled composition. ”

“ The goldsmiths of France manifested, and with reason, a jealousy of their privileges, it being more indispensable for them than for any other artisans to inspire that confidence without which the trade would have been lost; for their works were required to bear as authentic and legal a value as that of money. Therefore, it may be understood that they exercised keen vigilance over all gold or silver objects which were in any way under their warranty: hence the frequent visits of the sworn masters to the ateliers and shops of the goldsmiths ”

“ The decoration of the earliest jewellery of Europe—that of the Bronze Age, which dates roughly from about a thousand years before the Christian era—is by means of spiral and zigzag patterns. Ornaments have free endings, bent in spiral, snail-shell coils. The earliest were cast, though the hammer was used towards the close of the period; solder was unknown, and rivets alone employed. Gold and bronze were the only metals employed, the latter being sometimes gilt by means of thin gold plates, while amber is often found used as a jewel. ”

“ The offensive arms must have been defective, owing to the ignorance of steel. Iron, silver, and gold were all used in making or ornamenting arms, besides the more common bronze. With the welding of iron, and the use of a kind of solder, the workmen in those days appear to have been familiar.
The necklaces, eardrops, rings, brooches, collars, crowns, goblets, salvers, and vases, manufactured of the precious metals or the finer sorts of bronze, and often set with precious stones, may be enumerated as the chief articles of the jeweler’s and silversmith’s trade. ”

“ The plaques, hinged or united by chains, withstood the incursion of the precious stone that dominated all other forms of jewellery, and afforded peculiar opportunities for the display of the art of the goldsmith in chased and repoussé metal-work enriched with exquisite enamels. The jeweller's whole artistic skill was thus exhibited, not only upon the shields, but upon the solid links of {323}the chains and upon the various breloques hung therefrom. ”

“ Ornaments were worn in less profusion than in Switzerland; but the torque for the neck, the bracelet, the ear-ring, the pin for the dress and for the hair, were all in use, though brooches were unknown. Necklaces, or gorgets, formed of amber, jet, and bone beads were not uncommon; and the ornaments of glass and ivory, such as those lately mentioned, were probably obtained by foreign commerce. Gold, also, was often used for decorating the person, though coins, and apparently even the metal silver, were unknown. ”

“ In a gold ring there are leaves and flowers and fruits and insects, so lightly made that even if you let the ring fall they would be injured and destroyed. Gold is very soft. In order to cut the gold in this way, the goldsmith uses a hard composition with which he covers the gold work, and after the carving and engraving have been done, this composition is melted off, so that only the pure gold is left, with all the work upon it. ”

“ Some measure of compensation for the unfortunate lack of actual examples of Italian Quattrocento jewellery is obtained, apart from their representation in pictures, by the very remarkable use that was made of jewel forms for the marginal decoration of manuscripts. Such enrichments of the borders of missals, etc., by means of painted jewel ornaments, would seem to be but the direct outcome of the system whereby most of the painters, sculptors, architects, and no less eminent miniaturists received their first instruction in art in the workshops of the goldsmiths. ”

“ The truer view seems to be that these rings, whether employed by the ancient Egyptians or the prehistoric inhabitants of Mycenae, the Kelts or Teutons, were nothing more than ornaments and passed in the ordinary way of barter, having a recognized distinct relation to other forms of property, such as cattle and slaves. It has been the custom in all countries for the person who desires to have an article of jewellery made to give to the goldsmith a certain weight of gold or silver, out of which the latter manufactures the desired ornament. ”

“ The special capability of the early painters for representing articles of jewellery need merely be alluded to again, seeing the close connection already shown, that always existed between them and the goldsmiths, in whose workshops most of them passed their apprenticeship. Every jewelled ornament figured in their works is, in fact, designed with the full knowledge of a goldsmith versed in his craft. ”

“ Whenever the object to be manufactured was of gold, it belonged to the goldsmith’s trade. The goldsmith made, by turns, spurs as the spur-maker; armour and arms, as the armourer; girdles and clasps, as the belt-maker and the clasp-maker. However, there is reason to believe that in the fabrication of these various objects, the goldsmith had recourse to the assistance of special artisans, who could scarcely fail to derive all possible advantage from such fortuitous association. ”