(via 5000 Years of Gems and Jewelry) Frances Rogers and Alice Beard writes:
2. Goldsmiths Of The Classic Period
Slowly, very slowly, the once simple Greek began to learn for himself the art of shaping metals and engraving stones. At first his ambition led him only as far as copying the products brought from the Orient. Seemingly it nearly always happened like that. The novice craftsman who had already seen some particular type of jewelry started by sedulously copying the work of the master. Sometimes the pupil would outstrip the master in point of technique, yet never lay hold for himself of a single spark of originality, but only continue to imitate. In other cases, the one-time copyist would turn creative and his work would take on new forms. The craftsmen of Greece were among those who in time became creative and produced new designs.
Although at first the early Greek jewelry followed faithfully along Oriental lines—the sphinx of Egypt and the winged bull of Assyria appearing constantly in designs—yet after a time the goldsmith began to develop his own ideas of decorative art; and even when the pattern itself was borrowed from others it was given Greek characteristics. The little sacred beetle of Egypt continued to be the most popular form of signet, but interest gradually shifted from the convex back of the scarab to the device engraved on its stomach. The beetle was no longer carved with realism; its engraved base became a reflection, in miniature, of Greek art. Various gods and demons, the sphinx, the sirens, and warriors and horsemen were carved, always intaglio, on scarabs of carnelian, agate and chalcedony. They were set in swivel rings and served both as seals and ornaments.
As the artists of Greece became increasingly independent, the goldsmith modified and changed an established form until its derivation might be traced. For instance, of the little Egyptian beetle so long in vogue, he retained only its general scaraboid form, and this he set in a new manner. The signet stone, instead of being mounted on a swivel, was set solidly in a bed hollowed out of the metal of the ring.
On its now flat top the engraver cut not deities but scenes taken from daily life and especially those portraying the affairs of the gentler sex-perhaps a woman taking a bath or playing on some musical instrument. And presently, turning to nature herself for inspiration, the craftsman began to use flowers, leaves, animals, and the beauty of human body to furnish models for his designs. These he engraved on precious stones and wrought in gold. Gold, not merely as a setting for gems, but in its own right became his favorite medium. It was ornamented with embossed patterns impressed by means of stone molds, or its surface was covered with intricate designs built with tiny dots of gold, each soldered expertly into place. Rich filigree ornamentation was made with fine threads of gold twisted and bent into elaborate patterns. Enamels were used sparingly and gemstones only when they enhanced the beauty of earrings, necklaces, pendants, amulets and other jewelry.
Like the people of the East, the ancient Greeks believed in the magic powers of precious stones. But after a time, although the masses still clung to such superstitions, the more enlightened developed a certain skepticism concerning the matter; the Greek physician, for example, took a radical step. He declared that disease was not the work of some evil spirit, but that aches and pains were due to physical causes. Therefore a precious stone designed to cast out a devil (that did not exist anyway) could not cure physical ailments.
So far, his reasoning was all to the good, but even the progressive physician could not rid himself of a belief in the essential healing power of gems. He merely shifted their powers from magic to what he considered a commonsense basis. Herbs were good as medicine, but precious stones, being more rare and valuable, were even better. Fortunately the patient was not required to swallow a gem whole. The dose was made easy to take (if not palatable) by grinding the stone into powder and then mixing it with some liquid. This method of preparing the expensive remedy was practical only when the stone was comparatively soft. If it were very hard and therefore difficult to reduce to powder the patient could wear it next his skin—an external application equivalent to a plaster. Jasper, so worn, was prescribed for epilepsy; amber and coral were held in high esteem as cures for eye and throat troubles. This profound faith in the healing virtues of certain gems has taken such deep hold on the mind of mankind that it still exists, and we shall come upon it again and again in later times and in countries far from the Mediterranean.
Goldsmiths Of The Classic Period (continued)
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