| In the first article of this series we have seen how gold | | | | Gold Jewelry in the Middle Ages and the Renaissance |
| jewelry was developed in the ancient Sumerian | | | | In the year 962 AD, just after the creation of the Holy |
| civilization as well as in Egypt and Crete. The technique | | | | Roman Empire (located in Central Europe) there was |
| of making fine gold jewelry spread to Greece, to | | | | a fusion of Mediterranean and European civilizations |
| Northern Europe and to the Celtic people as well. Now | | | | and this had an effect on the jewelry as well. |
| let's look at the role that gold jewelry played in the | | | | The Emperor and the Church became the patrons of |
| pre-Roman era and during the Middle Ages and | | | | the arts. Jewelers worked in courts and monasteries. |
| Renaissance. | | | | During this era, jewelry design was based on the |
| In the 7th century BC the Etruscans of central Italy | | | | setting in gold of precious stones and pearls in colorful |
| were also making fine gold jewelry. The Etruscans | | | | patterns. Precious stones, which were polished but |
| perfected the difficult technique of granulation, a | | | | used in natural forms, were credited with having magic |
| technique in which the surface of the metal is covered | | | | powers. For example, Sapphire, symbolic of chastity |
| with tiny gold grains. | | | | and spiritual peace, was used for papal rings. |
| In Greece during the Hellenistic Age (the period just | | | | Antique cameo gems were prized and when set in |
| after the time of Alexander the Great, 323-30 BC) | | | | early medieval jewelry and were given a Christian |
| Greek jewelry was characterized by its great variety | | | | interpretation. Until this era, European jewelry was |
| of forms and fine workmanship. Naturalistic wreaths | | | | produced mainly in imperial and monastic workshops. |
| were made for the head, and a variety of miniatures -- | | | | However, by the 13th century a system of |
| human, animal, and plant -- were made into necklaces | | | | independent guilds of goldsmiths was established in |
| and earrings. | | | | European capitals. |
| The Heracles-knot, developed in Greece, remained a | | | | Gothic jewelry reflects the chivalrous ethic of the |
| popular motif into Roman times. | | | | aristocratic society of this time in its symbolism and |
| Colorful jewelry was an important characteristic of the | | | | frequent use of amatory inscriptions. Jewelry, which |
| Migration period (4th to 8th centuries AD) which | | | | has always had close affinities with modes of dress, |
| followed the collapse of the Roman Empire. | | | | frequently took the form of brooches and other |
| Mediterranean goldsmiths continued to produce refined | | | | fastenings such as belt clasps. |
| jewelry but the jewelry of the European tribes | | | | The ring brooch, the most common form of jewelry in |
| dominated the period. They produced abstract styles | | | | the 13th century, was probably given as a token of |
| and worked in enamels and inlaid stones. This is also | | | | love or betrothal. A pendant would occasionally be |
| the period of the penannular, or nearly circular, | | | | used as a Reliquary. The use of earrings ceased |
| brooches of Ireland and Scotland. | | | | entirely, because women wore elaborate jeweled |
| From the 9th to the 13th century, the technique of | | | | headdresses that concealed the ears. About 1300, |
| cloisonné -- enameling on gold-became | | | | French jewelers began to use translucent enamels |
| widespread in Europe and the Near East, with the best | | | | over engraved silver or gold. |
| jewelry of this type emanating from Constantinople | | | | In the next article of this series we will look at the |
| (present day Istanbul) the capital of the Byzantine | | | | history of gold jewelry during the past five hundred |
| Empire. | | | | years. |