The event is “Flight of the Falcon IV” and it’s an SCA event.  This is the handout text.

“How to Make Jewelry on a Budget”

Gems in SCA Period

The period covered by the SCA is typically at least 1000 years, between 600 and 1600 AD.  Some folks push the beginning back to the fall of the Roman Empire, which is about 450 AD; and some folks push the end all the way out to 1650, because they want to play Cavaliers (think 3 Musketeers).  Any date after 1601 is really the 17^th century, and as such, is technically out of SCA purview – our governing documents are clear, “Attempt at PRE 17^th century re-enactment”.

You’ll hear most SCAdians talk about “being in period” or “this was period” and unless they specify “Tudor” or “Roman” or “Byzantine” they mean the overarching period of time that the SCA covers.

Given the perceived ideas on mining in this time period (I haven’t gotten far in my research); there is a decent array of gems available for use in jewelry, as well as statues, religious objects, and furniture.

What about Faceted Stones

Faceting didn’t come into general practice until late in period, 1400s or so.  There are efforts at certain styles of faceting – table cut, step, and cabochon. Making a cab is slightly easier than making a faceted stone – less mathematically precise.  The rose cut wasn’t discovered until after the invention of the polishing wheel, in approximately 1450.  It is not until well after SCA period that what we recognize as the brilliant cut came into being.

Mostly the practice for stones was to leave them in as natural a shape as they came from the mine.  Diamonds, used very rarely, were left in an octahedral shape.  Basic shaping took place to further define a shape.  Typical shapes include squares, triangles and of course, rounds.

Silver, Gold and Copper

Metal use is secondary for most of the simpler designs in jewelry.  Very early, before the SCA period, and late in the SCA period show a high occurrence in metalwork jewelry.  By late in period, I mean in the late 1400s through to the end of the SCA period.  Metal was used to hang gems (via wire), or to set the stones.  You’ll see most metal in use as pilgrims’ badges, pendants and similar pieces, though set stones are still very heavily favored.

Fakes are Okay

So, what about the difference between using glass and stone in jewelry.  Was there a law (or similar) that regulated the wearing of such things between classes?  In a lot of cases, sumptuary law was passed to control what someone wore.  Sometimes these laws were passed by the King (and his lawmakers); sometimes they were Church influences (to the best of my knowledge, which at this point, remains limited).  Kings and Queens and lower classes all used fakes in their jewelry.  Glass has been in use since Egyptian times to mimic precious (and “semi-precious”) gemstones.  It is recorded that the Egyptian jewelers discovered Cloisonne’ and Champleve’ (5,000 years of gems and jewelry), as well as what we today call Millefiori (million flowers).

Queen Elizabeth I is rumored to have extensively used fake pearls in a lot of her jewelry and clothing adornment (rumored because I can’t confirm it).  I suspect that it extended to her court as well.  (Picture of Robert Dudley)  It is perfectly acceptable to take a piece you know is made with gems and substitute glass.  (the reverse is also true)

Using Plastic/Acrylic

These two however, are much harder to hide, in terms of their modernity.  Plastics are usually molded and quite often will have a mold line that’s hard to get rid of, even if you scrape it off (and who wants to do that on 100 tiny pearls?).  Acrylic ‘gems’ are ‘cut’ in a modern style (the faceting) and very hard to disguise.  They are foiled backed, so that at least is period.  If you are lucky enough to find cabochon acrylics, great!  If you can find simple table or emerald cuts, that’s ok too.

If you have no other choice than to use plastics, please remember to make specific note of it in any documentation (if you enter it into competition).  You might get marked down in authenticity points, however.  If you are making something for personal wear, go ahead! The 10 foot rule is in place.  (meaning it should look passibly period from about 10 feet away)

Well, it’s been a long time since I last posted here.  Not too long ago, I even thought about swapping out for a new LiveJournal blog since I’m over there so much.

Nah, I’ll stick this out, even if no one reads it

I get news feeds from a couple of places that deal with jewelry in some fashion, one is more metaphysical than the other.  And it’s the other I want to link to: Gem Wise, specifically this post: http://rwwise.com/blog/?p=49

It’s an interesting “Letter to the Editor” on color diffusion in certain stones and what causes it, based on an article written in the magazine “Colored Stone”.  The author of Gem Wise sounds very angry with the editor of CS, and I can’t say as I blame the man – there doesn’t seem to be any science in what the CS editor was talking about.

Gems are not a pseudoscience.  And shouldn’t be treated as a pseudoscience.  But that’s what it feels like the editor of Colored Stone is doing.  Yeah, this post doesn’t make a lot of sense, but there it is.

Well, this is quite interesting really.  I get an email newsletter from Plaid, makers of Folk Art and Apple Barrel paints, as well as Bucilla needlecraft stuff.

They’ve added some new items to their range.  Including jewelry pieces.  This link: http://tinyurl.com/crwc9x takes you to a page of pendants.  I want to see these up close and in person before I can make a decision on whether they’d make good substitutes on medieval jewelry.  Some of the pieces are opaque ‘gems’, others are translucent and *might* be ok for medieval use.  “Fake it til you make it” or something.

I’m just not sure that the arrangements of the settings will coordinate well with the medieval ideal.  BUT, if you acknowledge that these are very modern pieces, and are NOT the best option, you might be able to get away with it Maybe.  Those of us with limited budgets and limited workshops (such as myself) could probably get away with these.

This is one of the better ones, I think: http://tinyurl.com/btkf4d

Again, I’m just not sure until I can set my peepers on them in person.  On the first page are a couple that would work as hat badges – apparently these are also built to be brooches.

If I can find some, I will check them out and report back.  Pendants are the biggest issue I have right now with medieval jewelry.

There’s a cool new museum exhibit in Chi-Town – at the Field Museum.  Called “Masterpieces of Ancient Jewelry: Exquisite Objects from the Cradle of Civilization” it will focus on the ancient Middle East, including “never before seen artifacts from the ancient site of Kish”.  And a Google search reveals that Kish is in ancient Mesopotamia and lies 12 miles east of the modern city of Hillah, Iraq.  There’s some really cool stuff from that era and that locality.  The exhibit is open from Feb 13, 2009 through July 5, 2009 and damn, I wish I could go!  There is a book available, through Amazon, listed under the same name (as these catalogs tend to be) and is only about $30. (on sale right now for $22…and eligible for free shipping )

It’s hosted by the National Jewlery Institute, of which more info can be found here: http://www.nationaljewelryinstitute.org/

Speaking of museums, 2 months ago I took the opportunity to visit one of my area’s locals, Discovery Place, to take in “A Day in Pompeii” which was ‘visiting’.

Pompeii’s incredible level of preservation has always fascinated me and it’s story is probably the reason why I love history so much.

So this exhibit, after decades of careful work and research, shows what Roman life was like – including body casts.  Yes, body casts – the plaster reliefs of the “carbonized” (not really, and yes, you can faintly hear the Star Wars theme in the background) victims.  What really happened was a 2nd pyroclastic flow, almost wholly composed of scalding wet ash that encased the people and animals of Pompeii and suffocated them.  Their bodies eventually decomposed and left the shells.  In 1860 the first attempts to make plaster reliefs was made.  There were several on display at this exhibit.  It was profound.  An eerie mix of art and death.

There were slices of life on display, from  the local fast food emporium (I do not kid), to the average bed frame style in the average well to do Roman villa.  How wine was stored and shipped to a copy of carbonized bread that had been freshly made the day of the eruption.

Among other things I was there to see whatever jewelry was on display.  There was several pieces, mostly gold work, but a few of glass as well.

One of these items, a ring made of iron (I think, it seems I did not write that down, bad artist) that had the faces of a pair of snakes on it.  They were the ‘terminals’ of the ring shank and likely would have been the ‘visible’ (top) portion of the ring.    What I could not figure out is whether the snake heads were carved or cast  – the problem with seeing things on display, you only get a select view.  The heads could very well have been cast, but I have yet to  make a foray into rings beyond how they are made in a modern way. (info is hard to find, or affordable)

There were bracelets of hammered gold, giving a slight tubular look.  The edges were the fascinating part though, on the bracelets and all the other gold work (earrings, dome bracelets) – the goldsmith had only turned the edges enough to keep the metal from being a cutting edge.  What is remarkable is that I think this was done simply through hammering. (I believe the technique is called “forming” – more research!)  The half dome earrings had this extra stabilizing technique of a soldered bar running from top to bottom.

The half dome spheres in one bracelet were connected by simple links and was fastened with a leaf shaped clasp.

Glass paste was also a favorite.  There was one necklace of blue, fluted glass beads that was graduated!  It was very pretty.

Apparently, the terracotta red color was made famous simply due to the volcanic soil of the area.  It too was used in making jewelry, as well as the amphorae used to store liquids like wine and olive oil.

Another strangely fascinating side note, the amphorae were point ended.  No reason for this is given.  It does mean that to store upright, the jars have to be put in holders (and in fact, the examples on display were in a holder); I do not recall a reason being given for why the points  exist.  Yet one more point of research (lawl! pun!)

in other news – I am working again.  For much of last year, I found it hard to sit down and do either research or construction.  I have found my muse, or she found me  – the jury is still out on that one.  But I’m glad she’s back.

Well now – I was sharing my books with a lady I know, Mistress Sine, who also makes jewelry.  And a thought came to me, and was expressed.

I would like to create a syllabus of period gems.  Somehow get as many resources together as I could, compare the names and descriptions and create a master list (or as best as I can).

whoppee, new effort in jewelry.  Wish me luck, I think I’m nuts!

I made some pearl earrings as consort gifts for Baroness Bessenyei Rozsa, a dear friend of mine in the SCA.  I will try to get pics this weekend, if someone wears them, if not, I’ll cheat and make a new pair after we get home.  Here’s the documentation I wrote to go with them:

What: The pearls I have decided to use in these earrings are cultured freshwaters as they are the most readily affordable and available form of pearl for the hobby crafter.

Freshwater pearls were found throughout northern Europe, including the British Isles. One of the names of the pearl bearing mollusk is Margaritifera margaritifera (freshwater pearl mussel).

However, actual pearl occurrence is rare in wild mussels. This rarity commanded high prices for pearl jewelry, that today, a single 16” strand could well cost between $500 and $5000. It is said that during the height of the Roman Empire, General Vitellius financed an entire campaign by selling a single pearl earring owned by his mother. (1)

When: Throughout our period, the pearl has been a featured precious jewel. Used time and again as the main feature in jewelry and as accents on clothes, from Empress ;Theodora (6^th C Byzantine) to Queen Elizabeth I (16^th C English)

Where: Historically, pearls were only discovered from harvesting the wild mollusks and oysters, almost an accidental finding. Today, pearls are found both in oysters (salt water) and mollusks (freshwater), and are farmed, or cultured, in Asia and in a few places on the coasts of the United States. The best quality pearls come from Asia, either China or Japan.

How: Pearls are formed in the mantle of the mollusk (the flesh of the mollusk) just as they are in oysters. Divers retrieve mollusks to harvest the pearls for use in jewelry. Our jewelry today is made with 14kt gold headpins to ‘string’ the pearl, with a loop made at the end to keep it on the leverback earrings of gold plate*.

Why: in antiquity, pearls were a mark of wealth and prestige. Only the very rich could afford even earrings of pearls due to their rarity.

* – base metal content on earrings: most likely brass. (waiting for confirmation)

1-Ward, Fred. “The History of Pearls.” The Perfect Pearl. NOVA. November 4, 2008.

http://www.pbs.org/wgbh/nova/pearl/time.html

2-“An Essay On the History of Cultured Pearls.” A Brief History of Pearls. American Pearl. November 4, 2008. http://www.americanpearl.com/history.html

So, you can see I wrote a very short version of documentation – I tend to write in a fashion that means I think Judges don’t want to take a lot of time over the background information – I give them the basics at a glance, and then, add more later.  I hope these go over well.

We missed yesterday due to the fact that I was asleep and never got on the computer.

Today’s word is: ENSTATITE

It is a variety of gemstone that contains varying amounts of iron and that is transparent and often green, but as the iron increases, the color darkens (then called HYPERSTHENE).  It is sometimes green-brown, called BRONZITE.  The stones are usually faceted, but some specimens showing asterism or chatoyancy are cut en cabochon.  It is dichroic and may resemble the green garnet (DEMANTOID).

Enstatite in Matrix

We’re going to try this as a new feature here in the Mirror – a word a day about jewelry and its manufacture. All “Word of the Day” vocabulary comes from this book: An Illustrated Dictionary of Jewelry by Harold Newman, published by Thames and Hudson of London in 1981.

Today’s word is Staining

Page 288, The process of changing the color of certain gemstones by soaking them in an aniline dye* or precipitating various chemicals within the cracks or a porous structure. The colors are often permanent, but some organic dyes fade in time. Often interchanged with dyeing.

*aniline dye – from Wikipedia: an organic compound used as a precursor to more complex chemicals. Main application is the production of polyurethane. It is POISON and highly flammable.

hm – makes me wonder if staining is what is used on Howlite, Pearls and Marble to get their lovely and wonderful colors.

BORT:

From Merriam Webster online: imperfectly crystallized diamond or diamond fragments used as an abrasive.

So, industrial diamonds, or diamonds not worth making into jewelry.

MW says the word is likely from the Dutch ‘boort’ and dates at least to 1622, post period for my SCA work. (which is pre 1600)

Yes, I expect you’d like to know how stones were cut prior to then, right?  Keep tuning in.  I’ll blog about it one day.  Maybe this week.

Well hey, kids.  I have made an interesting discovery recently as I begin to get in depth with my books.

I have these books by the Italian, Guido Gregorietti (alt spelling is Gregoretti).  One is “Jewelry Through the Ages” (JTA, pub in 1969); the other is “Jewelry History and Techniques: From the Egyptians to the Present” (JHT, pub in 1979). (yes, I’m aware that the titles aren’t formatted right)

I finally figured something out after I had gone through JHT and was reading JTA for something to do – I was/am working through JHT to write things down like where pearls first show up, how cutting was done in the old world, which were the most popular stones of which era, that kind of thing.  And no, I’ve not gotten far – flare ups in my right hand are making it hard to spend too long writing.

JTA, is 10 years older than JHT, and is at least twice as long in page count.  However, JHT is like a condensed version, with a different layout.  If you have to choose between the two books, get JTA.  The color photos in JHT are also in JTA, and with a goodly bit more besides.

I have not accomplished a page by page, I’m not that picky about it, and the formats are different.  JTA actually has chapters, JHT does not.  JTA has all it’s notes on gold in one section, JHT scatters it throughout, in individual sections, with sections on gems and technique in between, causing some confusion when you get to each one.

So, that’s my opinion.  I also won’t say to not get both, but.  If you are on a budget like me, get JTA NOW and save up for JHT.  (also, JHT is smaller and lighter than JTA – likely because of the page count difference)