for the methods which the ancients must have used. It was observed that in the ornaments of gold all the parts in relief were by the ancients superimposed; that is to say, prepared separately and then placed in position by means of soldering or some chemical process, and not raised by stamping, casting, or chiselling. From this arises, perhaps, the something spontaneous, the freedom and artistic neglect which is seen in the works of the ancients, which appear all made by hands guided by thought, while the moderns impress, I would say, a certain perfect exactness on the things produced by them, which reveals the work of mechanical implements, and shows a want of the creative thought of the artist. Here, then, they sought to find means to compose and solder together so many pieces of gold of different forms, and of such minuteness, that, as we have said, it goes to the very extreme.
"We made innumerable experiments, and put in operation successively all the chemical agents, many metallic alloys, and the most powerful fluxes. We searched the writings of Pliny, of Theophilus, and of Cellini; the works of the Indian gold-workers and those of Genoa and of Malta were studied with all care; in short, there was forgotten no one of those sources whence we might hope for some hint. Finally, whence least we expected it came some real assistance.
"Hidden in the highest mountains of the Apennine range is a little town called St. Angelo in Vado, where are made gold and silver ornaments, with which the fair mountaineers decorate themselves. Here it appears that they preserve, at least in part, the oldest traditions of the art of working in gold and silver; and these workmen, . . . . shut, so to speak, from all contact with modern things, make crowns of filigree strung with gilded pearls and ear-rings of that peculiar form which is called the 'navicella,' by such methods as perhaps the antique were made, so that these jewels resemble not a little those found in the Greek and Etruscan sepulchres, although for elegance of form and for taste they are far from equalling them. . . . .
"Not long since, when, examining with a lens the Etruscan jewels of our own collection, I discerned in the zones of the tiny grains (which are characteristic of the work of these patient artists) certain defects, such as those which are made in enamel by the melting of the gold. These observations suggested to me to try a new process, in order to reproduce this exceedingly fine grain-work, believed hitherto impossible to be even distantly imitated by modern gold-workers. I immediately commenced the new experiments, and the results were sufficiently satisfactory to enable me to say, at present, that the problem is nearly solved which for almost twenty years has defied us."
And even now Castellani's best grain-work is far from equalling in delicacy and perfection of workmanship some of the antiques in his own collection.
Our Scarabæus has got into magnificent company, and modern taste finds that he deserved it; and certainly, me judice, nothing can be more purely artistic than a fine Scarabæus, and the fascination that comes over whoever has ventured to dabble in that kind of wares is as dangerous as the chances of play. Be content with a single one! If you once get into comparison, you have abandoned yourself to the witchery of the unknown and unattainable perfection.
Engraved gems or simple intaglios in pietra dura seem to belong to Greek art rather than Etruscan. The style of finishing the stone was more in accordance with the simple and elegant ideal of the Greek intellect. The intaglio was all to the Greek artist, and anything more was labor worse than wasted. His intaglio ceased to be ornamentation, and passed into the category of ideal work. And there are intaglii of Greek workmanship which are as lovely as it is possible to conceive anything,—all the spirit and perfect proportion of the antique sculpture concentrated in an oval, an inch by three quarters of
