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The Jeweler Monk of the Benedictine Order
Theophilus was his name. He lived during the first half of the 12th
century in Northwest Germany. He was "the" practicing craftsman and
author on goldsmithing of his day. Aside from jewelry and metalworking,
he was also an expert on the craft of wall painting, on the making
of stained glass, and on the carving of ivory, among other things. So
big deal, you say. Right?
Well...not quite. There's a bit of a twist here with ol' Theo. He
writes a book about art entitled: "De Diversus Artibus", which, when
translated, means "Book of Various Arts". So far we're fine. The
guy's literary...and he promotes his works by telling one and all
to covet the book with greedy looks, read it thoroughly, and embrace
it with ardent love. He's passionate about his work, and he clearly
knows how to sell.
When lauding the praises of his work, he goes on to tell one and
all that in his book you will discover passages covering whatever
knowledge the Greeks possessed in the mixture of colors, whatever
knowledge Tuscany had of mosaic work and enameling, whatever
knowledge Arabia had in fusion and chasing, all of Italy's wisdom
in ornamentation with gold...and on and on...telling the reader how
he is able to translate all this knowledge into gold and silver and
copper jewelry. The man was clearly brilliant, and had no trouble
letting the world know of his genius. So far, he's just like you and
me. Ah...but just you wait 'Enry 'Iggins...just you wait.
Theo goes on to describe a goldsmith's workshop. There are bellows,
and an anvil, and hammers and even an instrument through which wire
is drawn. He's a modern jeweler in a modern age...very much like
today's jeweler.
Theo's technique, however, leaves a few questions lingering in the
recesses of my goldsmithy's mind. It is with great pride and a
swelling chest that Theo discloses a trade secret or two. Listen.
The rulers of his time delight in having their gemstones cut in shapes
to their liking. And so Theo reveals how it's done. In an act of extreme
generosity, he reveals a trade secret. In order to cut these stones,
he procures "urinam"--don't know what this is folks, but the rest is
clear. He procures urinam with the fresh blood of a lusty goat,
fed for a brief period on ivy, and he then cuts the gems with iron
while they are bathed in the warm blood of our dearly departed
ruminant. Hunh? Hey...Theo! WHAT...are you talking about?
Ah...but it doesn't end here. Theo is also an expert in lapidary
techniques, and he advises he students, in another spontaneous act
of generosity, on the correct methods of cutting and sculpting.
To do this all properly, take a goat--the man clearly had a thing for
these animals--but that aside, take the goat, bind his feet--hey
Theo...a little S & M bubbele?...cut an opening between the goat's
breast and stomach, in the area of the heart, and immerse your gem
in the animal's blood till it grows warm. This softens the gem, and
you can then take it out and sculpt it till it cools off and hardens, at
which point you simply re-immerse in goat's blood...warm it up...and
start all over. Oh...Theo....
This continued till you had the shape you wanted, at which point you
polished your gem with a cloth till it was nice and shiny and bright,
and then sold it to your panting customer, who could barely contain
his or her delight at this wondrous gem you've just created. How did
you do it, Theo? You simply must tell us.
Theo goes on in his book to explain the recipes required for making
glass gems and colorful enamels and ornamental finger rings and
so on. Naturally, as a monk, Theo devoted much of his knowledge in
producing ecclesiastical jewels...though he had many private patrons
as well. I suspect he tried to hide his knowledge behind the above
mentioned veils of necromancy...leading his disciples down many a
dead-end lane, while he produced his works of art with nary a thought
of competition. Of course, this never helped the goat...but it did
help Theo achieve, if not fame, then at least notoriety as the prima
goldsmith of his day.