Germany). Fortunately, new expertise developed as tastes changed, encouraging the rediscovery of ancient techniques. Glyptics—an ancient art of engraving gemstones—returned to fashion during the Renaissance, when ancient history became highly prized. Similarly, 19th-century eclecticism encouraged the revival of enamel (popular in the Middle Ages) and improvements in filigree and granulation, processes by which metal surfaces are decorated with wires and gold beads of considerable finesse. These processes date to the third millennium BCE. Technical progress then influenced the practices and scope of the jewelry professions. Stone sizes also changed significantly starting in the 15th century, particularly in terms of diamonds. The development of the faceted cut, which is attributed to Louis de Berquem in Bruges sometime around 1470, was a turning point in the history of stone-cutting know-how. It creates the largest possible number of facets, thereby reflecting and refracting more light. All subsequent developments pursued this goal of creating ever more facets to heighten luminance. Showcasing a stone’s brilliance became more important than maintaining its weight, as up to 60 percent of a stone is lost due to cutting and polishing, in a modern-day brilliant cut. Changes in stone-cutting, as ancestral techniques were combined with technical progress, had two major consequences. They led to a split in the goldsmith and jeweler professions in the 17th century. At the same time, they altered the way gems were attached, as stones were placed in an open design (in a setting open on two sides) and settings became more discreet, for maximum luminosity. The invention of the printing press also had an indirect impact on jewelry design. With the publication of design books and engravings, models were more available and were quickly 11
adopted by jewelers. One of the first books published on the subject, Livre des ouvrages d’orfèvrerie by Gilles Légaré (1663), followed by his Nouveau livre des ornements (1692), promoted the bow motif, called “à l’égaré,” which was wildly popular in the 17th century. Finally, the ongoing quest for innovation has changed the practices of the jewelry professions. The universal exhibitions held in Paris between 1855 and 1937 promoted new skills, introducing them to a wider public. Other innovations followed. In 1854, Mellerio patented an invention for a flexible shank setting, with which branches of fruit and flowers could swing naturally. Thirty years later, René Lalique filed a patent for a “type of metal chenille used to make necklaces and bracelets.” At the turn of the 20th century, platinum started to be used in jewelry, alongside gold and silver, further expanding the metal-casters’ expertise. More ductile and stronger than gold, platinum requires less metal to form lighter, mise à jour, or openwork, settings. Cartier was one of the first to use it, while Chaumet created magnificent tiaras from this metal. Other materials were soon added, with the development of synthetic and plastic materials, notably bakelite, developed in 1907. In the period between the two world wars, Van Cleef & Arpels invented the Mystery Set™, an original technique patented in 1933; with it, the metal becomes invisible, making the jeweled surface even more dazzling; these pieces could not be made without the extreme skill of lapidaries. The artistic professions are therefore reinventing their practices, while remaining true to a tradition of excellence, and the status of jewelers is evolving, from artisans to full-fledged artists. Right: View of the Place and Colonne Vendôme, Paris.
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