AS SEEN THROUGH WOMAN'S EYES.

New Zealand Graphic, Volume XXXVI, Issue 3, 20 January 1906, Page 60

AS SEEN THROUGH WOMAN'S EYES.

A Revival in Jewellery,

(By

Lena Guilbert Ford.)

Among the many revivals which we are witnessing, one of the most interesting is the revival of the antique in jewellery. It is especially interesting to women, for though from time immemorial metal - work has been ine.tided in the “fine-arts” it is only recently that women have taken up that branch of work, and by it have opened for themselves a most profitable and congenial means of livelihood. A ehat with Miss McConnell, who reigns over a delightful studio in a quaint nook of South-western London, revealed what true fascination lay in the hammering of a copper or silver plate. “Working in copper,” said this elever artist, who, by the way, has achieved considerable distinction as a painter, and whose works have often been exhibited at the Royal Academy, “is rather heavy. It Ims the compensating quality of being

quickly done, and exceedingly effective when finished, but it is not like silver to work upon. Every touch of the hammer seems to get a response in silver, and the metal has an almost human feeling under the workman's touch.” A meaningless sheet of silver was then brought forward, and placed over a formidable looking machine standing in a corner of the studio. Tap, tap, tap, went the hammer, and under our very eyes, the silver sheet began to take shape, and one realised the time and labour that is required for the mere shaping of one small rose-bowl. It is no wonder that hand-work commands what seems to the uninitiated an exorbitant price! One bowl was shown which the artist declared required three days of continual labour, to hammer in o shape, and when that is accomplished the work is only just begun. Every blow of th*

hammer leaves its impress, and while a certain amount of burnish.ng is done to accomplish a finished surface, there is no attempt to entirely erase the hammer marks, as they serve for the “hall mark” that the work is done by hand.

In passing the hand over the smoothened surface of a metal bowl, there is a most peculiar sensation communicated by the imprints of the hammer, by which one seems to feel the individuality of the design and its worker.

On the balcony built at one end of the studio is a small furnace, which is quickly brought by gas to a red heat. Doors and windows are closed, for the s'ightest breeze disturbs the enamel, and the buckle or whatever is to be enamelled is placed in the ove i to b'ke. The heat and light are so intense that during this process blue goggles have to he worn, as it is often necessary to remove a small door in the front of the oven to determine when the piece of jewellery is “done to a finish.” Still another phase of the same ar-

fist’s work is the making of art jewellery. In this revived style of jewellery, precious stones play a secondary part. The value lies is the design and fine workmanship of the setting. Pendants and brooches, collars and bracelets, combine gold and silver and the coloured stones with dexterity to the last degree. A web of silver will imprison a moonstone, or an uncut turquoise will drop by means of tiny gold links all fashioned at the studio, from an unconventional design of gold wire, but everywhere is the suggestion of regret that the “handcrafts” have been so long neglected.