L'Italo-Americano

THURSDAY, FEBRUARY 10, 2022 www.italoamericano.org L'Italo-Americano 2 T he first "jewelers" date back to the Up- per Paleolithic. Sometimes between 40 thousand and 10 thousand years before Christ, stones, ivory, and seashells started to be used as jewels, symbols of spiritu- ality or power, apotropaic ob- jects, decorations. The history of gold began some 5 to 6 thou- sand years ago. Gold reflected light, it was simple to mold, it melted at low temperatures, it was resistant and did not rust, which meant it could remain unaltered through time: it was love at first sight. Thanks to the great civilizations of the Nile, the Tigris, and the Euphrates, jewelry became ornamental and a signifier of social diversifica- tion. An expression of wealth, Jewelry is art and part of the history of Italian beauty From the Editor of course, but also of state-of- the-art techniques, of refined creativity, and of incredible beauty. There were gold bracelets as thin as a sheet of paper, rings enriched with pre- cious stones, filigree earrings, large brooches and clasps made using the granulation method. Jewels became more detailed and complex, thanks to the ad- dition of glass paste, enamels, and lapislazuli. The Etruscans introduced embossed work, stamping, and gold settings for rings. Then c a m e G r e e k e l e g a n c e a n d Roman ostentation: jewelry was worn all over the body, from the hair to the ankles, and at all ages. Necklaces were so long they had to be worn in layers around the neck and would still reach women's hips. It was then, also, that rings came to symbolize love or a promise of it. Wearing jewelry didn't only show the wealth of the wearer, but also the power of the Roman Empire, which ensured an abundance of pre- cious stones was always avail- able on the Roman market. Topazes, sapphires, rough dia- monds, and emeralds would reach the capital from every corner of the conquered world. By the 3rd century AD, amber, rubies, and amethysts would shine brightly into true artistic Simone Schiavinato, Editor Simone Schiavinato NEWS & FEATURES TOP STORIES PEOPLE EVENTS Member of FUSIE (Federazione Unitaria Stampa Italiana all'Estero), COGITO L'Italo-Americano 610 West Foothill Blvd. Unit D, Monrovia, CA 91016 - Tel.: (626) 359-7715 PLEASE SEND CORRESPONDENCE TO P.O. BOX 6528, ALTADENA, CA 91003 www.italoamericano.org L'Italo-Americano Newspaper (a 501(c)(3) non-profit organization), www.italoamericano.org, is the largest and longest-running Italian newspaper in America, not to mention the cultural and news resource for all things Italian in the US. A bilingual newspaper which represents an historical landmark for the Italian American Communities in the West Coast and throughout the US. L'Italo-Americano benefits from subsidies by the Italian Government, Memberships and Donations intended to support and not interrupt a mission that began in 1908 to preserve and promote the Italian language and culture in the USA Periodicals postage paid at Monrovia, California 91016, and additional mailing offices. PUBLISHER Robert Barbera Grande Ufficiale EDITOR IN CHIEF Simone Schiavinato ADMINISTRATIVE MANAGER Patrick Abbate EDITORIAL COORDINATOR Barbara Minafra COPY EDITOR Francesca Bezzone LOS ANGELES CONTRIBUTOR Silvia Giudici SAN FRANCISCO CONTRIBUTORS Catherine Accardi Serena Perfetto SEATTLE CONTRIBUTOR Rita Cipalla CONTRIBUTING WRITERS Mariella Radaelli, Francesca Bezzone, Luca Ferrari, Stefano Carnevali, Paula Reynolds, Nicoletta Curradi, GenerosoD'Agnese, Fabrizio Del Bimbo, Maria Gloria, Alfonso Guerriero Jr., Anthony Di Renzo Serena Perfetto, Kenneth Scambray, Chiara D'Alessio © 2020 L'Italo-Americano Membership: One year $59 - Single copy $2.25 POSTMASTER: Send address changes to L'Italo Americano PO Box 6528 Altadena, CA 91003 creations. In the Middle Ages, new techniques to set stones in metal and to use enamels were discovered; these were also the times when gems began being associated with magic and were believed to affect the lives of those who wore them. In this period, jewelry making became important also for the Church: reliquaries, pendants, ancient rosary beads. During the Renaissance, thanks to the development of new trade routes, goldsmith art became more important. T h e c o l o n i z a t i o n o f t h e American continent meant that precious stones and met- als were more easily available, and in larger quantities, and not only gold and silver but also rare pearls and jade. Italian museums, today, are f i l l e d w i t h b e a u t i f u l , v e r y detailed jewelry made with basic instruments but great experience and care, the char- acteristics that made the real difference. History of art is replete with such manifesta- tions of beauty, which was pre- sent even in the most unsus- pected times. During the bar- b a r i c i n v a s i o n s , b r o o c h e s , diadems, hilts, polychrome clasps became common, just l i k e m a r v e l o u s j e w e l s l i k e the Iron Crown, kept in the Chapel of Theodelinda, in the D u o m o o f M o n z a , t h e Triumph of King Agilulf, a gilt embossed bronze forehead plate, in Florence (both dating back to the 7th century AD), or Desiderius' Cross in Brescia (8th-9th century). And this is without men- tioning the Renaissance. May it suffice to say that artists such as Brunelleschi, Ghiberti, D o n a t e l l o , a n d L u c a d e l l a Robbia began their artistic t r a i n i n g i n g o l d s m i t h s ' ateliers. Goldsmith art has ancient origins and a long history but it is especially the intertwining of technique, precious materi- als, and creativity. It is, in one word, beauty. It represents, still today, o n e o f o u r e x c e l l e n c e s , s o much so that the Italian pavil- i o n a t t h e D u b a i E x p o h a s recently dedicated an exhibi- tion to it. Indeed, goldsmith a r t i s b o t h t h e p r e s t i g i o u s result of a series of techniques l i k e e m b o s s i n g , e n g r a v i n g fusion, filigree, and valuable commercial product, represen- tative of Italy in the world of elegance, glamor, and fashion. The most renowned areas for jewelry production are in P i e m o n t e ( V a l e n z a P o ) , Veneto (Vicenza) and Toscana (Arezzo). The first, home to 745 businesses and some 5 thousand employees, is the oldest and is known for high- end jewelry. In Valenza, we f i n d M a i s o n D a m i a n i , t h e largest of Maison Bulgari's fac- tories in Europe. Next year, Cartier is also opening its own factory there. Vicenza focuses on more delicate products, while Bassano on simpler jew- els. Arezzo (1200 businesses and 8 thousand employees) focuses on the medium-low s e g m e n t o f t h e m a r k e t . Important poles are also in M i l a n a n d C a m p a n i a : Lombardia counts 4 thousand b u s i n e s s e s , 1 2 . 7 % o f t h e national total, with some 11 thousand people working for them. Of course, the fashion world is key for the sector in the region. Campania's gold- smith art is all about tradition- al craftsmanship and precious and natural stones. Craftsmanship and talent remain the main competitive factor everywhere. The gold- smith is an artist and Italian jewelry is a work of art: this is why it is so popular around the world. Art, innovation, tech- nology, history, culture, tradi- tion, perfection, elegance, all in a piece of art you can wear.

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