We currently have very few data about the appearance of the workshops, as well as the traditional tools and materials used by the silversmiths and jet carvers. Some documents, such as inventories or wills of artists, mention a wooden bench, a forge, a lathe, various items of furniture \u2014stools, shelves, sideboards\u2014 and all kinds of tools \u2014bellows, anvils, containers, cauldrons, basins, burins, files, chisels, burnishers, hammers, scales, scissors, or moulds\u2014.<\/p>\n
The main techniques used in the art of silversmithing were as follows: firstly, lost wax casting, using a male wax mould to make a female mould to pour the molten silver or gold to obtain serial copies. This is the same procedure used in the History of Art to reproduce large bronze sculptures, and it continues to be used today in jewellery to produce small pieces. Secondly, we have turning, or shaping the piece on a lathe \u2014think, for example, of the shaft of a chalice\u2014. Thirdly, we must mention chiselling and embossing, or carving the decorative reliefs with a chisel. These are the most used techniques in silversmithing. The difference is that chiselling is performed in positive, on the front of the piece, and embossing in negative, on the back \u2014the artist must carve the surface and the volume comes out by the other side\u2014. This operation is carried out on a large wax surface \u2014heated and softened\u2014 on which the silversmith places the silver plate and then embosses it with a small chisel and hammer. We can say that embossing is the most characteristic technique of the art of silversmithing, being the artisans able to show their expertise. Finally, the silversmith can carry out the piercing or stamping of some parts to achieve decorative effects, as well as the burnishing of the piece to ensure that the material is as shiny as possible, an operation which is carried out with an agate stone.<\/p>\n
We should also mention the filigree, especially used in small pieces or jewellery, which refers to the creation of works by a fine silver or gold thread, twisted and interlaced. In any piece, we should also consider the possibility of gilding or gold plating, enamelling or the setting of precious stones or other materials such as pearls, mother-of-pearl or, of course, jet. Jet, due to its fragility, easy to crack, requires advanced skills to manufacture. The common technique is carving, using gouges and knives or small lathes, and then, polishing.<\/p>\n
In terms of typologies, the silver pieces can be subdivided into two large groups: religious and civilian. Among the first ones, the most common are the pontifical pieces or mass service pieces: chalices with their patens, ciboria \u2014for the hosts\u2014, cruets \u2014for wine and water\u2014, censers \u2014like the botafumeiro, but smaller\u2014, navetas \u2014boat-shaped pieces for holding incense, with their teaspoon\u2014, candlesticks \u2014for holding candles\u2014 or scissors \u2014for cutting the wicks\u2014. Among the procession pieces we must mention parish crosses and monstrances \u2014where the Sacred Form is exhibited for adoration\u2014, and buckets \u2014pots for sprinkling holy water with a hyssop\u2014. The devotional pieces are, for instance, the figures of saints and reliquaries, while the furniture pieces include tabernacles and lamps.<\/p>\n
As for the civil pieces, they are much more heterogeneous and respond to very different uses. These include trays \u2014which used to be the most highly prized items as gifts\u2014 along with crockery sets, cutlery, jugs and coffee or chocolate sets. There are also valuable vanity sets, with different flasks, combs, and mirrors, as well as jewellery boxes, varied chests, candlesticks and candelabra, vases, ashtrays and cigarette cases. A curious and very common piece, halfway between the religious and the civil, is the \u201cbenditera\u201d or small holy water fonts that were hung next to the door to make the sign of the cross when entering and leaving the house.<\/p>\n
Jewellery deserves a separate mention because, although nowadays we think about both specialities being the same, historically the jeweller’s trade was not the same as the silversmith\u2019s, and they evolved differently depending on the territory. In addition to the usual types of jewellery that we all know, in the case of the Galician tradition, we should highlight the \u201csapos\u201d \u2014pectorals or pendants\u2014 and the \u201cbrincos\u201d or the \u201carracadas de argola\u201d \u2014in both cases, earrings\u2014. These pieces are usually made of gold and silver filigree, with jet incrustations. Among the pieces made from this mineral, we must highlight the \u201cfigas\u201d or small hand-shaped amulets that were attached to the neck or clothing. Their use can be seen in old paintings, such as that of Prince \u201cFelipe Pr\u00f3spero\u201d by Diego Vel\u00e1zquez, where several figas protect the heir to the throne from the evil eye.[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"
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