Uncover the hidden value of 'disegno'

During the Renaissance, jewellery evolved into a means of personal expression and display of status. Still having an impact on how we adorn ourselves in the present day, it is a fascinating era, as we explore the history and craftsmanship of Renaissance goldsmiths.

The significance of classic antiquity in Renaissance art

Imagine a time when goldsmithing was just basic metalwork. Goldsmiths in the Renaissance were realising that creating harmony between mind and hands was their most powerful weapon. Unlike their Medieval predecessors, sixteenth-century Europeans were huge supporters of goldsmiths in an unparalleled way, particularly as artists sought inspiration from the Ancient Greeks and Romans to blend classical forms with designs to suit their patrons.

There was growing demand for emotion-oriented design, meaning an increase in people eager to wear and gift jewellery beyond showing off their wealth. Different reasons included personal displays of affluence, romantic tokens to lovers, reminders of human mortality, and symbols of religious devotion.

The dawn of disegno 

For as long as civilisations have been around, societies have responded to fashion in reference to issues of the day. Some eras have leaned towards maximalist. Approximately when the Renaissance began, both men and women enjoyed signalling their wealth, status and business acumen by sporting multiple rings on each hand.

It was during this period that the concept of disegno flourished, capturing the link between art and science. Derived from the Italian word for ‘design’, disegno was more than visual beauty: conveyed the dual powers of intellectual and technical prowess in an artist. The word closely links with ingegno (from the Latin ingenium), and prominent thinkers of the time claimed these two were interconnected.

As historian Diana Sacrisbrick writes in Rings: Symbols of Wealth, Power and Affection, just one or two rings bearing high-quality engraved gemstones were sufficient to show good taste. Today, we might think of stacking rings favoured by the stylish set--almost as though the trend never 'left'. There was, however, a movement in the other direction that suggested less was indeed more.

Above: Gold pendant with a bust of Queen Elizabeth I cut out in silhouette, ca. 1570–1580. Image credit: British Museum

. 

Elevating metalwork masterpieces

Surging interest in disegno also reflected high expectations at the time. Lorenzo Ghiberti, a sculptor, highlighted that the importance of disegno was its essential role to painting, sculpture, and goldsmithing. It suggested that skills on the purely technical front were in vain. But without knowing how to realise grand concepts by hand, an artist could put themselves at a disadvantage.

Anyone, particularly goldsmiths, who showed they could apply disegno into their patrons’ work increased their chances of becoming coveted makers of luxurious items--coveted by the rich and noble. The elite members of society were continuously looking to embody their cultured taste, religious piety, or love for somebody in innovative designs. By conveying a deeper message in the final design, goldsmiths ensured that metalwork became a prestigious symbol of displaying one’s virtue. 

Techniques that evolved with the Renaissance

With such a creative boom happening, goldsmiths during the Renaissance were distinguished in their creation of jewellery from gold and vermeil (a plating effect). They used different techniques to create intricate designs, such as casting, chasing, hammering, cold welding, as well as standard soldering. Some pieces that have survived and are exhibited by world-renowned museums reveal the more advanced techniques of embossing, enamelling, engraving, and filigree. Combining ancient methods with styles, as a result, became a way to mirror tastes of their contemporaries. Craftspeople garnered rich clientele alongside a promising career. 

In noble circles, familial honour held central importance and could be displayed through the virtuous gifting of gold signet rings from one generation to the next. Another common motif was initials and flowers carved in rings, making them the desired personalised gifts for someone to ask for their partner’s commitment.

The intersection of art and science

Let's step back to the bigger picture. In the early modern period, people commonly believed that four of the most coveted precious gemstones--diamonds, rubies, sapphires, and emeralds--were highly effective remedies for poison. Esoteric beliefs were influencing opinions of not only the general public, but also those wielding national power. Rulers from Philip II of Spain to Elizabeth I, Queen of England were known to attribute their personal well-being to gemstones that they believed had medicinal and spiritual qualities.

And the many references Shakespeare makes to gemstones reflects this. From the metaphor of chastity that The Tempest connects with Miranda to the custom of gifting diamonds in Macbeth, gemstone imagery in Shakespeare's literature reinforces the deep symbolism existing at the time. Owning coveted gemstones was itself a status symbol, while getting one engraved by celebrated goldsmiths attested to the virtuous power of the patron.

Timepieces also saw influences by the surge in interest for natural sciences. Around this period, watches displayed the day of the month and even the moon's phases against refined piercing work. They were, however, more displays of goldsmith skills than accuracy. Watch cases became increasingly ornate by the late-seventeenth century, with some designs incorporating enamels and gems, in efforts to showcase their artistic qualities.

The timeless appeal of craftsmanship

However, it would be misleading to define the reputation of goldsmiths by a single era. Creativity goes beyond technique as people can appreciate the intentions and meanings behind the designs. The Neo-Renaissance phase in modern design was particularly significant, with designers drawing inspiration from the intricate motifs and gilded surfaces commonly found in 16th century Italy. Signets, with their classical meanings and solid appearance, have remained popular even in the contemporary trend of wearing one or multiple pieces together. 

Ultimately, the Renaissance goldsmith’s collaboration of the mind and hands was their most powerful asset. In recognition of this captivating era, which serves as one of the main inspirations for our collections, we admire the remarkable craftsmanship of goldsmiths who were dedicated to reflecting life in their work. 

The Journal is where we share our latest discoveries on design, history, and modern culture. If you found this article valuable, please pass it along to someone who would enjoy it.

-

Sources

Christus, Petrus. “A Goldsmith in His Shop.” Metmuseum.org, The Metropolitan Museum of Art.

Syson, Luke and Thornton, Dora  Objects of Virtue: Art in Renaissance Italy, London: The British Museum Press, 2001.

Scarisbrick, Diana, Rings: Symbols of Wealth, Power and Affection, London: Thames and Hudson, 1993.