From "THE GOLDSMITH" of Edoardo Saronni 1927 and from notes of Fedele Caffini, chiseller in Milan
The Goldsmith's art was surely the first art to appear, even if rudimental, as the
first expressive form when the desire of the beautiful awoke in Man. From this all other art forms derived, as Man proceeded
from the desire to embellish himself to the desire to adorn what was around him.
Our ancestors, still wild, living in caves and in pile dwellings, used anything to decorate
their body, and afterwards their dwellings: twisted yarns, asymmetrically gathered shells, leaves, feathers, nails, animal
bones and coral.
The tattoo itself, forgive me the paradox, is an embryonic form of the goldsmith's art.
It was begun with the repetition of the same leaf, of the same coral, of the same little shell, identical for each of the
circles of the neck, the arm and the foot; later small pieces were alternated with big ones, and finally centres were formed,
and tinier pieces were arranged around them in a variety of harmonious ways to break up the geometric monotony, arriving at
an aesthetic vision of shape and colour, which preceded the birth of sculpture, painting and a sense of perspective.
And thus we arrive at a harmonious feel for the whole, with the interweaving of animals and
refined arabesques, up to our times. Color shines in glazes and golds, sparkles in gems with a pleasure that passes from the
eyes to the heart.
Inspiration can come from any beautiful thing, and its surroundings: from the magnificence of
a sunset, to the delicate shading of the dawn; from a branch full of flowers, from a dry thistle, from a peacock to a beetle,
from the solemn sparkling of a starry night, to the subtle web of a spider.
But the goldsmith's art does not end at the jewel glowing with precious stones; he decorates
centrepieces, flowerpots, coffee sets, dishes, amphoras, trays, and he doesn't treat the richness of the materials so much as
the gracefulness of line and the attitude.
Those who observe with an eye filled with love draw the same pleasure from artistic creations
as from a rich light landscape, or a mellow and moving musical piece.
A sure guide to this can be simple and sincere inspiration and the desire to express one's
own personal way of seeing and feeling, without apparent effort, after intimate and mature reflection, as if the work had come
about spontaneously, because just piling up lines and patterns without plans has always meant the decadence and impoverishment
of inspiration even in our art.