Sometimes embossing was done by thin sheets of metal being pressed
on to a wooden carving prepared for the purpose, so that the result
would be a raised silver pattern, which, when filled up with pitch
or lead, would pass for a sample of repoussé work. I need hardly
say that a still simpler mechanical form of pressing obtains on
cheap silver to-day.

So much for the mechanical processes of treating these metals. We
will now examine some of the great historic examples, and glance
at the lives of prominent workers in gold and silver in the past.

One of the most brilliant times for the production of works of art
in gold and silver, was when Constantine, upon becoming Christian,
moved the seat of government to Byzantium. Byzantine ornament lends
itself especially to such work. The distinguishing mark between
the earlier Greek jewellers and the Byzantine was, that the former
considered chiefly line, form, and delicacy of workmanship, while
the latter were led to expression through colour and texture, and
not fineness of finish.

The Byzantine emperors loved gold in a lavish way, and on a superb
scale. They were not content with chaste rings and necklets, or
even with golden crowns. The royal thrones were of gold; their
armour was decorated with the precious metal, and their chariots
enriched in the same way. Even the houses of the rich people
were more endowed with precious furnishings than most of the churches
of other nations, and every family possessed a massive silver table,
and solid vases and plate.

The Emperor Theophilus, who lived in the ninth century, was a great