the iris out of the cloud, and the temples, whose azure and purple
once flamed above the Grecian promontory, stand in their faded
whiteness like snows which the sunset has left cold.' - Ruskin,
SEVEN LAMPS OF ARCHITECTURE, II.

I do not know anything so perfectly commonplace in design as most
modern jewellery. How easy for you to change that and to produce
goldsmiths' work that would be a joy to all of us. The gold is
ready for you in unexhausted treasure, stored up in the mountain
hollow or strewn on the river sand, and was not given to you merely
for barren speculation. There should be some better record of it
left in your history than the merchant's panic and the ruined home.
We do not remember often enough how constantly the history of a
great nation will live in and by its art. Only a few thin wreaths
of beaten gold remain to tell us of the stately empire of Etruria;
and, while from the streets of Florence the noble knight and
haughty duke have long since passed away, the gates which the
simple goldsmith Ghiberti made for their pleasure still guard their
lovely house of baptism, worthy still of the praise of Michael
Angelo who called them worthy to be the Gates of Paradise.

Have then your school of design, search out your workmen and, when
you find one who has delicacy of hand and that wonder of invention
necessary for goldsmiths' work, do not leave him to toil in
obscurity and dishonour and have a great glaring shop and two great
glaring shop-boys in it (not to take your orders: they never do
that; but to force you to buy something you do not want at all).
When you want a thing wrought in gold, goblet or shield for the
feast, necklace or wreath for the women, tell him what you like
most in decoration, flower or wreath, bird in flight or hound in