LONDON — Although the modern society has been talking about transparency, the jewelry industry has always been an opaque industry. Nature of goods- Small, valuable, easily distorted, and even more easily stolen There must be a culture of prudence and secrecy. This may explain why, at the London jewellery festival, about four centuries ago, someone went out of their way to hide a very big secret. About 1650, a mysterious man hid the treasure trove of Elizabethan and jacbin jewelry in the basement under an apartment on the west end of the commercial street -- And it never came back. Scholars have speculated that the jeweler might have buried his stock. in- In the 1642 to 1651 British civil war, trade custody before leaving. Carnelian concave, engraved with the Viscount Stafford badge, provides a clue: the title was obtained in 1640, meaning valuables were hidden after that year. The cellar itself provides another: it belongs to a house, and in the 1666 fire it seems to have burned down with the rest of the neighborhood. The gems remained hidden until June 1912, when a worker of a demolition worker broke through 30- Stingy ghost, hit a wooden coffin. To his surprise, there are a lot of exotic gems, ancient reliefs, chain of enamelled lines and gold trinkets. Known as a cheap warehouse, mysterious cache Most of it is still blocked by debris on Earth. Found a pawn dealer and antique businessman named George Fabian Lawrence, who is more famous as Jack the stonemaker, \"the guy in Wandsworth, he bought the old Daily Herald to describe him, citing a laborer. Stone Jack recognized the historical significance of the discovery and brought it to the attention of Lewis Harcourt, then the government minister and the trustee of the new London Museum, who was later promoted to Lord Harcourt. Harcourt and other trustees are determined to protect the treasure for museums that are not yet open, and keep it secret for two years, using several pieces of the collection to appease officials from competition agencies in exchange for their complicity. \"This is the climax of museum politics,\" said Sharon Amon, curator of the London museum. after the merger of the London museum and the City Hall Museum in 1968, the London museum was reborn. \"Obviously, the Viscount Harcourt is very smart. He knew he was looking at something very spectacular. \"As of last month, thousands of visitors to the current London museum could say the same. Finally, the whole Hoard- About 500 pieces, including an Emerald cab fish pin, a fob watch mounted in a Colombian emerald hexagon block, and a lacquer bag Gold opals and diamonds inlaid with jade pulp and rubies It was the first time in more than one- The exhibition is expected to last until April 27. The obvious reason for the Elizabethan and Early Stuart costumes parade is simple. Unlike most jewelry in the past few centuries, when fashion changes or owners need cash, jewelry is removed and melted, at a vibrant moment in London\'s history, the pieces in the treasure survived as a single will unimaginable. \"The Romance of Cheapside is that it\'s a world conference,\" said Sean Lane, a London jeweler who appeared in the BBC documentary on treasures. Before being razed to the ground by a fire nearby, it was the 17 th. The equivalent of the century of the modern Diamond District of New York: a center of commerce, creativity and craftsmanship, flooded by large numbers of immigrant artisans who use extraordinary gem materials imported from around the world. Curator Hazel Forsyth, in a very detailed book accompanying the exhibition, describes the treasure as a time capsule of the times, when British explorers sailed on the high seas looking for exotic goods to bring back to Britannia: \"These include emeralds from Colombia; Helicopter from Brazil Asbestos, Stinger, moonlit Stone, Sapphire and meteorite from Sri Lanka; Rubies, chalets, diamonds and wreaths from India; Lapis lazuli and turquoise from Afghanistan, Iran and Sinai; The olive rock from the Red Island of zerbritt; Peacock and azurite from Russia; Crystal and amber from the continent of Europe. \"Alas, a gem was soon discovered: there were dozens of pearls in the treasure, but most of them deteriorated or disintegrated in the cellar. What\'s even more surprising is that except for Hoard\'s mix of materials, or its gadgets, which have survived for centuries, the industry that created them has changed so little. \"You can easily imagine someone reaching out to get a box and wearing a gold pendant at night,\" said Mish Tworkowski, a New York jeweler and exhibition patron. \"They are very modern -- Some people are 400 years old. ”Echoed Mr. Leane: \"They don\'t look so old when you see rings, especially signet rings. For years, jewelry has maintained an aesthetic continuity that few consumer goods can match. Take the Victorian preference for black silver, for example, in today\'s oxidized metal fashion, or in the Art Deco style that has always been popular, earlier this year, with the release of Baz Luhrmann\'s The Great Gatsby, it has an important moment of pop culture. \"Contemporary jewellers are even reliving the style they created as early as 700. C. When the ancient Etruscan people developed a special Golden granulation technology. In fact, jewelry, as a symbol of wealth, status and belonging, is designed for wearing on the human body, as old as culture itself. \"When a prehistoric man is looking for a partner, he collects branches, rocks, shells -- Whatever is on the ground \"He put a hole in it, he put it on the rope, and he will climb over the mountains to find a partner,\" said jewelry historian Joyce Jonas . \". \"They will wear their costumes as a sign of who they are, how comfortable they are, how successful they are, and show that they are part of the community. \"Tell me what has changed? ” Ms. Jonas concluded. If the function of jewelry as a souvenir of love or a symbol of power remains the same, then, in general, the construction method of jewelry is the same. \"With no exception, every jeweler who has attended the exhibition is excited to jump off the ground and say, \'This looks exactly like my workshop, \'\" she said. Forsyth describes a museum display that reproduces a cheap jewelry studio with benches and tools from traditional jewelers. The similarities between jewelry are so great Manufactured from time to time, if a contemporary designer with good hand-made training was shipped centuries ago, the skills needed to make a piece of jewelry would look very familiar: ingot making; alloying; Hammering and forging; wire making; stone setting; Wax loss casting; Pursuit and exclusion; enameling; engraving; Polishing and polishing. \"Jewelry in the mass market has changed dramatically, but for jewelry that comes out of the best houses, you can make a lot of jewelry as before and get the same results, \"said Tim McClellan. Founder of McTeigue & McClelland In Barrington, the jeweler ends the mass. \"You can still make jewelry if someone has a power outage in the workshop. \"Of course, a jeweler who works under such limited conditions In the past information age, almost every modern jeweler lacked time. The skunk hoarded a lot of debris that proved a hard process of creation. \"Jewelry that looks like a\" simple \"design, such as a combination of 10 gold wire pendants decorated with alternating enamel and pearls, is actually very complicated . \" Forsyth wrote in her book \"cheap treasure: lost jewelry in London. She wrote: \"It takes at least 27 sep arate processes to produce a pendant, and materials must be purchased, ordered and prepared before production begins. Deliberate, systematic, meticulous The work required to produce a pearl pendant. Fusse described the environment in which Treasure was built, saying: \"This is the beginning of the end of medieval jewelry ,\" McClellan said. \"Alchemy was replaced by chemistry. Astrology is becoming astronomy. \"In a sense, no one is doing more advanced science and experiments,\" he said . \". \"Jewellers include chemists and metallurgical scientists, engineers and geologists. \"Today, nearly four centuries after the treasure was buried, contemporary jewellers are on the verge of an equally dramatic shift in perspective. This change can be observed in the transformed classroom of the Southern California campus of the American Gem College. On May 2012, the school changed 26- A week-long course in applied jewelry art, jewelry design and technology. The program is taught using a computer station with a computer. Auxiliary design (CAD) software to produce results that humans have completed for a long time. For example, instead of focusing on wax carvings, the American Gem Institute teaches digital technologies pioneered by the medical and aerospace industries: additive manufacturing, rapid prototyping, and 3D printing. \"We found that we can teach wax carving for a year, and the ability to get symmetry is still not the same as you model things with CAD and put it on a machine -- This is one of the reasons why these technologies are adopted in our industry . \" The institute\'s director of global jewelry manufacturing art, man. Pursuing precision is a way to explain how the jewelry industry embraces technology. Eric Stewart says productivity is another kind of productivity, and he is a designer and graduate of the institute based in aristussen. \"CAD is so important,\" he said . \" \"It takes time for inspiration and creativity, but you are not paid. So, when it comes to work on the bench, always be more efficient. \"The debate between traditionalists and technology enthusiasts will certainly continue. A common complaint of the former is that when computers replace humans, the \"soul\" of jewelry is lost. But some recent developments suggest that even the future of jewelry In the past, jeweler\'s design talents and technical ingenuity will continue to influence the collective imagination of the industry, making it more efficient and inevitably more digital. In September, the 21st century jewelry retail giant TV shopping channel QVC launched 14-karat gold- Doug Mog, a gem and jewelry buyer, said the hoarding-inspired plating jewelry \"uses many manufacturing techniques that were originally applied to the original item \". A more striking sign is that the jewelry past is actually quite realistic, just look at the fascinating work being done by the Centre for Innovation in the jewellery industry at Birmingham City University, UK. Ann- The center\'s researcher, Mary Carey, and her colleague, Keith Adcock, have worked with the London museum in the past two and a half years to study 3D scans, and print copies of some works from Hoard to create the \"visual narrative\" of how they are constructed \". The goal is to create \"moving collections\" that encourage museums\" Viewers can touch, hold and wear Hoard pieces without damaging fragile originals. \"This is an interesting collaboration between cutting -- Edge technology and medieval technology . \"Carey said. She described the forensic work of copying some of the Pearl droppers in cages, three of which Pendant size Over time, the shape disappears like a pearl. \"We left this skeleton and it just asked us to put it on correctly,\" she said . \". Using CAD modeling and laser sintering, the metal powder is melted into three- Ladies, size formCarey and Mr. Bronze, gold dropper copied by Adcock Plating them and ATTACh White cultured pearls to their delicate caging. At the opening party of the museum on October Attracted 1,200 people, each wearing a replica of the dropper. Ms. Carey put her clothes on the silk ribbon around her neck. Adcock was a bit brave to wear earrings. At the end of the night, Lady. Carey met a security guard who said he could not help but notice her pearl pendant, a jewel originally designed and built in the Elizabethan era by anonymous artisans using hand-handed skills from generation to generation, after 400, it was rebuilt in a lab in Birmingham. tech lasers. At that moment, the jewelry industry was considered a \"living museum \". Carey wrote in a white paper on Hoard that rang is more real than ever. \"It\'s really good to be stopped by security guards,\" she said . \". \"He doesn\'t know what I think.