In carrying on their artistic manufactures, the effect to be produced is the chief aim of the Indian• jeweller. He thinks only of the dazzling variety of rich and brilliant colours. He must have quantity, and cares nothing for commercial quality ; and the flawed " tallow drop" emeralds, and foul spinel rubies, large as walnuts, and mere splinters and scales of diamonds, which he so lavishly uses, are often valueless except as points, and sparkles and splashes of effulgent colouring.' By their consummate skill and thorough know ledge and appreciation of the conventional decora tion of surface, they contrive to give to the least possible weight of metal, and to precious stones absolutely valueless, the highest possible artistic value, never, even in their excessive elaboration of detail, violating the fundamental principles of ornamental design, nor failing to please, even though it be by an effect of barbaric richness and superfluity. Megasthenes was struck by the con trast of their love of sumptuous ornament to the general simplicity of their lives.
The rose chains of Trichinopoly, and the snake chains of the Northern Circars, all display great skill in the workmen, as also the silver filigree work for which Cuttack and Dacca are famous, the last named showing greater delicacy and beauty than either Genoa or Malta ; the articles usually made in filigree work are bracelets, ear rings, brooches, and chains, groups of flowers, attardans, and small boxes for native uses. Mr. Taylor tells us that the design best adapted for displaying the delicate work of filigree is that of a leaf. The apparatus used in the Indian jewellers' art consists merely of a few small- crucibles, a piece of bamboo for a blow-pipe, small hammers for flattening the wire, and sets of forceps for intertwisting it. The art of making gold wire, that is, silver covered with gold, is practised in various parts of India. Several varieties of gold and silver thread (badla) are made at Dacca, as kalabatoon for the embroidery of muslins and silks ; goshoo for caps and covering the handles of chauris ; sulmalt for turbands, slippers, and hookah- snakes ; and boolun for gold lace and brocades. Much fringe of various patterns is made, and thin tinsel stamped into various forms of flowers, or impressed with excellent imitations of jewels, such as flat diamonds, emeralds, and rubies. Many of the ornaments are made only for the poorer classes, for instance, imitations of precious stones, ornaments in pewter, in shell, and lac, and, still simpler, a bracelet with straw to represent the gold, and the red seeds of Abrus precatorius in the place of garnets. The names and uses of a few of the jewels of Southern India are—Vunkee, or armlet ; Jampaloo, or ear jewel; Kutree paval, ear ornament ; Vallel, or bangles ; Nuthoo, nose jewel ; Moothoo coopoo, or car ornament ; Pattecl, or bangles ; Coopy, head ornament ; Mayer Mootha, ear jewel; Jadabillay, head ornament ; Adega, neck ornament ; Curda poe, head ornament; Thallysaman, head ornament; Gaya or Geddy gooloosoo, or leg ornament ; Jaga undo°, head ornament ; Cummul and Jameeka.
Bracelets, anklets, and armlets of gold, silver, brass, copper, deer horn, the metals being solidly massive and as chains, are in use in all eastern countries, and amongst Hindus and Muhammadans. Hindu men may be seen with gold or silver rings, car-rings, and necklaces, but in general these are restricted to women and children. No Hindu will use gilded ornaments.
The Mahrattas wear the kitak, nag, khandani, phal, and mohr head ornaments, also armlets and chain-like anklets. The silver filigree work of Cuttack is generally done by boys. It is identical in character with that of Arabia, Malta, Genoa, Norway, Sweden, and Denmark, and also with the filigree work of ancient Greece, Byzantium, and Etruria. It is also made at Murshidabad, Dacca, and Ceylon.
The manufacture of shell bracelets is one of the indigenous arts of Bengal, in which the caste of Sankhari at Dacca excel. Tho thanks of which they are made are large univalve shells of several species of turbinella, from six to seven inches long, and of a pure white colour. They are im ported into Calcutta from Ramnad, and from the Maldive Islands. In making the large massive bracelets which are worn by Hindu women, they are sawn into semicircular pieces, and these are riveted and cemented to form the bracelets, some of which are elaborately carved and inlaid with a composition of lac and a red pigment. A pair of bracelets of this description frequently costs as high as 80 rupees. Of the thicker pieces of the shells, beads are made to form the necklaces which the Bengal sepoys wear. Some Marwari women and the Binjara women have the entire forearm from the wrist to the elbow covered with heavy massive bracelets, and the lower part of the legs equally covered with anklets. The armlets of the Binjara women are of deer horn, but it looks like ivory. Amongst the Rajputs, the women adopt a brother by the gift of a bracelet. The intrinsic value of such pledge is never looked to, nor is it requisite it should be costly, though it varies with the means and rank of the donor, and may be of flock silk and spangles, or gold chains and gems. Tho accept ance of the pledge and its return is by the katchli, or corset, of simple silk or satin, or gold brocade and pearls. Colonel Tod was the Rikhi-band Midi of the three queens of Udaipur, Bundi, and Kotah, besides Chund Bai, the maiden sister of the rana, as well as of many ladies of the chief tains of rank. Though the bracelet may be sent by maidens, it is only on occasions of urgent necessity or danger. The festival of the bracelet (Rakhi) is in spring. The adopted brother may hazard his life in his adopted sister's cause, and yet never receive a mite in reward ; for he cannot even see the fair object who, as brother of her adoption, has constituted him her defender.