JEWELRY. Of all the smaller arts in India. jewelry is the most universally interesting, and beautiful. In it we see survivals of early and late Etruscan, Creek, and Asiatic forms, un doubtcdly descended frogn imported originals. The techniques of filigree and granular work, only recently rediscovered in Europe after - antique models, never were lost in India. There are at least three very primitive types of jewelry: (1) The heavy gold wire twisted into collars, girdles, bracelets, anklets, and necklaces, used originally throughout. India; (2) the chopped gold style made of flat or cubic pieces. strung together, and either solid or hollow, all of general use, but now most popular in Gujarat; (3) the that beaten silver type of many primitive tribes, similar to early Celtic work. There evidently is great sim ilarity between the Indian races and the Etrus cans in the profusion of jewelry that was always worn, as is evident from the earliest literature, such as the Rig-Veda; and the sculptures show that its forms have remained unaltered for over two thousand years. The present schools are
those of Ahmedabad, with its archaic style: of 1\Iysore, Vizianagram, and other towns, in thin nest pieces of beaten gold; of Kashmir and the Punjab, for the use of gems and enamels in rich est hut always tasteful variety; of Sindh and Beluchistan, similar but more solid and severe ; of Oudh, formerly centred in Lueknow, similar to that of Delhi and Lahore: of Cuttack in Orissa, famous for silver filigree work; and a multitude of minor centres, like Dacca and Dinajpur in Ben gal, the work of the last-mentioned place being extremely primitive. The Parsis of Bombay long held on to antique Persian forms, and the South used mythological subjects. The school of Triehinopoly, with very rich chains, necklaces, and bracelets, has long been a favorite one with Europeans. In fine, India has sounded every extreme and form of jewelry, from the most simple and primitive to the richest. See JEW ELRY.