Since ancient times, gold has been a coveted material for artistic expression, with various civilizations leveraging its durability and beauty to create enduring works of art.
The practice of shaping and adorning solid gold as a canvas for art has a rich history, spanning multiple continents and cultures. In ancient Egypt, gold was synonymous with power and divinity, as evidenced by the exquisite golden artifacts discovered in tombs and temples. The iconic mask of Tutankhamun, crafted from solid gold, showcases the Egyptians' mastery of gold working techniques, including intricate inlays and detailed surface decoration.
Similarly, the ancient Greeks and Romans employed gold for a range of artistic and functional pieces, such as coins, jewelry, and ceremonial vessels, often featuring elaborate designs and mythological motifs.
The Inca Empire's skilled goldsmiths, meanwhile, created stunning solid gold artifacts, like the "Golden Sun," which exemplify the culture's advanced metalworking capabilities. Across Asia, gold was used to create revered Buddhist statues, ornate jewelry, and royal regalia, while European goldsmiths during the Renaissance period produced elaborate gold pieces, including cups, plates, and decorative items.
Throughout history, the use of gold as a canvas for art has been used to push the boundaries of creative expression using techniques such as casting, hammering, and engraving.
During the Renaissance period, European goldsmiths mastered the art of narrating mythological, biblical, and classical tales through intricate designs and engravings on solid gold. This showcased both the art form’s versatility and the artist's skill, allowing viewers to engage with complex stories and themes.
Mythological scenes from Ovid's Metamorphoses or Greek myths, such as the stories of Hercules or Apollo, were frequently depicted on gold cups, plates, and vessels. Biblical narratives, like the Crucifixion or the Last Supper, adorned gold altarpieces, chalices, and reliquaries, highlighting the medium's role in conveying spiritual themes.
Additionally, allegorical themes were used to convey moral messages, employing symbols like the pelican, representing sacrifice, or the phoenix, representing rebirth
“Parables In Gold” was borne out of my love for the fusion of artistry and narrative, coupled with reverence for the old ways. I wanted to bring golden stories to life using traditional techniques - melting gold, turning it into sheet, sawing the medallions, prepping the gold canvas, carving the bail from wax and casting and, finally, hand engraving (without the use of power tools) and gem setting.
Published in 1828, from English poet Mary Howitt comes The Spider and the Fly, a cautionary tale about those who use flattery and charm to disguise their true intentions.
John Doyle - A Venerable Spider and A Buzzing Fly (1697)
I.
"Will you walk into my parlour?" said a spider to a fly;
"'Tis the prettiest little parlour that ever you did spy.
The way into my parlour is up a winding stair,
And I have many pretty things to shew when you are there."
"Oh no, no!" said the little fly, "to ask me is in vain,
For who goes up your winding stair can ne'er come down again."
II.
"I'm sure you must be weary, with soaring up so high,
Will you rest upon my little bed?" said the spider to the fly.
"There are pretty curtains drawn around, the sheets are fine and thin;
And if you like to rest awhile, I'll snugly tuck you in."
"Oh no, no!" said the little fly, "for I've often heard it said,
They never, never wake again, who sleep upon your bed!"
III.
Said the cunning spider to the fly, "Dear friend, what shall I do,
To prove the warm affection I've always felt for you?
I have, within my pantry, good store of all that's nice;
I'm sure you're very welcome – will you please to take a slice?"
"Oh no, no!" said the little fly, "kind sir, that cannot be,
I've heard what's in your pantry, and I do not wish to see."
IV.
"Sweet creature!" said the spider, "you're witty and you're wise.
How handsome are your gauzy wings, how brilliant are your eyes!
I have a little looking-glass upon my parlour shelf,
If you'll step in one moment, dear, you shall behold yourself."
"I thank you, gentle sir," she said, "for what you're pleased to say,
And bidding you good morning now, I'll call another day."
V.
The spider turned him round about, and went into his den,
For well he knew, the silly fly would soon come back again:
So he wove a subtle web, in a little corner, sly,
And set his table ready, to dine upon the fly.
Then he went out to his door again, and merrily did sing,
"Come hither, hither, pretty fly, with the pearl and silver wing;
Your robes are green and purple – there's a crest upon your head;
Your eyes are like the diamond bright, but mine are dull as lead."
VI.
Alas, alas! how very soon this silly little fly,
Hearing his wily, flattering words, came slowly flitting by;
With buzzing wings she hung aloft, then near and nearer drew,
Thinking only of her brilliant eyes, and green and purple hue; –
Thinking only of her crested head – poor foolish thing! – At last
Up jumped the cunning spider, and fiercely held her fast.
VII.
He dragged her up his winding stair, into his dismal den,
Within his little parlour – but she ne'er came out again!
– And now, dear little children, who may this story read,
To idle, silly, flattering words, I pray you ne'er give heed:
Unto an evil counsellor, close heart, and ear, and eye,
And take a lesson from this tale, of the Spider and the Fly.
Who Moved My Cheese? is a parable by Spencer Johnson about handling change. It follows four characters - two mice and two "little people" - in a maze, on a hunt for cheese, a metaphor for success and happiness. When the cheese at their usual spot disappears, the mice quickly adapt and search for new cheese. While the little people resist, complain and cling to the past, the story teaches us that change is inevitable, and the key to thriving is to anticipate it, adapt quickly and embracing the journey to find new "cheese".
Franz Rösel von Rosenhoff - Eine Mause Knabbert am Käse (1697)
The earliest known appearance of The Scorpion and The Frog is in the 1933 Russian novel The German Quarter, by Lev Nitoburg. It tells the story of a scorpion who asks a frog to carry him across a river. Despite the frog's fear and the scorpion's assurance that stinging him would cause both of them to drown, the scorpion stings the frog halfway across. When the frog asks why, the scorpion replies, "I can't help it. It's in my nature." The moral - that some individuals cannot resist causing harm, even when it is against their own self-interest.
