Hand-made jewelry. Traditional technique of filigree with gold and silver in 1998 | Documentary film

In an old book, dated 1903, that the Rosado family has inherited for generations. Generation, some notes on the technique of the filigree, photographs There are various drawings of models of goldsmiths made in the villa Cacereña de Ceclavín. Although filigree has been used normally for the manufacture of gargantillas, pendants And other jewels that enrich the traditional women's clothing, have also been made. This technique is used to make various ornamental and decorative objects. Domingo Rosado is the last link in a long family saga of goldsmiths from Filigrana. And the only one who has resumed this activity which, until 40 years ago, gave work to 17 The Commission has also been consulted on the following issues: Any work that this craftsman wants to undertake always begins by twisting two or more threads. The money is based on the model you're using. Frotando los finos hilos entre dos maderas duras, Domingo is in the shape of a filigree, but You have to be very careful not to roll it over the account because it would leave. This twist must have its point right. Once the cable is rolled, the two silver wires, then now it's going to be crushed for I'll leave you alone, so you can fill in the blanks. In a small electric laminator, in which the separation of the Rodillos, Domingo Alisa, the filigree to the grueso deseado. Before, this job was done beating with a hammer, patientemente, la filigrana A lo largo. The yarn resulting from the lamination process shall be used to make the flower garment, I work in the same place where Domingo helps his mother. To make the flowers of the pieces, Julia rolls the filigree in the bitola, which is a barrel with different scales of measurements that makes it easier to mark the legs on the thread o points of reference. Now you cut, some are six-legged, others eight, that's the kind of legs that They wanted to do the flowers. The pincer is an indispensable tool for this job and Julia handles it with skill. to form the penalty. It's a job almost more women than men do, the man was then to stretch the silver, I'm here now and I'll send you the volume we want, but before no, before there was that There was something about old cutlery, old things, that was melting. Julia Poza taught this job to her son, although she only practices it occasionally, He hasn't lost his skill in his hands. Man, it's that son muchos años, son muchos años, porque es que nosotros nacimos y ya. Man, it's that son muchos años, son muchos años, porque es que nosotros nacimos y ya. Man, it's that son muchos años, son muchos años, porque es that nosotros nacimos y ya. We were born in these workshops, and since we were little we've been here for many years. Now, I'm moving the pieces, these are the ones he finished, to weld them, this is welding. De plata, if you throw a little on it, como está mojada if you stay there y ahora you will give With fire and residue, make a piece, then fill it with filigree. With the punta de la pinza Domingo rolls the filigree, the resulting pieces will serve him to fill all the vases of the Armazón de la Flor. There are different types of stuffing, such as tupido, fish spina, calao, and they are used according to the type of fish. The models of the parts are manufactured. When the flowers are full, our friend the artisan mows them in water so that The powder of the soldier's hand adheres to the piece. Then, with a gentle fire, proceed to weld all the pieces that form the flower. Once the stuffing has become a soldier in the flower's armoury, Domingo must give it to you. The form was concave to the piece. To make it, he hit it with different buttery pans in the buttering mold. You have to go in slowly because otherwise the piece can open. As the piece takes its final form, Domingo passes it to the holes. More of the mold. When you have two equal balls, the ceclavine orb will put one between them and the other. Fix it with water, the silver dust, the solder with a soft fire that won't melt. The work done. Now we're gonna extract tiny chapitas from this fine silver plate with the help of lead, This punzón y del martillo, to decorate the ball of the pendente, to put it A few pieces of fine silver. With a sacavocado the artisan cuts a few small circles of silver. Then, as in all previous processes, some silver powders will facilitate the welding. Now Domingo is going to make some golden balls for the pendants. With the sack of avocados, cut the circles of the chapa to the desired size. The difference, apart from the price, is that gold is harder, quite More tough. Then, in the mold of buttering, they will give the semi-spherical shape to the pieces with the I'm not going to lie. Once the ball is made, we've welded the top part, which is where it's going to go. The hole, and now, with these roundels that we took out of here, from a dock, And the little ones, they're golden, because with these we're going to decorate the media ball. The different pieces that make up a collar are already finished. We just need to make the holes to put some pieces together. Of those works carried out in other times by the extreme workers, between the jewellery and artistic objects of religious character, has been recovered Today a refined or traditional factory. Julia Poza y Domingo Rosado have turned a da activity a unas herramientas que hace 40 years have passed. The experience and memory have served to recover this traditional work of the filigree in the Zeclavín. I'm Eugenio Monesma, director and producer of the documentary you just saw. If you liked it, I encourage you to subscribe by activating the notifications from the bell And you can enjoy the hundreds of documentaries I have on the channel. I'm going to go up there every week.