We can see both similarities and differences in the technical and artistic execution of ancient jewelry between the peoples inhabiting the Baltic Sea region. In spite of the differences, the traditional importance of wearing jewelry in ancient times leads us to consider that their symbolic meaning was linked to magico-mythological beliefs that were current around the shores of the Baltic Sea in the pre-Christian era.

    The aim of the ‘Myth and Metal’ seminar is to compare both these ancient concepts and the ancient culture of jewelry, thus to look at the world for a moment through the eyes of our ancestors: the Vikings, the people of the Kalevala or the ancient Baits. My theme, about the elements of myth, which a maker of jewelry can observe in the late pre-Christian Latgallian female burials, is based on experimental archaeology research at Cesis Museum and practical work over the last years.

      Ancient female Latgallian burials have been chosen as the subject of study first of all because these are the ancient inhabitants of our region. Secondly, the ancient Latgallians buried their dead in grave-pits, and so there are more material remains for carrying out reconstruction than is the case in other areas where cremation was the dominant tradition. Thirdly, the large number of ornaments of bronze or so-called ‘green copper’ has led to the preservation of grave goods of organic composition as well – artefacts of cloth, wood and leather. This factor also relieves the process of reconstruction of dress and other grave goods. And fourthly, the men were more reserved with regard to wearing jewelry, apart from certain particularly rich finds, whereas women’s jewelry from the later burials reveals great finery, refinement and diversity.

      When undertaking experimental reconstruction of ancient jewelry, the jeweler sooner or later encounters the question of the traditions of wearing of jewelry and their significance. Here he can turn not only to archaeology, but also to research on mythology and folklore. Jewelry represents an important part of artefact finds. Their richness and diversity testifies to the material cultures of our ancestors. Consideration of the ornamentation and form of the jewelry allows us to approach to the spiritual roots of our culture in particular. In the course of general cultural development, the forms and artistic rendering of the jewelry are a vivid testimony to the artistic expression of the ancient jeweler and the trends in traditional jewelry wearing. First of all we should note that jewelry was worn in more or less clearly defined sets. Each set of jewelry, together with the festive dress was an arrangement of decorative and symbolic forms and ornaments, which expressed the magico-mythological concepts of the time and the wearer’s sense of beauty and taste, as well as the technical abilities of the jeweler.

      We can assume that both casting and hammering of ornaments continued in the period under discussion. Chemical analyses have been done on artefacts, showing that particular metal alloys were employed for particular aims. Copper alloyed mainly with tin, the alloy known as bronze, melts well and is easy to cast. It is from this alloy that zoomorphic pendants and tinklers could be cast, but it cannot be hammered. The methods of manufacture of late Iron Age and medieval neck-rings and armbands in the workshops of the ancient Latgallians are attested by hammer impressions on the ornaments, particularly on unfinished examples. Thus they were hammered, and this requires a different copper alloy, with zinc, which makes the material more plastic. Jewelers have a saying that nobody casts objects that can be hammered. With mass production it is different. This was probably the case in the early Middle Ages, and it is the case today as well, when artifacts are copied using modern techniques. Ornaments made by hammering are easier to adapt to the wishes of the particular customers, they have become more plastic and lighter. Hammering also requires less time and material expenditure. Ornaments that have been hammered show the direction of change: such developments can be followed, for example, through an analysis of forms of archaeological neck-rings and armbands. Most vividly the development of ornaments made by hammering is shown by the finger-ring of the ancient Latgallians. The original form was a simple spiral ring. With the development of abilities at hammering, the cross-section of the ring changes. When it is hammered in a groove it attains a triangular, segment-shaped or semicircular form. With the appearance of apparatus for drawing wire the simplest spiral rings were wound from circular approximately 2 mm. diameter wire. They were also produced by twisting together several thinner wires. Occasionally the finest spiral rings were ornamented with pendants. The ancient Latgallian jeweler did not have soldering equipment as we have today, which allows the concentration of a high temperature flame on one point. By this means the band of the ring is soldered together and it attains the familiar closed circular form. However, ancient experiments at hammering were the basis of a whole culture of spiral rings. When the blank for the ring is hammered out, the thickening left in the middle could be used to form various configurations, with a triangular or segment-shaped section or flattened with a longitudinal ridge hammered out in the middle part. In this way the characteristic rings with a middle-plate developed.

      Archaeological excavations show that the dead woman was placed in the grave in her finest dress with a set of jewelry and with everyday utensils. The burial was oriented with the head towards the west, in the opposite direction to male burials. The mortuary traditions as well as the grave goods represent definite evidence that in the period under discussion the myth of life after death was still current. The ritual re-enacts the myth. The funerary rites must ensure that the deceased person reached the world beyond. The rich array of jewelry that accompanied the dead indicates its important role in this ritual.

      If we make use of comparative material and evaluate the artefacts, which have been obtained in considerable numbers, we may conclude that a model of the cosmic world order is reflected both in the sets of jewelry and in particular ornaments. A characteristic example is represented by ancient Latgallian armbands with zoomorphic ends, which are very commonly found in late Latgallian female burials. The arch of the central part, ornamented with a motif showing the World Hill with three solar signs at the top, could be linked to the celestial vault where, according to Indo-European beliefs the home of the gods is located. The lines delimiting the lower part of the World Hill can be considered as representing the level of human life on earth. This ornamental group is enclosed on both sides by a wave-like ornament, which ends with stylized animal heads at the ends of the arm-band. Such a wave-like ornament usually denotes water. The ancient myths tell that the sea surrounds the ordered world of gods and people, which is associated with concepts of primeval chaos or the world of the dead. Latvian folk songs mention a black serpent “in the middle of the sea, on a rock”. In the Scandinavian version the serpent of Midgard, Yormunganda is coiled around the world like a great belt.

      A similar motif may be seen in the rings with a middle-plate that were placed in the graves of the Latgallians, both women and men. The hammered broadened central part is usually decorated with solar signs and could be a depiction of a cosmically ordered world, while the imitation twisting of the ends, which encloses the central part from both sides, could be linked to serpents’ bodies and tails.

      The presence of a model of the world in the motifs on the ornaments is associated with a very important creation myth. Latvian legendary stories of this event have survived in very laconic form. On the other hand folklore provides graphic evidence of a ceaseless natural process: the death and rebirth of the world (and the gods). Rebirth or rejuvenation takes place with the help of magical rituals, which we find in calendar traditions, fertility, initiation and other rites. Each ritual of the renewal of the world re-enacts the act of its creation. Thus, the jeweler, when he chiseled into his ornament the myth of creation, to a certain extent becomes a participant in this creation. When the wearer puts on jewelry he joins in the natural processes and links his life with the functioning of a cosmically ordered world.

      A circular adornment of golden spirals, the crown, shines like the sun over the microcosm of the ancient Latgallian girl dressed in her finest dress. The suggestion of the symbolic link between the crown and the sun Is reinforced by the triangular chain divider attached at its rear and which has, because for technical considerations of the jeweler or for ease of wearing has lost its top art and so now is described as a trapeziform chain holder. This combination reveals the above-mentioned sign of the World Hill or celestial vault. Several rows of chains begin from the lower edge of the chain holder. The lower ends of the chains usually terminate with a chain-holder of double loops, which functioned to split up (divide in two) the tinklers and pendants. If we take the ends of the chains as representing a hypothetical ground level and the tinklers and chain ends as the ground vegetation, then it is not difficult to see that the chain-holder of double loops as a fertility sign expressed in metal. Such an arrangement of the Latgallian girl’s crown and its braid relates to the scheme of Indo-European agrarian myth: God, the Father of Heaven impregnates the Earth Mother and through their contact all living beings multiply and bring fruit. This fertilization takes place with the help of celestial waters, i.e. rain. The rows of chains, which symbolically link heaven and earth are considered by researchers, including B. Ribakov, as representing streams of fertility-bringing rain. Latvian folklore also shows evidence that the chains serve as a symbolic link between heaven and earth.

      Uncertain is the role of the double-sided comb hung from the braid of the crown. Occasionally instead of a symbolic comb, a real bone comb is placed in the braid of the crown. The presence of a comb may be linked to the concept of order and purity, which is important in the struggle against destructive plagues. From another aspect, Latvian folk-tales include a motif where the heroes, a boy and his bride, fleeing from a pursuing witch or devil, fling down a comb at the critical moment. This causes a thick wood to grow – a difficult obstacle – in front of the pursuer. This is a direct reference to the comb’s magical protective function. Latvian traditions include a great many ways to ward off evil forces using sharp objects such as thorns, pins and scythes, used at the summer solstice. It seems that the sharp teeth of the comb, pointing in both directions, can bring fear to witches and other evil beings. The link between agrarian myth and the headdress of the Latgallian maiden is not difficult to envisage if one remembers the magical principle that like produces like. Fertility of the earth is emphasized in order to promote the fertility of the woman, the carrier of life. We may suggest that the role of the comb among the pendants and tinklers symbolizing fertility in nature is to ward off danger not only from the gardens and fields, but also from the wearer herself.

      A well-known tradition that has survived is the wearing of the crown until marriage. On marriage it was replaced by a bonnet. Nevertheless the wives of the ancient Latgallians commenced the journey to the world beyond with one or even several crowns. The amount of wear on the pendants of the crown testifies to its use in life as well. Evidently it continued to serve as a component of the dress and set of jewelry on special occasions.

      In the period under discussion, the early Middle Ages, alongside metal crowns there also appear woven crowns in female burials, which were more comfortable to wear, as well as small crowns of leather bands. The chain ornament with an arched chain-holder, pendants and tinklers was in its essence related to the idea of ensuring fertility and protection by means of the braid of the crown. Here also we se/e the celestial arch and fertility symbolism in the rows of chains.

      The implements and equipment used for making garments are richly ornamented with symbols of sun and light. A garment produced using such implements acquired powers of magical defense against the evil eye, envious people, witches and even, it is thought, against sword-cuts. Unprotected were the spots where the garment ends, i.e. the neck and the ends of the sleeves. In order to close off these ‘dangerous’ spots a neck-ring was placed around the neck, armbands on the arms and rings adorn the fingers. The symbolic significance of the circle is known at all times and places, even today it is present in traditional games.

      The richest female burials of the 12th century contain as many as five or six neck-rings, but in the following period these disappear. For the ancient Latgallians, in contrast to the Lithuanians, Couronians and other neighboring groups, the neck-ring was a typical female ornament. The ends of the neck-ring, which originally had the function of fastening together the neck-ring, were made longer and overlapping. Their fastenings and loops became decorative elements. In the twisting and facetting of the ancient Latgallian neck-rings we can often observe the serpent motif. The myth of the serpent’s association with the underworld, the Land of the Dead and the Earth Mother is not foreign to Latvian beliefs. As was seen in previous examples, the Earth Mother or Mara was not only in charge of the souls of the dead, the veil, but also ensured the provision of new life and fertility. Perhaps this is one of the reasons why the serpent motif was very popular in ancient Latgallian women’s sets of jewelry. The significance of spiral armbands and spiral rings is also associated with the winding serpent. As in previous periods, armbands in late Latgallian female burials are found in matching pairs on both arms.

      Strings of cowry shells are characteristic jewelry finds of burials in the late period. These rich cowry ornaments have been strung alternately with glass beads and may contain around 200 shells (as in Jaunpiebalga cemetery). Evidently the aspect of fertility magic is dominant here as well.

      Penannular brooches have a special significance among ancient Latgallian ornaments. These are the only ornaments, which have a practical function in addition to their magical significance – fastening of the dress. Owing to ease of use, these served for many centuries. In the period under discussion most favored by ancient Latgallian women were coiled penannular brooches with rolled-up ends. The tight coiling, as well as the thickening occasionally observed in the middle part of the brooch is evidence of masterful coiling in a flame.

      The woolen shawl of the ancient Latgallian woman is unique in that the ornament of metal rings was woven into the fabric. Woolen shawls ornamented with metal were found in neighboring areas as well, but the metal ornaments are usually sown onto the shawls or their borders.

      In astronomy the term ’solar corolla’ is still used today, and folk songs tell how the celestial smith hammered out a crown, ring or brooch for the Daughter of the Sun. When the Daughter of the Sun goes out to her husband, the Sun gives fine gifts to those on earth: belts of gold and silver, golden rings and pendants of green copper. After wearing a serpent wound around his neck for a year, the hero of a folk-tale is rewarded with marvelous prizes. A person who has received a snake’s ring as a/magical helper obtains supernatural abilities for fulfilling his tasks. Folk songs tell of the capacity of the girl’s crown to “bring on a mist”, rendering the wearer invisible on the arrival of an unwelcome suitor. It turns out that in order to raise a golden castle from under the ground to the surface, it is suffices carry a maiden’s crown around it three times. The castle turns into an egg, which once again shines in all its glory on the surface of the earth with the help of that same maiden’s crown. Thus, by making use of the material of Latvian folklore – folk songs, legends and folk-tales, it is possible to gain an insight into the significance of ancient ornaments both as magical protectors and as helpers provided by mythical forces.

      Concerning the technical aspects of making ancient jewelry, we will have an opportunity to discuss these in the experimental archaeology workshop of Cesis Museum, the Ancient Jeweler’s Workshop’.

[Daumants Kalnins, the main report of seminar "Myth and Metal" 1997]

All materials of the seminar -  www.myspace.com/mythandmetal

     Professional jewelers have been involved in the imitation process of archaeological jewelry. There are particular jewelry articles made according to ancient samples. This kind of work does not provide a complete idea on jewelry culture in olden times, as we know that our ancestors have worn jewelry sets which comprise both decorative and symbolic design. Besides, creating reconstruction of ancient jewelry by implementation of modern technology, not always it is possible to achieve good results. The ancient jewelers had methods of work mastered and developed in the course of centuries, application of which, especially forging of complicated antiquity reconstruction’s, turn out to be quite simple from today’s point of view.

     In order to find out how the ancient jewelry was created and worn, the experimental archaeology, a branch of archaeology science, is established. Basing on archaeological experience, experiments are carried out there to make ancient jewelry sets using the tools and methods as it was in the ancient times. Both the technologies of ancient masters and tools are to be thoroughly studied through investigation and effort. Still the archaeologists of Latvia have not succeeded to discover an entire set of a jeweler’s workshop until now. We can guess about their work centuries ago only due to finds of some separate tools and the result of their work- lots of multishaped jewelry. Simultaneously to investigation and practical implementation of technical methods used by ancient jewelers, we have to face motivation that denoted wearing of jewelry in ancient times. In this respect magic- mythological notions should be taken into account as they both designed in decorations and richly represented in Latvia folklore.

     The Latgalls, the people of the Eastern Balts origin, distinguish themselves between other Baltic peoples with wealth and originality of jewelry. The burial tradition of this particular people- i. e., to bury the dead uncremated together with their jewelry, weapons and household items- makes possible the investigation and reconstruction process of these antiquities. At the period of time when the Latgallian jewelry culture has reached the top level of its development (9th- 12th centuries), their neighbor peoples usually cremate the dead. So a number of antiquities are lost for research. Whereas the grave inventory of the Latgalls, also due to conservation effect of metal jewelry, has preserved comparatively well.

     The 9th – 12th centuries are characteristic with establishment of feudal relationships in the Latgallian territory. Intensive economic and cultural relations between the peoples living near the Baltic Sea take place at that time. The rivers Daugava and Gauja -significant water communication ways of that time cross the Latgallian territory. At least the large stocks of nonferrous metals, which were at the disposal of jewelers, confirm the relations that existed with the western and the eastern neighbors. The technical methods of work, used both by the Slavonic and the Scandinavian craftsmen, were not strange to Latgallian jewelers, as well. It is possible to look for some development of issues related to mythology and handicraft comparing the material at our disposal to the similar one in traditions and social life standards of neighboring peoples.

     The natural development of peoples, living in the territory of Latvia, is interrupted by the appearance of German missionaries and crusaders in the 13th century. Also the large but politically scattered Latgallian land entirely loses its independence until the last quarter of the 13th century.

     The archaeological excavations in the burial places of the 13th – 14th centuries prove the fact that, in spite of the formal adoption of Christianity, the Latgalls have still tried to bury their dead according to the ancient tradition. Many traditional types of jewelry have vanished from the stock of articles to be given in the grave. The quality of jewelry has decreased, as well, and it can be explained by the fact that they have not been made by professional masters. So, together with the smiths of ancient Latgallian jewelry, the jeweler’s craft, which had been developed in the course of centuries, disappeared, too.

     Latvian folklore and traditions have preserved a lot of magic-mythological notions, the roots of which are to be looked for even before the 13th century. Folksongs present us ancient myths, and the deities found there are characteristic to those of Indo-European peoples. The celebration and worshipping to these deities used to be carried out by rituals. There is a definite regularity between a myth and a ritual- the ritual reflects the content of the myth. As folksongs as decorations contain the symbols and names of the deities. Such a collection is useful to explain the reasons, which made the ancient people to create and to wear jewelry.

     Serious research on symbols and magic usage of jewelry, clothes and household articles is carried out by a Russian archaeologist, B. Ribakov. He supposes that there is a model of the World’s structure designed in the ancient Slavonic festive costume and jewelry set related to it. Using not a separate amulet, but an entire system of them, the ancient man joins in the cosmic circulation of the large world. In that way he provides himself with favor of supernatural forces and protects himself from evil and misfortune. Taking into account the common Indo-European origin, as well as the fact that the territories of the ancient Latgalls always have been located in the neighborhood of the Slavonic tribes, it can be assumed that there could exist a definite similarity of their opinions concerning the wearing tradition of jewelry, as well.

     The jewelry of various peoples differs in particular national features. There is an individual expression felt in the works of some definite authors. Nevertheless, a notion appears through ancient jewelry sets and separates jewelry items, that they are not determined by fashion so much, as by magic- mythological ideas.

     One of the most significant equipment in the ancient jeweler’s workshop was the source of heat. It is necessary as for metal melting and casting, as for its heating during the forging process. A forge used to serve as a heating source for Latgallian jewelers at that time.

     In order to shape the items, anvils and different kinds of hammers were needed. The latter ones slightly differed from those applied today. As tinplates as profiled tapes and bars are chiseled with a hammer on an anvil. There have been special grooves filed on anvils for making profiles.

     To hold and fold a semi- product of a jewelry item smaller pincers and larger tongs were needed.

     Chisels and saws were used for distribution of metal. No metal saws can be found between Latvia’s archaeological items, but the flat oblique cut of chainlinks, that is impossible to achieve with another tool, indicates the application of such saws in ancient times. Different cut and crosscut file shapes were used both for jewelry processing and tool manufacturing.

     Punches and gravers were used for ornament designing on the surface of a jewelry article. Also the Slavs and the Scandinavians are well acquainted with decoration elements created with the help of these instruments.

     The ancient tools used to be quite expensive. They have not been even given to the dead in his grave. As the tools served for one and the same jeweler for a long time, it is a conditional possibility to identify the author according the tool imprints on the surface of a jewelry article. The jewelry set of Latgallian girl from the 9th- 12th centuries consists of a head- decoration, neck-rings, bracelets, rings and brooches (”sakta”).

     A characteristic head- decoration at the period of time reviewed used to be five- or six- row spiral- shaped tape- like crown with a “braid” and pendants. Chains of the “braid” were freely hanging over the back or, flinging over the girl’s left shoulder; they supplemented neck and breast decorations.

     The crown is a typical maiden’s decoration, a compulsory component of her costume. As all- over the world, it symbolized girl’s virginity and honor for the Latgalls, as well. In this sense this particular jewelry item is the one out of few, which has not lost its symbolic meaning in the course of centuries.

     By reminding the assumption on jewelry set as a model of the world, the placement of crown on the head- i.e., over the entire body- is connected with the symbolic of the Sun. This is proved by solar signs in the decoration of crown as well as its usual comparison with the day- time luminary in Latvian folk- songs.

     The neck-rings, on the contrary, have survived in the Latvian ethnographical material. Later on, when this kind of jewelry has disappeared, its role in thematic protection of neck was overtaken by decorative fine needlework on a blouse collar. The folksongs do not mention the neck-rings themselves, but they have not forgotten the magic power of a metal neck-ring. The well-known principle of a magic circle has effect there.

     For the Latgalls, unlike their neighbors, the neckrings have been typical women jewelry. The specific feature of these neckrings is that the ends, which originally served for hooking them up, have been hammered to become longer in a way that they overlap each other in the course of their further development. The linked ends lost their utilitarian functions; they had got ornamented design and transferred into decorative elements. Frequently a stylized motif of a snake appears in the textures and twines of neckring circles, as well as in the form of its ends. According the ancient beliefs snake is a creature of soul, connected with underworld, the ghost kingdom. The snake often appears in folk songs as a symbol for Mara, Mother of the Land. Under the supervision of the deity Mara there are souls both of the dead and children. She is the giver of life and force of productivity. Mara is present at the moment of birth; she helps women in child- birth. Particularly in such an aspect the symbolic meaning of a snake should be treated in women jewelry.

     The adornments consisting of chains were very popular for the ancient Latgalls. There were chains in length of about 6 meters found in the wealthiest burials. Chains with pendants and tinklers not only fit to the composition of the ancient festive costume, but also every movement of its weaver has been accompanied with beautiful game of light. Besides, tinklers and pendants glitter and create clear jingling. As to the ancient beliefs, the jingling protected the weaver from evil and witches.

     The bow- shaped chainholder with chains was not only a neck and breast decoration but also it served as a basic, which supported neckrings. We can judge this from the disappearing ornament on the back part of the archaeological samples. The broad and smooth from inside chainholder was placed on the neck as the first one. It protected the neck from movement and rubbing by the neckrings. These adornments have been arranged after their size, in order not to cover up each other. Normally the neckring with flat-forged front part and trapezium- shaped pendants was placed as the top one.

     Variety of form is characteristic for bracelets that have been worn both by the Latgallian men and women in the course of centuries. The spiral bracelets were popular for quite a long period of time. This type of jewelry is familiar to the Baits and the Finn-Ugrians since the Early Iron Age already. The bracelets appear among the archaeological material related to the Latgalls in the 7th century and they were worn even during the Middle Ages.

     Even in spite of popularity of spiral bracelets bracelets ending in stylized animal heads in the second half of the Late Iron Age competed them out. These bracelets differ in forging of various cross- cuts of a bow. Men wore the most massive bracelets, too.

     The characteristic feature in bracelet wearing tradition of the ancient Latgalls is that women put on identical bracelets on both hands, but men- different ones. Archaeology proves the expression found in folk songs that all the girl’s fingers are full of twisted golden rings is true. It used to happen that even up to ten rings are found in one grave of a Latgallian burial. This jewelry item, similar as a crown, is one of the rear ones, that has survived not only itself, but which bears a symbolic meaning today, as well. A ring has been mentioned in folk- songs for about three thousand times accompanying the most significant episodes of a human life from cradle to grave. Golden, silver, cooper and even amber rings are mentioned there. Sometimes archaeologists find silver rings in the Latgallian burial grounds, too, but most of them as well as other jewelry items are made of the so-called “green cooper” (bronze). Spiral rings are the most popular in the territories inhabited by the Latgalls and the Selonians during the period of time concerned. The most splendid samples of these rings are decorated with small pendants. A ring with a forged middle part, which is also considered a variety of spiral rings, is characteristic to ancient Latgalls.

     The broaches (”sakta”) were the only ones out of all the jewelry items reviewed that besides the magic and decorative notion bear quite practical function. In everyday life they served to pin up and hold one’s clothes.

     Horseshoe- shaped broaches have appeared in everyday life of the Latgalls since the Middle Iron Age and they occupied a determinant place among other types of broaches in the course of several centuries. They used to be very popular due to their convenient application.

     There is no conformity of opinions regarding the origin of these broaches, as this type of pins is familiar both to the East and to the West from the Baltic Sea. The horseshoe- shaped broaches differ from each other by the form of a bow and ends. There exists an idea concerning the symbolic meaning of a horseshoe- shaped broach, that it could be connected with the design of the Moon. If we agree to the hypothesis by B. Ribakov, that jewelry set is a model for the world, which contains all the events of cosmic circulation, then the luminary of night should appear in this model, as well. We can agree to such an explanation of symbolic meaning for a horseshoe- shaped broach taking into account the role attached to the Moon by folk- songs.

     Both men and women used to wear horseshoe- shaped broaches. Small broaches were used to pin up the collar of a shirt or a blouse. But the big ones were used to fasten woolen shawls, men’s sweaters and capes.

     The experimental imitation of jewelry of the ancient Latgalls is a useful occupation for the science of archaeology to investigate the problems of ancient craft. The present-day Latvian folk- art grows richer by acquiring ideas from the metal art tradition developed in ancient times. Just a small part of creative heritage by ancient jewelers is mentioned above. The museum exhibitions, displays and repositories provide more information on the respective issues.

["AIZ DAUGAVAS VARA DARZS", Daumants Kalnins, 1995]

                              Fascinating jewelry

One of the most current questions during the excursion in the Ancient Smithy is “How did the ancient woman felt dressed up in Sunday garment and jewelry, how much did it weight, etc.” I respond that our guests have a unique opportunity to find out answers to these questions for themselves. I exhibit a mannequin of an ancient Latgalian woman and offer to any of the present ladies to try on its jewelry. As I put on the ancient jewelry in exactly the same order as it was done in ancient times, I explain its meaning and way of making. In order to make it all more visual I used the most characteristic samples of jewelry of every kind when I dressed the wooden doll. Therefore it is impossible to talk about a set of jewelry belonging to a certain burial place. I assert, however, that I am not contradicting the truth and when I have dressed my visitor in the exhibition set, she can experience exactly the same feelings as the richly adorned ancient Latgalian women felt thousands years ago.

It will be interesting to find out that this interactive try-on of ancient jewelry started not in the Ancient Smithy and even not in Latvia. The inspiration of this activity I found far away in the East —in the land of the Rising Sun.                   In the summer of 2000 in Tokyo there was the Second World Folkloriada. Twenty five folklorists and two masters of applied arts went to Japan in order to represent Latvia. I was one of them.

The tents of Folkloriada’s participants settled down in the alley of Yoyogi Park. There were fifty seven in total —the totality of countries represented in Folkloriada. Inscription over our tent: Ratobia. The girls —our guides— tried to convince us that that’s how Japanese people call Latvia. Our three translators were students of English language. They were helping us as much as they could, not only with the communication but also with the arrangement of the stand.

On the first morning we almost had installed the exhibition. My ancient Latgalian women costume with all the jewelry, hanging on wooden sticks and attached to the ceiling with cords, cheerfully flattered in the wind. When we had already arranged the entire exhibition, we received a message that we have to gather everything because we had to  exhibit in a shopping center from 11:00 to 12:00. A girl translator —Kazuko— was selected as our guide. There almost was no time to prepare the exhibition. I put photographs of Gunars Janaitis represented in the book Aiz Daugavas vara dārzs (Copper Garden over the Daugava River) on the windowsill. I distributed jewelry, engraving tools and tin plate on the table. My improvised “folk girl” was hanging in the corner of the stage, occasionally falling apart. My partner —a belt weaver— successfully had found a hook where he could tie an end of the unfinished belt and he was working already. Kazuko asked us whether we had any materials in English so she could announce and promote us. I had a self-made brochure with me that contained enough information.

The public was still waiting for the beginning of presentation at the door when the woolen shawl fell off my “folk girl” again. Wishing to save the situation, Kazuko asked me whether I would mind if she put on the costume. That was a hellishly perfect idea! Rapidly, I tucked up the girl in shirt, skirt and jewelry, and then she was speaking on the microphone introducing the public with “fakirs” from Ratobia. A mother with two boys approached my table. I showed her a finished cuff-shaped bracelet, engraved a line in the semi finished piece and offered boys whether they wanted to try to etch in the tin plate. Certainly they did. Mummy examined the exhibited jewelry and the first yens found their way to me. In the meantime, Kazuko was the center of attention of the public. Engravers at my table did not let me look around, but I felt that my model of ancient Latgalian jewelry perfectly was coping with her task. There was quite a crowd around the girl, who after listening what she was explaining came towards us to see and find out what we were doing. The hour allotted to us came to an end too fast. Once more with bags, but now with smiling faces, we returned to our exhibition hall. I did not have to carry the costume anymore because Kazuko, nobly raised, was sailing in it in the right direction.

As there were only three girls-translators for the whole Latvian delegation, Kazuko soon left her costume and jewelry. She had to go and do her direct duties with the performing Latvian groups. But after a while Kazuko returned and clambered into skirt and woolen shawl. I assume that it was not very easy because the column of the thermometer was showing 32°C. While she was putting on the jewelry a coterie gathered around us, so I did not have to hang the jewelry in silence, I started to tell the spectators about the order how to put the jewelry, as well as the possible meaning they could have had. The audience noticeably augmented as Kazuko translated my explanation into Japanese.

In the alley appeared guys with huge TV cameras. Apparently they were not filming everything, but were looking for something special. I continued to put the neckrings on the girl when I noticed an enormous objective at ground level. Another one was directed from a side. Our specialist of Far East and connoisseur of languages, Mr. Edgars Katajs came up and said: “You count among well! It is not that easy to get into the center of attention of Japanese National television.”

When girls from nearby refreshment stores noticed our improvised fashion show, they hurried towards me. It resulted that there are moments when even precise and accurate Japanese people run away from their work, just to see and try something they heart wish for. One after another girls were dressing and taking photographs. They also were taking brochures and I noticed that they were disappearing. As a payment for the “hard” work girls brought me snacks and cans from their stores.

When the day’s dust was washed away and dinner was finished, we had acquired a habit to gather in the room of one of us. In one of these meeting nights Kazuko reminded me about the jewelry wearing in the pavilion. She had thought that I should include such a show in my repertoire. I had already thought about something like that, but I needed someone else whose active participation could prove the vitality of such an event. Hereinafter, perfected and improved Kazuko’s advice became the feature of the program in “The Smithy of Ancient Jewelry”. It was both show and promotion, and an easy recordable lesson about the Latvian history.

The days in Tokyo passed. Saying goodbye to new friends, we interchanged addresses and best wishes. It results that people who are separated by distances of tens and even various thousands of kilometers are drown together and united by their cultures. The ancient Latgalian jewelry can fascinate not only in time but also in space. Somewhere far away, in a two hour ride from Tokyo, Kazuko, an admirer of Latvian cultural heritage, checks her e-mails and, although a long time has passed, still expects news from “the Smithy of Ancient Jewelry”. She is working to be able to continue her studies and to improve her professional skills as a translator. I remember the girl’s joy when her translation of a Broadway musical was published for the first time. Sometimes in the process of the work or social life some questions relative to Japan flashes in my mind. For example, what exactly happens in Japanese mythology in the holy Fuji Mountain or which are the national Japanese metal arts. In the same or the next day I receive an e-mail with a detailed answer from “primary source.” There is a possibility that some day in the future a book about ancient Latgalian jewelry translated by Kazuko will be published also in the remote Japan. However, in Cesis, Latvia, ladies try on the ancient Latgalian garment and jewelry in the way suggested and tried by Kazuko.

Every day I receive e-mails from closer and faraway places from all over the world. The writers are people who have visited “Smithy of Ancient Jewelry” or whom I have met during the journeys to foreign countries. Some of them send greetings, others want to obtain something. But there are also such people who are willing to find out something more about historical and jewelry making issues. Latvia is a small country, and in many parts of the world people have heard nothing about it until the touristic itinerary leads them here. Visitors from faraway countries take home a lot of information about Latvia and its history through the prism of metallic glitter when visiting “Smithy of Ancient Jewelry”. Ladies hurry to show their friends and acquaintances photos where they are dressed up in unusual garment and jewelry. People remember a small and hospital land on the shores of Baltic Sea because one of its most striking symbols is the national wisdom preserved throughout the centuries —which even nowadays shines from the ancient Latgalian jewelry patterns.                                                                                      Daumants Kalniņš, Cēsis