Archive:Jewellery Guide - Revision history

Rafferty at 13:52, 12 January 2022

2022-01-12T13:52:33Z

← Older revision		Revision as of 13:52, 12 January 2022
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	* Gothic (Europe, 1200-1500) – Stemming from the Romanesque style in France, Gothic sees a return to the primacy of the human form. Geometric forms and animals move to the background, and the level of figurative naturalism is very high; it can be hard to tell if some of these pieces are Gothic or Renaissance, and the former is a major influence on the latter. Starting slightly later, International Gothic is the term is for the pan-European adoption of this style.		* Gothic (Europe, 1200-1500) – Stemming from the Romanesque style in France, Gothic sees a return to the primacy of the human form. Geometric forms and animals move to the background, and the level of figurative naturalism is very high; it can be hard to tell if some of these pieces are Gothic or Renaissance, and the former is a major influence on the latter. Starting slightly later, International Gothic is the term is for the pan-European adoption of this style.
	* Renaissance (Europe, 1400-1600) – In the popular imagination, the Renaissance is 15th - 16th century Italy. In practice, the style is pan-European, beginning in northern Europe. There are strong elements of the Classical art of Greece and particularly Rome, which fitted well with ideas of an innovative post-Medieval society. The Catholic church had always played up its links to Imperial Rome, and wealthy collectors sought out Classical artefacts for their collections, just as collectors do in the modern day. However, their awareness of history was more limited than our own – it was common for High Medieval works to be attributed to more ancient artisans, and the figurative naturalism that we associate with the Renaissance can often be seen in the Gothic and even Romanesque styles that preceded it. That's not to say that the Renaissance was not an important period – studies of the human body and other natural forms did leap forward in this period. A look at the sketches of Leonardo Da Vinci reveals a style that can seem strikingly modern. Be aware that the end of the Renaissance is explicitly outside the brief for Empire LRP.		* Renaissance (Europe, 1400-1600) – In the popular imagination, the Renaissance is 15th - 16th century Italy. In practice, the style is pan-European, beginning in northern Europe. There are strong elements of the Classical art of Greece and particularly Rome, which fitted well with ideas of an innovative post-Medieval society. The Catholic church had always played up its links to Imperial Rome, and wealthy collectors sought out Classical artefacts for their collections, just as collectors do in the modern day. However, their awareness of history was more limited than our own – it was common for High Medieval works to be attributed to more ancient artisans, and the figurative naturalism that we associate with the Renaissance can often be seen in the Gothic and even Romanesque styles that preceded it. That's not to say that the Renaissance was not an important period – studies of the human body and other natural forms did leap forward in this period. A look at the sketches of Leonardo Da Vinci reveals a style that can seem strikingly modern. Be aware that the end of the Renaissance is explicitly outside the brief for Empire LRP.

	~~[[Category:Costume]]~~

Rafferty: Rafferty moved page Jewellery Guide to Archive:Jewellery Guide without leaving a redirect

2022-01-12T13:51:04Z

Rafferty moved page Jewellery Guide to Archive:Jewellery Guide without leaving a redirect

← Older revision	Revision as of 13:51, 12 January 2022
(No difference)

Dre at 21:32, 14 August 2020

2020-08-14T21:32:16Z

← Older revision		Revision as of 21:32, 14 August 2020
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	* Simple faceted stones – many Victorian cuts are appropriate for a medieval-ish setting. Rose, simple and swiss cuts, for example.		* Simple faceted stones – many Victorian cuts are appropriate for a medieval-ish setting. Rose, simple and swiss cuts, for example.
	* Enamelling provides a lot of colour for very little cost. Some of the brightest colours are best avoided.		* Enamelling provides a lot of colour for very little cost. Some of the brightest colours are best avoided.
	* Beads have been used throughout history, and are appropriate for any of the Imperial nations – an Urizen ~~magi~~ and ~~his~~ necklace of spheres, or a Navarri collecting the bones of barbarian Orcs. You can make your own beads easily enough.		* Beads have been used throughout history, and are appropriate for any of the Imperial nations – an Urizen mage and their necklace of spheres, or a Navarri collecting the bones of barbarian Orcs. You can make your own beads easily enough.

	==Chains==		==Chains==

Rafferty at 15:17, 18 February 2013

2013-02-18T15:17:22Z

← Older revision		Revision as of 15:17, 18 February 2013
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	* Gothic (Europe, 1200-1500) – Stemming from the Romanesque style in France, Gothic sees a return to the primacy of the human form. Geometric forms and animals move to the background, and the level of figurative naturalism is very high; it can be hard to tell if some of these pieces are Gothic or Renaissance, and the former is a major influence on the latter. Starting slightly later, International Gothic is the term is for the pan-European adoption of this style.		* Gothic (Europe, 1200-1500) – Stemming from the Romanesque style in France, Gothic sees a return to the primacy of the human form. Geometric forms and animals move to the background, and the level of figurative naturalism is very high; it can be hard to tell if some of these pieces are Gothic or Renaissance, and the former is a major influence on the latter. Starting slightly later, International Gothic is the term is for the pan-European adoption of this style.
	* Renaissance (Europe, 1400-1600) – In the popular imagination, the Renaissance is 15th - 16th century Italy. In practice, the style is pan-European, beginning in northern Europe. There are strong elements of the Classical art of Greece and particularly Rome, which fitted well with ideas of an innovative post-Medieval society. The Catholic church had always played up its links to Imperial Rome, and wealthy collectors sought out Classical artefacts for their collections, just as collectors do in the modern day. However, their awareness of history was more limited than our own – it was common for High Medieval works to be attributed to more ancient artisans, and the figurative naturalism that we associate with the Renaissance can often be seen in the Gothic and even Romanesque styles that preceded it. That's not to say that the Renaissance was not an important period – studies of the human body and other natural forms did leap forward in this period. A look at the sketches of Leonardo Da Vinci reveals a style that can seem strikingly modern. Be aware that the end of the Renaissance is explicitly outside the brief for Empire LRP.		* Renaissance (Europe, 1400-1600) – In the popular imagination, the Renaissance is 15th - 16th century Italy. In practice, the style is pan-European, beginning in northern Europe. There are strong elements of the Classical art of Greece and particularly Rome, which fitted well with ideas of an innovative post-Medieval society. The Catholic church had always played up its links to Imperial Rome, and wealthy collectors sought out Classical artefacts for their collections, just as collectors do in the modern day. However, their awareness of history was more limited than our own – it was common for High Medieval works to be attributed to more ancient artisans, and the figurative naturalism that we associate with the Renaissance can often be seen in the Gothic and even Romanesque styles that preceded it. That's not to say that the Renaissance was not an important period – studies of the human body and other natural forms did leap forward in this period. A look at the sketches of Leonardo Da Vinci reveals a style that can seem strikingly modern. Be aware that the end of the Renaissance is explicitly outside the brief for Empire LRP.

			[[Category:Costume]]

Rafferty: /* Art History & Archaeology */

2013-02-18T15:15:49Z

Art History & Archaeology

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	The first thing is to familiarise yourself with some of the terminology – this will help you understand books on the subject, and it also is very useful when using search engines on the internet. Here are a few terms:		The first thing is to familiarise yourself with some of the terminology – this will help you understand books on the subject, and it also is very useful when using search engines on the internet. Here are a few terms:

	• Metalwork – For reasons that escape me, if you search for "jewellery" or "jewelry" (the US spelling) you don't get a lot of search results. This is because technical studies are more focused on the process than they are on the form – jewellery is just one way to use the metal.		* Metalwork – For reasons that escape me, if you search for "jewellery" or "jewelry" (the US spelling) you don't get a lot of search results. This is because technical studies are more focused on the process than they are on the form – jewellery is just one way to use the metal.
			* Non-Ferrous – although gold and silver are most commonly associated with jewellery, the skills required are similar for precious metals, for copper and it's alloys, and for tin and pewter. For this reason, a lot of archaeological finds will specify tools as being for non-ferrous metalwork, as it isn't always clear precisely which metal they were used for. Non-ferrous means "without iron".
	• Non-Ferrous – although gold and silver are most commonly associated with jewellery, the skills required are similar for precious metals, for copper and it's alloys, and for tin and pewter. For this reason, a lot of archaeological finds will specify tools as being for non-ferrous metalwork, as it isn't always clear precisely which metal they were used for. Non-ferrous means "without iron".		* Material Culture – This basically means "stuff people had". It's a very distinct archaeological approach, but it tends to put objects before people, so it's perfect for finding out about historical jewellery. It's also useful for other media, like ceramics and textiles.
			* Liturgical – throughout history, religions have been a major patron of decorative and fine art. Liturgical metalwork is a great source for ideas, but remember that a lot of the religious imagery won't be appropriate for Empire LRP, or other fantasy games.
	• Material Culture – This basically means "stuff people had". It's a very distinct archaeological approach, but it tends to put objects before people, so it's perfect for finding out about historical jewellery. It's also useful for other media, like ceramics and textiles.		* Secular – a rather broad term, this is everything that isn't religious in nature. A lot of tableware is included in this category, and many items of jewellery, although it's common to find pagan and Christian symbolism hidden in the designs of apparently secular jewellery.
			* Fine Art – usually refers to single exceptional pieces of work, often made to the precise requirements of a patron. This is not quite the same as the definition used in modern universities.
	• Liturgical – throughout history, religions have been a major patron of decorative and fine art. Liturgical metalwork is a great source for ideas, but remember that a lot of the religious imagery won't be appropriate for Empire LRP, or other fantasy games.		* Decorative Art – often made to a very high artistic standard, the decorative arts are those which are produced in larger numbers, or using repetitive methods – manufacturing pottery is decorative, as are stone carvings like gargoyles, and most pieces of jewellery fall into this category.

	• Secular – a rather broad term, this is everything that isn't religious in nature. A lot of tableware is included in this category, and many items of jewellery, although it's common to find pagan and Christian symbolism hidden in the designs of apparently secular jewellery.

	• Fine Art – usually refers to single exceptional pieces of work, often made to the precise requirements of a patron. This is not quite the same as the definition used in modern universities.

	• Decorative Art – often made to a very high artistic standard, the decorative arts are those which are produced in larger numbers, or using repetitive methods – manufacturing pottery is decorative, as are stone carvings like gargoyles, and most pieces of jewellery fall into this category.

	It may also be useful to familiarise yourself with some of the names for different periods in Art History. These often, but don't always, match with the periods of social history. It's worth noting that there can often be significant overlap of art historical periods. Here are just a few of the styles:		It may also be useful to familiarise yourself with some of the names for different periods in Art History. These often, but don't always, match with the periods of social history. It's worth noting that there can often be significant overlap of art historical periods. Here are just a few of the styles:

	• Migration Period (Europe, 300-900) – This is a very broad term, used to describe the movement of various Germanic tribes, as the Roman Empire was beginning to decline. It reflects a Europe that is turning it's back on the Roman Empire, and it subverts the norms of Roman styles. It developed into various other, local styles, which include Insular and Viking. There are, broadly speaking, three styles, defined by a researcher called Salin. These are:		* Migration Period (Europe, 300-900) – This is a very broad term, used to describe the movement of various Germanic tribes, as the Roman Empire was beginning to decline. It reflects a Europe that is turning it's back on the Roman Empire, and it subverts the norms of Roman styles. It developed into various other, local styles, which include Insular and Viking. There are, broadly speaking, three styles, defined by a researcher called Salin. These are:
			** Style I – Sometimes called Tiersalat or Animal Salad, this style consists of stylised animals which are chopped up into different parts and used to fill spaces in objects which somehow manage to subvert and echo the norms of Roman art. In theory, it is quite a brutal style, but the pieces themselves are often very beautiful.
	• Style I – Sometimes called Tiersalat or Animal Salad, this style consists of stylised animals which are chopped up into different parts and used to fill spaces in objects which somehow manage to subvert and echo the norms of Roman art. In theory, it is quite a brutal style, but the pieces themselves are often very beautiful.		** Style II – this is best known in Insular art, and it consists of animals which are still stylised, but are now smooth and sinuous, and often connecting in repeating patterns using interlace (sometimes called knotwork). Christianity is a strong influence on the later forms of this style,
			** Style III – the art of the Vikings and other northern European cultures, this emerges later, and contains many of the sinuous and interlaced features of Style II, but with a complex and more terrifying appearance. Dragons and sea creatures are more common, perhaps befitting the sea-faring nature of the Vikings. Unlike the British Isles, Scandinavia was slow to embrace Christianity, and this is reflected in the pagan symbolism of their art
	• Style II – this is best known in Insular art, and it consists of animals which are still stylised, but are now smooth and sinuous, and often connecting in repeating patterns using interlace (sometimes called knotwork). Christianity is a strong influence on the later forms of this style,		* Insular (Britain, 400-1000) – This is a broad term for the styles used in the British Isles in the post-Roman period, until the Norman conquest of England. It has its origins in pre-Roman Celtic styles, and also the "barbarian" art of Migration-era Europe. There are stylistic links with Viking art. Probably the best know examples of this style, in metal, are the Sutton Hoo and Staffordshire Hoard finds. The Book of Kells and the Lindisfarne Gospels are fantastic examples on paper. Styles I and II are very prominent in Insular art, but it also has a strong Celtic influence; for example, the Hunterson Brooch has Celtic imagery hidden within it. The style is a British continuation of the Migration Period art brought by the Germanic tribes that settled from the 5th Century onwards.
			* Byzantine (Eastern Mediterranean, 400-1450) – This is a true continuation of Roman art, but much evolved by differences in population between the Eastern and Western empire when they split. They maintained many of Rome's Classical styles, including the primacy of the human figure in images, but the Greek-speaking population had their own artistic traditions. Through trade, their metalwork was known across Europe, and Byzantine art was a major influence on the Romanesque style, which is a key visual style in Medieval Europe.
	• Style III – the art of the Vikings and other northern European cultures, this emerges later, and contains many of the sinuous and interlaced features of Style II, but with a complex and more terrifying appearance. Dragons and sea creatures are more common, perhaps befitting the sea-faring nature of the Vikings. Unlike the British Isles, Scandinavia was slow to embrace Christianity, and this is reflected in the pagan symbolism of their art		* Romanesque (Europe, 1100-1300) – Although it does not stem directly from Roman art, the Romanesque style was part of a move back towards Roman civilisation, which eventually culminated in the Renaissance. As well as drawing on Europe's own past, it was strongly influenced by the Byzantine art of the Near East, but seen through the lens of the "barbarian" styles that dominated after the fall of the Roman Empire. The first Crusade was probably a factor in the Byzantine link, but be aware that there were many trade and artistic links before that time; Carolingian and Ottonian art laid the ground work for Romanesque, and already had a strong Byzantine influence. Repeating patterns of acanthus leaves are characteristic of this style, and there is a move towards figurative naturalism that is rarely seen in earlier post-Roman Europe. The Romanesque style remained a key part of European art for several centuries, eventually being replaced by Gothic art, and having a strong influence upon it.
			* Gothic (Europe, 1200-1500) – Stemming from the Romanesque style in France, Gothic sees a return to the primacy of the human form. Geometric forms and animals move to the background, and the level of figurative naturalism is very high; it can be hard to tell if some of these pieces are Gothic or Renaissance, and the former is a major influence on the latter. Starting slightly later, International Gothic is the term is for the pan-European adoption of this style.
	• Insular (Britain, 400-1000) – This is a broad term for the styles used in the British Isles in the post-Roman period, until the Norman conquest of England. It has its origins in pre-Roman Celtic styles, and also the "barbarian" art of Migration-era Europe. There are stylistic links with Viking art. Probably the best know examples of this style, in metal, are the Sutton Hoo and Staffordshire Hoard finds. The Book of Kells and the Lindisfarne Gospels are fantastic examples on paper. Styles I and II are very prominent in Insular art, but it also has a strong Celtic influence; for example, the Hunterson Brooch has Celtic imagery hidden within it. The style is a British continuation of the Migration Period art brought by the Germanic tribes that settled from the 5th Century onwards.		* Renaissance (Europe, 1400-1600) – In the popular imagination, the Renaissance is 15th - 16th century Italy. In practice, the style is pan-European, beginning in northern Europe. There are strong elements of the Classical art of Greece and particularly Rome, which fitted well with ideas of an innovative post-Medieval society. The Catholic church had always played up its links to Imperial Rome, and wealthy collectors sought out Classical artefacts for their collections, just as collectors do in the modern day. However, their awareness of history was more limited than our own – it was common for High Medieval works to be attributed to more ancient artisans, and the figurative naturalism that we associate with the Renaissance can often be seen in the Gothic and even Romanesque styles that preceded it. That's not to say that the Renaissance was not an important period – studies of the human body and other natural forms did leap forward in this period. A look at the sketches of Leonardo Da Vinci reveals a style that can seem strikingly modern. Be aware that the end of the Renaissance is explicitly outside the brief for Empire LRP.

	• Byzantine (Eastern Mediterranean, 400-1450) – This is a true continuation of Roman art, but much evolved by differences in population between the Eastern and Western empire when they split. They maintained many of Rome's Classical styles, including the primacy of the human figure in images, but the Greek-speaking population had their own artistic traditions. Through trade, their metalwork was known across Europe, and Byzantine art was a major influence on the Romanesque style, which is a key visual style in Medieval Europe.

	• Romanesque (Europe, 1100-1300) – Although it does not stem directly from Roman art, the Romanesque style was part of a move back towards Roman civilisation, which eventually culminated in the Renaissance. As well as drawing on Europe's own past, it was strongly influenced by the Byzantine art of the Near East, but seen through the lens of the "barbarian" styles that dominated after the fall of the Roman Empire. The first Crusade was probably a factor in the Byzantine link, but be aware that there were many trade and artistic links before that time; Carolingian and Ottonian art laid the ground work for Romanesque, and already had a strong Byzantine influence. Repeating patterns of acanthus leaves are characteristic of this style, and there is a move towards figurative naturalism that is rarely seen in earlier post-Roman Europe. The Romanesque style remained a key part of European art for several centuries, eventually being replaced by Gothic art, and having a strong influence upon it.

	• Gothic (Europe, 1200-1500) – Stemming from the Romanesque style in France, Gothic sees a return to the primacy of the human form. Geometric forms and animals move to the background, and the level of figurative naturalism is very high; it can be hard to tell if some of these pieces are Gothic or Renaissance, and the former is a major influence on the latter. Starting slightly later, International Gothic is the term is for the pan-European adoption of this style.

	• Renaissance (Europe, 1400-1600) – In the popular imagination, the Renaissance is 15th - 16th century Italy. In practice, the style is pan-European, beginning in northern Europe. There are strong elements of the Classical art of Greece and particularly Rome, which fitted well with ideas of an innovative post-Medieval society. The Catholic church had always played up its links to Imperial Rome, and wealthy collectors sought out Classical artefacts for their collections, just as collectors do in the modern day. However, their awareness of history was more limited than our own – it was common for High Medieval works to be attributed to more ancient artisans, and the figurative naturalism that we associate with the Renaissance can often be seen in the Gothic and even Romanesque styles that preceded it. That's not to say that the Renaissance was not an important period – studies of the human body and other natural forms did leap forward in this period. A look at the sketches of Leonardo Da Vinci reveals a style that can seem strikingly modern. Be aware that the end of the Renaissance is explicitly outside the brief for Empire LRP.

Rafferty: /* Reconditioning Jewellery */

2013-02-18T15:14:12Z

Reconditioning Jewellery

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	==Reconditioning Jewellery==		==Reconditioning Jewellery==
	* '''If jewellery has a modern finish, it may be possible to alter it using an abrasive and a tool called a burnisher. A very soft abrasive like a brass brush or "scratch brush" is ideal; courser abrasives can damage your jewellery.'''		* '''If jewellery has a modern finish, it may be possible to alter it using an abrasive and a tool called a burnisher. A very soft abrasive like a brass brush or "scratch brush" is ideal; courser abrasives can damage your jewellery.'''
	• '''Tarnish, oxidation, enamel or niello in recessed areas improves contrast, and can make the piece look older.'''		* '''Tarnish, oxidation, enamel or niello in recessed areas improves contrast, and can make the piece look older.'''

	You may already own items of jewellery – if they have a high sentimental or financial value, you may not want to use them for live roleplay, but many items of costume jewellery are ideal. Don't worry if they don't look new; modern jewellery can look too new for a medieval fantasy setting, so a bit of tarnish or oxidation may enhance the item.		You may already own items of jewellery – if they have a high sentimental or financial value, you may not want to use them for live roleplay, but many items of costume jewellery are ideal. Don't worry if they don't look new; modern jewellery can look too new for a medieval fantasy setting, so a bit of tarnish or oxidation may enhance the item.

Rafferty: /* Reconditioning Jewellery */

2013-02-18T15:13:59Z

Reconditioning Jewellery

← Older revision		Revision as of 15:13, 18 February 2013
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	==Reconditioning Jewellery==		==Reconditioning Jewellery==
			* '''If jewellery has a modern finish, it may be possible to alter it using an abrasive and a tool called a burnisher. A very soft abrasive like a brass brush or "scratch brush" is ideal; courser abrasives can damage your jewellery.'''
	• If jewellery has a modern finish, it may be possible to alter it using an abrasive and a tool called a burnisher. A very soft abrasive like a brass brush or "scratch brush" is ideal; courser abrasives can damage your jewellery.		• '''Tarnish, oxidation, enamel or niello in recessed areas improves contrast, and can make the piece look older.'''

	• Tarnish, oxidation, enamel or niello in recessed areas improves contrast, and can make the piece look older.

	You may already own items of jewellery – if they have a high sentimental or financial value, you may not want to use them for live roleplay, but many items of costume jewellery are ideal. Don't worry if they don't look new; modern jewellery can look too new for a medieval fantasy setting, so a bit of tarnish or oxidation may enhance the item.		You may already own items of jewellery – if they have a high sentimental or financial value, you may not want to use them for live roleplay, but many items of costume jewellery are ideal. Don't worry if they don't look new; modern jewellery can look too new for a medieval fantasy setting, so a bit of tarnish or oxidation may enhance the item.

Rafferty: /* Making Jewellery */

2013-02-18T15:13:25Z

Making Jewellery

← Older revision		Revision as of 15:13, 18 February 2013
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	==Making Jewellery==		==Making Jewellery==
			* '''Manufacturing jewellery can be expensive and difficult to learn.'''
	• Manufacturing jewellery can be expensive and difficult to learn.		* '''There are various methods which are more accessible, including chain-making and working with beads.'''

	• There are various methods which are more accessible, including chain-making and working with beads.

	Jewellery manufacturing is an ancient craft, first done with primitive tools. As a rule, the simpler the tools, the more skill required to use them, while modern equipment can be prohibitively expensive for the non-professional. For example, heating metals like silver and bronze requires high temperature torches or furnaces. Pewter can be worked at much lower temperatures, achievable in the home, but you still need safety equipment. This limits the range of techniques that can be used by the amateur.		Jewellery manufacturing is an ancient craft, first done with primitive tools. As a rule, the simpler the tools, the more skill required to use them, while modern equipment can be prohibitively expensive for the non-professional. For example, heating metals like silver and bronze requires high temperature torches or furnaces. Pewter can be worked at much lower temperatures, achievable in the home, but you still need safety equipment. This limits the range of techniques that can be used by the amateur.

Rafferty: /* Chains: */

2013-02-18T15:12:51Z

Chains:

← Older revision		Revision as of 15:12, 18 February 2013
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	* Beads have been used throughout history, and are appropriate for any of the Imperial nations – an Urizen magi and his necklace of spheres, or a Navarri collecting the bones of barbarian Orcs. You can make your own beads easily enough.		* Beads have been used throughout history, and are appropriate for any of the Imperial nations – an Urizen magi and his necklace of spheres, or a Navarri collecting the bones of barbarian Orcs. You can make your own beads easily enough.

	==Chains:==		==Chains==
	* Thin and hollow chains should be avoided, as they are fragile, and don't hang well.		* '''Thin and hollow chains should be avoided, as they are fragile, and don't hang well.'''
	* Anyone equipped to make chain maille can produce chain jewellery.		* '''Anyone equipped to make chain maille can produce chain jewellery.'''
	* Pendants can be worn to enhance the chain.		* '''Pendants can be worn to enhance the chain.'''

	Very thin chains can only be made by machines, so they have a factory-made look, which is less than ideal. They can be fragile and unsuitable for a vigorous activity like larp. Likewise, hollow chains are best avoided. They also ride up around the neck due to their light weight.		Very thin chains can only be made by machines, so they have a factory-made look, which is less than ideal. They can be fragile and unsuitable for a vigorous activity like larp. Likewise, hollow chains are best avoided. They also ride up around the neck due to their light weight.

Rafferty: /* Chains: */

2013-02-18T15:12:31Z

Chains:

← Older revision		Revision as of 15:12, 18 February 2013
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	==Chains:==		==Chains:==
	• Thin and hollow chains should be avoided, as they are fragile, and don't hang well.		* Thin and hollow chains should be avoided, as they are fragile, and don't hang well.
			* Anyone equipped to make chain maille can produce chain jewellery.
	• Anyone equipped to make chain maille can produce chain jewellery.		* Pendants can be worn to enhance the chain.

	• Pendants can be worn to enhance the chain.

	Very thin chains can only be made by machines, so they have a factory-made look, which is less than ideal. They can be fragile and unsuitable for a vigorous activity like larp. Likewise, hollow chains are best avoided. They also ride up around the neck due to their light weight.		Very thin chains can only be made by machines, so they have a factory-made look, which is less than ideal. They can be fragile and unsuitable for a vigorous activity like larp. Likewise, hollow chains are best avoided. They also ride up around the neck due to their light weight.