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In 1998 a massive gold signet ring was found by metal detecting in the parish of Raglan, Monmouthshire (Gwent), close to Raglan Castle. Now generally known as the Raglan ring, it is a remarkable example of late medieval goldsmiths' work. This paper considers its motifs, legend, date and stylistic affinities. Its findspot is close to the castle-building programme at Raglan continued by William Herbert (executed 1469), who projected his position as premier supporter of the House of York in a variety of ways. Possible ownership is discussed, as is its wider context (including newly discovered signet rings from Wales). [ABSTRACT FROM AUTHOR]

This article suggests that institutional workshops of assay were significant experimental sites in early modern London. Master assayers at Goldsmiths' Hall on Foster Lane, in the heart of the city, and at the Royal Mint, in the Tower, made trials to determine the precious-metal content of bullion, plate and coinage. The results of their metallurgical experiments directly impacted upon the reputations and livelihoods of London's goldsmiths and merchants, and the fineness of coin and bullion. Engaged in the separation and transformation of matter, assayers and the affairs of their workshops were also a curiosity for those interested in the secrets of nature. Making use of a wide-ranging body of sources, including institutional court minutes, artisanal petitions, mercantile guidebooks, recipe books and natural-philosophical treatises, this article uncovers a complex culture of metropolitan expertise. We first examine the workshop spaces in which assayers undertook their professional activities, and their secretive corporate cultures. We turn next to the manuscript culture through which assayers codified and communicated knowledge, 'secrets' and techniques to broader urban audiences. Finally, we assess exchanges and tensions between assayers and the wider community of Londoners engaged in scientific knowledge production and dissemination. [ABSTRACT FROM AUTHOR]

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The great sculptor Vincenzo Danti wrote one of the longest poems to have survived from a Renaissance artist, but the text's close thematic and conceptual connections to its author's art have gone entirely unnoticed. What Danti's poem and sculpture share, this essay argues, is a concern with mystified identity. Danti's poetic sensibility stands at odds with the biographical frameworks that typically guide the interpretation of Renaissance art and literature. At the same time, his example shows how much there is to be gained from an investigation of how artists learned to be writers, and of what came of those efforts. [ABSTRACT FROM AUTHOR]

London's seventeenth-century goldsmiths are routinely said to have pioneered fractional-reserve banking in England by clandestinely lending coin they were supposed to store – that is, by embezzling their clients. I draw upon both contemporary testimony and contemporary English law to show that the goldsmiths were almost certainly innocent of the crime for which they are so often accused. I then go on to speculate that the myth of the embezzling goldsmith may have its roots in confusion of that crime with (1) crimes other than embezzlement of which goldsmiths were accused by their contemporaries and (2) embezzlement of stored coin not by goldsmiths but by the British crown and by some merchants' servants. [ABSTRACT FROM PUBLISHER]

We document the transition from goldsmith to banker in the case of Richard Hoare and his successors and examine the operation of the London loan market during the early eighteenth century. Analysis of the financial revolution in England has focused on changes in public debt management and the interest rates paid by the state. Much less is known about the evolution of the financial system providing credit to individual borrowers. We show how this progress took time because operating a deposit bank was new and different from being a goldsmith. Learning how to use the relatively new technology of deposit banking was crucial for the bank's success and survival. [ABSTRACT FROM AUTHOR]