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Modern Tuscany was the heartland of Etruria. The goldsmiths were also mobile, moving from country to country, either to the court of a potential patron or to the workshop of a master goldsmith. Gold itself was central to that fertile period, not so much as a metal although jewellery and gold leaf were everywhere but for its colour.

Many other individual examples of Egyptian gold jewellery or sculpture from earlier and later periods survive in the British Museum, the Louvre or the Metropolitan Museum in New York. Over individual grains of gold may carpet an ornament.

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The art of the goldsmith working for a wealthy patron, however, did have a final crescendo in the creations of Carl Faberge for the Russian Czars. But the Sumerians showed the way ahead. On Crete, King Minos built a magnificent palace, with a labyrinth beneath in which lived a ferocious monster, the Minotaur, part bull and part man. What unites Pre-Columbian ornaments is the distinctive verve and style with which they were made by the ancient goldsmiths of the Americas.

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Roman goldsmiths applied it as a setting and framing for brilliant and valuable stones - emeralds, sapphires, aquamarines, peridots, diamonds though uncut - and pearls started to become more popular. Just four years later Columbus discovered the Americas. Europe's goldsmiths were busy too. Two churches there, Sant'Apollinaro Nuovo and San Vitale, are unequalled in western Europe as the most precious examples of Byzantine architecture, sculpture and magnificently coloured mosaics. That inheritance, however, is reflected today in Arezzo, once a city-state of ancient Etruria, which is a centre of the modern Italian gold jewellery industry.

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Goldsmiths and other craftsmen from the mainland may also have migrated there. Soon, the Portuguese, then the Dutch and the English, were taking gold dust and ornaments directly back to Europe, bypassing the historic Sahara overland route.

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Between and the Renaissance transformed European culture and society. Tutankhamun himself was buried in a sarcophagus within which were fitted, one inside the other, three coffins.

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Jewellery became incorporated into the symbolism of the dominion of the Christian church and the growing power of kings. This jewellery, created when the Minoan civilisation was at its peak, coincides with the triumph of Egyptian gold work that gave us the treasures of King Tutankhamun. However, by the talent was increasingly to be found north of the Alps, working at the French court in Paris, or in Antwerp, Nurnberg and Augsberg. The goldsmiths had free rein. This tradition, however, was shattered by the Spanish invasion of South America and Pizarro's capture and ransom of the Inca.

Its colour and sheen naturally equated it with the sun, while its incorruptibility which makes the dating of early gold jewellery difficult made it a symbol of permanence. Within the Akan culture was the small kingdom of the Asante, liquidating dividend examples somewhat inland but much closer to the richest gold mines controlled by the Denkyira kingdom. The icons were largely painted on screens separating the sanctuary from the nave of Byzantine churches.