This episode is brought to you by Fully Gemstones.

What I think it's very fascinating for the visitors of the exhibition

is that while the beautiful jewelry is for the body and for the person.

Here we also have silver masterpieces for the house.

And the galleries you are mentioning dedicated to the beauty of nature of the earth and of the sea

demonstrate amazing animals, leaves, centerpieces, mixing the silver, for example, with the venini glasses.

I love this idea to have a sort of eternal beauty for the jewelry as for the silver, for the person, as for the house.

I'm Carol Houlton, the voice of jewelry. Welcome to If Jewels Could Talk. I'm an author and

broadcaster and the woman who initiated the role of jewelry editor at magazines like Tatler and Vogue.

This is a podcast for everyone, for people who do like jewelry, for people who don't realize

they like jewelry, and anyone intrigued by fascinating facts, new ideas and forgotten histories.

So join me as I tell sparkly tales and meet all sorts of people, delving into four centuries of jewellery culture, and investigate what's happening now.

I'm in Venice for the opening of a new exhibition, The Prince of Goldsmiths, rediscovering the classics.

And I'm here with Alba Capilieri, who's an author, historian, the head of jewelry at the Milan Polytechnic.

And she's curator of this exhibition, which I've been the

first person to see. If Jules could talk, was first in the door. Very exciting. And it's

really, really something sensational. We're here by the lagoon in the old Fortuny factory where

the exhibition is being held.

And Alba, why here?

Why did Bucelotti want to show in Venice?

Carol, first of all, let me thank you so much.

I really love your podcast if jewelry could talk is my favorite podcast.

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