E-text prepared by Robert J. Hall
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| EXAMPLES OF ECCLESIASTICAL METAL WORK |
Arts and Crafts in
the Middle Ages
A Description of Mediaeval Workmanship in Several of the Departmentsof Applied Art, Together with Some Account of Special Artisans inthe Early Renaissance
Author of "The Art of the Pitti Palace," "The Art of the NationalGallery," "Classic Myths in Art," etc.
Page vINTRODUCTION
The very general and keen interest in the revival of arts and craftsin America is a sign full of promise and pleasure to those whoare working among the so-called minor arts. One reads at everyturn how greatly Ruskin and Morris have influenced handicraft: howmuch these men and their co-workers have modified the appearanceof our streets and houses, our materials, textiles, utensils, andall other useful things in which it is possible to shock or toplease the æsthetic taste, without otherwise affecting thevalue of these articles for their destined purposes.
In this connection it is interesting to look into the past, particularlyto those centuries known as the Middle Ages, in which the handicraftsflourished in special perfection, and to see for ourselves howthese crafts were pursued, and exactly what these arts really were.Many people talk learnedly of the delightful revival of the artsand crafts without having a very definite idea of the originalprocesses which are being restored to popular favour. William Morrishimself, although a great modern spirit, and reformer, felt the Page vi necessity ofa basis of historic knowledge in all workers. "I do not think," hesays, "that any man but one of the highest genius could do anythingin these days without much study of ancient art, and even he wouldbe much hindered if he lacked it." It is but turning to the originalsources, then, to examine the progress of mediæval artisticcrafts, and those sources are usually to be found preserved forour edification in enormous volumes of plates, inaccessible tomost readers, and seldom with the kind of information which theaverage person would enjoy. There are very few books dealing withthe arts and crafts of the olden time, which are adapted to informthose who have no intention of practising such arts, and yet whowish to understand and appreciate the examples which they see innumerous museums or exhibitions, and in travelling abroad. There aremany of the arts and crafts which come under the daily observationof the tourist, which make no impression upon him and have no messagefor him, simply because he has never considered the subject of theirorigin and construction. After one has once studied the subject ofhistoric carving, metal work, embroidery, tapestry, or illumination,one can never fail to look upon these things with intelligent interestand vastly increased pleasure.
Until the middle of the nineteenth century art had been regardedas a luxury for the rich dilettante,—the people heard littleof it, and thought less. The utensils and furniture of the middleclass were fashioned Pagevii only with a view to utility; there was a popular beliefthat beautiful things were expensive, and the thrifty housekeeperwho had no money to put into bric-à-brac never thoughtof such things as an artistic lamp shade