Rambles of an Archaeologist Among Old Books and in Old Places Part 1

Rambles of an Archaeologist Among Old Books and in Old Places.

by Frederick William Fairholt.

NOTE.

The following Papers originally appeared in the _Art-Journal_, for which they were specially written. They are from the pen of that painstaking and accurate archaeologist, the late F. W. FAIRHOLT, F.S.A. The ill.u.s.trations also were engraved from original sketches by the Author.

It has been suggested that the results of so much labour and research should be still further utilised; and that the merit and value of these Essays ent.i.tle them to a more lasting form than is afforded by the pages of a magazine. The Editor confidently believes that the popular style in which these articles are written, and the fund of anecdote and curious information they contain, will render them acceptable to a large number of general readers.

A second series of Art-papers, by the same Author, is in the press, and will shortly be published, under the t.i.tle of "Homes, Haunts, and Works of Rubens, Vand.y.k.e, Rembrandt, and Cuyp; and of the Dutch Genre-Painters."

_January, 1871._

RAMBLES OF AN ARCHaeOLOGIST AMONG OLD BOOKS AND IN OLD PLACES.

CHAPTER I.

Long after the extinction of the practical art-power evolved from the master-minds of Greece and Rome, though rudely shattered by the northern tribes, it failed not to enforce from them an admission of its grandeur.

Loving, as all rude nations do, so much of art as goes to the adornment of life, they also felt that there was a still higher aim in the enlarged spirit of cla.s.sic invention. It is recorded that one of these ancient chieftains gazed thoughtfully in Rome upon the n.o.ble statuary of the fallen race, and declared it the work of men superior to any then remaining, and that all the creations of such lost power should be carefully preserved. The quaint imaginings of uncivilised art-workmans.h.i.+p bore the impress of a strong but ruder nature; elaboration took the place of elegance, magnificence that of grandeur.

Slowly, as centuries evolved, the art-student came back to the purity of antique taste; but the process was a tardy one, each era preferring the impress of its own ideas: and though the grotesque contortions of mediaeval statuary be occasionally modified by the influence of better art on the Gothic mind, it was not till the revival of the study of cla.s.sic literature, in the fifteenth century, that men began to inquire into the art of the past ages, and endeavoured to obtain somewhat of its sacred fire for the use of their own time. The study was rewarded, and the style popularly known as that of the _Renaissance_ rapidly spread its influence over the world of art, sanctioned by the favour of such master-minds as Raphael, and the great men of his era.

[Ill.u.s.tration: Fig. 1.]

It was not, however, to be expected that any style should be resuscitated in all its purity without the admixture of some peculiarity emanating from the art which adopted it, and which was more completely the mode of the era. The Renaissance is, therefore, a Gothic cla.s.sicality, engrafting cla.s.sic form and freedom on the decorative quaintnesses of the middle ages. Fig. 1 is as pertinent a specimen as could be obtained of this characteristic: the Greek volute and the Roman foliage are made to combine with the hideous inventions of monkery, the grotesque heads that are exhibited on the most sacred edifices, and which are simply the stone records of the strife and rivalry that prevailed between monks and friars up to the date of the Reformation, and are therefore of great value to the student of ecclesiology and ecclesiastical history. In this instance they seem to typify death and h.e.l.l, over whom the Saviour was victorious by his mortal agony: the emblems of which occupy the central s.h.i.+eld, and tell with much simple force the story of man's redemption. Mediaeval art has not unfrequently the merit of much condensation of thought, always particularly visible in its choice of types by which to express in a simple form a precise religious idea, at once appealing to the mind of the spectator, and bringing out a train of thought singularly diffuse when its slight origin is considered.

[Ill.u.s.tration: Fig. 2.]

The easy applicability of the revived art to the taste for fanciful display which characterised the fifteenth century, led to its universal adoption in decoration; but the wilder imaginings of the living artist always tampered with the grand features of the design. The panel, Fig.

2, is an instance. The griffins have lost their cla.s.sic character, and have a.s.sumed the Gothic; the foliations are also subjected to the same process. The design is, however, on the whole, an excellent example of the mode in which the style appeared as a decoration in the houses of the n.o.bility, whose love of heraldic display was indulged by the wood carver in panelled rooms rich with similar compartments.

[Ill.u.s.tration: Fig. 3.]

Heraldry, with all its adjuncts, had become so great a pa.s.sion with the n.o.ble, that the invention of the artist and student was taxed for badges and mottoes by n.o.ble families. The custom flourished most in Italy, where the _impresa_ of a n.o.ble house spoke to the eye at once, whether it was found on a sword-hilt or over a church-door. We give as an instance, in Fig. 3, that adopted by the bold Dukes of Burgundy, sovereigns in their own dominions, and exciting much terror of rivalry in the minds of the kings of France themselves. Their _badge_, or _impresa_, was indicative of their rude power; a couple of knotted clubs, saltier-wise, help to support a somewhat conventional figure of the steel used for striking the flint to produce fire; the whole surmounted by the crown, and intended to indicate by a.n.a.logous reflection the vigour of the ducal house. As a bold defiance, a rival house adopted the _rabot_, or carpenter's plane, by which they indicated their determination to smooth by force the formidable knots from the clubs of the proud rulers of Burgundy.

[Ill.u.s.tration: Fig. 4.]

[Ill.u.s.tration: Fig. 5.]

The art of enamelling, which had reached a high degree of perfection in the Roman era, was refined upon in the middle ages, and ultimately its character was so much altered thereby that it ended in rivalling painting, rather than retaining its own particular features, as all arts should do. It may be fairly considered that originally it was used simply to enrich, by vitrified colour, articles of use and ornament.

Metal was incised, and the ornamental s.p.a.ces thus obtained filled with one tint of enamel colour, each compartment having its own. By this means very brilliant effects were often produced, all the more striking from the pure strength of their simplicity. It was not till the twelfth century that an attempt at floating colours together was made, and this led ultimately to a pictorial treatment of enamel which destroyed its truest character. The very old form was, however, practised in the latest days of its use; and our engraving of the very beautiful knife-handle designed by Virgil Solis at the end of the sixteenth century (Figs. 4 and 5), was intended to be filled with a dark blue enamel, in the parts here represented in black, while the interstices of the cross-shaped ornaments above would receive some lighter tint of warmer hue. The birds and foliage would be carefully engraved, the lines of shadow filled with a permanent black, thus a.s.suring a general brilliancy of effect. Such knives were by no means an uncommon decoration of the table at the period when this was designed: it is now a branch of art utilised until all trace of design has gone from it; for we cannot accept the slight scroll work and contour of a modern silver knife-handle as a piece of art-workmans.h.i.+p, when we remember the beautiful objects of the kind produced in the sixteenth and seventeenth centuries, gorgeous in design and colour, and occasionally enriched by jewels or amber.

[Ill.u.s.tration: Fig. 6.]

[Ill.u.s.tration: Fig. 7.]

There is one cla.s.s of ancient manufacturing art which has been revived for the use of the modern world with considerable success. We allude to the Roman works in mosaic, which have furnished designs for our encaustic tile-manufacturers and our floor-cloth painters. Quaint and peculiar in its necessary features, it is singularly well adapted for artisans in both materials. There is also a great variety in the ornamental details of ancient pavements, at home and abroad; the geometric forms being at times very peculiar, as in the specimen we give in the previous page (Fig. 6), which has been selected from one discovered at Aldborough, in Yorks.h.i.+re (the _Isurium Brigantum_ of the Romans), a lonely spot, containing many traces of its ancient importance, and which has furnished an abundance of relics for the notice of the antiquary from the days of Camden, who describes it with that happy brevity that accompanies full knowledge. The pavement we engrave may be seen in full coloured detail in Mr. Ecroyd Smith's volume on _Isurium_; the borders placed on each side are portions of other pavements from the same place, selected as showing the commonest and the most unusual patterns. The variety and beauty of design and colour in encaustic tiles adopted by mediaevalists, may be slightly ill.u.s.trated by the quaint specimen of foliation copied in Fig. 7. The conjunction of four such tiles produces great variety in pattern, and excellent contrasts of colour.

[Ill.u.s.tration: Figs. 8 and 9.]

Geometric form, in all its endless variety, was particularly studied in the Middle Ages, and decorative enrichments of all kind subjected to its ruling control. We add two specimens of gla.s.s-painting (Figs. 8 and 9), which are in reality the same design slightly varied in the disposition of the tints, and the interlacing of the double or strap-lines of one, while the other has them single only. The striking variety that any given design may elicit, by a mere rearrangement of this interlaced work, or by a different disposition of the coloured compartments, will at once be apparent; it was worked out with singularly good effect by the older artists in decoration of all kinds. The key (Fig. 10) and the latch (Fig. 11) are examples of quaint old Gothic metal works. The latter is copied from the old Hotel de Ville of Bruges; the dragon is used as a lever to lift the latch, and is one of those grotesque imaginings in which the old art-workmen frequently indulged.

[Ill.u.s.tration: Fig. 10.]

[Ill.u.s.tration: Fig. 11.]

When the Dukes of Urbino, dazzled with the brilliancy of the Moorish potters, had determined to rival their workmans.h.i.+p in manufactories upon their own princ.i.p.ality, the so-called Raffaelle-ware soon afterwards fascinated the Italians, by the quaint design and beautiful colour of the dishes and vases there produced. Though popularly named after the great painter, it was unlikely that he had aught to do therewith; but his designs were occasionally adapted to its use by the workmen. The circular plateau (Fig. 12) is a good example of the bold character and vigour of effect occasionally produced in these works.

[Ill.u.s.tration: Fig. 12.]

Wood panelling we have already alluded to, and the large amount of decoration it occasionally displayed. Fig. 13 is a beautiful instance of the grace that characterised the style known as the _Flamboyant_, from the flowing or flame-like curve adopted for the leading lines. In this instance they are happily blended with the earlier Gothic cusps, and the quaint ivy-leaves that spring easily out of the severer lines. The ease with which heraldry may be introduced in the design, gave it a peculiar charm to our ancestors; in this instance the s.h.i.+elds bear the sacred monograms--a purpose to which they were very commonly devoted in the church; sometimes being further enriched with religious emblems, as terse and striking as the heraldic ones we have given in a previous page.

[Ill.u.s.tration: Fig. 13.]

[Ill.u.s.tration: Fig. 14.]

[Ill.u.s.tration: Fig. 15.]

We give two small drawings of cabinet-handles in Figs. 14 and 15, part of the elaborate fittings of a piece of furniture which occupied the place of honour in the state-rooms of the wealthy, and upon which the art of the day was generally lavished with a most liberal hand. Ivory, ebony, and the rarest woods were employed in their construction, occasionally _plaques_ of lapis lazuli, or coloured marbles, were used for the panels; ultimately the whole surface became an encrusted mosaic of figures, birds, and flowers, in coloured wood and stone, occasionally framed in the precious metals. The gorgeous taste of Louis Quatorze excited the fancy of the _ebenistes_ of his court to the most costly invention. Furniture inlaid with engraved metal-work, or embossed with coloured stones, oppressed the sense of utility; and when tables, chairs, and picture-frames were made of silver, chased and overloaded with the scroll-work he so abundantly patronised, common sense seems to have yielded its place to mere display. Despite of the costly character of such works, and their destination as the decoration of a palace, they are positive vulgarisms, and we feel little regret when we read in history of the disastrous wars at the close of the king's career, which obliged him to melt down the silver furniture of Versailles, and convert it into cash for the payment of his soldiers.

There was more honesty of purpose in the old art-workers, who never swerved from a leading principle. Hence the educated eye can at once detect a piece of genuine old decorative furniture from a Wardour Street made-up bit of pseudo-imitation. It must be borne in mind that specimens of genuine old work are by no means common; the abundance which this street and other localities can supply to order by the cart-load, are ingenious adaptations of fragments of old work pieced and placed together for a general effect; but which are sometimes ludicrous, from the mixture of bits of all ages and style in one cabinet or sideboard. Some twenty years ago the city of Rouen was a mine of wealth to furniture makers. The elaborately carved panels and chimney-pieces in the stately houses of the old Norman capital, were converted into all kinds of articles for domestic display. The progress of "improvement,"

as well as the slower process of decay, have cleared that place of many of its fine features of domestic architecture; but its beauties have had an enduring memento in the curious volumes by the artist Langlois, of Pont-de-l'Arche, completed after his death by M. Delaquerriere. In this work every ancient building is carefully noted and described, throughout every street of the city; and the finest or most curious examples engraved with a minute truthfulness for which Langlois was justly celebrated; and which drew forth the plaudits of Dr. Dibdin, in the sumptuous work devoted to his foreign tour in search of rarities.[15-*]

We propose presently to follow the Doctor in his investigation of old books, and exhibit some few of the enrichments that artist and engraver gave to the written or printed volumes which pa.s.sed from their hands; at the same time we shall endeavour to take a more general survey of the adaptation of art to works of ordinary use.

[Ill.u.s.tration: Fig. 16.]

The quaint manner in which letters were sometimes braced together may be seen in Fig. 16. Occasionally, a name thus formed in monogram would require much ingenuity to unravel, inasmuch as the entire letters made but one interlaced and closely compacted group, each limb or portion of a letter helping also to form part of another. In the hospital founded at Edinburgh by the famous goldsmith, George Heriot,--the favourite goldsmith and jeweller of James I., a monarch who fully appreciated his art,--the name of "Jingling Geordie," as his majesty playfully called him, is sculptured in such a group, which appears at first sight an enigma few could unravel; indeed, without knowing what letters to look for, and how to arrange them, it is a chance if they would be arranged correctly. Such a mode of marking would, however, have its advantages, for it would enable those who were in the secret to unravel the mystery of the true proprietors.h.i.+p of any valuable article unfairly abstracted.

The s.h.i.+elds in Fig. 13 are filled with monograms less elaborate, but bearing a sufficient affinity to those alluded to, to aid in understanding the rest.

FOOTNOTES:

[15-*] "Biographical, Antiquarian, and Picturesque Tour in France and Germany." London, 1821. 3 vols.

CHAPTER II.

We owe the term _illumination_, as applied to the decoration of old ma.n.u.scripts, to the mediaeval Latin name of the artist himself, _alluminor_, the root of our English word _limner_, and of the French word _enlumineur_, one who colours or paints upon paper or parchment, giving light and ornament to letters and figures. The brilliancy and beauty of much of this ancient art are marvellous to look upon, but the names of few of the patient artists, who devoted their lives to book ill.u.s.tration, have descended to us. There are, however, one or two names well-known to us, a Julio Clovio and a Girolamo da Libri (Jerome Veronese), affording a sufficient warrant of the high-cla.s.s minds who honoured their art by honouring literature. There can be no greater pleasure than in turning over the matchless pages of these old volumes, and seeing them reveal the pa.s.sages of the poet or romancist, as understood by the men of the Middle Ages, to whom they were addressed, or giving us pictures of life and manners of which we possess no other record. Their value as adjuncts to books, when simply decorative, is now very generally acknowledged; and the ladies of the present day rival the cloistered recluses in labouring, like them, to enrich a cherished volume. It is, however, the art of the fourteenth and fifteenth centuries that is now especially imitated, and the reason is to be found in its showy elaboration of design and colour. There is an earlier style that presents strong claims to attention, that of the two preceding centuries, specimens of which are given in Figs. 17-21. In them will be noticed the Orientalism that occasionally prevails, and shows its Byzantine parentage; a trace of the Greek volute and acanthus leaf is visible in Figs. 20 and 21; in the others we seem to look on Turkish design. The applicability of such fragments of ornament is manifold.

[Ill.u.s.tration: Fig. 17.]

[Ill.u.s.tration: Fig. 18.]