Arts and crafts in the Middle Ages : $b a description of mediaeval workmanship in several of the departments of applied art, together with some account of special artisans in the early RenaissanceAddison, Julia de Wolf
History
Arts and crafts in the Middle Ages : $b a description of mediaeval workmanship in several of the departments of applied art, together with some account of special artisans in the early Renaissance
Addison, Julia de Wolf
Arts and crafts movement; Decoration and ornament, Medieval; Decorative arts -- History; Illumination of books and manuscripts
The domestic plate of Louis, Duke of Anjou, in 1360, consisted of
over seven hundred pieces, and Charles V. of France had an enormous
treasury of such objects for daily use. Strong rooms and safes were
built during the fourteenth century, for the lodging of the household
valuables. About this time the Dukes of Burgundy were famous for
their splendid table service. Indeed, the craze for domestic display
in this line became so excessive, that in 1356 King John of France
prohibited the further production of such elaborate pieces, "gold or
silver plate, vases, or silver jewelry, of more than one mark of gold,
or silver, excepting for churches." This edict, however, accomplished
little, and was constantly evaded. Many large pieces of silver made
in the period of the Renaissance were made simply with a view to
standing about as ornaments. Cellini alludes to certain vases which
had been ordered from him, saying that "they are called ewers, and
they are placed upon buffets for the purpose of display."
The salt cellar was always a _piece de resistance_, and stood in
the centre of the table. It was often in the form of a ship in
silver. A book entitled "Ffor to serve a Lorde," in 1500, directs
the "boteler" or "panter," to bring forth the principal salt, and to
"set the saler in the myddys of the table." Persons helped themselves
to salt with "a clene kniffe." The seats of honour were all about
the salt, while those of less degree were at the lower end of the
table, and were designated as "below the salt." The silver ship was
commonly an immense piece of plate, containing the napkin, goblet,
and knife and spoon of the host, besides being the receptacle for
the spices and salt. Through fear of poison, the precaution was
taken of keeping it covered. This ship was often known as the "nef,"
and frequently had a name, as if it were the family yacht! One is
recorded as having been named the "Tyger," while a nef belonging to
the Duke of Orleans was called the "Porquepy," meaning porcupine.
One of the historic salts, in another form, is the "Huntsman's
salt," and is kept at All Soul's College, Oxford. The figure of a
huntsman, bears upon its head a rock crystal box with a lid. About
the feet of this figure are several tiny animals and human beings,
so that it looks as if the intent had been to picture some gigantic
legendary hunter--a sort of Gulliver of the chase.
The table was often furnished also with a fountain, in which
drinking-water was kept, and upon which either stood or hung cups
or goblets. These fountains were often of fantastic shapes, and
usually enamelled. One is described as representing a dragon on
a tree top, and another a castle on a hill, with a convenient tap
at some point for drawing off the water.
Public-domain text, read in full here on John Shaqi.
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