The Arts in the Middle Ages and at the Period of the RenaissanceJacob, P. L.
History
The Arts in the Middle Ages and at the Period of the Renaissance
Jacob, P. L.
Art, Medieval; Art, Renaissance; Middle Ages
[Illustration: Fig. 86.--Votive Crown of Suintila, King of the Visigoths
from 621 to 631. (Armoury Real, Madrid.)]
“Five of the crowns so fortunately discovered at Guarrazar,” says M. de
Lasteyrie, “have crosses. These, attached by a chain to the same
circular top, were evidently intended to remain suspended across the
circle of the crown.” The cross belonging to the crown of Recesvinthe is
by far the richest; eight large pearls and six sapphires, all mounted in
open-work, adorn the front. The four other crosses are of the form which
in heraldry is called _croix patée_; but they differ in size and in the
ornaments with which they are enriched.
We have already stated that the kings and grandees of the Merovingian
period displayed in their plate and in some of their state-furniture a
richness of gold-work the profuseness of which was ordinarily opposed to
good taste. We have seen at his work the celebrated Saint Eloi,
bishop-goldsmith; and we have mentioned not only his remarkable
productions, but also the enduring influence he exercised over a whole
historical period of art. Finally, we have observed that
Charlemagne--whose object seems to have been not only to imitate
Constantine, but to surpass him--endowed the churches magnificently with
works of art, without prejudice to the numberless splendours which his
palaces contained.
[Illustration: Fig. 87.--The Sword of Charlemagne. Preserved in the
Imperial Treasury at Vienna.]
According to a tradition, the loss of most of the beautiful objects of
gold-work belonging to that monarch may have been owing to the
circumstance that they were disposed around him in the sepulchral
chamber where the body was deposited after death; and the emperors of
Germany, his successors, may not have scrupled to appropriate those
riches, of which some rare specimens, particularly his diadem and sword,
are still preserved in the Museum of Vienna (Figs. 87 and 88).
Ecclesiastical display, notably extinct during the period of trouble and
suffering through which the Church passed in the seventh and eighth
centuries, and to which the power of Charlemagne was to put an end,
manifested itself in an extraordinary degree from that time. For
example, it was calculated that under Leo III., who occupied the
pontifical chair from 795 to 816, the weight of the plate which the Pope
gave to enrich the churches, amounted to not less than 1,075 pounds of
gold and 24,744 pounds of silver!
[Illustration: Fig. 88.--Diadem of Charlemagne. Preserved in the
Imperial Treasury at Vienna.]
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