Rambles of an Archaeologist Among Old Books and in Old Places Part 2

The Gothic, therefore, of the best era, was by no means the stiff and monotonous style imagined by those who only know its details by the remains of our own ecclesiastical buildings; not that we infer them to be without much freedom and beauty occasionally, as in the Percy shrine at Beverley Minster, or the tomb of Aylmer de Valence, in Westminster Abbey. But we have fewer domestic buildings of a florid Gothic style than are to be found abroad, and the artists who designed for that style delighted in new ideas. It is even visible in the works of their painters and engravers: thus the tracery over the doorway in Durer's print of "The Crucifixion," one of his series of the life of the Virgin, while it conforms to the leading principle of architectural design, is composed of branches and leaves which flow with a freedom belonging more to the painter than the architect. Similar instances abound in old pictures.

[Ill.u.s.tration: Fig. 54.]

The foliation of German work was generally crisp and full of convolutions in its minor features, though the leading lines were boldly conceived. We give an example from a panel carved in wood, in the Cathedral of Stuttgard, a work of the middle of the fifteenth century.

It is almost a return to the old acanthus leaf, and so completes a cycle of fine art.

Brief as the review has necessarily been of the decorative arts adorning life throughout the centuries which have pa.s.sed in rapid succession before us, they have taught two great facts--the beauty of art as an adjunct to the most ordinary demands of domesticity, and the value of the study of the varied arts of past ages as an addition to the requirements of our own. "Ever changing, ever new," may be the lesson derived from the investigation of any epoch. How much then may be obtained from a general review of all! Seroux d'Agincourt deduced a history of art from its monuments;[41-*] and men of the present day have the advantage of all that the world has produced brought easily, by aid of the burin and the printing-press, to their own firesides. We are evidently less original in idea than our ancestors, from the a.s.sociation of their labours with our thought; but we may yet live in the hope of seeing some new and peculiar feature in the progress of modern decorative art obtained by retrospective glances at the past.

It is to the duty of thus learning from the past, we desire to direct the attention of our readers. Slavishly to copy, or systematically to imitate, are evils scarcely less reprehensible than to neglect them altogether; but frequent study of the great masters in any art is indispensable to those who would excel. It is to the absence of such study that we may trace most of the defects of the British artisan.

Unhappily, he seldom either examines, reads, or thinks; generally he is content to work, like a horse in a mill, pursuing the same monotonous round, producing only that which has been produced before, without alteration, and without improvement. Until within the last few years, this defect could hardly have been urged against him as an offence. His employers did not require advancement, seldom encouraged intelligent workmen, and rather preferred the mere machine who was content to do no more than his fathers had done, and who looked upon new inventions as costly whims or expensive absurdities. There were exceptions--glorious exceptions; but the rule was, undoubtedly, as we have stated.

This deplorable disadvantage exists no longer; in nearly every town in the kingdom, of any size, there is some inst.i.tution where knowledge may be obtained readily and cheaply. The societies in connection with the Department of Science and Art now abound with competent masters and teachers, and all the appliances of instruction.

The South Kensington Museum is alone a mine of wealth. Not only are the artisans enabled to resort to it freely, but every possible inducement is held out to them to do so; the superintendents there almost go into the highways to "compel them to come in." There is no calling of any sort or kind that may not be educated here; the masters, as well as the workmen, of all trades may here receive the education, "free of charge,"

which no sum of money could have procured for them twenty years ago.

Ignorance, nowadays, is, therefore, totally without excuse.

No doubt the seed that has been so extensively and abundantly planted is growing rapidly up; in some places it has borne fruit. It is utterly impossible that the existing race of art-workmen, and their successors "rising up," can be ignorant as were their predecessors. If they use their eyes merely, and permit their minds to remain blanks, they must improve. There is no street in London now that will not teach them something; every shop window contains a lesson; and it requires no very large observation to perceive advancement in every cla.s.s of British art-manufacture--not, certainly, so marked as to produce content, but exhibiting ample proof that we are progressing in the right direction, and leading to the conclusion that at no very distant period we shall not have to incur the reproach that our artisans are worse educated than those of Germany, Belgium, and France. These remarks result from the brief insight we have given in these pages into the rich volumes which the past has filled for the use of the present. The books to which we have resorted, and the places in which we have sought for rarities, are open to most of those who desire to examine them, and who will find an expenditure of time and labour to any amount, be it large or small, produce an extent of remuneration of which the searcher will have no idea until he begins to gather in the profit he has made.

We had intended to supply a list of books, to be obtained either at the British Museum or the Museum at South Kensington, to which we desire to direct the attention of our art-producers and art-workmen; but thus to occupy s.p.a.ce is needless. The requisite information can be easily procured: any of the superintendents, at either place, will gladly direct the searcher, on receiving information as to his wants. Moreover, it is permitted, under certain restrictions, to take sketches of engravings or drawings, and from objects exhibited; aids to do this readily present themselves.

Books, however, should be regarded only as auxiliaries; they will supply in abundance material for suggestion or adaptation; although, as we have already observed, "slavishly to copy, or systematically to imitate," are evils to be avoided.

[Ill.u.s.tration]

FOOTNOTES:

[41-*] "Histoire de l'Art par les Monumens, depuis sa Decadence au IV^{e.} Siecle jusqu'a son Renouvellement au XVI^{e.}"

GROTESQUE DESIGN, AS EXHIBITED IN ORNAMENTAL AND INDUSTRIAL ART.

GROTESQUE DESIGN, AS EXHIBITED IN ORNAMENTAL AND INDUSTRIAL ART.

Among the quaint terms in art to which definite meanings are attached, but which do not in themselves convey any such definite construction, we may cla.s.s the term _grotesque_. The term _grotesque_ was first applied as a generic appellation in the latter part of the fifteenth century, when the "grottoes," or baths of ancient Rome, and the lowermost apartments of houses then exhumed, exhibited whimsically designed wall-decorations, which attracted the attention of Raffaelle and other artists, who resuscitated and modified the style; adopting it for the famous Loggie of the Vatican and for garden pavilions or grottoes.

We may safely go back to the earliest era in art for the origin of the style, if, indeed, the grotesque does not so intimately connect itself with the primeval art of all countries as to be almost inseparable.

Indeed, it requires a considerable amount of cla.s.sical education to see seriously the meaning, that ancient artists desired in all gravity to express, in works which now excite a smile by their inherent comicality.

Hence the antiquary may be occasionally ruffled by the remarks of some irreverent spectator, on a work which the former gravely contemplates, because he feels the design of its maker, and is familiar with the antique mode of expression. Thus the early Greek figures of Minerva, whether statues or upon coins, have occasionally an irresistibly ludicrous expression: but, as art improved, this expression softened, and ultimately disappeared, the grotesque element taking a more positive form and walk of its own.

In that cradle of art and science, the ancient land of Egypt, we shall find grotesque art flouris.h.i.+ng in various forms. Their artists did not scruple to decorate the walls of tombs with pictures of real life, in which comic satire often peeps forth amid the gravest surroundings. Thus we find representations of persons at a social gathering evidently the worse for wine-drinking; or the solemn procession of the funeral boats interrupted by a ludicrous delineation of the "fouling" or upsetting one unlucky boat and its crew, which had drifted in the way; while the most impressive of all scenes, the final judgment of the soul before Osiris, is depicted at Thebes with the grotesque termination of the forced return of a wicked soul to earth, under the form of a pig, in a boat rowed by a couple of monkeys. In the British Museum is a singular papyrus, upon which are drawn figures of animals performing the actions of mankind; and among the large number of antiquities which swell the Egyptian galleries, there are many that exhibit the partiality of this ancient people for the grotesque.

[Ill.u.s.tration: Figs. 55-58.]

Our first examples consist of a group of wooden boxes and spoons, all of whimsical form, and selected from the great work by Sir John Gardner Wilkinson on the manners and customs of the ancient Egyptians.[49-*]

They were formed to contain cosmetics of divers kinds, and served to deck the dressing-table, or a lady's boudoir. They are carved in various ways, and loaded with ornamental devices in relief, sometimes representing the favourite lotus-flower, with its buds and stalks, or a goose, gazelle, fox, or other animal. Fig. 55 is a small box, made in the form of a goose; and Fig. 56, also in the shape of the same bird, dressed for the cook. The spoon which succeeds this, Fig. 57, takes the form of the cartouche, or oval, in which royal names were inscribed, and is held forth by a female figure of graceful proportions. Fig. 58 is a still more grotesque combination; a hand holds forth a sh.e.l.l, the arm being elongated and attenuated according to the exigencies of the design, and terminating in the head of a goose. The abundance of quaint fancy that may be lavished on so simple a thing as a spoon cannot be better ill.u.s.trated than it has been by an American author, who published, in New York, in 1845, an ill.u.s.trated octavo volume on the history of "The Spoon: Primitive, Egyptian, Roman, Mediaeval, and Modern." Speaking of these antique Egyptian specimens, he says,--"In these forms we have the turns of thought of old artists; nay, casts of the very thoughts themselves. We fancy we can almost see a Theban spoonmaker's face brighten up as the image of a new pattern crossed his mind; behold him sketch it on papyrus, and watch every movement of his chisel or graver as he gradually embodied the thought, and published it in one of the forms portrayed on these pages--securing an accession of customers and a corresponding reward in an increase of profit. We take it for granted that piratical artisans were not permitted to pounce on every popular invention which the wit of another brought forth. Had there been no checks to unprincipled usurpers of other men's productions, the energies of inventors would have been paralysed, and the arts could hardly have attained the perfection they did among some of that famous people of old."

[Ill.u.s.tration: Figs. 59-61.]

The graceful head and neck of the swan formed for many centuries the favourite termination for the handles of _simpula_, or ladles. The Greeks and Romans adopted it, as they freely did grotesque art in general; and the walls of Pompeii and Herculaneum exhibit it in untrammelled style; while many articles of ornament and use were constructed in the most whimsical taste. We must restrict ourselves to three specimens of Roman works, as many hundreds might be readily brought together from public museums. Our group consists of two clasp-knives and a lamp. The knife, Fig. 59, was found at Arles, in the south of France; the handle is of bone, and has been rudely fas.h.i.+oned into the human form: the second example, Fig. 60, is of bronze, and represents a _canis venati_, of the greyhound species, catching a hare; the design is perforated, so that the steel blade shows through it. It was found within the bounds of the Roman station of Reculver, in Kent; another of similar design was found at Hadstock, in Ess.e.x: nor are these solitary examples of what appears to have been a popular design in Britain. The superiority of the British hunting dogs has been celebrated by Roman writers, and induced their frequent exportation to the capital of the world. The lamp, with the quaint head of an ivy-wreathed satyr, Fig. 61, was found in the bed of the Thames, while removing the foundations of old London Bridge. The protruding mouth of this very grotesque design holds forth the lighted wick. In nothing more than in lamps did the quaint imaginings of the Roman artists take the wildest license.

When the successful incursions of northern barbarism had quenched the light of cla.s.sic art, the struggle made by such artists as the Goths had at command to embody the ideas of power or grace they wished to indicate, were often as absurd as the work of a modern child. Hence the grotesque is an inseparable ingredient in their designs, often quite accidental, and frequently in express contradiction to the intention of the designer, who imagined in all seriousness many scenes that now only excite a smile. A strong sense of the ludicrous was, however, felt by mediaeval men, and embodied in the art-works they have left for our contemplation. With it was combined a relish for satire of a practical kind. A very good and amusing instance is given in Fig. 62, which is copied from a carved corner-post of an old house in Lower Brook Street, Ipswich. It depicts the old popular legend of the Fox and Geese, the latter attracted toward Reynard by his apparent innocence and sanct.i.ty, as he reads a homily from a lectern, and meeting the reward of their foolish trustfulness, in the fattest of their number being carried off by the crafty fox. Both incidents are, as usual with these ancient designers, represented side by side on different angles of the post.

[Ill.u.s.tration: Fig. 62.]

[Ill.u.s.tration: Fig. 63.]

Our next engraving, Fig. 63, is a very striking specimen of grotesque design in ironwork of the fourteenth century. It is a door handle from a church in the High Street of Gloucester, and a more extraordinary admixture of incongruous details could not very readily be imagined.

The ring hangs from the neck of a monster with a human head having a.s.s's ears, the neck is snake-like, bat's wings are upon the shoulders, the paws are those of a wolf. To the body is conjoined a grotesque head with lolling tongue, the head wrapped in a close hood. Grotesque design, for the reason already stated, frequently appears in the details of church architecture and furniture during the Middle Ages, particularly from the thirteenth to the seventeenth century. The capital of a column was the favourite place for the indulgence of the mason's taste in caricature; the _misereres_, or folding scats of the choir, for that of the wood-carver. It is impossible to conceive anything more droll than many of the scenes depicted on these ancient benches. Emblematic pictures of the months, secular games of all kinds, or ill.u.s.trations of popular legends, frequently appeared; but as frequently satirical and grotesque scenes, often bordering on positive indelicacy; and occasionally satires on the clerical character, which can be only understood when we remember the strength of the _odium theologic.u.m_, and how completely the well-established regular clergy disliked the wandering barefooted friars, who mixed with the people free of all clerical pretence, and induced unpleasant comparison with the ostentatious pride of the greater dignitaries. The Franciscans were in this way especially obnoxious, and between them and the well-established Benedictines an incessant feud existed. The tone of feeling that pervaded the middle and humbler cla.s.ses found a mouth-piece in that curious satire, the Vision of Piers Ploughman, than which Luther never spoke plainer.

[Ill.u.s.tration: Fig. 64.]

One very prevailing form in early Gothic design was that of the mythic dragon, whose winged body and convoluted tail were easily and happily adapted to mix with the foliage or other decorative enrichments these artists chose to adopt. Hence we find no creature more common in early art than this purely fanciful one, rendered still more fanciful by grotesque combination. The bosses from which spring the vaulted ribs of Wells Cathedral furnish us with the instance engraved in Fig. 64; here two dragons twine round a bunch of foliage, biting each other's tails.

[Ill.u.s.tration: Fig. 65.]

Domestic utensils were often made to represent living things; the tendency to convert a globular vase or jug into a huge head or a fat figure, has been common to all people in all ages. The highly civilised Greeks indulged the whim, and our own potters continue it. In the fourteenth and fifteenth centuries, vessels for liquids were often constructed of bronze, taking the form of lions, or mounted knights on horseback, of which specimens may be seen in our British Museum. The manufacturers of earthenware imitated these at a cheaper rate, and we engrave (Fig. 65) one example of their skill, the original being rudely coloured with a blue and yellow glaze on the surface of the brown clay which forms the body.

The door-knocker (Fig. 66), whimsically constructed in form of a human leg, the heel hitting against the door, is also a work of the fourteenth century; it is affixed to a house in the Rue des Conseils, at Auxerre, and is very characteristic in execution.

[Ill.u.s.tration: Fig. 66.]

Our selection (Fig. 67) comprises a most rare domestic antiquity, to which a date cannot so readily be a.s.signed, but which cannot be more modern than the sixteenth century, and may be older. It is a toasting-fork in the form of a dog, to whose breast a ring is attached for holding a plate. It is entirely constructed of wrought-iron, the body cut from a flat sheet of metal. It was found in clearing away the foundations of one of the oldest houses in Westminster. The tail of the dog forms a convenient handle; to the front foot a cross bar is appended to preserve its due equilibrium.

[Ill.u.s.tration: Fig. 67.]

Grotesque design was adopted by the artists who decorated books from the very earliest time. The margins of ancient ma.n.u.scripts are often enriched with whimsical compositions, as well as with flowing designs of much grace and beauty. Occasionally the two styles are very happily combined, and a humorous adjunct gives piquancy to a scholastic composition. The early printed books often adopted a similar style in art, and we give two curious specimens. The letter F, whimsically composed of two figures of minstrels (Fig. 68), one playing the trumpet and the other the tabor, is copied from an alphabet, entirely composed in this manner, and now preserved in the British Museum; it bears no date, but the late Mr. William Young Ottley, keeper of the prints there, was of opinion that it was executed about the middle of the fifteenth century. This quaint alphabet has been repeated by the artists of each succeeding generation, with variations to adapt the letters to the costume or habit of each era; but in this unique series we seem to see the origin of them all.

[Ill.u.s.tration: Fig. 68.]

One of the most singular books ever issued from the press, was published about the same period; it is known as the _Ars Memorandi_.[59-*] As its t.i.tle imports, it was intended to a.s.sist the memory in retaining the contents of the Gospels in the New Testament. This is done by making the body of the design of the emblematic figure indicative of each, either the eagle, angel, ox, or lion; in combination with this figure are many small groups, symbolic of the contents of the various chapters. The copy we give (Fig. 69), from the second print devoted to St. Luke's Gospel, will make the plan of this singular picture-book clearer. The winged bull is spread out as a base to the group of minor emblems, upon its head rests a funeral bier, and in front of it a pot of ointment; the numeral 7 alludes to the chapter, the princ.i.p.al contents being thus called to memory. The bier alludes to the Saviour's miraculous restoration to life of the widow's son, whom He met carried out on a bier as He entered the city of Nain; the ointment pot alludes to the anointing of His feet by Mary Magdalene. The bag upon which the figure 8 is placed, indicates the fable of the sower, it is the seed-bag of the husbandman; the boat alludes to the pa.s.sage of the Lake when the Saviour quelled the storm. The singular group of emblems in the centre of the figure indicates--the power given to the disciples by the key; the Saviour in his transfiguration, by the sun; and the miraculous multiplication of the five loaves; as narrated in the 9th chapter of St.

Luke. The following chapter has its chief contents noted by the scroll indicative of the law; the sword which wounded the traveller from Jerusalem whom the good Samaritan aided; and the figure of Mary commended by Jesus. No. 11 is typical of the casting out a devil whose back is depicted broken: and No. 12, of the teaching of that chapter in the Gospel; for here the heart is set upon a treasure-chest, an act we are especially taught to avoid.

[Ill.u.s.tration: Fig. 69.]

These great treasure-chests were important pieces of furniture in ancient houses, and were generally placed at the foot of the master's bed for the greater safety; in them were packed the chief valuables he possessed, particularly the household plate. At a time when banking was unknown, property was converted into plate, as a most convenient mode of retaining it. Decorative plate increased the public state of its owner, was a portable thing, and could be easily hidden in time of danger, or pledged in time of want. Hence the n.o.bility and gentry of the fourteenth and fifteenth centuries gave abundant employment to the goldsmith.

Cellini, in his Memoirs, has noted many fine pieces of ornamental plate he was called upon to design and execute; and one of the finest still exists in the _Kunst-Kammer_, at Vienna--the golden salt-cellar he made for Francis I., of France. The "salt" was an important piece of plate on all tables at this period, and to be placed above or below it, indicated the rank, or honour, done to any seated at the banquet. The large engraving (Fig. 70) delineates a very remarkable salt-cellar, being part of the collection of antique plate formed by the late Lord Londesborough. This curious example of the quaint designs of the old metal-workers, is considered to have been the work of one of the famous Augsburg goldsmiths at the latter part of the sixteenth century. It is a combination of metals, jewels, and rare sh.e.l.ls in a singularly grotesque general design. The salt was placed in the large sh.e.l.l of the then rare _pecten_ of the South Seas, which is edged with a silver-gilt rim chased in floriated ornament, and further enriched by garnets; to it is affixed the half-length figure of a lady, whose bosom is formed of the larger _orange-coloured pecten_, upon which a garnet is affixed to represent a brooch; a crystal forms the caul of the head-dress, another is placed below the waist. The large sh.e.l.l is supported by the tail of the whale on one side, and on the other by the serpent which twists around it; in this reptile's head a turquoise is set, the eyes are formed of garnet, and the tongue of red onyx. The whole is of silver-gilt, and within the mouth is a small figure of Jonah, whose adventure is thus strangely mixed with the general design. The sea is quaintly indicated by the circular base, chased with figures of sea-monsters disporting in the waves. It would not be easy to select a more characteristic specimen of antique table-plate. The inventories of similar articles once possessed by the French king, Charles V., and his brother, the Duke of Anjou, King of Naples and Provence (preserved in the Royal Library, Paris), give descriptive details of similar quaint pieces of art-manufacture, in which the most grotesque and heterogeneous features are combined, and the work enriched by precious stones and enamels. Jules Labarte observes, "the artists of that period indulged in strange flights of fancy in designing plate for the table, they especially delighted in grotesque subjects: a ewer or a cup may often be seen in the shape of a man, animal, or flower, while a monstrous combination of several human figures serves to form the design of a vase."

[Ill.u.s.tration: Fig. 70.]

But quaint and fanciful as were the works of the Parisian goldsmiths, they were outdone by the grotesque designs of the German artificers.

They invented drinking-cups of the strangest form, the whole animal kingdom, fabulous and real, birds, and sea-monsters, were constructed to hold liquids. A table laid out with an abundance of this strangely-designed plate, must have had a ludicrous effect. Many of their works, though costly in character, refined in execution, and thoroughly artistic in detail, are absolute caricatures. There is one in Lord Londesborough's collection, and another in that of Baron Rothschild, made in the form of a bagpipe; the bag holds wine, and is supported on human feet; arms emerge from the sides and play on the chanter, which is elongated from the nose of a grotesque face, the hair a ma.s.s of foliage. Dozens of similar examples might be cited, of the most extraordinary invention, which the metal-workers of the seventeenth century particularly gave their imaginations licence to construct.