Arts and Crafts in the Middle Ages | Page 6

now in use. The na?ve monastic instructor, in his preface, exhorts his followers to honesty and zeal in their good works. "Skilful in the arts let no one glorify himself," say Theophilus, "as if received from himself, and not from elsewhere; but let him be thankful humbly in the Lord, from whom all things are received." He then advises the craftsman earnestly to study the book which follows, telling him of the riches of instruction therein to be found; "you will there find out whatever... Tuscany knows of mosaic work, or in variety of enamels, whatever Arabia shows forth in work of fusion, ductility or chasing, whatever Italy ornaments with gold... whatever France loves in a costly variety of windows; whatever industrious Germany approves in work of gold, silver or copper, and iron, of woods and of stones." No wonder the authorities are lost in conjecture as to the native place of the versatile Theophilus! After promising all these delightful things, the good old monk continues, "Act therefore, well intentioned man,... hasten to complete with all the study of thy mind, those things which are still wanting among the utensils of the House of the Lord," and he enumerates the various pieces of church plate in use in the Middle Ages.
Directions are given by Theophilus for the workroom, the benches at which the smiths are to sit, and also the most minute technical recipes for "instruments for sculping," for scraping, filing, and so forth, until the workshop should be fitted with all necessary tools. In those days, artists began at the very beginning. There were no "Windsor and Newtons," no nice makers of dividers and T-squares, to whom one could apply; all implements must be constructed by the man who contemplated using them.
We will see how Theophilus proceeds, after he has his tools in readiness, to construct a chalice. First, he puts the silver in a crucible, and when it has become fluid, he turns it into a mould in which there is wax (this is evidently the "cire perdu" process familiar to casters of every age), and then he says, "If by some negligence it should happen that the melted silver be not whole, cast it again until it is whole." This process of casting would apply equally to all metals.
Theophilus instructs his craftsman how to make the handles of the chalice as follows: "Take wax, form handles with it, and grave upon them dragons or animals or birds, or leaves--in whatever manner you may wish. But on the top of each handle place a little wax, round like a slender candle, half a finger in length,... this wax is called the funnel.... Then take some clay and cover carefully the handle, so that the hollows of the sculpture may be filled up.... Afterwards place these moulds near the coals, that when they have become warm you may pour out the wax. Which being turned out, melt the silver,... and cast into the same place whence you poured out the wax. And when they have become cold remove the clay." The solid silver handles are found inside, one hardly need say.
In casting in the "cire perdu" process, Benvenuto Cellini warns you to beware lest you break your crucible--"just as you've got your silver nicely molten," he says, "and are pouring it into the mould, crack goes your crucible, and all your work and time and pains are lost!" He advises wrapping it in stout cloths.
The process of repouss�� work is also much the same to-day as it has always been. The metal is mounted on cement and the design partly beaten in from the outside; then the cement is melted out, and the design treated in more detail from the inside. Theophilus tells us how to prepare a silver vessel to be beaten with a design. After giving a recipe for a sort of pitch, he says, "Melt this composition and fill the vial to the top. And when it has become cold, portray... whatever you wish, and taking a slender ductile instrument, and a small hammer, design that which you have portrayed around it by striking lightly." This process is practically, on a larger scale, what Cellini describes as that of "minuterie." Cellini praises Caradosso beyond all others in this work, saying "it was just in this very getting of the gold so equal all over, that I never knew a man to beat Caradosso!" He tells how important this equality of surface is, for if, in the working, the gold became thicker in one place than in another, it was impossible to attain a perfect finish. Caradosso made first a wax model of the object which he was to make; this he cast in copper, and on that he laid his thin gold, beating and modelling it