Arts and Crafts in the Middle Ages | Page 8

which he does not always receive due credit, is his gift for
imparting his knowledge. His Treatises, containing valuable
information as to methods of work, are less familiar to most readers
than his fascinating biography. These Treatises, or directions to
craftsmen, are full of the spice and charm which characterize his other
work. One cannot proceed from a consideration of the bolder metal
work to a study of the dainty art of the goldsmith without a glance at
Benvenuto Cellini.
The introduction to the Treatises has a naïve opening: "What first
prompted me to write was the knowledge of how fond people are of
hearing anything new." This, and other reasons, induced him to "write
about those loveliest secrets and wondrous methods of the great art of
goldsmithing."
Francis I. indeed thought highly of Cellini. Upon viewing one of his
works, his Majesty raised his hands, and exclaimed to the Mareschal de
France, "I command you to give the first good fat abbey that falls
vacant to our Benvenuto, for I do not want my kingdom to be deprived
of his like."
Benvenuto describes the process of making filigree work, the principle
of which is, fine wire coiled flat so as to form designs with an

interesting and varied surface. Filigree is quite common still, and any
one who has walked down the steep street of the Goldsmiths in Genoa
is familiar with most of its modern forms. Cellini says: "Though many
have practised the art without making drawings first, because the
material in which they worked was so easily handled and so pliable, yet
those who made their drawings first did the best work. Now give ear to
the way the art is pursued." He then directs that the craftsman shall
have ready three sizes of wire, and some little gold granules, which are
made by cutting the short lengths of wire, and then subjecting them to
fervent heat until they become as little round beads. He then explains
how the artificer must twist and mould the delicate wires, and tastily
apply the little granules, so as to make a graceful design, usually of
some floriate form. When the wire flowers and leaves were formed
satisfactorily, a wash of gum tragacanth should be applied, to hold
them in place until the final soldering. The solder was in powdered
form, and it was to be dusted on "just as much as may suffice,... and not
more,"... this amount of solder could only be determined by the
experience of the artist. Then came the firing of the finished work in
the little furnace; Benvenuto is here quite at a loss how to explain
himself: "Too much heat would move the wires you have woven out of
place," he says, "really it is quite impossible to tell it properly in
writing; I could explain it all right by word of mouth, or better still,
show you how it is done,--still, come along,--we'll try to go on as we
started!"
Sometimes embossing was done by thin sheets of metal being pressed
on to a wooden carving prepared for the purpose, so that the result
would be a raised silver pattern, which, when filled up with pitch or
lead, would pass for a sample of repoussé work. I need hardly say that a
still simpler mechanical form of pressing obtains on cheap silver
to-day.
So much for the mechanical processes of treating these metals. We will
now examine some of the great historic examples, and glance at the
lives of prominent workers in gold and silver in the past.
One of the most brilliant times for the production of works of art in

gold and silver, was when Constantine, upon becoming Christian,
moved the seat of government to Byzantium. Byzantine ornament lends
itself especially to such work. The distinguishing mark between the
earlier Greek jewellers and the Byzantine was, that the former
considered chiefly line, form, and delicacy of workmanship, while the
latter were led to expression through colour and texture, and not
fineness of finish.
The Byzantine emperors loved gold in a lavish way, and on a superb
scale. They were not content with chaste rings and necklets, or even
with golden crowns. The royal thrones were of gold; their armour was
decorated with the precious metal, and their chariots enriched in the
same way. Even the houses of the rich people were more endowed with
precious furnishings than most of the churches of other nations, and
every family possessed a massive silver table, and solid vases and
plate.
The Emperor Theophilus, who lived in the ninth century, was a great
lover of the arts. His palace was built after the Arabian style, and he
had skilful mechanical experts to construct a golden tree over his throne,
on the branches of which were numerous birds,