value of the goldsmith's art in the service of the Church. After his time the employment of the goldsmiths upon church decoration became so great that they were really the artists of Europe during the two hundred years previous to the invention of wood-engraving.[1] In the pursuit of their craft they practised the arts of modelling, casting, sculpture, engraving, enamelling, and the setting of precious stones; and in the thirteenth century they made use of all these resources in the execution of their beautiful works of art made of gold and silver, richly engraved, and adorned with bass-reliefs and statuettes, and brilliant with many-colored enamel and with jewels—the reliquaries in which were kept the innumerable holy relics that then filled Europe, the famous shrines for the bodies of the saints, about which pilgrims from every quarter were ever at prayer, and the tombs of the Crusaders, and of dignitaries of Church or State. They employed their skill, too, for the lesser glory of the churches, upon the vessels of the Holy Communion, the crosses, candelabra, and censers, and the ornaments that incrusted the vestments of the priests. With the increase of luxury and wealth they found a new field for their invention in contributing to the magnificence of secular life; in fashioning into strange forms the ewers, goblets, flagons, and
- ↑ La Barte, "Histoire des Arts Industriels au Moyen Age et a l'époque de la Renaissance." 4 tom. (Album, 2 tom.). Paris, 1864. Tom. i., pp. 391-513: tom. ii., pp. 1-592.
ruffæ, ore Dei aut prophetæ jussu, deserviebant; quanto magis ad susceptionem sanguinis Jesu Christi vasa aurea, lapides preciosi, quæque inter omnes creaturas carissima continuo famulatu, plena devotione exponi debeat." Œuvres complètes de Suger recueillies, etc., par A. L. de la Marche. Paris, 1867. Sur son administration Abbatiale, p. 199 et seq.
