every vessel which adorned the banquet; and in ornamenting them with fantastic figures, or with scenes from the chase, or from the history of Charlemagne and Saladin, as well as in executing those finely wrought decorations with which the silks and velvets of the nobles were so heavily charged that the old poet, Martial d'Auvergne, says the lords and knights were "caparisoned in gold-work and jewels." Under Charles V. of France (1364) and the great Dukes of the Low Countries, the jewel-chamber of the prince was his pride in peace and his treasury in war: it furnished gifts for the bride, the favorite, and the heir, and for foreign ambassadors and princes; it afforded pay for retainers before the battle and ransom after it, and in the days of the great fêtes its treasures gave to the courts of France, Burgundy, and Flanders a magnificence that has seldom been seen in Europe.[1]
Under such fortunate encouragement the goldsmiths of the fourteenth century reached a knowledge of design and a finish in execution that justified the claim of their art to the first place among the fine arts, and made their workshops the apprentice-home of many great masters of art in Italy as well as in the North. They best understood the value of art, and were best skilled in artistic processes; they were the only persons[2] who had by them all the means for taking an impression—the engraved metal plate, iron tools, burnishers for rubbing off a proof, blackened oil, and paper
