Interior Metal-Work.
The collectable brasses (other than domestic kitchen brass and copper-work which is dealt with in [Chapter VIII]) belonging to the later period of art, and chiefly associated with the builder's furnishing and cabinetmaker's craft, include quite a variety of interesting objects. In the days before Victorian times, when art almost died out, the coppersmith and the brazier produced some beautiful objects for the ornamentation and furnishing of the home, many of which have been handed down to us, and form valuable additions to a collection of metal. This period, as it has been already intimated, has been very much copied, especially just before the artists of the later Edwardian days struck out new lines and founded a school which has been called that of the "nouvre art." Now and then there have been attempts to blend the old with the new, and the collector of the genuine antique desiring purity of style in his specimens should not neglect any opportunities he may have of examining and comparing the various styles. The arrangements for lighting and heating houses were until quite recently inefficient. There was, however, still greater neglect in providing for the comfort of the attenders at churches, which were frequently cold and chilly. Attempts were made by individuals to remedy this, and among the curios associated with heating purposes are hand-warmers and foot-warmers. The earlier types of hand-warmers, or chaufferettes, were spherical metal boxes or balls, in the interior of which, by an arrangement of chains or rings, a cup containing a red-hot ball of metal or a piece of charcoal could be retained in an upright position. These portable warming stoves were also used in many houses and on many occasions. Reference is made to such warmers in [Chapter XV], where a Dutch foot-warmer is illustrated. It is said that it was a common practice years ago for a servant man or maid to follow a lady when attending church, carrying a charcoal burner and placing it upon the floor at the lady's feet, then gracefully retiring into some less conspicuous part of the building until the service was over. In the days when streets were badly lighted lanterns were commonly hung outside houses and in entrance halls, some reference to the more portable types being given in [Chapter IX].
FIG. 16.—BRONZE KNOCKER OF THE ARMORIAL TYPE.
FIG. 17.—BRASS DROP KNOCKER IN THE FORM OF A DOLPHIN.
FIG. 18.—BRASS WELL BUCKET.
The metal-work of the interior, such as lock plates, hinges, and door knobs, was frequently of brass, and very ornate some of these quaint old fittings are. Perhaps the most interesting are those which were much used on the more portable sideboards, corner cupboards, and chests. It would appear that the extravagance in design reached its height when Chippendale's influence extended to the metal ornaments on the furniture, as well as to the scrollwork and carving of the woodwork. Some of this metal-work gives evidence of Chinese influence, or as it was then called, Chinese taste, shown in the introduction of the mandarin and the fakir, Oriental landscapes, palanquins, and Chinese trees and flowers, even in English metal-work. The collector of such things finds a wealth of brass in even escutcheons and handle plates (see [Chapter XIX]).
There is some very rich brasswork in the frames of the old banner screens, made of beautiful needlework panels, over which so much time must have been spent. A remarkably fine banner holder in the Victoria and Albert Museum is typical of many others. We have only to look round the house and imagine how it looked a century ago to discover that the collectable objects of copper and brass, even when domestic utensils and curios have been removed, included many other objects besides those referred to which may be secured by careful and persistent search among the old shops and builders' odds and ends.
VII
CHURCH
BRASSWORK
FIG. 19.—CURIOUS DOUBLE CANDLESTICK.
(In the Victoria and Albert Museum.)
CHAPTER VII
CHURCH BRASSWORK
Candlesticks—Altar brasses—Metal architectural ornament—Memorial brasses.
The admirer of metal-work finds examples of the early brassworker's art in ecclesiastical edifices. Although in years gone by there has been spoiliation in many churches, and some of the most valued objects in sacred buildings have been taken for secular uses, there are still many treasured relics which are almost unique specimens of the metal-worker's art. It is a wonder so much has been preserved, for too enthusiastic authorities have often displaced the old and substituted newer objects of no antiquarian value. In the past in restoration work much that would have now been venerated as antique has been destroyed. The collector cannot be advised to bring pressure to bear on the ecclesiastical authorities in order that he may obtain such curios for his museum. Oftentimes the brasses in themselves would present no special interest. It is rather in their associations that the antiquary sees much to admire, and to strip brasses from the wall or memorial tablets from tombs is vandalism and sacrilege which cannot be encouraged. There is, however, a peculiar beauty in the metal-work which may be seen and admired in old churches, and the massive grandeur of grilles, railings, and gallery fronts add to the beauty of such buildings as a whole. In addition to these architectural brasses there are many portable antiques, ornate and historical.
Ecclesiastical brasses may be divided into two groups. First, there are those which have been consecrated to religious purposes, including the sacred vessels of the altar and the metal symbols used in Divine worship, and then there are the metal objects which serve the purpose of ornament and to some extent utility. Among the more decorative pieces of the first group are processional crosses, many of which are very beautiful, in some cases being ornamented with precious stones and enamels. Then there are the crosses on the altar, if anything still more decorative, for in fashioning them, especially for use in connection with the old Gothic cathedrals and churches in this country and on the Continent in mediæval days, the artists concentrated their best endeavours to produce metal-work worthy of the sacred purpose for which it was to be used. Some of the bishops' and archbishops' crooks in the earlier days were made of ivory; then metal-work, richly chased and jewelled, came into vogue, and latterly some of the crooks are fine examples of the metal-workers' art.