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| [FURNITURE: HOUSEHOLD AND ECCLESIASTICAL] | [1] |
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| Simplicity of Furniture among the Gauls and Franks.—Introduction of costly taste inarticles of Furniture of the Seventh Century.—Arm-chair of Dagobert.—Round Tableof King Artus.—Influence of the Crusades.—Regal Banquet in the time of Charles V.—Benches.—Sideboards.—DinnerServices.—Goblets.—Brassware.—Casks.—Lighting.—Beds.—Carved-woodFurniture.—Locksmith’s Work.—Glass and Mirrors.—Roomof a Feudal Seigneur.—Costliness of Furniture used for Ecclesiastical Purposes.—Altars.—Censers.—Shrinesand Reliquaries.—Gratings and Iron-mountings. |
| [TAPESTRY] | [37] |
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| Scriptural Origin of Tapestry.—Needlework Embroidery in Ancient Greek and RomanTimes.—Attalic Carpets.—Manufacture of Carpets in Cloisters.—Manufactory atPoitiers in the Twelfth Century.—Bayeux Tapestry, named “De la Reine Mathilde.”—ArrasCarpets.—Inventory of the Tapestries of Charles V.; enormous Value of theseEmbroidered Hangings.—Manufactory at Fontainebleau, under Francis I.—TheManufacture of the Hôpital de la Trinité, at Paris.—The Tapestry Workers, Dubourgand Laurent, in the reign of Henry IV.—Factories of Savonnerie and Gobelins. |
| [CERAMIC ART] | [53] |
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| Pottery Workshops in the Gallo-Romano Period.—Ceramic Art disappears for severalCenturies in Gaul: is again found in the Tenth and Eleventh Centuries.—ProbableInfluence of Arabian Art in Spain.—Origin of Majolica.—Luca della Robbia and hisSuccessors.—Enamelled Tiles in France, dating from the Twelfth Century.—TheItalian Manufactories of Faenza, Rimini, Pesaro, &c.—Beauvais Pottery.—Inventionand Works of Bernard Palissy; his History; his Chefs-d’œuvre.—The Faïence ofThouars, called “Henri II.” |
| [ARMS AND ARMOUR] | [75] |
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| Arms of the Time of Charlemagne.—Arms of the Normans at the Time of the Conquestof England.—Progress of Armoury under the Influence of the Crusades.—The Coat ofMail.—The Crossbow.—The Hauberk and the Hoqueton.—The Helmet, the Hat ofIron, the Cervelière, the Greaves, and the Gauntlet; the Breastplate and the Cuish.—TheCasque with Vizor.—Plain Armour and Ribbed Armour.—The Salade Helmet.—Costlinessof Armour.—Invention of Gunpowder.—Bombards.—Hand-Cannons.—TheCulverin, the Falconet.—The Arquebus with Metal-holder, with Match, and withWheel.—The Gun and the Pistol. |
| [CARRIAGES AND SADDLERY] | [107] |
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| Horsemanship among the Ancients.—The Riding-horse and the Carriage-horse.—Chariotsarmed with Scythes.—Vehicles of the Romans, the Gauls, and the Franks:Carruca, the Petoritum, the Cisium, the Plastrum, the Basterna, the Carpentum.—Differentkinds of Saddle-horses in the Days of Chivalry.—The Spur a distinctiveSign of Nobility: its Origin.—The Saddle, its Origin and its Modifications.—TheTilter.—Carriages.—The Mules of Magistrates.—Corporations of Saddlers and Harness-makers,Lorimers, Coachmakers, Chapuiseurs, Blazonniers, and Saddle-coverers. |
| [GOLD AND SILVER WORK] | [123] |
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| Its Antiquity.—The Trésor de Guarrazar.—The Merovingian and Carlovingian Periods.—EcclesiasticalJewellery.—Pre-eminence of the Byzantine Goldsmiths.—Progress ofthe Art consequent on the Crusades.—The Gold and Enamels of Limoges.—Jewelleryceases to be restricted to Purposes of Religion.—Transparent Enamels.—Jean of Pisa,Agnolo of Siena, Ghiberti.—Great Painters and Sculptors from the Goldsmiths’Workshops.—Benvenuto Cellini.—The Goldsmiths of Paris. |
| [HOROLOGY] | [169] |
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| Modes of measuring Time among the Ancients.—The Gnomon.—The Water-Clock.—TheHour-Glass.—The Water-Clock, improved by the Persians and by the Italians.—Gerbertinvents the Escapement and the moving Weights.—The Striking-bell.—MaistreJehan des Orloges.—Jacquemart of Dijon.—The first Clock in Paris.—Earliestportable Timepiece.—Invention of the spiral Spring.—First appearance of Watches.—TheWatches, or “Eggs,” of Nuremberg.—Invention of the Fusee.—Corporation ofClockmakers.—Noted Clocks at Jena, Strasburg, Lyons, &c.—Charles-Quint andJannellus.—The Pendulum. |
| [MUSICAL INSTRUMENTS] | [187] |
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| Music in the Middle Ages.—Musical Instruments from the Fourth to the ThirteenthCentury.—Wind Instruments: the Single and Double Flute, the Pandean Pipes, theReed-pipe.—The Hautboy, the Flageolet, Trumpets, Horns, Olifants, the HydraulicOrgan, the Bellows-Organ.—Instruments of Percussion: the Bell, the Hand-bell,Cymbals, the Timbrel, the Triangle, the Bombulum, Drums.—Stringed Instruments:the Lyre, the Cithern, the Harp, the Psaltery, the Nable, the Chorus, the Organistrum,the Lute and the Guitar, the Crout, the Rote, the Viola, the Gigue, the Monochord. |
| [PLAYING-CARDS] | [223] |
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| Supposed Date of their Invention.—Existed in India in the Twelfth Century.—Theirconnection with the Game of Chess.—Brought into Europe after the Crusades.—FirstMention of a Game with Cards in 1379.—Cards well known in the Fifteenth Centuryin Spain, Germany, and France, under the name of Tarots.—Cards called Charles theSixth’s must have been Tarots.—Ancient Cards, French, Italian, and German.—Cardscontributing to the Invention of Wood-Engraving and Printing. |
| [GLASS-PAINTING] | [251] |
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| Painting on Glass mentioned by Historians in the Third Century of our Era.—GlazedWindows at Brioude in the Sixth Century.—Coloured Glass at St. John Lateran andSt. Peter’s in Rome.—Church-Windows of the Twelfth and Thirteenth Centuries inFrance: Saint-Denis, Sens, Poitiers, Chartres, Rheims, &c.—In the Fourteenth andFifteenth Centuries the Art was at its Zenith.—Jean Cousin.—The Célestins of Paris:Saint-Gervais.—Robert Pinaigrier and his Sons.—Bernard Palissy decorates theChapel of the Castle of Ecouen.—Foreign Art: Albert Dürer. |
| [FRESCO-PAINTING] | [269] |
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| The Nature of Fresco.—Employed by the Ancients.—Paintings at Pompeii.—Greek andRoman Schools.—Mural Paintings destroyed by the Iconoclasts and Barbarians.—Revivalof Fresco, in the Ninth Century, in Italy.—Fresco-Painters since Guido ofSiena.—Principal Works of these Painters.—Successors of Raphael and MichaelAngelo.—Fresco in Sgraffito.—Mural Paintings in France from the Twelfth Century.—GothicFrescoes of Spain.—Mural Paintings in the Low Countries, Germany, andSwitzerland. |
| [PAINTING ON WOOD, CANVAS, Etc.] | [283] |
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| The Rise of Christian Painting.—The Byzantine School.—First Revival in Italy.—Cimabue,Giotto, Fra Angelico.—Florentine School: Leonardo da Vinci, MichaelAngelo.—Roman School: Perugino, Raphael.—Venetian School: Titian, Tintoretto,Veronese.—Lombard School: Correggio, Parmigianino.—Spanish School.—Germanand Flemish Schools: Stephen of Cologne, John of Bruges, Lucas van Leyden,Albert Dürer, Lucas van Cranach, Holbein.—Painting in France during the MiddleAges.—Italian Masters in France.—Jean Cousin. |
| [ENGRAVING] | [315] |
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| Origin of Wood-Engraving.—The St. Christopher of 1423.—“The Virgin and ChildJesus.”—The earliest Masters of Wood-Engraving.—Bernard Milnet.—Engraving inCamaïeu.—Origin of Engraving on Metal.—The “Pax” of Maso Finiguerra.—Theearliest Engravers on Metal.—Niello Work.—Le Maître of 1466.—Le Maître of 1486.Martin Schöngauer, Israel van Mecken, Wenceslaus of Olmutz, Albert Dürer, MarcAntonio, Lucas van Leyden.—Jean Duret and the French School.—The DutchSchool.—The Masters of Engraving. |
| [SCULPTURE] | [339] |
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| Origin of Christian Sculpture.—Statues in Gold and Silver.—Traditions of Antique Art.—Sculpturein Ivory.—Iconoclasts.—Diptychs.—The highest Style of Sculpturefollows the Phases of Architecture.—Cathedrals and Monasteries from the year 1000.—Schoolsof Burgundy, Champagne, Normandy, Lorraine, &c.—German, English,Spanish, and Italian Schools.—Nicholas of Pisa and his Successors.—Position ofFrench Sculpture in the Thirteenth Century.—Florentine Sculpture and Ghiberti.—FrenchSculptors from the Fifteenth to the Sixteenth Century. |
| [ARCHITECTURE] | [373] |
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| The Basilica the first Christian Church.—Modification of Ancient Architecture.—ByzantineStyle.—Formation of the Norman Style.—Principal Norman Churches.—Ageof the Transition from Norman to Gothic.—Origin and Importance of the Ogive.—PrincipalEdifices in the pure Gothic Style.—The Gothic Church, an Emblem ofthe Religious Spirit in the Middle Ages.—Florid Gothic.—Flamboyant Gothic.—Decadency.—Civiland Military Architecture: Castles, Fortified Enclosures, PrivateHouses, Town-Halls.—Italian Renaissance: Pisa, Florence, Rome.—French Renaissance:Mansions and Palaces. |
| [PARCHMENT AND PAPER] | [413] |
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| Parchment in Ancient Times.—Papyrus.—Preparation of Parchment and Vellum in theMiddle Ages.—Sale of Parchment at the Fair of Lendit.—Privilege of the Universityof Paris on the Sale and Purchase of Parchment.—Different Applications of Parchment.—CottonPaper imported from China.—Order of the Emperor Frederick II.concerning Paper.—The Employment of Linen Paper, dating from the TwelfthCentury.—Ancient Water-Marks on Paper.—Paper Manufactories in France andother parts of Europe. |
| [MANUSCRIPTS] | [423] |
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| Manuscripts in Olden Times.—Their Form.—Materials of which they were composed.—TheirDestruction by the Goths.—Rare at the Beginning of the Middle Ages.—TheCatholic Church preserved and multiplied them.—Copyists.—Transcription ofDiplomas.—Corporation of Scribes and Booksellers.—Palæography.—Greek Writings.—Uncialand Cursive Manuscripts.—Sclavonic Writings.—Latin Writers.—TironianShorthand.—Lombardic Characters.—Diplomatic.—Capetian.—Ludovicinian.—Gothic.—Runic.—Visigothic.—Anglo-Saxon.—Irish. |
| [MINIATURES IN MANUSCRIPTS] | [443] |
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| Miniatures at the Beginning of the Middle Ages.—The two “Vatican” Virgils.—Paintingof Manuscripts under Charlemagne and Louis le Débonnaire.—Tradition of Greek Artin Europe.—Decline of the Miniature in the Tenth Century.—Origin of Gothic Art.—FineManuscript of the time of St. Louis.—Clerical and Lay Miniature-Painters.—Caricatureand the Grotesque.—Miniatures in Monochrome and in Grisaille.—Illuminatorsat the Court of France and to the Dukes of Burgundy.—School of John Fouquet.—ItalianMiniature-Painters.—Giulio Clovio.—French School under Louis XII. |
| [BOOKBINDING] | [471] |
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| Primitive Binding of Books.—Bookbinding among the Romans.—Bookbinding withGoldsmith’s Work from the Fifth Century.—Chained Books.—Corporation of Lieurs,or Bookbinders.—Books bound in Wood, with Metal Corners and Clasps.—FirstBindings in Leather, honeycombed (waffled?) and gilt.—Description of some celebratedBindings of the Fourteenth and Fifteenth Centuries.—Sources of Modern Bookbinding.—JohnGrollier.—President de Thou.—Kings and Queens of France Bibliomaniacs.—Superiorityof Bookbinding in France. |
| [PRINTING] | [485] |
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| Who was the Inventor of Printing?—Movable Letters in ancient Times.—BlockPrinting.—Laurent Coster.—Donati and Specula.—Gutenberg’s Process.—Partnershipof Gutenberg and Faust.—Schœffer.—The Mayence Bible.—The Psalter of1457.—The “Rationale” of 1459.—Gutenberg prints by himself.—The “Catholicon”of 1460.—Printing at Cologne, Strasbourg, Venice, and Paris.—Louis XI. andNicholas Jenson.—German Printers at Rome.—Incunabula.—Colard Mansion.—Caxton.—Improvementof Typographical Processes up to the Sixteenth Century. |