Notable, for instance, were the Sicilian weavers, who, contrary to their local traditions, introduced heraldry into the patterns of their fabrics, so as to conform to the taste of the crusaders.
The Phœnicians were the early merchant adventurers, and traded in work of Tyrian and Sidonian production with remote parts of Europe, taking back local produce in exchange. Later on, through the medium of the Hanseatic league, brass work from Flanders and cast-iron fire-backs from Sussex were distributed through-out the area of their operations; of which surviving examples demonstrate that local taste and requirement were considered and embodied.
Effect on Design
Apart from this cause of loss in local character, Art production was further influenced by the rise in social position of the worker.
When the craftsman remained the sole factor, his design and work was invariably true to materialistic conditions; but with increasing emolument incidental to appreciation and patronage, the designer emerged as a professional.
In the early times the craftsman was independent to a great extent of architectural influence, but later he was compelled to study the architectural environment and adapt his designs in accordance.
Even then he was true to his craft conditions until the designing was taken out of his hands by the newly evolved professional who, in many instances had little knowledge of, or was indifferent to the technical side of the craft.
Possibly the greatest offender in this respect was the French designer of the Rococo period, whose woodwork design is regardless of constructive detail, and it is to the everlasting credit of the workmen that they overcame the difficulties thrown in their way, and that so much of this work is still in existence.
Ethical Side of Art
Art is also reflective of the ethics and morals of the time; compare, for instance, the robust character of Gothic work with the lack of meaning and insincerity of the later Renaissance, degenerating into the license of the Rococo.