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.
Candlesticks.
The ornaments of the altar in Christian churches are for the most part simple in design. There are, however, many varieties of candlesticks, varying in size and degree from the larger ones which hold the Communion candles to the decorative seven-branched candelabra of light and tasteful design. The more important specimens are the massive candlesticks which are used in the chancel and in some of the larger cathedrals in other parts of the building. Such ecclesiastical bronzes are seldom obtainable, although there are some fine examples in the Victoria and Albert Museum in this country, and in the chief Continental museums. The donors of such objects spared no expense, and the modellers and founders treated such work very elaborately. Flemish and Spanish churches are especially rich in large candlesticks, and many of the Continental cathedrals possess wonderful examples. The prominence which has been given to candlesticks in public worship dates back to a period long before the foundation of the Christian Church, for the seven-branched candlestick was an important feature in the Jewish ceremonial. When the Roman conquerors took possession of Jerusalem, among the treasures taken from the Temple on the sack of the city, they carried away the golden candlesticks from the altar. So important was this sacred trophy that it was represented on the triumphal arch of Titus, preserving to the artists of the future its general characteristics of design.
The great bronze candlesticks in St Paul's Cathedral and in other English churches are to be admired but not collected; nevertheless there are some fine candlesticks in bronze and of polished brass offered for sale in the curio shops, and from time to time brought under the hammer in the London auction rooms. The illustration given in Fig. 19 is a remarkable example which may be seen in the Victoria and Albert Museum. A fine Venetian bronze candelabrum (one of a pair), now in a private collection, is shown in Fig. 20.
Altar Brasses.
Most of the church plate so-called was of pewter and silver in early times; in more modern days of silver, and sometimes of metal plated with silver. There are, however, examples of metal chalices of bronze, some of which have been found in Ireland. The altar brasses in pre-Reformation days included brass censers and incense vessels, very interesting examples of which are now in the Victoria and Albert Museum, being illustrated in Fig. 21. Of vases and other decorative altar brasses there are many. Some, probably, took their origin in older customs and were symbolical; the vases nowadays are for the most part used as receptacles for flowers.
