Читать книгу The Book of the Pearl. The history, art, science, and industry of the queen of gems онлайн

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The use of gems in enriching regalia, vestments, and reliquaries in Europe, advanced greatly during the reign of Charlemagne (768–814); and princes and bishops competed with each other in the magnificence of their gifts to the churches, sacrificing their laical jewels for the sacred treasures. Few of the great ornaments of Charlemagne’s time are now in existence in the original form. Doubtless the most remarkable pieces are the sacred regalia of the great emperor, preserved among the imperial treasures in Vienna.

FRONT COVER OF ASHBURNHAM MANUSCRIPT OF THE FOUR GOSPELS

From the ninth century. One quarter of the actual dimensions.

Owned by J. Pierpont Morgan, Esq.

An artistic use for pearls at that time was in the rich and elegant bindings of the splendidly written missals and chronicles, finished in the highest degree of excellence and at vast expense. An artist might devote his whole life to completing a single manuscript, so great was the detail and so exquisite the finish. Vasari states that Julio Clovio devoted nine years to painting twenty-six miniatures in the Breviary of the Virgin now in the royal library at Naples. The library at Rouen has a large missal on which a monk of St. Andoen is said to have labored for thirty years. These books were among the most valued possessions of the churches, and their bindings were enriched with gold and pearls and colored stones. The wealthy churches had many such volumes; Gregory of Tours states that from Barcelona in 531 A.D. Childebert brought twenty “evangeliorum capsas” of pure gold set with gems. Several of these superbly bound volumes are yet in existence, in the Basilica of St. Mark in Venice; in the treasury of the cathedral at Milan; among the imperial Russian collections in the Ourejenaya Palata at Moscow, etc.; and they furnish probably the most reliable examples of artistic jewel work of the Dark Ages.