The change affecting the world with the decadence of the Roman Empire was logically bound to stamp the successive course of art with the inevitable4 downfall of past glory. With the Christian5 era a new society had arisen and also a new art, entirely6 symbolic7, no more satisfied with the early plagarisms, apparently8 lisping a new tongue but ready to dispel9 all pagan sentiment in art, to establish the elements of a new expression and purpose more in harmony with the reborn civilization. With an art that Taine considers “after five centuries to be unable to represent man except seated or standing10 erect,” symbolic and calligraphic at the same time, there seemed to be no room for amateurs and collectors of the old type.
There may have been sporadic11 cases, though Constantine’s severe censure12 of all the cults14 of the past doubtlessly made it a daring act at that time to profess15 worship for old traditions in art. Collectomania very likely became a thing of the past. There must have been dealers16 in art and antiques, as we can gather from the Digest, and transactions between artists and clients, as can be seen from a clause of the Justinian laws, but nothing like there were in the ancient Roman world that had been dispersed17 by the new civilization.
64 This clause Justinian was forced to add to a law on artistic property, as judges had so lost all sense of art appreciation18 that in a dispute between a painter and the man who had furnished the board on which the work was painted, they decided19 that the painting belonged to the one who owned the board. Justinian was forced to do justice by stating that if a quarrel arose between the artist and the one who furnished the board the owner of the work was the artist, as the value of the board could not be compared with the artistic one. “Think,” he concludes, “of comparing the value of the work of Apelles or Parrhasius with the price of a board of very small value.”
The time for lovers of art, for private speculations20 and the all but consequent faking, and all the characteristic figures of an art market had disappeared.
In the early medieval period there seems to have been no scope for faking and forgery21. The collector, if the type then existing is entitled to the name, was like nothing that had been seen before or has since appeared. The objects treasured generally had more intrinsic value than real artistic merit. A collection represented a simple form of banking22, a sound and good investment taking the place of what the French call “personal property.”
With such views, goldsmiths’ work, studded and ornamented23 with precious stones, or rich embroideries24 in gold, naturally had the preference. Articles of virtu then had a solid value, and while suitable for princely display, could be turned into money at any moment. The craze for manuscripts, rare penmanship, and early illuminated25 parchments may represent an exception, but only, apparently, as such objects—apart from their rarity, skill and supreme26 patience in miniature work—were of such an established value as to be regarded like precious gems27.
The medieval collections of art and precious things give a true expression of those unsafe and uncertain times and were in harmony with the erratic28 career of the monarchs30 and potentates31 whose peculiar32 mode of life often necessitated33 the65 packing of the whole museum into a coffer and dragging it with them in their pilgrimages, wars, etc. This not only in some way explains the preference given to goldsmiths’ work but the fact that the dimensions of sculpture had to be reduced, and painting, when not for church decoration, was mostly restricted to miniatures, illumination, and designs for tapestries34 and embroideries.
Clovis, the “Most Christian King,” as Pope Anastasius called him, is supposed to have been an eager collector of rare and precious objects. Tradition claims that a saint one day broke one of his rarest cups of jasper all studded with precious stones, and seeing Clovis’ sorrow at such a loss, picked up the fragments and praying over them, performed a miracle, handing to the monarch29 the cup restored to one piece as before. Clotaire, the son of Clovis, had in his mansion35 at Braine a secret room with chests full of jewellery and precious vases.
Chilperic had a real ambition to collect rare objects of virtu. For this purpose he sent everywhere for all that might be worthy36 of his collection. Gregory of Tours tells us that he had a Jew as adviser37, a man called Priseus.
It is said that when Chilperic exhibited at Nogent-sur-Marne the presents offered him by the Emperor Tiberius II, to show that they did not surpass in splendour the best pieces of his own treasure, he exhibited close to them one of his precious cups, a golden vase studded with rare stones and weighing fifty pounds. Twenty years later, between 560 and 580, Saint Radegond, the daughter of the king of Thuringia, received the poet and canon Fortunatus in her convent of Poitiers and gave him a dinner with the table covered in roses and the richest ornamented silver plates and precious jasper cups. Such a treat inspired the poet with one of his fine Latin poems. Dagobert was not only an enlightened collector of precious things but so extremely fond of artistic “vaisselle” that when Sisinande, a Gothic king, wished to induce the Frankish monarch to join him in his political schemes he promised Dagobert a fine gold plate weighing66 five pounds “and more precious still for the beauty of the workmanship.”
After a long lapse38 of time, in which the only museums of the art of the time seem to have been the churches, under Charlemagne and his successors private collections of treasures, art and fine pieces of work again seem to acquire importance. The Bibliothèque Nationale of Paris owns an Évangéliaire of rare artistic value, illuminated by a monk39 named Godescal of the year 781.
The Bible and Psalter of Charles the Bald are said to have been the work of the monks40 of Saint-Martin de Tours, and are considered a marvel41 of illumination. Together with these books, now kept in the Librairie Nationale of Paris, Charles presented to the Church of Saint Denis a famous cup known in his time as Ptolemy’s cup, a fine work carved from a piece of precious sardonyx. In the will of this monarch’s brother, the Marquis of Friuli, a document dated 870, there is, among other legacies42, the enumeration43 of arms studded with precious stones, clothes in silk and gold embroideries, silver vases and ivory cups, finely chiselled44, and a library in which among other notable works are the writings of Saint Basil, Saint Isidore and Saint Cyprian. From this time forward a collection of rare things and precious jewels is quite a necessary apanage of kings and princes, but as we have said, it mostly consisted of small objects in which art almost invariably seems to have played a secondary rôle, and in considering the art it is often hard to know whether to admire more the miniaturist’s patience or his workmanship.
Later on the cult13 of pagan art seems to have been revived by the Emperor Frederick II, the son of Barbarossa, but even at this time the case is somewhat of an exception.
Under patrons of art who were as a rule absolute monarchs or iron rulers and all-powerful princes, fakery would have played a dangerous and most sorrowful part, nor was there any inducement to indulge in any of the trickery that had characterized the world of lovers of art during the Roman decadence. A risky45 game at any time, it might have entailed67 one of those exemplary punishments which characterized the ferocious46 Middle Ages.
Coin counterfeiting48 was naturally the least artistic form of deceit, and being a less hazardous49 venture seems to have tempted50 ability in all ages. It represents a link between more proficient51 periods of art swindling.
Some of these early fakers certainly planted the seed from which sprang the arch-deceivers and clever medallists of the Renaissance52.
There lies Romena, where I falsified The alloy53 that is with the Baptist stamped For which on earth I left my body burned.
These words Dante puts into the mouth of Mastro Adamo da Brescia, a skilful54 counterfeiter55 of coins whom he met in hell. Adamo was burned at the stake near the castle of Romena in the Casentino, for having cast, by order of the Count of Romena, the golden florin of the Florentine Republic.
About this time counterfeit47 coining tempted the most diverse classes of people. It had a long list of devotees, including even a king of France who honoured the Republic of Florence with not a few of his swindling specimens56 of the golden florin. Marostica, a village in the Venetian domains57, challenged and defeated the powerful Republic of the lagoon58 by flooding the Venetian market with the most deceptive59 samples of false coinage.
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1 decadence | |
n.衰落,颓废 | |
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2 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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3 patronage | |
n.赞助,支援,援助;光顾,捧场 | |
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4 inevitable | |
adj.不可避免的,必然发生的 | |
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5 Christian | |
adj.基督教徒的;n.基督教徒 | |
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6 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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7 symbolic | |
adj.象征性的,符号的,象征主义的 | |
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8 apparently | |
adv.显然地;表面上,似乎 | |
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9 dispel | |
vt.驱走,驱散,消除 | |
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10 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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11 sporadic | |
adj.偶尔发生的 [反]regular;分散的 | |
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12 censure | |
v./n.责备;非难;责难 | |
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13 cult | |
n.异教,邪教;时尚,狂热的崇拜 | |
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14 cults | |
n.迷信( cult的名词复数 );狂热的崇拜;(有极端宗教信仰的)异教团体 | |
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15 profess | |
v.声称,冒称,以...为业,正式接受入教,表明信仰 | |
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16 dealers | |
n.商人( dealer的名词复数 );贩毒者;毒品贩子;发牌者 | |
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17 dispersed | |
adj. 被驱散的, 被分散的, 散布的 | |
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18 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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19 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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20 speculations | |
n.投机买卖( speculation的名词复数 );思考;投机活动;推断 | |
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21 forgery | |
n.伪造的文件等,赝品,伪造(行为) | |
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22 banking | |
n.银行业,银行学,金融业 | |
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23 ornamented | |
adj.花式字体的v.装饰,点缀,美化( ornament的过去式和过去分词 ) | |
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24 embroideries | |
刺绣( embroidery的名词复数 ); 刺绣品; 刺绣法 | |
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25 illuminated | |
adj.被照明的;受启迪的 | |
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26 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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27 gems | |
growth; economy; management; and customer satisfaction 增长 | |
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28 erratic | |
adj.古怪的,反复无常的,不稳定的 | |
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29 monarch | |
n.帝王,君主,最高统治者 | |
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30 monarchs | |
君主,帝王( monarch的名词复数 ) | |
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31 potentates | |
n.君主,统治者( potentate的名词复数 );有权势的人 | |
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32 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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33 necessitated | |
使…成为必要,需要( necessitate的过去式和过去分词 ) | |
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34 tapestries | |
n.挂毯( tapestry的名词复数 );绣帷,织锦v.用挂毯(或绣帷)装饰( tapestry的第三人称单数 ) | |
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35 mansion | |
n.大厦,大楼;宅第 | |
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36 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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37 adviser | |
n.劝告者,顾问 | |
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38 lapse | |
n.过失,流逝,失效,抛弃信仰,间隔;vi.堕落,停止,失效,流逝;vt.使失效 | |
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39 monk | |
n.和尚,僧侣,修道士 | |
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40 monks | |
n.修道士,僧侣( monk的名词复数 ) | |
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41 marvel | |
vi.(at)惊叹vt.感到惊异;n.令人惊异的事 | |
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42 legacies | |
n.遗产( legacy的名词复数 );遗留之物;遗留问题;后遗症 | |
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43 enumeration | |
n.计数,列举;细目;详表;点查 | |
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44 chiselled | |
adj.凿过的,凿光的; (文章等)精心雕琢的v.凿,雕,镌( chisel的过去式 ) | |
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45 risky | |
adj.有风险的,冒险的 | |
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46 ferocious | |
adj.凶猛的,残暴的,极度的,十分强烈的 | |
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47 counterfeit | |
vt.伪造,仿造;adj.伪造的,假冒的 | |
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48 counterfeiting | |
n.伪造v.仿制,造假( counterfeit的现在分词 ) | |
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49 hazardous | |
adj.(有)危险的,冒险的;碰运气的 | |
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50 tempted | |
v.怂恿(某人)干不正当的事;冒…的险(tempt的过去分词) | |
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51 proficient | |
adj.熟练的,精通的;n.能手,专家 | |
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52 renaissance | |
n.复活,复兴,文艺复兴 | |
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53 alloy | |
n.合金,(金属的)成色 | |
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54 skilful | |
(=skillful)adj.灵巧的,熟练的 | |
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55 counterfeiter | |
n.伪造者 | |
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56 specimens | |
n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人 | |
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57 domains | |
n.范围( domain的名词复数 );领域;版图;地产 | |
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58 lagoon | |
n.泻湖,咸水湖 | |
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59 deceptive | |
adj.骗人的,造成假象的,靠不住的 | |
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