the King himself took part in the ceremony, carrying the shrine
of St. Genevieve also, when it was taken forth in great pageants.

In the quaint wording of the period, goldsmiths were forbidden to
gild or silver-plate any article made of copper or latten, unless
they left some part of the original exposed, "at the foot or some
other part,... to the intent that a man may see whereof the thing
is made for to eschew the deceipt aforesaid." This law was enacted
in 1404.

Many of the great art schools of the Middle Ages were established
in connection with the numerous monasteries scattered through all
the European countries and in England. The Rule of St. Benedict
rings true concerning the proper consecration of an artist: "If
there be artists in the monastery, let them exercise their crafts
with all humility and reverence, provided the abbot shall have
ordered them. But if any of them be proud of the skill he hath in
his craft, because he thereby seemeth to gain something for the
monastery, let him be removed from it and not exercise it again,
unless, after humbling himself, the abbot shall permit him." Craft
without graft was the keynote of mediæval art.

King Alfred had a monastic art school at Athelney, in which he had
collected "monks of all kinds from every quarter." This accounts
for the Greek type of work turned out at this time, and very likely
for Italian influences in early British art. The king was active in
craft work himself, for Asser tells us that he "continued, during
his frequent wars, to teach his workers in gold and artificers of
all kinds."