fonts!

Croziers of ornate design especially roused the ire of the Puritans.
In Mr. Alfred Maskell's incomparable book on Ivories, he translates
a satirical verse by Guy de Coquille, concerning these objectionable
pastoral staves (which were often made of finely sculptured ivory).

"The staff of a bishop of days that are old
Was of wood, and the bishop himself was of gold.
But a bishop of wood prefers gorgeous array,
So his staff is of gold in the new fashioned way!"

During the Renaissance especially, goldsmith's work was carried
to great technical perfection, and yet the natural properties of
the metal were frequently lost sight of, and the craftsmen tried
to produce effects such as would be more suitable in stone or
wood,--little architectonic features were introduced, and gold
was frequently made to do the work of other materials. Thus it
lost much of its inherent effectiveness. Too much attention was
given to ingenuity, and not enough to fitness and beauty.

[Illustration: RELIQUARY AT ORVIETO]

In documents of the fourteenth century, the following list of goldsmiths
is given: Jean de Mantreux was goldsmith to King Jean. Claux de
Friburg was celebrated for a gold statuette of St. John which he
made for the Duke of Normandy. A diadem for this Duke was also
recorded, made by Jean de Piguigny. Hannequin made three golden crowns
for Charles V. Hans Crest was goldsmith to the Duke of Orleans, while
others employed by him were Durosne, of Toulouse, Jean de Bethancourt,