The forms are slender, and the limbs
occasionally beyond the owner's control--sometimes even deformed. The
feet are small and weak--now and then over-twisted. The hands more
delicate than formerly, especially when open. Faces are gently oval and
sometimes expressive.
[36] It has been published as the Album of V. de H., Paris, 1858.
Sometimes the "histories" are placed in initial letters, the grounds of
which, when not of burnished gold, consist of imitations of mural
_carrelages_, chequers, etc., or rich enamelled patterns imitative of
engraved traceries on metal. In other cases they are placed in
frame-mouldings, consisting of a bar or beading of gold supporting an
inner bar of coloured and polished wood or enamel work--the polish being
represented by a fine line of white along the centre. For illustrations
of this precious volume the reader may refer to Labarte, _Hist. des Arts
industriels_, album, pl. 92 (Paris, 1864).
Now that the monasteries had ceased to be the exclusive nurseries of art
and literature, the masters of the different arts and crafts usually
belonged to the middle classes of the towns, where at first each art or
craft had its own fraternity, and as the idea of trade-association crew,
the crafts most nearly related would form a guild or corporation.
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