DOI Page / Citation link:
https://doi.org/10.11588/diglit.29899#0313
Bk. Y. Ch. YI.
CHURCH FURNIÏURE.
293
ancl though some of the screens that separate the choirs of the churches
are rich, they are seldom of good clesign. The two at Naumburg are
perhaps as goocl as any of their class in Germany. Generally they were
usecl as the lectorium—virtually the pulpit—of the churches. In most
instances, however, the cletached pulpit in the nave was substituted for
these, ancl there are numerous examples of richly-carvecl pulpits, but
none of beautiful design. In most instances
they are overloacled with ornament, and many
of them disfigured with quirks and quibbles,
and ali the vagaries of later German art.
The fonts are seldom good or cleserving of
attention, and the original altars have almost
all been removecl, either from having fallen to
clecay, or to make way for some more favourite
ai’rangement of modern times.
The “Sacraments Hauschen” (the receptacle
for the sacrecl elements of the Communion) is a
peculiar article of furniture frequently founcl in
Gexman churches, and in some of those of
Belgium, though vexy rare in France ancl
unknown in Englancl, but on which the
German ai’tists seexn to have lavished. more
pains than on almost any other article of
church decoration. Those in St. Lawrence’s
Church at Nuremberg and at Ulm are perhaps
the most extraordinary pieces of elaborate
architecture ever executed in stone, and have
always been looked on by the Germans as chefs-
d’œuvre of art. Had they been able, they
would have delighted in introducing the sarne
extravagances into external art : fortunately
the elements forced them to confine them to
their interiors. Nothing, however, can show
more clearly what was the tendency of their
art, and to what they aspired, than these
singular erections, which, notwithstanding x ,
° ’ ’ & 762. Sacraments Hauschen at
their absurdity, considering their materials, JSuremberg. (From Chapuy.)
must excite our wonder, like the concentric balls of the Chinese. To
some extent also they claim our admiration for the lightness and the
elegance of their structure. Simplicity is not the characteristic of the
Gei’man mind. A difïïculty conquered is what it glories in, and
patient toil is not a means only, but an end, and its expression often
excites in Germany more admiration than either loftier or purer art.
It can scarcely be doubted but that much of the extravagancé
which we find in later German architecture arose frorn tlie reaction of
CHURCH FURNIÏURE.
293
ancl though some of the screens that separate the choirs of the churches
are rich, they are seldom of good clesign. The two at Naumburg are
perhaps as goocl as any of their class in Germany. Generally they were
usecl as the lectorium—virtually the pulpit—of the churches. In most
instances, however, the cletached pulpit in the nave was substituted for
these, ancl there are numerous examples of richly-carvecl pulpits, but
none of beautiful design. In most instances
they are overloacled with ornament, and many
of them disfigured with quirks and quibbles,
and ali the vagaries of later German art.
The fonts are seldom good or cleserving of
attention, and the original altars have almost
all been removecl, either from having fallen to
clecay, or to make way for some more favourite
ai’rangement of modern times.
The “Sacraments Hauschen” (the receptacle
for the sacrecl elements of the Communion) is a
peculiar article of furniture frequently founcl in
Gexman churches, and in some of those of
Belgium, though vexy rare in France ancl
unknown in Englancl, but on which the
German ai’tists seexn to have lavished. more
pains than on almost any other article of
church decoration. Those in St. Lawrence’s
Church at Nuremberg and at Ulm are perhaps
the most extraordinary pieces of elaborate
architecture ever executed in stone, and have
always been looked on by the Germans as chefs-
d’œuvre of art. Had they been able, they
would have delighted in introducing the sarne
extravagances into external art : fortunately
the elements forced them to confine them to
their interiors. Nothing, however, can show
more clearly what was the tendency of their
art, and to what they aspired, than these
singular erections, which, notwithstanding x ,
° ’ ’ & 762. Sacraments Hauschen at
their absurdity, considering their materials, JSuremberg. (From Chapuy.)
must excite our wonder, like the concentric balls of the Chinese. To
some extent also they claim our admiration for the lightness and the
elegance of their structure. Simplicity is not the characteristic of the
Gei’man mind. A difïïculty conquered is what it glories in, and
patient toil is not a means only, but an end, and its expression often
excites in Germany more admiration than either loftier or purer art.
It can scarcely be doubted but that much of the extravagancé
which we find in later German architecture arose frorn tlie reaction of