,transcriber's ,note ,a carat 77 is used to indicate superscripted characters4 ,the original text contained an errata list4 ,the corrections have been made to this text1 and the list moved to the end of the book for reference purposes only4 ,other notes may be found at the end of the book4 ,,needlework ,,as ,,art ,,by ,,lady ,m4 ,,alford ,illustration ,london3 ,,sampson ,,low1 ,,marston1 ,,searle1 ,,and ,,rivington1 ,,crown ,,buildings1 #ahh1 ,,fleet ,,street4 #ahhf4 ,all rights reserved4 ,,london3 ,,printed ,,by ,,gilbert ,,and ,,rivington1 ,,limited1 ,,st4 ,,john',s ,,square4 ,illustration3 ,,telemachus ,,penelope ,,dedicated ,,by ,,permission ,,to ,,the ,,queen4 ,,to ,,the ,,queen4 ,your ,majesty's most gracious acceptance of the ,dedication of my book on ,needlework as ,art casts a light upon the subject that shows its worthiness1 and my inability to do it justice4 ,still1 ,i hope ,i may fill a gap in the artistic literature of our day1 and ,i venture to lay my work at your ,majesty's feet with loyal devotion4 ,,marian ,m4 ,,alford4 ,,preface4 ,in the ,preface to the ,handbook of ,art ,needlework1 which ,i edited for the ,royal ,school at ,south ,kensington in #ahhj1 ,i undertook to write a second part1 to be devoted to design1 colour1 and the common-sense modes of treating decorative art1 as applied especially to embroidered hangings1 furniture1 dress1 and the smaller objects of luxury4 ,circumstances have1 since then1 obliged me to reconsider this intention2 and ,i have found it more practicable to cast the information which ,i have collected from ,eastern and ,western sources into the form of a separate work1 which in no way supersedes or interferes with the technical instruction supposed to be conveyed in a handbook4 ,i have found so much amusement in learning for myself the history of the art of embroidery1 and in tracing the beginnings and the interchanges of national schools1 that ,i cannot but hope that ,i may excite a similar interest in some of my readers1 and so induce those who are capable1 to help and lift it to a higher place than it has been allowed in these latter days to occupy4 ,if ,i have given too important a position to the art of needlework1 ,i would observe that while ,i have been writing1 decorative embroidery has come to the front1 and is at this moment one of the hobbies of the day2 and ,i would point out that it contains in itself all the necessary elements of art2 it may exercise the imagination and the fancy2 it needs education in form1 colour1 and composition1 as well as the craft of a practised hand1 to express its language and perfect its beauty4 ,i confess that when ,i undertook this task1 ,i did not anticipate the time ,i have had to spend in collecting and epitomizing the many notices to be found in ,german1 ,french1 and ,english authors1 on what has been considered among us1 at least in this century1 as merely a secondary art1 and therefore1 as such1 of little importance4 ,cursory notices of needlework are scattered through almost every book on art2 and under the head of textiles it is usual to find embroidery acknowledged as being worthy of notice1 though not to be named in company with sculpture1 architecture1 or painting1 however beautifully or thoughtfully its works may be carried out4 ,i have tried to show that it deserves higher estimation4 ,my first intention was simply to consider ,,style1 good or bad1 as it influences our embroidery of to-day1 and to find some rules by which to guide that of the future in its next phase4 ,but when we search into the fluctuations of style1 and their causes1 we find they have an historical succession1 and that we must begin at the beginning and trace them through the life of mankind4 ,this led me to attempt a sketch of consecutive styles1 their overlap and variations4 ,i then found that ,,design1 ,,patterns1 ,,stitches1 ,,materials1 each require a separate study4 ,,colour1 as applied to dyes1 claims to be regarded as differing from pigments on the painter's palette4 ,,hangings1 ,,dress1 and ,,ecclesiastical ,,embroideries each require different rules1 and the study of the best examples of past centuries4 ,finally1 it seems natural to dwell on our own proficiency in decorative work4 ,,english ,,embroidery has always excelled2 and1 as we have again returned to this occupation1 it is worth while to recollect what we have done of old4 ,in writing chapters on these subjects1 ,i have found it most convenient to separate the historical and sthetic questions from the technical rules1 and the instruction which naturally belongs to a handbook1 of which the purpose should be to teach the easiest and most orthodox manner of executing the simplest1 and elaborating the finest works4 ,such questions ought not to be overlaid with archological inquiries1 or with the information which only profits the designer2 though of course it is best that the knowledge of design should be part of the education of the craft4 ,perhaps ,i may be found to have written a book too shallow for the learned1 too deep for the frivolous1 too technical for the general public1 and too diffuse for the specialist of the craft4#a ,i must deprecate these criticisms by saying that ,i have written it for the benefit of those who know nothing of the art1 and are too much engaged to seek information here and there2 who yet1 being women1 have to select and to execute ornamental needlework2 or1 being artists1 are vexed at the incongruities and want of intention in the decorations in daily domestic use2 ,i have also sought to help the designer1 that he or she may know something of the history of patterns and stitches4 ,if my readers should be aware of repetitions1 they must forgive them2 remembering that the same idea has to be looked at sometimes from a different point of view1 according to the use to which it is to be fitted4 ,the same material may be employed for wall-hangings and dress1 and then the principles which have been formulated have to be varied4 ,i do not shrink from repetitions if they make my meaning clear1 remembering the ,duke of ,wellington's direction to his private secretary1 ,never mind repetitions2 and dot your i's4 ,portions of these chapters have been already published in ,no4 #di of the ,nineteenth ,century1#b in #ahha2 and more was delivered in three unpublished lectures the same year4 ,i have acknowledged and noted on each page my authorities for the facts ,i have quoted4 ,the illustrations that are not original1 have been copied from other works by permission of authors and publishers4 ,to all of these ,i wish to express my obligations and thanks1 especially to ,mr4 ,villiers ,stuart1 ,dr4 ,anderson1 ,sir ,g4 ,birdwood1 and ,sir ,h4 ,layard1 for their courtesy in allowing me the use of their plates4 ,to my old and valued friend1 ,mr4 ,newton1 ,i wish to express my gratitude for his unstinted gifts of time and trouble1 bestowed in criticizing and correcting my book1 encouraging me to give it to the public1 and making it more worthy of publication4 ,i have largely quoted ,charles ,blanc 7,ornament in ,dress1 ,english translation71 ,von ,bock 7,liturgische ,gewnder71 ,dr4 ,rock 7,the ,church of our ,fathers and ,introduction to ,textiles71 ,semper 7,der ,stil71 ,yates 7,textrinum ,antiquorum71 and ,yule 7,marco ,polo71 besides many others4 ,but these authorities often differ1 and1 after weighing their arguments1 ,i have ventured to select for my use the facts and theories which accord with my own views4 ,facts are often so interdependent and closely linked1 that it requires great care to distinguish where they have been shaped or coloured 7however unintentionally7 to fit each other or the writer's preconceived ideas4 ,certain it is that facts are but useless heaps till the thread of a theory is found on which to hang them4 ,this process1 like that of stringing pearls1 has to be often repeated1 till each occupies its right place4 ,only those who have adopted and cherished a theory can appreciate the pain of cutting the thread1 to displace what appeared to be a pearl1 but which1 from its false position as to date or place1 or its doubtful origin1 has proved only an empty manufactured glass bead of error4 ,this has happened to me more than once2 and since ,i read my lectures ,i have had to change my opinions in several instances4 ,if1 therefore1 any of my readers should observe such changes1 ,i hope they will give me credit for trying to convey now what appears to me on each subject a correct impression4 ,,footnotes3 #a ,besides the art1 ,i have sought to give something of the archology of needlework4 ,now the qualifications for being a teacher on such subjects are rarely to be met with1 all combined4 ,mr4 ,newton1 in his ,essays on ,art and ,archology1 p4 #cg1 says that the archologist should combine with the sthetic culture of the artist1 and the trained judgment of the historian and the philologist1 that critical acumen1 required for classification and interpretation2 nor should that habitual suspicion which must ever attend the scrutiny and precede the warranty of evidence1 give too sceptical a bias to his mind4 ,such authorities have been interrogated on each part of my subject4 #b ,quoted by permission of the ,editor4 ,,contents4 ,,page ,,introduction4 #a ,,chapter ,i4--,,style4 ,definition of style--,development of style--,primitive-- ,archaic--,egyptian--,babylonian--,phnic ian influences on early ,greek style--,decoration of hangings of the ,tabernacle in the wilderness--,aryan ideas--,the ,code of ,manu--,indian art--,celtic style--,greek art in dress and embroideries--,homer's descriptions of embroideries--,pallas ,athene--,shield of ,achilles--,roman art--,byzantine art--,art of ,central ,asia--,its arrival in ,europe--,art of ,china1 ,japan1 and ,java--,christian art--,scandinavian art--,the ,dark ,ages--,sicilian textile art--,renaissance--,arabesque-- ,grotesque--,spanish ,plteresque--,style of ,queen ,anne and the ,chippendales--,louis ,,xv4 style--,classical revival--,young ,england's style--,nineteenth century style #ad ,,chapter ,,ii4--,,design4 ,artist and artisan--,prehistoric design--,naturalistic design--,egyptian immutability--,slow evolution of design--,greek perfection--,necessity of following rules--,m4 ,blanc's laws of ornamentation--,laws of composition-- ,repetition--,alternation--,symmetry--,p rogression--,confusion-- ,designs for hangings and dress materials--,floral design--,design for carpets--,the conventional--,first principles #ed ,,chapter ,,iii4--,,patterns4 ,ancestry of patterns--,classification--,their historical value--,primitive patterns--,the wave--,tartan--,prehistoric ,african patterns--,the naturalistic--,flowers--,shells--,indian forms of naturalistic patterns--,egyptian--,the lotus-- ,sunflower--,celtic ,zoomorphic patterns--,the human figure on ,greek textiles--,animal forms in ,oriental patterns--,symbolical and conventional patterns--,the wave patterns--,the palm leaf-- ,the cone--,gothic--,arab--,moresque--,the ,sacred ,hom--,egg and tongue--,the cross--,swastika--,fylfote--,gammadion-- ,the crenelated pattern--,the ,ninevite daisy--,emblematic patterns--,bestiaria--,volucraria--,lapi daria--,byzantine patterns--,gothic--,renaissance--,the cloud pattern--,the fundata--,italian--,french patterns--,radiated patterns--,the shell--,patterns by repetition--,balcony pattern--,chinese wicker-work--,survival of a pattern--,opus ,alexandrinum--,quilting patterns #hb ,,chapter ,,iv4--,,materials4 ,raw materials--,revelations of the microscope--,hemp--,jute-- ,honduras grass--,spartum--,pinna silk--,hair--,leather-- ,feathers--,asbestos--,coral--,pearls--, beads--,wool--,classical notices of wool--,careful improvement of wool by the ancients--,tanaquil--,homeric woollen carpets--,crimson textile fragments--,scandinavian woollen garments--,qualities of wool--,english wool--,goats' hair--,flax--,lake cities-- ,byssus--,fine linen of ,egypt--,the ,atrebates--,embroidery on linen--,cotton--,indian origin--,carbasa--,buckram--,cotton fabrics--,gold--,silver--,gold brocades--,jewish--,indian-- ,chinese--,dress of ,darius--,attalus--,attalic textiles-- ,agrippina's golden garments--,st4 ,cecilia's mantle--,roman tombs--,gold wire--,anglo-,saxon tomb--,childeric's tomb--,proba's gold thread--,golden wrappings from tombs of ,henry ,i4 and ,henry ,,iii4--,gold embroideries and jewellers' work of ,middle ,ages--,spangles--,enamels--,purl--,mode rn schools of gold embroidery--,silk--,pamphile of ,cos--,early specimens of silk stuffs--,chinese silks--,the ,seres--,mela--,seneca--,m4 ,terrien de la ,couperie--,empress ,si-ling-chi--,princess of ,khotan--,euripides--,lucan--,pliny--,si lk in ,rome--lius ,lampridius--,flavius ,vopiscus--,tailor's bill--,justinian's codex--,imperial monopoly--,paul the ,silentiary--,bede--,king ,john's apparition--,greek and ,sicilian manufactories of silk--,distinctive marks of different periods--,lyons--,spain-- ,italy--,flemish towns--,marco ,polo--,satin--,welsh poem1 ,lady of the ,fountain--,chaucer--,velvet--,transfere nce of work to new materials #aah ,,chapter ,v4--,,colour4 ,harmony and dissonance--,names of tints--,authorities for theories--,art of colouring--,expression of colouring-- ,purple--,red--,crimson--,blue--,yellow- -,pliny--,renouf--,chinese colours--,indian dyes--,persian colours--,dyes of the ,gauls--,romans--,scotch--,scales of colour--,,mm4 ,charton and ,chevreul on tones of colour--,gas colours #age ,,chapter ,,vi4--,,stitches4 ,stitches--,part ,i43 ,the needle--,gammer ,gurton's needle--,art of needlework--,lists of stitches--,part ,,ii43 ,plain work-- ,the seam--,mrs4 ,floyer--,white embroidery--,nuns' work-- ,greek--,german--,spanish--,italian white work--,semper's rules for white work--,part ,,iii43 ,opus ,phrygium--,gold embroideries--,part ,,iv43 ,opus pulvinarium--,cushion stitches-- ,mosaic stitches--,traditional decorations from ,chaldea and ,assyria--,german and ,italian pattern-books--,part ,v43 ,opus plumarium--,the ,plumarii--,feather-work of ,india--,islands of the ,pacific--,african work--,mexican and ,peruvian--,cluny triptych--,mitre of ,st4 ,charles ,borromeo--,essay by ,denis--,chinese and ,japanese feather-stitches--,part ,,vi43 ,opus consutum or cut work--,patchwork--,egyptian and ,greek examples--,irish cut work--,chaucer--,francis ,i4's hangings at ,cluny--,lord ,beauchamp's curtains--,spanish examples-- ,remarks--,art of application--,part ,,vii43 ,lace--,opus filatorium--,mrs4 ,palliser--,m4 ,blanc--,guipure--,sir ,gardiner ,wilkinson--,netted lace--,homer--,solomon's ,temple--,bobbin laces--,yak--,coloured laces--,venetian sumptuary laws--,golden laces--,point d',alenon--,mr4 ,a4 ,cole's lectures--,m4 ,urbani de ,gheltof on ,venice laces--,lace stitches--,revival of lace school at ,burano--,english laces--,part ,,viii43 ,tapestry--,opus pectineum--,modes of weaving tapestry--,its great antiquity-- ,egyptian looms--,albert ,castel on tapestries--,homeric picture-weaving--,arachne--,a paraphrase by ,lord ,houghton-- ,nomenticum--,sidonius ,apollinaris--,saracenic weaving--,arras-- ,brussels--,italian tapestries from ,florence1 ,milan1 and ,mantua--,french tapestries--,cluny ,museum collection--,gobelins-- ,beauvais--,english tapestry--,comnenus--,matthew ,paris--,early trade with ,arras--,coventry tapestries--,chaucer--,tapestry of verd--,hatfield tapestries--,armada tapestries--,sir ,f4 ,crane--,mortlake manufactory--,francis ,cleyne--,raphael cartoons--,percy tapestry from ,lambeth #aid ,,chapter ,,vii4--,,hangings4 ,classical hangings--,babylonian and ,persian--,semper's theory--,sanctuary in the wilderness--,st4 ,peter's at ,rome--,abulfeda--,akbar's tent--,nadir ,shah's tent--,tent of ,khan of ,persia--,tents of ,alexander the ,great at ,alexandria--,roman hangings--,funeral pyres--,kosroes' tent--,semper's rules for hanging decorations--,ancient carpets--,english and ,french hangings--,rules for designs of hangings #bfj ,,chapter ,,viii4--,,furniture4 ,penelope's couch--,chaldean furnished house--,the bed--,earl of ,leicester's inventories--,state apartment of ,alessandri ,palace--,indian embroideries for furniture--,the sofa and chair--,the footstool--,furniture stitches--,the table cover--,the screen--,book covers--,morris on furniture #bhj ,,chapter ,,ix4--,,dress4 ,art of dress--,ancient splendour--,persian1 ,greek1 and ,roman--,indian--,homeric--,early ,christian--,charlemagne's mantle and robe--,objects of dress--,embroidered garments #bid ,,chapter ,x4--,,ecclesiastical ,,embroidery4 ,christian art--,dark ages--,greek and ,roman ecclesiastical dress--,northern influence--,continuity of ecclesiastical art--,authorities--,anglo-,saxon orthodox colours--,veils of the ,temple--,hangings in ,pagan temples and ,christian churches--,russian use of veils--,art in the early ,church-- ,rare examples--,destruction by the iconoclasts--,early embroiderers--,empress ,helena--,bertha1 mother of ,charlemagne--,his dalmatic--,pluvial of ,st4 ,silvester--,pluvial of museum at ,bologna--,daroca cope--,cope of ,boniface ,,viii4-- ,style of the twelfth century--,mantle of ,st4 ,stephen of ,hungary--,kunigunda's work for ,henry ,,ii4--,the ,romanesque-- ,movement perfecting ,gothic art1 thirteenth century--,opus ,anglicanum--,syon cope--,embroidery on the stamp--,pictures in flat stitches--,flemish work--,renaissance--,work of some royal ladies--,french--,spanish--,sicilian and ,neapolitan--,german work--,sacred symbolism--,melito's ,the ,key--,mystical colours--,prehistoric cross--,many forms of the cross--,the ros--,the chrysoclavus--,modern decoration--,principles and motives for church embroideries--,the altar-cloth--,the reredos--,the pulpit and reading-desk--,the ancient ,paschal--,the banner of ,st4 ,cuthbert--,the fringe--,lay heraldry of the ,church--,south ,kensington ,museum #cjc ,,chapter ,,xi4--,,english ,,embroidery4 ,first glimpse of art in ,england--,dyeing and weaving in ,britain in early times--,csar's invasion--,roman civilization--,anglo-,saxon times and art--,adhelme's poem--,icelandic ,sagas--,saga or story of ,thorgunna--,english work in the eighth century--,the ,benedictines--,durham embroideries--,aelfled--,st4 ,dunstan--,queen ,emma's work--,william of ,poitou--,the ,bayeux tapestry--,abbess of ,markgate--,gifts to ,pope ,adrian ,,iv4--,robes of ,thomas ,becket at ,sens--,innocent ,,iii4--,english pre-eminence in needlework from the ,conquest to the ,reformation--,john ,garland on hand-looms--,blode-bendes and lacs d'amour--,opus ,anglicanum--,english peculiarities in ecclesiastical design--,penalties against luxury in dress--,protection the bane of art--,dunstable pall--,stoneyhurst cope--,destruction of fine works at the ,reformation--,much on the ,continent1 much collected in our old ,catholic houses--,field of the ,cloth of ,gold--,mary ,tudor's ,spanish stitches--,queen ,elizabeth's embroideries--,institution of ,embroiderers' ,company--,east ,india ,company--,oriental taste discouraged on ,protectionist grounds--,decay of the art in ,england--,style of ,james ,i4--,dutch style--,cushion stitches--,miss ,linwood-- ,miss ,moritt--,mrs4 ,delany--,mrs4 ,pawsey--,postscript--,revival of the art of needlework--,royal ,school of ,art ,needlework #cef ,,appendix ,i4 ,charles ,t4 ,newton on ,votive ,dresses #djj ,,ii4 ,the ,moritzburg ,feather ,hangings #dja ,,iii4 ,the ,story of ,arachne1 translated by ,earl ,cowper #djb ,,iv4 ,charlemagne's ,dalmatic1 by ,lord ,lindsay #dje ,v4 ,notices of various ,medival ,embroideries by the ,hon4 and ,rev4 ,w4 ,ignatius ,clifford #djg ,,vi4 ,syon ,cope1 ,rock's ,introduction1 ,textile ,fabrics #djh ,,vii4 ,assyrian ,fringes #dab ,,viii4 ,hrothgar's ,house ,furniture3 ,poem of ,beowulf #dab ,,ix4 ,thorgunna1 by ,sir ,g4 ,dasent #dac ,x4 ,pedigree of ,aelswith #dad ,,xi4 ,statutes at ,large #dad ,,list ,,of ,,illustrations4 ,,cuts4 ,fig4,page4 --------- #a #bj ,egyptian corselet4 ,wilkinson's ,ancient ,egyptians1 p4 #ccb4 #b #be ,tabernacle of ,balawat4 ,temp4 ,shalmaneser4 ,british ,museum4 #c #cj ,zoomorphic ,celtic pattern4 #d #cb ,pallas ,athene attired in the sacred peplos4 ,panathenaic vase1 ,british ,museum4 #e #fb ,wave pattern4 #f #fc ,key pattern4 #g #fc ,metopes and triglyphs4 #h #gc ,persian carpet4 ,egyptian symbolic patterns4 #i #ia ,gothic sunflower4 ,r4 ,s4 ,a4 ,n4 #aj #ih ,wave4 #aa #ajd ,egyptian ally and enemy4 ,temp4 ,rameses ,,ii4 ,wilkinson's ,ancient ,egyptians1 iii4 p4 #cfd4 #ab #aje ,assyrian crenelated pattern4 #ac #ajg ,gothic type of trees1 ,bayeux tapestry4 #ad #aaa ,radiated pattern4 #ae #aaa ,radiated sunflower4 #af #aab ,shell pattern4 #ag #aab ,balcony pattern4 #ah #aae ,varied adjustments of square and circle4 #ai #adf ,spangles4 #bj #aie ,needles4 #ba #bjh ,feather patterns4 ,egyptian4 #bb #baf ,application4 ,egyptian4 ,auberville's ,tissus4 #bc #bag ,embroidered border on mantle4 ,crimea4 ,compte ,rendu4 #bd #bha ,babylonian or ,chaldean house and furniture4 #be #caa ,italian fifteenth-century pattern4 ,celtic type4 #bf #cgg ,barbed quatrefoil4 #bg #chj ,holbein pattern4 ,sampler4 #bh #chh ,arms of ,embroiderers' ,guild2 given by ,queen ,elizabeth4 #bi #cic ,portion of ,james ,,ii4's coronation dress2 from an old print4 ,,plates4 ,plate,page4 ,ref4 --------------- ,,title-,,page4 ,penelope at her loom1 reproached by her son ,telemachus4 ,from vase found at ,chiusi1 in ,etruria4 ,monum4 d4 ,inst4 ,arch4 ,rom4 ix4 ,pl4 #db4 #a #bb #ic ,,assurbanipal 7,sardanapalus74 ,sculptures from ,nineveh4 ,british ,museum4 #b #bb #ic ,portion of royal ,babylonian mantle4 ,from ,layard's ,monuments1 ,series i4 pl4 #i4 #c #bi ,,st4 ,,john4 ,from ,king ,alfred's ,celtic ,book of the ,gospels4 ,lambeth ,palace ,library4 #d #cj ,a ,,page of the ,book of ,st4 ,cuthbert1 or ,book of ,lindisfarne4 #e #cc ,,silver ,,bowl from ,palestrina4 ,from ,clermont ,ganneau's ,journal ,asiatique1 ,syro-,egyptien-,phnicien4 #f #dj #ic ,,empress ,,theodora4 ,ravenna ,mosaic4 #g #db ,,italian ,,embroidery1 fifteenth century4 ,south ,kensington ,museum4 #h #dc ,,italian and ,,spanish orphrey1 sixteenth century4 #i #de ,,pl,,teresque ,,design4 ,spanish coverlet1 green velvet and gold1 sixteenth century4 ,goa work4 #aj #hg ,,wave ,,pattern4 #a1 #d1 #i1 #ab1 #ac4 ,greek wave pattern4 #b4 ,key or ,mander ,greek wave4 #c4 ,greek broken wave4 #e1 #f1 #g4 ,egyptian smooth and rippling wave pattern4 #h4 ,medival wave4 #aj1 #aa1 #ad4 ,babylonian and ,chaldean4 #ae4 ,persian or ,greek1 from glass bowl1 ,british ,museum4 #af4 ,english wave 7or cloud74 ,durham embroideries1 tenth century4 #aa #hh ,,simple ,,patterns4 #a4 ,persian4 #b4 ,lotus border1 ,egyptian4 #ab #ij ,,lotus ,,borders4 #a4 ,indian4 #b1 #c4 ,egyptian4 #d1 #e1 ,greek4 #f4 ,indian4 #ac #ie #ajb ,,indian ,,lotus4 #a4 ,with ,assyrian daisy4 #b4 ,lotus4 #c4 ,the egg and tongue1 or ,vitruvian scroll from ,vignola4 ,regole di ,ordine di ,architettura4 #ad #ia ,,sunflower ,,pattern4 ,r4 ,s4 ,a4 ,n4 ,nineteenth century4 #ae #ib ,,portion ,,of ,a ,,page of the ,book of ,kells4 ,dublin ,university ,library4 #af #ic #aad ,,demeter4 ,greek fictile vase4 ,british ,museum4 #ag #ic #bag #a4 ,,greek ,,embroidery1 #cjj ,b4,c4 ,from tomb of the ,seven ,brothers1 ,crimea4 #b4 ,,egyptian painted or embroidered linen4 ,the cone1 bead1 daisy1 wave4 ,lotus-under-water patterns are represented on this fragment4 #ah #ic ,,egyptian ,tapestry weaving finished with the needle4 ,british ,museum4 #ai #ig #aad ,,egyptian key patterns4 ,wilkinson's ,ancient ,egyptians1 p4 #abe4 #bj #ii #aja ,,trees ,,of ,,life4 #a1 #b1 #c4 ,assyrian4 #d4 ,sicilian silk4 #e4 ,medival4 ,birdwood's ,indian ,arts4 #ba #aja ,,trees ,,of ,,life4 #a4 ,sculpture over gate of ,mycen4 #b4 ,sicilian silks2 ,persian type4 #bb #aja ,,lotus ,,merged ,,into ,,tree ,,of ,,life4 #a4 ,split ,chinese ,lotus4 #b4 ,split ,persian ,lotus1 from a frieze by ,benozzo ,gozzoli4 ,ricardi ,palace1 ,florence4 #c4 ,petal of flower4 ,greek glass bowl from tomb in ,southern ,italy4 #bc #aja ,,trees ,,of ,,life4 ,sicilian silks4 ,auberville4 #a1 #b1 #c1 #d1 #e1 #aj4 ,persian type4 #f1 #g1 #h1 #i1 #aa4 ,indian type4 #bd #aja ,,tree ,,of ,,life transformed into vine4 ,modern pattern of work from the ,principalities4 #be #ajc ,,typical ,,crosses4 #a4 ,swastika fire-stick cross4 #b4 ,from ,greek vase1 ,british ,museum1 #gfe ,b4,c4 #c4 ,sectarial mark of ,sakti race4 ,india4 #d4 ,sectarial mark of ,buddhists and ,jainis4 #e4 ,on early ,rhodian pottery4 #f4 ,egyptian prehistoric cross4 #g4 ,tau cross4 #h4 ,mark of land1 ,egyptian and ,ninevite4 #i4 ,mark of land1 ,egyptian and ,ninevite4 #aj4 ,clavus1 nail or button1 or sun-cross4 #aa1 #ab1 #ac4 ,scandinavian sun and moon crosses4 #ad1 #ae1 #af4 ,celtic4 #ag4 ,chrysoclavus4 #ah1 #ai4 ,stauracin patterns4 #bj4 ,norwegian4 #ba4 ,runic4 #bb4 ,cross in ,temple of the ,sun1 ,palenque4 #bc4 ,scotch ,celtic cross4 #bd4 ,cross at ,iona4 #be1 #bf4 ,runic and ,scandinavian crosses4 #bg4 ,cross diapered on ,charlemagne's dalmatic4 #bh4 ,from mantle of ,henry ,,ii41 ,emperor of ,germany4 #bf #ajc ,,prehistoric ,,crosses4 #a4 ,greek4 ,pallas1 with plaited tunic worked with ,swastika4 #b4 ,greek4 ,ajax playing at dice with ,achilles4 ,cloak embroidered with ,swastika and other prehistoric patterns4 ,fictile vase1 ,vatican ,museum4 #bg #aje ,,assyrian ,,carpet carved in stone1 ,british ,museum4 #bh #ajg ,,gothic4 #a4 ,dress patterns from old ,,ms4 #b1 #c4 ,old ,english tiles4 #bi #aji ,,cloud ,,patterns4 #a1 #b1 #c1 #g4 ,japanese4 #e1 #h1 #i4 ,medival4 #d4 ,chinese4 #f4 ,badge of ,richard ,,ii4 #cj #aji ,,indo-,,chinese ,,coverlet4 ,hatfield4 ,supposed to have belonged to ,oliver ,cromwell4 #ca #aji ,,fundata ,,patterns4 #a4 ,on ,phnician silver bowl4 7,l',imagerie ,phnicienne47 #b1 #c4 ,from tomb at ,essiout1 ,egypt4 ,wilkinson's ,ancient ,egyptians1 ii4 p4 #abe4 #afjj ,b4,c4 #cb #abd ,,part ,,of ,,border of silk1 gold1 and pearls4 ,worked by ,blanche1 wife of ,charles ,,iv4 of ,bohemia4 ,bock's ,lit4 ,gew4 ii4 p4 #bdf4 #cc #adg ,,embroidered ,,window ,,hanging from portrait of ,mahomet ,,ii41 by ,gentil ,bellini2 belonging to ,sir ,henry ,layard4 #cd #aec #aaj ,,classical ,,silks4 #a4 ,greek4 #b4 ,roman4 #ce #afc ,,durham ,,relics4 ,persian type of silk weaving4 #cf #afd ,,durham ,,relics4 ,norman and ,persian types mixed4 #cg #afd ,,durham ,,relics4 ,grco-,egyptian type4 #ch #afd ,,egyptian ,,boat with embroidered and fringed sails1 and floating scarves4 ,wilkinson's ,ancient ,egyptians1 iii4 p4 #baa4 #ci #bjj ,,white ,,embroidery from sculptured tomb of a knight1 fifteenth century4 ,ara ,cli1 ,rome4 #dj #bja ,,processional ,,cloak1 ,spanish work1 temp4 ,henry ,,viii41 belonging to ,lord ,arundel of ,wardour4 #da #bjd ,,opus ,,pulvinarium4 ,counted stitches4 #a4 ,italian4 #b4 ,scandinavian4 #c4 ,ancient ,egyptian4 ,turin ,museum4 #db #bjf ,,italian ,,mosaic ,,stitch work1 sixteenth century4 ,alford ,house4 #dc #bad ,,japanese ,,opus ,,plumarium4 ,white silk4 #dd #baf #be ,,opus ,,consutum4 ,funeral tent of an ,egyptian queen4 #de #bai #abc ,,opus ,,consutum4 ,inlaid and onlaid4 ,italian1 seventeenth century4 #df #bce ,,egyptian ,,gobelins finished with the needle4 #dg #bcf ,,rheims ,,cathedral ,,tapestry4 ,the ,virgin weaving and embroidering on frame a basse-lisse4 #dh #bdc ,,tent ,,of ,,charles ,,the ,,bold1 taken at ,grandson1 now in museum at ,berne4 ,the badge is that of the ,golden ,fleece4 #di #beb ,,english ,,tapestry belonging to ,lord ,salisbury1 at ,hatfield ,house1 temp4 ,henry ,,viii4 #ej #bid ,,italian ,,knight of fifteenth century armed for conquest4 ,gentile da ,fabriano4 ,academia1 ,florence4 #ea #cji ,,st4 ,,mark4 ,anglo-,saxon ,book of the ,gospels4 ,york ,minster ,library4 #eb #cab ,,classical ,,pattern adapted into ,christian art4 #ec #cah ,,charlemagne',s ,,dalmatic4 ,vatican ,treasury4 #ed #cah ,,charlemagne',s ,,dalmatic4 ,vatican ,treasury4 #ee #cah ,,portion ,,of ,,charlemagne',s ,,dalmatic4 ,half-size4 #ef #cai ,,st4 ,,silvester',s ,,pluvial4 ,treasury of ,st4 ,john ,lateran1 ,rome4 ,opus ,anglicanum1 thirteenth century4 #eg #cai ,,portion ,,of ,,st4 ,,silvester',s ,,pluvial1 showing its condition4 #eh #cai ,,bologna ,,cope4 ,museo del ,municipio4 ,opus ,anglicanum4 #ei #cai ,,daroca ,,cope4 ,archological ,museum at ,madrid4 ,opus ,anglicanum4 #fj #cai ,,boniface ,,viii4',s ,,cope from ,anagni1 his native place2 now in ,vatican ,treasury2 twelfth century4 #fa #cai ,,altar ,,frontal at ,anagni1 ,italy4 ,italian work1 fourteenth century4 #fb #cbj ,,worcester ,,relics of the tenth century4 #a4 ,from tomb of ,walter de ,cantilupe4 #b4 ,from ,aix1 in ,switzerland4 ,same type4 #fc #cbj #a4 ,,mitre ,,of ,,thomas ,,becket4 #b4 ,the cross with twelve leaves1 for the healing of the nations4 ,coronation vestments at ,rheims4 #fd #cba ,,anglo-,,saxon ,,work1 purple and gold1 from tomb of ,william de ,blois1 ,worcester4 ,he died ,bishop in #abcf4 #fe #cba ,a ,,portion ,,of ,,st4 ,,stephen ,,of ,,hungary',s ,,mantle1 worked by his ,queen ,gisela4 ,from ,bock's ,kleinodien4 #ff #cbb ,,portion ,,of ,,mantle ,,of ,,henry ,,ii41 worked by his ,empress ,kunigunda4 ,from ,bock's ,kleinodien4 #fg #cbe ,,the ,,syon ,,cope4 ,south ,kensington ,museum4 #fh #cbi ,,italian ,,embroideries designed by ,pollaiolo2 worked by ,paolo da ,verona4 ,sixteenth century4 #fi #ccj ,,spanish ,,altar ,,frontal4 ,,the ,,arms ,,of ,,castile embroidered in gold with pearls4 ,ashridge4 ,plteresque style1 seventeenth century4 #gj #ccg #aac ,,consular ,,ivories4 ,two diptychs4 #a4 ,zurich1 ,wasser-,kirche4 ,inscribed to ,consul ,areobindus1 ,a4,d4 #dcd4 #b4 ,at ,halberstadt4 ,no date4 ,from ,bock's ,lit4 ,gew4 #ga #cfc ,,aelfled',s ,,orphrey1 signed by her4 ,durham ,cathedral ,library4 #gb #cfc ,,st4 ,,gregory ,,and ,,st4 ,,john 7,,prophet71 from ,aelfled's orphrey4 ,durham4 ,english work1 tenth century4 #gc #cfe ,,st4 ,,dunstan in adoration1 drawn by himself4 ,bodleian ,library1 ,oxford4 ,tenth century4 #gd #cfi ,,small ,,parsem ,,patterns from ,strutt's ,royal and ,ecclesiastical ,antiquities of the ,english from #aajj to #aecj4 #ge #cfi ,,english ,,patterns of embroidery4 #a4 ,panel of a screen in ,hornby ,church1 ,yorkshire4 #b4 ,dress on a painted window in ,st4 ,michael's ,church1 ,york4 #c4 ,woven material of the ,towneley ,copes4 #gf #cge ,,opus ,,anglicanum1 twelfth century4 ,british ,museum4 #gg #cgf ,,typical ,,english ,,ornaments for ecclesiastical embroideries1 twelfth century4 #gh #cgg ,,dunstable ,,pall4 ,temp4 ,henry ,,vii4 #gi #cgh ,,vintners' ,,company ,,pall4 ,henry ,,vii4 #hj #cgh ,,henry ,,vii4',s ,,cope1 from ,stoneyhurst2 designed by ,torrigiano1 the sculptor of his tomb4 #ha #chb ,,spanish ,,work4 ,temp4 ,henry ,,viii4 #hb #chc ,,english ,,spanish ,,work4 ,temp4 ,henry ,,viii4 #hc #chi ,,cushion ,,cover1 ,hatfield ,house4 ,temp4 ,elizabeth4 #hd #cij ,,oriental ,,tree ,,and ,,beast ,,pattern4 ,cockayne-,hatley4 ,temp4 ,james ,i4 #he #cia ,,english ,,crewel ,,work4 ,indian design4 ,temp4 ,james ,i4 ,,needlework ,,as ,,art4 ,,introduction4 ,the book of the ,science of ,art has yet to be written4 ,art has been called the ,flower of ,life1 and also the ,consoler2--adorning the existence of the strong and bright1--sheltering and comforting the sad and solitary ones of the earth4 ,but1 rather1 it resembles a wide-spreading tree1 covered with varied blossoms--bearing many fruits4 ,to point out the history and the possibilities in the future of each branch that shades1 refreshes1 and gives wholesome fruit to the world1 would be a task worthy of a master-hand and a pen of gold4 ,but less ambitious labourers in the field of investigation which is only as yet partly cultivated1 may each assist1 by carefully collecting a little heap of ascertained facts2 and it is1 indeed1 the duty of each as he passes to add his pebble to the slowly accumulating cairn of recorded human knowledge4 ,some one has said1 ,build your house of little bricks of facts1 and you will soon find it inhabited by a body of truth2 and that truth will ally itself with other houses of facts1 and in time a well-ordered1 cosmical city will arise4 ,my pebble is not yet polished4 ,it is neither a diamond nor a ruby1 but ,i think there are a few streaks of golden light in it1 which ,i may venture to add to the daily accumulating treasure in the house of human artistic knowledge4 ,my object in writing this volume is to fill up an empty space in the ,english library of art4 ,the great exponents of poetic thought--verse1 sculpture1 painting1 and architecture--have long since been well interpreted and appreciated4 ,men and women have written much and well on these large subjects1 and we may hope for more ere long4 ,the secondary or smaller arts have been hitherto neglected by us1--either treated merely as crafts1 to which artistic education may give help1 or as the natural or inferior outcome of the primal arts1 having no claim to the possession of special laws and history4 ,and yet1 when ,moses wrote and ,homer sang1 needlework was no new thing4 ,it was already consecrated by legendary and traditionary custom to the highest uses4 ,the gods themselves were honoured by its service1 and it preceded written history in recording heroic deeds and national triumphs4 ,it may be said that ivory carving is sculpture1 and illuminated manuscripts and coloured glass windows are painting4 ,but for metal work1 whether in iron or gold1 a place must be kept apart2 and the same privileges are due to embroidery and to metallurgy4 ,all arts must of necessity have their own laws and rules1 which ensure their beauty of execution and their special forms of design2 these two last1 from the nature of their materials1 and the modes of working them1 must be studied independently of any connection with painting1 architecture1 or sculpture4 ,yet1 if the unity of nature is an accepted fact1#c then the acceptance of the unity of art must follow4 ,art must be considered as the selection of natural phenomena by individual minds capable of assimilating and reproducing them in certain forms and with certain materials adapted to the national taste1 needs1 and power of appreciation4 ,if man cannot originate materials1 he can invent combinations2--and this is ,art4 ,if proportion1 colour1 and sound alike depend on certain mathematical measurements1 and on rhythmical vibrations1 there must be a real and tangible relation between these elements1 though applied to obtain different results4 ,in music1 as in all art1 harmony is1 or ought to be1 a first consideration4 ,we have seen by experiment how a note of our scale can by touch form geometrical figures with sand on a sheet of glass1--here form obeys the force of harmony4 ,but what is harmony8 ,by analogy we may argue from the art of music4 ,we who believe that we have acquired the knowledge of music as a science1 beyond all preceding knowledge of the subject1 have in ,europe been able to enjoy only our own musical scales2 whereas throughout the ,east1 those accepted by the human ear are very various1 and appear to depart from what to our senses is harmony4 ,those ,oriental musics have either been adapted to the ,oriental ear1 or the ear has been adapted to appreciate the forms and laws of harmony with which it came in contact4 ,the same questions occur to us while examining into the different forms of decorative art2 and we are constantly reminded that the laws which should govern them1 are perhaps1 infinitely larger and wider than we with our limited human capacities and experience1 have hitherto been able to appreciate4 ,ars longa--vita brevis has been so often said1 that from a proverb it has become a truism2 but it must continue to be the refrain of those who write upon art4 ,the subject is so long1 and its ramifications are so intricate1 that it is difficult to include them all under one category4 ,my furthest aim here is to trace back the art of needlework to its beginning1 without turning my eyes to the right or the left1 though ,i cannot help feeling myself drawn aside almost irresistibly by casual glimpses of architecture1 sculpture1 and painting1 which here and there touch very nearly the history of needlework4 ,except where they visibly influence each other1 ,i avoid dealing with the greater arts1 leaving them to the study of the learned in each special branch4 ,all art1 however1 throws reflected lights1 and gleaning in the track of those authors who have preceded us1 we often pick up valuable hints which we accept1 and make use of them gladly4 ,some writers have thought it incumbent on them to give a local habitation and an abiding place to needlework1 and they have regarded it as a branch of painting4 ,but ,i cannot endorse this classification4 ,according to ,semper1 indeed1 it is the mother-art of sculpture and painting1 instead of being the offspring of either or both1 as others have maintained4#d ,they have1 indeed1 such distinct functions that each may justly boast its own original sources4 ,painting is the art of colour2 sculpture is that of form2 embroidery is the art of clothing forms4 ,they are all so ancient1 that in seeking to ascertain their beginnings and dates4 ,it is difficult to fix the precedence of one over another4 ,we may compare1 distinguish1 and yet again change our opinions as fresh facts come under our observation4 ,the art of needlework reached its climax long ago1 and is now very old4 ,history and faded rags are the only witnesses to its fabulous glories1 in ,classical1 ,oriental1 and early ,medival days4 ,it would appear that nothing new remains to be invented4 ,copies of past styles1 and selections from the scraps we retain and value as models1 are all that we can boast of now4 ,dr4 ,rock truly says that few persons of the present day have the faintest idea of the labour1 the money1 the time1 often bestowed of old upon embroideries which had been designed as well as wrought by the hands of men and women1 each in their own craft the best and ablest of their day4 ,time is too short1 our life too densely crowded1 to allow leisure for the extravagance of what is1 after all1 only a luxury of art--no longer a civilizer1 as of old1 but just an efflorescence of our culture4 ,embroidery is now essentially decoration1 and nothing more4 ,it is intended to appeal to the sense of beauty of the eye1 rather than to the imagination4 ,the designer for needlework should be an artist1 but he need not be a poet4 ,you may omit this art altogether1 and you need be none the less sumptuously clothed and lodged4 ,yet it is worthy of careful study as historical evidence1 and that in the present and future1 as in the past1 it may be an art1 and not merely a craft4 ,for the great web of history is composed of many threads of divers colours1 and the warp and the woof are often exchanged1 yet so connected and knotted together that the continuity is never broken4 ,on this web1 ,time has drawn the picture of the past--sometimes faintly1 sometimes with indelible tints and pronounced forms4 ,by poetry2 by architecture and its decorations2 by dress1 which represents and distinguishes nationalities2 by customs1 such as the different forms of burial2 or even by such details as painting the eyes2 also by the tradition and outcome of the laws of the tribes that flowed consecutively over ,europe from the ,east2 by the institutions which remained immutably fixed on their native soil1 such as those of the ,code of ,manu1 and those of ,babylon1 inscribed on bricks or clay2 or by the words1 their form and lettering1 in which these are handed down to us2--out of all these the history of man is being reconstructed4 ,how valuable is every witness to the ancient records1 which were fading into myths in the memories of men4 ,how joyfully is each little fact hailed as a landmark1 in the general fog of doubt6 ,now embroidery may boast that it is a source of landmarks for all time4 ,without presuming to fix a date for its first beginning1 that which ,i wish to impress on the mind of the reader is the long continuity of the art of needlework4 ,the sense of antiquity induces reverence1 and ,i claim for the needle an older and more illustrious age than can be accorded to the brush4 ,while the great pendulum of ,time has swung art in sculpture1 painting1 and architecture1 from its cradle as in ,mycen1 to its throne in ,athens in the days of ,pericles1 and then back again to the basest poverty of decaying ,rome--needle work1 continually refreshed from ,eastern inspiration1 never has fallen so low1 though it had never aspired as high as its greater sister arts4 ,the stuffs and fabrics of various materials of the ,egyptians1 ,chinese1 ,assyrians1 and ,chaldeans are named in the earliest records of the human race4 ,how much these decorations depended on weaving1 and how much on embroidery with the needle1 may in each case be disputed4 ,the products of the ,babylonian looms are alluded to in the ,book of ,joshua4 ,their beauty tempted ,achan to rescue them when ,jericho fell2#e and ,ezekiel speaks of the embroideries of ,canneh1 ,haran1 and ,eden1 as well as of their cloths of purple and blue1 and their chests of garments of divers colours#f4 ,all these fabrics are named as merchandise1 and were carried to the sea-coast1 and thence over the ancient world1 by the ,phnicians1 the great shipowners and dealers of the ,east4 ,indian needlework and design is #djjj years old2 and the long perspective of ,egyptian art1 while leading us still further back into unlimited periods1 shows it changing so slowly1 that we feel as if it had been all but stationary from the beginning4 ,the ,chinese claim #ejjj years as the life of their history2 but if1 as is now suggested1 their civilization is ,accadian or ,proto-,babylonian1 their wonderful artistic and scientific knowledge may have been fragments of the great dispersal1 secreted and preserved behind the wonderful wall#g of stone1 silence1 and law1 where it has lain fossilized ever since4 ,one cannot but wonder at the perfection of the textile manufactures of the ,chinese1 their marvellous embroideries1 and the peculiar modes of construction and design throughout their arts1 which have shown but few moments of change in growth--scarcely a sign of evolution4 ,and we may fairly surmise that this ,accadian culture 7if such it be7 is reflected from antediluvian tradition4 ,the archology of ,oriental art is most interesting4 ,we contemplate with awe the vast splendours of the consecutive civilizations of the ,east2 the ancient richness and fertility of the whole of the ,asiatic continent2 the genius for empire and for commerce2 the creative power which seemed to pour itself forth1 unchecked by wars and conquests2 the great dynasties which rose and fell1 leaving behind them gigantic works1 and the records of fabulous luxury in the empires of ,china1 ,assyria1 ,india1 and ,persia1 of which the remains have been of late years excavated1 deciphered1 and confronted with the historical texts which we have inherited1 and had only partly believed4 ,and studying these new aspects of history1 we are saddened1 thinking that the sunrise comes to us from shining over desert sands or the mounds of empty cities1 where the lion and the jackal reassert their primeval possession1 or where the ,european and the ,tartar1 from the ,west and from the ,east1 dispute their rights to suzerainty4 ,we are dazzled and confused when we look back to those great days when the over-peopled kingdoms sent forth whole tribes1 eastward to the confines of ,asia1 southward over ,india1 and westward over ,europe2 and we bow reverently before the mighty ,power that led the ,jews1 by a promise and a hope1 across the seething nationalities1 through the long passage of time from ,abraham to ,solomon2 and which is again giving into the hands of those ,oriental-looking men1 so much power in shaping the destiny of mankind through their great riches4 ,moses commanded the ,hebrew people to lend and never to borrow4 ,they have obeyed his precept1 except in art2 to that they have lent or given nothing4 ,there is no national ,jewish art4 ,for music only do they show artistic genius1 and that is ,european and not ,oriental4 ,as illustrating their lack of intuitive decorative art1 one need only refer to the architecture of the first1 second1 and third ,temple buildings1 which apparently reflected ,babylonian and ,semitic influences on an early ,chaldean type4 ,the embroideries mentioned by different writers1 from ,moses to ,josephus1 appear to have had always a ,babylonian1 or later a ,persian inspiration4 ,this absence of artistic genius is very remarkable in a people that had its origin in the ,eastern centre from whence all art has radiated4 ,the reason that so little survives of ancient embroidery is evident4 ,woollen stuffs and threads decay quickly--the moth and rust do corrupt them--and the very few ancient bits that remain1 have been preserved by the embalming process1 which has kept the contents of tombs from becoming dust4 ,as to more modern embroideries1 we ought to be thankful that the art has had its fashions2 otherwise1 the world would be overwhelmed with shabby rags4 ,human nature has a tendency to dislike the old-fashioned--i4e4 the fashion of the last generation4 ,that which our mothers worked or wore1 is an object for affectionate sentiment1 and the best specimens alone are preserved4 ,that which belonged to our grandfathers and grandmothers has receded into the rococo2 and a few more generations take us back to the antique1 of which so little survives1 from wear and tear1 carelessness and theft1 that we put away and preserve it as being curious and precious4 ,we may hope that the general law of the survival of the fittest has guarded what is most remarkable4 ,certain works have been consecrated by the hands that executed them1 or by that of the donor1 or by the purpose for which they were bestowed1 and are mostly preserved in churches or national museums4 ,of these there are vestments and altar decorations worked by royal and noble ladies2 and coronation garments given by ,queens and ,empresses1 such as ,queen ,gisela's and the ,empress ,kunigunda's at ,prague and ,bamberg1 and ,charlemagne's dalmatic at the ,vatican1 described in the chapter on ecclesiastical embroideries4 ,sculptured effigies help us as to embroidered patterns2 for our forefathers often actually copied in bronze or stone the patterns of the garments in which the body was buried1 or at any rate1 those the man had worn in his life4 ,of these1 ,king ,john's monument at ,worcester1 and the surcoat of the ,black ,prince at ,canterbury1 are remarkable examples4#h ,the succeeding chapters will contain sketches of the history of the different stitches1 and of the best examples of stitch and style remaining to us2 and ,i shall try to extract from both the best suggestions for guidance in design and handicraft4 ,embroidery from its nature is essentially the woman's art4#i ,it needs a sedentary life1 industry and patience4 ,it does not require a room to itself1 and the worker may leave it at any moment between two stitches when called to other duties4 ,nunneries produced the finest work of the dark and middle ages2 and their teaching inaugurated the workrooms in the palaces and castles1 where young girls1 whether royal1 noble1 or gentle1 were trained in embroidery as an accomplishment and a household duty4 ,the history of domestic embroidery ought to be looked upon as that of an important factor in the humanizing effect of sthetic culture4 ,the woman of the house has always been strong to fulfil her part in this civilizing influence with the implement which custom has awarded to her4 ,every man in the ancient ,east began his life under the tent or in the palace adorned by the hands of his mother and her maidens1 and his home was made beautiful by his wife and his sisters and their slaves4 ,there1 as in medival homes1 lessons of morality and religion1 and the love and fame of noble deeds1 were taught by the painting of the needle to the minds of the young men1 who would have scorned more direct teaching2 and the children felt the influence1 as the women wove what the bards sang4 ,alas6 we have but few specimens of embroideries of which we know the history1 earlier than the tenth and eleventh centuries4#aj ,yet from the days of the books of the ,old ,testament and the song of the siege of ,troy1 down to the present time1 the woman of the house has adorned not only herself and her dear lord1 but she has hung the walls1 the seats1 the bed1 and the tables with her beautiful creations4 ,homer's women were all artists with the needle4 ,venus seeking ,helen1-- ,like fair ,laodice in form and face1 ,the loveliest nymph of ,priam's royal race1 ,here in the palace at her loom she found3 ,the golden web her own sad story crown'd4 ,the ,trojan wars she weaved 7herself the prize71 ,and the dire triumph of her fatal eyes4#aa ,this must have been intended for hangings4 ,hecuba's wardrobe is thus described3-- ,the ,phrygian queen to her rich wardrobe went1 ,where treasured odours breathed a costly scent2 ,there lay the vestures of no vulgar art1 ,sidonian maids embroider'd every part4 ,here1 as the queen revolved with careful eyes ,the various textures and the various dyes ,she chose a web that shone superior far1 ,and glow'd refulgent as the morning star4#ab ,the women of the ,middle ,ages were great at the loom and frame4 ,from the ,kleine ,heldenbuch of the thirteenth century1 ,rock quotes these lines3-- ,who taught me to embroider in a frame with silk1 ,and to sketch and design the wild and tame ,beasts of the forest and field8 ,also to picture on plain surfaces2 ,round about to place golden borders-- narrow and a broad one-- ,with stags and hinds1 lifelike4 ,gudrun1 like the women of ,homer1 embroidered history--that of the ancestors of ,siegfried4 ,but in the ,middle ,ages the embroiderers were ambitious artists4 ,the deeds of ,roland and the siege of ,troy1 all romantic and classical lore1 provided subjects for the needle4 ,shakespeare gives a pretty picture of the graceful weaver and embroiderer3-- 99 99 99 ,would ever with ,marina be3-- ,be't when she weaves the sleided silk1 ,with fingers long1 small1 white as milk2 ,or when she would with sharp neeld wound ,the cambric1 which she makes more sound ,by hurting it4444 ,deep clerks she dumbs2 and with her neeld composes ,nature's own shape1 of bud1 bird1 branch1 or berry1 ,that even her art sisters the natural roses4#ac ,before closing this ,introduction1 ,i will take the opportunity to protest against the abuse of the phrase ,high ,art4 ,it is generally appropriated by that which is the lowest and most feeble4 ,an old design for a chair or table1 by no means remarkable originally1 but cheaply copied1 and covered with a quaint and dismal cretonne or poorly worked pattern1 of which the design is neither new nor artistic1 is introduced by the upholsterer as belonging to ,high ,art furniture4 ,the epithet has succeeded to what was once fashionable and elegant4 ,to get rid of carpets1 and put down rugs1 to hang up rows of plates instead of family portraits--this also is high art4 ,likewise gowns lumped upon the shoulders1 with all the folds drawn across1 instead of hanging draperies4 ,the term is never used when we speak of the great arts--painting1 sculpture1 and architecture4 ,it is1 in fact1 only the slang of the cabinet-maker1 the upholsterer1 and milliner4 ,all true ,art is very high indeed and apparent2 and needs not to be introduced with a puff4 ,it sits enthroned between ,poetry and ,history4 ,even those who are ignorant of its laws feel its influence1 and the soothing grace which it sheds1 falling like the rain1 equally upon the just and the unjust4 ,man's nature always responds to the truly high and beautiful2 only the most degraded are deprived of this source of happiness4 ,and there are but few women1 till debased by cruelty1 misery1 or drink1 that do not try in some humble way 7but especially with their needle7 to adorn their own persons1 their children1 and their homes2 and if their art is not high1 it yet has the power to elevate them4#ad ,while the most ambitious women try a higher flight1 into the regions of poetry1 literature1 painting1 and even sculpture 7why has no woman ever been an architect871 millions have enjoyed the art of the needle for thousands of years1 and it will continue to be a solace and a delight as long as the world lasts1 for1 like all art1 it gives the ever new joy of creation4 ,,footnotes3 #c ,see ,duke of ,argyll's ,unity of ,nature4 #d ,walls1 pillars1 and roofs were certainly hung with textile ornament before they were carved or painted4 ,this is ,semper's theory1 and though ,woltmann and ,woermann 7,history of ,painting1 ,eng4 ,trans41 ,sidney ,colvin1 p4 #ch7 hardly accept this view1 they do not gainsay it4 ,the women who wove hangings for the grove1 or more literally1 coverings for the houses of the grove1 were probably the priestesses of ,astarte1 and wove and worked the hangings of various colours4 #b ,kings xxii42 ,ezek4 xvi4 #af-ah4 ,it is probable that the earliest kind of pictures were either woven or embroidered upon figured stuffs of various colours2 and that in these decorations the ,greeks in the first instance imitated the ,semitic races1 who had practised them from time immemorial4 ,see ,woltmann and ,woermann's ,history of ,painting 7,eng4 ,trans471 p4 #ch4 #e ,joshua vii4 #f ,ezek4 xxvii4 #bc4 #g ,the wall of ,china1 which1 both figuratively and literally1 enclosed its civilization1 and fenced off that of the outer world1 for thousands of years4 #h ,when the tomb of ,king ,john was opened1 the body was found wrapped in the same dress as that sculptured on his effigy4 ,the surcoat of the ,black ,prince1 of embroidered velvet1 still hangs above his monument1 on which it is exactly reproduced4 #i ,yet men1 too1 have wielded the embroidering needle4 #aj ,these remnants are not1 like the straws in amber1 only precious because they are curious2 they are most suggestive as works of art4 #aa ,pope's ,homer1 ,iliad1 book iii4 #ab ,ibid4 book vi4 #ac ,shakespeare1 ,pericles1 ,prince of ,tyre1 act iv4 #bj2 v4 #e4 #ad ,surely it is a humanizing and ,christian principle which in ,italy permits artistic work to be done in the prisons where criminals are confined for life4 ,sisters of ,mercy teach lace-making to the wretched women who1 having committed great crimes1 may never be seen again4 ,the produce of the work helps to pay the expense of the prison1 and at the same time a very small percentage is given to the prisoners to send to their friends1 or to spend on little comforts1 thus encouraging the poor human creatures to exercise their best powers4 ,we believe this is sometimes allowed also in ,england and ,france4 ,,chapter ,i4 ,,style4 ,in venturing to approach so great a subject as the history of style1 ,i would beg my readers to believe how well ,i am aware that on each point much more has been already carefully treated by previous writers1 than will fall within the limits of a chapter that is intended only to throw light on textile art1 and especially on embroidery4 ,i suppose it is the same in all subjects of human speculation which are worthy of serious study2 and therefore ,i ought not to have been surprised to find how much has already been written on needlework and embroidery1 and how unconsciously ,i1 at least1 have passed by and ignored these notices1 till it struck me that ,i ought to know something of the history and principles of the art which with others1 ,i was striving to revive and improve4 ,then new and old facts crowded round me1 and became significant and interesting4 ,i longed to know something of the first worker and the first needle2 and behold the needle has been found6--among the dbris of the life of the ,neolithic cave-man1 made of bone and very neatly fashioned4 ,alas6 the workwoman and her work are gone to dust2 but there is the needle6--proof positive that the craft existed before the last glacial period in ,britain4#ae ,how long ago this was1 we may conjecture1 but can never finally ascertain4 ,then ,i find embroidery named by the earliest historians1 by every poet of antiquity1 and by the first travellers in the ,east2 and it has been the subject of laws and enactments from the date of the ,code of ,manu in ,india1 to the present century4 ,one becomes eager to systematize all this information1 and to share with the workers and thinkers of the craft1 the pleasure found in its study4 ,perhaps what is here collected may appear somewhat bald and disjointed2 but antiquity1 both human and historical1 is apt to be bald2 and its dislocation and disjointed condition are owing to the frequent cataclysms1 physical1 political1 and social1 which needlework has survived1 bringing down to us the same stitches which served the same purposes for decoration under the ,code of ,manu1 and adorned the ,sanctuary in the wilderness2 and those stitches probably were not new then4 ,i propose to give a slight sketch of the origin of the styles#af that have followed each other1 noting the national influences that have displaced or altered them1 and the overlap of style caused by outside events4 ,first1 ,i would define what ,,style means4 ,style is the mark impressed on art by a national period1 short or long4 ,it fades1 it wanes1 and then some historical element enters on the scene1 which carries with it new materials1 needs1 and tastes 7either imported or springing up under the new conditions74 ,the style of the day in art and literature alters so perceptibly1 that all who have had any artistic training are at once aware of the difference4 ,of late years1 the science of history has been greatly assisted by the science of language4 ,when the mute language of art shall have been patiently deciphered1 the historian will be furnished with new powers in his researches after truth4 ,the first ineffaceable is a word2 the second a pattern4 ,this is proved by the history of needlework4 ,as the world grows old1 its youth becomes more interesting4 ,alas6 the childhood of mankind is so distant1 and it was so long before it learned its letters1 that but few facts have come down to us1 on which we may firmly build our theories2 yet we must acknowledge the great stride that has been made in the last few years1 in the scientific mode of extracting history from the ruins and tombs1 and even the dust-heaps1 of the past4 ,whole epochs1 which fifty years ago were as blank as the then maps of ,central ,africa1 are being now gradually covered with landmarks4 ,layard1 ,rawlinson1 ,c4 ,t4 ,newton1 ,botta1 ,rassam1 ,schliemann1 ,birch1 ,g4 ,smith1 and a crowd of archologists1 and even unscientific explorers1 are collecting the materials from which the history of mankind is being reconstructed4 ,from them ,i have sought information about the art of embroidery1 and ,i find that ,semper gives it a high pre-eminence as to its antiquity1 making it the foundation and starting-point of all art4 ,he clothes not only man1 but architecture1 with the products of the loom and the needle2 and derives from them in succession1 painting1 bas-relief1 and sculpture4#ag 99 99 99 99 99 ,style has to be considered in two different aspects1 from two different standpoints4 ,first1 historically and archologically1 distinguishing and dating the forms which follow upon each other2 and tracing them back in the order of their natural sequence2 so as to guide us to the root1 nay1 to the seed#ah of each and all art4 ,the subsidiary art of embroidery1 in its highest form the handmaid of architecture1 is full of suggestion1 and may assist us greatly in the search which culminates in the text of ,in the beginning4 ,the other point of view from which style should be considered is the sthetic4 ,this enables us to criticize the works of different periods2 extracting1 as far as we may1 rules for the beautiful and the commendable1 and seeking to find the why8 also observing the operation of the law by which decay follows too soon after the best and highest efforts of genius1 thought1 and invention in art4 ,my present object is the history of consecutive styles1 in so far as they concern needlework4 ,alas6 nothing endures4 ,this law is acknowledged by ,goethe1 when he makes ,jove answer ,venus1 who bewailed that all that is beautiful must die1--that he had only bestowed beauty on the evanescent4 ,it seems as if the moment the best is attained1 men1 ceasing to struggle for the better1 fall back at once hopelessly and become mere imitators4 ,they no longer follow a type1 but copy a model1 and then copy the copy4 ,imitation is a precipice1 a swift descent through poverty of thought into the chaos of mannerism1 in the place of style4 ,the imitative tendency1 as existing in all human minds1 cannot be ignored or despised4 ,in individuals it accompanies enthusiasm for the beautiful1 and the graceful charm of sympathy4 ,it maintains continuity between specimen and specimen1 between artist and artist1 between century and century2 and it is this which enables an adept to say with certainty of consecutive styles1 ,this is ,spanish work of the sixteenth century2 that is ,flemish or ,german work of the seventeenth century4 ,the theory of development and of the survival of the fittest has been worked so hard1 that it sometimes breaks down under the task imposed upon it4 ,it would need to include ,death in its procedure4 ,in our creed1 ,death1 means the moment of entrance into a higher existence2 but in art it means extinction1 leaving behind neither a history nor an artisan--only1 perhaps1 an infinitely small tradition1 like the grain of corn preserved in the wrappings of a mummy1 from which at first accident1 and then care and culture1 may evoke a future life4 ,the various ways in which art has appeared at the beginning cannot here be discussed2 nor how the ,chinese and ,hindu may have leapt into a perfection which has stood still for thousands of years1 protected alike from expansion as from destruction1 by the swaddling bands of codified custom2 while ,greek art rose like the sun1 shone over the civilized world1 and set--never again to see another epoch of glory4 ,these subjects must be left for the study of the anthropological philosopher1 who is working for the assistance and guidance of the future historian of art4 ,style in needlework has passed through many phases since the aboriginal1 prehistoric woman1 with the bone needle1 drew together the edges of the skins of the animals she had prepared for food4 ,for absolute necessity1 in forming the garments and covering the tent1 needlework need go no further than the seam4 ,this1 however1 in the woven or plaited material1 must fray where it is shaped1 and become fringed at the edges4 ,every long seam is a suggestion1 and every shaped edge a snare4 ,the fringe lends itself to the tassel1 and the shaped seam suggests a pattern2 up-stitches are needed for binding the web1 and before she is aware of it1 the worker finds herself adorning1 embroidering2 and the craft enters the outskirts of the region of art4 ,the humble early efforts at decoration1 called by the ,french primitif1 are the first we know and class1 and are found in all savage attempts at ornament4 ,this style consists mainly of straight lines1 zigzags1 wavy lines1 dots1 and little discs4#ai ,gold discs of many sizes1 and worked with a variety of patterns1 are found equally in the tomb of the warrior at ,mycen1 and in ,ashantee1 accompanied in both cases with gold masks covering the faces of the dead4 ,the discs or buttons remind us of those found in ,etruscan tombs1 though the execution of these last is more advanced4 ,they appear to be the origin of the clavus or nail-headed pattern woven into silks in the ,palace of the ,csars4 ,the last recorded survival of this pattern is in woven materials for ecclesiastical purposes in the ,middle ,ages4 ,of very early needlework we only find here and there a fragment1 illustrated occasionally by passing allusions in poetry and history4 ,the ornamental art of ,hissarlik#bj is so primitive that we cannot feel that it has any resemblance to that described as ,trojan by ,homer1 who probably adorned his song with the art he had known elsewhere4#ba ,we know not what the actual heroes of the ,iliad and ,odyssey wore2 but we do know that what ,homer describes1 he must have seen4 ,was ,homer1 therefore1 the contemporary of the siege of ,troy8--or does he not rather speak of the customs and costumes of his own time1 and apply them to the traditions of the heroic ages of ,greece8 ,whatever be the date of ,homer himself1 we can1 with the help of contemporary survivals1 reconstruct the house and the hall1 and even furnish them1 and clothe the women and the princes1 the beggars and the herdsmen4 ,from the remains of ,egyptian1 ,babylonian1 and ,assyrian art we can perceive their differences and their affinities4 ,it is from textile fragments1 found mostly in tombs1 that we obtain dates1 and can suggest them for other specimens4 ,the funeral tent of ,shishak's mother-in-law1 at ,boulac1 is most valuable as showing what was the textile art of that early period4#bb ,illustration3 ,fig4 #a4 ,egyptian corselet4 7,wilkinson's ,ancient ,egyptians47 ,the corselet which1 according to ,herodotus1 was given by ,amasis1 ,king of ,egypt1 to the ,temple of ,minerva at ,lindos1 in ,rhodes1 was possibly worked in this style2 for ,babylonian embroidery was greatly prized in ,egypt1 and imitated4 ,the second corselet given by ,amasis to the ,lacdemonians was worked in gold and colours1 with animals and other decorations4 ,this was of the seventh century ,b4,c4#bc ,amongst the arms painted on the wall of the tomb of ,rameses1 at ,thebes 7in ,egypt71 is a corselet1 apparently of rich stuff1#bd embroidered with lions and other devices4 7,fig4 #a47 ,the ,phnicians imbibed and reproduced the styles they met with in their voyages4 ,the bowls found in ,cyprus described and engraved in the ,september number of the ,magazine of ,art 7#ahhc71 are most interesting illustrations of the meeting of two national styles1 the ,assyrian and the ,egyptian4#be ,homer's ,shield of ,achilles#bf must1 in general design1 have resembled these bowls 7see ,pl4 #e74 ,they also recall the description by ,josephus of the ,temple veils at ,jerusalem1 which were ,babylonian4#bg ,phnicia1 which was the carrier of all art1 dropped specimens here and there1 for many hundred years1 along the borders of the ,mediterranean and the coasts of ,spain4 ,we fancy we can trace her ocean-path by the western shores of ,africa1 and even to ,america2 otherwise1 how could it happen that a mummy-wrapping in ,peru should so nearly resemble some of those wrappings found at ,saccarah1#bh in ,egypt1 woven in precisely the same tapestry fashion8 ,among the puzzling phenomena due probably to ,phnician commerce1 is the complete suite of the sacerdotal ornaments of a ,high ,priest1 found in his tomb1#bi now in the ,vatican ,museum4 ,this reminds us of other specimens of archaic art from distant sources1 that our attention is forcibly arrested1 and we wonder whence they came1 and whether they were collected from alien civilizations by the ,phnicians before they dispersed them4#cj ,certain ,egyptian sculptures of deformed and repulsive divinities--idols of the baser sort--are most interesting and puzzling by their affinity in style to the ,indo-,dravidian and the art of ,mexico1 while they are entirely unlike that of ,egypt4 ,if ,atlantis and its arts never existed1 it may be suggested that it was the eastern coast of ,america that was spoken of under that name by the ,egyptian priest with whom ,herodotus conversed4 ,the ,babylonian and ,ninevite embroideries1 carefully executed on their bas-reliefs1 have a masculine look1 which suggests the design of an artist and the work of slaves4 ,there is no following out of graceful fancies2 one set of selected forms 7each probably with a symbolical intention7 following another4 ,the effect1 as seen on the sculptures in the ,british ,museum1 is royally gorgeous2 and one feels that creatures inferior to monarchs or satraps could never have aspired to such splendours4 ,probably the embroidery on their corselets was executed in gold wire1 treated as thread1 and taken through the material2 and the same system was carried out in adorning the trappings of the horses and the chariots4 ,the solid masses of embroidery may have been afterwards subjected to the action of the hammer1 which would account for their appearing like jeweller's work in the bas-reliefs 7,pl4 #a and #b74 ,illustration3 ,pl4 #a4 ,assurbanipal fighting lions4 ,british ,museum4 ,illustration3 ,pl4 #b4 ,portion of a ,babylonian ,royal ,mantle4 ,layard's ,monuments1 series i41 pl4 #i4 ,the style of the ,babylonian embroideries appears to have been naturalistic though conventionalized4 ,we may judge of their styles for different purposes by the reliefs in the ,british ,museum4 ,from their veils and curtains at a later date1 when they had crossed their art with that of ,india1 we may imagine the mystical design of the ,temple curtain as described by ,josephus2 in fact1 as much as possible embracing all things on the earth and above it1 excepting the images of the heavenly bodies4#ca ,small carpets from ,persia of the ,middle ,ages1 as well as those woven and embroidered even to the present day1 are echoes of the ancient ,babylonian style1 and most interesting as historical records of the traditions of human taste4 ,our artistic interests are stirred when we read in ,ezekiel lists of the fabrics and materials of which ,tyre had become the central dept1 and we enjoy tracing them to the various looms1 named in verse and history1 where they were adorned with embroidery1 and then either became articles of commerce1 or were stored away to be kept religiously as heirlooms1 or presented as gifts to the temples or to honoured guests4 ,mr4 ,g4 ,smith1 after saying that the ,babylonian is without doubt the oldest of civilizations1 continues thus3--,to us the history of ,babylonia has an interest beyond that of ,egypt1 on account of its more intimate connection with our own civilization4#cb ,babylon was the centre from which it spread into ,assyria1 thence to ,asia ,minor and ,phnicia1 then to ,greece and ,rome1 and so to all ,europe4 ,the ,jews brought the traditions of the creation and of early religion from ,ur of the ,chaldees1#cc and thus preserved they became the heritage of all mankind2 while the science and civilization of that wonderful people 7the ,babylonians7 became the basis of modern research and advancement4#cd ,the hangings of the ,tabernacle are so carefully described in the book of ,exodus1 that we can see in fancy the linen curtains1 blue or white1 embroidered in scarlet1 purple1 blue1 and gold2 the cherubim in the woven material2 the fringes enriched with flowers1 buds1 fruit1 and golden bells3 and we can appreciate how little of ,egyptian art and style the children of ,israel brought back from their long captivity1 and how soon they reverted to their ancient ,chaldean proclivities1 after returning to their wandering life of the tent4 ,on the bronze gates from the mound of ,balawat1 near ,nimroud1 set up by ,shalmaneser to celebrate his conquest of ,tyre and ,sidon1#ce we find a portable tabernacle1 evidently meant to accompany the army on a march4 ,it is not much larger than a four-post bed1 with transverse poles for drawing the curtains1 all fringed with bells and fruit4 ,this is an illustration of the motive for the ,tabernacle of the forty years' wandering in the desert4 7,fig4 #b47 ,illustration3 ,fig4 #b4 ,tabernacle on gates of ,balawat1 time of ,shalmaneser ,,ii4 7,british ,museum74 ,egyptian textile art is1 perhaps1 that of which we have the most early specimens4 ,these are to be seen at ,boulac1 at ,vienna1 ,turin1 and the ,british ,museum4#cf ,the ,hieroglyphic1 the ,archaic1 and the ,grco-,egyptian are all unmistakably the consecutive outcome of the national original style1 which had totally disappeared in the beginning of our era4 ,few of the embroideries are more than two thousand five hundred years old4 ,but the great piece of patchwork in leather1 the funeral tent of an ,egyptian queen1 as it covered the remains of a contemporary of ,solomon1#cg absolutely exhibits the proficiency of the designer and the needlework of the eleventh century ,b4,c4 7,pl4 #dd47 ,the connection between ,indian and ,egyptian early art appears to have existed only in their use of the lotus as an emblem and a constant decoration2 but their manner of employing it was characteristically different4 7,pl4 #ab and #ac47 ,the ,phnicians carried with them the seeds of the ,egyptian style over the ancient world2 but these seeds only took root and flourished on the soil of ,greece4 ,the imitations of ,egyptian style reappeared in ,rome1 and again in ,france under the two ,empires4 ,in both cases they were only imitations1 and neither had any permanent influence on the art of their day4 ,i shall have to allude very often to our ,eastern sources of artistic culture4 ,our own ,aryan ancestors were so impregnated with beautiful ideas1 that we must believe that we inherit from them all our graceful appreciation of naturalistic ornament4 ,but even ,aryan art met with reverses on its ,eastern soil1 from which it constantly rose again and renewed itself4 ,the ,mongols crushed for a time the element of beauty in ,india4 ,they introduced a barbarous and hideous style which has its only counterpart in that of ,central ,america4 ,it was the produce of a religion1 superstitious1 cruel1 and devilish4 ,the ,aryan art of ,india1 which was elegant and spiritual1 was revived by the kindred influence of ,persia1 and by the ,renaissance in ,europe4 ,italian and other artists were employed in ,india1 and the spirit of aerial grace1 and the delicate sense of beauty in natural forms1 blossomed afresh and flourished for #cjj years4 ,birds1 flowers1 fruit1 butterflies1 became once more the legitimate ornament of every material4#ch ,i continue to quote from ,sir ,g4 ,birdwood's ,arts of ,india4 ,the ,code of ,manu1 from #ijj to #cjj ,b4,c41 has secured to the village system of ,india a permanent class of hereditary artistic workmen and artisans1 who have through these #bejj years1 at least1 been trained to the same manipulations1 and who therefore translate any foreign work which is placed before them to copy1 into something characteristically ,indian4#ci ,indian art has borrowed freely from all sources without losing its own individuality4 ,it has been said1 ,there is nothing newer in it than of the sixteenth century2 and even then nothing was original1 especially in the minor arts4 ,but this is owing to the ,hindu being equally endowed with assimilative and receptive capacity1#dj so that in the hands of the ,indian craftsman everything assumes the distinctive expression of ancient ,indian art4 ,in ,india everything is hand-wrought2 but as the spirit of its decorative art is that of a crystallized tradition1 its type has remained almost unaltered since the ,aryan genius culminated in the ,ramyana and ,mahabhrata--and yet each artisan in ,india is a true artist4#da ,in art1 unfortunately1 the letter killeth2 and true artists as they are1 the ancient traditions bind and cramp them1 while the ancient materials1 the dyes1 and the absolute command of time are failing3 so that the beauty of ,indian embroideries and other decorations is gradually reducing itself to mannerism1 which is more dangerous to art than even had been the vicissitudes of war2 for when peaceful days returned1 and the waves of conquest had subsided1 the ancient arts were found again deeply embedded in the traditions of the people4 ,they gradually returned to their old ways1 which are so indelible in the ,hindu mind1 that they will perhaps survive even the fashions of to-day4#db ,from ,yates' account it would appear that ,europe had been fertilized with taste in art and manufactures from the ,east by three different routes4 ,the ,egyptian civilization1 with all its ,eastern antecedents and traditions1 came to us by the ,mediterranean and the ,adriatic2 the ,phnicians being the merchants who brought it through those channels4 ,the ,etruscans1 who were the pedlars of ,europe1 travelled north1 conveying golden ornaments and coral1 and bringing back jet and amber4 ,their commercial track is to be traced by the contents of tombs on their path4#dc ,illustration3 ,pl4 #c4 ,st4 ,john4 ,from ,king ,alfred's ,celtic ,book of the ,gospels4 ,lambeth ,palace ,library4 ,secondly1 there was also a ,slavonian route from ,eastern ,asia1 which conveyed ,oriental art to the north of ,europe4 ,celtic art1 which certainly has something of the ,indo-,chinese style1 came to us probably by this route4 ,another branch of the ,celtic family was settled on the north-eastern shores of the ,adriatic4 ,celtic ideas and forms in art probably crossed ,europe from this point1#dd and came to us meeting a cognate influence1#de arriving from the north4#df 7,pl4 #c47 ,thirdly1 ,oriental taste and textiles came from the ,byzantine ,empire in the early days of ,christianity1 spreading to ,sicily1 ,italy1 ,spain1 and finally to ,france1 ,germany1 and ,britain4 ,runic art1 whether ,scandinavian or our own purer ,celtic1 is so remarkable for its independence of all other ,european national and traditional design1 that ,i cannot omit a brief notice of it1 though we have no ascertained relics of any of its embroideries4#dg ,it appears to have received1 in addition to its own universal stamp--evidently derived from one original source--certain influences impressed on it like a seal by each country through which it flowed4#dh ,wherever the ,runes are carved in stone1 or worked on bronze1 gold1 silver1 ivory1 or wood1 or painted in their splendid illuminations 7pl4 #d71 the involved serpent1 which was the sign of their faith1 appears1 sometimes covered with ,runic inscriptions2 and this inscribed serpent1 later1 is twined round or heaped at the foot of the peculiar ,scandinavian-shaped cross1 the type of conversion4 ,the serpent was sometimes altered into the partial semblance of a four-footed animal1 the body and tail being lengthened and twined1 and sometimes split1 to give a new turn to the pattern4 7,fig4 #c47 ,all these zoomorphic patterns1 as well as the human figures seen in the ,book of ,kells1 the missal at ,lambeth1 and the ,lindisfarne ,book 7which is1 however1 more ,english in its style71 are yet of an ,indo-,chinese type2 the wicker-work motives often replacing the involved serpent design4 ,illustration3 ,fig4 #c4 ,celtic ,zoomorphic pattern4 ,the ,paganism of our own ,celtic art1 when it appears1 is an interpolation between our first and second ,christian conversions1 and was brought to us in the incursions of the ,vikings over ,scotland and into ,england4 ,illustration3 ,page from the ,lindisfarne ,,mss4 ,british ,museum ,illustration3 ,pl4 #e4 ,silver bowl from ,palestrina4 ,ganneau4 ,journal ,asiatique1 ,coupe de ,palestrina4 #ahhj4 ,our knowledge of their advanced and most singular art comes out of their tombs1 in which the warrior was laid with all his arms and his horse and his precious possessions1 splendidly clothed according to his degree--in the belief that he would need them again in a future world4 ,this northern tradition was so long-lived1 that ,frederick ,casimir1 a knight of the ,teutonic ,order1 was buried with his sword and his horse at ,treves1 in #agha4di ,greek embroideries we can perfectly appreciate1 by studying ,hope's ,costumes of the ,ancients1 and the works of ,millingen and others2 also the fictile vases in the ,british ,museum and elsewhere4 ,on these are depicted the ,hellenic gods1 the wars1 and the home life of the ,greeks4 ,the worked or woven patterns on their draperies are infinitely varied1 and range over many centuries of design1 and they are almost always beautiful4 ,it is melancholy to have to confess that in this1 as in all their art1 the ,greek taste is inimitable2 yet we may profit by the lessons it teaches us4 ,these are3 variety without redundancy2 grace without affectation2 simplicity without poverty2 the appropriate1 the harmonious1 and the serene1 rather than that which is astonishing1 painful1 or awe-inspiring4 ,these principles were carried into the smallest arts1 and we can trace them in the shaping of a cup or the decoration of a mantle1 as in the frieze of the ,parthenon4 ,homer makes constant mention of the women's work4 ,penelope's web is oftenest quoted4 ,this was a shroud for her ,father-in-law4 ,ulysses brought home a large collection of fine embroidered garments1 contributed by his fair hostesses during his travels4 ,pallas ,athene patronized the craft of the embroiderers2 and the sacred peplos which robed her statue1 and was renewed every year1 was embroidered by noble maidens1 under the superintendence of a priestess of her temple4 ,it represented the battles of the gods and the giants 7fig4 #d71 till the portraits of living men were profanely introduced into the design4 ,the new peplos was carried to the temple1 floating like a flag1 in procession through the city4 ,the goddess to whom the ,greeks gave the protection of this art was wise as well as accomplished1 and knew that it was good for women reverently to approach art by painting with their needles4 ,she always was seen in embroidered garments1 and worked as well as wove them herself4 ,she appeared to ,ulysses in the steading of ,eumus1 the swineherd1 as a woman tall and fair1 and skilful in splendid handiwork4#ej ,illustration3 ,fig4 #d4 ,pallas ,athene attired in the sacred peplos4 7,panathenaic ,vase1 ,british ,museum47 ,homer never tires of praising the women's work1 and the chests of splendid garments laid up in the treasure-houses4#ea ,helen gave of her work to ,telemachus3 ,helen1 the fair lady1 stood by the coffer wherein were her robes of curious needlework which she herself had wrought4 ,then ,helen1 the fair lady1 lifted it out1 the widest and most beautifully embroidered of all--and it shone like a star2 and this she sent as a gift to his future wife4#eb ,semper's theory is1 that the one chief import of ,oriental style being embroideries1 therefore the hangings and dresses arriving from ,asia gave the poetic ,greek the motives for his art1 his civilization1 his legends1 and his gods4#ec ,this may or may not be2 there is no doubt that they influenced them4#ed ,bttiger accordingly believes that ,homer's descriptions of beautiful dress and furnishings are derived from1 or at least influenced by1 what he had learnt of the ,babylonian and ,chaldean embroideries4 ,this is very probable1 and would account for his poetical design on the shield of ,achilles1 in which his own inspiration dictated the possibilities of the then practised arts of ,asia1 of which the fame and occasional glimpses were already drifting westward4 7,plate #e47 ,the description of the shield of ,achilles is as follows3 ,hephaistos1 the lame god1 threw bronze that weareth not1 into the fire2 and tin1 and precious gold and silver4 ,he fashioned the shield great and strong1 with five folds 7or circles7 in the shield itself4 ,then wrought he the earth and the sea1 and the unwearying sun1 and the moon waxing to its full1 and the signs1 every one wherewith the heavens are crowned4 ,also he fashioned therein two cities of mortal men2 and here were marriage feasts1 and brides led home by the blaze of torches--young men whirling in the dance1 and the women standing each at her door marvelling4 ,then a street fight1 and the elders sitting in judgment4 ,the other city was being besieged2 and there is a wonderful description of the battle fought on the river banks1 and ,strife1 ,tumult1 and ,death personified1 and mingling in the fight4 ,then he set in the shield the labours of the husbandman4 ,this is so exquisitely beautiful that with difficulty ,i refrain from quoting it all4 ,he wrought thereon a herd of kine with upright horns1 and the kine were fashioned of gold and tin1 and herdsmen of gold were following after them4 ,also did the glorious lame god devise a dancing-place like unto that which once1 in wide ,knosos1 ,daidalos wrought for ,ariadne of the lovely tresses4 ,there were youths dancing and maidens of costly wooing1 their hands upon their waists4 ,and now would they run round with deft feet exceedingly lightly--and now would they run in lines to meet each other4 ,and a great company stood round the lovely dance in joy2 and among them a divine minstrel was making music on his lyre2 and through the midst of them1 as he began his strain1 two tumblers whirled4 ,also he set therein the great might of the ,river of ,ocean1 around the utmost rim of the cunningly-fashioned shield4#ee ,there is1 indeed1 every proof that ,greek art was the joint product of the ,egyptian and ,assyrian civilizations4 ,their amalgamation gave birth to the archaic style1 struggling to express the strength and the beauty of man--half heroic1 half divine4 ,gradually1 all the surrounding decorations of life assumed as a governing principle and motive1 the worth of noble beauty4 ,the ,greeks were the first artists4 ,they broke away from the ancient trammels of customary forms1 and replaced law with liberty of thought1 and tradition with poetry4 ,they destroyed no old ideas1 but they selected1 appropriated1 and evoked beauty from every source4 ,from the great days of ,athens we may date the moment when materials became entirely subservient to art1 and the minds of individual men were stamped on their works and dated them4 ,phases indeed followed each other1 showing the links of tradition which still bound men's minds together to a certain extent1 and formed the general style of the day4 ,yet there was in art from that time--life1 sometimes death1--but then a resurrection4 ,it appears from classical writers that about #cjj ,b4,c4 ,greek art had thrown itself into many new forms4 ,painting1 for example1 had tried all themes excepting landscapes4 ,we are told that within the space of #aej years the art had passed through every technical stage2 from the tinted profile system of ,polygnotus to the proper pictorial system of natural scenes1 composed with natural backgrounds2 and ,peiraikos is named as an artist of genre--a painter of barbers and cobblers1 booths1 asses1 eatables1 and such-like realistic subjects4#ef ,i suppose there is no doubt that all the ,romans knew or felt of art was borrowed directly or indirectly from ,greece1#eg first through ,phnician and perhaps ,etruscan sources1 and finally by conquest4 ,everything we have of their art shows their imitation of ,grecian models4 ,their embroideries would certainly have shown the same impress4 ,greece--herself crushed and demoralized--even as late as the ,eastern ,empire gave to ,rome the fashion of the ,byzantine taste1 which she at once adopted1 and it was called the ,romanesque4 ,this style1 which was partly ,arab1 still prevails in ,eastern ,europe1 having clung to the ,greek ,church4 ,in her best days1 ,roman poetry1 architecture1 and decorative arts were ,greek of ,greece1 imitating its highest types1 but never creating4 ,it is surely allowable to quote here one of ,virgil's ,homeric echoes1 which touches upon our especial subject1-- ,mournful at heart at that supreme farewell1 ,andromache brings robes of border'd gold2 ,a ,phrygian cloak1 too1 for ,ascanius4 ,and yielding not the palm in courtesy1 ,loads him with woven treasures1 and thus speaks3 ',take these gifts1 too1 to serve as monuments ,of my hand-labour1 boy2 so may they bear ,their witness to ,andromache's long love1 ,the wife of ,hector3--take them1 these last gifts ,thy kindred can bestow2 in this sad world ,sole image left of my ,astyanax6'#eh ,it is sad to mark how not only the refinements of taste1 but even the guiding principles of art1 were gradually lost in the humiliation of a conquered people1 the dulness and discouragement which followed on the expatriation or destruction of their accumulated treasures1 and the deterioration of the ,greek artist and artisan1 carried prisoners to ,rome1 and settled there because it was the seat of luxury and empire4 ,as the captive ,jews hung their harps on the willow-trees by the waters of ,babylon1 and refused to sing1 so ,greek genius succumbed1 weighed down by ,roman chains4 ,it sickened and died in exile4 ,late ,roman art reminds us of the art of ,etruria in its archaic days1 except that the freshness and promise are wanting1 and that the one was in its first1 the other its second childhood4 ,before entering on the subject of ,christian art1 ,i must again refer1 however briefly1 to the ,eastern origin of all art4 ,it is evident that this had always flowed in streams of many types from that high watershed of ,central ,asia1 where our human race is said to have been created1 and whence all wisdom and knowledge have emanated4 ,in the image of the ,creator1 man issued from thence1 endowed with the gift of the creative power4 ,wave after wave of fresh and apparently differing nationalities followed each other2 partially submerging those that had gone before1 and spreading till it had reached the furthest shores of the ,northern seas and the ,atlantic1 and encircled the ,mediterranean4 ,they all followed the same course from east to west4 ,the ,greek civilization was indeed so dazzling and strong1 that it lighted the world all around2 and ,india1 ,persia1 and ,assyria felt its influence reflected back on its old ,asian cradle4 ,but from the same high watershed#ei flowed other tribal types towards ,china1 ,java1 and ,japan1 that had no affinity with any western civilization2 and while the ,assyrian1 ,persian1 ,indian1 and ,mongolian styles mixed and overlapped so near their sources1 that it is sometimes hardly possible to reason out and classify their resemblances and their differences1 the tribes flowing ,eastward turned aside and went their own way1 and have remained till now perfectly distinct4#fj ,in spite of their matchless dexterity in the manipulation of their materials1 the infinite variety of their stitches1 and exquisite finish in execution1 carrying out to the utmost point the intended effect1 yet ,chinese and ,japanese textile art differs in its inner principles from all our accepted canons of taste2 so that their want of harmony1 and sometimes their absurdity1 is a puzzle of which we cannot find the key4 ,this ,i have already alluded to 7p4 #c74 ,i purposely avoid the questions suggested by ,chinese art4 ,the immense antiquity it claims cannot be allowed without hesitation4 ,m4 ,terrien de la ,couperie1 however1 believes that he has found the actual point of departure of ,chinese civilization1 and he considers it to be an early offshoot from ,babylon4#fa ,he supports his theory on linguistic grounds1 and we must anxiously wait to see if it is corroborated by further researches into the earliest records of the archaic ,chinese literature4 ,but immobility in art is a ,chinese characteristic1 and no national cataclysms seem to have disturbed it4 ,the oldest specimens known are very like the most modern4 ,yet an adept1 learned in ,chinese art1 can detect the signs which mark its different epochs4 ,in this they differ from the ,japanese1 who1 added to their inherited exquisite appreciation of natural beauty1 have a power of assimilation that might lead in time to their possessing a school of art which1 being really original1 might become the style of the future4 ,the civilization of ,japan is not older than the fifth century ,a4,d41 and was probably then imported from ,corea4 ,some of the earliest specimens we know of their art are embroidered religious pictures by the son of a ,mikado ,sholokutaiski1 who was in the seventh century the great apostle of ,buddhism in ,japan2 and the next earliest works are by the first nun1 ,honi1 in the eighth century4 ,we have ,european work as old1 and it is most interesting to compare the differences of their styles and stitches4 ,we must now return to the beginning of our era1 when we find ,greek taste1 such as it was1 still influencing and colouring art in ,italy1 and throughout ,europe1 ,asia1 and ,africa1 wherever ,roman colonies were founded1 till the eighth century4 ,it died hard2 but by that time the barbarians had poured from the east and north in successive waves1 and conquered and suppressed the classical civilization4 ,nothing is so puzzling in textile art as the mixture of styles during the first #ajjj years ,a4,d4 ,the ,grco-,roman1 the ,byzantine1 and the ,egyptian1 crossed by the ,arabian1 ,persian1 and ,indian styles1 were reproduced in the ,sicilian looms4 ,certain stock patterns1 such as the reclining hares or fawns1 as we find them on the ,shishak pall1 or that of the ,tree of ,life1 approached by worshipping men or animals1 originating in ,assyrian art1 are employed as borders1 and fill up vacant spaces4 ,the information collected from the tombs in the ,crimea immediately preceding our era1 is supplemented by the variety in style and materials from the ,fayoum1 now placed by ,herr ,graf'schen in the ,museum at ,vienna4 ,christian art1 which began in ,byzantium1 gradually grew1 and formed itself into the ,gothic1#fb which in time overcame the general chaos of style4 ,eastern art continued to flow westward1 modifying and suggesting4 ,when the ,phnicians and ,carthaginians had laid down their ancient commercial sceptre1 it was taken up by the ,greeks1 and later by the ,venetians and ,genoese1 always trading with ,asiatic goods4 ,then the arts of the ,scandinavians#fc and of the ,celts 7who were the weavers71 though barbaric1 still retained and spread certain ,oriental traditions4 ,luxury was born in ,babylon1 and ,persia became its nurse1 whence all its glories and refinements spread over the world4 ,but if luxury was ,babylonian1 art was ,greek4 ,alas6 the love of luxury survived in ,rome the taste for art4 ,illustration3 ,pl4 #f4 ,the ,empress ,theodora4 ,mosaic at ,ravenna4 ,church of ,san4 ,vitale4 ,at ,ravenna we learn much of the early ,christian period from the mosaics in the churches4 ,the ,empress ,theodora and her ladies appear to be clothed in ,indian shawl stuffs4 7,plate #f47 ,these1 of course1 had drifted into ,rome1 as they had long done into the ,greek islands1 by the ,red ,sea or by land through ,tyre4 ,ezekiel 7#eij ,b4,c47 mentions the ,indian trade through ,aden4 ,theodora's dress has a deep border of gold1 embroidered with classical warriors pursuing each other with swords4#fd ,works enriched with precious stones and pearls now appear for the first time in ,european art1 and testify to its ,oriental impress4 ,the ,byzantine ,christian style was essentially the art of mosaic4 ,its patterns for architecture or dress1 easily square themselves into little compartments1 suggesting the stitches of counted embroideries 7opus pulvinarium74 ,in the beginning of the fourth century1 when ,greek influence was still languishing1 we may date the commencement of ecclesiastical art4 ,it was a new birth1 and had to struggle through an infancy of nearly #hjj years1 ignoring1 or unconscious of all rules of drawing1 colouring1 and design4 ,outlines filled in with flat surfaces of colours represented again the art of painting1 which had returned to archaic types1 and in no way differed from the essential properties of the art of acu pingere or needlework1 which was in the same phase--being1 fortunately for it1 that to which it was best suited4 ,therefore fine works of art were then executed by the needle1 of which a very few survive1 either in description or copied into more lasting materials2 and showing that1 with the minor arts of mosaic and illumination1 it was in a state of higher perfection than the greater arts1 which till the twelfth century were all but in abeyance4 ,in discussing textile art1 ,i am obliged to pass over a part of the dark ages1 and to approach the period when it must be studied chiefly in ,sicily1 which became the half-way house on the high road to the ,east1 and later the resting-place of the ,crusaders to and from the ,holy ,land4 ,sicily1 which had succeeded to ,constantinople as being the great manufacturing mart during the ,middle ,ages1 was in the hands of the ,moors1 the origin and source of all ,european ,gothic textile art4 ,yet even at ,palermo and ,messina this art was long controlled by the traditions of ,greece1 ancient and modern1 while fertilized by ,persian and ,indian forms and traditional symbolisms4 ,the next ,european phase was the ,gothic4#fe ,this was ,arab and ,moresque steeped in northern ideas2 and finding its congenial soil1 it grew into the most splendid1 thoughtful1 and finished style1 far transcending anything that it had borrowed from eastern or southern sources4 ,all its traditions were carried out in the smaller decorative arts--mosaics1 ivories1 and metal works2 and1 last and not least1 beautiful embroideries1 to adorn the altars and the dresses of monarchs and nobles4 7,plate #g47 ,when taste was imperfect or declined1 then the decorations were all rude1 and the embroideries shared in the general rudeness or poverty2 but as these crafts rose again1 adding to themselves grace and beauty by study and experience1 then needlework in ,england1 ,germany1 ,france1 ,italy1 and ,spain grew and flourished4#ff ,illustration3 ,italian embroidery ,,xv4 ,century ,kensington ,museum ,illustration3 ,italian orphreys ,,xvi4 ,century ,south ,kensington ,museum ,illustration3 ,orphreys ,french and ,spanish ,,xvi4 ,century ,then came the ,reformation1 which1 in ,germany and ,england especially1 gave a blow to the arts which had reserved their best efforts for the ,church2 and the change of style effected by the ,renaissance was not suited to the solemnity of ecclesiastical decoration4 ,the styles of the fifteenth and sixteenth century embroideries are better adapted for secular purposes2 though their extreme beauty as architectural ornament in ,italy1 reconciles one to their want of religious character1 on the principle that it was allowable to dedicate to the ,church all that in its day was brightest and best4 7,plate #h47 ,we possess much domestic embroidery of the ,renaissance which is exceedingly beautiful--,italian1 ,spanish1 and ,german4 ,english needlework had lost its prestige from the time of the ,reformation4#fg ,the best efforts of the ,german schools of embroidery preceded the ,reformation1 while those of ,belgium never lost their excellence1#fh and still hold their high position among the workers of golden orphreys4 ,in ,italy they always retained much of the classical element4 ,probably the ancient frescoes which served as models were originally painted by ,greek artists and their ,roman imitators4 ,this style flourished for a hundred years4 ,the ,french adopted and modified it4 ,the decorative style of that period is sometimes called the ,arabesque1 and sometimes the ,grotesque4 ,the fashion was really copied from the excavated palaces and tombs of the best ,roman era4 ,raphael admired1 and caused his pupils to imitate and copy them2 and they influenced all decorative art for a considerable period4 ,as long as beautiful forms of flowers1 fruit1 birds1 and animals were adhered to1 the ,arabesque was a charming decoration1 gay and brilliant2 but when the beautiful was set aside1 and the ugly ideas were reproduced1 the style became the ,grotesque1 which word only means the grotto1 cave1 or tomb style1 and is as undescriptive to us as the word ,arabesque1 which has nothing to do with the ,arabs or their arts4 ,it would appear that if the beautiful only is permissible in decorative art1 and that if without beauty there is no reason that it should exist at all1 then the ,grotesque should not be allowed1 except as a scherzo of the pencil2 to be relegated1 like all other caricatures1 to the portfolio4 ,a grotesque is something startling1 laughable1 perhaps ridiculous4 ,a woman with the head of a goose and a flowery tail may be a symbolical1 but it never can be an agreeable object4 ,when the idea conveyed is a great one1 then it is excusable4 ,the ,ninevite bull1 with a human head and five legs1 is a grotesque1 but it is also a symbol of majesty and might4 ,a ,satyr is a grotesque1 but he has been so long recorded and accepted that he has ceased to surprise us2 and the ,greeks spent so much genius in making him a graceful creature1 that he has become picturesque1 if not beautiful4 ,arabesques and ,grotesques have now so long prevailed in decoration1 that we have ceased to criticize them on principle1 and accept them gratefully1 in proportion to the gay fancy and reticent genius of the designer4 ,most ,arabesques are1 in fact1 only graceful nonsense4 ,illustration3 ,pl4 #i4 ,spanish ,coverlet1 from ,goa4 ,velvet and gold1 ,plteresque style1 seventeenth century4 ,vitruvius 7writing first century ,b4,c47 says1 that in his time1 on the covering of the walls were painted rather monstrosities than images of known things4 ,thus1 instead of columns you will see reeds with crisp foliage1 and candlesticks supporting temples2 and on the top of these there are rods and twisted ornaments1 and in the volutes senseless little figures sitting there2 likewise flowers with figures growing out of their calyxes4 ,here a human head1 there an animal's4#fi ,evidently ,vitruvius did not approve of grotesques1 and his contemporary criticism is most valuable and amusing4 ,in the ,louis ,quatorze period1 a species of vegetable grotesque was the fashion1 from which we suffer even now1 and it deserves censure4 ,leaves and flowers of different plants were made to grow from the same stem1 as only artificial flowers could do4 ,the ,greeks introduced into their decorations sprays and wreaths of bay1 olive1 oak1 ivy1 and vine1 with their fruits2 which are exquisitely composed and carefully studied from nature4 ,it is true that they sometimes invented flowers of different shapes1 following each other on the same stem1 and untrammelled by any natural laws4 ,these classical freaks of fancy are so graceful that their want of truth does not shock us1 but they are more safely copied than imitated4 ,the ,renaissance was particularly marked in ,spain and ,portugal by the embroideries which the latter drew from their ,indian possessions in ,goa1 whilst we in ,england were sedulously thrusting from our shores any beautiful ,indian textiles that we imagined could injure our own home manufactures4 ,it was1 consequently1 the worst phase of needlework with us1 while ,spanish and ,portuguese embroideries of the sixteenth and seventeenth centuries are especially fine1 their designs being ,european1 and their needlework ,oriental4 ,their ,renaissance1 which went by the name of the ,plteresque1 is a style apart4 7,pl4 #i47 ,the reason of its name is that it seems to have been originally intended for1 and is best suited to1 the shapes and decorations of gold and silver plate4 ,it is extremely rich and ornate2 not so appropriate to architecture as to the smaller arts1 and wanting1 perhaps1 the simplicity which gives dignity4 ,the style called ,louis ,quatorze following on the ,renaissance in ,germany1 ,england1 ,spain1 ,italy1 and ,france1 assumed in each of these countries distinguishing characteristics1 into which we have not time to enter now4 ,in this style ,france took the lead and appropriated it1 and rightly named it after the magnificent monarch who fostered it4 ,this was a splendid era2 and its furniture and wall decorations1 dress1 plate1 and books shine in all the fertile richness and grace of ,french artistic ingenuity4#gj ,the new style asserted itself everywhere1 and remodelled every art2 but the long reign of ,louis ,quatorze gave the fashion time to wane and change4 ,under ,louis ,,xv4 the defects increased and the beauties diminished4 ,the fine heavy borders were broken up into fragmentary forms2 all flow and strength were eliminated2 and what remained of the ,louis ,quatorze style became1 under its next phase1 only remarkable for the sparkling prettiness which is inherent in all ,french art4 ,in ,italy this very ornate style was distinguished as the ,sette-cento1 and was a chastened imitation or appropriation of the ,spanish ,plteresque and the ,french ,louis ,quatorze4 ,in ,germany it was a decided heavy copy of both1 of which there are splendid examples in the adornment of the ,german palaces1 royal and episcopal4 ,in ,england the ,continental taste was faintly reflected during the reign of ,queen ,anne and the first ,georges2 but except in the characteristic upholstery of the ,chippendales1 and one or two palaces1 such as ,blenheim and ,castle ,howard1 we did not produce much that was original in the style of that day4 ,under ,louis ,,xv41 ,boucher and ,watteau1 in ,france1 produced designs that were well suited to tapestries and embroideries4 ,all the heathen gods1 with ,cupids1 garlands1 floating ribbons1 crowns1 and cyphers were everywhere carved1 gilded1 and worked4 ,it was the visible tide of the frivolity in which poor ,marie ,antoinette was drowned2 though before the ,revolution she had somewhat simplified the forms of decoration1 and straight lines instead of curves1 and delicacy rather than splendour1 had superseded1 at least at court1 the extravagant richness of palatial furniture4 ,this was followed by the ,revolution2 and then came the attempt at classical severity 7so contrary to the ,french nature7 which the ,republic affected4#ga ,dress was adorned with embroidered spots and ,etruscan borders1 and the ladies wore diadems1 and tried to be as like as possible to the ,greek women painted in fictile art4 ,napoleon attempted a dress which was supposed to be ,roman at his coronation4 ,trophies were woven and embroidered1 and the honeysuckle1 key1 and egg and anchor patterns were everywhere4 ,with the fall of the ,empire the classical taste collapsed1 and the ,egyptian1 ,greek1 and ,roman furniture were handed over to hotels and lodging-houses4 ,in most of the palaces on the ,continent an apartment is still to be seen1 furnished in this style4 ,it was the necessary tribute of flattery to the great conqueror1 who in that character inhabited so many of them for a short time4 ,but there was no sign of the style being taken up enthusiastically anywhere out of ,france4 ,after the fall of the ,empire1 all pretence of style was in abeyance1 and it was then gradually replaced by a general craving for the antique1 the rococo1 and finally the baroc1 as the outcome of that part of a gentleman's education called the grand tour4 ,every one bought up old furniture2 ,italy and ,spain were ransacked2 and foreign works of all ages were added to the hereditary house furnishings4 ,every wealthy home became a museum4 ,now the numerous exhibitions of the last few years1 bringing together the works of all ,europe and other continents1 have enabled us to continue to collect and compare and furnish1 without any reference to a particular style4 ,meantime ,young ,england had become sthetic4 ,bohemianism was the fashion1 and the studio had to be furnished as a picturesque lounge3--ragged tapestries for backgrounds2 antique chairs and bits of colour as cushions and draperies2 shiny earthenware pots to hold a flower and to catch a high light4 ,all these bridged the space between the new stheticism and the old family museums2 and from their combination arose the style called by courtesy the ,queen ,anne--a style which can be brought within the reach of the most moderate fortunes4 ,in humble mansions you will be aware of the grouping of the old pieces of furniture1 culminating perhaps in my grandmother's cabinet1 and her portrait by ,hogarth2 or my great-grandfather's sword and pistols1 which he carried at ,culloden2 and his father's clock1 a relic perhaps of the ,scotch ,dutch4 ,the ,english style of to-day is really a conglomerate of the preceding two hundred years1 and it is formed from the dbris of our family life4 ,it belongs mostly to the period of the pigtail2 but it stretches back1 and includes all that followed the ,protectorate1 and is therefore coeval with the wig4 ,the name of ,queen ,anne would really do as well as any other1 only that the style of her reign1 which was heavy ,louis ,quatorze1 is looked upon with suspicion1 and never admitted for imitation4 ,the ,nineteenth ,century would be a better name1 for it has formed itself only within the last thirty years1 in the very heart of the century1 and is1 in fact1 a fortunate result of preceding conditions4 ,it owes its existence1 as ,i have said1 partly to the archological tendencies of the day4 ,the maimed tables and chairs1 which had painfully ascended from saloon to bedroom1 nursery1 and attic1 till they reposed in the garret 7the ,bedlam of crazy furniture71 now have descended in all the prestige of antiquarian and family interest4 ,their history is recorded2 the old embroideries are restored1 named1 and honoured4 ,what is not beautiful1 is credited with being quaint--the quaint is more easily imitated than the beautiful2 and we have elected this for the characteristic of our new decorations4 ,to be quaint1 is really to be funny without intending it1 and its claim to prettiness is its navet1 which is sometimes touching as well as amusing3 this was the special characteristic of the revival in the ,middle ,ages4 ,to imitate quaintness must be a mistake in art2 as in life it is absurd to imitate innocence4 ,the nineteenth century ,queen ,anne has its merits4#gb ,it combines simplicity1 roominess and comfort1 colour1 light and shade4 ,soft colouring to harmonize the new furniture with the tender tints of the faded quaintnesses just restored to society2 care in grouping even the commonest objects1 so as to give pleasure to the eye2 a revived taste for embroidered instead of woven materials1 giving scope to the talents of the women of the house2--all these are so much gained in every-day domestic decoration4 ,the poorest and most trivial arrangements are striving to attain to a something artistic and agreeable4 ,this is still confined to the educated classes2 but as good and bad alike have to begin on the surface1 and gradually filter through to the dregs of society1 we may hope that the women who wore the last chignon and the last crinoline may yet solace their sordid lives in flowing or tight woollen garments1 adorned with their own needlework2 and that the dark-stained floor of the cottage or humble lodging will set off the shining brass kettle1 and the flower in a brown or blue pot1 consciously selected with a view to the picturesque1 and enjoyed accordingly4 ,from what we know1 it would seem that a vital change in a national style is never produced by the inspiration of one individual genius or great original inventor4 ,it invariably evolves itself slowly1 by the patient1 persistent efforts of generations1 polishing and touching up the same motive1 and at last reaching human perfection4 ,the annihilation of a style is oftenest caused by war passing over the land1 or revolution breaking up the fountains of social life1 and swamping the art and the artist4 ,but another cause of such an extinction--perhaps the saddest--is that having reached perfection as far as it may1 it deteriorates1 sickens1 corrupts1 and finally is thrown aside--superseded1 hidden1 and overlapped by a newer fashion2 and the worst and latest effort discredits in the eyes of men1 the splendid successes that preceded its fall4 ,though the next succeeding phase may be less worthy to live than the last1 yet1 carrying with it the freshness of a new spring1 it is acceptable for the time being4 ,the moral ,i should draw from this is1 that you cannot force style2 you may prune1 direct1 and polish it1 but you must accept that of your day1 and only in accordance with that taste can your work be useful4 ,not accepting it idly or wearily1 but cheerfully1 on principle1 seeking to raise it2 refusing by word or deed to truckle to the false1 the base1 or the lawless in your art1 or to act against the acknowledged canons of good taste4 ,not for a moment should ambition be checked1 but it should always be accompanied by the grace of modesty4 ,to the young decorator or artist who feels the glow of original design prompting him to reject old lines1 and follow his own new and perhaps crude ideas1 a few words of warning1 and encouragement also1 may be of use4 ,in art1 as in poetry1 we may recognize the ,psalmist's experience3 ,my heart burned within me1 and at the last ,i spake with my tongue4 ,in small as in great things1 crude ideas should not be brought to the front4 ,no one should give his thoughts to the world till his heart has burned within him1 and he has been forced to express himself4 ,another wise saying1 ,read yourself full1 and then write yourself empty1 also applies to art4 ,knowledge must first be accumulated before you can originate4 ,wait till your experience and your thoughts insist on expression2 then subject the expressed idea to cultivated criticism1 and profit by the opinion you would respect if another's work1 and not your own1 were under discussion4 ,it is true that taste is surprisingly various4 ,some will dislike your design1 because its style is a reflection of the ,gothic2 another may be objected to as being frivolously ,oriental-looking and brilliant1 whereas the critic likes only the sober and the dull4 ,few are sufficiently educated to appreciate style3 and we cannot rule our own by anybody's opinion2 but we can generalize and find something that shall be agreeable to all--something approaching to a golden mean4 ,the artist for decoration should be sensitively alive to any suggestion from the style of that which he is to adorn1 remembering the antecedent motives of its form1 its history1 and its date4 ,he should try to make his new work harmonize with the old2 but of one thing he may be certain--unless he absolutely copies an old design1 his own will carry the visible and unmistakable stamp of his day4 ,even while suggesting copies this difficulty arises--how can a perfect facsimile be obtained8 ,no reproduction is ever really exact1 unless cast off by the hundred1 stamped or printed by a machine4 ,it has been said that the translator of a poem adds to1 or takes from the original1 that which he has or has not of the same poetical power2 and in art the copy requires the same qualities to guide the hand that transmits the original motive to another material4 ,an artist usually carries out his own ideas from the first sketch blocked out on the canvas1 or scribbled on the bit of waste paper1 to the last finishing touch4 ,it is1 as far as it can be in human art1 the visible transcript of his own thought4 ,in needlework this can hardly ever be4 ,the designer1 whether he be ,st4 ,dunstan1 ,pollaiolo1 ,torrigiano1 or ,walter ,crane1 only executes a drawing which leaves his hands for good1 and is translated into embroidery by the patient needlewoman who simply fills in an outline1 ignorant of art1 unappreciative of its subtleties1 and incapable of giving life and expression1 even when she is aware that they are indicated in the original design4 ,this is almost always the case2 but there are exceptions4 ,charlemagne's dalmatic1 for instance1 shows signs of having been either the work of the artist himself1 or else carried out under his immediate supervision4 ,,footnotes3 #ae ,boyd ,dawkins' ,early ,man in ,britain1 p4 #bhe4 ,see also chapter on stitches 7post71 p4 #aie4 #af ,some of these styles survive2 some are still perceptible as traditions or echoes2 some have totally disappeared in our modern art1 such as the ,primitive or the ,egyptian4 #ag ,see ,semper1 ,der ,stil4 #ah ,the history of ,gaul begins in the #gth1 and that of ,britain in the #ast century ,b4,c41 while the civilization of ,egypt dates back to more than #djjj ,b4,c42 therefore the historical overlap is very great4 ,it is probable that a large portion of ,europe was in its neolithic age1 while the scribes were composing their records of war and commerce in the great cities on the ,nile1 and that the neolithic civilization lingered in remote regions while the voice of ,pericles was heard in ,athens1 and the name of ,hannibal was a terror in ,italy4--,see ,boyd ,dawkins' ,early ,man in ,britain1 p4 #dha4 #ai ,see chapter on patterns4 #bj ,in the ,troad4 #ba ,some of the ,egyptian arts we know are pre-,homeric 7if ,homer really sang #hjj ,b4,c471 and ,asiatic art was then in its highest development4 #bb ,see chapter on stitches1 cut work 7post74 ,this funeral tent is a monumental work1 inasmuch as the inscription inwrought on it gives us the name and title of her in whose honour it was made1 and whose remains it covered4 ,see ,villiers ,stewart's ,funeral ,tent of an ,egyptian ,queen4 #bc ,herodotus1 book ii4 c4 #ahb2 book iii4 c4 #dg 7,rawlinson's ,trans474 ,see ,rock's ,introduction1 p4 xiv4 #bd ,homer mentions ,sidonian stuffs and ,phnician skill 7,iliad1 v4 #agj72 also ,sidonian ,embroidery4 ,ibid4 vi4 #bhg-bie4 #be ,the ,assyrian designs are such as are now still worked at ,benares1 and being full of animals1 they are called ,shikurgah1 or happy hunting-grounds4 ,see ,sir ,g4 ,birdwood's ,industrial ,arts of ,india1 p4 #bcf4 ,see also ,plate #d4 #bf ,see ,perrot and ,chipiez 7pp4 #gcg-geg72 also ,clermont ,ganneau's ,histoire de l',art1 ,l',imagerie ,phnicienne1 ,plate #a1 pt4 #a4 ,coupe de ,palestrina4 ,he says that certain scenes from the ,shield of ,achilles are literally to be found on ,phnician vases that have come down to us--vases of which ,homer himself must have seen some of analogous design4 #bg ,homer speaks of ,sidonian embroideries1 ,iliad1 vi41 #bhg-bie4 #bh ,see ,egyptian fragments in the ,british ,museum1 and the specimens of ,peruvian textiles2 and ,reiss and ,stbel's ,necropolis of ,ancon in ,peru4 #bi ,at ,cervetri1 ,dennis' ,etruria1 ed4 #ahgh1 i4 p4 #bfh4 #cj ,the restless activity of the ,phnicians has often helped to confuse our sthetic knowledge1 and has caused the waste of much speculation in ascertaining how certain objects of luxury1 belonging to distant civilizations1 can possibly have arrived at the places where we find them4 #ca ,the ,beautiful ,gate of the ,temple was covered all over with gold4 ,it had also golden vines above it1 from which hung clusters of grapes as tall as a man's height4444 ,it had golden doors of #ee cubits altitude1 and #af in breadth3 but before these doors there was a veil of equal largeness with the doors4 ,it was a ,babylonian curtain of blue1 fine linen1 and scarlet and purple2 of an admixture that was truly wonderful4 ,nor was the mixture without its mystical interpretation2 but was a kind of image of the universe4 ,for by the scarlet was to be enigmatically signified fire2 by the fine flax1 the earth2 by the blue1 the air1 and by the purple1 the sea2--two of them having their colours for the foundation of this resemblance2 but the fine flax and the purple have their own origin for this foundation1 the earth producing the one1 and the sea the other4 ,this curtain had also embroidered upon it all that was mystical in the heavens excepting the twelve signs of the zodiac1 representing living creatures4 ,josephus 7,trans4 by ,whiston71 p4 #hie4 #cb ,see also ,m4 ,e4 ,harkness and ,stuart ,poole1 ,assyrian ,life and ,history1 p4 #ff4 #cc ,the visions of ,ezekiel and ,st4 ,john remind us of the composite figures and animals in ,ninevite sculptures1 and the prophetic poetry helps us to interpret their symbolism4 #cd ,g4 ,smith's ,ancient ,history of the ,monuments1 ,babylonia1 p4 #cc4 ,edited by ,sayce4 #ce ,in the ,british ,museum4 ,see ,bronze ,ornaments of ,palace ,gates1 ,balawat1 pl4 ,e #e4 #cf ,see ,auberville's ,ornement des ,tissus1 pl4 #a4 #cg ,the ,egyptian queen in question was mother-in-law to ,shishak1 whose daughter married ,solomon4 ,after his son-in-law's death1 ,shishak plundered the ,king's ,house1 and carried to ,egypt the golden shields or panels 7#a ,kings xiv4 #bf74 ,the golden vessels went to ,babylon later1 and the golden candlesticks to ,rome4 #ch ,sir ,g4 ,birdwood repeatedly points out that the ,vedic was the art that worshipped and served nature4 ,the ,puranic is the ideal and distorted4 ,the ,moguls1 about #gjj ,b4,c41 introduced their ugly ,dravidian art4 ,through the ,sassanian art of ,persia1 that of ,india was influenced4 ,possibly the very forms which in ,india are copied from ,assyrian temples and palaces1 may have travelled first to ,assyria upon ,indian stuffs and jewellery 7,sir ,g4 ,birdwood's ,industrial ,arts of ,india1 i4 p4 #bcf74 #ci ,ibid41 p4 #acj 7ed4 #ahhd74 #dj ,nearchus 7,strabo1 ,,xv4 i4 #fg7 says that the people of ,india had such a genius for imitation that they counterfeited sponges1 which they saw used by the ,macedonians1 and produced perfect imitations of the real object4 ,see ,sir ,g4 ,birdwood's ,industrial ,arts of ,india1 ii4 p4 #acc 7ed4 #ahhd74 #da ,ibid41 ii4 p4 #aca 7ed4 #ahhd74 #db ,see ,sir ,g4 ,birdwood1 p4 #abi 7ed4 #ahhd74 ,if ,fergusson is right in suggesting that the art of ,central ,america was planted there in the third or fourth century of our era1 it would1 perhaps1 appear to have taken refuge in ,america when it was driven out of ,india by the ,sassanians1 and was really ,dravidian4 ,he gives to the ,turanian races all the mound buildings1 as well as the fylfot or mystic cross1 and he looks in ,central ,india for the discovery of some remains that will give us the secret of the origin of the ,indo-,aryan style4 ,he thinks the ,archaic ,dravidian is allied with the ,chinese4 ,see ,fergusson's ,architecture4 #dc ,etruscan and ,indian golden ornaments1 including the ,bolla and the ,trichinopoly chains and coral1 are to be found throughout ,scandinavia and in ,ireland4 ,see ,atlas de l',archologie du ,nord1 par la ,socit ,royale des ,antiquaires du ,nord4 ,copenhagen1 #aheg4 #dd ,arrian tells us of the ,celts1 a people near the ,great ,ionian ,bay1 who sent an embassy to ,alexander before the battle of the ,granicus--a people strong and of a haughty spirit4 ,alexander asked them if they feared anything4 ,they answered that they feared the sky might fall upon their heads4 ,he dismissed them1 observing that the ,celts were an arrogant nation 7,arrian1 i4 #d1 #aj74 #de ,according to ,yates1 the merchandise of ,eastern ,asia passed through ,slavonia to the north of ,europe in the ,middle ,ages1 without the intervention of ,greece or ,italy4 ,this may account for certain terms of nomenclature which evidently came with goods transported straight to the north4 ,yates' ,textrinum ,antiquorum1 vol4 i4 p4 #bbe-bdf4 #df ,these northern ideas1 spreading over ,germany1 ,england1 and ,france1 flourished especially on ,german soil2 and ,oriental-patterned embroideries for hangings and dress were worked in every stitch1 on every material1 as may be seen in the museums and printed catalogues of ,vienna1 ,berlin1 ,munich1 c4 #dg ,except1 perhaps1 the ,serpent and ,tree cope in ,bock's ,kleinodien4 #dh ,the different ,celtic nationalities are always recognizable4 ,there was found in a grave-mound at ,hof1 in ,norway1 a brooch1 showing at a glance that it was ,christian and ,celtic1 though taken from the grave of a pagan ,viking4 ,another at ,berdal1 in ,norway1 was at once recognized by ,m4 ,lorange as being undoubtedly ,irish4 ,there are many other instances of evident ,celtic ,christian art found on the west coast of ,norway under similar conditions--probably spoil from the ,british ,islands1 which were subject to the descents of the pagan ,vikings for centuries after the time of ,st4 ,columba's preaching of ,christianity in ,scotland4 ,for information on the subject1 see ,g4 ,stephen's ,monuments of ,runic ,art1 and ,f4 ,anderson's ,pagan ,art in ,scotland4 #di ,scotland in ,pagan ,times1 by ,j4 ,anderson1 pp4 #c-g4 #ej ,on a vase in the ,british ,museum1 ,minerva appears with her gis on her breast1 and clothed in a petticoat and upper tunic worked in sprays1 and a border of kneeling lions4 ,on another ,panathenaic vase she has a gown bordered with fighting men1 evidently the sacred peplos4 7,fig4 #d47 #ea ,see the account of the veil of ,her in the ,iliad1 and that of the mantle of ,ulysses in the ,odyssey4 #eb ,see ,butcher and ,lang's ,odyssey4 #ec ,der ,stil4 #ed ,the ,greeks collected into one focus all that they found of beauty in art from many distant sources--,egyptian1 ,indian1 ,assyrian--and thus fired their inborn genius1 which thenceforth radiated its splendour over the whole civilized world4 #ee ,homer's ,iliad1 xviii4 #dhj-fag 7,butcher and ,lang74 #ef ,see ,woltmann and ,woermann4 ,trans4 ,sidney ,colvin1 p4 #fd4 #eg ,except1 perhaps1 the keystone arch4 #eh ,virg4 neid iii4 ,trans4 ,g4,l4,g4 #ei ,the ,indian ,cush4 #fj ,except in the art of the ,celts1 whose ,indo-,chinese style shows evidence of ,mongolian importation1 and later we find traces of a similar influence3 for instance1 ,yarkand rugs are semi-,chinese1 semi-,tartar1 resembling also the works of ,india and ,persia4 ,it is easy to distinguish from what source each comes1 as one perceives the influence of the neighbouring native art 7,on ,japan1 by ,dresser1 p4 #cbb74 #fa ,see a paper by ,m4 ,terrien de la ,couperie in the ,journal of the ,society of ,arts1 #ahha4 #fb ,rome had to be overthrown that the new religion and the new civilization might be established4 ,christianity did its work in winning to it those ,teutonic conquerors1 but how vast was the cost to the world1 occasioned by the necessity of casting into the boiling cauldron of barbarous warfare1 that noble civilization and the treasures which ,rome had gathered in the spoil of a conquered universe6 ,had any old ,roman1 or ,christian father been gifted with ,jeremiah's prescience1 he might have seen the fire blazing amidst the forests of ,germany1 and the cauldron settling down with its mouth turned towards the south1 and would have uttered his lamentation in plaintive tones1 such as ,jeremiah's1 and in the same melancholy key 7,holy ,bible1 with ,commentary by ,canon ,cook1 ,introduction to ,jeremiah1 vol4 i4 p4 #cai74 #fc ,scandinavian art became strongly tinctured with that of ,byzantium4 ,the ,varangian ,guards were1 probably1 answerable for this1 by their intercourse between ,greece and their native land1 which lasted so many centuries4 ,there have come down to us1 as witnesses of this intercourse1 many coins and much jewellery1 in which all that is ,oriental in its style has been leavened by its passage through ,byzantine and ,romanesque channels4 ,gibbon1 writing of this period1 says3 ,the habits of pilgrimage and piracy had approximated the countries of the earth 7see ,gibbon's ,decline and ,fall1 chap4 lv474 ,greek embroidered patterns and ,greek forms of dress still linger in ,iceland4 ,there was lately brought to ,england a bride's dress1 which might have belonged to the ,greek wife of a ,varangian guardsman4 ,it is embroidered with a border in gold of the classical honeysuckle pattern2 and the bridal wreath of gilt metal flowers might1 from its style1 be supposed to have been taken from a ,greek tomb4 #fd ,evidently an imitation of the peplos of ,minerva 7see fig4 #d1 p4 #cb74 #fe ,the descent from the ,persian of ,arab or ,moorish art1 as we generally call it when speaking of its ,spanish development1 is to be accounted for by the presence of a considerable colony of ,persians in ,spain in the time of the ,moors1 as attested by numerous documents still in existence4 ,see ,col4 ,murdoch ,smith's ,preface to ,persian ,art1 ,series of ,art ,handbooks of the ,kensington ,museum4 #ff ,ronsard1 poet1 politician1 and diplomatist1 compares the ,queen of ,navarre to ,pallas ,athene3-- ,elle adonnait son courage ,a mainte bel ouvrage ,dessus la toile1 et encor ,a joindre la soie et l'or4 ,vous d'un pareil exercise ,mariez par artifice ,dessus la toile en mainte traits ,l'or et la soie en pourtraict4 #fg ,mary de ,medici brought back with her from ,italy ,federigo ,vinciolo as her designer for embroideries4 #fh ,see ,art ,needlework1 by ,e4 ,maxse1 and ,manuel de la ,broderie1 by ,madame ,e4 ,f4 ,celnart4 #fi ,from the ,italian translation by ,signor ,minghetti4 #gj ,gaston1 ,duke of ,orleans 7died #affj71 kept hothouses on purpose to supply models for floral textile designs4 ,le ,brun often drew the embroideries for the hangings in rooms he had himself designed and decorated4 #ga ,we have all seen the dining-room wine-coolers modelled in imitation of ,roman tombs2 and there is a drawing-room in a splendid mansion still furnished with cinerary urns covering the walls1 while curule chairs most uncomfortably furnish the seats4 #gb ,in his designs for papers and textiles1 ,mr4 ,morris' poetical and artistic feeling--his admiration and sensitiveness for all that is beautiful and graceful 7as well as quaint7--his respect for precedent1 added to his own fanciful originality1--have given a colour and seal to the whole decorative art of ,england of to-day4 ,it is a step towards a new school4 ,the sobriety and tenderness of his colouring gives a sense of harmony1 and reconciles us to his repetitions of large vegetable forms1 which remind us sometimes of a kitchen-garden in a tornado4 ,for domestic decoration we should1 as far as possible1 adhere to reposing forms and colours4 ,our flowers should lie in their allotted spaces1 quiet and undisturbed by elemental struggles1 which have no business in our windowed and glass-protected rooms4 ,,chapter ,,ii4 ,,design4 ,gorgo4 ,behold these 'broideries6 ,finer saw you never4 ,praxino4 ,ye gods6 ,what artists work'd these pictures in8 ,what kind of painter could these clear lines limn8 ,how true they stand6 nay1 lifelike1 moving ever2 ,not worked--created6 ,woman1 thou art clever6 7,scene at a ,festival7 ,theocritus1 ,idyll xv4 line #gh4 ,the word design1 as applied to needlework1 includes the principles and laws of the art3 the motives and their hereditary outcome2 the art creating the principles2 the laws controlling the art4 ,design means intention1 motive1 and should as such be applied to the smallest as to the greatest efforts of art4 ,that which results from it1 either as picture or pattern1 is a record of the thoughts which produced it1 and by its style fixes the date1 of its production4 ,i will first consider the principles of design1 and afterwards1 in another chapter1 inquire into the origin of patterns2 investigating their motives1 and using them as examples1 and also as warnings4 ,the individual genius of the artist works first in design1 though his work is for the use of the craftsman or artisan1 his collaborator2 for the two1 head and hands1 must work together1 or else will render each other inoperative or ineffective4 ,the artisan1 by right of his title1 claims a part in the art itself2 the craftsman1 by his name1 points out that he1 too1 has to work out the craft1 the mystery1 the inner meaning1 of the design or intention4 ,the designer himself is subject to the prejudices called the taste of his day4 ,he is necessarily under the influence which that taste has imposed upon him1 and from which no spontaneous efforts of genius can entirely emancipate him4 ,whether he is conceiving a temple for the worship of a national faith1 or the edging for the robe of a fair votaress1 or the pattern on the border of a cup of gold or brass1 he cannot avoid the force of tradition and of custom1 which comes from afar1 weighted with the power of long descent1 and which crushes individuality1 unless it is of the most robust nature4 ,of very early design we have most curious and mysterious glimpses4 ,the cave man was an artist4 ,the few scratches on a bone1 cleverly showing the forms of a dog or a stag1 a whale or a seal1 nay1 the figure of a man1 have enabled us to ascertain and to classify the ,palolithic cave man2 from whom his less civilized successor1 the ,neolithic man1 may be distinguished by his absence of all animal design4#gc ,these fragmentary scraps of information1 pieced together only in these later years1 teach us the value of very small facts which time and care are now accumulating1 and which1 being the remains of lives and nations passed away1 still serve as the soil in which history can be fertilized4 ,we have no means of judging whether the cave man was an artist on a greater or more advanced scale than is actually shown by the bone-scratchings2 the only other relic of his handiwork is the needle4#gd ,it is evident that a direct imitation of nature1 such as is seen in these graffiti1 and at an immense distance in advance of them1 in the earliest known ,egyptian sculptures1 preceded all conventional art4 ,some of the earliest portrait statues in the ,museum at ,boulac exhibit a high degree of naturalistic design before it became subservient to the expression of the faith of the people4 ,as soon as art was found to be the fittest conveyance of symbolism1 it became the consecrated medium for transmitting language1 thought1 and history1 and was reduced to forms in which it was contented to remain petrified for many centuries1 entirely foregoing the study or imitation of nature4#ge ,it recorded customs1 historical events1 and religious beliefs2 receiving from the last the impress of the unchangeable and the absolute1 which it gave to the other subjects on which it touched4 ,it ceased to be a creative art 7if it had ever aspired to such a function71 and was never the embodiment of individual thought4 ,this phase prevailed under different manifestations in ,assyria and ,china4 ,pictorial art had1 in fact1 become merely the nursing mother of the alphabet1 guiding its first steps--the hieroglyphic delineation or expression of thoughts and facts4#gf ,in ,egypt1 the change from the first period of actual imitation of nature was succeeded by many centuries of the very slowest progress4 ,renouf speaks1#gg however1 of the astonishing identity that is visible through all the periods of ,egyptian art 7for you could never mistake anything ,egyptian for the produce of any other country74 ,this identity and slow movement1 he says1 are not inconsistent with an immense amount of change1 which must exist if there is any real life4 ,in fact1 there were periods of relative progress1 repose1 and decay1 and every age had its peculiar character4 ,birch1 ,lepsius1 or ,marriette could at once tell you the age of a statue1 inscription1 or manuscript1 by the characteristic signs which actually fix#gh the date4 ,design1 unconsciously has a slowly altering and persistently onward movement1 which but seldom repeats itself4 ,it is one of the most remarkable instances of evolution4 ,but it also has its cataclysms 7however we may account for them71 of which the ,greek apotheosis of all art is a shining example1 and the total disappearance of classical influence in ,europe before the ,renaissance is another4 ,i will instance one prevailing habit of ,egyptian art4#gi ,in the long processional subjects1 and in individual separate figures1 it was usual to draw the head in perfect profile1 the body facing you1 but not completely--a sort of compromise with a three-quarter view of it--and the feet following each other1 on the same line as the profile4 ,this mode of representing the human figure was only effaced gradually by the introduction of ,greek art1 and continued to be the conventional and decorative method even in the latest days of ,egyptian art2 and it is curious to observe1 that in the ,dark ages ,european design fell into the same habit4 ,we cannot imagine that this distorted way of drawing the human figure could have any intentional meaning1 and therefore may simply believe that it had become a custom2 and that when art has so stiffened and consolidated itself by precedent and long tradition1 as in ,egypt and in ,india1 certain errors as well as certain truths become1 as it were1 ingrained into it4 ,plato remarked of ,egyptian art1 that the pictures and statues they made ten thousand years ago were in no particular better than those they make now4#hj ,one day1 however1 the ,greek broke away from the ancient bonds of custom4 ,the body was made to accompany the head1 and the feet followed suit4 ,but the strange fact remains that for several thousand years men walked in profile1 all out of drawing4 ,evidently originality was not in much estimation among the ,egyptian patrons of art4 ,design seemed to have restricted itself to effective adaptations in a few permitted forms in architecture and painting1 and the illumination of the papyrus ,,mss4 ,egyptian elasticity of design found some scope in its domestic ornamentation1 in jewellery and hangings1 but especially in its embroideries for dress4 ,here much ingenuity was shown1 and the patterns on walls and the ceilings of tombs give us the designs which ,semper considers as having been originally intended for textile purposes4 ,he strains to a point to which ,i can hardly follow him1 the theory that all decorations were originally textile 7except such as proceeded in ,china from the lattice-work motive72 though ,i willingly accept the idea that textile decoration was one of the first and most active promoters of design4 ,it is not possible for us to trace systematically the different points at which ,egyptian and ,asiatic art touch1 but we can see that they were always acting and reacting on each other in the later centuries before our era1 and that ,greece profited by them4 ,the first efforts of both to break through this chrysalis stage1 resulted in the early ,greek archaic style4 ,its strongly marked1 muscular humanity reminds one of all the conflicting impressions struggling in the conception of the great artist who first embodied them4 ,they appear to be breaking out from the trammels of ,egyptian and ,assyrian styles1 which by meeting had engendered life2 and ,greek art was the child of their union4 ,then art1 having shaken off symbolism as its only purpose1 and seeking to represent the forms of men1 yet possessed by a guiding spirit1 first sought to convey the idea of expression4 ,the worship of humanity1 mingling with that of their gods1 produced the ,heroic ideal2 and all the attributes of their heroes--majesty1 beauty1 grace1 and passion--had to be depicted2 as well as rage1 sorrow1 despair1 and revenge4 ,these were soon to be surrounded with all the splendours of the arts of decoration4 ,greece had prepared for this outburst of excellence and the perfect science of art1 by collecting the traditions1 the symbols1 the experience in colouring1 and the knowledge of beautiful forms1 human and ideal4 ,all that was needed for the advent of the man who could design and create types of beauty for all ages was thus accumulated1 and the man came1 and his name was ,pheidias4 ,a crowd followed him1 all steeped in the same flood of poetry and art2 and for several centuries they filled the world with the sense and science of beauty4 ,then the function of the designer--the artist--was changed and elevated1 and he became1 through the great days of ,greek and ,roman ,pagan art1 and afterwards through the rise of that of ,christianity1 the exponent of all that was poetical and ennobling in the life of man4 ,but though the ,greek artist had broken the chains of prescribed form1 he still adhered to the motive--the inner symbolical thought--and strove to express it as it had never been expressed before4#ha ,new principles were evoked1 and the artist1 while revelling in the sweetness and light of freedom1 framed for himself standards of taste and refinement1 which he left as a heritage to all succeeding generations4 ,i fear that ,i am repeating a platitude when insisting that freedom in all design1 but especially that employed in decoration1 must be kept within certain boundaries2 otherwise it becomes lawless4 ,rules1 like all other controlling circumstances1 are of the greatest service to the artist1 as they suggest what he can do1 as well as decide what he ought not to attempt4 ,all boundaries are highly suggestive2 the size of a sheet of paper--the form of a panel--the colours in the box of pigments--even the touch of the brush which comes to hand1--all these help to shape the idea to our ends1 and assist us in giving to the original motive the form which is most suitable4 ,these restrictions are often regarded as impediments by the impatient artist2 whereas he ought to look on them as hints and suggestions1 and claim their assistance1 instead of struggling against them4 ,let us accept the principle that it is good for each of our efforts at decoration that we are controlled by the space allotted to its composition4 ,the relative size 7small1 perhaps1 for a table-cover1 but large for that of a book7 and the shape to which we are limited1 alter all the conditions of a design4 ,whether it is square or oblong1 or lengthened into a frieze2 whether it must be divided into parts1 including more than one motive1 or be grouped round one centre2 whether it is to be repeated more than once within the range of the eye1 or whether it is to disappear into space upwards or horizontally2 and whether it is to stand alone1 or be framed with lines or a border1--all these restrictions must govern the design1 or1 in its highest phase1 the composition4 ,the composition must consist of supporting lines well balanced1 and values filling up the whole surface of the space1 which is to contain it1 and beyond which it must not seek to extend4 ,as we have in embroidery no distances--only a foreground--the design must be placed all on one plane4 ,the title of composition cannot be granted to a bouquet or a bird cast on one corner of a square of linen1 however gracefully it may be drawn4 ,it does not cover the space allotted to it4 ,if we carefully study the great and guiding principles that have been distinctly formulated by some of the ,continental authorities on decorative art1 we shall find much help in composing our designs4 ,nothing is more interesting than to search for the foundation of the structure which centuries have helped to raise1 and to dig out1 as it were1 the original plan or thought of the founder4 ,so it is most instructive to learn the fundamental rules by which such results are secured4 ,m4 ,blanc#hb says of the general laws of ornamentation3 ,there can be no nobler satisfaction to the mind1 than to be able to unravel what is beyond measure complicated1 to diminish what is apparently immense1 and to reduce to a few clear points what has been till now involved in a haze of obscurity4 ,just as the twenty-six letters of the alphabet have been1 and always will be sufficient to form the expression of the words necessary for all human thought1 so certain elements susceptible of combination among themselves have sufficed1 and will suffice1 to create ornament1 whose variety may be indefinitely multiplied4 ,he reduces ornamental design to five principles1 ,repetition1 ,alternation1 ,symmetry1 ,progression1 and ,confusion4 ,illustration3 ,fig4 #e4 ,wave ,pattern4 ,first1 ,repetition4 ,you may act on the mind1 through sight1 by the same means as those that will excite physical sensations4 ,a single prick of a pin is nothing1 but a hundred such will be intolerably painful4 ,repetition produces pleasurable sensations1 as well as painful ones4 ,an insignificant form can become interesting by repetition1 and by the suggestion which1 singly1 it could not originate4 ,for example1 the rolling of the ,greek scroll or wave pattern awakens in us the idea of one object following another4 ,it also suggests the waves of the ocean2 or the poet may see in it a troop of maidens pursuing each other in space1 not frivolously1 but in cadence1 as if executing a mystic dance4 ,change the curves into angular forms1 as making the key pattern1 and it will no longer flow1 but become as severe as the other was graceful4 ,no principle gives greater pleasure than repetition1 and next to it1 alternation4 ,illustration3 ,fig4 #f4 ,key ,pattern4 ,variety is here added to the law of repetition4 ,there can be repetition without alternation1 but no alternation without repetition4 ,alternation is1 then1 a succession of two objects recurring regularly in turn2 and the cadence of appearance and disappearance gives pleasure to the senses1 whether it be addressed to taste1 hearing1 or sight4 ,alternate rhymes1 and even short and long lines1 soothe the ear in verse4 ,in form1 the alternations are the more agreeable1 the more they differ4 ,such are1 in architecture1 a succession of metopes and triglyphs on a ,doric frieze1 where the circle and the straight lines relieve each other4 ,illustration3 ,fig4 #g4 ,metopes and ,triglyphs4 ,symmetry4 ,the correspondence of two parts opposite to each other is symmetrical4 ,a living being1 man or animal1 is composed of two parts1 which appear to have been united down one central line4 ,without being identical1 if you folded them down the line1 they would overlap and perfectly cover each other4 ,man is born with the sense of symmetry1 to match his outward form2 and he appreciates its existence1 and instinctively feels the want of it4 ,symmetry is another word for justness of proportion4 ,the ,greeks understood by symmetry1 the condition of a body of which the members have a common measure among themselves4 ,we expect the two sides of a living being to correspond1 and we look for these proportions in the living body to balance each other1 which we do not expect to find in any other natural object4 ,a large leaf at the end of a slender stem may be as appropriate1 and give as much pleasure1 as a small leaf in the same position2 but a huge hand at the end of an arm is not so agreeable to our sense of symmetry as one of the size and outline which we naturally expect to see4 ,the mind of man expects to find1 outside of himself and his own proportions1 something which he feels is proportionate and symmetrical2 in fact1 he at once detects the want of it4 ,the ,japanese1 with delicacy and taste1 often substitute for symmetry its corollary--balance4 ,the ,chinese or ,japanese vase will often have an appreciable affinity and resemblance to a ,greek one1 each preserving a secret balance1 even in the extremest whimsicality of its composition4 ,proportion is another corollary to symmetry1 if it is not another word for some of its qualities4 ,progression4 ,in this principle are included long perspectives1 pyramidal forms in architecture1 and certain processional compositions4 ,for pyramidal surfaces1 such as pediments1 a progressive ornament is the fittest4 ,all the buildings in the ,east1 and in the ancient cities of ,central ,america1 which are raised on pyramids of steps1 show the tendency to this species of effect in giving dignity to the buildings placed on such platforms4 ,perspectives are highly attractive specimens of progression1 which1 when made use of in the decorations of a theatre1 produce delightful illusions4 ,m4 ,blanc quotes ,bernardin de ,st4 ,pierre1 who says3 ,when the branches of a plant are disposed in a uniform plan of diminishing size1 as in the pyramidal shape of a pine1 there is progression2 and if these trees be planted in long avenues1 diminishing in height and colour1 as each tree does in itself1 our pleasure is redoubled1 because progression here becomes infinite4 ,it is owing to this feeling of infinity that we take pleasure in looking at anything that presents progression1 such as nurseries in different stages of growth1 the slopes of hills retreating to the horizon at different levels--interminable perspectives4 ,all floral compositions which give the effect or impression of growth may be included in the progressive principle4 ,a composition which1 beginning as it were with a stem1 spreads and floreates equally on each side2 thrusting outwards and upwards1 and ending in a topmost twig or bud1 is governed by this principle4 ,confusion4 ,boileau is quoted by ,m4 ,blanc as saying1 ,a fine disorder is often the effect of art2 and he adds1 ,but before he said it1 nature had shown it4 ,here we must observe that the confusions or disorders of nature are all subject to certain laws2 and it is in adopting this idea1 that an artistic confusion may give us the sense of its being ordered by1 and subject to definite rules4 ,these rules act as the frame affects the picture1 circumscribing its irregularities1 and restricting them to a certain area4 ,the artist-painter is1 in a small space1 permitted to employ confusion1 because the art of the cabinet-maker will keep the geometrical effect in view4 ,when the ,japanese throw their ornaments1 apparently without rule1 here and there on the japanned box1 they reckon on the square shape being sufficiently marked to the eye by its shining surface and sharp corners4 ,the confusion in a ,japanese landscape is so beautiful that one appreciates the innate sense of balance1 which modifies the confusion--rules and orders it4 ,in the hands of the designer1 confusion is only a method of rendering order visible in a happy disorder4 ,here contraries meet and touch4444 ,admit these as the principles of all decoration1 and you will find that1 by following and combining them1 you may produce varieties as numberless as the sands of the sea1 and that a latent equilibrium will reduce nearly every complication and confusion to perfect harmony4 ,each of the five principles we have discussed has its corollary1 which adds to the resources of the decorative artist4 ,these are as follows3--,to ,repetition belongs harmony1 or consonance2 to ,alternation1 contrast2 to ,symmetry1 radiation2 to ,progression1 gradation2 to balanced ,confusion1 deliberate complication4#hc ,harmonies in form and in colour are produced in different ways--sometimes by repetition with variation2 sometimes by the different parts being rather reflected on each than repeated4 ,this explains the harmony that may be called consonance1 if ,i rightly understand ,m4 ,blanc's theory4 ,contrast is most generally understood as a common resource in the hands of the artist for producing strong effects2 but ,m4 ,blanc cleverly expresses the reticence needed to ensure contrast being pleasurable1 not painful4 ,to adorn persons or things1 he says1 is not simply for the purpose of causing them to be conspicuous2 it is that they may be admired4 ,it is not simply to draw attention to them1 but that they may be regarded with feelings of pleasure4444 ,if contrast be needed1 let it be used as the means of rendering the whole more powerful1 brilliant1 and striking4 ,for instance1 if orange is intended to predominate in a decoration1 let blue be mingled with it1 but sparingly4 ,let the complementary colour be its auxiliary1 and not its rival4 ,contrasts are always unpleasant1 if the two forces struggle with each other for pre-eminence1 whether it be in form or in colour4 ,the rule to be observed in all ornamental design is this3 that contrasting objects1 instead of disturbing unity1 should assist it by giving most effect to that we wish to bring forward and display4 ,radiation belongs to the principle of symmetry1 starting from a centre from which all lines diverge1 and to which all lines point4 ,this is to be found throughout nature1 from the rays of the sun to the petals of the daisy4 ,all decorative art employs and illustrates it4 ,gradation in colour1 as in form1 is not quite synonymous with progression1 but expresses a series of adroitly managed transitions4 ,the ,english intermingle in their decoration1 colours very finely blended2 nor do they find any transition too delicate4 ,this1 as in all principles of ornament1 has to be employed according to the feelings intended to be produced on the mind of the spectator--whether for absolute contrast or for imperceptible progression1 when the tenderest colours are needed4 ,complication is illustrated by ,m4 ,blanc1 by a quotation from ,ziegler4#hd ,complication is another aspect of the art which owns the same sentiment as that expressed by ,ddalus in his labyrinth1 ,solomon in his mysterious seal1 the ,greeks in their interlacing and winding ornaments1 the ,byzantines1 the ,moors1 and the architects of our cathedrals in their finest works4 ,intertwined mosaics1 and intersection of arches and ribs1 all spring from complication4 ,to follow the interlacing line of an ornament1 gives the mind the pleasure of untying the ,gordian knot1 without cutting it4 ,it gives the excitement of curiosity1 pursuit1 and discovery4 ,when we see these traceries so skilfully plaited1 in which straight lines and curves intermingle1 cross1 branch out1 disappear and recur1 we experience a high pleasure in unravelling a puzzle which at first1 perhaps1 appeared to be undecipherable2 and in acknowledging that a latent arrangement may be recognized in what at first1 and at a distance1 seems an inextricable confusion4 ,the ,celtic1 ,moorish1 and ,gothic styles illustrate and are explained by these remarks2 and they are well worthy the attention of the designer4 ,having so freely borrowed from ,m4 ,blanc's chapter on the general laws of ornamentation1 ,i will finish my quotations with the words with which he concludes3 ,there is no decoration in the works of nature or the inventions of men which does not owe its birth to one of the original principles here enumerated1 viz4 ,repetition1 ,alternation1 ,symmetry1 ,progression1 and ,balanced ,confusion2 or else to one of their secondary causes1 consonance1 contrast1 radiation1 gradation1 and complication2 or lastly1 to a combination of these different elements1 which all finally lose themselves in a primordial cause--the origin of the movements of the universe--,,order4#he ,the extracts from ,m4 ,blanc's works ,i have carefully placed between commas1 being most anxious to express my obligation to him for his carefully formulated epitome of the laws of design4 ,but though ,i have largely quoted1 there remains still much most interesting and suggestive matter1 which ,i recommend the reader to seek in his book4 ,though we should call to our aid the general laws of design for all art1 we must select from them what is specially appropriate for the needs of our craft4 ,from the art of needlework we should eliminate as much as possible all ideas of roundness1 all variety of surface and effects of light and shadow and contrasting colours4 ,unity1 softness1 grace1 refinement1 brightness1 cheerfulness1 pleasant suggestions1--these should be the objects in view when we design the panels for the drawing-room or boudoir1 the hangings for the bed1 or the cover for the table--harmony which will satisfy the eye1 thoughts that shall please the mind4 ,the objects in nature that give us the most unalloyed pleasure--birds and flowers--are those that from all time have served as the materials for decorative design1 and therefore have been moulded into the traditional patterns which have descended to us from the earliest times4 ,design must follow the scientific laws of art1 and shape the variations of traditional forms from which we cannot escape4 ,in our present search after these inner truths1 ,i repeat that we have nothing to do with the rules of painting1 sculpture1 and architecture1 or any other of the secondary arts1 such as wood carving1 metal work1 c42 these having each their own intrinsic principles1 which must be worked out as corollaries from the general laws of composition which govern all ,aryan art4#hf ,it is curious that in drawing on the flat1 in ancient frescoes1 there appear to be no acknowledged rules of perspective--hardly more in ,pompeii1 than on early ,chinese screens and plates2 or than later in the ,bayeux tapestries4 ,and yet the ,greeks1 with their unerring instinct1 actually made use of false architectural perspectives to add to the effects of height and depth in their colonnaded buildings4#hg ,they sensibly diminished the circumference of the columns1 and used other means in their designs for this purpose4 ,they understood the principle1 but they did not carry it into flat decorative art4 ,they did not attempt1 when they painted a landscape on the wall1 to do more than recall the idea they were sketching2 and never thought of vying in scientific or naturalistic imitation with the real landscape they saw through the window2 they did not wish to interfere with the effect of the statue1 or the human figures grouped in front of it1 to which the wall served as a background4 ,those threw shadows and cast lights2 but in the flat there were no shadows1 no perspective--all was flat4#hh ,we must draw from this the deduction that the ,greeks held that flatness was an essential quality of wall decoration 7except in friezes7 as well as of all textile ornament2 and for every reason we must accept this flatness as a general law for designs in embroidery4 ,in hangings and dress materials1 flatness is more agreeable than a complicated shaded design1 especially when it is further confused by folds1 disturbing and interrupting the flow of the lines of the pattern4 ,the reader will perceive that the laws of composition for textiles quoted from ,m4 ,blanc1 apply perfectly to designs on the flat1 and to outlined sketches in black and white1 as well as to the most elaborate compositions for pictures1 either historical or genre4 ,they are rules which should be understood and employed by the man who draws for a wall-paper or an area railing2 and certainly by him who makes patterns for our schools of design4 ,it may therefore be laid down as a general rule1 that all designs for embroidery should be considered first as outlined drawings1 covering a flat surface1 and then filled in with colour4 ,the outlines should as little as possible overlap one another1 as flatness is one of the first objects to be remembered2 and this1 of course1 will be disturbed by the parts passing over or under each other4 ,indian designs in flowers have invariably a wonderful flatness1 in the absence of all light and shadow2 joined to a naturalistic suggestion of detail1 which is accounted for by their traditional mode of copying from nature4 ,the branch or blossom to be copied1 is laid on the ground and pegged down with care1 to eliminate every variety of surface1 and every branch and twig so arranged that they may not cross or touch each other4 ,this conventional composition is then drawn1 and every natural distinction in the form carefully copied4 ,i would suggest that this idea should be accepted as useful for imitation among ourselves in certain conventional compositions of vegetable forms4 ,perhaps it is our ,aryan ancestry that has given us a prevailing taste for such decorations2 and it is worth while to consider how best to manipulate them4#hi ,clinging as we do to these floral designs1 we can see that they are the only ones that bear repetition1 whether covering the surface of the material in the rich irregularity of the flowers in a field1 or conventionalized into a form or a pattern4 ,the eye is never shocked or fatigued by such repetitions in orderly confusion1 or trained by the hand into artistic shapes or meanderings of tracery4 ,but when embroidery or weaving attempts to represent animals or typical human figures1 repetition immediately becomes tiresome4 ,a ,madonna surrounded by angels1 comes in badly1 repeated over and over again as a pattern1 broken up by folds1 cut up by a seam1 dislocated in the joining1 and repeated in tiers4 ,such a design is figured in ,auberville's book4#ij ,the drawing is beautiful1 but by repetition it becomes ridiculous4 ,i therefore deprecate this kind of ornament in textile work4 ,for this reason embroidery1 which can be fitted to each space that is to be covered1 is preferable to woven designs1 however richly or perfectly they may be carried out4 ,another class of design1 which must be considered apart1 is the conventional-geometrical1 of which the special distinction appears to be that it consists of echoes or fragments of what we have seen elsewhere4 ,these conventional patterns are often merely the detritus of past styles or motives crushed and placed by time in a sort of kaleidoscope4 ,they remind one of the little wreaths of broken shells and coloured sea-weeds left on the sands by the retiring waves after a storm1 and are sometimes full of beauty and suggestion4 7,pl4 #ag47 ,we trace in these fragmentary patterns forgotten links with different civilizations2 and we ponder on the historical events which have brought them into juxtaposition4 ,these kaleidoscope patterns are to be seen in ,persian and ,turkish carpets of the present day1 and we find1 on examination1 little bits which can only be the remnants of a broken-up motive1 probably as much lost now to the designer who inherits the traditional form1 as to us who can only see the vague results4 ,i illustrate this remark by giving the border of a modern ,persian carpet which has certainly had ,egyptian ancestry4 ,the boat1 the beetle1 and the prehistoric cross are to be found in it4 ,illustration3 ,fig4 #h4 ,persian ,carpet4 ,many conventional patterns of to-day are descendants of the lattice-work of ,chinese art1 and of the zigzags1 lines1 and discs of barbarous primitive ornamentation4 ,the traceries in ,indian stone windows show some of the most charming geometrical forms1 and are akin to the ,persian and ,russian modes of composing conventional patterns4 ,they appear on very ancient metal work1 and are the motives of all the embroideries in the ,greek islands and the principalities1 and of the linen embroideries of ,russia4 ,their ,byzantine origin gave its impress to the ,european schools of the ,middle ,ages1 and the pattern-books of ,germany and ,venice of the sixteenth century are full of them4 ,they are best suited for the mosaic stitches1 and1 kept in their places as decoration1 they are useful for carpets and borders4 ,it should be impressed on our young artists1 that1 in composing their designs1 they must be influenced by the materials to be employed1 and the purpose for which the decoration is intended4 ,thus in textile design for dress and hangings 7excepting for tapestries7 the fact must never be lost sight of that they will be subject to disturbance by crossing folds and crumplings1 which will break up the lines of the pattern4 ,it is therefore evident that a design fitted for a rigid material in a fixed place1 such as an architectural decoration in wood1 stone1 or stucco1 must be subject to a treatment different from that which befits an embroidered curtain or panel4 ,stone and wood1 being materials of uniform colour1 require all the help of recessed shadows and projections to catch the light2 whereas in textiles1 form is assisted by colour1 and smoothness of surface is a primary consideration4 ,the strongly accentuated design for wood-carving becomes poor and lifeless when deprived of its essential conditions and raison d'tre1 and the pattern which looks charming1 outlined and filled in with colour1 could be hardly seen incised on a flat stone surface4 ,this seems a truism1 but the neglect of these plain axioms causes many mistakes in decorative art4 ,mr4 ,redgrave says3 ,a design must be bad which applies the same treatment to different materials4 ,he further says3 ,the position of the ornament requires special consideration4 ,the varied quantities1 bolder relief1 and coarser execution are not only allowable1 but absolutely necessary1 at heights considerably above the eye4 ,moreover1 each fabric has its own peculiar lustre1 texture1 c4 ,thus1 in the use of hangings1 curtains1 c41 the design might be suitable in silk1 and coarse or dull in woollen4#ia ,here ,i venture to differ from ,mr4 ,redgrave4 ,perspective is as much to be respected in decoration as in pictures1 near to the eye2 and the gradation in size and colour1 as the ornament travels up into height or fades into distance1 is a phase of pleasure which should not be checked by enlargement of form or reinforcement of colouring4 ,it is hardly necessary to warn our artists against a sort of design which is conventional1 yet had its own meaning in the beginning4 ,this is to be found in ,indian carvings and embroideries of a certain date1 or imitating the works of that distant period4 ,it proceeded from a hideous worship of monstrous ,dravidian divinities4 ,their statues are to be found1 surrounded by coarsely designed patterns1 in the temple architecture of the first and second centuries4 ,its characteristics are idols in niches or shrines1 distorted in form or attitude2 foliage of unnatural1 twisted plants1 added to the recurring of the lotus and tree of life2 or animals destroying each other1 or kneeling in worship to the idols4 ,these ugly designs are purely conventional4 ,fergusson suggests that they were introduced into ,mexico in the fourth or fifth centuries ,a4,d4 by ,buddhism4#ib ,those many-armed1 sometimes many-faced divinities drove out the beautiful ,aryan types1 which1 however1 resumed their sway when the wave of the ,renaissance flowed back to ,india1 and was remodelled by ,oriental taste to the lovely designs we find in the ,taj ,mahal4 ,in ,m4 ,blanc's classification of ornament1 he has placed ,gothic design under the head of deliberate complication4 ,the whole of the ,gothic decorations1 which are a gradual growth in one direction1 arose from the study of interlacing boughs and stems1 employed as the enrichment of the newly-grown forms of the vaulted roofs4 ,the possibilities of great size and height covered these designs and inspired all their decoration2 and the effect of reiteration and long recurring lines in perspective was essentially the motive of these avenues in stone4#ic ,here enter the principles of repetition and progression1 and you will find how carefully the designers of the twelfth1 thirteenth1 and fourteenth centuries worked up to these ideas4 ,you will see in their embroideries1 shining figures or pictures in gold1 silver1 and coloured silks1 shimmering on dark velvet backgrounds1 each design terminating a perspective of architectural forms which enhances their brilliancy4 ,the most effective1 probably1 were generally employed for the adornment of the high altar1 so as to be seen from a great distance4 ,the smaller and less distinct and more delicate ornaments were reserved for the side chapels or for smaller churches1 where such distant effects were inappropriate4 ,but the motives of ecclesiastical embroidery will be discussed in a future chapter4 ,all attempts at pictorial art are a mistake in textiles4 ,it does not enter into such designs2 and when by chance it is allowed to be so used1 it is an error of judgment1 and only exhibits a laborious and useless ingenuity4 ,it is no longer an artistic delineation of a natural object1 but becomes an imitation of another way of rendering such objects4 ,mr4 ,redgrave says that pictorial art in our manufactures is one of our great mistakes4 ,the picture must be independent of the material1 the thought alone should govern it2 whereas in decoration the material must be one of the suggestors of the thought1 its use must govern the design4 ,perhaps it will appear to my readers that here ,i repeat1 in different forms1 what has been said in a previous chapter on the history of style4 ,i think that it is better to do so1 than to omit to show where style and design must accompany each other4 ,style1 without any reference to design1 would be but a barren subject2 and design1 without reference to style1 would become lawless1 and soon be lost in the mazes of bad taste and mannerism4 ,both subjects are of so large and important a nature that ,i do not attempt to do more than point out how1 in their history and their influence1 they belong to the craft of embroidery4 ,such influences belong to all art2 and though ,i am anxious to confine myself to only one section of it1 ,i find it difficult to resist the temptation to generalize and stray from the prescribed path1 when large and important views are opened on every side1 as ,i travel on from point to point4 ,in sketching the history of design1 as well as ,i may in so short a space1 it is only considered in the light in which it illustrates our craft4 ,i repeat that the design should be informed by the motive which suggested it1 and by the need which has called it forth2 and it must be moulded to the space it has to fill1 and the position it will occupy4 ,the design must be modified into different outward forms1 according to whether it is to be fitted to the edge of a building against the sky2 to a high panelled wall2 to be applied as a frieze1 or round the capital of a pillar2 to the embroidered cover of an altar1 or the silken hangings of a bed1 or the framed flat spaces on the walls of a saloon4 ,in fact1 intention1 place1 and shape are necessary motives and limits to a flat design4 ,leaving aside all architectural ornamentation1 and adhering only to my own subject1 embroidery1 ,i will limit my observations to the three purposes here suggested4 ,firstly1 as the central effect of the holiest part of a church2 secondly1 in the domestic and comfortable room1 to be adorned and made cheerful2 and thirdly1 as decking the refined and gay saloon or banqueting-hall4 ,to the church we should devote the most splendid and effective contrasts1 to blaze unframed against dark empty backgrounds1 or amidst stone and marble decorations2 something set apart from its surroundings1 and asserting that separation1 is the desirable effect to be attained4 ,a totally different set of rules come into play when we have to select the decorations of a bedroom4 ,here a background does not exist4 ,we are surrounded by four walls very near to the eye1 so that perspectives are a secondary interest1 if indeed they can claim any consideration2 severe and magnificent ornamentation is out of place1 except perhaps in that time-honoured institution--to be found in every great house possessing a suite of reception-rooms--the ,state bedroom1 where the display of hangings and embroideries was the first motive of the decoration of the past1 clothing and garnishing the bare spaces on the lofty walls4 ,space and separateness are not the object or aim of the bedroom of to-day2 but lightness1 snugness1 and cheerful comfort1 with which the design of the textile ornaments have much to do4 ,this will in a later chapter come under the head of furniture4 ,for the saloon we may accept any splendour of rich and costly design1 and the variously shaped panels assist in suggesting the form of the decoration4 ,the plain or moulded panels1 called in ,italian targhe1 or shields1 seem to be descended from the actual shields of gold which ,solomon hung on the walls of the king's house in the ,forest of ,lebanon4#id ,the motive was apparently ,tyrian1 and traces of it are also to be found in ,assyrian sculpture4#ie ,the practice of framing the design gives opportunities for change of materials1 colour1 and pattern1 permitting the employment of different flat surfaces laid on each other1 and scope for endless enrichment2 the framed picture being1 perhaps1 the central culminating attraction1 crowning1 as it were1 the textile ornamentation4 ,i merely give these instances as illustrating the rule that we have more than once laid down1 that a design cannot fitly be employed except in the position for which the artist has composed it4 ,i will1 however1 add that though it is right to give due consideration to the preparation of each work for its intended use1 yet we often have charming suggestions offered to us1 by the chance acquisition of a beautiful artistic specimen1 which finds its own place and accommodates itself to the surrounding colours and forms4 ,these are the happy accidents of which the cultivated artistic eye takes advantage1 adding them to the experience which may help those who are seeking for the rules of harmony and contrast in design4 ,research into the mysteries and principles of design applies to woven arabesques and patterns1 and must include machine-made textile ornament1 and all decorative needlework4 ,it is1 in fact1 the fabric for the million which most especially needs the careful study of guiding rules4 ,when a plant sends forth hundreds of winged1 wind-blown seeds1 like the thistle1 it spreads itself over wide fields1 and is more mischievous than a more noxious growth1 such as the deadly nightshade1 which only drops an occasional berry into the earth4 ,so a common cheap chintz or carpet1 with a poor1 gaudy1 motiveless design1 carries a bad style into thousands of homes wherever our commerce extends2 disgracing us1 while it corrupts the taste of other nations4 ,in addressing our young designers1 ,i would remind them that in art the race is not always to the strong4 ,prudence and educated powers1 thoughtfulness and study1 often carry us where unassisted and uncultivated genius has signally failed4 ,even such facilities as are afforded by the acquirement of freehand drawing1 as taught in our schools of art1 are not to be despised4 ,the workman should thoroughly master his tools1 or they will hamper him4 ,the first step towards design is that you should learn to draw4 ,after this1 appreciation and observation are necessary1 and due balance in outline and colour should be studied2 and all this is as much needed in drawing a pattern as in composing a picture4 ,the difference lies in our art being only decorative1 wherein beauty and fitness are to be remembered1 and nothing else2 whereas the picture may have to record historical facts1 or to inspire poetical thoughts--to awe or to touch the beholder4 ,a decorative design is only asked to delight him4 ,intelligent delight1 however1 can only be evoked by intelligent art1 and to this1 decoration must be subjected4 ,,footnotes3 #gc ,the earliest art we know 7the bone-scratching7 is naturalistic and imitative4 ,we are unaware of any attempt at a pattern of the prehistoric period4 ,the lake cities are of so vague a date that their ornaments on pottery are puzzling rather than instructive4 ,the earliest ,hellenic pottery was scratched or painted4 ,cuttle-fish1 repeated over and over again1 are among the earliest attempts at a pattern1 by repetition of a natural object4 ,naturalism soon fell into symbolism1 which appropriated it and all art1 and the upheaval of a new culture was needed to lift it once more into the region of individual creation4 ,see ,boyd ,dawkins' ,early ,man in ,britain2 also ,general ,pitt ,rivers's ,museum of ,prehistoric ,art1 lately presented to the ,university of ,oxford4 #gd ,see ,boyd ,dawkins' ,early ,man in ,britain4 #ge ,i hope1 indeed1 to enable them 7the members of his class7 to read1 above all1 the minds of semi-barbarous nations in the only language by which their feelings were capable of expression2 and those whose temper inclines them to take a pleasure in mythic symbols1 will not probably be induced to quit the profound fields of investigation which early art will open to them1 and which belong to it alone4 ,for this is a general law1 that supposing the intellect of the workman the same1 the more imitatively complete his art1 the less he will mean by it1 and the ruder the symbol1 the deeper the intention4--,ruskin's ,oxford ,lectures on ,art1 #ahgj1 p4 #ai4 #gf ,see ,isaac ,taylor's ,history of the ,alphabet4 #gg ,renouf's ,hibbert ,lectures1 #ahgi1 p4 #fg4 #gh ,now there is a point of view in which we may regard the imitative art of all races1 the most civilized as well as the most barbarous--in reference to the power of correctly representing animal and vegetable forms1 such as they exist in nature4 ,the perfection of such imitation depends not so much on the manual dexterity of the artist as on his intelligence and comprehension of the type of the essential qualities of the form he desires to represent4 ,see ,ch4 ,t4 ,newton's ,essays on ,art and ,archology1 p4 #ag4 #gi ,see ,wilkinson's ,ancient ,egyptians4 #hj ,plato's ,second ,book of ,laws1 p4 #fef4 #ha ,the religion of the ,greeks penetrated into their institutions and daily life4 ,the myth was not only embodied in the sculptures of ,pheidias on the ,parthenon1 and portrayed in the paintings of ,polygnotus in the ,stoa ,poikile2 it was repeated in a more compendious and abbreviated form on the fictile vase of the ,athenian household1 on the coin circulated in the market-place1 on the mirror in which the ,aspasia of the day beheld her charms4 ,every domestic implement was made the vehicle of figurative language1 or fashioned into a symbol4--,newton's ,essays on ,art and ,archology1 p4 #bc4 #hb ,art in ,ornament and ,dress1 by ,m4 ,charles ,blanc1 formerly ,director of the ,french ,institute4 ,eng4 ,trans41 ,chapman and ,hall1 ,london4 #hc ,see ,charles ,blanc's ,art in ,ornament and ,dress1 p4 #ca4 #hd ,charles ,blanc's ,art in ,ornament and ,dress1 p4 #dc4 #he ,charles ,blanc's ,art in ,ornament and ,dress1 pp4 #dc1 #de1 #df4 #hf ,chinese design shows naturalistic art arrested and perpetuated on totally different principles4 ,their representations are all equally allied to their art of picture-painting1 whether on china with the brush1 or on textiles with the needle4 ,the flatness of the picture is still preserved by their ignorance of perspective4 ,when they attempted to express different distances1 they did so by placing them one above another1 so that in reading the composition the eye first takes in the distant horizon2 next below it1 the middle distance2 and being thus prepared1 it comes down to the actual living foreground1 on which rests the dramatic action and interest addressed to the spectator4 ,the ,chinese understood many of the secrets of art1 yet never achieved perspective4 #hg ,see ,mr4 ,penrose's work on the measurements of the ,parthenon at ,athens4 ,published by the ,society of the ,dilettanti4 #hh ,marked outlines in embroidery add to the flatness1 and enable us to omit cast shadows4 ,in this it differs entirely from pictorial art1 where one of the great objects is to avoid flatness4 #hi ,semper's theory1 already mentioned1 is that textile design was certainly flat2 that it was the first form of decoration1 and was followed by bas-relief1 which could not at once rid itself of the original motive4 #ij ,auberville's ,ornamentation des ,tissus 7eleventh century74 #ia ,redgrave's ,manual of ,design1 pp4 #dc-de4 #ib ,this idolatrous type was introduced into ,england by the ,buccaneers1 and reflected on our carvings and embroideries of the time of ,james ,i41 slightly modified by the ,italian ,renaissance of that period4 ,as this sort of vulgar ornamentation has once prevailed1 let us protect ourselves against its possible recurrence4 #ic ,while making this passing allusion to the theory that the origin of all ,gothic decoration is mainly founded on the motive of interlacing stems and foliage1 ,i wish to guard myself against being supposed in any way to argue against other beginnings1 whenever they can be proved4 ,i have said before that most decorations have a mixed ancestry4 ,but when ,i see single or clustered columns starting from the ground--spreading at the base like the gnarled root1 and growing till they culminate in crowns of foliage1 forming symmetrical capitals1 like the first clusters of leaves on a strong young sapling--then the branches spreading and interlacing1 only checked at equal intervals by a lovely leaf or burgeon1 till they meet in blossoms on the highest point of the arch1--,i cannot but adhere to the old idea that rows of trees meeting overhead suggested ,gothic ornament as well as ,gothic ,architecture4 ,the ,spanish or ,moresque ,gothic was overloaded with leaves and flowers1 and the ,german ,gothic was enriched with fantastic trees and flowers1 each according to its national taste and fashion4 ,a ,gothic tree is a very conventional plant2 and generally carries only one leaf on each branch4 ,i have given a specimen of archaic trees from the ,bayeux tapestry4 ,they are typical of the ,gothic botanical idea and style down to the fourteenth century4 7,fig4 #ac47 ,nor is this interpretation of ,gothic design other than a result of its descent from the ,egyptian ancestral motive1 where the temple columns represented the single stem of the lotus with one large blossom for its capital1 or else a bundle of stems of the lotus1 palm1 and convolvulus flowering together into a beautiful cluster4 ,even the gigantic columns of the great hypthral hall at ,karnac are only a stupendous exaggeration of the same stalk and flower motive4 ,from these were derived the forms of the early ,greek column--soon enriched by substituting the ,acanthus for the ,lotus1 but often retaining the convolvulus4 #id #a ,kings x42 ,ezek4 xxvii4 #aj1 #aa4 ,see ,stanley's ,lectures on the ,jewish ,church4 #ie ,layard's ,nineveh and its ,remains1 vol4 ii4 p4 #chh2 ,rawlinson's ,ancient ,monarchies1 vol4 ii4 p4 #b4 ,,chapter ,,iii4 ,,patterns4 ,in the last chapter on design ,i have described patterns as the examples or illustrations of the art of decoration1 and as being the records of the motives which produced them in different eras4 ,my present object is to class and define patterns as decorative art4 ,it is argued by some archologists that the recurrence of a pattern1 for instance the wave1 over the whole world1 proves that it really came from many sources1 under the same conditions of life and art2 showing also that a pattern is a thing that1 like a flower1 must grow1 if the culture of the race be equal4 ,i do not believe this4 ,we can nearly always trace the family history of a pattern to its original motive2 and in the very few cases where we are unable to do so1 it is hardly necessary to cover our ignorance by stretching the fashionable theory of development over the few instances that are as yet unaccountable4 ,i have been repeatedly asked to procure or to invent a new pattern4 ,such is my respect for the decorative achievement called a pattern1 that ,i cannot hope for the moment of inspiration in which ,i might create such a thing4 ,if any one has in his lifetime invented a pattern1 he has done something truly remarkable1 and as rare as is a really original thought on any subject4 ,patterns are commonly1 like men1 the result of many centuries of long descent from ancestors of remote antiquity4 ,individuals differ from their ancestors through inherited and surrounding conditions1 and through the modifying powers of evolution1 climate1 and education4 ,so also a pattern has1 besides its ancestry and descent1 the unconscious mark or seal of its day2 and it is easy to trace whence it comes1 if we set ourselves to examine the style of it seriously4 ,the patterns of which we can nearly always name at once the nationality1 are the ,assyrian1 the ,chinese1 the ,egyptian1 the ,hindu 7,aryan and ,turanian71 the ,persian1 the ,archaic and the highly developed ,grecian2 the ,roman1 the ,celtic1 the ,byzantine1 the ,arabian1 the ,gothic1 the ,renaissance1 the ,spanish ,plteresque1 the ,louis ,quatorze1 and those of the art of ,central ,america4 ,the pattern cannot exist without design4 ,design means intention and motive4 ,many of the motives in ,oriental textile decorations are suggestive of intention1 as is shown by their names4 ,among ,indian patterns we meet with ripples of silver1 sunshine and shade1 pigeon's eye1 peacock's neck1 c4#if ,patterns must be classed either by their dates1 when ascertained1 or according to their style1 which must generally be allowed to cover vast areas and periods irregularly drifting down1 overlapping1 or being absorbed or effaced by the circumstances they have encountered4 ,only when a national style has been obstinately fixed1 as in ,china1 and bound down by strict laws and religious formulas1 suited exactly to the people for whom they were evolved out of the national life1 and imprinted on it by their own lawgivers1 philosophers1 and priests2 and neither imposed by conquerors1 nor swept over by the waves of a new civilization2--only in such cases can we find a continuity of decorative art which leads us far back on its traces4 ,then1 on this long track1 we learn how little1 man1 the decorating animal1 has really advanced in his powers of creation4 ,he has gone more than once to a certain point1 and has then either been petrified by law and custom--turned into a pillar of salt1 like ,lot's wife1 because he has looked back instead of striving to advance1 or else through poverty or satiety has fallen into the last stage of the ,seven ,ages1 sans eyes1 sans teeth--sans everything4 ,when what is good is neither perceived nor desired1 then the arts1 small and great1 dwindle and disappear1 and nothing remains to show that they have been1 but a name1 and perhaps a pattern4 ,chinese design is the most striking example of the first of these phases2 and the extinction of all classical art with the fall of ,paganism in ,rome is an instance of the second4 ,in the chapter on style it is said that a pattern is as ineffaceable as a word4 ,but one will occasionally disappear for a time1 till the ruin that covers it is cleared away1 and the lost design recovered and employed simply as a decoration1 if it is beautiful2 or perhaps fitted with a new meaning1 and so it makes a fresh start4 ,the importance of patterns1 when traceable to their origin1 as a means of investigating historical influences cannot be too much insisted on1 and their history is full of suggestion as a guide to the decorator4 ,much has been argued and much ascertained from the evidence of these fragments of national civilizations1 showing how an idea or a myth has been1 as it were1 engrafted into the essence of another national idea1 partly altering what it finds1 and changing to fit itself to its new surroundings4 ,eastern patterns have travelled far1 and lasted long2 and continue still to hold the fancy1 and exercise the ingenuity1 of the artist and decorator4 ,when we find a pattern of which the nationality is strongly marked1 it is worth our while to ascertain its date and history1 which will help us to recognize cognate design wherever we may meet it4 ,however1 this is often not to be done2 and then it is best to set these puzzling examples aside1 and to await patiently the elucidation1 which may come from some source of which we are as yet ignorant4 ,in very early art we have little remaining but patterns1 on which we may found theories by tracing them home to their original source4 ,the oldest patterns had each a meaning and an intention4 ,when a pattern has been enduring and far spread1 it is because it was originally the expression of an idea or a symbol4 ,in the earliest dawn of civilization1 the arts were the repositories of the myths and mysteries of national faiths4 ,embroidery was one of these arts1 and the border which edged the garment of a divinity1 the veil which covered the grave of a loved one1 or the flower-buds and fruit which fringed the hangings and curtains in the sanctuary1 each had a meaning1 and therefore a use4 ,these symbolical designs and forms were constantly reproduced2 and all human ingenuity was exercised in reforming1 remodelling1 and adding perfect grace to the expression of the same idea4 99 99 99 99 99 ,patterns may be ranged under four heads--the ,primitive1 the ,naturalistic1 the ,conventional1 and the ,geometrical4 ,the primitive are those of which we know not the ancestry1 and rarely can guess the motive4 ,to us they are1 in general1 simply rude decorations4 ,the naturalistic are those which are borrowed from natural forms1 and are either only imitative1 or else convey some hidden meaning4 ,the conventional are those which1 by long descent1 have come to be accepted simply as ornamental art1 with or without reference to an original motive1 now lost4 ,the geometrical or symmetrical are founded on form only1 and in so far resemble our experience of the primitive2 they express no meaning1 and only serve to satisfy the eye by their balance and their ingenuity4 ,,primitive4 ,the first patterned forms with which we are acquainted are the primitive4 ,they are found in all parts of the inhabited world4 ,in our present ignorance as to the beginnings of the scattered tribes of men1 we cannot judge if these are the remains of an earlier art or the first germs of a new one4 ,of one thing there is no doubt3 this primitive decoration consists entirely of pattern2 that is to say1 of the repetition of certain 7to us7 inexpressive forms1 which by reiteration assume importance and in some degree express beauty--the beauty of what ,monsieur ,blanc calls cadence4 ,after these first unintelligible forms1 which simply by repetition become accepted patterns1 come those called the ,prehistoric1 of which we know or guess something as to their original meaning1 and which1 having been reduced from the hieroglyphic-symbolical to the conventional1 have thus crystallized themselves1 by constant use1 into a pattern4 ,such1 for instance1 is the simplest form of the wave pattern1 which in very early art was a representation of water4 ,the prehistoric water or wave patterns had other forms2 for instance1 zigzags1 upright or horizontal1 and undulating lines which are intelligible as expressing smooth or rough water4 ,in general1 however1 the primitive and prehistoric patterns convey no idea1 and consist1 as we have said elsewhere1 of lines1 straight or wavy1 sometimes intersected2 of angles1 zigzags1 groups of dots1 rings and little discs1 and crosses of the ,swastika shape4 7,plate #aj47 ,illustration3 ,pl4 #aj4 ,,wave ,,patterns4 #a1 #d1 #i1 #ab1 #ac4 ,greek ,wave ,patterns4 #b4 ,key or ,mander1 ,greek ,wave4 #c4 ,greek ,broken ,wave4 #e1 #f1 #g4 ,egyptian ,smooth and ,rippling ,water ,patterns4 #h4 ,medival ,wave4 #aj1 #aa1 #ad4 ,assyrian4 #ae4 ,persian or ,greek 7from ,glass ,bowl1 ,british ,museum74 #af4 ,english ,waves 7,durham ,embroideries47 ,where shall the tartan be placed8 ,it is certainly primitive1 and apparently had no intention beyond that of employing as many coloured threads as there were dyes1 so as to form the brightest contrasts1 or else to be as invisible as possible either in the sunshine or in the shade4 ,the ,gauls brought this kind of weaving with them from the ,east1 and probably invented the pattern1 if such a motiveless design can be so called4 ,it had its classical name1 ,polymita1 and was admired in ,rome when newly imported1 as being something original and barbaric4 ,the ,romans found it in ,britain1 and ,boadicea wore a tartan dress on the day of her defeat4 ,perhaps even then fashions came from ,france1 and it may have been her best tunic from across the ,channel4 ,this fabric may have been imported by the ,belgic ,gauls1 and was so easily woven on house looms1 that it became in time the feudal dress of the ,scottish tribes and clans1 and the colours were ingeniously arranged to show the most different effects4 ,the tartan has always been a resource for the woollen trade1 and the fashion constantly recurs in ,france1 either from sentiment or the actually inherited ,gallic taste2 but it remains a primitive pattern1 and nothing can make it artistic4 ,no embroidery can soften the constantly recurring angles1 and only fringes can be employed to decorate a tartan costume4 ,pliny tells us of the ingenuity of ,zeuxis1 who1 to show his wealth1 had his name embroidered in gold in the squared compartments of his outer garment4#ig ,primitive patterns still linger in many savage nations1 but especially throughout uncivilized ,africa4 ,curious to say1 the very ancient fossilized early art of ,egypt does not assist us to trace it back to a prehistoric style1 though it may lead us into prehistoric times4 ,,naturalistic4 ,the phases of the naturalistic patterns are constantly recurring4 ,art is always tending to realism1 in the laudable effort to reach the motive without the shackles of rules4 ,each phase has fallen a prey to symbolism1 to conventionalism1 or to mannerism1 which last symptom marks the decline and fall of art4 ,we shall find these phases everywhere in the design of patterns4 ,naturalism has always striven1 by simple repetition1 to reduce to patterns the forms of flowers1 fruits1 animals1 birds1 insects1 reptiles1 and other natural objects4 ,in flower patterns the simplest forms by repetition make sometimes the richest patterns1 and the most effective4 7,plate #aa1 ,nos4 #a and #b47 ,it is remarkable that one very beautiful class of natural objects is rarely employed in ancient decoration#ih--shells and corals4 ,the barbarous tribes of the ,west ,coast of ,africa alone seem to have appreciated their forms1 and added them to their small repertory of naturalistic patterns4 ,they do not appear in any ,european or ,asiatic textiles till the seventeenth century1 when shells were much used in the decorations of the reigns of ,queen ,anne and ,louis ,quatorze4 ,the first change from naturalism into the conventional was through symbolism1 and belonged to the time when unwritten thought was first recorded by pictured signs1 which then ceased to be merely decoration4 ,we find that the naturalism of the earliest ,egyptians and ,asiatics was soon entirely absorbed by the effort to express some hidden meaning or mystery1 and then to fit the representation to a special place and purpose1 and to restore it1 as it were1 to decorative art4 ,illustration3 ,pl4 #aa4 #a4 ,persian ,flower ,border4 #b4 ,egyptian ,border1 composed of ,head-dress of the god ,nile 7,wilkinson's ,ancient ,egyptians74 #c4 ,assyrian4 #d4 ,assyrian4 ,the lotus and the patterns founded on its forms1 and the many emblematic meanings attached to them1 are notable examples of these transmutations in style and intention1 and of the value given to their intention and use in ,egypt and ,india1 where each development was immediately crystallized into a recognized pattern1 and given its place and language4 ,it received its mot d'ordre1 and continued to act upon it long after the meaning was forgotten or out of date4 ,the rolling pattern which had so long represented only the wave1 was given to the really straight stem of the lotus1 and its blossom1 substituted for the wave's crest1 now filled many a frieze in ,indian temple architecture2 whereas the lotus stems in ,egypt were still bound in sheaves to form columns1 and the flowers1 buds1 and leaves spread and blossomed into capitals4 ,here we have symbolism and conventionalized naturalism1 all combined1 showing how their principles1 though quite distinct1 can mix and unite4 ,the conventional form often superseded and effaced the naturalistic1 and became the sign of an idea1 or the hieroglyphic picture of a thing2 immovable and unalterable in ,egypt1 where every effort was made to secure eternity on earth1 but continually returning to naturalism in ,india1 where the ,aryan tendency1 with the assistance of the ,code of ,manu1 always recurred to the restoration of the ancient naturalistic motive4 ,in the ,india ,museum we may see the wave motive converted into a lotus pattern by rolling the long stems1 and filling up the spaces between with the full-faced blossom4 ,sometimes the pattern is started by the figure of an elephant1 from whose mouth the stem of the flower of the sun proceeds4 ,this occurs so often that it must originally have had a meaning4 ,sometimes the sacred convolvulus takes the place of the lotus4 7,plate #ab47 ,on an ,egyptian mural painting are seen parties of men snaring ducks among papyrus and lotus plants4 ,these are entirely conventional1 and are1 in fact1 a sort of recognized hieroglyphic representing the idea of a lotus4#ii ,the lotus was the accepted emblem of the sun1 and reduced to a many-leaved radiating pattern may be found as an architectural ornament on the outside of the ,buddhist topes1 of which the models are on the staircase of the ,british ,museum4#ajj 7,plate #ac47 ,we have ,sir ,g4 ,birdwood's authority for believing that1 though the actual lotus was a native of ,india1 and carried thence to ,egypt1 its decorative use as a pattern was ,egyptian1 and so returned to ,india4 ,both accepted it as their sunflower4#aja ,illustration3 ,pl4 #ab4 #a4 ,indian ,rolling ,lotus ,pattern4 #b1 #c4 ,indian ,lotus ,patterns4 #d1 #e4 ,egyptian ,lotus ,patterns4 #f4 ,sacred ,convolvulus4 ,indian 7seventeenth century74 ,illustration3 ,pl4 #ac4 #a1 #b4 ,indian ,designs of ,assyrian ,daisy and ,egyptian ,lotus4 #c4 ,vitruvian ,scroll4 ,vignola4 ,architecture4 ,can it be our ,aryan descent which induces in us the earnest adoration1 in our art of to-day1 of our northern prototype of the sun's emblem8 ,i fear that we must acknowledge that our sthetic worship of our sunflowers is somewhat false and affected4 stheticism is not art4 ,sunflowers1 painted or embroidered as decoration1 do not take if they are ordered and ranged1 and reduced to a pattern like those of ,egypt4 ,they must be naturalistic1 and1 if possible1 remind us of a disorderly cottage garden2 whereas in ,india they were adapted from nature on fixed principles1 which immediately reduced them to the conventional4 ,illustration3 ,sunflower pattern1 ,r4 ,s4 ,a4 ,n4 ,,xix4 ,century ,i give an illustration of a ,gothic sunflower resembling a transfigured rose2 and another of an ordered naturalistic sunflower pattern1 from a design of the ,royal ,school of ,art ,needlework4 7,plate #ad47 ,illustration3 ,fig4 #i4 ,gothic ,sunflower4 ,from ,christ's ,college ,chapel1 ,cambridge4 ,i have given this account of the patterns founded on the lotus1 as we can almost from this distance of time take a bird's-eye view of its rise in naturalism1 its spread1 dispersion1 and its crystallization into conventional forms2 also we can trace how the lotus patterns of ,indian art have resulted1 when accepted in ,europe1 in nothing but the rolling wave1 carrying flower forms which no longer represent a lotus2 and how the lotus bud and flower pattern has become in time the classical egg and tongue2 which1 however1 may have resulted also from a combination of other motives4 ,representations of animal forms are sometimes very remarkable in phases of naturalism4 ,the few remains of ,celtic art that have survived are entirely animal1 or very nearly so4 ,in their stone1 gold1 silver1 and bronze work1 and in illuminated ,,mss41 we meet with only animal forms2 never a flower or a leaf4 ,besides the ,indo-,chinese patterns in ,celtic art1 which suggest the ,chinese lattice-work 7so strongly insisted on by ,semper as a constant motive71 we also find in all their decorations compartments containing involved patterns of cords or strings knitted or plaited1 suggesting the entrails of animals1 which by these hunting people were consulted as being mysteriously prophetic of approaching events1 especially success or failure in the chase1 and impending warlike raids4#ajb ,there is no other way of accounting for these designs1 which are peculiar to the race1 unless we believe they always represent snakes4 7,pl4 #ae47 ,in ,england much that was characteristic of the style was lost as soon as the ,saxons drove out the ,celts1 who carried it to ,ireland1 as may be seen in the ,book of ,kells1 and the carving of the ,harp of ,tara1 and the ,celtic jewels in the ,irish museums2 but the interlacing patterns survived throughout ,anglo-,saxon art1 and were marvellously ingenious and beautiful2 witness the ,durham ,book of ,st4 ,cuthbert4 ,we have no ,celtic textiles remaining to us1 unless some embroidery in the ,marien-,kirche collection at ,dantzic may be of that style and time4 ,this is suggested by its altogether ,indo-,chinese and very barbarous character2#ajc and one of the coronation mantles in ,bock's ,kleinodien is ,runic in its peculiar serpent design4 ,illustration3 ,illumination from the ,lindisfarne ,gospels1 about ,a4,d4 #gjj ,illustration3 ,pl4 #af4 ,demeter4 ,from a ,greek ,vase in the ,british ,museum4 ,judging from their illuminated ,,mss41 it is said1 the elements borrowed from textile art by the ,celts are plaits1 bows1 zigzags1 knots1 geometrical figures in various symmetrically developed combinations1 crosses1 whorls1 and lattice-work2 next1 those taken from metal work1 such as spirals and nail-heads let into borders2 thirdly1 simple or composite zoomorphic forms1 such as bodies of snakes1 birds' heads on long necks1 lizards1 dogs1 dragons1 and the like4#ajd ,they well understood how to make a pattern by the repetition of objects of any class4 ,illustration3 ,pl4 #ag4 #a4 ,embroidery on a ,greek ,mantle1 third century ,b4,c41 from the ,tomb of the ,seven ,brothers1 ,crimea4 #b4 ,egyptian ,painted and ,embroidered ,linen4 ,the cone1 the bead1 the daisy1 the wave1 the lotus under water1 are all shown on this fragment4 ,illustration3 ,pl4 #ah4 ,,egyptian ,,tapestry4 #a4 ,woven and embroidered on a ,sleeve4 #b4 ,woven and embroidered4 #c4 ,painted and embroidered4 ,representations of human figures in embroideries probably originated in hangings for the wall2 but have been treated as decorative forms1 both by the ,indians and the ,greeks1 for wearing apparel4 ,the peplos of ,minerva was bordered with fighting gods and giants1 and the ,empress ,theodora's dress in the ,ravenna mosaic repeats exactly the same motive4 7,see ,fig4 #d1 and ,pl4 #f47 ,there are two other examples of such ,greek patterns4 ,the mantle of ,demeter on a ,greek vase in the ,british ,museum1 of the best period 7,pl4 #af71 is embroidered with flying genii and victorious chariots2 and the embroidered mantle lately found in a ,crimean tomb1 is of precisely the same style of design1 and the one illustrates the other4 ,these instances are so exceptional1 that it is curious that here1 as in the case of the peplos1 in each case there should happen to be a duplicate4 7,plates #af and #ag1 ,no4 #a47 ,in ,babylonian1 ,assyrian1 and ,chaldean art we constantly find animal forms in patterns4 ,the lion and the hare1 birds and insects1 are the commonest2 and there are some instances of human figures reduced to a pattern in these sculptured representations of textiles4 7,plate #b47 ,there are curiously woven little human figures finished with the needle on the sleeve of an ,egyptian dress in the ,british ,museum1 from ,saccarah 7,pl4 #ah71 and1 of course1 when such a design is small1 it ceases to be very objectionable4 ,on the whole1 however1 naturalistic designs for embroideries are more safely confined to floral decorations1 excepting always flat tapestries for walls1 which1 representing pictures1 may be as naturalistic as their purpose and style will admit4 ,animal forms are often reduced to patterns by repetition in ,indian and ,persian embroidery4#aje ,the drawing is naturalistic1 but the colouring is fanciful4 ,we may see any day1 on ,persian rugs1 scarlet lions pursuing and capturing blue or yellow hares4 ,the flatness and want of all shadows tends to the conventional4 ,lions1 bulls1 cats1 beetles1 and serpents abound especially in ,egyptian design2 insects1 reptiles1 and fish in ,asiatic patterns1 where animals are sometimes made to walk in pairs1 with their heads and tails twisted into a pattern4 ,though landscapes are so rarely worked that the subject is1 perhaps1 hardly worthy of notice1 yet such mistaken specimens of ingenuity have occurred4 ,an altar frontal was exhibited at ,zurich1 in #ahhc1 containing some really exquisitely worked landscapes1 which were quite out of place1 both as art and as decoration1 for an ecclesiastical purpose4 ,this was of the beginning of the last century4#ajf ,while we appreciate and should take advantage of our national tendency to naturalistic design1 we must beware of looking on fixed rules as bonds which cramp our liberty1 and of thinking that nature should be our only guide to an otherwise unassisted and unfettered inspiration4 ,without the wholesome checks of experience and educated taste1 and the knowledge which teaches us what to avoid1 as well as what to imitate1 founded on the successes and failures of others1 we fall into weak imitations of natural objects4 ,mr4 ,redgrave points out how unpleasant and jarring to our sense of what is appropriate1 and therefore how offensive to good taste and common sense1 it is to tread on a carpet of water-lilies swimming in blue pools1 or on fruits and flowers heaped up and casting shadows probably towards the light4#ajg ,woollen lions and tigers1 as large as life1 basking before the fire in a wreath of roses1 are alarming rather than agreeable1 and are of the nature of a practical joke in art4 ,it is the search for novelty in naturalism that leads to such astonishing compositions2 and these1 being successively rejected in the heart of our civilization and culture1 are drifted away to vulgarize our colonies1 or to be sold cheap to furnish ,continental hotels1 and make the ,english traveller blush for his home manufactures4 ,,symbolical ,,and ,,conventional4 ,though it is true that the highest art1 pictorial and sculptural1 is always struggling towards naturalism1 the art of decoration is1 by its nature1 constantly tending to conventionalism4 ,patterns1 if not absolutely geometrical or naturalistic1 must be classed under this principle4 ,let us examine what is meant by a conventional pattern4 ,it may be said that the conventional includes every form--the symbolic1 the naturalistic1 or even the hieroglyphic--that is selected and consecrated to convey a certain idea4 ,the lily of ,florence1 which is something between a lily and an iris1 but unlike either1 is a conventional form2 likewise the lily of ,france1 which it is said was once a conventional frog4 ,the rose of ,england1 the shamrock1 and the thistle have always been more naturalistic than is usual in such heraldic designs2 but the parti-coloured rose of ,york and ,lancaster was decidedly conventional1 and heraldic4 ,conventional patterns now are those which1 having been originally naturalistic in style1 but perhaps emblematic as to their motive1 have been repeated till the meaning and form have been lost2 or else1 as in the case of the lotus1 the emblem is forgotten1 and nothing remains but the recognized conventional form4 ,one conventional pattern which1 having commenced by being a symbol1 has been repeated and varied till it has allowed the original essential meaning to escape1 is the palm-leaf or cone pattern on ,french or ,paisley shawls1 which1 having been a sacred emblem--the tree of life--in ,persia1 became in ,europe1 when the religious myth was lost1 only a shawl pattern--merely a leaf1 with plant painted within its outlines4 7,plate #bc1 ,nos4 #aj1 #aa47 ,decorative designs become conventional in spite of the intention of the designer4 ,he is overruled by the spaces to be covered and the materials to be employed4 ,his design must produce a flat pattern2 he must repeat it again and again2 he must give it a strong outline2 he must distribute it regularly at certain intervals4 ,repetition at once conventionalizes the most naturalistic drawing1 and the most sacred and mysterious emblem4 ,alternation is equally a source of conventionalism4 ,there is no motive that cannot be conventionalized into a pattern by repetition4 ,a ,gothic crown and a true lily1 repeated1 will make an ecclesiastical conventional pattern4 ,then come all the ,arabian and ,moresque forms 7which are mostly geometric71 and also the ,gothic 7which are partly geometric and partly naturalistic1 especially those in ,german and debased ,spanish and ,portuguese ,gothic design74 ,illustration3 ,pl4 #ai4 #a4 ,key ,pattern4 #b4 ,broken-up ,key4 #c4 ,beads4 #d4 ,key and sign of ,land4 #e4 ,wave and ,babylonian ,daisy4 #f4 ,key and ,fundata4 #g4 ,wave and ,bead4 #h4 ,wave and ,daisy4 #i4 ,key and ,sun ,cross4 ,these ,key ,patterns from ,ceiling of a ,tomb at ,saccarah1 in ,egypt4 7,wilkinson's ,ancient ,egyptians47 ,then we must accept as conventional all those which may be called kaleidoscope patterns1 which are broken fragments of old motives1 repeated or radiated so as to become partly geometrical1 wholly conventional4 7,see ,pl4 #ag1 ,no4 #b47 ,conventional patterns may be reduced into three kinds4 ,first1 the naturalistic1 which have by repetition been adapted for decorative art4 ,secondly1 the symbolical--,pagan or ,christian1 religious or historical1 including the ,heraldic4 ,thirdly1 those conventional forms which may never have had any inner meaning1 or else1 having originally had one1 have lost it4 ,all these exist1 sometimes apart and sometimes mingled2 so that some thought must be expended in seeking the motive which has brought them together1 and finding in each the internal evidence of its descent4 ,it is evident that patterns1 conventionalized and brought from distant sources1 sometimes meet and amalgamate4 ,when the origin of a conventional pattern is disputed1 it is worth while to examine if it has a double parentage4 ,let me give1 as an instance1 the key pattern4 ,it may have been1 as ,semper believes1 originally ,chinese1 and derived from wicker-work design4 ,it represents also the broken or dislocated wave1 the symbol of the ,river ,mander1#ajh and for water generally4 ,we find it everywhere in company with the wave1 which never could have had any connection with wicker-work1 not only in ,china1 but in ,persia1 ,india1 ,egypt1 ,arabia1 ,greece1 ,rome1 and ,central ,america4 7,pl4 #ai47 ,can any invention of man show a more symbolical intention than the wave pattern8 ,the airy leap drawn downwards by the force of gravitation2 controlled1 and again made to return1 but strong to insist on its own curve of predilection1 rushing back under the same circle2 strengthened by the downward movement to spring again from its original plane2 beginning afresh its ,sisyphus labour1 and facing the next effort with the same grace and agility4 ,undying force1 and eternal flowing unrest--these are the evident intention and symbol of the wave pattern4 ,though ,i believe the key pattern to be a modification of the wave form1 yet the locking and unlocking movement suggests a repetition of the ,tau1 or key of life4 ,illustration3 ,fig4 #aj4 ,when we admire the friezes of garlands hung between the skulls of oxen and goats1 we cannot for a moment doubt the sacrificial idea on which the design was founded4 ,when the wreaths are carried by dancing children1 we recognize the impersonation of the rejoicing of the ddal earth4 ,the ,greeks1 however strongly they exerted themselves to throw off the shackles of conventionality in sculpture1 painting1 and architecture1 yet yielded to the traditional force of the symbolical pattern1 and accepted most of the ,oriental forms1 merely remodelling them for their own use1 and adding to their significance what their culture required2 at the same time giving infinite variety1 as their perfect taste dictated4 ,illustration3 ,pl4 #bj4 ,,trees ,,of ,,life4 #a1 #b1 #c1 #e4 ,assyrian4 #d4 ,sicilian ,silk4 7,birdwood's ,indian ,arts1 pp4 #cca1 #cce1 #ccf1 #ccg47 ,aristophanes1 in ,the ,frogs1 laughs at the ,persian carpet patterns--their unnatural birds and beasts and flowers--whilst he claims for his own frogs1 that they at least have the merit of being natural4#aji ,this little touch of art throws a gleam of inner light on the struggle towards originality and truth which characterized the ,greek principles of beauty and fitness in literature and art1 in direct contrast to that which was always turning back to those fossil forms which were only respectable on account of their age and their mystery1 but of which the tradition and intention were already lost4 ,roman patterns were merely ,greek adaptations with an ,etruscan flavour1 which was a survival of the earliest ,italian art4 ,perhaps the indigenous element had been already modified by ,phnician influence4 ,in taking stock of ,oriental symbolical patterns1 we find that one of those of the widest ancestry and longest continuity is the ,sacred ,hom4#aaj 7,pl4 #bj-bd47 ,this is to be found in ,babylonian1 ,persian1#aaa ,indian1 ,greek1 and ,roman art2 and consequently it prevails in all ,european decoration 7except the ,gothic71 where it was reduced to unrecognizable forms4 ,sir ,george ,birdwood says the ,hom or ,homa was the ,sanskrit ,soma1 used as an intoxicating drink by the early ,brahmins1 and was extracted from the plant of that name1 an almost leafless succulent ,asclepiad4 ,it appears to have changed its conventional form as other plants by fermentation came to the front1 containing what appeared to be the spirit of life--the aqua vit4 ,the palm1 with its wonderful fruit1 which is convertible into intoxicating drinks1 and afterwards the vine itself1 were each of them moulded into analogous conventional fruit forms1 which keep as much as possible within the limits of the original cone shape4 7,pl4 #ba47 ,illustration3 ,pl4 #ba4 #a4 ,tree of ,life and ,lions4 ,gate of ,mycen4 #b4 ,persian or ,sicilian ,silk4 ,tree of ,life and ,leopards4 ,illustration3 ,pl4 #bb4 #a4 ,split ,lotus ,fruit on ,chinese ,bowl4 #b4 ,split ,lotus resembling ,tree of ,life4 ,frieze by ,benozzo ,gozzoli1 ,ricardi ,palace1 ,florence4 #c4 ,petal of ,flower on ,glass ,bowl from ,southern ,italy4 ,british ,museum4 ,there is a palm-tree which absolutely carries a cone in the heart of its crown of fronds4#aab ,this may have helped to preserve the original motive of the sacred tree of life4 ,the cone form in classical art was drawn from the pine cone and the artichoke2 and in medival art these were sometimes replaced by the pomegranate1 and in the late ,renaissance by the pine-apple1 newly arrived from the ,west ,indies4#aac ,it is a good example of the blending of one vegetable form into another1 making the sequence1 of which each phase in the ,east had an historical cause or a symbolical meaning1#aad but which in ,europe had gradually lost all motive1 and was simply an acknowledged decorative form4#aae ,in architectural ornament it is called the honeysuckle1#aaf which it had grown to resemble in the days of ,greece4 ,illustration3 ,pl4 #bc4 ,different forms of ,tree of ,life1 from ,sicilian ,silks4 ,illustration3 ,pl4 #bd4 ,modern ,embroidery from the ,principalities1 in which the cone-shaped tree grows into a vine1 and the two animals at the foot have lost their shape and intention4 ,this sacred tree1 the ,homa of ,zoroaster and of the later ,persians1 has so early a beginning that we find it on ,assyrian monuments4#aag ,rock says that1 perhaps1 it stood for the tree of life1 which grew in ,paradise4 ,it is represented as a subject of homage to men and animals1 and it invariably stands between priests and kings1 or beasts kneeling to it4 ,it is figured on the small bucket for religious rites1 carried in the hands1 or embroidered in the upper sleeve of the monarch's tunic4 ,it always represents a shrub1 sometimes bearing a series of umbels of seven flowers each4 7,pl4 #b1 #bj47 ,sometimes the expression of the symbol is reduced to the cone-fruit of the homa alone2 or even to a blossom1 as in the two glass bowls in the ,slade collection in the ,british ,museum1 from a tomb at ,chiusi1 in ,etruria4 ,here the design is a flower1 of which each petal contains the essential emblem--a plant within a plant4 ,these bowls1 pronounced to be ,greek of the fourth century ,b4,c41 have yet to me a strong ,oriental character4 7,pl4 #bb1 ,no4 #c47 ,i have spoken of the lotus as a naturalistic pattern4 ,one mode of drawing and embroidering its flower in ,india1 is to cut it in two2 half the blossom is then carefully and almost botanically copied1 thus conveying the inner meaning of the sacred flower4 7,pl4 #bb1 ,no4 #c47 ,another conventional pattern1 common to all times of art and all nations1 is that called in architecture the egg and tongue pattern4 7,pl4 #ac47 ,this1 as ,i have already said1 is supposed to be derived directly from the lotus4 ,the ,egyptians formed it from the bud and blossom2 and the pattern is found in ,india1 ,greece1 and ,rome1 changing continually and yet retaining its identity4 ,vitruvius claimed to have given it the last touch and finish1 so that in ,italy it was called the ,vitruvian scroll2 and it is common to all decoration1 even in textiles1 though it is hardly suited for weaving or embroidery4 ,this is one of the earliest patterns which1 having ceased long ago to be a religious emblem or sign1 still survives by its decorative fitness1 and perpetuates the echoes of its origin4 ,illustration3 ,pl4 #be4 ,,typical ,,crosses4 #a4 ,swastika4 #b4 ,from a ,greek ,vase1 #gfe ,b4,c4 #c4 ,indian ,sectarial ,mark of ,sakti race4 #d4 ,buddhist and ,jainis mark4 #e4 ,early ,rhodian ,pottery4 #f4 ,egyptian prehistoric ,cross4 #g4 ,tau ,cross4 #h4 ,mark of land1 ,egyptian and ,ninevite4 #i4 ,ditto4 #aj4 ,clavus4 #aa1 #ab1 #ac4 ,scandinavian ,sun and ,moon ,crosses4 #ad1 #ae1 #af4 ,celtic4 #ag4 ,chrysoclavus4 #ah1 #ai4 ,stauracin patterns4 #bj4 ,scandinavian1 from ,norway4 #ba4 ,runic ,cross4 #bb4 ,cross at ,palenque1 in ,temple of the ,sun4 #bc4 ,scotch ,celtic ,cross4 #bd4 ,cross from ,iona4 #be1 #bf4 ,runic ,crosses4 #bg4 ,cross on the ,dalmatic of ,charlemagne4 #bh4 ,from the ,mantle of ,henry ,,ii41 ,emperor of ,germany4 ,of the conventional symbolical forms of the early ,christian ,church ,i shall speak more fully in the chapter on ecclesiastical art1 and therefore would only point out here1 while touching on symbolical decoration1 how that phase of ,christian art is a great historical instance of the deep ancient meanings it illustrates2 showing the motive to be often in accordance with the inherited pagan symbol1 and yet differing from it4 ,pre-eminent among these is the emblem of the ,cross1 so early and universally used1 full of mysterious secret allusions to the groping faiths of idolatrous nations1 before the great fundamental idea of the ,word was attached to it4 ,this was one of the old signs used as a pattern1 and transfigured into a fresh type1 of which the radiance reflected back light upon all that preceded it1 even as ,chinese ancestors are ennobled by the deeds of their descendants4 ,illustration3 ,pl4 #bf4 #a4 ,pallas ,athene1 from a vase in ,lord ,northampton's ,collection4 #b4 ,ajax in a cloak embroidered with swastika1 sun cross1 and prehistoric water patterns4 ,etruscan ,museum4 ,vatican4 ,the cross 7,pl4 #be71 was a sign and a pattern in prehistoric art4 ,it was the double of the ,tau1 the ,egyptian emblem of life2 and while the ,jews reject the ,christian cross1 they still claim to have warned off the destroying angel by this sign in blood over the lintels of their doors in the first ,passover4 ,but the most ancient and universal form of the cross is that of the ,swastika1 or ,fylfote4 ,this prehistoric cross is said to be formed of two fire-sticks1 belonging to the ancient worship of the sun1 laid across each other ready for friction2 but losing that meaning1 from an emblem they fell into a pattern1 and this you will still find1 utterly meaningless1 on ,persian carpets of to-day4 ,sir ,g4 ,birdwood gives the ,swastika as the sectarial mark of the ,sakti sects in ,india4 ,fergusson names it with the mound buildings1 as belonging to all ,buddhist art2 and examples of the ,swastika are to be found on ,rhodian pottery from the ,necropolis of ,kamiros1 where we find also the key pattern4 ,in early ,greek art the ,swastika and ,gammadion are everywhere1 especially as embroidery on dress4 ,minerva's petticoats are sometimes worked all over with the latter4 ,on an early ,greek vase in the ,museo ,gregoriano1 are painted ,ajax and ,achilles playing at dice2 and the mantle of ,ajax is squared into an embroidered pattern that alternately represents a sun or star and a ,gammadion 7,pl4 #bf1 ,no4 #b74 ,but it is unnecessary to multiply classical examples1 which are endless4 ,the ,christian ,cross was often formed by converting the ,tau into the ,gamma1 the sacred letter of the ,greeks4 ,it is said to have been the emblem of the corner-stone1 and as a pattern1 was called1 down to the thirteenth century1 the ,gammadion2 and though it had lost its original motive1 it continued to preserve the idea of a secret and mystical meaning4 ,the ,gammadion1 as well as the ,swastika1 enters largely into the illuminations of the ,celtic ,book of ,kells and those of the ,lindisfarne ,,mss42 also it is to be found on the ,celtic shields in the ,british ,museum1 together with the ,swastika4 ,both appear in the ,persian carpets of to-day1 and as patterns were1 in ecclesiastical decoration1 employed down to the fifteenth century1 both for ,european and ,british textiles4 ,the ,swastika1 as well as the wave pattern1 is of mysterious and universal antiquity1 and has certainly traversed four thousand years1--how much more we dare not say4 ,it is to be found throughout ,egyptian and ,indian art--never in that of ,assyria4 ,of the time of ,rameses the ,second we have two figures in a mural painting1 an ally and an enemy1 a guest and a prisoner1 both clothed in embroidered garments1 parsems with the prehistoric cross4 ,illustration3 ,fig4 #aa4 ,egyptian ,enemy and ,ally4 ,in the chapter on ecclesiastical art ,i shall again refer to this immemorial symbolical and conventional pattern4 ,i much regret that1 in the absence of a translation1 ,i am prevented from availing myself of the accumulated learning on the subject of ,the ,prehistoric ,cross1 by ,baron ,ernest de ,bunsen4 ,illustration3 ,pl4 #bg4 ,imitation of a ,carpet carved in stone1 from ,nineveh1 showing the ,indian ,lotus and the ,assyrian ,daisy4 7,in the ,british ,museum47 ,there was a pattern called the crenelated which apparently was derived from the ,assyrian battlement1 and is found throughout classic art1 somewhat conventionalized4#aah ,it is named as an embroidered pattern in the inscription recording votive offerings of dresses in the temple of ,athene at ,athens4#aai ,illustration3 ,fig4 #ab4 ,crenelated ,pattern4 ,we know something of the conventional and symbolical embroideries of ,nineveh1 which are quite unlike those of ,india1 except in the adoption of the lotus for decoration4#abj ,these are best understood by illustrations2 and1 therefore1 ,i give one of the beautiful sculptured carpets from ,nineveh1 in the ,british ,museum 7,pl4 #bg71 showing the ,assyrian use of the lotus and cone1 and the embroidered garment of a king from one of the sculptures in low relief 7,plate #a74 ,these are very stately--perfectly conventional and decorative2 and we feel that they have grown where we find them1 and are not borrowed from another civilization4 ,what strikes us most1 is the constant repetition and the little variety of ornament in these patterns4 ,the forms are strongly marked--wheels or whorls1 or daisies1 often repeated4 7,the daisy belongs to ,assyria as the lotus to ,egypt47 ,the flowers are simply leafless blossoms4 ,splendid embroideries of sacred emblematical designs are1 however1 occasionally found1 such as those from ,layard's ,monuments 7,plate #b74 ,much has been written on the early symbolism of plants and flowers4 ,the sun-myths have enlisted all floral legendary lore1 and conventional ornament was largely drawn from them4 ,many symbols are present to us when we name certain plants4 ,the lily is the acknowledged sign of purity1 the rose of love1 the honeysuckle of enduring faith1 the laurel of poetry1 and the palm of victory2 the oak of strength1 the olive of peace4 ,some plants have accumulated more than one meaning4 ,the vine has many attributes4 ,it is an emblem of the mysteries of the ,christian ,church4 ,it symbolizes plenty1 joy1 the family4 ,ivy means friendship1 conviviality1 remembrance4 ,the symbolism of beasts 7bestiaria71#aba of birds 7volucraria71 and of stones 7lapidaria7 filled many volumes in the medival ages1 and are well worthy of the study of the decorative artist4 ,the symbolism of animals and birds especially1 constantly attracts our attention in the ,oriental and ,sicilian textiles of the early ,christian times1 and to the end of the thirteenth century4 ,later1 in ,european textile decoration1 most animals were accepted as emblematic in ,christian art1 beginning with the symbols of the four ,evangelists4 ,all the virtues and all the vices found their animal emblems conventionalized1 and were thus woven1 embroidered1 and painted4#abb ,reptiles and insects are included under the head of beasts1 and perhaps fishes also4 ,each was dowered with a symbolical meaning2 and thus admitted into art1 they were conventionalized by being strongly outlined1 coloured flat2 and by repetition without variation1 were converted into patterns4 ,illustration3 ,pl4 #bh4 #a1 #b4 ,gothic ,tiles4 #c4 ,gothic ,border of a ,dress4 #d4 ,gothic ,vine4 ,westminster ,abbey4 ,when the use of heraldic illustration was added to the already accepted symbolism1 animal decoration became very common1 and soon forgot its symbolical motives1 which were succeeded by ,renaissance fanciful patterns2 and then the conventionalized beast and its symbolism disappeared from ,european decoration1 except when it was a direct copy of an ,oriental design4 ,certain symbolical forms have1 however1 survived4 ,the eagle has always meant empire1 and the double-headed eagle1 a double royalty4#abc ,ezekiel represents ,babylon and ,egypt1 symbolically1 as two eagles4#abd ,but here we approach the subject of heraldry1 which became a science in medival days2 and every man and woman in any way remarkable1 every chivalrous action and national event1 became a subject for textile art1 and was woven or worked with the needle on banner1 hanging1 or dress4 ,the altar decorations received a new stimulus as historical records1 as well as religious symbols1 and pride and piety were equally enlisted in these gifts to the ,church4 ,byzantine patterns have a barbaric stamp1 and yet have much of the grandiose about them2 but they are to the last degree conventional4 ,in the early mosaics1 both in ,constantinople and ,rome1 every face and head1 every flower and animal1 represents a type and not an individual4 ,illustration3 ,fig4 #ac4 ,gothic ,trees1 from ,bayeux tapestry4 ,gothic foliage patterns1 in ,england and elsewhere1 are a struggle between the naturalistic and the conventional4 ,the ,norman style and the ,romanesque1 which preceded it1 and from which it was modified and elevated1 show their vegetable forms thick-stemmed and few-leaved1 whereas the ,gothic aspired to a developed gracefulness2 and the ,renaissance1 which succeeded it1 assumed all the freedom of natural flowers and plants1 floating in the breeze1 on their delicate stems4 7,pl4 #bh47 ,all the ,renaissance patterns1 which1 as their name denotes1 were born again1 like butterflies to frolic for a day of gay enjoyment1 are purely decorative4 ,their generally charming1 graceful forms group together to cover empty spaces with every regard to the rules of design and composition1 but without any inner meaning4 ,if we take these arabesques to pieces1 we generally find the parts come from various sources2 and having served last in pagan ,rome for pagan purposes1 had been slightly refashioned for ,christian decorative art1#abe before the ,byzantine inartistic taste1 and barbaric splendour of metal-work patterns1 had extinguished all the gay fancy of the arts of ,southern ,europe4 ,the medival revival was a return to the light and fantastic1 and a protest against the solemnity of all ,gothic art1 which had had its great day1 had culminated1 and died out4 ,the patterns of the ,renaissance are all guided by the principles of repetition and duplication1 or that of doubling the pattern1 which repeats itself to right and left1 as if folded down the middle4 ,the principal lines thus echoed one another2 but the artist was permitted to vary the conventionalism of the general forms of figures1 flowers1 fruit1 or butterflies1 so as to balance and yet differ in every detail4 ,illustration3 ,pl4 #bi4 ,,cloud ,,patterns4 #a1 #b1 #c1 #g4 ,japanese4 #d4 ,chinese4 #e1 #h1 #i4 ,medival4 #f4 ,badge of ,richard ,,ii4 ,illustration3 ,pl4 #cj4 ,indo-,chinese ,coverlet1 supposed to have belonged to ,oliver ,cromwell4 ,hatfield ,house4 ,amongst the conventional patterns which have descended to us1 and are in general use without any particular symbolical meaning being attached to them1 we must instance those derived from the ,cloud pattern4 ,this is to be found in early ,chinese and ,indian art1 but ,i do not recognize it in ,egyptian or ,greek decoration4 ,it came through ,byzantium1 and took its place amongst early ,christian patterns4 7,pl4 #bi47 ,illustration3 ,pl4 #ca4 ,,the ,,fundata ,,or ,,netted ,,pattern4 ,portion of a ,phnician ,bowl from ,cyprus4 ,egyptian4 ,egyptian4 ,egyptian4 ,the cloud pattern is also ,japanese1 and is supposed to have been originally derived from ,central ,asia4 ,it varies in shape1 and is found as an ornament on the head of the sceptre in the collection at ,nara1 in ,japan1 which is twelve or thirteen hundred years old4 ,there is an example of the cloud pattern in ,aelfled's embroidery at ,durham2 and it is often found under the feet of saints in painted glass and embroideries before the fourteenth century4 ,a curious ,indian example exists in a coverlet belonging to the ,marquis of ,salisbury1 said to have been the property of ,oliver ,cromwell1 on which the central medallion is filled with white horses careering amidst the cloud pattern4#abf 7,pl4 #cj47 ,the netted pattern called ,fundata is extremely ancient4 ,we find it in ,egyptian mural paintings1 as well as in the centre of a ,phnician bowl from ,cyprus1 now in the ,louvre4 ,the medival ,fundata was a silk material1 covered with what appeared to be a gold network covering the stuff4 ,it is supposed to be the same as that worn by ,constantine1#abg and is named in ecclesiastical inventories as late as the fifteenth century4 7,pl4 #ca47 ,all the wheel patterns are very ancient1 and appear to be simply conventional wheels4 ,in ,france they were called ros4 ,there is a fine instance of this wheel pattern in ,auberville's ,tissus4 ,the wheels sometime enclose triumphal cars and other pictorial subjects4 7,pl4 #cd47 ,the patterns which are apparently composed with the intention of avoiding all meaning1 are the ,moorish4 ,they are neither animal1 vegetable1 nor anything else4 ,they show no motive in their complicated domes1 their honeycombing1 and their ingenious conventional forms2 but cover equally textile fabrics or stucco ceilings without suggesting any idea1 religious or symbolical4 ,all the splendid ,italian brocades and velvet damasks were of conventional patterns1 and like their ,arab and ,sicilian models1 and also like their ,spanish contemporaries1 represented1 and sought to represent nothing on earth4 ,it was all floreated and meandering design2 the motive reminding one of the pine-apple and the acanthus1 or of vine stems meeting or parting1 but never anything naturalistic for a moment4 ,when animals were introduced it was always as a pattern doubled face to face1 as if folded down a straight line4 ,we may say the same of the succeeding ,louis ,quatorze and the ,louis ,quinze styles1 which were of the culminating period of clever and fantastic conventional decoration4 ,our modern designs have phases of imitation1 and the patterns of rich brocades which our great-grandmothers wore1 came into fashion again about the third decade of this century4 ,now we have been trying to find our inspirations further back1 and some of our copies of the simpler ,sicilian patterns1 with an occasional pair of birds1 or a conventional plant1 imitating the motive of the tree of life1 have been very pretty4 ,the only defect is the poverty which results from the absence of any active and informing motive4 ,it is1 however1 easier to criticize than to create4 ,illustration3 ,fig4 #ad4 ,radiated ,pattern4 ,i would venture here to find fault with a very common method of converting a natural object into a conventional pattern1 by radiation4 ,certain modes of repetition are very objectionable4 ,a pattern1 for instance1 repeated four times round a centre1 or a natural flower repeated exactly1 but lying north1 south1 east1 and west1 are more or less inartistic1 we may say vulgar4 7,fig4 #ad47 ,illustration3 ,fig4 #ae4 ,radiated ,sunflower4 ,a natural flower may be conventionalized and radiated by placing it in the centre of the composition facing you2 and the leaves arranged surrounding it1 so as to formalize the design1 though there is nothing really unnatural in the way in which they are made to grow4 ,the illustration of a radiated sunflower explains my meaning4 ,it has been already observed that by repetition almost any object may be reduced to a pattern1 but taste must be exercised in the selection of what is appropriate and beautiful4 ,radiation is also really a useful factor in conventional art1 but common sense must guide the artist here as well as taste4 ,in radiating the forms of a flower1 nature gives endless hints of beauty2 but a radiating pattern of human figures would be ridiculous1 and even the branches of a tree cannot be so treated4 ,the awning of the classic hypthral hall or court was often reproduced in ,roman arabesques4 ,sometimes we find it in a classical tomb1 painted over the ceiling1 and recalling its original use4 ,this was revived in the ,cinque-cento ,renaissance2 and again in ,adams' ,eighteenth ,century ,decorations1 it became an accepted pattern1 called the shell1 losing its original motive1 and descending to fill up the panels of tea-caddies and surround keyholes4 ,when thus reduced to the appearance of a little ruff1 it needs some thought to recognize it1 and give it credit for its first motive4 ,illustration3 ,fig4 #af4 ,it is amusing to find how a form which it seems impossible to reduce to a pattern1 will yet fall into one by a judicious arrangement of light and shadow1 and by repetition4 ,there is a little frieze in one of the ,indian cases on the staircase in the ,british ,museum1 which is extremely pretty and effective4 ,it consists of a repetition of little balconies with recesses and pillars and figures in pairs4 ,i give it as illustrating the way conventional patterns grow4 ,this balcony pattern is of the sixth century1 ,a4,d4 ,illustration3 ,fig4 #ag4 ,indian ,balcony ,pattern1 from steps of tope of ,jamal-,zartri1 ,afghanistan4 ,british ,museum4 ,the ancient palmated pattern called ,chrysoclavus1 from the beginning of our era to the thirteenth century was partly a nail-headed design1 and had become a ,christian symbol4 ,it was1 probably1 originally the primitive spot pattern2 afterwards promoted to being an ornament of discs in colour or metal3 this was ,assyrian1 ,etruscan1 and ,mycenan4#abh 7,pl4 #gj47 ,among the conventional patterns which have apparently no hidden meaning1 but which clearly show their descent1 are the ,chinese and ,japanese wicker and lattice-work designs4 ,the beauty of these is wonderful4 ,semper shows that wicker 7including bamboo work7 was the foundation of all ,chinese civilized life1 for constructing houses1 bridges1 utensils1 and for decoration4 ,he gives this wicker-work origin to the universal key pattern1 which may1 however1 have a double source--the wave1 and the wicker-work4 ,we find the ,key pattern in a tomb at ,essiout1 in ,egypt1 painted perhaps about #afjj ,b4,c41 in company with some other very old friends1#abi the ,tuscan border1 the ,egg and ,tongue1 and the ,bead1 the ,daisy1 and the ,wave4 7,pl4 #ag1 ,no4 #b47 ,we meet it everywhere in ancient and modern decoration4 ,there are several forms of it on a large terra-cotta vase in the ,british ,museum from ,kameiros in ,rhodes1 and on ,chinese fictiles and embroideries4 ,it is found also on garments in ,iceland1 whither the ,greek patterns must have drifted through ,norway1 and1 as they could go no further1 there they remained4 ,i have often spoken of the extraordinary survival of a pattern4 ,this is easy to account for when fashion1 the disturber1 had not yet existed4 ,then the ancient motive told its own tale1 and its great age was its claim to perpetual youth2 but it is more remarkable where we meet with revivals at distant periods1 and apparently without any connecting link of ancestry or style4 ,for instance1 the women of ,genoa wore large cotton veils1 printed with the ,indian conventional tree and beast pattern1 down to thirty years ago1 when the fashion changed1 and winter bonnets and summer muslin veils displaced the old costume4 ,these patterns are now being printed in ,england on scores of cotton curtains for beds and windows4 ,,geometrical4 ,geometrical patterns may be reduced to a very few primitive elements4 ,illustration3 ,fig4 #ah4 ,varied adjustments of ,square and ,circle4 #a4 ,the ,line1 including straight and wavy lines4 #b4 ,the ,angular ,forms1 including squares1 oblongs1 cubes1 c4 #c4 ,the ,triangular1 including zigzags1 diamonds1 c4 #d4 ,the ,circular1 including all spots1 discs1 and radiations4 ,all these can be blended or mixed so as to form endless varieties4 ,for instance1 the square and the circle can intersect each other in different proportions1 so as to give an entirely new effect to the pattern1 each time the balance is altered or the phase of the repetition varied4 ,the illustration will explain this4 7,fig4 #ah47 ,right angles may intersect each other so as to produce the whole gamut of ,chinese lattice-work decoration1 and all the ,celtic and ,scandinavian entwined patterns1 from which so many of the embroideries in the ,italian pictures of the fourteenth and fifteenth centuries are probably descended4 ,the ,moorish patterns are geometrical1 and are created on the principle of avoiding in art the representation of any created thing4 ,they show much ingenuity in keeping clear of any possible meaning4 ,most of these conventional patterns are founded on the ogee-arch and a kind of honeycomb pattern1 involved and inverted4 ,their tiles1 which nearest approach textile design1 have1 indeed1 certain vegetable forms added to the others1 but always geometrically arranged as no vegetables ever grew4 ,geometrical patterns begin with primitive forms1 and come down to the floor-cloth designs of to-day4 ,they can be extracted in endless variety from the combinations of the kaleidoscope4 ,this style is well suited for pavements in mosaic--either secular or ecclesiastical4 ,the ,opus ,alexandrinum furnishes us with most beautiful examples and adaptations for large or small spaces1 so as to form the richest or the simplest floor decorations4 ,how worthily a church may be thus adorned may be seen on the vast area of the floor of ,santa ,maria ,maggiore in ,rome1 or that of the ,church of ,st4 ,mark in ,venice4 ,the nearest approach to the ,opus ,alexandrinum in textiles has been in ,patchwork1 of which a more artistic use may yet be made4 ,we might exercise ingenuity in this direction1 giving really fine and effective designs to our workers in patches1 whose productions are1 in general1 simply alarming4 ,the fine quilting patterns of the sixteenth and seventeenth centuries are almost always geometrical1 and make the best background to more resplendent embroideries overlying them1 which is partly owing to their being only forms1 and conveying no idea or inherited meaning4 ,these expressionless designs are well fitted for spaces and borders in which the centres are elaborated1 and require enclosing or framing2 likewise1 they are suited for large areas1 which must not be perfectly plain1 and yet not too disturbing to the eye1 so as to distract it from the more important ornaments on the wall or ceiling4 ,they suit carpets in passages or on staircases much better than any other kind of design1 and form the best figured backgrounds for pictures4 ,both eye and mind often need repose1 and therefore the simpler the geometrical pattern is1 the better4 ,complicated and too ingenious combinations are painfully fatiguing4 ,simplicity and flatness are the greatest merits in such forms1 as in shadowless patterns for textiles1 and especially for embroideries4 ,if we turn to nature to assist us with new geometrical patterns1 we shall find the most exquisite forms in the crystals of every newly-fallen snowflake1 and in the nodal-points on a plate of metal or glass1 covered with sand1 and struck by sound4 ,we shall hardly ever find in these a repetition of exactly the same combination1 and their variety is only equalled by their beauty4 ,,footnotes3 #if ,sir ,g4 ,birdwood tells us of patterns of an ,indian brocade called ,chundtara 7moon and stars71 figured all over with representations of heavenly bodies4 #ig ,pliny1 ,natural ,history1 lib4 xxx4 c4 #h1 #cd4 #ih ,there is a shell pattern in gold on a twelfth century fragment of a ,bishop's garment at ,worcester4 #ii ,see ,wilkinson's ,ancient ,egyptians1 vol4 iii4 pp4 #acb1 #acc1 #cej1 #eec4 #ajj ,btticher1 in his ,tektonik1 will allow of but one origin for the egg and tongue pattern4 ,i cannot give up the evident descent from the lotus flower and bud2 but ,i have said before that a pattern has sometimes a double parentage1 and it may be so in this case4 #aja ,the lotus is almost entirely lost as a native growth in ,india1 and is fast disappearing in ,egypt4 ,the lotus blossom in ,egypt was not only a sacred emblem1 but also an objet de luxe4 ,at their feasts1 the honoured guests were presented with the flowers1 and as they faded1 slaves carried round baskets of fresh blossoms4 ,see ,wilkinson's ,manners and ,customs of the ,ancient ,egyptians4 #ajb ,see the ,book of ,lindisfarne1 and the two ,celtic bronze shields in the ,british ,museum4 ,these last are very curious4 ,the long involved lines show their origin1 and the shields are enriched with enamel and corals1 in repetitions of the prehistoric cross4 #ajc ,see ,album of ,photographs of the ,marien-,kirche1 ,dantzic1 ,taf4 #ca4 #ajd ,woltmann and ,woermann1 ,eng4 ,trans41 p4 #bjb4 #aje ,charlemagne's dress1 in his tomb1 was covered with golden elephants4 ,this must have been ,indian4 ,his mantle was parsem with golden bees4 #ajf ,elsewhere there is a notice of ,miss ,morritt's really beautifully embroidered landscapes at ,rokeby2 and all who saw them will remember the extremely clever and effective pictures in crewels by an accomplished ,american lady1 ,mrs4 ,oliver ,wendell ,holmes1 exhibited in ,london a few years ago4 ,these exceptional cases do not1 however1 disprove the objections against employing the most unfit and unmanageable materials for producing subjects alien to the art of embroidery4 #ajg ,see ,redgrave's ,manual of ,design1 pp4 #ej-fa4 #ajh ,see ,appendix #ba1 by ,ch4 ,t4 ,newton1 to the first edition of ,ruskin's ,stones of ,venice4 ,he gives1 as instances of this pattern1 certain coins from ,prien1 where the ,river ,mander is symbolized by the angular key pattern4 ,appendix1 ,no4 #a4 #aji 7,euripides loquitur7 ,not horse-cocks1 nor yet goat-stags1 such as they depict on ,persian carpets 7,aristophanes1 ,the ,frogs1 v4 #ici-idd74 ,the ,persian carpets1 which are the legitimate descendants of ,babylonian art1 are curiously fragmentary4 ,in a modern design are to be seen birds1 indicated by a head1 bill1 and eyes2 little coffee-pots1 and flowers broken off at the stalks1 and small quadrupeds without any particular form2 also the prehistoric cross1 the ,tau1 and bits of broken-up wave and key patterns4 ,all these1 repeated into a pattern1 remind us of scraps in a kaleidoscope1 thrown together accidentally1 or else taken up by chance where history and art have dropped them4 #aaj ,soma or ,homa 7,sarcostemma ,viminale vel ,brevistigma71 from ,cashmere and the ,hindu ,cush1 still used by the ,brahmins1 and the juice of which was the first intoxicant of the human race4 ,see ,birdwood's ,indian ,art1 vol4 ii4 pp4 #ccf1 #ccg4 #aaa ,the ,hom1 the sacred ,persian tree1 is constantly placed between two animals1 chained to it4 ,see ,pl4 #bc1 ,nos4 #a1 #b1 #c1 #d1 #e1 #f4 #aab ,the ,hom or ,homa1 the sacred tree of ,assyrian and ,persian sculpture and textiles1 is accounted for as a pattern by ,dr4 ,rock1 who says3 ,from the earliest antiquity a tradition came down through middle ,asia1 of some holy tree1 perhaps the tree of life spoken of as growing in ,paradise4 ,it is always represented as something like a shrub1 and is a conventional portrait of a palm2 but ,rock says it has every look of having belonged to the family of the ,asclepiade4 ,for its last transformation into a vine1 see ,pl4 #bd4 #aac ,rock's ,introduction1 p4 cxxxi4 #aad ,sir ,george ,birdwood says3 ,the intimate absorption of ,hindu life in the unseen realities of man's spiritual consciousness is seldom sufficiently acknowledged by ,europeans1 and1 indeed1 cannot be fully comprehended by men whose belief in the supernatural has been destroyed by the prevailing material ideas of modern society4 ,every thought1 wish1 and deed of the ,hindu belongs to the world of the unseen as well as the seen2 and nothing shows this more strikingly than the traditionary works of ,india4 ,everything that is made has a direct religious use1 or some religious symbolism4 ,the materials of which different articles are fashioned1 their weight1 and the colours with which they are painted1 are fixed by religious rule4 ,an obscured symbolism of material and colour is to be traced also in the forms of things1 even for the most domestic uses4 ,every detail of ,indian decoration1 ,aryan or ,turanian1 has a religious meaning1 and the arts of ,india will never be rightly understood until there are brought to their study1 a familiar acquaintance with the character and subjects of the religious poetry1 national legends1 and mythological scriptures that have always been their inspiration1 and of which they are the perfected imagery4 ,see ,sir ,george ,birdwood's ,indian ,arts1 part i4 p4 #b4 #aae ,the ,persian tree of life was not alien to the worship of the ,zoroastrian religion of the ,sassanides1 and is said to have been the origin of the worship of ,bacchus4 ,it was introduced by ,oriental weavers into ,sicilian and ,spanish stuffs4 #aaf ,sir ,g4 ,birdwood suggests that the honeysuckle pattern is derived from the ,tree of ,life1 cone1 and palm1 refashioned and combined with the graceful ingenuity of ,greek art1 and covering a mixture of sacred traditional emblems4 #aag ,haug1 in his ,essays on the ,sacred ,writings of the ,parsees 7pp4 #acb1 #bci71 tells us that these people still hold the homa to be sacred1 and from it squeeze a juice used by them in their religious ceremonies4 #aah ,see ,perrot et ,chipiez1 ,histoire de l',art1 vol4 ii4 pp4 #bfj1 #bfg1 ,pl4 xiv4 #aai ,see ,appendix1 ,no4 #a4 #abj ,india1 in return1 afterwards influenced ,persia1 the successor of ,babylon4 #aba ,in ,india1 the elephant is a very common element in a pattern2 in ,egypt1 the serpent2 in ,persia1 the lion4 ,in animal patterns1 certain emblems were grouped together4 ,the lion and the goose represent strength and prudence2 the lion and eagle1 strength and dominion2 the lion and dove1 strength and gentleness4 ,we may see these double emblems on ,sicilian textiles4 #abb ,chinese art is crowded with symbolisms4 #abc ,the double-headed eagle was the badge of ,saladin1 as well as that of the ,holy ,roman ,empire4 #abd ,ezekiel xvii4 #abe ,in the earliest days of ,christianity4 #abf ,a cloud pattern from which issue two clasped hands is the device of ,guizot ,marchand or ,guido ,mercator1 printer1 in #adih4 ,he lived at the ,college of ,navarre4--,dibdin's ,decameron1 ii4 pp4 #cc-cf4 #abg ,see ,gori 7tom4 iii4 pp4 #bj1 #hd71 as cited by ,rock1 ,introduction1 p4 liii4 ,the same netted pattern was found in the grave of an ,archbishop of ,york of about the end of the thirteenth century4 ,its name1 fundata1 is derived from funda1 the fisherman's net2 also1 in later times1 it was called laqueata4 ,see ,rock's ,introduction 7p4 liv474 ,see also ,m4 ,ch4 ,clermont ,ganneau's ,l',imagerie ,phnicienne1 ,coupe de ,palestrina2 and ,chalde et ,assyrie1 in ,perrot and ,chipiez1 ii4 p4 #gcf4 ,another instance is shown here of the fundata occurring in the bronze flat bowl copied from ,layard's ,monuments1 #bnd series1 plate #fb4 ,the whole design of the bowl is ,babylonian1 consisting of a rich border of repetitions of the tree of life2 each has the peculiar ornament of little knobs often seen on their head-dresses4 #abh ,see ,bock's ,l4 ,gewnder1 p4 #abi2 ,gori1 ,thes4 ,dipt4 ii4 pp4 #bj1 #bge2 ,marquardt1 ,handbuch ,rm4 ,alt4 vii4 pp4 #ebg-ca 7,eng4 ,trans474 ,authorities differ in describing the ,chrysoclavus4 ,sir ,g4 ,birdwood calls it a button pattern 7,indian ,arts1 vol4 ii4 p4 #bda74 ,the ,chrysoclavus was the name given to the palmated or triumphal pattern with which the consular robes are invariably embroidered in the ,roman ,consular ivories at ,zurich1 ,halberstadt1 and in the ,south ,kensington ,museum4 ,the tenacious life of this pattern is curiously shown in the way it appears in the fifteenth century on ,italian playing-cards4 7,see ,cartes ,jouer1 an anonymous ,french book in the print-room of the ,british ,museum47 ,the kings and knaves wear the ,byzantine humeral1 and the ,chrysoclavus pattern is carved on their chairs4 ,till lately ,english playing-cards showed the same dress-pattern4 ,i shall discuss the ,latin ,clavus and the ,chrysoclavus amongst ecclesiastical embroideries1 pp4 #cjh1 #ccf 7post74 #abi ,see ,wilkinson's ,ancient ,egyptians1 i4 p4 #abe4 ,the date of these mural paintings may1 however1 be even as late as the time of ,alexander the ,great4 ,,chapter ,,iv4 ,,materials4 #a4 ,,raw ,,materials4 ,the history of an art must1 more or less1 include that of its raw material4 ,this is too true to be disputed1 but in the art of embroidery it opens out such endless avenues1 through such vast regions of technical study1 that we must acknowledge the difficulty1 or rather the impossibility1 of including in one volume even a tithe of the information already collected4 ,i shall1 therefore1 only dedicate a few pages to the history of those fibres which have always been most important in the different phases of our civilization4 ,among books on textile materials1 ,i must again name the ,textrinum ,antiquorum1 by ,yates4 ,his premature death1 and the loss that the world of art and manufacture has sustained by the chain of his invaluable researches being broken1 cannot be appreciated but through the study of the first and only volume of this already rare book1 from which ,i venture to quote largely4 ,semper's ,der ,stil is a work of reference on this subject1 so valuable that it should1 by a good translation1 be placed within the reach of non-,german scholars4 ,from ,colonel ,yule's ,marco ,polo1 and his abundant notes1 we learn much of ,asiatic textile art in the thirteenth century1 and its early traditions in the immutable ,east1 and ,sir ,g4 ,birdwood's books on this ,indian art are most instructive4 ,egyptian textiles are splendidly illustrated by ,sir ,gardiner ,wilkinson4 ,all these modern writers quote ,pliny and the ,periplus2#acj and ,pliny quotes all the classic authors1 from ,homer to his day4 ,here is a wide field for gathering information regarding the materials for embroidery in past ages4 ,when we use the phrase raw material so glibly1 with an sthetic contempt for that which the art of man has neither manipulated nor reorganized1 we show our own coarse appreciation1 if not ignorance1 of the wonderful inherent beauty and microscopic delicacy of form1 colour1 and substance of those materials which we fashion for our own uses4 ,few know the structure of the tender filaments of wool1 flax1 cotton1 and silk2 or that each has its peculiar form and attributes1 and its individual capabilities for the purposes for which they appear to us to have been created1 i4e4 the clothing and adornment of man's dress and his home4 ,i should like to draw attention to these well-attested facts4 ,seen through a microscope1 the forms of these raw materials differ greatly4 ,flax is difficult to describe1 as it varies according to the soil and climate it comes from4 ,its fibre1 however1 has always a shiny outer surface1 and is transparent1 cylindrical1 and pipe-like2 apparently with breaks or joints like those of a cane4 ,cotton also varies so much in its own kind1 that every description is different and somewhat puzzling4 ,semper says that it approaches the ribbon form1 with thickened edges1 and is like a half-cylinder twisted spirally2 but when wetted with oil1 it swells into a complete cylinder4#aca ,wool and hair are hollow pipes without joints4 ,woollen fibres look like cylindrical snakes with a scaly surface4 ,this roughness gives wool a clinging power which exceeds that of any other material1 except the hair of some few animals4#acb ,silk threads consist of twin pipes laid parallel1 and held together by the varnish with which they are glazed4 ,silk is tough and elastic4 ,the qualities needed for textile materials may be thus enumerated3 ,pliability1 toughness 7i4e4 tensile strength71 and intrinsic durability4 ,of course1 the material must to a certain degree influence the style of the fabric1 and its selection must be according to the effect intended to be produced4#acc ,the fashions of the day1 and the needs of the special manufacture1 must greatly modify the choice of materials1 which fluctuate1 often disappear1 and sometimes revive again4 ,certain materials which have been1 at one period1 much admired1 have been entirely lost2 and indeed we may say that the only permanently employed textiles are wool1 flax1 cotton1 and silk1 which apparently never can be superseded4 ,with them1 all domestic requirements can be satisfied1 and all artistic and decorative fabrics produced1 varied1 and perfected2 and these1 from all time recorded in history1 have been enriched and glorified with gold1 either inwoven or embroidered4 ,the game of animal1 vegetable1 or mineral might well be played with textiles only4 ,nothing has been alien to the crafts which from time immemorial have spun1 woven1 felted1 netted1 and embroidered4 ,the materials now in general use1 and which1 once known1 have never been abandoned1 ,i have already named1 and shall discuss their history separately2 they are wool1 flax1 cotton1 and silk4 ,to these ,i must add hemp1 both wild and cultivated4 ,hemp is a kind of nettle4 ,it was grown in ,colchis1 and in those cool regions which did not produce flax4 ,hemp is hardly grown in ,india1 except to extract from it the narcotic1 ,cannabis ,indica4 ,it was a northern production used throughout ,scandinavia4 ,herodotus 7iv4 #ad7 says1 ,hemp grows in the land of the ,scythians1 in a wild state1 but it is now cultivated4 ,from its ,latin name1 cannabis1 comes our canvas1 which has always been much used as a ground for counted stitches and backing for embroidery1 its stiffness being its qualification for such purposes4#acd ,jute 7a rough sort of hemp7 has been long an article of commercial importance for the manufacture of coarse-figured fabrics1 dyed and woven1 sometimes embroidered4 ,the fibre of the ,aloe has been used in the ,riviera for laces and macrami 7knotted fringes74 ,the fibres of grasses1 such as the ,honduras silk grass 7,rhea or ,ramie71 valuable for beauty1 fineness1 and toughness1 have been worked or woven into stuffs4#ace ,this material is now coming into notice4 ,spartum is often named for coarse weaving2#acf also the fibres of barks1 especially those of palm branches4#acg ,another substance of classic use1 and even now employed1 though rather as a curiosity than as an article of commerce1 is the silky filament produced by the shell-fish pinna2 and also the fibres of certain sea-weeds4 ,fur and hair1 especially that of camels and goats1 has always been much prized4#ach ,we have seen both ,african and ,indian striped or primitively decorated rugs of wool1 touched here and there with scraps of cotton or silk1 or some other odd material2 and amongst them1 tufts of human hair4 ,the sentiment that motived the use of human hair has been either love or hate--the votive or the triumphal4 ,we know that ,delilah was not a stranger to this art4 ,she wove into her web ,samson's seven locks of strength1 and fastened them with a pin 7,judges xvi474 ,in the thirteenth century it was the custom for ladies to weave their own hair into their gifts to favoured knights4 ,king ,ris1 if he had received any such token from his lady-love1 returned it with interest2 for he sent her a mantle in which were inwoven the beards of nine conquered kings1 a tenth space being left for that of ,king ,arthur1 which he promised to add in course of time4#aci ,leather has been from the remotest antiquity employed for the art of embroidery1 either for the ground1 as in the mantle of ,boadicea1 made of skins with the fur turned inwards and the leather outside1 dressed1 and embroidered on the seams2#adj or else as fine inlaid and onlaid application1 as in the funeral tent of an ,egyptian queen in the museum at ,boulac1 which is certainly the earliest specimen of needlework decoration that exists4#ada 7,pl4 #dd47 ,the old ,indian embroideries in leather are generally applied one on another4 ,the ,north ,american ,indians also embroider on leather4#adb ,feather work will be discussed under the heading of ,opus ,plumarium4#adc ,on the surface of textiles many substances have been fastened down1 in order to give brilliancy to the general effect--skins of insects1 beetles' wings1 the claws and teeth of various animals4#add ,asbestos linen is the only mineral substance1 besides gold1 silver1 and tin1#ade that has been employed in embroidery4 ,it has the remarkable quality of indestructibility by fire4 ,asbestos linen can be cleansed by fire instead of water4#adf ,it is a soapy crystal1 found in veins of serpentine and cipolino in ,cyprus1 and other ,greek islands4 ,pliny says it was woven for the funeral obsequies of monarchs1 as it preserved the ashes apart1 being itself unharmed by the fires of cremation4 ,there are several fragments existing1 found in tombs4 ,one of these is in the ,british ,museum4#adg ,marco ,polo speaks of a stone fibre found at ,chinchin1 which answers in description to asbestos4 ,it was spun by mixing it with threads of flax soaked in oil2 and when woven1 was passed through the fire to remove the flax and the oil4#adh ,a miraculous napkin of asbestos was long kept at ,monte ,casino4 ,coral1 pearls1 and beads of many forms have been used for the enrichment of embroideries1 and for decorating textiles4 ,the whole surface of the original fabric has often been entirely covered with them1 or the pattern itself has been worked in nothing else4 ,pearls are constantly seen worked on dress1 coats-of-arms1 and embroidered portraits4 ,seed pearls1 large coarse pearls1 and sometimes fine and precious ones1 were surrounded with gold thread embroidery4 ,coral was so much used in ,sicilian embroideries1 and so little elsewhere1 that one gives the name of ,sicilian to all such work2 but occasionally we find coral embroideries in ,spain and elsewhere 7,pl4 #cb74 ,illustration3 ,pl4 #cb4 ,portion of ,dalmatic embroidered by ,blanche1 ,queen of ,charles ,,iv4 of ,bohemia 7fifteenth century74 ,the figures in pearls1 on a background of beaten gold4 ,bock's ,liturgische ,gewnder4 ,vol4 i4 taf4 xi4 ,beads of glass were common in ,egypt from the earliest times1 strung together by threads so as to form breastplates rather than necklaces4 ,whence beads originally came we cannot tell1 but it seems that the ,phnicians dropped them on all the shores of the world4 ,then1 as now1 savages had a passion for beads1 and civilized men and women still admire them as trimmings4 ,in the ,middle ,ages they were sometimes worked into pictures4#adi ,in as far as materials are essential to the art of embroidery1 ,i must restrict myself to the history of silk1 wool1 flax1 cotton1 and gold4 ,with these all the finest works have been executed for the artistic adornment of dress and hangings4 ,all other materials have been occasional experiments1 or else were resorted to in the absence or ignorance of the above five most important factors in our domestic civilization4 ,the history of wool must take precedence as being that of the original1 if not the first1 of textile materials4 #b4 ,,wool4 ,the wool of sheep and the hair of goats were used very early in the world's history for clothing1 and probably also for hangings4 ,the earliest civilizations plaited1 span1#aej wove1 and felted them4 ,there is no reason to suppose that goats and sheep preceded the creation of man4 ,no early fossils record them4 ,our sheep are supposed by zoologists to be descended from the ,argali or ,ovis ,ammon of ,linnus1 inhabiting the central regions of ,asia4#aea ,it is possible that plaited grasses may have preceded wool4 ,but though certain prehistoric specimens are supposed to have been found in ,spain1 yet of this there is but imperfect proof4 ,the pastoral tribes wandering over those fair regions that extend from ,khotan to ,arabia1 following their flocks and herds1 and studying where best to feed1 increase1 and multiply them1 and obtain from them the finest texture of wool1 are spoken of nowhere more than in the collected books of the ,old ,testament1 open to us all2 and there we learn how important a place these shepherds held in the world's civilization4 ,watching their flocks by night1 they watched the stars also1 and they were astronomers2 seeking the best pastures and fodder1 they learned to be botanists1 florists1 and agriculturalists4 ,they became also philosophers1 poets1 prophets1 and kings4#aeb ,job and his country were enriched through the breeding of sheep4 ,the seven daughters of ,jethro1 the ,high-priest1 tended their father's flocks4 ,the ,arabians were always great breeders of sheep4 ,the ,greeks and ,romans1 from ,homer to ,virgil1 sang of the herdsman's life4 ,our ,lord ,himself did not disdain to be called the ,good ,shepherd4#aec ,the merchants who traded from the ,arabian ,gulf to ,egypt1 and across thence to the shores of the ,mediterranean1 and the ,phnicians of ,sidon who brought overland their bales of raw material and manufactured ,oriental fabrics1 knew well where to find the best goods for their customers2 and we hear frequently whence came this or that coloured wool4 ,chemmis1 the city of ,pan1 retained its celebrity in the woollen trade down to the conquest of ,egypt by the ,romans4 ,nineveh and ,babylon encouraged the manufactures and commerce in woollen tents1 wall-hangings1 and carpets4 ,nowhere were they so richly embroidered4#aed ,solomon purchased woollens from ,egypt4 ,damascus supplied the ,tyrians with wool for their rugs4 ,the stuffs and textile fabrics of wool1 of the ,chinese1 ,assyrians1 and ,chaldeans1 are recorded in the earliest writings of the human race4 ,how much their decoration depended on weaving1 and how much on embroidery1 we cannot tell4 ,the products of the ,babylonian looms are alluded to in the ,book of ,joshua1#aee and also by ,ezekiel4#aef ,assyrian stuffs were always celebrated for their splendid colours and various designs2 among which were hunting scenes1 battles1 and special emblematic adornments4#aeg ,from ,miletus came the wool valued most highly by the ,greeks4 ,spain produced the best black1 and the north of ,italy the best white wool4 ,the ,narbonensian and ,egyptian wools were supposed to be the most durable1 and when they became shabby1 were dipped again and served another generation4 ,from ,yates' account of the great variety of wools1 remarkable for their fine texture1 their whiteness1#aeh their blackness1#aei or their redness1 their cool or their warm tints1 it is evident that the ancients valued highly these different qualities4#afj ,the cloths that were of greatest account were of the finest or the warmest kinds4 ,the sheep of ,miletus1 ,attica1 ,megaris1 and ,tarentum were clothed in jackets1 in order to preserve the fineness and whiteness of their own coats1 and to protect them from being torn by the thorny bushes in their pastures4 ,columella calls them the covered and the soft1 and says they were often kept in the house4 ,we find notices of the peculiarities of the various national breeds1 caused by the soil on which their pasture grew1 and the rivers and streams at which they drank1 and these peculiarities were1 if possible1 encouraged4 ,there is evidence also that some improvement of the breeds by crossing was practised in early times4 ,as in all the life of the ,greeks1 the religious element had much influence in perfecting their flocks of sheep--only the most beautiful animals were considered worthy of sacrifice to the gods4 ,a few of the rare specimens of stuffs which have been rescued from tombs1 especially in the ,crimea1 and in the ,fayoum1 in ,egypt1 show a wool so fine and shining that it might be taken for silk1 and the beauty of the weaving is marvellous1 and much varied in style4 ,a warrior's tomb in the district of ,kuban contained a funeral pall1 covering the sarcophagus1 measuring at least three metres and a half each way1 woven of brown wool1 in twelve narrow strips sewn together and afterwards painted4 ,the ground is yellowish1 the design brown4 ,the figures repeat mythical subjects1 and alternate with patterns1 and there is a border4 ,one strip contains a scene from the story of ,peleus and ,thetis4 ,apparently this is ,attic design4 ,the coloured dresses worn by women of rank1 and hung on the statues of the gods1 were sometimes painted1 sometimes stamped1 and often embroidered1 and they were nearly all of woollen fabrics4 ,one of the great advantages of wool is its power of absorbing colour1 as the pigment sinks into its very fibre1 instead of clinging to the surface4 ,it can be dyed of deeper colours than flax1 cotton1 or silk4 ,pliny tells us that ,tanaquil combed1 span1 and wove her wool1 and she herself made the royal mantle which ,servius ,tullius used to wear1 and it was covered with a wavy pattern 7undulata74 ,thence came the custom that when a maiden became a bride1 her attendants carried a distaff trimmed with combed wool1 and a spindle with yarn upon it4 ,the robes worked by ,tanaquil were dedicated by ,servius ,tullius to the statue of ,fortune in her temple at ,rome1 and were still hanging there in the days of ,tiberius4#afa ,pliny remarks that it was a wonder that it neither fell from the image1 nor was eaten by the moths1 during five hundred and sixty years4 ,he gives us interesting details of the weaving of woollen cloths1 and speaks of the thick coarse wool with great thick hair1 used for carpets from the time of ,homer4 ,the same passage mentions felt4 ,he tells us of the cloths with a curly nap1 used in the days of ,augustus2 of the papaverata woven with flowers resembling poppies2 and we hear from him of the cloth of divers colours woven in ,babylon1 and called thence ,babylonica2 and the ,alexandrian webs1 with many-coloured threads 7polymita7#afb1 comparing them with those made in ,gaul2 and those woven by the ,parthians4#afc ,we have already said that the wool of ,miletus was a proverbial favourite with the ,greeks4 ,eustathius speaks of the excellence of the ,milesian carpets and hangings4 ,virgil represents the virgins of ,cyrene spinning ,milesian wool dyed of a deep sea-green4#afd ,in the ,british ,museum is a fragment of ,egyptian woollen or worsted embroidery on white linen1 discoloured by its use as mummy wrapping2 but the stitches of worsted remain a perfectly clear bright crimson and indigo blue4 ,this shows how wool absorbs the colour and retains it4 ,even when the surface is faded1 it can be made to emit it again by chemical processes4 ,in tombs in the ,crimea have been found variously woven and adorned woollen fabrics4 ,there are fragments resembling in their texture a fine rep--a sort of corded stuff2 another material resembling a woollen crpe1 or fine nun's gauze4 ,this veiled a golden wreath4 ,then there is a stuff like what is now called atlas--a kind of woollen satin4 ,some woollens are woven simply like linen2 some are wide1 some very narrow1 sewn together in strips1 woven in meandering designs4 ,one1 like a piece of ,gobelin tapestry1 has a border of ducks with yellow wings and dark green heads and throats1#afe and then another with a pattern of stags' heads4 ,this description recalls the specimens on plate #af and plate #ci4 ,from these tombs are collected stuffs of wool1 woven and embroidered in gold with combinations of many colours2 and1 in fact1 through this collection1 now placed in the ,museum at ,st4 ,petersburg1 we become aware that #cjj ,b4,c4 the ,greeks had learned all the secrets of the art of weaving wool4 ,they1 however1 lost it1 and it is only in ,india that its continuity was never broken4 ,indian looms still weave1 of the finest fleeces1 such shawls of ,babylonian design as repeat the texture of the ancient ,greek garments4 ,but were they ,greek8 or did those beautiful woven fabrics come from ,persia or ,india8#aff ,the first we know of ,scandinavian wool for dress1 is a fragment from a ,celtic barrow in ,yorkshire--a woollen plaited shroud4 ,this fabric was an advance upon the original northern savage costume--a sheep-skin fashioned and sewn with a fish-bone for a needle1 sinews for thread1 and a thorn for a pin4 ,but we must imagine that some use was made1 besides plaiting1 of the spun wool1 of which the early northern women have left us evidence1 in the whorls of their spindles1 from prehistoric times4 ,wool has always appeared to be a natural material for dress4 ,it is warm in winter1 light in summer1 and is always beautiful as it hangs in lovely soft draperies1 heavy enough to draw the fabric into graceful curved lines1 and yet capable of yielding to each movement in little rippling folds1 covering1 but not concealing the forms to which they cling4 ,classical draperies are explained by it4 ,what the ,italians call the eyes of the folds1 are particularly beautiful in woollens1 and lend themselves to sculpturesque art4 ,the other natural use of wool is for carpets4 ,we have the evidence of the imitations1 in mosaic1 of carpets from the stone floors in ,nineveh 7now in the ,british ,museum71 that the art of weaving large and small rugs1 and the principles of composition for such purposes was at that date well understood4 ,the carpet-weaving traditions of ,babylon appear to have been inherited by the occupiers of the soil1 as it is supposed that the ,saracens learned from ,persia the art of weaving pile carpets1 and imported thence craftsmen into ,spain4 ,we can trace ,persian carpet patterns in ,indian floor coverings4 ,the ,greeks called them tapetes2 and the ,latins adopted the name2 and hence the ,italian tapeti1 ,french tapis1 and our word tapestry4 ,as artistic material1 to which the world owes much beauty and comfort1 woollens have always played a great part in the decorations of our houses1 as of our garments4 ,fabrics have been made of them of every description1 from the cheapest and commonest to the most refined2 but if woollen stuffs are to be beautiful1 they must be fine1 and worked or embroidered by hand4 ,woollens brocaded or figured are not so effective as silken hangings4 ,woollen velvets are without light1 dull and heavy4 ,still1 even amongst our ,english fabrics1 there have always been varieties of texture#afg and adaptations to different effects1 and some are beautiful4 ,worsted thread1 so called from ,worsted1 in ,norfolk1 where the materials for weaving and embroidering are manufactured1 has always been very important in embroidery4 ,worsteds after a time gave way to a very beautiful material1 called ,german wool1 which again has yielded the supremacy to crewels#afh 7resembling the old worsteds74 ,these crewels are nearly the same in substance and in their loose texture as the threads prepared from wool for tapestry weaving4 ,we may claim1 in ,england1 the superiority in this manufacture1 though we are constantly receiving from ,france novelties which give us good hints1 and urge us to keep pace with the science of the ,gobelins in their woollen dyes4 ,the ,french1 in return1 employ our wools1 especially those of ,lincolnshire1 in their tapestry workshops4 ,the wool and hair of goats should be a study by itself4 ,they have from the earliest times been used in ,india for the finest and softest fabrics1 such as the lovely shawls of ,cashmere and the neighbouring provinces4 ,cloth of ,tars in the ,middle ,ages is supposed to be what is now called ,cashmere4 #c4 ,,flax4 ,boyd ,dawkins tells us that ,the art of spinning and the manufacture of linen were introduced into ,europe in the ,neolithic age1 and have been preserved with little variation from that period to the present day1 in certain remote parts of ,europe1 having only been superseded in modern times by the complicated machinery so familiar to us4 ,the spindle and distaff1 or perforated spindle whorls1 are of stone1 pottery1 or bone1 such as are constantly found in ,neolithic tombs and habitations4 ,thread from the ,swiss lake cities is proved to be of flax1 and there is evidence of weaving in some sort of loom4#afi ,the meaning of the word ,byssus has been disputed2 some authorities asserting that it includes both flax and cotton fabrics4 ,without the aid of the microscope1 the dispute as to whether the material of the ,egyptian mummy wrappings was cotton or flax1 or a mixture of the two1 would never have been settled2 but now that the difference of the structure of each has been clearly ascertained1 we know that cotton was never employed in ,egypt1 except for certain domestic uses4 ,the mummy wrappings are entirely linen4 ,cotton was forbidden for the priests' dress in the temple1 though they might wear it when not on duty4#agj ,there are specimens of ,egyptian painted or printed patterns on fine linen in the ,british ,museum2#aga and it is curious to see in ,egyptian mural paintings the same patterned chintzes on furniture that were common a hundred years ago in ,england4 ,both must have come from ,india1 and therefore were certainly cotton fabrics4 ,herodotus says the mummy cloths were of byssine sindon1 which may be translated linen cloth4#agb ,cotton he calls tree wool4 ,yates has carefully argued the whole question1 and1 we think1 has proved that byssus was flax1 and not cotton4#agc ,he quotes ,philo1 who certainly must have believed that it was made of flax1 from the description he gives of its appearance and qualities1 which in no way apply to cotton or hemp4 ,he says that ,the ,jewish high priests wore a linen garment of the purest byssus--which was a symbol of firmness1 incorruption1 and of the clearest splendour1 for fine linen is very difficult to tear4 ,it is made of nothing mortal1 and becomes brighter and more resembling light1 the more it is cleansed by washing4#agd ,here is another quotation3 ,cloth of byssus symbolizes firm faith4 ,its threads surpass even ropes of broom in firmness and strength4#age ,pliny says the flax grown in ,egypt was superior to any other1 and it was exported to ,arabia and ,india4#agf ,the first known existing fragment of flax linen in ,europe was taken from the tomb of the ,seven ,brothers in the ,crimea4 ,its date is #cjj ,b4,c4 ,in ,solomon's time the ,jews evidently depended upon ,egypt for their fine linen4 ,herodotus describes the corselet of ,amasis1 the fineness of the linen1 and the embroidered decorations of men and animals1 partly gold and partly tree wool 7i4e4 cotton74#agg ,all the finest linen certainly came then from ,egypt1 and was much finer than any that is now made4 ,that we call cambric1 was woven there many centuries before it was made in ,cambray4#agh ,through the ,phnicians the fine linen came to ,rome1 as appears from the following notice of embroidery on linen by ,flavius ,vopiscus1 in his ,life of the ,emperor ,carinus3 ,why should ,i mention the linen cloths brought from ,tyre and ,sidon1 which are so thin as to be transparent1 which glow with purple1 or are prized on account of their laborious embroideries8#agi ,the history of a fine embroidered linen curtain for a ,roman house might have been this3--,grown in ,egypt2 carried to ,nomenticum 7,artois71 and there woven2 taken to ,india to be embroidered1 and thence as merchandise to ,rome4 ,while flax was making its way northward1 the ,celts must also have taken it across ,europe from their resting-place1 after emigrating from the ,east4 ,the word linen--lin-white--is a ,celtic epithet1 whereas flax is an ,anglo-,saxon word4#ahj ,the ,atrebates wove linen in ,artois1 #ahjj years ago4 ,jerome speaks of their indumenta1 or shirts of fine linen2 and the great weavers of to-day are still the ,flemish descendants of the ,atrebates4 ,their ,celtic descent is witnessed in the ,irish by their superiority in the crafts of the loom4 ,the fine laces of ,venice1 ,france1 and ,belgium are all of linen1 i4e4 flaxen thread4 ,clearness and strength in these delicate fabrics cannot be obtained with cotton1 which1 especially when it is washed1 swells and fluffs1 and never has the radiant appearance and purity of flax4 ,embroidery is always a natural accompaniment of fine linen4 ,those that are still preserved to us from early and ,middle-,age times are nearly all on linen1 if not on silk4 ,the woollen fragments are very few and imperfect4 ,they have been invariably fretted by the moth4 ,white needle embroidery is mostly worked in linen-thread1 though cotton-thread has been used a great deal1 and is very fit for the purpose4 #d4 ,,cotton4 ,cotton was native to ,india1#aha as flax was to ,egypt4 ,it not only was grown1 woven1 and printed there from the remotest antiquity1 but was cultivated nowhere else4 ,the ,egyptians do not appear to have grown it till the fourteenth century ,a4,d41 though they had long imported it as raw material1 and as plain and printed webs4#ahb ,it was called tree-wool4 ,it was first woven in ,italy in the thirteenth century1 and used for making paper2 and in the sixteenth1 the plant was grown in the south of ,europe4 ,from ,italy it was carried into the ,low ,countries1 and only reached ,england in the seventeenth century1#ahc so lately has the great staple of our manufactures first belonged to us4 ,the fibre of cotton has neither the strength nor the durability of flax or silk1 but it is the third in the group of the most universally qualified materials for all purposes of domestic textile art1 ranging from carpets and sails1 to fine chintzes for dress1 and filmy muslins4 ,the cloudy effect of these delicate fabrics is their own peculiar beauty4 ,muslins for hangings1 printed or embroidered1 have always been a luxury from ,india2 they were called carbasa1 and were much esteemed in ,rome as a protection against the sun4#ahd ,but we have much earlier notice of them1 as being the curtains described in the ,book of ,esther1 hung with silver rings to the pillars of marble in the banqueting hall at ,susa or ,shushan3 blue and white muslin 7i4e4 carpas1#ahe mistranslated green in the ,authorized ,version71 fastened with cords of fine linen and purple4 ,the word carbasina occurs in a play by ,statius1 evidently translated from a writer of the new ,greek comedy period4 ,it may be inferred1 therefore1 that the ,greeks used cotton #bjj ,b4,c4#ahf ,a century before1 ,nearchus 7one of ,alexander's admirals7 speaks of the cotton-trees in ,india as if they were a new discovery4 ,yates gives us many quotations from ,latin classical authors1 proving the common use of cotton4 ,its ,latin name was bambacinum1 from bombax1 hence the ,italian bambagio1 bambagino1 bambasino4 ,the variety of cotton fabrics in ,india is very numerous1 each having its distinctive beauties and qualities inherited by tradition from early times4 ,they are enumerated and described in ,sir ,g4 ,birdwood's ,arts of ,india4 ,almost all of them have been made to carry embroideries--the transparent muslins1#ahg as well as the fine cloths1 and the stronger and thicker fabrics4#ahh ,most old ,english houses contain some hangings of thickly woven cotton1 probably ,indian1 worked in crewel or worsted1 of the time of ,james ,i41 or a little earlier2 and beautiful patterns wrought in silk or thread1 on fine cotton linen1 reminding one of the arabesques of the ,taj ,mahal1 succeeded those of the ,jacobean style4 ,transparent muslins were often embroidered in gold and silver1 or spangled and embossed with beetles' wings2 and gold1 silver1 and silk were lavished on ,indian cotton grounds1 as well as on silken stuffs4 ,linen was not much embroidered in ,india1 but often printed like chintz4 ,buckram1 or plush of cotton1 was certainly imported from the ,east to ,england1 from the thirteenth century to the time of ,elizabeth4 ,there is at ,ashridge1 in ,hertfordshire1 a small jacket of very fine cotton-plush amongst the baby linen prepared by ,elizabeth for the expected heir of ,philip and ,mary1 and there are other small dresses of this material of the date of ,james ,i4 ,a similar material called fustian is also named by ,marco ,polo as a cotton fabric2 it is supposed to have been made in ,egypt by the ,arabs4 ,this sort of cotton-plush1 variously manipulated1 is repeatedly mentioned by ,herr ,graf'schen in his ,catalogue of ,egyptian ,textiles from the ,fayoum4 ,plano ,carpini says the tunics of the ,tartars were bacramo1 or else of baudichin 7cloth of gold74 ,falstaff's men in buckram may be thus explained4#ahi ,i have already said that cotton is inferior in its qualities to silk and flax1 except in the production of transparent muslins4 ,its peculiarity is its tendency to crinkle or crumple in wearing1 therefore it does not present a smooth flat surface1 except by means of dressing1 which unfits it for clinging effects but suits printed patterns4 ,such stuffs as workhouse sheeting1 imitating certain fabrics of the sixteenth century1 and which it has been the fashion of late to cover with embroidery1 do not repay1 by effective beauty1 the trouble bestowed upon them4 #e4 ,,gold4 ,a somewhat profane ,french writer1 giving his ideas on the ,creation1 says that gold1 the latest metal1 was expressly created for the demoralization of mankind4 ,this is an ugly version of the fact that it is found on the surface of the earth's crust1 and that its beauty and worth makes it a desirable possession for which men will ever contend4 ,gold adorns every work of the artistic animal--man4 ,it is the most becoming setting to all other beautiful things1 the most gorgeous reflection of light and colour1 the richest and softest background1 the most harmonious medium for high lights4 ,in all works of decoration it represents sunshine where it is not1 and doubles it where it is4 ,the word illumination in books belongs to the gilded illustrations of immortal thoughts4 ,in embroideries1 as grounding or as pattern1 gold gives the glory3 ,her clothing is of wrought gold4 ,the raiment of needlework is comparatively ineffective without golden lights or background4 ,as colour1 it never can offend the eye1 except when used to accentuate aggressively a vulgar pattern1 or when it flashes and dazzles from over-polish and too lavish expenditure4 ,silver follows gold as a splendid element in decoration1#aij but it is not of such universal application and use2 and when employed together1 the proportion of gold should preponderate4 ,golden tissues belong to the earliest civilizations4 ,sir ,g4 ,birdwood says that ,the art of gold brocades is older than the ,code of ,manu4444 ,the excellence of the art passed in the long course of ages1 from one place to another2 and ,babylon1 ,tarsus1 ,alexandria1 ,baghdad1 ,damascus1 ,antioch1 ,tabriz1 ,sicily1 and ,tripoli successively became celebrated for their gold and silver-wrought tissues1 silks1 and brocades4444 ,through every disguise 7and mingling of style7 it is not impossible to infer the essential identity of the brocades with the fabrics of blue1 purple1 and scarlet1 worked in gold1 of ancient ,babylonian art4#aia ,the ,israelites wove gold with their coloured woollens for the use of the sanctuary1 and probably brought the art from ,egypt2 though ,i am not aware of any gold-woven stuffs from ,egyptian tombs4#aib ,indian and ,chinese stuffs were from time immemorial woven with gold4 ,the historians of ,alexander the ,great continually name gold as a material in dress4#aic ,arrian1 ,justin1 and ,quintus ,curtius1 all speak of golden tissues as part of the luxury of the ,east4 ,we hear of ,darius' dress woven with golden hawks2 and of the golden spoils of ,persepolis2 the dresses worn by ,alexander's generals1 and all his attendants clothed in purple and gold4 ,then1 perhaps1 the ,babylonian tradition was brought to ,europe2 and ever after1 purple and gold became the state apparel for courtiers as well as kings4#aid ,the hangings of scarlet1 purple1 and gold used at the nuptials of ,alexander1 and at his funeral1 and his pall of the same material1 point to the fact that gold was a recognized element in splendid textile weaving1 as well as in the earliest ornamental embroideries4#aie ,attalus ,,ii41 king of ,pergamus1 was credited with being the inventor of gold weaving1 but this must have been a mistake1 as it was practised long before his time2 but he may have devised some splendid golden tissues1 which were called ,attalic1 in honour of the king's patronage4#aif ,as1 however1 the gold flat plate or wire was probably that woven before his time1#aig it is possible that he may have invented or patronized the making of thread of gold1 by twining it round flax or cotton4#aih ,pliny says gold may be woven or spun like wool without any admixture of wool or flax1#aii and he quotes as examples the golden garment of ,agrippina1 and that worn by ,tarquinius ,priscus1 mentioned by ,verrius4 ,it appears that the ,egyptians knew the art of drawing gold wire1 as some pieces have been found in their jewellery2#bjj but we know not by what process it was worked1 either then1 or in the dark ages4 ,a mechanic of ,nuremberg1 in the fourteenth century1 invented a machine for the purpose2 and this art of drawing wire was introduced into ,england #bjj years later1 in #aefj4 ,the pure cut gold was in use in ,rome to a late date4#bja ,st4 ,cecilia1 martyred #bcj ,a4,d41 was buried with her golden mantle lying at her feet2 and in #hba1 when ,pope ,pascal opened her grave1 he found the evidence of her martyrdom in that splendid garment1 showing that it had been soaked in blood4#bjb ,there were found under the foundations of the new ,basilica of ,st4 ,peter's1 the bodies of ,probus ,anicius and his wife1 ,proba ,faltonia1 in a wrapping of gold4 ,dr4 ,rock gives us more examples1#bjc but we will only add that of the wife of the ,emperor ,honorius1 who in the year #djj ,a4,d4 was buried in a golden dress1 which in #aedd was removed from her grave1 and being melted1 weighed #cf lbs4#bjd ,the ,anglo-,saxon tomb opened at ,chessell ,down1 in the ,isle of ,wight1 contained fragments of a garment or wrapping woven with flat gold plate4 ,these remains are now in the ,british ,museum4 ,childeric was buried at ,tournai1 #dhe ,a4,d41 and his dress of strips of pure gold was discovered and melted in #afec4 ,but gold thread also was then very generally used in weaving gold tissues4 ,claudian describes a ,christian lady1 ,proba1 in the fourth century1 preparing the consular robes for her two sons on their being raised to the consulate3#bje-- ,the joyful mother plies her knowing hands1 ,and works on all the trabea golden bands2 ,draws the thin strips to all the length of gold1 ,to make the metal meaner threads enfold4 ,pure gold was woven in the dark ages in ,england4 ,st4 ,cuthbert's maniple at ,durham is of pure gold thread4 ,john ,garland says the ladies wove golden cingul in the thirteenth century2 and ,henry ,i41 according to ,hoveden1 was clothed in a robe of state of woven gold and gems of almost divine splendour4#bjf ,a wrapping of beautiful gold brocade covered the coffin of ,henry ,,iii4 when his tomb was opened in #ahga4bjg ,the cope of ,st4 ,andrew at ,aix1 in ,switzerland1 is embroidered in a very simple pattern1 with large circles containing ,st4 ,andrew's crosses4#bjh ,this is worked in silver wire gilt1 and is ,byzantine of the twelfth century4 ,in the writings of the ,middle ,ages we find constant reference to different golden fabrics4 ,among them are samit or examitur 7a six-thread silk stuff1 preciously inwoven with gold threads72#bji and ciclatoun1#baj which was remarkable for the lightness of its texture1 and was woven with shining gold threads--but though light1 it was stiff enough to carry heavy embroidery4 ,we hear also of baudekin1 nak1 and cloth of pall4 ,camoca is kincob4 ,there appears to be a link between embroidery in gold and the jewellers' work which in the ,dark and ,middle ,ages was so often applied to ecclesiastical and royal dress and hangings4 ,this link was beaten gold work1 aurobacutos1 beaten work1 or batony4#baa ,beauchamp1 ,earl of ,warwick in the time of ,henry ,,vi41 went over to ,france1 having a coat for my lord's body1 beat with fine gold 7probably heraldic designs74 ,for his ship1 a streamer forty yards long and eight broad1 with a great bear and griffin1 and #djj 'pencils' with the 'ragged staff' in silver4 ,this mode lasted some time2 for in #aech1 ,barbara ,mason bequeathed to a church a vestment of green silk beaten with gold4 ,probably this beaten gold was really very thick gold-leaf laid on the silk or linen ground1 as we see still in some ,sicilian and ,arab tissues4 ,the embroidered banners taken from ,charles le ,tmraire1 at ,grandson1 are finished with broad borders of gilded inscriptions1 such as might be called beaten gold work4#bab ,but besides this thick gold-leaf1 there was another mode of enriching embroideries4 ,lamin of gold were cut into shapes1 and finished the work by accentuating the design in ,eastern embroideries2 ,they are found also in ,greek tombs1 and in the ,middle ,ages they varied from the little golden spangle to many other forms--circular rings1 stars1 crescents1 moons1 leaves1 and solid pendant wedges of gold1 all which approached the art of the goldsmith4 ,illustration3 ,fig4 #ai4 ,spangles4 ,enamel was soon added to the enrichment of these golden spangles1 plates1 or discs1 which were enlarged to receive a design4#bac ,of this style of embellishment we know none so striking as the saddle in the ,museum at ,munich1 said to have been taken from a ,turkish general in the fifteenth century4 ,this is ,italian of the finest cinque-cento style3 blue velvet1 covered with beautiful gold embroidery1 and every vacant space filled with spangles of endless forms1 and of precious goldsmiths' and enamellers' work4 ,the ,persian stirrups attached to it are of a totally different style of enamelling and jewellery1 and speak for themselves1 and for the school they came from4#bad ,illustration3 ,pl4 #cc4 ,window ,hanging1 by ,gentil ,bellini1 from a ,portrait of ,mahomet ,,ii41 property of ,sir ,h4 ,layard4 ,dr4 ,rock describes part of a chasuble wrought by ,isabella of ,spain and her maids of honour1 in which the flowing design is worked out in small moulded spangles of gold and silver1 set so as to overlap each other and give the effect of scales4 ,to a late period1 gold and silver embroideries1 enriched with spangles1 have been lavished on the head-dresses and stomachers of the peasantry throughout the north of ,europe and ,switzerland4#bae ,pearls and gems1 either threaded like beads1 or in golden settings1 are to be studied in the early pictures of the ,german and ,french schools2 and the ,anglo-,saxons excelled in such enrichments4 ,sir ,henry ,layard has a portrait of the fifteenth century1 of the ,sultan ,mahomet ,,ii41 by ,gentil ,bellini1 from which has been copied the accompanying beautiful embroidered design of a window-hanging4#baf ,the grace of the lines1 and the delicate taste with which the gems are set in the work1 are a lesson in art 7pl4 #cc74 ,india sent to ,europe more art in gold thread than has ever been produced amongst us from our own workshops4#bag ,the people of ,goa1 mostly ,arabs1 embroidered for the ,portuguese those wonderful fabrics1 glittering with gold and radiant with colours1 which cover the beds and hang the rooms throughout ,portugal and ,spain4#bah ,the precious metals 7often forming the whole grounding7 were employed without stint2 the patterns being either embroidered in coloured silks and gold2 or on velvets or satins1 with gold alone or mixed with silver4 ,the fine gold threads for embroidery1 which have preserved their brilliancy for so many centuries1 such as we find worked in ,charlemagne's dalmatic1 in ,aelfled's maniple1 and in the mitres of ,thomas ,becket1 are certainly ,oriental4 ,to ,england they came in the bales of the merchants who brought us our silk1 and even our needles1 from ,india4 ,later we imported and copied the different ways of giving effect to inferior metals1 and the ,spaniard's gilt parchment thread reached us from their ,moorish manufactories4#bai ,designs were sometimes1 in the sixteenth century1 worked in gold twisted with coloured silks1 sometimes only stitched down with them4 ,the badges of the ,order of the ,dragon1 instituted by the ,emperor ,sigismund1 were thus embroidered1 and placed on the cloaks of the knights4 ,the work was so perfect that it resembled jewels of enamelled gold4 ,two ancient ones are in the ,museum at ,munich4 ,gold or silver or base metal wire was1 in the later ,middle ,ages and down to our own times1 much employed in the form of what is called purl1 i4e4 coiled wire cut into short lengths1 threaded on silk1 and sewn down4 ,german1 ,italian1 and ,english embroideries were often enriched with this fabric4 ,sometimes the wire was twisted with coloured silks before it was coiled4 ,there are beautiful specimens of this work of the days of ,queen ,elizabeth4 ,still1 throughout ,europe the best works were carried out with the best materials1 and these always came from the ,east4 ,but we sometimes find that the pressure of circumstances has for a time caused the employment of adulterated metals that have perished2 and thus many fine works of art have been spoiled4#bbj ,the use of bad materials has therefore been as unfortunate for art as that of pure gold1 which has tempted so many ignorant persons to burn golden embroideries and tapestries1 and melt down the ore they contain4 ,how little of all that human skill and invention have carefully elaborated is now preserved to us6 ,to gold and silver textiles their materials have been often a fatal dower4 ,it has sometimes puzzled any but the most experienced embroiderers to distinguish between the stuffs woven with the golden threads on the surface1 and finely brocaded or patterned in the loom2 and those other cloths1 embroidered by hand1 which have been so manipulated that hardly an atom of the gold can be detected at the back4 ,this is done by a technical mode of treating the surface1 which is more easily shown than described4 ,the gold is really drawn into the spaces between the threads of the canvas or linen grounding1 but never pulled through4 ,for many reasons this is an advantage1 and when executed cunningly1 as it was in ,england in the twelfth century1 it is rich1 beautiful1 lasting1 and economical4 ,it is a peculiar mark of the opus ,anglicanum1 and it is to be seen in the mitre at ,munich1 where this stitch is employed on a white satin ground2#bba also in the working of the two pluvials at ,san ,giovanni ,laterano at ,rome1 and at the ,museum at ,bologna1 as well as that at ,madrid1 which are all three ,english of the thirteenth century1 by design as well as by stitches4 ,i cannot close this chapter without naming the many schools of gold embroidery in ,belgium1 ,france1 ,germany1 ,italy1 and ,spain4 ,the ,king of ,bavaria has an establishment for gold work1 and this is very finely carried out1 highly raised1 and richly designed4#bbb ,in ,spain there is also a ,royal ,school1 where stately works are executed4 ,it is to be regretted that the modern designs are motiveless1 and not so beautiful as the old ones1 and it is very difficult to have any ancient piece of work copied exactly4 ,little modernisms creep in wherever the pattern has to be fitted into a new shape2 for the accomplished needlewoman is seldom an artist4 ,all honour is due to certain manufacturers at ,lyons who are working in the spirit of the old masters1 and have been seriously considering how best to reproduce the beautiful soft surface of the gold thread of which the secret was lost in the fifteenth century4#bbc ,the old ,chinese flat gold was1 about the sixteenth century1 superseded by what was manufactured in ,spain1 and is no longer imported or1 perhaps1 even made4 #f4 ,,silk4 ,the origin and history of silk is learnedly and elaborately discussed in ,yates' ,textrinum ,antiquorum4 ,he gives us his authorities1 and literal translations for the benefit of the unlearned1 who cannot read the original texts4 ,i have availed myself without hesitation of his quotations1 and of the carefully considered opinions he has drawn from them4 ,it has been already said that wool and flax preceded silk in ,egyptian1 ,greek1 and ,roman manufactures4 ,there is no certain mention of silk in the ,books of the ,old ,testament4#bbd ,silk is1 however1 named in the ,code of ,manu4#bbe ,no shred of silk has been found in any ,egyptian tomb1 nor till lately1 and with one exception only1 in those of the ,greeks4 ,auberville says1 ,la soie ne fit son apparition en ,europe que #cjj ans avant notre re4#bbf ,pamphile1 daughter of ,plates1 of ,cos1 is said by ,aristotle to have there first woven silk 7#cjj ,b4,c474 ,probably raw silk was brought to ,cos from the interior of ,asia1 and ,pamphile is by some supposed to have effild the solid manufactured silks1 and woven them again into gauzy webs4 ,yates suggests that it is possible that ,pamphile obtained cocoons and unwound them1 as the passage in ,aristotle may be so interpreted4 ,the specimen of early silk-weaving which we have above alluded to1 was taken out of the ,tomb of the ,seven ,brothers at ,kertch1 in the ,crimea1 and is of the third century ,b4,c4 ,it consists of several bits of very transparent painted silk4 ,these fragments are an actual and yet a contemporary witness to the truth of the tradition of ,pamphile's ,coan webs1 which are of the same date3 possibly they were her handiwork4 ,illustration3 ,pl4 #cd4 #a4 ,classical ,silk4 ,greek4 7,semper's ,der ,stil1 p4 #aib47 #b4 ,classical ,silk4 ,roman4 7,auberville1 pl4 #d47 ,whether ,pamphile's silk gauzes were the only fine webs of ,cos1#bbg is a disputed question4 ,she has the credit of being the first to clothe victorious generals in triumphal garments1 and she has been immortalized by her cleverness and industry4 ,both ,aristotle and ,pliny assert that she first invented the ,coan webs1 and that some of them were of silk is undoubted4 ,the question is1 ,how came it there8 whence and by what route8 and what country was its original home and birthplace8 ,after stating the pros and cons of the question1 how and where did silk first make its appearance1 ,sir ,g4 ,birdwood concludes that both the worm and the cocoon were known to the ,greeks and ,romans1 by report and rare specimens1 from the time of ,alexander's return from his ,indian campaign4#bbh ,of course the remains of these fabrics are extremely scarce2 and1 in fact1 only two are at present known to me besides the ,kertch specimen4 ,the first is given in ,semper's ,der ,stil1 and is evidently classical ,greek or ,roman2 but the silk material might have been effild from an ,oriental stuff 7pl4 #cd1 ,no4 #a74 ,the second must have been originally a ,roman pattern1 modified by the ,persian loom in which it was woven4 ,this may have been a ,roman triumphal robe of the date of ,julius ,csar 7pl4 #cd1 ,no4 #b74 ,it is clear that ,chinese silken stuffs were not generally known in ,southern ,europe till the time of ,julius ,csar1 who displayed a profusion of silks in some of his splendid theatrical representations4 ,how silk first arrived from the ,east is disputed2 some say it came by the ,red ,sea1 and other authorities believe it was brought from ,china1 vi ,persia1 by land4 ,but it is not necessary that it should have entered our civilization by only one gate4 ,the ,periplus ,maris ,erythri makes frequent mention of the trade in silks1 through ,india1 by the ,indus to the coasts of the ,erythrean ,sea4 ,they were also brought through ,bactria to ,barygaza1 near ,surat1 from a city called ,thina 7,china874 ,the author of the ,periplus1 of course1 refers to some place in the country vaguely called ,serica4#bbi ,that the trade which brought it into ,europe was difficult and limited1 is proved by the fact that silk continued1 even as late as the third century of our era1 to be an article of luxury1 of which the manufacture and use continued to be the subject of legal enactments and restrictions1 for #fjj years after ,pamphile's first essay in silk-weaving in ,cos4 ,the ,seres was the name given by the ancients to the nation which produced silk2 and it was undoubtedly that accepted for the distant region now called ,china1 including ,corea1 and later1 the kingdom of ,khotan4 ,the first mention of these people as a distinct nation is by ,mela 7iii4 #g71 who speaks of them as an honest people1 who bring what they have to sell1 and return for their payments4#bcj ,the prevailing idea amongst the ,greeks was that silk was combed from the trees4 ,seneca says3-- ,nor with ,monian needle mark the web1 ,gathered by ,eastern ,seres from the trees4 ,seneca the ,tragedian1 ,herc4 tus1 #fdd4bca ,this was1 till lately1 believed to be only a fiction1 intended to hide the truth and enhance the value of the new ,coan material4 ,but it is now ascertained that some of the wild silk in ,china is carried by the silkworm round the trees1 wrapping them up1 as it were1 in large1 untidy cocoons2 so that1 as usual1 tradition had truth for its foundation4 ,there was always much mysterious report about the new material4 ,dionysius ,periegetes tells of a barbarous people called the ,seres1 who renounce the care of sheep and oxen1 but who comb the coloured flowers of the desert1 and with them produce woven precious stuffs1 of which they make figured garments1 resembling the flowers of the field in beauty1 and in texture the web of the spider4#bcb ,there is no doubt that as ,egypt was the first to weave linen1 and ,india to produce cotton textiles1 so in ,china originated the material of silk and its manufacture4 ,m4 ,terrien de la ,couperie1 who has deciphered the ,archaic books of the ,chinese ,records1 sees there excellent linguistic proofs that the ,chinese nation was originally a fragment of the first ,babylonian civilization4 ,he there finds that when these ,accadians arrived on the furthest eastern coast of ,asia1 they met with and enslaved an aboriginal race1 who already cultivated the silkworm1 and wove and worked its produce1 and were called by them the ,embroiderers4#bcc ,this is supposed to have been an historical event contemporary with the life of ,abraham1 and1 therefore1 #ejjj years old4 ,the ,chinese say that ,tekin or ,sin1 the son of ,japhet1 instructed his children in painting1 sculpture1 and embroidery1 and in the art of preparing silk for different woven fabrics4#bcd ,whether we are justified or not in believing in so very early a date1 at any rate we must remember that it is now ascertained that silk was used in ,china #bfjj years before our era4 ,auberville says there is a legend that the ,empress ,si-ling-chi#bce 7#bfjj ,b4,c47 had the happy inspiration to invent the unwinding of the cocoon before the insect cut the threads2 and for this discovery she was placed among the divinities4 ,before her time1 they had certainly for more than #cjj years used the precious material in its mutilated condition4#bcf ,some centuries later the ,emperor ,chan received tribute in linens and silken stuffs4 ,tissues of many colours were painted or richly embroidered4#bcg ,in the second century ,a4,d41 a prince of ,khotan1#bch ,kiu-sa-tan-na1 was desirous of obtaining from ,china the eggs of the silkworm1 but his request was refused2 and it was prohibited that either eggs of the silkworm or seed of mulberry-trees should cross the border4 ,then the ,king of ,khotan asked for a ,chinese princess in marriage1 and this favour being granted1 he found means to inform the lady privately that in her future kingdom she would find no silk to weave or work4 ,the dread of such an aimless life roused all her womanly instincts4 ,defiance of the law1 love of smuggling1 and the wish to please her husband and benefit her future people1 gave her courage to conceal the eggs and seeds in the folds of her dress and the meshes of her beautiful hair1 and so she carried a most precious dower into her adopted country4#bci ,thus was broken the spell which for more than #cjjj years had confined the secret of ,china within the fence of its wonderful wall2 and later on1 ,a4,d4 #ecj1 the eggs were brought to ,byzantium4#bdj ,from ,china1 therefore1 comes our silk4#bda ,we may say it is traced to the beginning2 but how far back had the archologist to grope before he could find it6 ,i transcribe a few more quotations from ,yates' translations and authorities4#bdb ,in the ,hippolytus of ,euripides1 #chc1 ,phdra loquitur3-- ,remove1 ye maids1 the vests whose tissue glares ,with purple and with gold2 far be the red ,of ,syrian murex2 this the shining thread ,which furthest ,seres gathers from the boughs4 ,lucan describes the transparent material which veiled ,cleopatra's form3-- ,her snowy breast shines through ,sidonian threads1 ,first by the comb of distant ,seres struck2 ,divided then by ,egypt's skilful hand1 ,and with embroidery transparent made4 ,pliny's account of silk and its manufacture is mostly fanciful1 though founded on half-known facts4 ,the ,latin poets of the ,augustan age speak of silk attire with other luxurious customs from the ,east4#bdc ,the ,roman senate1 in the reign of ,tiberius1 decreed that only women should wear silk1 on account of its effeminacy4 ,silk was accumulated for the wardrobes of the empresses till ,a4,d4 #agf1 when ,marcus ,aurelius1 the ,philosopher1 sold all the imperial ornaments and the silken robes of his empress by auction in the ,forum of ,trajan4#bdd ,we learn that silk was precious and fabulously esteemed to the end of the second century ,a4,d42 but it is seldom mentioned in the third century4 lius ,lampridius speaks of a silken cord with which to hang himself1 as an imperial extravagance on the part of ,heliogabalus 7and of this only one strand was silk72 and he mentions that ,alexander ,severus rarely allowed himself a dress of silk 7holosericum71 and only gave away robes of partly silken substance4 ,flavius ,vopiscus says that ,aurelian had no dress wholly of silk 7holosericum74#bde ,his wife begged him to allow her a shawl of purple silk1 and he replied1 ,far be it from me to permit thread to be reckoned worth its weight in gold6--for a pound of gold was then worth a pound of silk4 ,flavius ,vopiscus further states that the ,emperor ,carinus1 however1 gave away silken garments1 as well as dresses of gold and silver1 to ,greek artificers1 players1 wrestlers1 and musicians4#bdf ,yates gives us a translation of an edict of ,diocletian1 giving a maximum of prices for articles in common use in the ,roman empire4 ,it reads like a tailor's or a dress-maker's bill of to-day3-- ,,denarii4 ,to the tailor1 for lining a fine vest #f ,to the same1 for an opening of an edging of silk #ej ,to the same1 for an opening and an edging of a mixed tissue of silk and flax #cj ,for an edging of a coarser vest #dbdg ,a monument at ,tivoli is erected to the memory of his estimable wife1 ,valeria ,chrysis1 by ,m4 ,n4 ,poculus1 silk manufacturer4 ,this was probably an imperial office in the fourth century4#bdh ,from the first to the sixth centuries1 poets and historians continually speak of silk1#bdi praising its beauty or blaming it as extravagance or luxury2 but according to ,yates1 all the information we collect from these sources requires to be tested as to accuracy1 and is often erroneous4 ,i have spoken of the first silk-weaving in ,cos1 #cjj ,b4,c4 ,the first arrival of the silkworm in ,europe was in the sixth century1 #ijj years later4 ,cosmas ,indicopleustes and another monk brought eggs from ,china in the hollow staves they carried in their hands4 ,this was a great event in ,european commerce4 ,the eggs were solemnly presented to the ,emperor ,justinian1 and the monopoly of their cultivation is to be found in his law-ordaining codex4#bej ,the monopoly of the silk manufactures was confined to the area of the imperial palace of ,constantinople1 but the cultivation of the worm gradually spread over ,greece1 ,asia ,minor1 and ,india4 ,the first allusion to the use of silk in the ,christian ,church is by ,gregory ,nazianzen 7,a4,d4 #cgj71 ,ad ,hellenium pro ,monarchis ,carmen3 ,silver and gold some bring to ,god1 or the fine thread by ,seres spun4#bea ,basil illustrates the idea of the resurrection by the birth of the butterfly from the cocoon4#beb ,paul the ,silentiary 7,a4,d4 #efb7 alludes to the frequent use of silk in the priests' vestments at the ,church of ,st4 ,sophia at ,constantinople4 ,bede relates that the first ,abbot of ,wearmouth went to ,rome for the fifth time in ,a4,d4 #fhe1 and brought back with him two scarves or palls of incomparable workmanship1 and entirely of silk1 with which he purchased land of three families at the mouth of the ,wear4 ,bede's own remains were wrapped in silk4 ,auberville gives us1 in his ,tissus1 specimens of ,roman silks between the first and seventh centuries1 but he cannot fix their exact date4#bec ,the finest webs of ,holosericum from the imperial looms were generally bestowed upon the ,church1 and thus consecrated1 the earliest ascertained specimens that have survived have been preserved2 and of these1 most have been found in the tombs of saints1 bishops1 and kings who were buried in priestly as well as in royal garments4#bed ,among the silk and satin fabrics1 the tissue called ,imperial is mentioned by several early ,english authors4 ,roger de ,wendover and ,matthew ,paris describe the apparition of ,king ,john as clad in royal robes of ,imperial4#bee ,william de ,magna ,villa brought from ,greece1 in #aagj1 a stuff called ,imperial1 marbled or variegated1 and covered with lions woven in gold4 ,in the ,eastern ,empire1 this industry after a time fell into the hands of the ,jews2 and in #aafa1 ,benjamin of ,tudela says the city of ,thebes contained about #bjjj ,jewish silk-weavers4 ,the breeding of the worm in ,europe seems to have been confined to ,greece from the time of ,justinian to the twelfth century2 but in #aadh1 ,roger1 ,king of ,sicily1 brought as prisoners of war1 from ,corinth1 ,thebes1 and ,athens1 many silk-weavers1 and settled them at ,palermo4 ,then might be seen ,corinthians and ,thebans of both sexes1 employed in weaving velvet stoles interwoven with gold1 and serving like the ,eretrians of old among the ,persians4#bef ,hugh ,falcandus#beg has left a description of the ,royal manufactory at ,palermo1 and the ,hotel de ,tiraz which absorbed all the smaller ,saracenic factories already started4 ,the ,hotel de ,tiraz had four great workshops1 in which were separately carried on the weaving of plain tissues1 velvets1 examits and satins1 and flowered stuffs 7damasks71 and lastly1 gold brocades and embroideries4 ,it was from the last that proceeded the real works of art1 and the embroideries with pearls and precious stones4#beh ,the highest efforts of the loom were apparently finished with the needle1#bei as in the figured textiles of ,egypt4 ,the continuity of ,sicilian textile designs from the sixth to the sixteenth centuries 7a thousand years7 is very remarkable4 ,owing to its originally strongly stamped ,oriental character1 great knowledge of the arts of weaving1 spinning1 and dyeing silk is required to enable any one to assign an exact date to materials which only remodelled their style three times4 ,dr4 ,rock's rules for deciphering these three dates may1 however1 be easily learned1 as they are broad and simple4 ,in his comprehensive ,introduction to the ,textiles in the ,kensington ,museum 7p4 lxvii7 he says that the three defined periods of silk-weaving in ,sicily are3 ,first1 from the time of ,justinian to the ,hohenstaufen 7from the sixth to the twelfth century72 secondly1 from the accession of ,frederick ,i4 7,barbarossa71 #aaeb1 to ,charles ,,iv41 #acdg 7twelfth to fourteenth centuries72 the third period is of one century only1 from #acdg to #adef4 ,the first period especially shows ,african animals1 such as the giraffe and the different kinds of antelopes1 mixed with ,arabian mottoes2 and the patterns are generally woven with gold4 ,this is merely gilt parchment1 the silk being mingled with cotton4 ,illustration3 ,pl4 #ce4 ,peacock ,pattern4 ,silk ,wrapping on the body of ,st4 ,cuthbert4 ,durham4 ,the second period1 beginning in the twelfth century1 shows the arrival of ,count ,roger's ,persian and ,greek workmen1 captives from ,thebes1 ,corinth1 and ,athens4 ,the fresh designs show fragments of ,greek taste1 such as masks and foliage1 and give one a slight foretaste of the ,renaissance4#bfj ,these semi-classical echoes are contemporary in the ,sicilian looms with such ,norman motives as a crowned sovereign riding with a hawk upon his wrist4 ,this description singularly applies to the relics removed from the tomb of ,st4 ,cuthbert1 at ,durham1 in #ahbg2 among which are fragments of three wrappings1 or garments of silk1 so suggestive of the artistic traditions of many nationalities1 and the long descent of patterns1 recognizable after the lapse of centuries1 that a description of them1 accompanied by illustrations1 can hardly fail to be interesting4 ,they are all now reduced by time to a rich golden brown1 though there are indications that blue1 green1 and red have been woven into their fabric1 and there are also on one of them traces of gilding4 ,the first 7plate #ce7 shows ,oriental conventional peacocks1 double-headed and collared1 framed within circles which slightly intersect each other1 thus giving the opportunity for varying the original motive by breaking up the rolling arabesqued pattern1 and uniting the stems and flowers contained in the border4 ,the spaces between the circles are filled in with gryphons in pairs1 of the ,babylonian stamp1 thick limbed with strongly-marked muscles4 ,there is a border or guimp1 ,persian in character1 in which are small crosses surmounting repetitions of the crenelated pattern found in ,assyrian ornament4 ,the second piece of silk contains a large rosace4 ,scattered about it are repetitions of the ,persian leaf or tree of life1 and the border consists of kneeling hares or fawns between a ,persian arabesque and a corded line4 ,the mixture of ,egyptian and ,assyrian styles is remarkable throughout1 till we come to the centre of the rosace1 where we find a most incongruous man in armour on horseback with a hawk on his wrist1 giving the ,norman stamp of the reigning house and influence in ,sicily4 ,the central subject is exactly repeated on an embroidered twelfth century chasuble in the treasury of the ,cathedral of ,bamberg1 only that a royal crown and robes are worn by the horseman 7pl4 #cf74bfa ,the third specimen is the most noteworthy 7plate #cg74 ,there is nothing of ,assyrian here1 but it reminds one of ,egyptian and ,greek art1 and at once suggests ,count ,roger's ,greek slaves at the ,sicilian looms1 but the design is probably of a much earlier date1 and the subject is puzzling4 ,a piece of drapery resembling an ,egyptian sail with its fringes#bfb 7pl4 #ch7 is looped up on each side to the head of a thyrsus1 and above it hangs a large cluster of fruits4 ,the lower part of the drapery rests upon water1 and is somewhat like a boat1 with ducks swimming towards it1 and fish disporting themselves in the rippling waves4 ,between the circles the ducks are repeated1 facing a shield enriched with rows of the crenelated pattern surmounted by a vine4 ,these fragments have belonged each to a very large and freely woven silk shawl or mantle4 ,the circles are about two feet across4 ,there is a different arrangement of the threads in each web1 giving different fine diapers1 and the last described has a raised pattern which might have been intended to represent water4 ,illustration3 ,pl4 #cf4 ,,norman ,,and ,,persian ,,type4 ,a ,silk ,wrapping on the body of ,st4 ,cuthbert4 ,durham4 ,illustration3 ,pl4 #cg4 ,,gr,,co-,,egyptian ,,style4 ,a ,silk ,wrapping on the body of ,st4 ,cuthbert4 ,durham4 ,illustration3 ,pl4 #ch4 ,boat with coloured sail1 from the tomb of ,rameses ,,iii4 at ,thebes4 7,wilkinson's ,ancient ,egyptians1 iii4 p4 #baa47 ,explanatory of the design on ,st4 ,cuthbert's silk shroud1 pl4 #cg4 ,it is most likely that in the twelfth century1 or even a little later1 the body of ,st4 ,cuthbert was wrapped in these shawls1 and so left when at the ,reformation1 his shrine was destroyed1 and the coffer containing his remains buried in the same place1 and piously concealed till our own day4 ,i shall describe the beautiful embroideries in which the body had been clothed in the tenth century when ,i come to the subject of ,english work4 ,the third period of silk-weaving art is unmistakably ,sicilian4 ,at the end of the thirteenth century and beginning of the fourteenth1 ,palermo struck out her own line4 ,the ,greek cross appears in various forms4 ,the designs are of a wonderful richness and capricious ingenuity4 ,they show alike ,asiatic1 ,african1 and ,european animals1 and every kind of mythological creature--griffins1 dragons1 dogs1 and harts1 with large wings2 swans1 pheasants1 and eagles1 single or double-headed1 often pecking at the sun's rays2 beautifully drawn foliage and flowers1 and heraldic emblems and coats-of-arms4 ,one peculiarity of the third period is the frequent use of green patterns on murrey-coloured grounds4 ,all this splendour of design was commonly lavished on poor material4 ,the silks continued to be mixed with cotton1 and the gold1 or rather the gilding1 was so base that it has almost always become black on the foundation strips of parchment or paper4#bfc ,the heraldic silks are mostly of the time of the ,crusades1 when the distinguished pilgrims and warriors1 especially the ,english1 made ,sicily their half-way house to the ,holy ,land1 and brought from thence fabrics woven to suit their tastes4 ,in ,auberville's book we find1 under the dates of many centuries1 the most remarkable fragments now known4 ,on portrait-tombs and in some very ancient pictures are figured beautiful silks woven in gold1 which are recognizable at once by their ,arab-,sicilian style4 ,of this type1 the remarkable fragment of the dress of ,richard ,,ii41 in the ,kensington ,museum1 dates itself1 by carrying the cognizances of his grandfather and his mother1 and the portrait of his dog ,math4#bfd ,the last period of the ,sicilian silks is especially marked by the inscriptions being mostly nonsense1 and only woven in as ornament1 with the forms of ,arab lettering4#bfe ,sir ,g4 ,birdwood says that whether the ,saracens found the manufacture of silk already established in ,india or not1 they certainly influenced the decorative designs4 ,he adds that kincobs are now woven at ,ahmedabad and ,benares1 identical in design with the old ,sicilian brocades2 while the ,saracenic ,sicilian silks abound in patterns which prove their origin in ,assyrian1 ,sassanian1 or ,indian art4 ,we know that the ,saracens introduced colonies of ,persian1 and probably ,indian workmen into ,spain1 after the beginning of the ninth century1 to assist them in their architecture and textile manufactures1 and in return the ,mogul emperors of ,delhi invited many ,italian and ,french designers into ,india4 ,the ,taj and other buildings in ,rajpootana are decorated with exquisite mosaics coeval with those of ,austin of ,bordeaux4 ,their styles of art in textiles1 and in other materials1 have acted and reacted upon each other2 and nothing throws more light on the affinities and the development of the modern decorative arts of ,europe than the history of the introduction1 under ,justinian1 of the silk manufactures from the ,east into the ,west4#bff ,from ,palermo1 all the stages of the manufacture of silk spread themselves over ,italy and into ,spain4 ,according to ,nicolo ,tegrini1 the flourishing silk-weavers of ,lucca having been ejected from the city in the early part of the fourteenth century1 carried their art elsewhere1 and even to ,germany1 ,france1 and ,britain4#bfg ,italian weavers went to ,lyons in #adej1 and so started the silk industry that it has steadily increased till now4 ,it gives employment to about #ca1jjj looms and #bdj1jjj workpeople of both sexes4 ,the ,moors1 when they overflowed into ,iberia1 carried with them all their ,orientalisms1 traditions1 manufactures1 and designs2 thus disobeying their prophet1 who forbade the use of silk except to women4 ,senhor ,f4 de ,riano tells us that from the ninth to the eleventh centuries1 ,spain was producing fine silk tissues4 ,the ,moorish ,cordovese writer1 ,ash-,shakandi1 who lived in the beginning of the thirteenth century1 says1 ,malaga is famous for its manufactures of silks of all colours and patterns1 some of which are so rich that a suit made of them will cost many thousands4 ,such are the brocades with beautiful designs and the names of the ,caliphs1 ,ameers1 and other wealthy people woven into them4#bfh ,the same author1 speaking of the manufactures of silk at ,almeria1 says that thence came the brightest colours2 and ,al-,makhari adds a list of precious silk tissues1 naming the ,tiraz1 the ,iscalaton1 and the robes called each by its own special name4#bfi ,ash-,shakandi also mentions the looms of ,murcia1 and its carpets4#bgj ,when the ,moors were driven from ,spain1 the silk works of ,malaga and ,almeria were ruined4 ,but those of ,valencia became famous1 and flourish to this day4 ,talavera della ,reina also produces fine ecclesiastical fabrics1 and at ,toledo the ancient traditions are preserved1 and they still weave sixteenth-century designs4 ,in ,italy1 ,genoa1 ,florence1 and ,milan followed the ,sicilian silk manufactures1 and each has left specimens of the craft1 of which ,rock has pointed out the marked individualities4 ,the rich stuffs with inscriptions inwoven in gold1 in the ,middle ,ages1 were called literatis4 ,the designs of ,lucca at first imitated the ,moorish ,sicilian type2 and introduced as their speciality1 white figures1 such as angels in white garments1 and exchanged the ,oriental intricate patterns for a bolder and simpler style4 ,venice1 of course1 also showed at first the ,oriental impress2 but she soon struck out a line of her own2 and her especial invention was shown in weaving1 from the thirteenth to the sixteenth centuries1 square pieces of silken tissue1 representing sacred subjects4 ,florentine tissues1 especially their velvet and gold brocades1 were particularly splendid1 and can be recognized by the loops of gold thread drawn to the surface and left there4 ,of these early ,florentine gold brocades we have still beautiful examples in the palls of our ,city companies and in ancient ecclesiastical vestments4 ,the loops of gold have been the custom since the thirteenth century1 and still prevail in certain traditional fabrics1 for instance1 in the banners woven annually for the prizes at the horse races in ,florence4 ,the ,corsini family1 who have for many generations and for hundreds of years competed in these races1 had1 in their princely palace at ,rome1 a room entirely hung with the silk of these gorgeous banners4 ,in ,hungary1 ,queen ,gisela1 in the eleventh century1 established looms for weaving silk2 and many convents throughout ,europe and in ,england wove silken tissues for the service of the ,church1 till the great manufactures absorbed these partially private enterprises4#bga ,individual exertion produced copies1 or motives that are taken from ,eastern1 ,southern1 or ,northern inspirations2 but it is only in large national schools of arts or crafts that an absolutely recognizable style becomes apparent4 ,for example1 the early ,french silks from monastic establishments are not remarkable for either style or texture till the sixteenth century1 when they came to the front as a national manufacture1 and have held the highest place in silk-weaving ever since4 ,the ,flemish towns of ,ypres1 ,ghent1 and ,mechlin were known for their silken webs in the thirteenth century1 and at that time innumerable small schools of the craft seem to have covered ,europe4 ,they are constantly named in the lists of fine furnishings in ,germany4 ,in ,england1 ,france1 and ,germany1 as well as in the ,low ,countries1 each convent had1 besides its silk-weaving looms1 its workshops for embroideries on silk1 woollens1 and linens1 borrowing from the ,byzantine ,empire1 ,sicily1 and ,spain1 their designs and patterns4 ,about this time 7the thirteenth century71 ,marco ,polo resided and travelled in ,asia4 ,he visited the principal cities of ,syria1 ,persia1 ,khotan1 and ,cathay1 and from him we have information of the different ,asiatic textiles1 generally bearing the name of the city where they were woven4 ,he names1 for instance1 the medival baudas and baudakin 7with endless modifications in the spelling71 from ,baghdad4 ,this afterwards gave the word baldachino to the awning or canopy over the altar1 which it retained even when textiles had given place to marbles and mosaics4#bgb ,satin is only found named in catalogues about the fourteenth century4 ,but the dalmatic of ,charlemagne1 at ,rome1 is embroidered on a stout blue satin1 and has never been transferred2 and at ,constantinople1 ,baldwin ,,ii41 at his coronation in #abjd1 was shod and clothed in vermilion satin embroidered with jewels2 while all the ,venetian and ,french barons present were clad in satin4#bgc ,semper and ,bock believe that it had been a ,chinese material long before it reached ,europe4 ,satin was often called blattin1 in connection with the colour of the cochineal insect 7blatta71 whose dye was invariably used for satin4 ,we cannot tell1 however1 which was certainly named from the other4#bgd ,in the poem of ,the ,lady of the ,fountain1 translated by ,lady ,charlotte ,guest from the ,welsh ballads of the thirteenth century1 silk and satin are often named4 ,at the opening of the poem1 ,king ,arthur is described seated on a throne of rushes1 covered with a flame-coloured satin cloth1 and with a red satin cushion under his elbow4 ,fiery red was the orthodox colour for satin4 ,in old ,german poems we find it described as pfellat1 always as being fiery4 ,one kind of pfellat was called salamander4#bge ,bruges satins were the most esteemed in the ,middle ,ages4 ,chaucer speaks of satin riche and newe4#bgf ,satin and velvet are the contrasting silken materials4 ,in satin the threads are laid along so that the shining surface ripples with every ray of sunshine1 and the shadows are melted into half-lights by the reflections from every fold4 ,it makes a dazzling garment1 splendid in its radiant sheen2 whereas in velvet1 where each thread is placed upright and shorn smoothly1 all light is absorbed and there are no reflections1 and the whole effects are solemn1 rich1 and deep4#bgg ,some of the oldest velvets resemble plush in the length of their pile1 and have not the dignity of velvet4 ,semper1 from the different derivations that have been suggested1 selects the connection of the word velvet 7,german1 ,felbert7 with welf1 the skin or fur of an animal4#bgh ,among the gifts to ,charlemagne 7ninth century7 from ,haroun el ,raschid were velvets2 and the earliest existing specimen we know of is named by ,bock as being in the ,pergament ,codex at ,le ,puy1 in ,vendme1 where1 amongst other curious interleaved specimens of weaving1 is a fine piece of shorn silk velvet4#bgi ,marco ,polo1 in the thirteenth century1 frequently speaks of velvet as an ,asiatic fabric4 ,it is first known as a ,european textile in ,lucca1 about #abie1 and we may therefore say that it was imported from the ,east4#bhj ,in the next chapter on colour ,i have noticed the curious fact that the word purple was sometimes used to mean colour1 and sometimes to express the texture of velvet1 thus confounding the two2 but ,i have also pointed out that it had other meanings1 and had become a very comprehensive word for everything that expressed richness and warmth4 ,while examining and judging embroideries1 we must be careful not to be deceived by the different dates often occurring in the grounding and the applied materials4 ,much embroidery was worked on fabrics that were already old and even worn out2 and others have been transferred centuries ago1 and perhaps more than once1 to fresh grounds4#bha ,this sometimes causes a good deal of difficulty in dating specimens4 ,one should begin by ascertaining whether the needlework was originally intended to be cut out 7opus consutum71 and so laid on a ground of another material1 and worked down and finished there4 ,of course it is always evident and easily ascertained1 whether the work has been transferred at all4 ,if so--and from each succeeding transference--small fragments may be found showing on the cut edges4 ,you will often see remains of two or more of these layers1 reminding you of the three ,trojan cities dug up at different depths under each other at ,hissarlik4 ,in judging each specimen the acumen of the expert is needed to obtain a correct opinion1 and he should not only be an archologist1 but a botanist and a herald besides2#bhb and1 in fact1 no kind of knowledge is useless in deciphering the secrets of human art4 ,but even when so armed1 he is often checked and puzzled by some accidental caprice of design or mode of weaving1 and after wasting trouble and time1 has to cast it aside as defying classification4 ,it is1 however1 as well to note these exceptions1 as1 when compared1 they sometimes explain each other4 ,what ,i have said regards1 of course1 the historical and archological side of the study of textiles1 and ,i have treated of them as being either the origin or the imitations of different styles of embroidery1 and so inseparably connected with the art which is the subject and motive of this book2 and not only in this does the connection between them exist1 but in the fact that as embroideries always need a ground1 silken and other textiles are an absolute necessity to their existence4 ,for these reasons alone ,i have given this chapter on materials1 short and imperfect1 but suggesting further research into the writings of the authors ,i have quoted1 and1 ,i hope1 exciting the interest of the reader4 ,,footnotes3 #acj ,periplus of the ,erythrean ,sea4 #aca ,it is described by ,yates as having the appearance of a flat ribbon1 with the edges thickened like a hem4 #acb ,this rough bark is probably the reason that it absorbs colour into its substance 7perhaps under the scales72 and it may also account for its being capable of felting4 #acc ,it may be laid down as a fundamental rule in technical style1 that the product shall preserve the peculiar characteristics of the raw material4 ,unfortunately1 the artist is often ignorant of the qualities of the fabric for which he is designing1 and the workman who has to carry it out is a mechanic1 in these days1 instead of a craftsman4 #acd ,molochinus1 or malva silvestris 7wild hemp71 ,yates1 pp4 #bib-cag1 is sometimes spoken of as a mallow1 sometimes as a nettle4 ,in the ,vocabulary of ,papias 7,a4,d4 #ajej7 it is said that the cloth called molocina is made from thread of mallow1 and used for dress in ,egypt4 ,garments of molochinus were brought from ,india1 according to the ,periplus 7see ,pliny1 #adf1 #aff1 #agj1 #aga74 ,it was seldom used by the ancients1 but both ,greeks and ,romans made it serve for mats and ropes4 ,the ,thracians wove of it garments and sheets4 ,it is not named in the ,scriptures4 #ace ,see ,gibbs' ,british ,honduras4 #acf ,spartum was a rush4 ,pliny says it was used for the rigging of ships4 #acg ,the bark of trees such as the ,hybiscus ,tiliaceus1 and that of the ,birch 7see ,yates1 p4 #cje-f74 ,birch bark was embroidered1 till latterly1 by the ,indian women in ,north ,america with porcupines' quills4 ,pigafetta says 7writing in the sixteenth century7 that in the kingdom of ,congo many different kinds of stuff were manufactured from the palm-tree fibre4 ,he instances cloths on which patterns were wrought1 and likewise a material resembling velvet on both sides4 #ach ,camoca or caman in the ,middle ,ages is supposed to have been of camels' hair1 mixed with silk4 ,edward the ,black ,prince left to his confessor his bed of red caman1 with his arms embroidered on each corner4 ,rock 7p4 xliv7 gives us information about the tents and garments of camels' hair found throughout the ,east1 wherever the camel flourishes and has a fine hairy winter coat1 which it sheds in the heat4 ,the coarser parts are used for common purposes1 and the finest serve for beautiful fabrics1 especially shawls4 ,marco ,polo tells of beautiful camelots manufactured from the hair of camels2 and of the ,egyptian coarse and very fine fabrics woven of the same materials4 #aci ,le ,chevalier ,deux ,epes 7quoted by ,dr4 ,rock71 and ,lady ,wilton1 ,art of ,needlework1 p4 #abh4 #adj ,see p4 #cei1 post1 for ,boadicea's dress4 #ada ,see ,mr4 ,villiers ,stuart's ,funeral ,tent of an ,egyptian ,queen4 #adb ,the ,moors in ,spain excelled in leather-work and embroidery upon it2 and ,marco ,polo describes the beautiful productions of the province of ,guzerat1 of leather inlaid and embroidered with gold and silver wire4 ,yule's ,marco ,polo1 p4 #chc4 #adc ,see chapter on ,stitches4 #add ,see ,chardin1 vol4 i4 p4 #ca4 #ade ,tin1 called laton1 was used to debase the metal threads in the ,middle ,ages4 ,it is also named as a legitimate material for metal embroideries4 #adf ,for all information about asbestos1 see ,yates1 pp4 #cef1 #efe4 #adg ,there is one at the ,barberini ,palace at ,rome4 ,a sheet1 woven of asbestos1 found in a tomb outside the ,porta ,maggiore1 is described by ,sir ,j4 ,e4 ,smith in his ,tour on the ,continent 7vol4 ii4 p4 #bja7 as being coarsely spun1 but as soft and pliant as silk4 ,we set fire to it1 and the same part being repeatedly burnt1 was not at all injured4 #adh ,see ,yule's ,marco ,polo1 vol4 i4 pp4 #bae1 #bah1 and ,yates1 p4 #cfa4 #adi ,there are specimens of bead-work pictures at ,st4 ,stephen's at ,coire1 in the ,marien-,kirche at ,dantzic1 and elsewhere4 ,see ,rock1 p4 cv4 ,this is1 in fact1 mosaic in textiles1 without cement4 #aej ,witness the stone whorls for the spindles in our prehistoric barrows1 and the heaps of the lake cities4 #aea ,yates1 ,textrinum ,antiquorum1 p4 #abi4 #aeb ,an ,egyptian ,dynasty called themselves the ,shepherd ,kings4 #aec ,yates gives endless quotations to show how ancient and how honourable an occupation was that of tending sheep4 #aed ,semper1 i4 p4 #aci4 ,the cover of the bed on which was laid the golden coffin in the tomb of ,cyrus was of ,babylonian tapestry of wool2 the carpet beneath it was woven of the finest wrought purple4 ,plautus mentions ,babylonian hangings and embroidered tapestries4 ,see ,birdwood's ,indian ,arts1 i4 p4 #bhf4 #aee ,joshua vii4 #aef ,ezekiel xxvii4 #bb4 #aeg ,semper1 ,der ,stil1 i4 p4 #ach4 #aeh ,yates1 pp4 #gi1 #ia1 #ic1 #ii1 #ajb1 #dde4 ,lan ,alb4 ,the first1 ,apulia's2 next is ,parma's boast2 ,and the third fleece ,altinum has engrossed4 ,martial1 xiv4 ,ep4 #aee4 ,martial also speaks of the matchless ,tarentine tog1 a present from ,parthenius3-- ,with thee the lily and the privet pale ,compared1 and ,tibur's whitest ivory fail2 ,the ,spartan swan1 the ,paphian doves deplore ,their hue1 and pearls on the ,erythrean shore4 ,martial1 viii4 ,ep4 #bh4 #aei ,the sheep of ,tarentum1 from the days of the ,greek colonists1 were famed1 as they are still1 for the warm brown tints on their black wool4 ,pliny says that this is caused by the weed fumio1 on which they browsed4 ,swinburne says1 in his ,travels in the ,two ,sicilies1 that there the wool is so tinged by the plant now called fumolo1 which grows on the coast4 #afj ,see ,blmner's ,technologie1 p4 #ib2 also ,comptes ,rendus de la ,commission ,impriale ,archologique of ,st4 ,petersburg1 #ahha2 also the ,catalogue ,raisonne of ,herr ,graf'schen's ,egyptian ,collection of ,textiles at ,vienna4 #afa ,see ,pliny's ,natural ,history1 viii4 #gd1 #aia4 ,tanaquil is credited with the first invention of the seamless coat or cassock4 #afb ,the ,gauls in ,britain wove plaids or tartans4 ,see ,rock1 p4 xii2 ,blmner1 pp4 #aeb-ed2 ,birdwood1 p4 #bhf4 #afc ,pliny1 ,natural ,history1 book viii41 #gc1 #gd4 #afd ,georgics1 iv4 #ccd2 ,yates1 p4 #ce4 #afe ,comptes ,rendus de la ,commission ,impriale ,archologique1 ,st4 ,petersburg1 #ahha4 ,much of this ,gobelin weaving has lately been found in ,egypt4 ,see ,katalog der ,teodor ,graf'schen ,fnde in gypten1 von ,dr4 ,j4 ,karabacek4 #aff ,semper considers that the famous ,babylonian and ,phrygian stuffs were all woollen1 and that gold was woven or embroidered on them4 ,see ,der ,stil1 i4 p4 #ach4 #afg ,worcester cloth was forbidden to the ,benedictines by a ,chapter of that ,order at ,westminster ,abbey in #adbb1 as being fine enough for soldiers1 and therefore too good for monks4 ,see ,rock's ,introduction1 p4 lxxviii4 #afh ,both these fabrics are represented in ,egyptian and ,greek fragments1 and are equally well preserved4 #afi ,boyd ,dawkins1 ,early ,man in ,britain1 pp4 #bfh1 #bge4 #agj ,see ,wilkinson1 ,ancient ,egyptians1 vol4 iii4 p4 #aaf2 ,yates1 p4 #bc4 #aga ,it appears that the art of printing textiles was known in ,egypt in the time of ,pliny4 ,see ,yates1 p4 #bgb1 quoting ,apuleius1 ,met4 l4 xi42 also see ,wilkinson1 ,ancient ,egyptians1 vol4 ii4 p4 #aif1 pl4 xii4 #agb ,see ,yates1 ,textrinum ,antiquorum1 pp4 #bfh1 #cce2 ,herodotus1 ii4 #hf4 ,herodotus and ,strabo speak of ,babylonian linen1 cited by ,yates1 p4 #bha4 #agc ,textrinum ,antiquorum1 pp4 #bfg-hj4 ,a peculiarity of ,egyptian linen is that it was often woven with more threads in the warp than in the woof4 ,a specimen in the ,indian ,museum1 ,south ,kensington1 shows in its delicate texture #adj threads in the inch to the warp1 and #fd to the woof4 ,another piece of fine linen has #bgj to the warp1 and #aaj to the woof4 ,generally there are twice or three times as many threads1 but sometimes even four times the number4 ,wilkinson gives a probable reason for this peculiarity4 ,see ,wilkinson's ,ancient ,egyptians1 vol4 i4 chap4 ix4 pp4 #aba-bbf4 ,see ,rock's ,introduction1 p4 xiv4 #agd ,de ,somniis1 vol4 i4 p4 #fec4 ,yates1 p4 #bga4 #age ,philo1 cited by ,yates1 p4 #bga4 #agf ,paulinus ad ,cytherium1 cited by ,yates1 p4 #bgc4 #agg ,herodotus1 l4 ii4 c4 #ahb1 l4 iii4 c4 #dg4 ,rawlinson's ,trans4 #agh ,proverbs vii4 #af4 #agi ,yates1 p4 #bia4 ,denon describes a tunic found in a sarcophagus1 which he examined1 and says3 ,the weaving was extremely loose1 of thread as fine as a hair1 of two strands of twisted flax fibre4--,auberville's ,ornement des ,tissus1 p4 #d4 ,some marvellously fine specimens of such cambric may be seen at the ,south ,kensington ,museum and the ,british ,museum4 #ahj ,not that we have any remains of flax linen from their tombs4 #aha ,it was carried thence1 at a prehistoric date1 to ,assyria and ,egypt4 #ahb ,there is no proof that it was grown in ,egypt till the fourteenth century ,a4,d41 when it is mentioned for the first time in a ,,ms4 of that date of the ,codex ,antwerpianus4 ,see ,yates1 ,appendix ,e1 p4 #dgj4 #ahc ,birdwood1 p4 #bda4 #ahd ,puggaree4 ,yates says that cotton has always been supposed to be the best preserver against sunstroke1 p4 #cda4 #ahe ,carpas1 the proper ,oriental name for cotton1 is found in the same sense in the ,sanskrit1 ,arabic1 and ,persian languages4 ,yates1 p4 #cda4 #ahf ,in the neid1 the garment of ,chloreus the ,phrygian is thus described3-- ,his saffron chlamys1 and each rustling fold ,of muslin 7carpas71 was confined with glittering gold4 neid1 xi4 #gge4 #ahg ,dakka muslins are the most esteemed4 ,their poetic names1 running water1 woven air1 evening dew1 are more descriptive than pages of prose4 ,see ,birdwood1 ii4 p4 #bei4 #ahh ,chintzes1 calicoes1 fine cloths1 and strong tent-cloths1 cotton carpets1 c41 c4 ,forbes ,watson classifies the calicoes as being white1 bleached and unbleached1 striped1 c41 printed chintzes1 or pintadoes4 ,see ,birdwood1 p4 #bfj4 #ahi ,for ,buckram and ,fustian1 see ,rock1 pp4 lxxxv1 lxxxvi4 ,in ,lady ,burgeweny's 7,abergavenny7 will1 #adcd1 she leaves as part of the furnishings of her bed of gold of swan1 two pairs of sheets of ,raine 7,rennes71 and a pair of fustian4 ,anne ,boleyn's list of clothes contains ,bokerams1 for lining and taynting1 gowns1 sleeves1 cloaks1 and beds4 ,rock1 lxxxvi4 ,renouard1 in his ,romaunce ,dictionary1 quotes the following3 ,vest de ,polpia e de ,bisso qui est bacaram4 ,for the antiquity of this fabric1 see ,herr ,graf'schen's ,catalogue of ,textiles from the ,fayoum4 #aij ,see ,yates1 p4 #cjj1 citing ,herod's silver apparel4 #aia ,indian ,arts1 ii4 p4 #bcg4 #aib ,rock1 p4 xxv4 ,yates 7p4 #c7 says they cut their gold for wearing apparel into thin plates1 and did not draw it into wire1 as it is translated in the ,vulgate 7,exodus xxxix474 ,the ephod made by ,bezaleel was of fine linen1 gold1 violet1 purple1 and scarlet1 twice dyed1 with embroidered work4 ,this tradition must have guided the artist who designed the ephod in the ,national ,museum at ,munich1 in the seventeenth century1 for a prince boy-bishop4 #aic ,quintus ,curtius says that many thousands1 clothed in these costly materials1 crowded out of ,damascus to meet ,alexander4 #aid ,there is a very ancient local tradition at ,shsh1 that ,a4,d4 #fdj1 in the reign of the ,kaliph ,omar1 the body of the prophet ,daniel was found1 wrapped in cloth of gold1 in a stone coffin2 and1 by order of the victorious general1 it was placed in one of glass1 and moored to the bridge which spanned the branch of the ,euphrates flowing between the two halves of the city1 so that the waters flowed over it4 ,see ,chaldea and ,susiana1 by ,loftus1 and ,sir ,g4 ,w4 ,gore ,ouseley's translation of a ,persian version of ,the ,book of ,victories4 ,alexander is said to have been buried in a glass coffin4 7,see ,wilkinson's ,ancient ,egyptians1 ii4 p4 #ajb1 note 47 #aie ,yates1 pp4 #cfg-gj2 ,rock1 p4 xxvi4 #aif ,aura intexere eadem ,asi invenit ,attalus ,rex unde nomen ,attalicis4--,pliny1 viii4 c4 #dh1 and ,yates1 p4 #cga4 ,the reign of ,attalus ,,ii4 was ,b4,c4 #aei-ahh4 #aig ,and they did beat the gold into plates1 and cut it into wires1 and work it into the blue1 and the purple1 and the fine linen4--,exod4 xxxix4 #aih ,see ,yates1 p4 #cga2 and ,bock1 xxxiii4 #aii ,pliny1 xxxiii4 ,in the ,museum at ,leyden there is a shred of gold cloth found in a tomb at ,tarquinia1 in ,etruria4 ,this is a compactly woven covering over bright yellow silk4 #bjj ,gold wire is still worked through leather at ,guzerat4 ,see ,birdwood1 p4 #bhd1 ,ed4 #ahhj4 ,marco ,polo mentions this embroidery #fjj years ago4 ,bk4 iii4 chap4 xxvi4 7,yule74 ,the hunting cuirass of ,assurbanipal 7pl4 #a7 appears to be so worked1 and of such materials4 ,also see ,wilkinson1 ,ancient ,egyptians1 vol4 iii4 p4 #acj4 ,this gold for weaving was beaten into shape with hammers4 #bja ,pope ,eutichinus1 in the third century1 buried many martyrs in golden robes4 #bjb ,liber ,pontificalis1 t4 ii4 p4 #ccb4 #bjc ,see ,rock1 pp4 xxvii1 xxxv2 and ,parker's ,use of the ,levitical ,colours1 p4 #di4 #bjd ,see ,yates1 p4 #cgf4 #bje ,rock1 p4 xxxv4 ,the toga picta1 or trabea1 part of the official dress of her sons4 #bjf ,hoveden's ,annal4 p4 #dha1 ,ed4 ,savile2 ,rock1 p4 xxx4 #bjg ,see ,archologia1 #ahhj1 pp4 #cag1 #cbb2 also ,pl4 #gd1 ,no4 #bj 7post74 #bjh ,bock1 ,l4 ,gewnder1 taf4 ix4 vol4 i4 #bji ,rock1 p4 xxxvii4 #baj ,ciclatoun1 according to ,rock1 p4 xxxix1 is a common ,persian name for such tissues in the ,east4 ,this1 in common with nasick1 nak1 and many other beautiful tissues1 was wrought in gold with figures of birds and beasts4--,yule's ,marco ,polo1 ed4 #ahge1 i4 p4 #fe4 ,dr4 ,rock quotes the old ballad1-- ,in a robe right royall bowne1 ,of a red ciclatoune1 ,be her fader's syde2 ,a coronall on her hede sett1 ,her clothes with byrdes of gold were bette ,all about for pryde4 #baa ,in ,st4 ,paul's in ,london there was formerly an amice adorned with the figures of two bishops and a king1 hammered out of silver1 and gilt4 ,dugdale1 ed4 #ahah1 p4 #cah4 ,see also ,rock1 pp4 xxix-xxxii4 #bab ,museum at ,berne4 #bac ,a piece of ,venetian work to be seen at the ,south ,kensington ,museum is an altar frontal1 worked in coral1 gold beads1 seed pearls1 and spangles4 ,all jewellers' work1 including enamel1 was much admired and introduced into their embroideries4 7,see ,rock's ,introduction to ,catalogue of the ,kensington ,museum1 pp4 civ-cviii1 ed4 #ahgj47 #bad ,on this gorgeous piece of ,italian art there are added a number of buttons 7for we can give them no other name71 with crosses and hearts under crystal1 which seem to have belonged to another period and workmanship1 or else are to be attributed to a superstitious feeling on the part of the maker1 who placed these ,christian signs1 perhaps1 surreptitiously1 and for the good of his own soul4 #bae ,the ,museum of ,national ,art at ,munich has a fine collection of gold and silver1 spangled1 and black bead head-dresses1 now mostly antiquated1 though in peasant dress it yet survives4 #baf ,it is embroidered in gold1 with red silk and gems2 and ,i have elsewhere said that it probably issued from the ,hotel de ,tiraz at ,messina4 #bag ,terry1 in his ,voyage to the ,east ,indies1 speaks of the rich carpets 7p4 #abh73 ,the ground of some of these is silver or gold1 about which such arabesques in flowers and figures as ,i have before named are most excellently disposed4 #bah ,these of late years have been the most gorgeous objects at exhibitions of old needlework1 and the ambition and despair of collectors4 #bai ,gold thread was also made of gilt paper1 equally by the ,moors and the ,japanese4 #bbj ,in ,aikin's ,life of ,james ,i41 p4 #bje1 we have a curious account of the monopoly of gold thread1 that had been granted1 with others1 to ,george ,villiers1 ,duke of ,buckingham4 ,the thread was so scandalously debased with copper as to corrode the hands of the artificers1 and even the flesh of those who wore it4 ,this adulterated article they sold at an exorbitant price1 and if they detected any one making a cheaper or better article1 they were empowered to fine or imprison them1 while a clause in their patent protected themselves4 ,the manufacturers of this base metal thread were two ,frenchmen1 ,mompesson and ,michel1 and ,edward ,villiers1 the ,marquis' brother1 was one of the firm4 ,doubtless they drove for a time a roaring trade1 as gold embroideries were then universally worn1 both by men and women2 but the ,house of ,commons interfered1 and the monopoly was abolished4 #bba ,mitre of white satin1 with two figure subjects in flat gold--the martyrdom of ,st4 ,stephen1 and that of ,st4 ,thomas of ,canterbury4 #bbb ,the ,school of ,gold ,embroidery at ,munich produces work of a richness and precision which has1 perhaps1 never been excelled4 ,the raised parts of the design are first cast in soft hollow carton1 and the gold is worked on it and into the recesses with the help of a fine stiletto1 which pioneers the needle for each stitch4 ,this is embroidery on the stamp1 but without padding4 #bbc ,bock1 ,l4 ,gewnder1 vol4 i4 p4 #dh4 ,prizes are offered at ,lyons for the best mode of manufacturing gold and silver thread that will not tarnish4 #bbd ,yates says1 pp4 #afj-afb3 ,whether silk was mentioned in the ,old ,testament cannot1 perhaps1 be determined4 ,after fully considering the subject1 ,braunius decides against silk being known to the ,hebrews in ancient times 7',de ,vestitu ,heb4 ,sacerdotum1' i4 c4 viii474 ,the contrary opinion is founded on the passage1 ,i clothed thee with broidered work1 and shod thee with badger-skins4 ,i girded thee about with fine linen1 and covered thee with silk 7meshi74--,ezekiel xvi4 ,but the translation is disputed4 #bbe ,code of ,manu1 xi4 #afh2 xii4 #fd4 ,yates1 ,textrinum ,antiquorum1 p4 #bjd4 #bbf ,auberville1 ,ornement des ,tissus1 p4 ii4 #bbg ,yates 7pp4 #agc1 #agd7 believes that ,cos should always be read for ,cios1 about which there seems to be some confusion4 ,chios has also been substituted for the name of ,cos1 the island4 ,there is no doubt that the ,roman ladies obtained their most splendid garments from ,cos--perhaps of wool as well as of silk4 #bbh ,birdwood1 ,textile ,arts of ,india1 ii4 p4 #bfi4 #bbi ,yates1 ,textrinum ,antiquorum1 p4 #bjd4 #bcj ,yates1 ,textrinum ,antiquorum1 note 79971 p4 #ahd4 ,aristotle 7fourth century ,b4,c471 however1 had already given evidence respecting the use of silk1 which was adopted and repeated by ,pliny1 ,clemens ,alexandrinus1 and ,basil4 ,aristotle tells the story of ,pamphile4 ,one thousand years later ,procopius 7sixth century ,a4,d47 says the raw material was then brought from the ,east1 and woven in the ,phnician cities of ,tyre and ,berytus4 ,see ,yates1 pp4 #afc1 #afd4 #bca ,ibid41 note 79971 p4 #ahd4 #bcb ,yates1 ,textrinum ,antiquorum1 p4 #aha4 #bcc ,i have mentioned this already1 to prove the antiquity of the art of embroidery4 ,here ,i repeat it in reference to the first mention of silk4 7,see p4 #ch ante47 #bcd ,bibliothque ,orientale de ,m4 ,herbelot1 ed4 #aggh1 vol4 iii4 p4 #ai4 #bce ,auberville1 p4 #b2 ,yates 7pp4 #agb1 #agc7 calls her ,si-ling1 wife of ,hoang-ti1 and quotes the ,resum des ,principaux ,tractes ,chinois1 traduits par ,stanislas ,julien1 #ahcg1 pp4 #fg1 #fh4 #bcf ,auberville1 ,histoire des ,tissus1 pp4 #b-d2 ,du ,halde1 vol4 ii4 pp4 #cee1 #cef 7#hvo edition1 ,london1 #agcf74 #bcg ,related by ,klaproth1 the ,russian ,orientalist4 #bch ,yates1 p4 #bch4 ,history of ,khotan1 translated by ,m4 ,abel ,rmusat1 pp4 #ee1 #ef4 #bci ,khotan or ,little ,bucharia would1 in common parlance1 be included in ,serica2 and therefore silk exported thence to ,europe would have been perfectly described as coming from the ,seres4 ,yates1 p4 #bca1 #bcb4 #bdj ,yates1 p4 #bca4 #bda ,while in ,europe the arts of daily use and decoration were struggling for life after many interruptions and revolutions1 the civilization of ,japan1 which is nearly contemporary with ,christianity1 spent itself in perfecting to the most exquisite finish the arts which had been imported from ,china and ,corea4 ,japan also inherited the power and the tradition of concealment1 and so ,europe remained unconscious1 until the last century1 of the miraculous arts which a semi-barbarous people were cultivating--not for commercial purposes4 ,auberville1 ,tissus1 pp4 #b-d4 #bdb ,yates1 pp4 #age-ahd4 #bdc ,yates1 p4 #agf4 ,the silken flags attached to the gilt standards of the ,parthians inflamed the cupidity of the army of ,crassus4 ,the conflict between them took place #ed ,b4,c4 ,about thirty years after this date1 ,roman luxury had reached its zenith-- ,the insatiate ,roman spreads his conquering arm ,o'er land and sea1 where'er heaven's light extends4 ,petronius ,arbiter1 c4 cxix4 ,after these words he says that among the richest productions of distant climes1 the ,seres sent their new fleeces4 #bdd ,yates1 p4 #ahc4 #bde ,holosericum1 whole silk2 subsericum1 partly cotton1 hemp1 or flax4 ,the longitudinal threads or warp1 cotton2 the cross threads1 silk4 ,rock1 ,textile ,fabrics1 p4 xxxvii 7ed4 #ahgj74 #bdf ,yates1 p4 #aie4 #bdg ,yates1 p4 #aih4 ,for the value of the denarius1 see ,waddington1 ,edit4 de ,diocletien1 p4 #c4 #bdh ,gruter1 tom4 iii4 p4 #fde2 ,yates1 p4 #bje4 #bdi ,yates1 p4 #bdf4 ,the words silk and satin are spoken of by ,yates as having two derivations--the one imported to us through ,greece and ,italy1 the other from ,eastern ,asia1 through ,slavonia1 by the north of ,europe4 #bej ,yates1 p4 #bca2 who remarks1 p4 #bjc1 that the laws of ,justinian are not directed against the use of silk as a luxury1 but rather as appropriating it as an imperial monopoly and source of revenue4 #bea ,tom4 ii4 p4 #ajf 7ed4 #afcj74 ,see ,yates1 p4 #bac4 #beb ,yates1 p4 #bad4 #bec ,auberville1 ,plate #d4 ,amongst these are what he calls ,consular silks4 ,these are1 or may be1 included in the palmated class1 as they are evidently woven for triumphal occasions4 ,one of the most remarkable has every mark of ,oriental design4 ,it represents a picture in a circle1 repeated over and over again1 of a warrior in his quadriga4 ,black or coloured slaves drive the horses1 either running beside them or standing upon them2 and other slaves carry beasts on their shoulders1 and are stooping to give them drink at a trough4 ,the space between the circles is filled in with the tree of life1 growing out of its two horns4 ,the colours are purple and gold4 ,he places this between the first and seventh centuries 7see pl4 #cd74 #bed ,there are1 however1 a few that have not had the security of the tomb1 and yet have survived1 such as the chasuble and maniple at ,bayeux1 of the seventh century1 and ,charlemagne's dalmatic4 #bee ,roger de ,wendover1 ,chronica1 t4 iv4 p4 #abg1 ed4 ,coxe4 ,quoted by ,rock from ,ralph1 ,dean of ,st4 ,paul's4 ,see ,rock1 ,introduction1 p4 lv4 #bef ,roger de ,wendover1 ,chronica1 t4 iv41 ed4 ,coxe2 also ,yates1 ,textrinum ,antiquorum1 pp4 #bdc1 #bdd4 #beg ,in the twelfth century4 ,semper1 i4 p4 #ch4 #beh ,see illustration from the portrait of ,sultan ,mahomet ,,ii41 by ,gentil ,bellini4 ,ante1 p4 #adf1 ,plate #cc4 #bei ,see ,semper1 p4 #aeg4 #bfj ,the ,sicilian type of design in silk-weaving was carried into ,germany about the end of the second period4 ,we are informed by ,auberville that there existed at that time a manufacture of ecclesiastical stuffs at ,leipzig1 from which he gives us fine examples4 #bfa ,see ,bock's ,liturgische ,gewnder1 vol4 ii4 ,taf4 xxxiii4 ,the pattern is twelfth century metal work1 embroidered in gold4 #bfb ,see ,wilkinson's ,ancient ,egyptians1 iii41 pl4 xvi42 v41 pl4 xxxiv4 ,in general1 a scarf floats from the prow or from the oars4 #bfc ,the ,crusaders carried away splendid booty from the towns they took and ransacked4 ,as it was the great gathering-place of all ,eastern and ,western nations1 ,jerusalem was a mart for rich merchandise from ,persia1 ,arabia1 ,syria1 and ,phnicia1 till the times of the ,latin kings4 ,antioch1 as well as ,jerusalem1 yielded the richest plunder4 ,matthew ,paris 7a contemporary historian71 speaking of what was taken at ,antioch1 #ajih1 says1 ,at the division of costly vessels1 crosses1 weavings1 and silken stuffs1 every beggar in the crusading army was enriched4 ,alexandria1 as early as the middle of the sixth century1 ,a4,d41 had been the dept for the silken stuffs of ,libya and ,morocco4 ,here is a wide area opened to us for suggestions as to the origin and traditions of patterns in silk textile art4 ,see ,bock's ,liturgische ,gewnder1 vol4 i4 pp4 #bi1 #cj4 #bfd ,rock1 ,introduction1 p4 ccxlviii1 and p4 #bfh1 ,no4 #hgaj4 #bfe ,the weaving of inscriptions in textiles is not a ,saracenic invention4 ,pliny says it was a custom among the ,parthians4 ,see ,rock's ,textile ,fabrics1 p4 lxi4 ,in allusion to lettered garments1 ,ausonius thus celebrates ,sabina1 of whom we otherwise know nothing3-- ',they who both webs and verses weave1 ,the first to thee1 oh chaste ,minerva1 leave2 ,the latter to the ,muses they devote4 ,to me1 ,sabina1 it appears a sin ,to separate two things so near akin2 ,so ,i have writ these verses on my coat4' ,see ,lady ,wilton on ,needlework1 p4 #ec4 #bff ,birdwood1 ,indian ,arts1 p4 #bgd4 #bfg ,yates1 ,textrinum ,antiquorum1 p4 #bdd2 ,tegrini1 ,vita ,castruccii1 in ,muratore1 ,ital4 ,script41 t4 xi4 p4 #acbj4 #bfh ,riano1 ,cat4 of ,loan ,exhibition of ,spanish ,art in ,south ,kensington ,museum1 #ahhb1 p4 #df4 #bfi ,in ,hoveden's account of the fleet of ,richard ,i4 coasting the shores of ,spain1 he speaks of the delicate and valuable textures of the silks of ,almeria4 ,rog4 ,hoveden1 ,ann41 ed4 ,savile1 p4 #chb4 ,rock1 p4 xx4 #bgj ,bock1 pp4 #ci1 #dj1 quotes from ,anastasius and the ,abbot of ,fontenelle1 proving that silken rugs were manufactured in ,spain by the ,moors4 #bga ,auberville1 ,histoire des ,tissus1 p4 #ad4 #bgb ,yule's ,marco ,polo1 p4 #bbd4 ,baudakin from ,baghdad1 damask from ,damascus4 ,baudakin was woven with beasts1 birds1 and flowers in gold4 #bgc ,rcit de ,robert ,clari4 ,he was one of the companions of ,ville d',hardouin1 and a witness to the coronation of ,baldwin ,,ii4 ,see ,auberville's ,histoire des ,tissus1 p4 #ba4 #bgd ,satin is called by ,marco ,polo zettani1 and he says it came from ,syria4 ,the ,french called it zatony2 the ,spaniards named it aceytuni1 which is probably derived from zaituniah1 the product of ,zaiton4 ,yates 7p4 #bdf7 gives the derivations of the words satin and silk2 the one imported to us through ,greece and ,italy1 the other from ,eastern ,asia1 through ,slavonia and ,northern ,europe4 #bge ,ibid4 ,in the ,wigalois1 a story is told of a cavern in ,asia full of everlasting flames1 where costly fellat was made by the ,salamanders1 which was fireproof and indestructible4 #bgf ,man of ,lawe's ,tale3 ,canterbury ,pilgrims4 #bgg ,ohitos terciopelos 7three-piled-velvet eyes7 is a pretty ,spanish phrase1 describing the soft1 dark1 shadowy eyes of the ,spanish girls4 #bgh ,the ,italian word velluto means shaggy4 #bgi ,bock1 i4 pp4 #ii-aja4 #bhj ,buckram was sometimes a silken plush1 but generally was woven with cotton4 ,this was also ,asiatic1 and named by travellers of the twelfth and thirteenth centuries4 ,i have already mentioned it as a textile in the chapter on cotton4 ,when woven of silk it belongs to the class of velvets4 #bha ,elsewhere ,i have spoken of the embroideries of the early ,christian times found in the ,fayoum1 in ,egypt4 ,these afford notable examples of the ancient method in putting in patches on a worn or frayed garment4 ,they invariably embroidered them1 and so added a grace to the old and honoured vestment1 and justified the classical appellation1 ,healer of clothes for a darner4 ,the comparatively modern additions of the restorer1 are in ancient as in later specimens1 often a puzzle to the archologist4 #bhb ,the specimens in the ,south ,kensington ,museum1 where ,dr4 ,rock gives their approximate dates1 are most useful to the student of this subject4 ,,chapter ,v4 ,,colour4 ,my soul1 what gracious glorious powers ,to hue and radiance ,god has given6 ,cautley1 ,emblems1 p4 #ba4 ,it is my intention to confine myself to the discussion of colour1 in as far as it belongs to the dyes of textiles and the materials for embroidery4 ,i will adhere as closely as ,i can to this part of what is a great and most interesting subject--one which the science of to-day has opened out1 and by the test of experiment1 cleared of erroneous theories2 revealing to us all its beauty and fitness for the use and delight of man4 ,as through all ages the eye has been gradually educated to appreciate harmony in colour1 so dissonance--that is1 what errs against harmony--hurts us1 without apparently a sufficient reason2 and we have to seek the causes of our sensations in the scientific works and lectures of ,professor ,tyndall and others4 ,there is no doubt that the appreciation of colour has belonged in different degrees to the eye of every animal1 but especially to that of man1 ever since light first painted the flowers of the field4 ,the eye is created to see colour1 as well as form4 ,but we know that men1 being accustomed to acquiesce in the powers with which they find themselves gifted by nature1 enjoy and use them1 long before they begin to study1 classify1 and name them4 ,when we recollect that the circulation of the blood was not known within the last three hundred years1 and that ,albert ,drer painted the skeleton ,death on the bridge of ,lucerne1 with one bone in the upper and one in the lower arm1 we shall be surprised to find that the ancients had named the colours they saw1 with some degree of descriptive and scientific precision4 ,the word purple1 for instance1 covered a multitude of tints1 which had not as yet been differentiated1 either in common parlance or in poetry1#bhc though as articles of commerce the purple tints had been early distinguished4 ,what names have we now1 in this present advanced day1 for defining tastes or smells8 ,we say that something smells like a violet1 or a rose1 or a sea breeze1 or a frosted cabbage4 ,we say a smell is nice or nasty1 that a taste is delicious or nauseous2 but beyond calling it sweet or sour1 we have no descriptive words for either smells or tastes1 whereas the nations who traded in the materials for dyes exchanged their nomenclatures1 which we can recognize from the descriptive remarks of different authors4 ,colour1 as an art1 was born in those lands which cluster round the eastern shores of the ,mediterranean--the northern coasts of ,syria and ,arabia1 and the isles of ,greece4 ,all art grew in that area1 and all its adjuncts and materials there came to perfection1 though often imported from more southern and eastern sources4#bhd ,e4 ,curtius says that the science of colour came into ,europe with the ,phnicians and accompanied the worship of ,astarte4 ,this1 of course1 applies to artistic textiles1 as the ,greeks had already acquired the art of dyeing for plain weaving4 ,numa1 in his regulations for necessary weaving1 refers also to colour4 ,the ,italians therefore must at that time have made some advance in the art1 especially the ,etruscans4#bhe ,the infinity of variation in colour is difficult to imagine4 ,the chemists of the ,gobelins have fixed and catalogued #ddhj tones4 ,besides1 we must not forget that it is now all but ascertained that the same colour is probably appreciated differently by nearly every eye4#bhf ,how the eye accepts colours and conveys them to the mind is still a question in dispute1 though the theories of ,tyndall1 ,helmholz1 ,hering1 ,charpentier1 and others1 aided by experiments1 are drawing ascertained facts into a circle1 which will ere long be complete1 and the mysteries of colour may be ascertained4 ,probably the effects of colour on educated minds are as various as the tints and shades of tones of the many substances which receive them1--reflected from all surrounding objects1 blazing in light1 or softened by shadow1--fresh and glowing1 or permanently faded--shining with modern varnish1 or sobered by the dust of ages4 ,it is the art of the colourist1 whether he paints pictures1 or dyes textiles1 or embroiders them1 to reduce the tints of the prism to an endurable and delightful lowness of tone1 while preserving as far as possible all their light and purity4 ,prismatic colours are so radiantly glorious1 that when we see the rainbow in the sky it is each time a joyful surprise4 ,the most stolid natures are moved by it2 we have even seen our dog staring at it4 ,when1 in experiments on light1 the shafts of colour are thrown on the wall1 they are greeted with shouts of admiration2 but these glories are veiled to us by the fact that the eye cannot dissect the prismatic ray without the assistance of the instrument that has revealed it4 ,this is a merciful arrangement2 for we are not fitted to live in a prismatic display1 any more than in a continuity of lightning flashes4 ,we should go mad or blind if exposed to either4 ,science has shown us the perfect beauty of colour without form1 the soothing pleasures of its harmonies1 and the delightful surprises of its contrasts4 ,from the glimpses we have of its nature and laws1 we may hope for fresh inspiration for the art of the colourist4 ,though it is true that each eye1 even when educated1 retains its own special appreciation of the colours that gratify its seeing nerve1 yet there are certain standards which give almost universal pleasure4#bhg ,the blind and the colour-blind must remain exceptions for all time2 and there are many gradations in colour-blindness1 till we come to the normal class of seeing eyes2 and passing them by1 reach to those few men1 gifted beyond all others with that fund of sensitive eye-nerve and mental power1 which enables them to create new thoughts in colour4#bhh ,titian and his school arose from the inherited science and tradition1 and carefully prepared pigments of his immediate predecessors1 acting on an exceptional eye and mind1 imbued with the splendours of the early mornings and the sunsets in the glowing atmosphere of ,venice4 ,colour has long been supposed to convey certain impressions to the mind4 ,the absence of all colour1 which we call black1 symbolizes in dress1 grief1 pride1 or dignity2 according as it drapes the mourner1 the ,spanish grandee1 or the priest4#bhi ,yellow being the colour of the sun and of corn and gold1 represents riches1 generosity1 and light4 ,red stands between the dark and the lively colours1 and represents warmth and animation1 dignity1 splendour1 life1 love1 and joy4 ,the expression of blue is that of purity4 ,it recalls the distant sky1 the calm ocean1 and has an immortal and celestial character4 ,it ascends to the highest and descends to the lowest tones of chiaro-oscuro4 ,nothing so nearly approaches pure white as the palest blue2 nothing is so nearly black as the darkest4 ,green has been assigned by nature the place of the universal background4 ,it is the complementary colour of red1 softening and assimilating it by reflected shadows1 and setting off the glory of every flower and fruit4 ,the expression of green is gaiety and modesty1 light and tenderness1 shadow and repose1 to both the eye and the mind4#bij ,it must be allowed that it is by the earliest associations of the individual1 or by those derived from the family1 the tribe or the nation1 that colours are connected with such attributes welded by art and time into traditional meanings1 which they absolutely possess1#bia and from which fashion cannot disconnect them2 such1 for instance1 is the royalty of purple4 ,the word purple is so indiscriminately used as a poetic epithet1 rather than as a distinctive appellation1 that much confusion has been caused by it4 ,historically1 among the ,persians1 ,greeks1 and ,romans it appears to have been simply the royal colour1 varying from the purest blue1 through every shade of violet1 down to the deepest crimson4 ,sometimes1 poetically1 purple seems to have described only a surface4 ,the breezy or stormy sea was purple2 the sky was purple2 the hyacinthine locks of ,narcissus1 the rosy lips of ,venus were purple4 ,as a textile1 velvet was purple1 even when it was white4#bib ,the epithets purple and wine-coloured are often bestowed on the ,mediterranean ,sea1 and are justified by its occasional hue3-- ,as from the clouds1 deep-bosom'd1 swell'd with showers1 ,a sudden storm the purple ocean sweeps1 ,drives the wild waves1 and tosses all the deeps4 ,pope's ,homer1 ,iliad1 b4 xi4 v4 #chc4 ,professor ,tyndall suggests that the soft green of the sea1 shadowed by clouds1 assumes a subjective purple hue4 ,homer must have observed this before he became blind4 ,pliny gives us much information about this colour2 he enumerates the different sea-shores and coasts1 ,egyptian1 ,asiatic1 and ,european1 whence came the shell-fish 7the murex and pelagia7 that produced the so-called ,tyrian purple dyes4#bic ,he says that ,romulus wore the purple1 and that the dyed garments1 all purple1 were sacred to the gods in those days4 ,after saying that it was still a colour of distinction1 he continues3 ,let us be prepared to excuse the frantic passion for purple1 though we are impelled to inquire why such a high value is placed on the produce of this fish1 seeing that in the dye the smell of it is offensive1 and the colour1 of a greenish hue1 resembles the sea when tempestuous4 ,he describes purples#bid as being differently coloured according as to whether these conchylia inhabited the sea mud1 the reefs1 or the pebbly shores1 the last being the most valuable4#bie ,this purple1 said to have been imported from the coasts of ,tyre1 was till lately sold in ,rome for its weight in gold2 it gave the burning rosy red dye of the ,cardinal's robes1 and was called ,porpora encarnadina1 purple incarnadine4 ,it is full of light and freshness1 and never fades2 in fact1 it has all the qualities ascribed to it by ,pliny4 ,it intensifies in the light4#bif ,after purple1 scarlet was the colour most esteemed by the ancients4 ,the ,israelites must have carried with them the dyes which coloured the hangings1 woven or embroidered1 belonging to the sanctuary in the wilderness1 of which the outer covering of rams' skins was dyed scarlet1 and was probably of the nature of red morocco4#big ,there was the mineral dye1 7cinnabar or red sulphate of mercury71 and the insect dye2 the first was probably used in mural painting4 ,it is translated in our ,bible as vermilion1 in the account given by ,jeremiah of a house1 ceiled with cedar1 and painted with vermilion4#bih ,also ,ezekiel gives us another instance of house-painting in vermilion4#bii ,homer1 who as a rule does not describe colouring1 says the ,greek ships were painted red4 ,it is probable that cinnabar was tempered1 by admixture of white or other colours1 for the monochrome painting of the ,egyptians and ,greeks4 ,it was called by the ,greeks miltos1 by the ,romans minium4 ,the dye of the red portions of the funeral tent of ,queen ,isi-em-,kheb1 ,shishak's mother-in-law1 is found by analysis to be composed of hematite 7peroxyde of iron7 tempered with lime4 ,this is a beautiful pink red4#cjj ,the mineral red now called vermilion must have borrowed its name from the insect dye which the ,greeks and ,romans called kermes4 ,in the ,middle ,ages the dye from the kermes was still called vermiculata1 of which the word vermilion is a literal translation4 ,we should be fortunate if we could find how the ,greeks and ,romans prepared the cinnabar for mural painting1 of which we find remnants in ruins and tombs--a lovely and pure red1 with a tender bloom on it like a fragment of the rainbow1 and not the slightest shade of yellow4 ,one of the most beautiful specimens of this scarlet that ,i am acquainted with1 is a small drinking-cup 7a rhyton7 at the ,british ,museum1 in the form of a sphinx1 with a white face1 gilded hair1 and a little cap of pure cinnabar1 which is so soft in tone that it suggests the texture of scarlet velvet4 ,cochineal1 which was first brought from ,america in the sixteenth century1 has now replaced almost every other scarlet dye for textiles4 ,crimson is once mentioned in ,chronicles as karmel1#cja which may mean the dye of the kermes insect2#cjb and from this the word crimson is legitimately derived4 ,whether the scarlet coupled with it is a vegetable1 mineral1 or insect colour1 we have no means of ascertaining4 ,though your sins be as scarlet1 they shall be as white as snow2 though they be red as crimson1 they shall be as wool4#cjc ,from what ,pliny says1 it appears that some green dyes were produced from a green clay2 others from metals4 ,copper furnished the most beautiful shades4 ,blue has always been extracted from indigo4 ,pliny tells us that the ,phnicians brought it from ,barbarike1 in the ,indies1 to ,egypt2 and he quotes the ,periplus on this subject4 ,he gives an amusing report that indigo is a froth collected round the stems of certain reeds2 but he was aware of its characteristic property1 that of emitting a beautiful purple vapour when submitted to great heat2 and he says it smells like the sea4 ,the ,egyptians likewise extracted blues from copper4 ,yellow was anciently1 in ,egypt1 sometimes a vegetable and sometimes a mineral dye4 ,browns and blacks were prepared from several substances1 especially pine wood and the contents of tombs burned into a kind of charcoal4 ,we find that lime1 chalk1 white lead1 and other mineral substances were employed by the ancients for the different approaches to dazzling whiteness4 ,that of the lily1 the emblem of purity1 can only be emulated in textile or pictorial art by opaque substances reduced as much as possible by bleaching to the last expression of the colour of the raw material4 ,nothing that is transparent can be really white1 as colours are seen through it1 as well as the reflected lights on the two surfaces4 ,in painting1 we can produce the effect of whiteness in different ways1 leading by the gradation of tender colours and shadows up to a high light4 ,but in textile art1 which is essentially flat1 it is necessary to pursue a different method1 and that of isolation is the most simple and effective1 and was well understood in ,egypt1 ,greece1 and ,india4 ,the white pattern1 or flower1 is surrounded with a fine dark line 7black is the best71 which effectually separates it from all the surrounding colours1 and gives it the effect of light1 even when the whiteness retains enough of the natural colour of the raw material to tone it down very perceptibly4 ,the eye accepts it as white1 and ignores the tint that pervades it1 and is hardly to be expelled from silk or wool4 ,linen and cotton are the whitest of materials1 after passing through the hands of the chemist or the bleacher4 ,it is amusing to observe that ,pliny regarded colours1 whether vegetable or mineral1 rather as useful for the pharmacopeia of his day1 than as dyes or artistic pigments4 ,he speaks contemptuously of the art of his time1 and yet he gives some curious hints that are well worth collecting for experiment4 ,his fragmentary information1 though often inaccurate1 is most valuable to those who are seeking once more to find lasting colours1 and despair of discovering mordants that will fix the aniline tints4 ,from him we learn more of the ,egyptian colouring materials than of any others1 as he named their sources1 ,european1 ,asiatic1 or ,african2 and there is no doubt of the perfection of their mural pigments and textile dyes1 which have remained unimpaired to the present time4 ,renouf says that painting1 as it is now understood1 was totally unknown to the ,egyptians2 but they understood harmony of colour1#cjd and formulated in it certain principles for decorative uses4 ,they made the primary colours predominate over the secondary by quantity and position4 ,they introduced fillets of white or yellow in their embroideries1 as well as in their paintings1 between reds and greens1 to isolate them2 and they balanced masses of yellow with a due proportion of black4 ,they never blended their colours1 and had no sense of the harmony of prismatic gradations1 or the melting of one tint into another2 each was worked up to a hard and fast edge line4 ,if in one part of a building1 one set of colours predominated1 they placed a greater proportion of other colours elsewhere1 within the range of sight1 so as to readjust the balance4 ,those they employed were mostly earthy mineral colours 7used alike for frescoes and for painting cotton cloths1 though vegetable dyes were needed for woollens and linens74 ,these were3 for white1 pure chalk2 for black1 bone-black mixed with gum2 for yellow1 yellow ochre2 for green1 a mixture of yellow ochre and powdered blue glass2 for blue1 this same blue glass mixed with white chalk2 for red1 an earthy pigment containing iron and aluminium4#cje ,they understood the chemistry of bleaching1 and the use of mordants in dyeing4#cjf ,the statistical records of ,china of the time of ,hias 7#bbje ,b4,c471 according to ,semper1 mention colours as being of five tints1 and all the produce of the ,chinese ,empire4#cjg ,in the unchanging art of ,india1 the ancient colours are used now4 ,therefore1 when we give the following list1 we must suppose that it embraces all that have been known from the beginning4 ,indian dyes are mostly vegetable4 ,for yellow1 akalbir1 the root of the ,datiscus ,canabinus2 also yellow is dyed with asbarg1 the flower of the ,cabul larkspur 7,delphinium sp474 ,orange4 ,soneri dyed with narsingar1 the honey-scented flower of nyclanthes 7,arbor ,tristis74 ,scarlet is first dyed with cochineal 7formerly with kermes71 which gives a crimson colour2 next with narsingar1 which turns it vermilion4 ,purple is dyed first with cochineal 7formerly kermes71 afterwards with indigo4 ,lilac4 ,ditto1 only paler4 ,blue4 ,all shades of indigo4 ,green4 ,with indigo first1 and next the various yellow dyes4 ,brown4 ,sandal-wood1 called sandali2 almond colour 7,badami74 ,grey4 ,sulphate of iron and gold4 ,black4 ,deepest shade of indigo4#cjh ,speaking of ,indian coloured textiles1 ,sir ,g4 ,birdwood says3 ,all violent contrasts are avoided4 ,the richest colours are used1 but are so arranged as to produce the effect of a neutral bloom1 which tones down every detail almost to the softness and transparency of the atmosphere4 ,he says that in their apparel both the colouring and the ornaments are adapted to the effect which the fabrics will produce when worn and in motion4 ,it is only through generations of patient practice that men attain to the mystery of such subtleties4 ,an outline1 in black or some dark colour that harmonizes with the ground1 or else worked in gold1 is common in ,indian work1 not only for the purpose of isolating the colours of the design1 but also to give a uniform tone to the whole surface of the texture4 ,their traditional arrangements of tints were thoroughly satisfying to the eye4 ,but degenerated by ,european commerce1 the artistic sense of beauty itself is disappearing throughout our ,indian ,empire4 ,persian carpets 7the fine old ones of the fourteenth to the seventeenth centuries7 give us lessons in the art of isolating colours4 ,in these1 a flower will lie upon a surface which contains two or more other tints1 and as the design passes over them1 the outline colour is changed1 so as to isolate the flower equally on the different grounds4 ,this is done with such art that the eye ignores the transition till it is called to remark it4 ,for instance1 as a white1 or no-coloured pattern1 wanders over a green and red ground1 the outline changes suddenly from green to red1 and again to green as it leaves the opposite colour on the ground pattern4 ,mr4 ,floyer speaks of the brilliancy and lasting qualities of the dyes which the ,persians1 by slow and tedious processes1 extract from plants2 from the runaschk 7madder71 a fine red2 from the zarili 7the golden71 which is a yellow flower from ,khorasan1 and also from the leaves of the vine1 a bright yellow4#cji ,they import indigo from ,shastra 7or from ,india71 by the ,khurum river4 ,he says these dyes are perfectly fast1 leaving no trace on a wetted rubber1 whereas the ,european dyes they sometimes use come off freely4 ,pliny says the ,gauls had invented dyes counterfeiting the purple of ,tyre2 also scarlet1 violet1 and green1 all of these were dipped in the juices of herbs4#caj ,vitruvius says the ,romans extracted dyes from flowers and fruits1 but he neither specifies nor describes them4 ,the ancient ,highland tartans were dyed with bark of alder for black1 bark of willow for flesh colour4 ,a lichen growing on stones supplied their violets and crimson4#caa ,the lichen on the birch-tree gives a good brown2 heather gives red1 purple1 and green4#cab ,thus we see that pure colours for dyeing textiles have been extracted from vegetable substances--herbs1 wood1 seeds1 flowers and fruits1 mosses and sea-weeds2#cac mineral substances--earths1 sands1 ores1 metals1 rusts1 and stones2 animal substances--both of land1 water1 and air2 beasts1 fishes1 shells1 birds1 and insects4 ,it is evident1 from the derivation of the word1 that there were chromatic scales in colour before the phrase was ever applied to music4 ,the ,greeks and ,romans are supposed to have understood chromatic scales of tints--animal1 vegetable1 and mineral--and except with the intention of producing startling effects1 they did not mix them4 ,they felt that each was harmonious as a whole1 and1 unlike the ,egyptians1 they studied harmony4 ,they arranged their scales according to the materials from which they were extracted1 and kept those from different chemical sources apart1 as being discordant4#cad ,one scale was that of the iodine colours1 of and from the sea4 ,marine products are mostly iridescent4 ,to comprehend this1 think of the harmonious interchange of delicate tints1 called by the ancients purple1 on a string of pearls4 ,shells and shell-fish1 sea-weeds and fish1 furnished these dyes4 ,they were called conchiliata4 ,the chemistry of the arts of bleaching was not unknown to the ancients2 but they reserved and regulated it for certain purposes1 preferring to retain at least a part of the original colouring1 as shades of grounding which served1 as a surface glaze does in painting1 to connect and harmonize the superinduced tints4 ,experiments with the object of reviving this mode of producing harmonious combinations1 have been made lately at the ,wilton ,carpet ,works1 by dyeing shades of colour on unbleached goat's and camel's hair1 and sheep's wool2 and the tones produced are beautifully soft and rich4 ,m4 ,edouard ,charton ascribes the great change in the modern scales of colours to the discovery by the ,french1 in the ,gobelins1 of a pure scarlet dye1 the use of which made it necessary to raise the tone of all other colours4 ,he says that scarlet was formerly represented by the dye called kermes1 which indeed was not scarlet1 but altered from crimson to something approaching it by the addition of narsingar1 of which the bright yellow gave the scarlet effect4 ,m4 ,chevreul1 director of the dyeing department of the ,gobelins1 has succeeded in composing the chromatic prism1 to which ,i have already alluded1 containing #ddbj different tones4 ,we may take it for granted1 that from these may be selected any possible scale of tints required for decorative work4 ,this vast area for choice of our material will impose on the artist of the future fresh responsibilities4 ,in the typical ,oriental colouring1 the whole arrangement was traditional1 and it was irreligious to depart from what had been fixed by statute many centuries before1 and only perfected by the experience of many generations of men2 and this veneration for traditional custom has hitherto been prevalent in ,european art to a certain point4 ,but the old conservative perfection of unadulterated colour has already been done away with4 ,the freedom of experimental art is chartered1 and mercantile interests now1 as ever1 govern the supply of materials4 ,our normal bad taste and carelessness has been cast back on the lands which were the cradle of art1 and we receive1 to our surprise1 gaudy1 vulgar1 and discordant combinations from the ,east1 whence we drew our first inspirations4 ,for the future we shall have to study ancient specimens1 and correct our errors by the help of their teaching to the eye and mind4 ,gas colours are at present our worst snares4 ,they are in general very beautiful2 but they are so evanescent1 and fade into such unexpected and contradictory tones1 that we cannot reckon upon them4 ,when embroidering with the coloured materials of the day1 we are in constant dread of what disastrous effect may be produced by the first shaft of sunshine that may fall from our moderately illuminated sky1 through the uncurtained window4 ,the trade in colours can hardly be an honest one1 till the means of fixing each tint permanently is ascertained4#cae ,at any rate1 something should be done towards grouping them1 with respect to their enduring qualities1 so that when they fade1 if fade they must1 they may do so harmoniously1 and in sympathy with each other2 and while they are in their first glow they should be selected1 as much as possible1 from what ,pliny calls natural colours1#caf which recall the exquisite effects of nature1 searched out and displayed by every sunny gleam1 reflected on each other in lovely tones1 and subdued and veiled by passing shadows4 ,it is said that ,mr4 ,wardle1 of ,leek1 is now seeking for dyes of pure unadulterated colours1 and mordants to fix them4 ,he deserves all success4 ,the reason ,i have entered1 in even so cursory a manner1 into the history of colours is my desire to point out the great value placed1 long ago1 on the careful preparation of those used in ancient textile art2 and to show how our forefathers sought them out in many lands and waters2 how they noted their varieties2 how they classed and prized them for their endurance as well as for their pristine beauty2 how they paid their weight in gold or silver for certain culminating tints2 and how they1 therefore1 produced works which became matters of history and landmarks in civilization4 ,,footnotes3 #bhc ,seeing1 they saw not1 neither did they understand4 #bhd ,see ,pliny's ,natural ,history1 which gives much information on the subject4 #bhe ,e4 ,curtius1 ,greek ,history2 ,engl4 ,trans41 i4 p4 #dch2 ,blmner's ,technologie1 p4 #baf4 #bhf ,charpentier differentiates in every normal eye a sensibility for light1 a sensibility for colour1 and a sensibility for form 7a visual sensibility74--,see ,modern ,theories of ,colour1 ,the ,lancet1 ,august #aith1 #ahhb1 p4 #bgf4 ,we can perceive1 by studying works of art1 how variously these gifts are distributed1 or1 at any rate1 how differently they are received and acted upon by individual minds4 #bhg ,the effect of colour on the brain is a subject only just now beginning to attract attention4 ,experiments on the insane have been made in ,italy1 especially1 ,i believe1 at ,venice2 and it is said to be ascertained that red and green are irritants1 whereas windows glazed with blue glass alternating with white have sensibly calmed the nerves of the patients4 #bhh ,let us compare the beautiful creations of the ,venetian school with the demoralizing brightness of aniline colours1 or the opaque1 earthy tints which some call beautiful1 mistaking their dulness for softness and sobriety of colouring4 ,but they1 too1 have their uses4 #bhi ,black and red are1 in ecclesiastical work1 the emblems of mourning4 #bij ,the ,bardic rules in early ,britain enjoined three simple colours3 sky blue1 the emblem of peace1 for the bard and poet2 green1 for the master of natural history and woodcraft2 spotless white 7the symbol of holiness71 for the priest and ,druid4 #bia ,the blind man said that red was like the sound of a trumpet1 which shows what a soul-stirring colour it was in his mind's eye4 #bib ,purpura is supposed to mean crimson velvet4 ,it came1 like cramoisi1 to be a name for a tissue4 ,fr4 ,michell quotes velvet of ,vermeil-cramoisi1 violet and blue cramoisi1 and pourpre of divers colours1 but he says he never met with pourpre blanche4 ,yule1 ed4 #ahge1 i4 p4 #fg4 ,plano ,carpini 7p4 #gee7 says the courtiers of ,karakorum were clad in white purpura2 and that on the first day of the great festival in honour of the inauguration of ,kuyuk ,khan1 all the ,mogul nobles were clad in pourpre blanche1 the second day in ruby purple1 and the third in blue purple3 on the fourth day they appeared in ,baudichin 7cloth of gold74 7,yule1 ,marco ,polo1 vol4 i4 p4 #cgf47 ,white purple is also named in the inventories of ,sta4 ,maria ,maggiore at ,rome1 and those of ,notre ,dame in ,paris4 ,histoire du ,tissu ,ancien1 l',exposition de l',union ,gnrale des ,arts ,dcoratifs4 #bic ,franois ,le ,normant1 in his ,grande ,grce1 tells of the dye of the purple of ,tarentum from the murex1 found in the ,mare ,piccolo4 ,he says that ,tarentine muslins1 woven from the filaments of the pinna dipped in the dye of the murex1 rivalled those of ,cos4 ,le ,normant laments the total neglect of the murex in these days 7could its trade be revived87 ,plutarch says that ,alexander the ,great1 having made himself master of ,susa 7,shushan71 found1 amongst other riches of marvellous value1 purple of ,hermione worth forty thousand talents 7,quintus ,curtius says fifty thousand71 which1 though it had been stored #aij years1 retained all its freshness and beauty4 ,see ,plutarch's ,lives1 edited by ,j4 and ,w4 ,langhorne1 vol4 ii4 p4 #gci2 ,blmner1 i4 p4 #bbd-bdj4 ,the reason assigned for their dye being so perfect was that the ,susanians knew how to comb the wool to be dipped1 and prepare it with honey4 ,according to ,aristotle the dress of ,alcisthenes1 the ,sybarite1 was dyed with this purple from ,shushan 7,ciampini1 ,vet4 ,mon474 #bid ,semper gives us an account of iodine colours4 ,some1 he says1 were extracted from sea-weeds1 green and yellow2 the purples1 when finest1 from the shell-fish4 ,the ,phnician coasts gave the best purples2 those of the ,atlantic the best blacks and browns4 ,and thus he completes the scale of iodine colours4 ,see ,semper1 ,der ,stil1 i4 p4 #bjf4 #bie ,heaps of the shells of this murex trunculus have been found at ,pompeii1 near the dyers' works4 ,hardouin says that in his time they were found at ,otranto1 and similar remains have been noticed at ,sidon4 ,sir ,james ,lacaita informs me that the living shells are still found along the shores of the ,adriatic1 as well as on the wash near ,argos4 ,no doubt the ,phnicians traded first in the produce of the ,sidonian and ,tyrian coasts1 though they afterwards went farther afield in collecting their dyes4 ,auberville says that the purple of the ,romans was a deep violet 7double dyed1 purpur dibaph71 and that this colour was ,asiatic4 ,the ,phnicians traded in it1 and sold it for its weight in silver4 ,instead of fading in the sunshine1 its colour intensified4 ,the enduring nature of this colour is proved by the purple fragments from a ,greek tomb in the ,crimea of about #cjj ,b4,c41 described in chapter on stitches1 p4 #bag4 ,see ,histoire du ,tissu ,ancien1 l',exposition de l',union ,gnrale des ,arts ,dcoratifs4 #bif ,though really red of the purest colour1 it doubtless received its name of ,tyrian purple as being one of the materials of the amethystine double dye4 ,the web or fleece was first dipped in the dye of ,purpura1 and then in that of the ,buccinum1 or they reversed the process to give a different tint4 ,this is ,pliny's account of the process of dyeing1 which is very simple1 and gives no details4 ,semper says that the ancients called black and white the two extremes of purple--white the thinnest1 and black the thickest or most solid layer of colour4 ,both were thus considered as colour4 7,semper1 i4 pp4 #bje-g47 ,as long as there is light1 black always appears to be either blue1 or brown1 or green1 till with darkness all colour disappears4 #big ,exod4 xxv4 ,semper 7i4 p4 #ajc7 suggests that these rams' skins were dyed with the periploca secamone--a plant still used for this purpose in ,egypt4 #bih ,jeremiah xxii4 #ad4 #bii ,ezekiel xxiii4 #ad3 ,the images of the ,chaldeans4 ,the men portrayed in vermilion on the wall4 #cjj ,villiers ,stuart1 ,funeral ,tent of an ,egyptian ,queen4 ,see ,appendix4 #cja #b ,chron4 ii4 #g4 #cjb ,the ,arabs received the kermis from ,armenia1 and the name was originally ,quer-ms1 oak-apple4 ,sardis was famed for its kermes dye4 ,see ,birdwood1 ,indian ,arts1 p4 #bch1 ed4 #ahhj1 and ,yule's ,marco ,polo1 i4 p4 #fg4 #cjc ,isa4 ii4 #ah4 #cjd ,renouf's ,hibbert ,lectures1 p4 #fg-fi4 ,it may be called balance1 rather than harmony4 #cje ,wilkinson1 ,manners of the ,ancient ,egyptians1 vol4 iii4 pp4 #cja-c4 #cjf ,blmner1 p4 #bbj4 ,see ,pliny1 ,natural ,history1 xxxv4 #db4 #cjg ,semper1 i4 p4 #bdh4 #cjh ,see ,birdwood's ,indian ,arts1 p4 #bgb4 ,in the ,code of ,manu1 black garments are sacred to the ,indian ,saturn1 yellow to ,venus1 and red to ,mars4 ,see ,birdwood1 p4 #bce4 #cji ,see ,floyer's ,unexplored ,baluchistan1 pp4 #bgh1 #cgc1 #djf4 ,the ,persians produce their deep yellow from the skin of the pomegranate1 by boiling it in alum4 ,major ,murdoch ,smith describes the ,persian processes for dyeing patterns red and black in textiles4 ,the ,italian women dye their own dresses in the pomegranate yellow2 also in turmeric yellow1 and other vegetable dyes4 #caj ,pliny1 ,natural ,history1 xxii4 #c4 ,unfortunately1 ,pliny seldom condescends to give us the recipes for dyeing processes4 #caa ,logan's ,scottish ,garb4 #cab ,see ,elton's ,origins of ,english ,history4 #cac ,the ,cretan tincture was extracted from a plant which ,theophrastus1 ,dioscorides1 and ,pliny respectively name4 ,the last calls it the ,phycos thalassion4 ,this was not a sea-weed1 but a lichen--probably the same from which the orchid purple of modern art is prepared4 ,see ,birdwood1 ,indian ,arts1 i4 p4 #bch4 #cad ,the same scale of colour varies as much on the different textiles employed1 as it does from the colours extracted from other chemicals4 ,silk1 wool1 cotton1 flax1 give very different results4 ,the colouring matter may be identical1 yet you cannot place them side by side without being aware that they may be repellant1 instead of harmonious in tone4 ,the scale is sometimes removed to another pitch1 and they will no more harmonize than instruments that have not been attuned to the same diapason4 ,see ,redgrave's ,report on ,textile ,fabrics4 #cae ,with the changes in colouring materials has arisen the necessity for discovering new mordants4 ,the gas colour of madder is exactly the same chemically as that extracted from the vegetable1 but the old mordant does not fix it1 and it changes very soon to a dull blackish-purple hue4 #caf ,pliny1 ,natural ,history1 ix4 #ab4 ,the most unnatural1 and the most disagreeable dyes1 are the magentas4 ,sir ,g4 ,birdwood tells us that the ,maharajah of ,cashmere has adopted a most efficient plan for the suppression of magenta dyes within his dominions--first1 a duty of #de per cent4 on entering the country1 and at a certain distance within the frontier1 they are confiscated and destroyed4 ,,chapter ,,vi4 ,part #a4 ,,stitches4 ,stitches in needlework correspond to the touches of the pencil or brush in drawing or painting1 or to the strokes of the chisel in sculpture4 ,the needle is the one implement of the craft by which endless forms of surface-work are executed4 ,with a thread through its one eye1 it blindly follows each effort of its pointed foot1 urged by the intelligent or mechanical hand grouping the stitches1 which1 being long or short1 single or mixed1 slanting1 upright1 or crossed1 are selected as the best fitted for the design and purpose in hand4 ,the word stitches does not1 however1 in this chapter represent merely the plural of one particular process of needle insertion1 but the produce and effect of each different kind of stitch by grouping and repetition1 according to its most ancient nomenclature4 ,that which is astonishing is the endless variety of surface1 of design1 of hints and suggestions1 of startling effects1 and of lovely combinations1 resulting from the direction of the needle and manipulation of the materials1 and differing from each other according to the power or the caprice of the worker4 ,but the machine is always the same--the threaded needle strikes the same interval1 forming the stitch4 ,this venerable implement1 the needle1 has1 through the ages1 varied but little in form4 ,the attenuated body1 the sharp foot1 the rounded head1 and the eye to hold the thread1 are the same in principle1 whether it is found in the cave-man's grave1 formed of a fish's bone or shaped from that of a larger animal2 hammered of the finest bronze1 as from ,egypt1 or of gold1 like those found in ,scandinavia4 ,a bronze needle was lately discovered in the tomb of a woman of the ,vikings in ,scotland1 and its value is shown by its being placed in a silver case4 ,steel needles were first made in ,england in #aede1 by a native of ,india4 ,his successor1 ,christopher ,greening1 established a workshop in #aefj at ,long ,crendon1 in ,bucks1 which existed there as a needle factory till quite lately4 ,the rustic poetic drama1 entitled ,gammer ,gurton's ,needle1 performed at ,ch4 ,coll41 ,cambridge1 in #aeff1 was a regular comedy1 of which a lost needle was the hero4 ,in those days the village needle was evidently still a rare and precious possession4 ,illustration3 ,fig4 #bj4 #a1 #b1 #c1 #d1 #e1 ,bronze needles from ,egyptian tombs now in ,british ,museum4 #f4 ,cave-man's needle from the ,pinhole1 ,churchfield1 ,ereswell ,crag4 #g4 ,bone needle from ,la ,madeleine1 ,dordogne4 ,the art of embroidery consists of a design1 which includes the pattern1 and the handicraft or stitches--the motive and the needlework4 ,in painting1 as in sculpture1 the first idea1 as well as the last touch1 must come from the same head and hand4 ,but in needlework it is not so4 ,the pattern is the result of tradition4 ,it is almost always simply a variation of old forms1 altered and renewed by surrounding circumstances and sudden or gradual periods of change4 ,however much the design may alter1 rising often to the highest point of decorative art1 and as often falling back to the lowest and most meaningless repetitions and imitations1 the stitches themselves vary but little4 ,the same are to be found in ,egyptian and ,greek specimens1 and the classical names are those used by medival writers1 and have come down to us1 floating like bubbles on the waves of time4 ,sir ,george ,birdwood#cag thinks that every kind of stitch is found in traditional ,indian work4 ,i confess that ,i have not been able hitherto to trace any of the mosaic stitches to ,india1 nor do we ever see them in ,chinese or ,japanese embroidery1 which shows every other variety4 ,they are1 however1 occasionally found in ,egyptian work4 ,the following is a list of stitches1 under the nomenclature of classical1 ,roman and medival authors3-- ,opus ,phrygionium or ,phrygium4 ,passing or metal thread work4 ,opus ,pulvinarium4 ,shrine or cushion work4 ,opus ,plumarium4 ,plumage or feather work4 ,opus ,consutum4 ,cut work4 ,opus ,araneum or ,filatorium4 ,net or lace work4 ,opus ,pectineum4 ,tapestry or combed work4 ,here are two ,english lists of stitches2 their quaintness must be my excuse for copying them4 ,the first is from ,taylor1 the water-poet's ,praise of the ,needle 7sixteenth century73-- ,tent work1 raised work1 laid work1 prest work1 ,net work1 most curious pearl or rare ,italian cut work1 ,fine fern stitch1 finny stitch1 new stitch1 and chain stitch1 ,brave bred stitch1 fisher stitch1 ,irish stitch1 and queen's stitch1 ,the ,spanish stitch1 rosemary stitch1 and maw stitch1 ,the smarting whip stitch1 back stitch1 and the cross stitch4-- ,all these are good1 and these we must allow1 ,and these are everywhere in practice now4 ,the second list is from ,rees' ,cyclopdia 7,stitches71 #ahai3-- ,spanish stitch1 ,tent stitch on the finger1 ,tent stitch in the tent or frame1 ,irish stitch1 ,fore stitch1 ,gold stitch1 ,twist stitch1 ,fern stitch1 ,broad stitch1 ,rosemary stitch1 ,chip stitch1 ,raised work1 ,geneva work1 ,cut work1 ,laid work1 ,back stitch1 ,queen's stitch1 ,satin stitch1 ,finny stitch1 ,chain stitch1 ,fisher's stitch1 ,bow stitch1 ,cross stitch1 ,needlework purl1 ,virgin's device1 ,open cut work1 ,stitch work1 ,through stitch1 ,rock work1 ,net work1 and ,lent work4 ,all which are swete manners of work wroughte by the needle with silke of all natures1 purls1 wyres1 and weft or foreign bread 7'braid'71 etc41 etc4 ,part #b4 ,,plain ,,work ,,and ,,white ,,work4 ,we are told that the primal man and woman sewed in ,paradise4 ,to sew1 in contradistinction to the word to embroider1 is derived from the ,sanskrit su1 suchi1 and thence imported into ,latin1 suo4#cah ,to prove how highly esteemed needlework was among the ,romans1 ,i may mention that the equivalent of the phrase to hit the right nail on the head was rem acu tangere1 to touch the question with the point of the needle4 ,plain work is that which is necessary4 ,as soon as textiles are needed for covering and clothing1 the means are invented for drawing the cut edges together1 and for preventing the fraying where the material is lacerated by the shaping process4 ,hence the seam1 the hem1 and all the forms of stitches that bind and plait4 ,these necessary stitches constitute plain needlework1 and are closely followed by decorative stitches1 which in gradation cover the space between plain needlework and embroidery4 ,semper has given us his archological theories for the origin of needlework and its stitches4 ,these are his arguments1 if not always his words4 ,he says3 ,the seam is one of the first human successful efforts to conquer difficulties4#cai ,a string1 a ribbon1 a band1 may serve to keep together several loose things2 but by means of the seam1 small things actually become large ones4 ,for example3 a full-grown man can1 by its help1 cover himself with a garment made of the skins of many small animals4 ,when ,eve sewed fig-leaves together1 she made of these small pieces a garment of patchwork4 ,acting on the principle of making a virtue of necessity1 accepting and adorning the severe facts of life1 seams came to be an important vehicle of ornament4 ,the ,gauls and ,britons embroidered the seams of their fur garments4 ,we may judge of the antiquity of the seam by its universal and mythological meaning4 ,the seam1 the tie1 the knot1 the plait1 and the mesh are the earliest symbols of fate uniting events4#cbj ,we find but little mention of plain work in medival writings4 ,when linen was worked for some honourable purpose1 such as a gift to a friend or a royal personage1 it was generally embroidered or stitched in some fancy fashion4 ,queen ,elizabeth presented ,edward ,,vi41 on his second birthday1 with a smock made by herself4 ,fine linen was about this time constantly edged with bone laces4 ,mrs4 ,floyer has written so well1 and given us so much practical information on plain needlework1 that ,i feel it unnecessary to enter at any length into the principles of plain sewing1 as my theme is needlework as decorative art4 ,mrs4 ,floyer has1 as it were1 unpicked and unravelled every stitch in plain work1 till she has discovered and laid bare its intention1 its construction1 and effect4 ,she1 has also given us rules made clear to the dullest understanding1 instructing us how to teach the young and ignorant4 ,she shows us the quickest and most perfect way of working different materials for different purposes1 and tells us how to select them4 ,i will1 therefore1 refer my readers to her most useful and instructive books1#cba and pass on at once from the craft of plain needlework1 to stitches as the art of embroidery4 ,the link between plain and decorative work deserves attention4 ,this link is white embroidery4 ,i imagine it was not a very ancient form of the art1 and was practised first in medival days2 when we begin to have constant notices of it4 ,the first white laces appear to have followed close upon the first white embroideries4 ,there is a tomb of the fourteenth century in the ,church of the ,ara ,cli at ,rome1 where the effigy of a knight lies on his bed1 draped with a sheet and a coverlet1 both embroidered4 ,these are evidently of linen worked in white4#cbb ,i give a drawing of them in illustration 7pl4 #ci74 ,from that date we find continually mention of such work by nuns and ladies4#cbc ,in ,england it was especially called nuns' work 7plate #db74 ,there is a great survival of this stitchery in ,italy amongst the peasantry4 ,they have always adorned their smocks and aprons1 and their linen head-coverings1 and the borders of sheets for great occasions1 with patterns in flat stitches1 cut stitches1 and drawn work4 ,the ,greek peasants do the same4 ,in ,germany will be found much curious white embroidery1 of designs which show their antiquity2 and from ,spain we get ,spanish work in black1 on white linen1 which is nearly allied to the stitches of white work4 ,illustration3 ,pl4 #ci4 ,embroidery imitated in marble on the tomb of a knight1 in the ,church of the ,ara ,cli1 ,rome4 ,lord ,arundel of ,wardour possesses a linen cover for a tabernacle 7or else it is a processional cloak7 which is of the purest ,hispano-,moorish design1 and unrivalled in beauty4 ,it is embroidered in ,spanish stitches in white thread1 on the finest linen1 and is intersected with fine lace insertion 7pl4 #dj74 ,it is said to have been found in the time of ,elizabeth with some other articles in a dry well2 among them a little satin shoe1 of which the shape proves its date to be of the end of ,henry ,,viii4's reign4 ,russian embroidery1 consisting of geometrical patterns in red1 blue1 and black thread1 is of this class4 ,illustration3 ,pl4 #dj4 ,processional ,cloak1 time of ,henry ,,viii41 belonging to ,lord ,arundel of ,wardour4 ,in ,england alone1 the peasantry do no white work for home use1 and we must suppose it has never been a domestic occupation4 ,indeed1 the love of the needle is by no means an ,english national tendency1 in the lower classes4 ,nothing but the plainest work is taught in our schools4 ,anything approaching to decorative art1 with us1 has been the accomplishment of educated women1 and not the employment of leisure moments in the houses of the poor4 ,semper1 in ,der ,stil1#cbd gives rules for white embroidery1 and the reasons from which he deduces them are good4 ,he says1 that allowing it as a maxim that each textile has its own uses and its own beauties1 we should place nothing on linen which would militate against its inherent qualities and merits2 and that1 as the great beauty of flax is its smoothness and purity1 all projections and roughnesses should be avoided which would catch dust or throw a shadow4 ,carrying out this idea1 it would appear that satin1 and not lace stitches are therefore1 the most suitable for this kind of decoration4 ,the accepted rule for selecting the stitch for each piece of work is this3 on stout grounds the thread should be round and rich1 whereas delicate materials carry best the most refined and shining thread work2 and in embroidering the smooth surface of linen fabrics1 the flattest stitches are the most appropriate4 ,part #c4 ,,opus ,,phrygium 7or gold work74 ,gold embroideries were by the ,romans attributed to the ,phrygians4 ,all gold work was vaguely supposed to be theirs1 as all other embroidery was included in the craft of the ,plumarii in ,rome4 ,it has been disputed whether needlework in gold preceded the weaving of flat gold or thread into stuffs1 or whether it was an after-thought1 and an enrichment of such textiles4 ,i imagine that the embroidery was the first1 and that the after-thought was the art of weaving gold4 ,babylonian embroideries appear to be of gold wire1 as we see them in the ,ninevite marbles4 ,an instance of the way golden embroideries were displayed among the ,greeks is that of the ,athenian peplos1 which1 as ,i have already said 7p4 #cb71 was worked by embroideresses under the superintendence of two ,arrhephor of noble birth4 ,it was either scarlet or saffron colour1 and blazed with golden representations of the battles of the giants1 or local myths and events in the history of ,athens4#cbe ,the art of the ,phrygians1 who gave their name in ,rome to all golden thread-work1 has come down to us through the classic auriphrygium and the orphreys of the ,middle ,ages4 ,semper thinks that the flat gold embroidery was the first invented4#cbf ,the ,phrygians had attained to the utmost perfection in tissue ornament when the ,romans conquered them1 and finding their art congenial to the growing luxury of ,rome1 they imported and domesticated it2 both the people and their work retaining their national designation4 ,pliny1 ignorant of the claims of the ,chinese1 gave to the ,phrygians the credit of being the inventors of all embroidery4#cbg ,the garments they thus decorated were called phrygion1 and the work itself opus ,phrygium4 ,the term auriphrygium1 at first given to work in gold only1 was in time applied to all embroidery that admitted gold into its composition2 and hence the ,english medival term1 orphreys4 ,all the gold stitches now called passing came from ,phrygia2 ,semper attributes all the mosaic stitches to the ,phrygians1 calling them opus ,phrygionium4#cbh ,gold stitches are splendidly exemplified in the embroidered mantle of ,st4 ,stephen1 of the ninth century4 ,the only somewhat earlier piece of medival gold embroidery with which ,i am acquainted is the dalmatic of ,charlemagne in the ,vatican1 richly embroidered in fine gold thread2 and the mantle of the ,emperor ,henry ,,ii4 in the ,museum at ,munich1 worked by his ,empress ,kunigunda1 who appears to have been somewhat parsimonious in her use of the precious material4 ,almost all ecclesiastical and royal ancient embroideries were illuminated with golden grounds--golden outlines or golden flat embroideries4 ,later still1 raised gold thread work has imitated gilt carvings or goldsmiths' jewellery2 and we feel that it was at once removed from its place as embroidery1 and became an elaborate imitation of what should belong to another craft4#cbi ,such deviations from the proper office and motive of needlework are so dangerously near to bad style and bad taste1 that they always and inevitably have fallen into disrepute4 ,part #d4 ,,opus ,,pulvinarium 7or cushion work74 ,this opus pulvinarium is not only to be found in ,oriental work1 but it has also survived in a very few fragments from ,egypt4#ccj ,one of these1 in the ,british ,museum1 is worked on canvas1 in wool and flax2 another in a white shining thread1 resembling asbestos1 on linen or fine canvas4 ,they are regular canvas or cross stitches1 and therefore1 under medival nomenclature1 would be classed as opus pulvinarium4 ,this name must include all stitches in gold1 silk1 and wool1 whether ,phrygian1 ,egyptian1 or ,babylonian in their origin1 excepting the flat and lace stitches 7plate #da74 ,illustration3 ,pl4 #da4 ,,mosaic ,,stitches4 #a4 ,italian ,pattern1 sixteenth century4 ,from ,frida ,lipperheide's ,musterbuch4 #b4 ,scandinavian4 ,bock1 i4 taf4 xi4 #c4 ,egyptian4 ,from ,auberville's ,tissus1 p4 #a4 ,semper's term1 mosaic stitches1 is a good one1 as it covers all that are relegated into patterns in small square spaces1 counted by the threads of the textile on which they are laid4#cca ,he believes that the mosaic patterns and cross stitches in needlework preceded the tesselated pavements1 and formed their first motive1 though the stitch now refers itself back to the mosaic1 at least in name4 ,it is remarkable that in ,chaldea and ,assyria there still exist some ruined walls1 which are adorned with pilasters1 panels1 and other architectural forms1 covered with some sort of encaustic1 imitating textile patterns4#ccb ,the effect is produced by means of a kind of mosaic work of small nails or wedges of baked clay1 with china or glazed coloured heads4 ,these are inlaid into the unbaked clay or earth1 of which the walls are constructed1 and while binding it together1 give the effect of the surface being hung with a material which has a pattern worked all over in cross stitch4 ,the ,chinese1 the ,chaldeans1 and the ,assyrians long continued to show in their buildings the tradition of this style of decoration4 ,in ,egypt there has been found some unfinished mural painting where the plaster has been previously prepared by dividing it into small rectangular spaces1 apparently on the principle of the canvas ground for cross stitches4 ,the name mosaic stitch does not interfere with1 or militate against the classical appellation of opus pulvinarium1 which means shrine work or cushion stitches4 ,these appear to have been from the first considered as the best suited for adorning cushions1 chairs1 footstools1 and the beds on which men reclined at their feasts1 as they are firmly-set stitches which will stand friction4 ,most of the work now done in ,syria1 ,turkey1 ,greece1 and the ,principalities1 shows different forms of the mosaic stitches2 so also does the national ,russian work1 which is ,byzantine4 ,all these designs are conventional and mostly geometrical4 ,this work1 in the ,east1 is generally the same on both sides4 ,we may infer that the spoil anticipated by ,sisera's mother1 the garments embroidered on both sides1 fit for the necks of those who divide the spoil1 was of this kind4 ,thus we see that the opus pulvinarium has a very respectable ancestry2 and though it had somewhat degenerated in the early part of our century1 and had languished and almost died out under the name of ,berlin wool work1 yet it has done good service through the days of medival art down to the present time1 both in ,england and throughout ,europe 7pl4 #db72 and it will probably revive and continue to be generally used4 ,though the least available for historical or pictorial work1 and not by any means the best for flower-pieces 7as the squareness of the stitches refuses to lend itself to flowing lines or gradations of colour1 unless the stitches are extremely fine1 and the work1 in consequence1 very laborious71 yet it finds its especial fitness in all geometrical designs4 ,it is also particularly well suited to heraldic subjects4 ,a remarkable example of the use of cross stitches exists in the borders of the ,syon cope1 in which the coats-of-arms are so executed4 ,this is of the thirteenth century2 and besides these cushion stitches1 it exhibits all those which are grouped in the style called opus ,anglicum or ,anglicanum4 ,illustration3 ,pl4 #db4 ,italian ,nun's ,work1 from a pyx cloth1 sixteenth century4 ,many charming designs for this kind of stitch may be found in the old ,german pattern-books of the ,renaissance 7,spitzen ,musterbcher71 and also in those ,venetian ,corone di ,vertuose ,donne lately reprinted by the ,venetian publisher ,organia4 ,these are worthy of a place in every library of art4 ,it would seem best to place the chain stitch named tambour in this class1 as it naturally assimilates with the plaited and cross stitches4 ,it is so called from the drum-shaped frame of the last century in which it was usually worked4 ,part #e4 ,,opus ,,plumarium 7or plumage work74 ,the ,opus ,plumarium is one of the most ancient groups1 and includes all flat stitches1 of which the distinguishing mark is1 that they pass each other1 overlap1 and blend together4 ,stem1 twist1 ,japanese stitch1 and long and short or embroidery stitch1 belong to this class1 to which ,i propose to restore its original title of plumage work4 ,the origin of the name is much disputed1 but it is supposed to have pointed to a decoration of plumage work1 and we find that feathers have been an element in artistic design from the earliest times4 ,there were patterns in ,egyptian painting which certainly had feathers for their motive 7fig4 #ba1 p4 #bjh74 ,semper1 finding that birds'-skins were a recognized article for trade in ,china1 #bbje ,b4,c41#ccc believes that they were used as onlaid application for architectural decoration2 and this is possible1 for we still obtain from thence specimens of work in different materials partly onlaid in whole feathers1 whereas sometimes the longer threads of the feathers are woven by the needle into the ground web4 ,in ,her ,majesty's collection there are some specimens from ,burmah--creatures resembling sphinxes or deformed cherubim1 executed in feathers1 applied on silk and outlined in gold4 ,we have likewise from ,burmah1 in the ,indian ,museum1 two peacocks#ccd similarly worked2 the legs and beaks are solidly raised in gold thread2 and the outlines also are raised in gold1 giving the appearance of enamelling4 ,the cloisonn effect of brilliant colours1 contrasted and enhanced by the separation of the gold outlines1 can be seen to perfection in specimens of the beautiful ,pekin jewellers' work1 where the feathers are inlaid in gold ornaments for the head and in the handles of fans4 ,nothing but gems can be more resplendent4 ,illustration3 ,fig4 #ba4 ,feather patterns1 ,egyptian4 ,these survivals help us to understand the casual mention we find in classical authors1 of the works of the ,plumarii1 which appellation was given at last to all embroiderers who were not ,phrygians4#cce ,we have other glimpses of ,oriental feather-work in different parts of ,india4#ccf ,the use of feathers is common in the islands of the ,pacific4 ,it is native to the ,sandwich islanders2 and ,m4 ,jules ,remy describes the ,hawaiian royal mantle1 which was being constructed of yellow birds' feathers through seven consecutive reigns1 and was valued in ,hawaii at #e1jjj1jjj francs4 ,a mantle of this description is the property of ,lady ,brassey4 ,in ,africa1 ancient ,egyptian art furnishes us with traditional feather patterns and head-dresses2 and ,pigafetta tells us of costumes of birds' skins1 worn in the kingdom of ,congo in the sixteenth century for their warmth2 sea-birds' feathers being highly esteemed4#ccg ,in ,america1 where birds are most splendid1 the art of the feather worker was carried to the greatest perfection4 ,it was found there by the ,spaniards1 and recorded in all their writings for its beauty of design and execution1 and for its great value1 equal to that of gold and precious stones4 ,though now looked down upon1 as being a semi-barbarous style of decoration1 because it exists no longer except in semi-barbarous countries1 we must consider feather work as a relic of a past higher civilization which has died out1 rather than simply as the effort of the savage to deck himself in the brightest colours attainable4 ,feather-work is a lost art1 but the name of opus plumarium remains1 and proves that it was still recognized as such in the days of ,roman luxury4 ,the name survived when the practice was all but forgotten in ,europe1#cch and the art itself disused1 probably1 because the birds of our continent rarely have any lovely plumage to tempt the eye4 ,but the glory of feather-work was found again in ,mexico and ,peru1 and the surrounding nations1 in the sixteenth century--praised1 exalted1 demoralized1 and crushed out by the cruelties of conquest4 ,the ,spaniards at first brought home beautiful garments and hangings1 representing gods and heroes1 all worked in feathers4#cci ,under their rule the natives produced pictures agreeable to the taste of their masters4 ,pope ,sixtus ,v4 accepted a head of ,st4 ,francis1 which had been executed by one of the ablest of the amantecas 7the name for an artist in feathers74 ,sixtus was struck with surprise and admiration at the beauty and artistic cleverness of the work1 and1 until he had touched and examined it closely1 would not believe that plumage was the only material used4 ,there are beautiful hangings and bed furniture at ,moritzburg1 near ,dresden1 said to have belonged to ,montezuma4 ,they were given to ,augustus the ,strong1 ,king of ,poland1 by a king of ,spain4 ,in the seventeenth century1 and later1 feather work was still an art in ,mexico1 the convents continuing to preserve its traditions4 ,bustamente says that this industry was still in operation in the beginning of our century4 ,the ,mexican ,museum preserves specimens of the last three hundred years1 from the time of the conquest of ,mexico4 ,there is in the ,cluny ,museum1 in ,paris1 a beautiful triptych1 evidently of the sixteenth century4 ,it is worked in feathers1 with delicate outlines in fine gold thread4 ,nothing can exceed the tenderness and harmony of the colouring in shades of blue1 and warm and cool brown tints4 ,this is probably a survival of that lost art of ,mexico which was carried on in their convents1 and may have been a copy of a treasured relic of ,european art4 ,among the few noteworthy specimens that have survived1 is the mitre of ,st4 ,carlo ,borromeo at ,milan1 described by ,m4 ,f4 ,denis as being both artistic and beautiful4 ,he tells us in his ,appendix that even now1 a tissue of feathers is woven in ,france1 as soft and flexible as a silk damask2 and rivalling the ,mexican scarlet feather fabric1 which the ,spaniards admired so greatly4 ,he also speaks of the inlaid feather work1 invented by ,m4 ,le ,normant of ,rouen1 in the last century1 and afterwards continued in ,paris by his ,english pupil1 ,mr4 ,levet1 who sold two of his works to the then ,duke of ,leeds1 in #agce4 ,the first is a vase of flowers1 the second a peacock1 designed by ,m4 ,oudry 7peintre du ,roi74 ,both of these1 framed as screens1 are now at ,hornby ,castle4 ,unfortunately feathers are1 by their nature1 most attractive to that greatest destroyer1 next to ,attila--the moth4 ,ghirlandajo called mosaic in marble and glass1 painting for eternity2 we may call feather work1 painting for a day4 ,from the essays of ,m4 ,ferdinand ,denis1#cdj much may be learned of the arte plumaria of the ,mexicans and their neighbours of ,brazil1 ,guatemala1 ,peru1 and ,yucatan1 and the land of the ,zapotecas1 c41 where it was also cultivated4 ,he says that their civilization is so mysterious that we have as yet no means of judging whence came their art4 ,fergusson suggests the similarity between ,central ,asian and ,central ,american art1 both in architectural forms and plastic and sculptured remains4 ,he thinks that its tradition was transmitted from ,asia to ,america in the third and fourth centuries of our era4 ,if so1 it was an unlucky moment for the recipients1 as the art of ,asia1 as well as that of ,europe1 was then at its lowest and most debased phase2 perhaps1 however1 the more fit for the fertilization of that of a perfectly barbarous people4 ,there is something fascinating in the suggestions on this subject in ,mr4 ,donelly's ,atlantis2 but when conjecture is only founded on tradition1 and without proof1 we must not take it into serious consideration4 ,having proved the universal use of feathers1 it is not difficult to appreciate the causes which suggested everywhere the transfer of this decorative art to another craft1 employing less perishable materials4 ,embroidery probably followed it closely and absorbed it throughout ,asia and in ,egypt2 and the survivals now are only an accidental specimen1 a tradition1 and a name4#cda ,the name ,plumarii1 for the embroideries1 is thus fully accounted for1 and we need seek no further elucidation4 ,it was commonly used in classical ,roman times4 ,opus plumarium seems to have become the legitimate term for all needlework4 ,the ,plumarii were the embroiderers1 whether their work was in wool1 or thread1 or in silk 7at a later period71#cdb with or without admixture of gold or silver 7as the ,argentarii were the jewellers74 ,the article on the word plumarius in ,hoffman's ,lexicon1#cdc after describing two kinds of ,plumarii1 ,phrygians and ,babylonians1 proceeds to say1 ,these latter1 who wove garments and hangings of various colours1 were called ',plumarii2' but though this name was at first confined to craftsmen who wove patterns in the shape of feathers1 in course of time the name was extended to those artists who1 with the needle or by painting1 embellished robes4#cdd ,the opus plumarium included1 as ,i before said1 all flat stitches2 and ,i repeat that feather application was certainly its first motive2 and next came the stitches that conveyed the same desired effect1 though a new material was employed1 fitted for the needle1 which1 having served its apprenticeship in plain work1 now came to the front as a decorative agent4 ,painting with the needle began with an attempt to model with it2 the lay of stitches being so arranged as to give the whole effect of light and shadow1 so as to delineate the forms without changing the shades of the material used4 ,i give on the opposite page some ,japanese birds1 which will explain what ,i mean4 ,the stitches are so intelligently placed as absolutely to give the forms of the birds imitated4 ,they represent plumage1 and a more artistic representation cannot be imagined4 7,pl4 #dc47 ,the same stitch which we find prevailing in ,china and ,japan as plumage work1 is employed in embroidering flowers4 ,here satin1 stem1 and plumage stitches are blended together1 and excellent decorative effects are produced2 but the texture of flowers is not to be imitated1 as is that of the plumage of birds4 ,satin stitch is a more restricted form of plumage stitch2 and stem is another variety of these flat stitches1 very useful in its place4 ,i therefore have assigned the name of plumage stitch to that hitherto called embroidery or long and short stitches2 and ,i give the term plumage work to include all the flat stitches4 ,practically1 it is allowed that these flat stitches1 especially the plumage stitch1 give most scope for freedom in needlework1 as they are laid on at once1 and according to the inspiration of the worker1 and may cover the outline and efface it4 ,the stitches are not counted1 and have more of the nature of touch than any others1 as their length1 thickness1 and closeness may be varied at will4 ,the artist's design thus admits of interpretation according to the taste and feeling of the needlewoman4 ,illustration3 ,pl4 #dc4 ,japanese ,opus ,plumarium4 ,part #f4 ,,opus ,,consutum 7or cut work74 ,this is ,patchwork1 or ,appliqu 7inlaid and onlaid74 ,vasari calls it ,di commesso1 and says that ,botticelli invented it for the use of ,church banners1 as being much more effective than any other style of work1 or even than painting1 as the outlines remained firm 7non si stinguano71 and were not affected by the weather 7as in painted cloths7 and were visible on both sides of the banner4 ,botticelli drew with his own hand the baldachino of ,or ,san ,michele1 and the embroideries on a frieze carried in procession by the monks of ,santa ,maria ,novella2 he died #aeae4 ,perhaps he may have revived the art of application in his own day4 ,there are1 however1 much earlier examples of patchwork1 of which the first and most remarkable is the ,egyptian funeral tent of ,queen ,isi-em-,kheb1 mother-in-law of ,shishak1 who besieged and took ,jerusalem three or four years after the death of ,solomon1 ,b4,c4 #ihj4 ,it may be described as a mosaic1 or patchwork of prodigious size1 made of thousands of pieces of gazelles' skins1 dyed1 and neatly sewn together with threads of colour to match1 resembling the stitching of a glove1 the outer edges bound with a cord of twisted pink leather1 sewn on with stout pink thread 7pl4 #dd74 ,the colours are described as being wonderfully preserved1 when it is remembered that they are nearly as old as the ,trojan ,war2 though perhaps their preservation is less surprising than that the flowers wreathed about several royal mummies of the same period should have shown their colours and forms when the cases were first opened1 so as to be recognized as blue larkspur1 yellow mimosa1 and a red ,abyssinian flower1 massed closely together on the foundation of a strong leaf cut in zigzags4 ,among the flowers lay a dead wasp1 whose worthless little form and identity were as perfectly preserved as those of the mighty monarch on whose bosom it had completed its short existence4 ,the tent itself consists of a centre or flat top1 divided down the middle1 and covered over one half with pink and yellow rosettes on a blue ground2 on the other half are six large vultures1 each surrounded with a hieroglyphic text which is really an epitaph4 ,the side flaps are adorned first with some narrow bands of colour2 then with a fringe pattern2 then with a row of broad panels1 red1 green1 and yellow1 with a device or picture and inscription in the two other colours2 on this border there are kneeling gazelles1 each with a pink ,abyssinian lotus blossom hanging to its collar4 ,the rest of the side flaps and the whole of the front and back flaps are composed of large squares1 alternately pink and green4 ,this1 for its antiquity1 its style1 its stitchery1 materials1 and colours1 is a most interesting work of early art1 and an example of the perfection to which it had attained4 ,it is remarkable how much variety of effect has been produced with only four colours1 by the artistic manner of placing and contrasting them4 ,to our more advanced taste1 however1 the whole effect of the contrasting colours is inharmonious and gaudy1 though certainly striking and typical4#cde ,another piece of ,egyptian application1 from the ,museum at ,turin1 is a pretty leaf pattern cut out in red stuff1 laid on a white ground1 and worked down with a darker outline of the same colour4#cdf ,illustration3 ,fig4 #bb4 ,piece of appliqu in red stuff and red outlines from ,egypt4 ,illustration3 ,pl4 #dd4 ,funeral ,tent of ,isi-em-,kheb4 ,from ,villiers ,stuart's ,funeral ,tent of an ,egyptian ,queen4 ,we have an instance of ancient application of about #fjj years later1 ,greek in its beauty of design and execution4 ,alas6 we can only ascertain1 from tattered fragments taken out of a tomb in the ,crimea1 that it was parsem with figures on horseback or in chariots4 ,the border is very beautiful4 ,compare the fragments of which we have obtained a copy with the mantle of ,demeter1 from a ,greek vase1 and you will perceive how the styles correspond 7,pl4 #af1 ,fig4 #bc74 ,the ground material is of the finest woven wool1 of a deep violet or purple colour1 enriched with application of another fine woollen fabric of a most brilliant green1 worked down1 outlined and embroidered in white1 black1 and gold-coloured wool1 apparently in stem stitches4#cdg ,the accompanying illustration gives the effect and general design of the outer border only1 in which the applied leaf is worked down in red1 gold1 and white4 ,it is much to be regretted that the centre of the mantle is so tattered and discoloured that it is impossible to do more than ascertain that the design that is embroidered on it consists of figures on horseback or in chariots1 in spirited attitudes4 ,the second and broader border is to be found 7pl4 #ag74 ,illustration3 ,fig4 #bc4 ,narrow border of a ,greek mantle4 ,opus consutum cannot in any sense perhaps be the name of a stitch or stitches4 ,but it applies to a peculiar style of embroidery employing certain stitches4 ,it is the term given to all work cut out of plain or embroidered materials1 and applied by working down to another material as grounding4 ,it includes all raised and stuffed application in silk1 woollen1 and metal thread work4 ,it has been given to all work in which the scissors are active agents1 whether in cutting out the outlines or in incising the pattern1 as in much of the linen and muslin embroideries of our day1 now called ,madeira work1 of which a great deal was made in the first part of the century by ,english ladies who designed and collected patterns from each other1 and gave the produce of their industry as gifts to their friends for collars1 cuffs1 and trimmings4#cdh ,cut work is named by ,chaucer1 and is constantly to be found in inventories from his time to the beginning of the last century4 ,at ,coire1 in the ,grisons1 is a very beautiful chasuble1 of which the orphrey is of the school of the elder ,holbein or ,lucas ,cranach1 applied and raised so as to form a high relief4 ,the figures are covered with satin and embroidered4 ,the chasuble itself is of fine ,saracenic silk1 woven with golden inscriptions in broad stripes4 ,the colours are brown1 crimson1 and gold4 ,illustration3 ,wall ,pilasters ,appliqu ,cut work1 ,italian ,,xvi4 ,centry ,property of ,countess ,somers ,in the later ,middle ,ages1 a good deal of this work was executed in ,germany for wall hangings2 figures were cut out in different materials1 and embroidered down and finished by putting in the details in various stitches4 ,as art they are generally a failure1 being more gaudy than beautiful4 ,this1 however1 is not necessarily the case1 for there is at the ,hotel ,cluny a complete suite of hangings of the time of ,francis the ,first1 partly applied and partly embroidered1 which are beautiful in design and colouring1 especially the fruit and trophies in the borders4 ,in the sixteenth and seventeenth centuries cut work was much employed in ,italy for large flowered arabesque designs1 commonly in velvet or silk1 making columnar wall hangings1 which are often very effective2 giving the rooms an architectural decoration1 without interfering with the arrangement of works of art1 pictures1 statues and cabinets1 placed in front of them4 ,besides1 it was supposed that the utmost effect of richness was thus accomplished with the least labour1 and very large spaces and very high walls covered1 without losing anything of beauty by distance1 as must be the case when the work's highest merit is in the delicacy of the stitches and the details of form4 7,pl4 #de47 ,the ,earl of ,beauchamp has inherited a most beautiful suite of hangings of appliqu work2 silks of many kinds are laid on a white brocade ground with every possible variety of stitch1 forming richly and gracefully designed patterns2 and showing to what cut work can aspire4 ,a great deal of opus consutum has been done in the ,school of ,art ,needlework1 in the way of restoration of old embroideries4 ,here may be seen copies of different models of many periods2 amongst other ,british specimens1 part of a bed at ,drumlanrig1 in which ,james ,i4 slept4 ,in this work the application is cut out1 raised and stuffed1 and couched with cords1 and the whole thing is as stiff1 strong1 conventional1 and enduring as if it were a piece of upholstery that was carpentered yesterday1 instead of being needlework of at least #bej years ago4 ,one of the most remarkable large works of this style that exists was shown in #ahha1 at the ,south ,kensington ,museum1 during the ,spanish ,exhibition4#cdi ,it was of the kind called on the stamp4 ,this was a landscape seen between columns wreathed with flowers and creepers4 ,in the foreground couched a stag1 the size of life--a wonderful reproduction of the hide of the creature in stitches4 ,the relief is so high that the columns appear to be circular by the shadows they throw2 and the stag is stuffed so as to be raised about six inches4 ,the work is superb1 and causes pleasure as well as wonder2 and yet1 in spite of the beauty of the design1 and the richness of the materials--gold1 silver1 silk1 and wool profusely used--it is a divergence from the legitimate art of embroidery1 and is simply the attempt of the needlewoman to combine again the arts of sculpture and painting with the help of so inadequate an implement as the needle4 ,therefore1 except as being a marvellous and beautiful curiosity1 it is a failure2 it is not art4#cej ,practically1 cut work is the best mode of arriving at splendid effects by uniting rich and varied tissues4#cea ,the ,italian curiosity vendors know this well1 and often cut up the remnants and rags of rich stuffs1 old faded silks1 and scraps of gold and silver tissues1 and with them copy fine old designs1 and sell them as authentic specimens of such and such a date4 ,i was once requested to give an opinion as to the date of a curtain border bought in ,italy1 and on consideration ,i gave the following verdict3 ,the design is of the sixteenth century2 the applied velvet and gold cord1 of the seventeenth century2 the brocaded silk ground1 eighteenth century2 the thread with which the whole was worked--machine-made silk thread 7,english7--middle of nineteenth century4 ,the whole effect was excellent1 and very antique4 ,this art of application is the distinctive part of the opus consutum1 and it is the best and most economical method for restoration of old embroideries1 of which the grounding material is generally worn out long before the stitches laid upon it4 ,much beautiful work has thus been rescued from annihilation1 and restored to use from its long imprisonment in the boxes and drawers of the garret and store-room4 ,but it is cruel to transfer historical or typical works1 and so puzzle the artist and the historian4 ,it is so troublesome to embroider on velvet or plush1 or gold tissues1 that application is the easiest and most effective mode of dealing with these fabrics4#ceb ,the outlines laid down in cord have the best effect1 while binding the edges and securing them from fraying1 and it is almost certain that the eye receives most pleasure1 in flat art1 from a defined outline1 which satisfies it2 where there are no cast shadows1 it lifts the work from the background1 and separating the colours1 it enhances their beauty4 ,it would appear1 however1 as a rule1 that either black or gold metal should invariably be employed1 because they do not interfere with any colour they approach4 ,white is distracting and aggressive4 ,the ,greeks sometimes used gold colour instead of gold1 as we see in the mantle from the ,crimea already referred to2 but this is not nearly so agreeable to the eye as pure gold4 ,a great deal of modern opus consutum1 or application cut work1 has been done in ,constantinople of late years4 ,the designs in general1 are not artistic2 nor are the colouring and materials very commendable4 ,the onlaid material is1 in general1 sewn down with chain stitches1 and cut out afterwards4 ,part #g4 ,,lace4--,,opus ,,filatorium ,,or ,,araneum4 ,mrs4 ,palliser says that from the earliest times the art of lace-making has been so mixed up with that of needlework1 that it is impossible to enter upon the one without naming the other4 ,this is1 in fact1 what she has done1 showing the intimate connection between the two in her charming work on lace1 where much information about embroideries in general1 may be found in the introduction4#cec ,m4 ,blanc also considers that there is but a slight transition between embroidery and guipure1 which he says was the first lace4#ced ,as all the earliest specimens and designs for guipure were ,venetian1 the art was1 therefore1 probably an ,italian invention1 though an ,oriental origin has sometimes been attributed to it4 ,the objection to this last theory is that we find no ancient specimens1 and no modern continuation of such work in the ,east4 ,the word guipure is a stumbling-block4 ,it has been applied to many forms in the varying art of lace-making2 which same variableness has caused its nomenclature to assume the terms belonging to other textile arts where they approach or touch each other1 7as in netting1 fringes1 or embroideries74 ,the nearest approach to laces before the thirteenth century was more in the nature of what we now call guimp4#cee ,embroidery differs from lace1 in that it is worked on already woven tissues2 whereas lace is manufactured at once1 both ground and design4#cef ,but the link between the two is not missing4 ,in the twelfth century they worked opus filatorium1 which consisted of embroidery with the needle on linen1 of which half the threads had been drawn out1 and the remainder were worked into a net by knotting them into groups1 then dividing1 and knotting them again4#ceg ,there is a piece of work described in an old catalogue quoted by ,rock4 ,st4 ,paul's1 ,london1 had a cushion covered with knotted thread3 ,pulvinar copertum de albo filo nodato4 ,here lace and embroidery touch each other4#ceh ,sir ,gardiner ,wilkinson notices some early ,egyptian work in the ,louvre as a piece of white network pattern1 each mesh containing an irregular cubic figure4 ,this sounds much like lace-work4 ,it may be fairly asserted that the term embroidery embraces the craft of lace-making1 as almost all ancient and much modern lace is simple embroidery1 and formed entirely by the needle4 ,some kinds of lace1 however1 are made by plaiting and twisting the threads attached to bobbins round pins which are previously arranged in the holes of a pattern1 pricked on parchment or glazed paper4#cei ,the original motive and idea of lace is a net4 ,the patterns called by the ancients de fundata1 are netted designs meshed4 ,you will see them constantly in ,egyptian and ,greek art1 both in wall painting and textile decoration4 ,homer speaks of golden cauls1 and so does ,isaiah1#cfj as adorning women's heads4 ,they also mention nets of flax4 ,the capitals of the brazen columns adorned with nets of chequer work in ,solomon's ,temple are very curious4#cfa ,and the author of ,letters from ,italy1 #aggf1 tells of the garment of a statue at ,portici1 edged with a border resembling fine netting4 ,egyptian robes of state appear to have been sometimes trimmed with an edging of a texture between lace and fringe4#cfb ,lace has been made of many materials in many ways4 ,we may instance passementerie1 made with bobbins 7bone lace71 with or without pins1 or with the needle only1 by hand4 ,the materials have been gold1 silver1 silk1 thread 7these two last white or coloured71 the fibres of plants1 and human hair4#cfc ,a lace called yak is made of wool or hair4 ,bone laces in gold and silver1 or the two mixed and interchanged1 are continually mentioned in the inventories of the fifteenth1 sixteenth1 and seventeenth centuries4 ,bed hangings1 chair and cushion covers1 and table cloths were constantly trimmed with gold and silver bone lace1 and fringes of the same4#cfd ,laces in coloured silks were made in ,spain and the ,balearic ,isles late in the last century4#cfe ,in #aedb1 a sumptuary law was passed in ,venice1 forbidding the metal laces embroidered in silk to be wider than due dita1 i4e4 about two inches4 ,this paternal interference in the details of life is truly ,venetian4 ,it was intended to protect the nobles and citizens from injuring themselves and setting a bad example4 ,perhaps this strict rule was relaxed in favour of crowned heads and royal personages2 for there is at ,ashridge1 among the relics of ,queen ,elizabeth's enforced visit1 a toilet-cover of red and gold striped silk1 with a trimming of lace1 four inches broad1 of ,venice gold and silver lace embroidered in coloured silk4 ,specimens of these laces are rare1 owing to the intrinsic value of the metal4 ,we must suppose the origin of these golden trimmings to belong to a very early period4 ,a piece of gold wire lace guimp was lately found in a tomb near ,wareham1 and is supposed1 with reason1 to be ,scandinavian4#cff ,m4 ,blanc describes lace as a treillage or network1 and says it is made in three ways4 ,you may complete the ground first1 and then work the pattern with the needle4 ,this he calls lace pure et simple2 and he considers that it differs from guipure in that the latter consists of flowers and arabesques worked separately1 and then connected with bars1 lines1 or meshes4 ,this guipure is the second mode of lace-making4#cfg ,the third is by machinery2 but this has the inherent defect of all machine-made fabrics1 to a practised eye2 i4e4 a certain rigidity and coldness in the exactly repeated forms1 in which the human touch is wanting4 ,it is curious how in art1 even a pentimento is valuable1 recalling the hand that erred as well as created2 the attention that strayed1 or reconsidered the design4#cfh ,m4 ,blanc1 speaking of the beauty of point d',alenon1 praises it especially as being entirely needlework4 ,he names the different modes of lace-making1 and judges their merits4 ,of needle-made lace he says3 ,and the value of this lace not only arises from its representing a considerable amount of labour1 but also because nothing can replace in human estimation the fabrics produced by a man's1 and still less by a woman's handicraft4 ,however the hand may have been restrained by the necessity of faithfully following1 on green parchment1 the designs imagined and traced by another person1 there is always1 even in copying an outline1 an individuality1 an imperceptible deviation to the right or to the left1 above or below the tracing1 which impresses on the design the accent of strength or weakness1 of indecision or determination4#cfi ,i would add1 of intelligence or stupidity2 of knowledge or ignorance4 ,this is not the first time1 and will certainly not be the last1 that ,i shall have sought to impress on the needlewoman the fact that her individuality cannot fail to be strongly marked in her work2 and ,i would urge her to carry out the suggestions that her experience and her taste afford her1 while seeking to render faithfully the original motive of the designer4 ,in lace-making1 as in all art1 the interest and the life1 as it were1 is imparted to each specimen by the attention and thought bestowed upon it4 ,mrs4 ,palliser shows us1 by her beautiful illustrations1 how much variety may be given to designs for lace-making1 which have changed with each period of contemporary art1 and are markedly distinctive of their nationalities4 ,mr4 ,a4 ,cole's lectures on lace1 his volume of photographs1 and ,m4 ,seguin's valuable work1 are full of information4 ,m4 ,urbani de ,gheltof's ,technical ,history of ,venetian ,laces1 translated into ,english by ,lady ,layard1 is a beautiful little book and a worthy imitation of the ancient lace-books of the sixteenth and seventeenth centuries4#cgj ,the subject has been so thoroughly discussed by adepts in connection with its revival as a local industry in its original cradle1 that ,i will confine myself to a few observations on its history and its place in decorative art4 ,fringes1 ,knotting1 ,netting1 ,knitting1 ,crochet1 ,tatting1 and ,lace-making1 are all parts of the same branch of ornamental needlework4 ,they are all trimmings1 in the sense of being decorative edges to more solid materials4 ,they are not available as coverings for warmth or decency2 but they serve to give the grace of mystery to the object they drape or veil4 ,they soften the outlines and the colours beneath them1 while they permit them to peep through their meshes4 ,they are hardly to be included in what is called high art1 having more affinity with grace1 refinement and coquetry1 than with sthetic culture or noble thought4 ,this tendency in lace work may be the reason that the masculine mind does not1 in general1 appreciate these lovely textures1 but rather despises them 7even when the designs are beautiful and ingenious71 as being flimsy and deficient in honest intention2 whereas women have always greatly prized them for their delicacy and refinement1 and their great value1 on account of the time1 trouble1 and eyesight expended upon them4 ,their knowledge of stitches also enables them to appreciate their variety1 and the taste shown in their selection and arrangement for carrying out each design4 ,lace stitches are almost innumerable4#cga ,upwards of a hundred are named1 and their variations are endless4 ,but a volume would not suffice us for entering into the details of the craft2 many of its stitches have been imported into embroideries in gold1 silk1 and crewels2 and such adaptations are always allowable1 provided the effect is good4 ,we have every reason to believe that the claims of ,venice as the first and original school of lace-making have been satisfactorily proved4#cgb ,genoa1 ,florence1 ,milan1 especially the last1#cgc followed suit4 ,germany1 ,france1#cgd and ,spain soon started their schools2 but ,lady ,layard believes that ,spain received all her inspiration and the greater part of her laces from ,venice1 which likewise sent teachers to ,france and to ,brussels--or rather1 we may say1 had many first-class workwomen decoyed from her manufactories to assist in starting rival industries in other countries4#cge ,the first pattern-books were printed in ,venice in the sixteenth century2 and these ,corone di belle e virtuose donne1 as they are sometimes entitled1#cgf were imitated in ,france and ,germany4 ,venice was proud of her industry1 and of the noble ladies who fostered it4 ,it is recorded in the ,virt in ,giocco of ,giovanna ,palazzi that ,giovanna ,dandolo1 or la ,dandola1 7wife of the ,doge ,malapiero17 was the first patroness of ,venice laces4 ,she also fostered the art of printing in ,venice1 and is spoken of as a principessa di gran' spirito1 ne di private fortune1 and her memory is cherished in connection with these proofs of her patriotism4 ,we hear also that ,morosin or ,marosin1 wife of the ,doge ,marin ,grimani1 patronized ,venetian lace-making4 ,her forewoman1 or maestra1 was a certain ,cattina ,gardin1 and through her the art was settled at ,burano1 where it has been so lately revived4 ,at the ,cathedral of ,burano1 is kept in the sacristy1 perhaps the finest existing piece of artistic lace of the sixteenth century4 ,it contains many groups of figures from the history of our ,lord1 beautiful both in design and execution1 worked in ,punti ,fogliami1 and filled in with exquisite tracery4 ,this was the border of an antipendium4 ,mrs4 ,palliser laments the extinction of the art in ,venice1 and says that but one woman of the old craft had survived2 but her elegy was premature1 as that old woman1 by name ,cencia ,scarpariola1 has lived to see hundreds of girls at ,burano reviving all the old traditions1 having learnt from her the secrets of the mestiere1 or mystery4 ,under the patronage of the ,princess ,margherita1 now ,queen of ,italy1 and with the active help and superintendence of ,countess ,adriana ,marcello and ,princess ,giovanelli1 most beautiful laces are now made in every old point1 ,french and ,flemish1 as well as ,venetian4 ,pezzi1 merli1 and merletti are executed in the different styles which include all lace-making1 and of which we here give a list from ,m4 de ,gheltof's book3-- ,net lace4 ,cut lace4 ,open lace4 ,flowered lace4 ,knotted lace4 ,darning or square netting4 ,venice point4 ,burano point4 ,drawn lace4#cgg ,embroidered linen4#cgh ,the price of these laces is very high1 but not beyond their value when we consider the vast amount of skilled labour bestowed on them4 ,we are often told that old lace is cheaper than new1 as an absurd fact1 because the antiquity of lace is supposed to add to its value4 ,yes1 but principally as an object of archological interest2 whereas that which is being made now is supporting by its daily wage the needlewoman and her family1 and perhaps providing for her old age2 and as the strain on the eye is very heavy1 many lace-workers early in life lose their sight1 at least for all the purposes of their craft4#cgi ,for these reasons we cannot say that the prices required for such luxurious trimmings are unreasonable4 ,zanon da ,udine gives us an idea of how costly they were in old times4 ,he says that ,giuseppe ,berardi1 a lace merchant in ,venice1 made a profit of #ge1jjj francs on a commission for a set of lace bed-hangings for the wedding of ,joseph ,,ii41 ,emperor of ,germany1 which proves the high prices paid for the new laces of their day4 ,blond laces1 which take their turn occasionally as fashionable trimmings1 veils1 and ,spanish mantillas1 are so called from their original ,venetian name1 merletti biondi1 pale laces4 ,de ,gheltof derives this appellation from the celebrated collar of ,louis ,quatorze1 and fancies it was made of the fair hair of the workers2 but this is only vague conjecture4 ,the term was applied in the seventeenth century to laces in silk1 gold1 and silver--never to thread laces4 ,i confess ,i do not find the reason for the name1 but accept ,de ,gheltof's information that it was given by the authority of the magistrates of ,mercanzia in #agei4 ,this is but a very slight sketch of the history of lace4 ,venice being its birthplace1 and likewise the busy scene of its rehabilitation1 ,i have lingered over its school1 and left but little space for the discussion of those of ,spain1 ,flanders1 ,belgium1 and ,france4 ,but these have been thoroughly investigated1 and their individual merits are well appreciated1 both as antique and modern dress decoration4 ,i have already said that the lace schools in ,france were instituted by ,colbert1 who placed one at ,auxerre1 under the especial care of his brother1 the bishop of that city4 ,louis ,quatorze made it one of his splendid caprices1 and not only set the example1 but forced the fashion into this luxurious and extravagant channel4 ,in ,spain1 lace was made to look its best by being worn stretched over the great hoops of the ,guard-,infante2 and the fashion spread all over ,europe4 ,the white laces1 resembling carved ivory or those in gold and silver1 which remind one of solid jewellers' work1 when spread over the surface of these fortified outworks1 guarding from all approach the persons of the ,infantas of ,spain1 assume in the portraits by ,velasquez1 a dignity which is in keeping with their value4 ,the splendid designs show brilliantly on a background of scarlet1 rose colour1 or black silk2 and that which1 hanging loosely1 looks only tawdry and ragged1 had a magnificent effect when thus displayed4 ,for ecclesiastical purposes1 these grand solid laces seem most appropriate1 being effective in large spaces1 and easily seen at a distance1 hanging over the edge of the altar1 as a border to the linen cloths1 or finishing the white alb of the officiating priest4 ,one cannot but agree with ,m4 ,blanc1 who points out that each piece of lace had its intention1 and that a fashionable ball-dress trimmed with the edging of an antique altar-cloth in loops1 is in false taste1 to say no worse of the misappropriation4 ,though we have had no schools of lace in ,england 7unless we can call our imitative industries schools71 we have samplers of the time of ,queen ,elizabeth1 and down to the middle of the last century1 showing that drawn lace and cut lace were regularly taught1 probably as an accomplishment1 by ,italians4 ,the laces of ,devonshire and the ,isle of ,wight 7called ,honiton7 form a group totally distinct from those of ,northamptonshire1 ,bedfordshire1 and ,oxfordshire1 which last are very simple cushion bobbin-laces4 ,from the sixteenth century ,english ladies have1 for their amusement1 made cut laces4 ,still1 we must confess we have no national style of lace1 and the only enduring ones have been those of ,france and ,belgium1 which have always kept the lead since their establishment1 though fluctuating in design with the varying fashions of each epoch4 ,perhaps the reason of their longevity is that they have followed always the taste of their day4 ,that of our time being decidedly archological1 ancient patterns are now the most successful4 ,there is a kind of embroidery darned-work1 called ,limerick lace1 which is said to be only made in ,ireland1 and being partly machine-made1 is not pure lace1 and therefore little esteemed4 ,very fine thread laces have been produced at ,irish work schools2 but no commercial result has followed4 ,clever imitations of ,venice point have come from ,ireland lately1 called raised crochet4 ,this is a novelty1 and it is extremely fine and beautiful work4 ,illustration3 ,pl4 #df4 ,egyptian ,gobelins1 ,woven and ,embroidered4 ,the ,exhibition of ,irish ,lace in ,london 7,june1 #ahhc71 shows how widespread have been the efforts of ,irish ladies to employ the peculiar genius of the sister island for delicate work with the needle1 which has always been shown in their beautiful embroideries on muslin and cambric4 ,it appears that every kind of lace1 except1 perhaps1 ,brussels point1 has been made in ,ireland within the last #ahj years2 but as in each case the effort was always that of one individual woman1 the school fell away when she died4 ,the names of these ladies are now worthily recorded in the official catalogue of the exhibition1 with photographs of the specimens produced under their superintendence and care4 ,perhaps a permanent industry may crown1 however late1 their exertions to help the women of ,ireland4 ,part #h4 ,,tapestry--,,opus ,,pectineum4 ,it is necessary to define precisely what is meant by the word tapestry4#chj ,the term has been applied to all hangings1 and so caused confusion between those that are embroidered with a design1 on a plain or brocaded woven material1 and those which are inwoven with the design from the first4#cha ,this latter was called in classical language1 opus pectineum1 because it was woven with the help of a comb 7the slay71#chb to push the threads tight between each row of stitches2 and the individual stitches were put in with a sort of a needle1 or by the fingers only1 and laid on the warp4 ,it was thus practised by the ,egyptians1 by the ,persians1 ,indians1 and ,peruvians2 and in ,egypt was often finished by embroidery4 7,pl4 #df47 ,in ,egyptian tombs we have evidence of their tapestry1 from the mural paintings representing men and women weaving pictures in upright looms4 ,the comb which served to push the threads together after the stitches were laid in is sometimes found in the weaver's tomb4 ,we have1 in the ,british ,museum1 pieces of opus pectineum from ,saccarah1 in ,egypt2 and also fragments from a ,peruvian tomb1 of barbarous design1 but the weaving is equal to the ,egyptian2 and both resemble the ,gobelins weaving of to-day4 ,whence came the craft of the ,peruvians8 ,tapestry is woven in two ways1 by a high or by a low-warp loom 7haute-lisse or basse-lisse71 vertical or horizontal4 ,the slay is the implement which is peculiar to the craft4 ,i shall not enter into any description of the mode of working the looms1 as this has been thoroughly well done by masters of the art4#chc ,but ,i would call attention to the ,frontispiece1 copied from a ,greek vase1 where ,penelope is portrayed sitting by her haute-lisse frame4 ,i also refer the reader to the illustration from the ,rheims tapestries1 in which a medival artist shows the ,blessed ,virgin weaving at one that is horizontal or basse-lisse4 7,pl4 #dg47 ,illustration3 ,pl4 #dg4 ,portion of a ,tapestry ,hanging4 ,cathedral4 ,rheims4 ,the ,virgin weaves and embroiders at a basse-lisse frame4 ,for the best information ,i have been able to obtain regarding tapestry weaving1 ,i must acknowledge my indebtedness to ,m4 ,albert ,castel's ,bibliothque des ,merveilles4#chd ,he has given great care to the consideration of this subject1 and has collected good evidences to prove his conclusions1 which ,i willingly accept en bloc4 ,of course he has chiefly dealt with the ,french branch of the art1 and with the ,flemish1 from which it immediately descends4 ,he begins1 however1 by quoting ,pliny1 to prove the antiquity of weaving1 and gives a verse of ,martial's to this effect3 ,thou owest this work to the land of ,memphis1 where the slay of the ,nile has vanquished the needle of ,babylon4#che ,homer makes ,helen weave the story of the siege of ,troy2 this may have been partly embroidered2 and there are some pieces of woven tapestry introduced most ingeniously into the web of a linen shirt or garment1 of which the sleeve is in the ,egyptian department of the ,british ,museum1 proving that figures were pictured by weaving quite as early as the date of ,troy1 and unmistakably finished with the needle 7,plate #ah72 at any rate1 as early as the days of ,homer4 ,arachne's web was interwoven with figures4 ,she and ,minerva rivalled each other in ingenious design and perfect execution4 ,the description of the beautiful hangings they wove1 the glorious colours with their tenderly graduated tints1 and the graceful borders1 appear to be almost prophetic of the highest efforts of the looms of the ,gobelins4#chfchg ,arachne's name is derived from the ,hebrew word for weaving1 ,arag4 ,it appears that the town now called ,arras1 but anciently ,nomenticum1 was always a centre of the trade of the weavers2#chh for ,flavius ,vopiscus1 writing in ,a4,d4 #bhb1 says that thence came the ,byrri--woven cloaks with hoods1 which were much in vogue amongst all classes in the later ,roman ,empire4 ,the craft of weaving1 which flourished in the ,flemish and other adjacent countries1 seems to have become native to that soil1 and to have clung to it1 surviving many historical cataclysms4#chi ,though in the fifth century the inhabitants of that country were transported wholesale to ,germany by the ,vandals1 and among them those of the town of ,arras1 yet1 thanks to the monasteries1 there was a survival and a revival2 the craftsmen grouping themselves round the religious houses4 ,specimens as models were brought from the ,east4 ,aster1 ,bishop of ,amasis 7a town in ,asiatic ,turkey71 describes these ,oriental hangings in one of his homilies4 ,he says that animals and scenes from the ,bible were woven on white grounds4#cij ,sidonius ,apollinaris1 ,bishop of ,clermont ,ferrand1#cia says that some foreign tapestries are pictured with the summits of ,ctesiphon and ,nephates1 wild beasts running rapidly across void canvas1 and also by a miracle of art1 the ,parthian of wild aspect with his head turned backwards4 ,this might be a description of a ,chinese composition1 and probably it is so4#cib ,woven tapestry is also called ,arras1#cic because that town in the ,netherlands was the home and school of the art of picture weaving in the ,middle ,ages4 ,it has been hitherto excluded from the domain of needlework1 because of the different use of the needle employed in it4 ,it has always been woven on a loom1 and is1 in fact1 embroidery combined with the weaving2 for the shuttle1 or slay1 or comb completes each row of stitches4 ,it belongs as much to our art as does tambour work1 which is done with a hook instead of a needle4 ,tapestry weaving is the intelligent craft of a practised hand guided by artistic skill4 ,the forms of the painted design must be copied by a person who can draw2 and the colours require as much care in selection1 as in painting with oils or water-colours4 ,such a thing as a purely mechanical exact copy is impossible in any art2 and the difficulties are increased a hundredfold when it is a translation into another material1 and another form of art4 ,besides1 in this case1 the copies are worked from the back1 and the picture is reversed4 ,the question is this3 ,can it be claimed as belonging to the same craft as embroidery8 ,i answer in the affirmative1 and ,i claim it4 ,when the ,saracens began to weave tapestry we cannot tell2 but the workers in woven pictures were called ,sarassins1 and their craft1 the 'opus ,saracenicum4'#cid ,the ,french and ,flemish artisans who continued to weave in the old upright frames 7haute-lisse7 were1 whether ,christians or not1 called ,sarassins4 ,probably they came through ,spain1 possibly from ,sicily to ,flanders and to ,france1 or else from ,byzantium4 ,viollet-le-,duc says that the ,saracinois was a term applied to the makers of velvety carpets 7tapis velouts74#cie ,this is possible4#cif ,woven carpets of ,oriental type were spreading themselves as articles of luxury through ,europe early in the ,middle ,ages2 and the ,persian style of design was much the same then1 when the first models were brought to ,spain1 and thence to ,arras1 as it is now in the carpets we buy just woven in ,persia4#cig ,the oldest specimens known here have been exhibited in the ,indian ,museum1 and may be of the thirteenth and fourteenth centuries4 ,the perishable nature of the material makes us dependent on the sculptured records of all artistic design for our knowledge of carpets and hangings of more than a thousand years ago2 and we must confess that we find nothing really resembling a ,persian pattern in any classical tomb or sculpture of the ,dark ,ages4#cih ,i have allowed myself to touch upon carpet weaving1 as it is germane to tapestry2 though it is a branch that soon loses itself and leaves artistic work in the distance4 ,except the first design1 it has become purely mechanical4 ,after what has been quoted from ,ovid's ,metamorphoses1 and bearing in mind the pictured webs described by ,homer1 and likewise the evidence of the frescoes in ,egypt1 and the woman weaving on the ,greek fictile vase found at ,chiusi1 we may be justified in concluding that1 like all other arts1 that of tapestry existed in very early days1 died out1 and had to begin afresh1 and gradually return to life1 during the ,middle ,ages4 ,bishop ,gaudry1 about #ibe1 possessing a piece of tapestry with an inscription in ,greek letters surrounded by lions parsem1 was much put about till he obtained something to match it1 to hang on the opposite side of his choir at ,auxerre4#cii ,and it is known that the monks of ,st4 ,florent1 at ,saumur1 wove tapestries about #ihe1 and continued to do so for two centuries4 ,st4 ,angelme of ,norway1#djj ,bishop of ,auxerre1 who died in #hdj1 caused many tapestries to be executed for his church4 ,at ,poitiers this manufactory was so famous in the eleventh century1 that foreign kings1 princes1 and prelates sought to obtain them1 even for ,italy4 ,the rules of their order of the monks of the ,abbey of ,cluny1 dated #ajji1 were followed by those of ,st4 ,wast and of the ,abbey of ,fleury1 and others in ,france1 who all wove wool and silk for tapestries4 ,le ,pre ,labb1 from whom much of this information is drawn and acknowledged by ,m4 ,charton 7my authority71 says that in #hgf1 at ,ponthivre1 in presence of the ,emperor ,charles the ,bold1 the hall of the council-chamber was hung with pictured tapestries1 and the seats were covered with them4#dja ,illustration3 ,pl4 #dh4 ,order of the ,golden ,fleece4 ,tapestry at ,berne1 taken from ,charles the ,bold at the ,battle of ,grandson1 #adgf4 ,sufficient has been said to show that during the dark ages hangings were woven in ,france1 ,germany1 and ,belgium1#djb and that ,england was not behind the rest of the civilized world in this craft4 ,i think1 also1 that we have indicated its ,oriental origin4#djc ,arras continued to lead as the great tapestry factory till the end of the fifteenth century1 when the commercial failure of the city began1 at the death of ,charles le ,tmraire1 ,duke of ,burgundy4#djd ,plate #dh shows a portion of his tent hangings woven with the order of the golden fleece taken at the battle of ,grandson--now in the museum at ,berne4 ,till then ,arras had supplied most of the splendid decorations of which we find such marvellous lists4 ,every possible subject--religious1 romantic1 historical1 and allegorical--was pressed into the service1 and pictured hangings were supposed to instruct1 amuse1 and edify the beholders4 ,the dark ages were illuminated1 and their barbarity softened1 by these constant appeals to men's highest instincts1 and to the memories of their noblest antecedents and aspirations1 which clothed their walls1 and so became a part of their daily lives4 ,the great ,flemish and ,french workshops became the illustrators of the history of the world1 as it was then read or being enacted4 ,it is a record of faiths1 religious and political2 and of national and family lives and their changes4 ,the ,exhibition at ,brussels in #ahhj showed1 by its ,catalogue ,raisonn1 how much could be extracted from its storied tapestries of both archological and artistic information4#dje ,though the art continued to be the servant of refined luxury in the fifteenth century1 ,arras itself had done its work1#djf and was superseded as the greatest weaver of artistic tapestry by a neighbour and rival4 ,brussels1 which had been gradually asserting itself as a weaving community1 from that date absorbed most of the trade of ,arras1 and thence forwards1 till ,henri ,,iv4 established the works of the ,savonnerie1 ,brussels led ,european taste1 and employed the best artists4 ,brussels employed ,leonardo da ,vinci and ,mantegna1 ,giovanni da ,udine1 ,raphael1 and later1 ,rubens and the great ,dutch painters1 to design cartoons for tapestry works4 ,raphael's pupil1 ,michael ,coxsius1 of ,mechlin1 superintended the copying of his master's cartoons4 ,shortly afterwards1 ,antwerp1 ,oudenarde1 ,lille1 ,tournai1 ,valenciennes1 ,beauvais1 ,aubusson1 and ,bruges all had their schools2#djg and the adept can trace their differences and peculiarities1 and name their birthplace1 without referring to their trade-mark1 or to that of the manufacturer1 which is usually to be found in the outer border4 ,poitiers1 ,troyes1 ,beauvais1 ,rheims1 and ,st4 ,quentin likewise had their schools1 and became famous4 ,want of space prevents my entering more fully into this subject of the northern tapestries1 and ,i must refer my readers to the authorities ,i have quoted from so largely4 ,,italian ,,tapestry4 ,the word ,arrazzi shows us whence the ,italians drew their art4 ,doubtless there were looms in the ,italian cities1 and especially under ecclesiastical patronage1 through the dark ages4 ,rome was in communication with the ,atrebates in the third century1 by whom she was supplied with the ,byrri1 or hooded cloaks then worn2 and as it had been a centre for weaving commerce1 it is probable that ,rome received from ,arras the craftsmen as well as the produce of their looms4 ,at the ,renaissance we find factories for pictured webs in ,florence1 ,rome1 ,milan1 ,mantua1 and elsewhere4 ,the best artists of the ,italian schools--,mantegna1 ,leonardo1 ,raphael and his scholars1 c41 c4--gave their finest designs to be executed in ,italy1 before they were sold to ,arras1 ,brussels1 ,france1 or ,england1 and they are accumulated in the treasure-room of every palace in ,italy4 ,but the finest collections are those of the ,vatican1 and of the ,pitti in ,florence4 ,a splendid volume might be edited of these grand artistic works2 such a record would be invaluable4 ,vasari#djh and ,passevant give us occasional glimpses of local factories for tapestry1 but1 as we have before said1 this subject has still to be investigated4 ,,french ,,tapestry4 ,in ,france1 as elsewhere1 tapestry was probably woven in private looms and in the religious houses from early days4 ,m4 ,jubinal believes that it was made at ,poitiers1 ,troyes1 ,beauvais1 ,rheims1 and ,st4 ,quentin as early as #ajbe4dji ,froissart describes the entry of ,isabel of ,bavaria as a bride into ,paris1 when the houses were covered with hangings and tapestries representing historical scenes4#daj ,the ,cluny ,museum possesses a most curious medival suite of hangings from the ,chateau de ,boussac1 of the early part of the fifteenth century4 ,they tell the story of the ,dame au ,lion1 and are brilliantly coloured and charmingly quaint and gay in design4 ,hangings designed by ,primaticcio were woven at ,fontainebleau1 where ,francis ,i4 started the manufacture in #aeci4 ,however1 the first national school of tapestry weaving was that at ,chaillot1 under the experienced teaching of workmen from ,arras2 afterwards transferred to the town of ,gobelins1 #afjc1 by ,henri ,quatre4#daa ,louis ,quatorze and his minister ,colbert splendidly protected this manufacture by law1 privilege1 and employment2 so did ,louis ,quinze4 ,before the ,revolution1 other considerable tapestry works were flourishing at ,aubusson in ,auvergne1 at ,felletin in the upper ,marches1 and at ,beauvais4 ,these two last were especially famed for velvety tapestries 7velouts74 ,as usual1 the ,french have surpassed all other nations in this textile art4 ,the pictorial tapestries of the ,gobelins have carried the beauty of wall hangings to the utmost perfection4 ,nothing can be more festive than a brilliantly lighted hall1 glowing with these woven pictures or arabesques1 framed in gilded carvings or stuccoes4 ,still we must acknowledge that1 in choice of worthy subjects1 the ,flemish ideal1 which had been left far behind1 was the highest4 ,the weavers of the time of ,louis ,quatorze aspired only to teach the glories of ,france1 not the moralities of society and civilization1 in their historical compositions1 which were then superseded by classical mythology1 or else by scenes from rustic life1 of the ,watteau ,school4 ,la ,fontaine's fables gave some of the prettiest and gayest designs1 and were generally the centres of splendid arabesques4 ,the drawing and execution were perfect4 ,it is to be feared that in the future1 great works of textile decoration will be few and far between4 ,it is only when the ,state1 or the monarch that represents the dignity of the ,state1 protects and fosters these artistic factories1 that they can continue to thrive4 ,without such powerful encouragement1 fashion1 commercial depression1 or a war will stop for a time the orders without which funds fail1 discouragement sets in1 and ruin quickly follows2 and the best workman when unemployed1 or forced for some years to wield the sword1 loses his practised skill never to be restored4 ,in ,france1 whatever has been the form of government1 the old traditions of protection for the ,gobelins have been acted up to and maintained4 ,the consequence is that science and art still contribute their efforts in the machinery1 the colouring1 and the designing of hangings of which the materials#dab and the execution are unrivalled4 ,probably there will never again be a ,tuileries or a ,versailles to adorn1 but an ,htel de ,ville1 especially if it is occasionally destroyed1 may give from time to time opportunity for such decorations4 ,,english ,,tapestry4 ,when we consider the antiquity and the excellence of the art of tapestry on the ,continent1 we cannot pretend that there can be the same general interest in that of our ,english looms4 ,but to ourselves it naturally assumes the greatest importance2 and ,i have tried to trace the efforts of our ancestors in this direction1 by noting every certain sign of ,english production1 in what must have been an imitation of ,flemish or ,oriental weaving4 ,the few facts here collected may be of service to the future writer of the history of ,english tapestries4 ,comnenus1 ,prince of ,arras1 fled before the ,romans from ,nomenticum to ,england2 and he and his ,atrebates settled themselves between ,silchester and ,sarum1 and the ,belg and ,parisi did the same4 ,the ,romans found them here when they invaded ,england4 ,wherever the ,belgic tribes spread themselves1 the art of weaving was established4 ,comnenus probably brought over1 and left to his descendants1 the inheritance of this craft4 ,dr4 ,rock thinks that pictured tapestry was woven at an early period in the ,middle ,ages by the monks in ,england4 ,the earliest proof of this that we possess1 is the notice by ,matthew ,paris 7thirteenth century7 describing the three reredos for ,st4 ,alban's ,abbey2 the first1 a large one1 depicting the finding of the body of the ,protomartyr2 the others1 ,the ,prodigal ,son and ,the ,man who fell among ,thieves4 ,all these were executed by the orders of ,abbot ,geoffrey4#dac ,while in ,london in #acaf1 ,simon1 ,abbot of ,ramsay1 bought for the use of his monks1 looms1 shuttles1 and a slay4 ,pro weblomes emptes xxd4 ,et pro staves ad eadem vjd4 ,item pro iiij ,shittles1 pro eadem opere vjd4 ,item j sloy pro textoribus viiid4#dad ,in ,edward ,,ii4's time there were hangings woven in ,england which appear to have been absolutely tapestries4 ,they were much valued abroad1 and were called ,salles d',angleterre4 ,charles ,v4 of ,france 7#acfd7 possessed among his articles of costly furniture1 ,une salle d',angleterre vermeille brode d'azur1 et est la bordure a vignettes1 et le dedans de ,lyons1 d',aigles1 et de ,lyopars4#dae ,our trade with ,arras must have improved our tapestries4 ,we are told of ,edward ,,iii4 selling his wools to that town1 and being therefore called by ,philip de ,valois1 his ,marchant de ,laine4 ,horace ,walpole refers to an act1 ,de ,myster ,tapiciarorum1 of the time of ,edward ,,iii41 #acbg1 regarding certain malpractices of the craft1 which proves its existence in ,england at that period4#daf ,mr4 ,french1 in his catalogue of the ,exhibition in ,london1 #ahea1 quotes the tapestries of ,st4 ,mary's ,hall at ,coventry1 to prove that there was a manufactory in ,england1 temp4 ,henry ,,vi4 ,there were certainly individual looms1 though we doubt whether it had yet become a national industry1 as we have so few specimens remaining4 ,the ,st4 ,mary's tapestries contain portraits of ,henry ,,vi41 ,cardinal ,beaufort1 c41 and are probably contemporary works4 ,the subject is the marriage of ,henry ,,vi4 ,there is also a piece of tapestry at ,bude1 in ,cornwall1 the property of ,mr4 ,maskell1 which came from a royal sale4 ,here the marriage of ,henry ,,vii4 is depicted1 and the style resembles that of the ,coventry hangings4 ,the costumes are certainly ,english1 and the original pictures must have been ,english1 though they might have been wrought at ,arras1 reminding one of the groups of figures and the dresses on the ,dunstable ,pall 7see ,plate #gh74 ,dr4 ,rock also quotes the reredos belonging to the ,vintners' ,company1 representing ,st4 ,martin sharing his cloak with a beggar4 ,he thinks this is executed by the monks of ,st4 ,alban's1 and attributes to those of ,canterbury the fine tapestries of the legends of the ,virgin at ,aix1 in ,provence1 of which we have the history4 ,they were originally given to ,canterbury ,cathedral by ,prior ,godstone1 and were called ,arras work4 ,there is no doubt that there were looms and artists in the convents and monasteries before there was any recognized school of such work in ,england4 ,probably till the ,reformation such hangings were being woven all over ,europe1 and only then ceased in ,germany and ,england4 ,one cannot but regret that the weight of the evil which preponderated over the good in the ,houses of the ,church1 should have caused so much that was beautiful in art to be crushed by their ruin4 ,chaucer speaks of tapestry of verd4#dag ,this green tapestry seems to have been intended to give a bowery effect to the room it hung2 and one can imagine that it pleased the taste of the poet of the ,flower and the ,leaf4 ,it seems to have been much the fashion in ,england and elsewhere about that period1 and generally represented landscapes and woody foregrounds only2 but sometimes figures and animals were portrayed1 and always in the same tints of bluish-green4 ,dr4 ,rock gives us an extract from the wardrobe accounts of ,edward ,,ii41 containing the following items3 ,to a mercer of ,london for a green hanging of wool1 woven with figures of kings and earls upon it2 for the king's service upon solemn feast days in ,london2 therefore the tapestry of verd was not a novelty even in the time of ,chaucer4#dah ,oudenarde was famous for these hallings or salles4 ,all the specimens mentioned in the catalogue of tapestries exhibited at ,brussels in #ahhj1 are said to be from thence4 ,but we see no reason why it should not have been an ,english style of weaving also4 ,the first establishment of a permanent manufactory in ,england1 did not1 however1 take place until the latter end of the reign of ,henry ,,viii41 when ,robert ,sheldon allowed his manor-house at ,barcheston1 in ,warwickshire1 to one ,hicks1 whom he signalizes in his will as the author and beginner of all tapestry of ,arras in ,england4 ,this will is dated #aegf4dai ,illustration3 ,,summer ,english ,tapestry1 ,temp4 ,henry ,,viii4 at ,hatfield ,there are four pieces of tapestry representing the ,seasons1 removed from an old family house and placed by ,lord ,salisbury at ,hatfield ,house1 where they hang in the great corridor4 ,these were probably woven in ,barcheston4 7,plate #di47 ,the style is ,english ,renaissance1 and the design full of intention2 in fact1 they have the seal of the time of ,henry ,,viii4 ,only one characteristic reminds one of ,flemish art1 and that is the mode of drawing the plants and flowers1 which might have been taken out of an old ,german herbal4 ,the landscapes and peasantry are unmistakably ,english4 ,the pictures are worked with strong black outlines which emphasize every detail and give the effect of a highly coloured outlined engraving2 reminding one of the children's books by ,marcus ,ward or by ,walter ,crane4#dbj ,the tapestries called the ,spanish ,armada hangings were probably woven here late in ,elizabeth's reign4 ,in her time we find in catalogues of household goods1 descriptions of splendid hangings1 furnishings of palaces and private houses4 ,the ,,ms4 inventory of the ,earl of ,leicester's belongings1 in the library at ,longleat1 astonishes us with the abundance of suites of hangings of tapestry that it enumerates1 as well as those embroidered by hand1 and others of stamped and painted leather4 ,it was in the reign of ,james ,i4 that the manufacture was set up at ,mortlake1 in ,surrey4 ,aubrey1 in his ,history of ,surrey1 i4 p4 #hb1 however1 dates the institution in the subsequent reign2 but ,lloyd#dba is not only positive for the former date1 but affirms it was of the motion of ,king ,james himself1 who gave #bjjj towards the undertaking2 and we have further proofs extant that he spent largely1 and encouraged it in every way4 ,he gave to ,sir ,francis ,crane1 who erected the house at ,mortlake1 the making of three ,baronets towards his project for manufacture of tapestry4#dbb ,another curious item which we quote1 shows that the funds for the enterprise were not easily forthcoming4 ,it is a warrant to ,sir ,francis ,crane3 #bjjj to be employed in buying #ajjj per ann4 of pensions or other gifts made of the king1 and not yet payable1 for ease of ,his ,majesty's charge of #ajjj a year towards the maintenance of ,sir ,francis ,crane's tapestry manufacture4#dbc ,apparently this little arrangement did not succeed1 for there is an acknowledgment by ,charles ,i41 in the first year of his reign1#dbd that he is in debt to ,sir ,f4 ,crane3 ,for three suits of gold tapestry we stand indebted to ,sir ,francis ,crane #fjjj4 ,also ,sir ,f4 ,crane is allowed #ajjj annually for the better maintenance of said works for ten years to come4 ,the king also granted the estate of ,stoke ,bruere1 near ,stamford1 in ,northamptonshire1 as part payment of #af1djj due to him on the tapestry works at ,mortlake4#dbe ,the great value of these tapestries is shown by the prices named in the ,domestic ,papers of the ,state ,paper ,office1 and in private inventories2 they were woven in silk1 wool1 and gold1 which last item accounts both for their price and for their disappearance4 ,william1 ,archbishop of ,york and ,lord ,keeper1 gave #bejj for four pieces of ,arras representing the four ,seasons4#dbf ,their value1 however1 fell during the civil wars1 for the tapestries of the five ,senses from the ,palace of ,oatlands1 which were from the ,mortlake looms1 were sold in #afdi for #bgj4 ,the beautiful tapestries at ,houghton were woven at ,mortlake3 these are all silk1 and contain whole length portraits of ,james ,i4 and ,charles ,i41 and their ,queens1 with heads of the royal children in the borders4 ,a similar hanging is at ,knowle1 wrought in silk1 containing portraits of ,vandyke and ,sir ,francis ,crane4#dbg ,francis ,cleyne was a decorator and painter employed in the works at ,mortlake by ,charles ,i41 who1 while he was still ,prince of ,wales1 brought him over to ,england from ,rostock1 in ,mecklenburg 7his native place71 while the ,prince was in ,spain wooing the ,infanta4 ,cleyne was great in grotesques1 and also undertook in historical designs4#dbh ,three of the ,raphael cartoons were sent to be copied at ,mortlake4#dbi ,the purchase of these cartoons by the king1 showed how high was the standard to which he tried to raise the art in ,england4 ,the ,triumph of ,csar1 by ,mantegna1 was obtained for the same purpose in #afec2 and certain ,dutch prisoners were forwarded to the manufactory to be employed on the work4#dcj ,it was entrusted to the care of ,sir ,gilbert ,pickering1 who was either an artist or the superintendent of the works4 ,after the death of ,sir ,francis1 his brother1 ,sir ,richard ,crane1 sold the premises to ,charles ,i4 ,during the civil wars1 the property was seized upon and confiscated as having belonged to the ,crown4 ,it occupied the site of what is now ,queen's ,head ,court4 ,the old house opposite was built by the king for the residence of ,cleyne the artist4 ,gibson1 the dwarf1 and portrait painter1 who had been page to a lady at ,mortlake1 was one of his pupils4#dca ,the value of the king's collection of tapestries was well understood during the ,protectorate4 ,the tapestry house remained in the occupation of ,john ,holliburie1 the master-workman4 ,after the ,restoration1 ,charles ,,ii4 appointed ,verrio as designer1 intending to revive the manufactory4 ,this was not1 however1 carried out2 but the work still lingered on1 and must have been in some repute1 for ,evelyn names some of these hangings as a fit present among those offered by a gallant to his mistress4#dcb ,arras is said to have been woven at ,stamford1 but we have no data of its establishment or its suppression4 ,burleigh ,house contains much of it2 and there is a suite of hangings at ,belton ,house1 near ,grantham1 of which there are duplicates at ,wroxton ,house1 in ,oxfordshire1 all having the same traditional origin at ,stamford4 ,possibly ,sir ,francis and ,sir ,richard ,crane may have received orders at their house at ,stoke ,bruere1 which lay near enough to ,stamford to account for the magnates of the town and neighbourhood obtaining furnishings of their tapestries1 and1 perhaps1 vying with each other in decorating their apartments with them4#dcc ,in ,northumberland ,house there was a fine suite of tapestry1 woven in ,lambeth1 #ageh4dcd ,this is the only sample of that loom of which we ever find any mention4 ,there were also works at ,fulham1 where furniture tapestry in the style of ,beauvais was made4 ,this manufactory was closed in #agee4dce ,it may be hoped that the revival of tapestry weaving at ,windsor in our own day may be a success1 but without the royal and noble encouragement it receives1 it would probably very soon fall into disuse4 ,unless it is supported by the ,state1 such an exceptionally expensive machinery cannot possibly be kept at work4 ,it requires the superintendence of the best artists1 and the weavers themselves must needs have the highest technical education to enable them to copy really fine designs4 ,these artistic requirements1 besides the extreme tediousness of the work1 make it the most expensive of all luxurious decorations--even more costly than embroideries by the hand1 covering the same spaces4 ,however1 the two styles of hangings never can enter into competition1 except in a financial point of view4 ,tapestries are the best fitted for wall coverings1 and embroideries for curtains of all kinds--for beds1 for windows1 and for portires4 ,the old hangings are now again having their day1 and we are striving to save and restore all that remain to us4 ,we must continue to guard these treasures from the moths1 their worst enemies2 and science should be invoked to assist us in the preservation of these precious works of art1 of which the value is now again understood and appreciated1 and which increases with every decade that is added to their antiquity4 ,tapestry1 as art1 has its own peculiar beauties1 and one of them is the softening1 yet brilliant effect of the alternate lights and shadows of the ridge-like surface2 the separation of each stitch and thread also casting minute shadows in the opposite direction1 and giving an iridescent effect4 ,it is a mistake to struggle against this inherent quality1 instead of seeking to utilize it4 ,the coarser and simpler tapestries of our ancestors are really more beautiful and effective in large spaces--flat in the arrangement of colours1 and sharply outlined--than the imitations of paintings of the last two centuries1 in which every detail of form and colour is sought to be expressed4#dcf ,m4 ,blanc says that tapestries were intended to cover the bare walls1 but not to make us forget their existence4 ,the wall being intended for comfort and defence1 the mind is solaced with the idea it conveys4 ,it is a mistake1 therefore1 to substitute a surface picture1 so real that it at once does away with this impression of security1 while a certain conventional art should amuse the mind with shadowy representations and suggestions4 ,it is1 perhaps1 fortunate that the possibilities of tapestry weaving are restricted1 and thus its very imperfections become the sources of its best qualities as decoration and comfort4 ,one element of textile weaving1 the use of gold1 both in the backgrounds and in the draperies1 takes it at once out of the region of naturalism1 while giving it light and splendour4 ,the designer for tapestry need not be a great genius4 ,harmony1 repose1 grace1 and tender colouring are the qualities most valuable to such an artist4 ,battle-pieces1 and other exciting and awful subjects1 are only bearable in apartments that are used for state occasions1 or for hanging corridors and anterooms4 ,they are painful to live with4 ,all tapestries are liable to suffer by the double nature of their materials--their woollen surface and linen threads which are affected by both damp and heat crinkling the forms and puckering the faces1 and bringing out unexpected expressions and deformities4 ,for this reason the design should be as flat and as simple in its outline and shading as is consistent with beauty4 ,,footnotes3 #cag ,birdwood1 ,indian ,arts1 p4 #bhc4 #cah ,the word in ,sanskrit for a needle is suchi1 from such1 to sew or pierce4 ,this is the same word as the ,latin suo1 to sew2 so probably the common word used by the ,aryans in their primeval habitations was su1 and they clearly knew how to sew at that remote period4 ,eve sewed fig-leaves together4 ,adam sewed also4 ,the ,hebrew word is tafar1 and clearly meant sewing1 not pinning together with thorns4 ,sewing is the first recorded art of our forefathers4--,letter from ,mr4 ,robert ,cust4 #cai ,semper1 ,der ,stil1 ,textile ,kunst1 i4 pp4 #gg-ij4 #cbj ,semper1 ,textile ,kunst1 ,der ,stil1 i4 p4 #gg4 ,the ,german word naht1 here literally translated1 would be1 uniting1 weaving1 bringing together4 #cba ,handbook of ,plain ,needlework1 by ,mrs4 ,floyer4 ,see also her ,plain ,hints for ,examiners1 c4 #cbb ,dr4 ,rock1 ,introduction1 pp4 cix1 cx1 calls it thread embroidery1 and names some specimens in the ,south ,kensington ,museum4 ,he says it was sometimes done in darning stitches for ecclesiastical purposes1 for instance1 for coverings for the pyx4 ,it is mentioned in the ,exeter inventory of the fourteenth century4 ,there is notice of white knotted thread-work belonging to ,st4 ,paul's1 ,london1 in #abie1 by ,dugdale 7p4 #caf74 #cbc ,st4 ,catherine of ,sienna's winding-sheet is described as being cut work 7punto tagliato7 on linen4 ,this sounds like embroidery of the type now sold as ,madeira work1 the pattern being cut out and the edges overcast4 #cbd ,semper1 ,der ,stil1 i4 pp4 #acb1 #bjc4 #cbe ,see ,semper1 ,der ,stil1 i4 p4 #bhi4 #cbf ,ibid4 ,he cites ,athenus1 iv4 #fd4 #cbg ,phrygia in general1 and especially ,babylon1 were famed for their embroideries4 ,colores diversos pictur intexere ,babylon maxime celebravit et nomen imposuit4--,pliny1 lib4 viii4 #gd4 ,see ,d',auberville1 ,ornement des ,tissus1 p4 #g4 #cbh ,der ,stil1 i4 p4 #aif4 ,opus ,phrygium1 in the ,middle ,ages1 included all gold work in flat stitches4 ,the cloak worked by ,queen ,gisela in the ninth century1 for her husband1 ,st4 ,stephen1 ,king of ,hungary1 the imperial mantle at ,bamberg1 of the date of #ajbd1 and the robes of ,bishop ,william de ,blois 7thirteenth century71 in the library at ,worcester ,cathedral1 are all opus ,phrygium1 and resemble each other in style4 #cbi ,in the ,museum at ,munich are two remarkable examples of these imitations4 ,there is an embroidered badge of the ,order of the ,dragon1 worked in gold and woven over with coloured silks1 so as to present the appearance of enamel 7sixteenth century74 ,the second is a dress for a herald of the ,order of ,st4 ,hubertus1 which is richly embroidered in gold and silver1 and the badge and collar are imitated in the most extraordinary manner1 and laid on entirely in gold needlework4 ,this is of the seventeenth century4 #ccj ,in ,salt's collection from ,saccarah 7,british ,museum72 also at ,turin1 in the ,egyptian ,museum2 and in the collections in the ,louvre1 figured by ,auberville in the ,ornamentation des ,tissus4 #cca ,hence the ,french name1 pointes comptes4 #ccb ,see ,semper1 ii4 p4 #bac1 for wood-work at ,panticapum1 ,kertch1 in the ,crimea1 which evidently has descended in style from panelled needlework hangings4 ,chaldean wall decoration at ,khorsabad and ,warka1 near ,nimroud1 recalls the effect of opus pulvinarium according to ,loftus4 ,see ,semper1 i4 p4 #cbg4 #ccc ,der ,stil1 i4 pp4 #aif1 #bdh4 ,this is known from the archaic books of imperial commerce4 #ccd ,peacocks' feathers1 either woven or onlaid1 are those most commonly used in ,china and ,japan4 ,ka ,moolelo ,hawaii1 by ,m4 ,jules ,remy1 ,paris1 #ahfa4 ,see ,ferdinand ,denis1 ,arte ,plumaria1 p4 #ff4 #cce ,yates1 ,textrinum ,antiquorum1 p4 #cgc1 translates from ,publius ,syrus the word plumata1 feathered4 ,the word embroidered would have here improved the sense1 even though it is a peacock that is described4 ,thy food the peacock1 which displays his spotted train1 ,as shines a ,babylonian shawl with feather'd gold4 ,he also quotes ,lucan1 who is praising the furnishings of ,cleopatra's palace3 ,part shines with feathered gold2 part sheds a blaze of scarlet4--,yates1 p4 #cgc4 #ccf ,sir ,g4 ,birdwood1 with all his enthusiasm for ,indian art and its forms1 yet cannot resist a touch of humour when he describes a state umbrella1 of which the handle and ribs are pure gold1 tipped with rubies and diamonds1 the silken covering bordered with thirty-two fringed loops of pearls1 and also appropriately decorated with the feathers of the peacock1 heron1 parrot1 and goose4--,birdwood1 ,indian ,arts1 ii4 p4 #ahb4 #ccg ,history of the ,kingdom of ,congo1 c4 viii4 p4 #ee1 by ,filippo ,pigafetta 7translated by ,mrs4 ,m4 ,hutchinson74 #cch ,in the ,tyrol certain embroideries are called ,federstickerei4 #cci ,for the feather hangings at ,moritzburg1 see ,appendix #b4 #cdj ,arte ,plumaria1 by ,m4 ,ferdinand ,denis4 ,paris1 #ahge4 #cda ,the ,plumarii mentioned by ,pliny were craftsmen in the art of acu pingere1 or painting with the needle4 ,though ,seneca speaks of the opus plumarium as if it were absolutely feather-work1 yet it may have been at that time undergoing its transition into embroidery1 suggested by feathers1 and imitating them in gold1 silver1 wool1 or thread4 ,when ,lucan describes the extraordinary change introduced into ,roman habits and luxury by ,cleopatra's splendours1 his use of the words1 pars auro plumata nitet1 probably means their imitation or mixture with gold embroidery1 and would1 therefore1 come under the head of opus ,phrygium4 #cdb ,it is said that the work1 named ,plumarium1 was made by the needle2 and the ,greeks1 from the variety of the threads1 called it ,polymitum4 ,plumarium dicitur opus acu factum quod ,grci a licionum varietate multiplici polymitarium appellant4--,robert ,stephan4 ,thesaurus ,lingu ,latin1 s4v4 ,plumarius4 #cdc ,blmner1 i4 p4 #bji4 ,the ,plumarii were a class of persons mentioned by ,vitruvius1 and found likewise in inscriptions4 ,it cannot be decided with certainty what was their occupation2 their name would lead us to suppose that it has something to do with feathers4--,becker's ,gallus1 ii4 p4 #bhh4 ,but see ,marquardt1 ,handbuch d4 ,rm4 ,altert4 vii4 pt4 #b1 p4 #ebc4 #cdd ,plumarium qui acu aliquod depingit super culcitris plumeis4--,r4 ,steph41 ,thesaur4 ,lat4 #cde ,see ,the ,funeral ,tent of an ,egyptian ,queen1 by ,villiers ,stuart4 #cdf ,see ,auberville's ,tissus1 ,plate i4 #cdg ,compte ,rendu de la ,commission ,archologique1 ,st4 ,petersburg1 #ahha4 ,pl4 iii4 pp4 #aab1aai4 #cdh ,in the ,british ,museum is the lining of a shield which shows the arms of ,redvers1 third ,earl of ,albemarle 7who died #abfj71 applied in different coloured silks4 #cdi ,lent by the ,archological ,museum at ,madrid4 #cej ,rees' ,cyclopdia speaks of embroideries on the stamp or stump1 as being so named when the figures are high and prominent1 supported by cotton1 wool1 or hair2 also in low and plain embroideries1 without enrichment between4 ,he speaks of work cut and laid on the cloth1 laid down with gold1 enriched with tinsel and spangles4 ,rees' ,cyclopdia1 ,embroidery1 #ahai4 #cea ,opus consutum4 ,the way in which this applied work is used in ,india1 for the special adornment of horse-cloths1 saddles1 and girths1 is very interesting4 #ceb ,the chapter on application1 in the ,handbook of ,embroidery of the ,royal ,school of ,art ,needlework1 will be useful to those who need instruction in the most practical1 and therefore the quickest way of doing cut work4 #cec ,mrs4 ,palliser's ,history of ,lace4 ,the origin of needle-made lace-work is attributed by ,m4 de ,gheltof to the necessity for disposing of the frayed edges of worn-out garments4 ,this ,i think somewhat fanciful4 ,fringes may have been so suggested4 #ced ,see ,m4 ,blanc's ,art in ,ornament and ,dress 7p4 #bjj74 #cee ,mrs4 ,bayman 7late ,superintendent in the ,school of ,art ,needlework7 writes thus3 ,i see no reason to doubt that the word guipure is derived from 'guipa' or 'guiper1' a ribbon-weaver's term for spinning one thread round another2 and that guipure was originally more like what we now call 'guimp1' or like 'point de ,raguse1' first being made of thread1 of more or less thickness and commoner material1 wound round with a finer flax1 silk1 or metal2 then they cut shapes1 bold scrolls1 and leaves out of cartisane1 vellum1 or parchment1 winding and covering them over with the more precious thread4 ,these figures were then connected by brides1 only as close as was required to hold them together1 and leaving large open spaces1 thus forming the large scroll patterns seen in so many old pictures4 ,no doubt the heavy ,fogliami and ,rose point laces developed themselves from these still older kinds of point4 ,as the cord and card lace disappeared1 the name slid on to all laces with large1 bold patterns and open brides1 though the special method which first created it had been effaced4 ,latterly1 embroidered netting or laces have been called guipure d'art4 ,littr gives the derivation of the word2 he says it is from the ,gothic ,vaipa1 or ,german ,weban or ,weben 7g and p replacing the w and b74 #cef ,the word lace came from ,france1 where it was called lacis or lassis1 derived from the ,latin laqueus 7a noose74 ,these words originally applied to narrow ribbons--their use being to lace or tie4 #ceg ,the ,venetians early made much lace for furniture or ecclesiastical linen adornment1 of what they called maglia quadrata1 which was usually squared netting1 afterwards filled in with patterns in darned needlework4 ,this somewhat primitive style of lace trimming was popular on account of its simplicity1 and descended to the peasantry for their domestic decorations in ,spain1 ,germany1 ,france1 and ,italy4 ,there are specimens of this work believed to be of the thirteenth century4 ,at the time of the ,renaissance the simple geometrical designs developed into animals1 fruits1 flowers1 and human figures4 #ceh ,see ,rock1 p4 cix1 cx4 ,he says that a sort of embroidery was called network1 and certain drawn work he calls opus filatorium4 ,see ,catalogue of ,textiles in the ,south ,kensington ,museum1 by ,d4 ,rock1 p4 cxxvii4 #cei ,reminding us of the description of a net--holes tied together by a string4 ,as a contrast in descriptive style1 we would quote ,dr4 ,johnson on network3 ,anything reticulated or decussated at equal distances1 with interstices between the intersections4--,johnson's ,dictionary4 #cfj ,isaiah iii4 #ah1 xix4 #i4 #cfa ,the nets of chequer work which hung round the capitals1 with the wreaths of chain work1 were designed by ,hiram of ,tyre1 at ,solomon's desire 7#a ,kings vii4 #ag74 #cfb ,a fringe lace is made on the ,riviera1 of the fibres of the aloe1 and is called macram1 which is an ,arabic word4 ,mrs4 ,palliser's ,history of ,lace1 p4 #fd4 #cfc ,a collar of fine white human hair was made in point lace stitches at ,venice1 and worn at his coronation by ,louis ,quatorze4 ,it cost #bej pieces of gold4 ,scritti di ,v4 ,zanon da ,udine 7#ahbi74 ,cited by ,urbani de ,gheltof1 ,merletti di ,venezia1 pp4 #bb1 #bc4 #cfd ,see1 for example1 the inventory of the household goods of the great ,earl of ,leicester at ,longleat2 also the lists of the possessions of ,ippolito and ,angela ,sforza 7sixteenth century74 #cfe ,coloured thread and silk laces are still made in ,venice4 #cff ,in the ,british ,museum4 #cfg ,m4 ,blanc's use of the word guipure is different from that found in the notices of the art by other authorities4 #cfh ,the first lace-making machine was contemporary1 or nearly so1 with the stocking-making frame4 ,about the year #agfh it was altered1 and adapted for making open-work patterns4 ,in #ahjh1 the ,heathcot machine was started for bobbin net4 ,in #ahac1 ,john ,leaver improved on this idea1 with machine-woven patterns4 ,the ,jacquard apparatus achieved the flat patterns1 and the new ,dentellire has perfected the art4 ,lace-making by machinery employed by the latest official returns in #ahga1 #bi1cgj women in ,england1 and #bd1jjj in ,france4 ,see ,encyclopdia ,britannica1 #ith edition1 p4 #ahc-e4 #cfi ,m4 ,charles ,blanc1 ,art in ,ornament and ,dress1 p4 #baa4 #cgj ,the information contained in these volumes is most valuable1 for the lace-worker as well as the collector4 #cga ,lady ,layard suggests that the cut lace work1 which was the earliest made in ,venice 7punto tagliato1 point coup71 simply consists of button-hole stitch with purl ornaments4 ,these are varied with geometrical stitches and needle-weaving in those solid laces called punti tagliati ,fogliami1 and ,rose point de ,venise1 of the finest kinds4 #cgb ,urbani de ,gheltof1 in his book1 ,merletti di ,venezia1 p4 #i1 says that ,venetian laces and fringes were furnished thence for the coronation of ,richard ,,iii4 7#adhc74 ,i fancy that gold guimps or braid1 rather than netted laces1 must be here intended1 as we have no other notice of lace so early4 ,see ,ibid4 pp4 #aj-bj4 #cgc ,henry ,,viii4 had a pair of hose of purple silk1 edged and trimmed with a lace of purple silk and gold1 of ,milanese manufacture4 ,harl4 ,,mss41 #aeai4 #cgd ,the manufacture of point d',alenon was created under the special orders of ,louis ,quatorze1 by ,colbert1 in #afgc4 ,now more than #bjj1jjj women1 besides the machinists1 are employed in lace-making in ,france4 ,colbert imported the teachers from ,venice4 #cge ,yriarte says that ,alenon1 ,argenton1 ,sedan1 ,mercourt1 ,honiton1 ,bedford1 ,buckinghamshire1 ,oxfordshire1 ,mechlin1 ,bruges1 ,brussels1 all followed in imitation of ,venice4 ,yriarte's ,venise1 p4 #bej4 #cgf ,titian drew the designs for one of these books for punti tagliati4 ,the laces made in the ,greek islands probably owe their origin to ,venice1 showing the same punti in aria4 #cgg ,i have already spoken of lacis as either darned netting or drawn work4 ,of this there is an ,english specimen at ,prague1 said by tradition to be the gift of ,queen ,anne of ,bohemia1 wife of ,richard ,,ii4 ,it originally trimmed or bordered an ecclesiastical garment4 #cgh ,for further information1 we refer the reader to ,m4 ,urbani de ,gheltof's book on ,venice laces already cited 7,organia1 ,venice1 #ahgf71 and ,lady ,layard's translation 7#ahhb74 #cgi ,i am assured on the best authority that this is unknown as yet at ,burano2 but the workers1 as well as the revived industry1 are very young4 ,the modern school of ,burano has only been established eleven years4 ,it is certainly delightful to see the #cbj happy faces1 singing1 chattering1 and smiling over their graceful occupation2 and the beauty of the ,buranese women1 which is celebrated1 has not suffered from their occupation4 ,there is a charming little article of the ,revista di ,torino1 #ahhc1 which describes the improvement in the social condition of ,burano1 morally and physically1 and the way it is recognized by the inhabitants4 ,instead of signs of miserable poverty1 the promoters of the lace school are greeted by the women leaning from the windows with1 ,siestu benedetta6 7,be thou blessed674 #chj ,the word tapestry comes from the ,greek tapes1 which is used equally for hangings or carpets4 ,the ,italians call carpets tapeti to this day4 ,it is believed to have been originally an ,egyptian word for such fabrics4 #cha ,for instance1 the embroidered hangings of the eighth century at ,gerona1 in ,spain1 have been more than once quoted as proofs of tapestries having been manufactured there at that period4 #chb ,the slay means the strike4 ,the word had the same meaning originally3 to slay a man was to strike him4 #chc ,see ,de ,champeaux1 ,south ,kensington ,museum ,art ,handbook1 #ahgh4 #chd ,bibliothque des ,merveilles 7sur les ,tapisseries71 publi sous la direction de ,m4 ,edouard ,charton1 ,paris1 #ahgf4 #che ,martial1 xiv4 #aej4 #chf ,minerva accepts the challenge of the ,monian ,arachne1 who will not yield to her in the praises of being first in weaving wool4 ,the girls desert the vineyards round the little town of ,hyppa1 to look at her admirable workmanship4 ,she boasts that hers is finer than that of ,pallas1 and1 desiring a vain victory1 rushes upon her own destruction4 444 ,they stretch out two webs on the loom1 with a fine warp4 ,the web is tied to the beam2 the slay separates the warp2 the woof is inserted in the middle with sharp shuttles1 while the fingers hurry along1 and being drawn with the warp1 the teeth 7notched in the moving slay7 strike it4 ,both hasten on their labour1 and girding up their garments to their bosoms1 they move their skilful arms1 their eagerness beguiling their fatigue4 ,there are being woven both the purples1 which are subjected to the ,tyrian brazen 7dyeing7 vessel with fine shades of minute difference2 as in the rainbow with its mighty rays reflected by the shower1 where1 though a thousand colours are shining1 yet the very transition eludes the eyes that look upon it2 to such a degree is that which is adjacent the same1 and yet the extremes are different4 ,the pliant gold is mingled with the threads1 and ancient subjects are represented on the webs4 ,then follows the list of the subjects4 ,the web of ,pallas had a large central design1 and a smaller one on each corner1 surrounded with a border of olive leaves4 ,arachne's contained nineteen pictures1 of two or more figures each1 and was surrounded by a border of flowers1 interwoven with the twining ivy4 ,ovid's ,metamorphoses1 book vi4 ,through the kindness of my friend1 ,lord ,houghton1 ,i am enabled to give the sequel of the story--,arachne's transformation into the ,spider1 as-- ,a ,,paraphrase ,,and ,a ,,parable4 ,lo6 how ,minerva1 recklessly defied1 ,struck down the maiden of artistic pride1 ,who1 all distraught with terror and despair1 ,suspended her lithe body in mid-air2 ,deeming1 if thus she innocently died1 ,the sacred vengeance would be pacified4 ,not so3 implacable the goddess cried-- ,live on6 hang on6 and from this hour begin ,out of thy loathsome self new threads to spin2 ,no splendid tapestries for royal rooms1 ,but sordid webs to clothe the caves and tombs4 ,nor blame the ,poet's ,metamorphoses3 ,man's ,life has ,transformations hard as these2 ,thou shall become1 as ,ages hand thee down1 ,the drear day-worker of the crowded town1 ,who1 envying the rough tiller of the soil1 ,plies her monotonous unhealthy toil1 ,passing through joyless day to sleepless night ,with mind enfeebled and decaying sight1 ,till some good genius1#dcg kindred though apart1 ,resolves to raise thee from the vulgar mart1 ,and once more links thee to the ,world of ,art4 #chg ,appendix #c4 #chh ,guicciardini ascribes the invention of woven tapestry to ,arras1 giving no dates2 so we do not know whether he attributes it to the ,belgic ,atrebates or to their successors1 the ,franks4 ,in either case the craft was probably imported from the ,east4 #chi ,the ,atrebates were the inhabitants of that ,belgic region till the fifth century2 now it is the province of ,artois1 probably a corruption of the name ,atrebates4 ,taylor1 ,words and ,places 7#ahfe71 pp4 #bbi-che4 #cij ,castel1 ,des ,tapisseries1 p4 #cj4 #cia ,sidonius ,apollinaris1 ,epist4 ix41 #ac4 ,cited in ,yule's ,marco ,polo1 p4 #fh4 #cib ,castel1 ,des ,tapisseries1 p4 #ca4 #cic ,the commentators of ,vasari1 ,,mm4 ,lechanch and ,jenron1 believe that this art was coeval in the ,low ,countries with ,roman civilization and ,christianity2 but it would appear that the weavers had fled to ,britain to escape from the ,romans4 ,ibid4 p4 #eb4 ,traces of the name ,arras have been found by ,bochart and ,frahn in ,ar-ras1 the ,arabian name for the river ,araxes and the people who inhabit its shores2 but this may be accidental1 and is at best an uncertain derivation4 #cid ,rock1 ,introduction1 p4 cxii4 ,this ,saracenic work is really so like what is called by the ,germans ,gobelins when found in ,egyptian tombs that one can hardly doubt whence the ,moors brought their art4 ,there are several ,egyptian specimens in the ,british ,museum4 ,see also the catalogue of ,herr ,graf'schen's collection of ,egyptian textiles1 from the first to the eighth century4 ,katalog der ,teodor ,graf'schen ,fnde in gypten1 von ,dr4 ,karabacek4 ,wien1 #ahhc4 #cie ,viollet-le-,duc1 ,dictionnaire du ,mobilier ,franais1 ,tapis1 p4 cxii2 also ,m4 ,jubinal1 ,tapisserie ,historique4 ,it is difficult absolutely to assign to any known specimens a date anterior to the fifteenth century2 although ,m4 de ,champeaux thinks that the ,sarazinois were mostly or entirely carpet-weavers about the eleventh century4 ,he says there is documentary authority to prove that these were woven with flowers and animals4 ,there is a very deep-piled velvety carpet at ,gorhambury 7the ,earl of ,verulam's place74 ,here ,queen ,elizabeth's arms and cypher appear on a ,persian or ,moresque ground pattern surrounded with a wreath of oak leaves4 ,it may have been a gift from ,spain1--left after one of her visits to her ,chancellor4 #cif ,tapisseries des ,gobelins1 ,a4 ,l4 ,lacordaire1 p4 #aj 7#ahec74 ,he considers that the ,sarazinois were embroiderers as well as weavers--and this theory is supported by extracts from an inventory of ,charles ,,vi4's hangings of #adba4 ,every detail of the art and its materials was carefully regulated by the ,french statutes of #afbe-bg1 containing many laws for the perfecting of the manufacture of new as well as the restoration of old tapestries--and fines were imposed for not using materials as nearly as possible matching the original ones2 and likewise for any other dereliction from the rules of the craft4 ,ibid4 pp4 #i1 #aj1 #ad4 #cig ,at the ,poldi ,bezzoli ,museum in ,milan there are some very fine carpets2 one especially1 a ,persian1 is supposed to be of the fifteenth century4 ,this is very finely woven of pure1 tender colours1 and the whole composition1 flowers and animals 7most beautifully drawn lions1 c471 is delicately outlined in black on a white ground4 ,the colouring is rich and harmonious1 and has the iridescent effect of mother of pearl4 #cih ,in the ,san ,clemente frescoes at ,rome there are hangings which show a semi-,asiatic style4 #cii ,mmoires ,historiques et ,ecclesiastiques d',auxerre1 par ,m4 l',abb ,lebuf1 i4 pp4 #agh1 #bca4 #djj ,there are very interesting ,norwegian tapestries of the sixteenth century1 which show distinctly an ,eastern origin4 #dja ,jubinal1 ,tapisseries1 pp4 #be1 #bf2 ,viollet-le-,duc1 ,dic4 de ,mobilier ,franais1 p4 #bfi4 #djb ,there is much splendid tapestry--,german1 and especially ,bavarian1--to be seen at ,munich2 and1 indeed1 the more one seeks1 the more one finds that private looms were constantly at work in the ,middle ,ages for votive offerings4 ,there is a tapestry altar-piece at ,coire1 in the ,grisons1 of the ,crucifixion1 which is evidently of the fourteenth century4 ,the colours are still brilliant1 and the whole background is beautifully composed of growing flowers4 ,no sky is seen4 ,there is at ,munich an altar frontal of tapestry1 ,gothic of the fifteenth century1 exquisitely beautiful4 ,the weaver has introduced a little portrait of herself at her loom1 under the folds of the virgin's cloak at her feet4 #djc ,m4 ,albert ,castel 7,tapisserie1 p4 #ec7 believes that the taking of ,constantinople1 when ,earl ,baldwin was elected to the throne of ,byzantium1 had a great effect on ,flemish art1 which then received a strong impulse from ,oriental designs and traditions4 ,see ,m4 ,jubinal's very interesting account of the tapisserie de ,nancy which lined the tents of ,charles the ,bold at the siege of ,nancy 7p4 #dci74 ,these tapestries are an allegory against gluttony4 ,tapisseries ,hist41 pp4 #a-e4 #djd ,charles the ,bold has left us records of his taste in tent hangings of ,arras at ,berne1 as well as at ,nancy4 ,these are the plunder from his camp equipage after the battle of ,grandson4 ,the whole suite1 of many pieces1 represents battles and sieges1 and sacred subjects also1 such as the adoration of the ,magi4 ,they are finely drawn and splendidly executed with gold lights1 and are of the most perfect style of the fifteenth century4 ,the ,national ,museum at ,munich contains most valuable specimens of very early and very fine tapestries2 amongst others1 a ,virgin1 which was certainly designed in the school of ,drer1 and is of the greatest perfection of its art1 both as to colour and drawing and the general effect1 which has a soft1 dreamy beauty1 only to be seen in fine woollen tapestries1 and differing from pictorial design and intention4 #dje ,see ,rock1 cxii3 ,among the remarkable suites of tapestry of which we find historical mention are the following3 ,in #accd1 ,john de ,croisette1 a ,tapissier ,sarazinois1 demeurant ,arras vendit au ,duc de ,touraine un tapis ,sarazinois or3 de l'histoire de ,charlemagne 7,voisin1 p4 #f74 ,of the many recorded as belonging to ,philip1 ,duke of ,burgundy and ,brabant1 one piece1 ,haulte lice sanz or3 de l'histoire du ,duc de ,normandie1 comment il conquit ,engleterre4--,les ,ducs de ,bourgogne1 par le ,comte de ,laborde1 ii4 p4 #bgj1 ,no4 #dbgg4 #djf ,m4 de ,champeaux1 the author of the ,handbook of ,art ,tapestry belonging to the series of the ,kensington ,museum1 #ahgh1 says that the history of ,arras has yet to be written4 ,he1 however1 gives a great deal of interesting information1 especially about the ,french tapestries1 on which subject we fancy there is little more to tell4 ,their art does not come from such a distant time as that of the ,belgian manufactures4 ,after ,louis ,,ix4 had decimated the inhabitants1 and dispersed the remainder1 ,arras yet made a gallant struggle to revive her industry and compete with the rising prosperity of ,brussels2 but ,france had decreed against her4 #djg ,encyclopdia ,britannica 7,art ,tapestry71 pp4 #ag1 #ig4 #djh ,vasari vividly describes the design for a tapestry for the ,king of ,portugal--the history of ,adam--on which ,leonardo da ,vinci1 then aged twenty1 was engaged4 ,he lingers tenderly over the picture of the flowery field and the careful study of the bay-trees4 ,vasari1 tom4 vii4 p4 #ae2 ed4 ,firenze1 #ahea4 #dji ,see ,m4 ,jubinal's ,tapisseries ,histories1 p4 #bf2 ,viollet-le-,duc1 ,mobilier ,franais1 i4 p4 #bfi4 #daj ,froissart's ,chronicles1 iv41 chap4 #bc2 ,johnes ed4 #ahae4 #daa ,m4 de ,champeaux1 ,handbook of ,art ,tapestry1 p4 #bd2 also ,rock1 ,textiles1 p4 #abb4 ,m4 ,lacordaire1 ,tapisserie des ,gobelins1 p4 #ae1 tells us that under ,louis ,,xiii4 the statutes of #afbe-bg contain many regulations for the perfection of the materials employed in weaving new as well as in restoring old tapestries4 ,fines were imposed for not matching the colours carefully4 #dab ,english wool is still used for the finest tapestries at the ,gobelins4 ,the wool from ,kent is considered the best4 #dac ,vit ,st4 ,alban4 ,abbatum1 p4 #dj2 ,rock1 p4 cxi4 ,that the walls were covered with tapestry in the thirteenth century is supposed to be proved by the description of ,hrothgar's house in the ,romance of ,beowulf4 ,we are told that the hangings were rich with gold1 and a wondrous sight to behold4 ,history of ,domestic ,manners1 c41 in ,england during the ,middle ,ages1 by ,thomas ,wright1 p4 #b4 #dad ,matthew ,paris1 in ,dugdale ,monast41 ed4 #ahai1 ii4 p4 #ahe4 #dae ,quoted by ,michel from ,,mss4 in the ,imperial ,library1 ,paris4 #daf ,this was a writ to the ,aldermen and ,sheriffs of the ,city of ,london1 principally levelled against the dealings of certain ,frenchmen which were against the well-being of the trade of the ,tapissiarii 444 by petition of ,parliament at ,westminster4 ,calend4 ,rot4 ,pat4 ,edward ,,iii41 p4 #adh1 ,de ,myster ,tapiciarorum1 ,lond4 ,m4 #da4 #dag ,called verdures in ,french inventories4 #dah ,rock's ,introduction1 p4 lxxix4 #dai ,the art of weaving tapestry was brought to ,england by ,william ,sheldon1 ,esq41 about the end of the reign of ,henry ,,viii4--,see ,dugdale's ,warwickshire 7,stemmata3 ,sheldon71 #bnd edition1 folio1 vol4 i4 p4 #ehd2 also ,lloyd's ,state ,worthies1 p4 #iec1 quoted by ,manning and ,bray1 ,hist4 of ,surrey1 vol4 iii4 p4 #hb4 ,but we have an earlier notice of a spirited attempt to make fine tapestries at ,kilkenny4 ,piers1 ,earl of ,ormonde1 married the daughter of ,fitzgerald1 ,earl of ,kildare1 a person of great wisdom and courage4 ,they brought from ,flanders and the neighbouring provinces artificers and manufacturers1 whom they employed at ,kilkenny in working tapestries1 diaper1 ,turkey carpets1 cushions1 c4 ,piers died #aeci4 ,carte's ,introduction to the ,life of ,james1 ,duke of ,ormonde1 vol4 i4 p4 #ic 7,oxford1 #ahea74 #dbj ,william ,sheldon at his own expense brought workmen from ,flanders1 and employed them in weaving maps of the different counties of ,england4 ,of these1 three large maps1 the earliest specimens1 were purchased by the ,earl of ,orford 7,horace ,walpole71 by whom they were given to ,earl ,harcourt4 ,he had them repaired and cleaned1 and made as fresh as when out of the loom1 and eventually gave them to ,gough1 the antiquary1 who bequeathed them to the ,university of ,oxford4 ,the ,armada tapestry1 which is stated to have been designed by ,henry ,cornelius ,vroom1 the ,dutch marine painter1 and woven by ,francis ,spiering1 appears to have been1 in #afjb1 in the possession of ,lord ,howard1 ,lord ,high ,admiral and the hero of the ,armada4 ,fuller particulars are given in ,walpole's ,anecdotes1 i4 p4 #bdf1 under the name of ,vroom1 ,sandart being the principal authority4 ,part of them were in the ,house of ,lords till #ahcd1 when they perished in the fire4 ,these had been engraved in #agci by ,john ,pine1 but it appears that at that time there were in the royal wardrobe other pieces1 now lost4 #dba ,lloyd's ,worthies4 #dbb ,calendar of ,state ,papers1 cx4 ,no4 #bf1 ,james ,i41 #afai-bc4 #dbc ,calendar of ,state ,papers1 vol4 clxxxi4 ,no4 #dh4 #dbd ,rymer1 ,fdera1 vol4 viii4 p4 #ff1 ed4 #agdc4 #dbe ,brydges1 ,northamptonshire1 i4 p4 #cbc1 under the head of ,stoke ,bruere1 pt4 #a1 p4 #dh4 #dbf ,manning and ,bray's ,history of ,surrey1 vol4 iii4 p4 #cjb4 #dbg ,horace ,walpole1 ,anecdotes of ,painting in ,england1 vol4 ii4 p4 #bb4 #dbh ,macpherson1 ,annals of ,commerce4 #dbi ,there is in ,brydges' ,northamptonshire1 under the head of ,stoke ,bruere 7the estate which ,king ,james gave to ,sir ,f4 ,crane as part payment of the deficit of #af1djj in his tapestry business71 mention of the cartoons of ,raphael of ,urbin1 444 had from ,genoa1 and their cost1 #cjj1 besides the transport4 ,m4 ,blanc says1 with great justness1 that ,raphael1 when he prepared these cartoons for tapestry1 made designs for weaving1 and did not paint pictures4 ,if they had been intended for oil pictures1 they would have been very differently treated4 #dcj ,calendar ,state ,papers1 ,domestic1 ,sept4 #bhth1 #afec4 #dca ,horace ,walpole's ,anecdotes of ,painting1 vol4 iii4 p4 #fd4 #dcb ,see ,evelyn's very scarce tract1 entitled ,mundus ,muliebris1 printed #afij1 p4 #h4 #dcc ,lord ,tyrconnell1 ,lord ,exeter1 and ,lord ,guildford had married three of the ,brownlow heiresses of ,belton1 who had a winter residence at ,stamford4 #dcd ,designed by ,francesco ,zuccharelli4 ,rock1 ,introduction1 p4 cxiv4 #dce ,it has been at different periods the crowning glory of the craft of the weaver to place different patterns or pictures on the two sides of the web4 ,this would almost appear to be impossible1 but that it has been done in late years1 according to ,rock1 who tells us that he saw a banner so woven1 with the ,austrian eagle on one side and the ,virgin of the ,immaculate ,conception on the other4 ,he says that the same manufacturer was then being employed in producing ecclesiastical garments with the colours and patterns so varied4 #dcf ,in old tapestries three tints only were employed for the complexions of men1 women1 and children--the man's reddish1 the woman's yellow1 and the child's whiter than either4 ,it is an agreeable economy of colours1 simple and effective1 and avoids the pictorial imitation that one deprecates4 ,see ,m4 ,charles ,blanc's ,grammaire des ,arts ,dcoratifs3 ,tapisserie1 p4 #aab4 #dcg ,the poet here refers to ,h4,r4,h4 the ,princess ,christian4 ,,chapter ,,vii4 ,,hangings4 444 ,her bedchamber was hang'd ,with tapestry of silk and silver4444 ,cymbeline1 ,act ,,ii41 ,scene ,,iv4 ,the most important works that have been executed in embroidery1 have been hangings or carpets4 ,we may look upon these as belonging to the history of the past4 ,never again will such works be undertaken4 ,their raison d'tre1 as well as the means for their production1 have ceased to exist4 ,we have very ancient historical evidence of the use of hangings 7or tapestries71 either as curtains to exclude prying eyes1 or as coverings to what was sacred or else unseemly1 or as ornamental backgrounds in public and private buildings4 ,there is no doubt that in pillared spaces the enclosures and subdivisions were completed by hangings from pillar to pillar1 from the earliest times of ,asiatic civilization4 ,in ,assyria1 and afterwards in ,greece and ,rome1 the open courts and rooms were shaded from the sun and rain by umbrella-like erections with hangings stretched over them4 ,from the ,coliseum's vast area to that of the smallest atrium in the ,pompeian house1 the covering principle was the same4 ,palace-halls and temples alike were furnished in this way1 and the cold splendour of the polished marbles was enhanced by contrast with the shadowing folds of soft textures richly embroidered in bright colours and gold4 ,the statues1 the gold and silver vessels1 the shrines heaped with votive offerings1 were all brought into higher relief and effect by the screens1 the curtains1 and the veils which classical perfect taste would plan so as to carry out the decorator's intention4 ,babylonians1 ,persians1 ,assyrians1 ,egyptians1 ,greeks1 and ,jews1 each adorned their sacred places in similar fashions4#dch ,clemens ,alexandrinus says that behind the hangings of the ,egyptian temples were hidden their foolish images4#dci ,the word hangings was applied to all large curtains and tapestries1 tent coverings1 screens dividing empty spaces1 or pendant between pillars2 also sails1#ddj banners1 and decorations for processional purposes covering walls or hanging from windows2 all these have been embroidered or woven with pictures and patterns4 ,carpets1 from having originally the same name1 tapete1 are to be added to this list1 and1 in fact1 their uses are often interchanged4 ,kosroes' famous hangings were used as a carpet1 and ,persian and ,babylonian carpets have been hung on the walls4 ,a ,babylonian hanging must have resembled1 in its style 7of which we have descriptions71 the ,persian carpet of to-day4 ,semper gives excellent reasons for his theory that1 next to dress1 hangings 7the clothing of architecture7 were the earliest phase of art4#dda ,he looks upon the most ancient paintings on architecture as absolutely representing textile coverings4 ,some of the earliest ,babylonian decorations show men supporting draperies1 which he believes to be the tradition of the time when the tallest slaves held up the hangings to their own height2 and above them1 in tiers1 were men1 dwarfs1 and even children fastened on brackets1 carrying the hangings up to the roofs4 ,this was an ,assyrian custom1 and was adopted by the ,romans as a mode of disposing of their prisoners of war4 ,woltmann and ,woermann appear to lean to the suggestion that permanent imitations of hangings were carried out in painted or encaustic tiles covering the masonry of ,chaldean buildings at ,nimroud and ,khorsabad4 ,the pale ones associated with low reliefs1 and really resembling them1 as they were partly raised1 and the reliefs in alabaster and stone1 which were partly coloured1 were in harmony1 and yet in contrast1 with the brilliant tiles of ,babylon4#ddb ,we know exactly what were the purple1 scarlet1 and white hangings of the ,sanctuary in the wilderness1 designed by ,bezaleel1 and that the veil of the ,temple was blue1 purple1 crimson or scarlet1 and white1 i4e4 worked on white linen2 and we know from ,josephus1 that the veil of the ,temple1 which was rent in twain sixteen centuries later1 was that dedicated by ,herod1 and was ,babylonian work1 representing heaven and earth#ddc 7see p4 #bc ante74 ,its colouring was scarlet1 white1 and blue4 ,scarlet and white hangings seem indeed to have been an ,oriental fashion2 and fashion then was not ephemeral1 but lasted hundreds of years4 ,the embroidered curtains of the ,tabernacle are repeated in the hangings of ,alexander's wedding tent1 after #aejj years2 and a thousand years later still they reappear in the seventh century1 when ,pope ,sergius gave curtains to the high altar 7baldachino7 in the basilica of ,st4 ,peter's at ,rome of this same scarlet and white embroidery4 ,in early ,oriental art1 the enormous expenditure of work is appalling to think of4 ,abulfeda describes the palace of the ,caliph ,moctader1 on the banks of the ,tigris1 as being adorned with #ch1jjj pieces of tapestry1 and of these #ab1jjj were of silk worked in gold4 ,what a wealth of women had to be wasted in creating such a wealth of embroideries6#ddd ,there is a ,bedouin romance which describes the tent of ,antar1 and shows the taste for large works4 ,five thousand horsemen could skirmish under its embroidered shade2 and ,akbar's largest tent held #aj1jjj persons4 ,nadir ,shah's gorgeous tent1 which was of the end of the seventeenth and the beginning of the eighteenth century1 was of scarlet cloth on the outside1 lined with violet satin embroidered with gold and precious stones4 ,the peacock throne was placed within it1 and was kept there during the remainder of ,nadir ,shah's reign4 ,sir ,john ,chardin says that ,the ,khan of ,persia caused a tent to be made which cost two millions3 they called it the house of gold2 and it was resplendent with embroideries4#dde ,these are comparatively modern works1 and sound commonplace and vulgar compared to those of ,greece and ,egypt4 ,the ,greeks imitated the tents and temporary buildings of the ,eastern monarchs4 ,this phase of ,oriental luxury was imported by ,alexander the ,great1 and we have the description of two of his gorgeous creations at ,alexandria1 where he outrivalled the ancient traditional glories of ,assyria and ,persia4 ,his own tent was supported by fifty golden pillars1 carrying a roof of woven gold1 embroidered in shimmering colours1 and divided from the surrounding court1 filled with guards and retainers1 by scarlet and white curtains of splendid material and design4 ,but more gorgeous is the account of the tent in which he entertained ninety-one of his companions-in-arms on the occasion of his marriage4 ,this tent was supported by columns twenty cubits high1 plated with silver and gold1 and inlaid with precious stones4 ,the walls of the court were formed by curtains adorned with figures worked in gold1 and were hung from beams plated with the precious metals1 to match the columns4 ,the outer court was half a mile in circumference4#ddf ,yet ,alexander's wedding-tent was exceeded in splendour by that erected by ,ptolemy ,philadelphus for his great pomp at ,alexandria1 described by ,kallixenos1 as cited by ,athenus4#ddg ,this tent1 crowned with golden eagles1 was supported by pillars fifty cubits high4 ,they upheld an architrave with cross-beams covered with linen1 on which were painted coffers1 to imitate the structure of a solid roof4 ,from the centre was suspended a veil of scarlet bordered with white4 ,the pillars in the four angles represented palm-trees of gold1 and the intermediate columns were fashioned as thursi1 and were probably wreathed with golden vines and bunches of grapes made of amethysts1 as we know of a ,persian tent so adorned1 and the whole idea of the erection was evidently fresh from the ,east4#ddh ,a frieze eight cubits high was composed of niches containing groups of tragic1 comic1 and ,satyric figures in their natural garb2 and nymphs and golden tripods from ,delphi4 ,the tent was separated from the outer peristyle by scarlet hangings1 covered with choice skins of wild beasts4 ,upon these were hung the celebrated ,sikyonian pictures1 the heritage of the ,ptolemaic dynasty1 alternating with portraits and rich hangings1 on which were embroidered the likenesses of kings1 and likewise mythological subjects4 ,between these and the frieze hung gold and silver shields4 ,opposite the entrance1 vessels of the most costly materials and workmanship1 valued at #aj1jjj talents of silver1 were ranged1 so as to strike the eye of all who entered there4 ,golden couches supported by ,sphinxes were placed along the sides of the tent1 furnished with soft purple woollen mattresses1 and coverings gaily and exquisitely embroidered4 ,the floor was strewn with fresh blossoms1 except where a most costly ,persian carpet covered the centre4 ,in the doorways and against the pillars stood a hundred precious statues by the greatest artists4 ,this description dazzles the imagination6 ,to be an upholsterer 7a vestiarius7 in those days was to be an engineer1 architect1 and artist6 ,semper1 from whose translation we are quoting1 remarks that the luxurious motive of such an erection naturally arose from the desire to make use of the mass of artistic materials acquired by conquest1 and the effort to reduce them to certain architectural principles already accepted4#ddi ,that ,alexander did not purposely destroy the ,persian embroideries is evident from the fact that ,lucullus speaks of them #bjj years later4 ,rome accepted and adopted all the ,oriental uses of hangings1 in the ,temple and the house for temporary festive occasions4 ,by both ,greeks and ,romans hangings were used in triumphal processions1 covering immense moving cars or draping the temporary buildings which lined the avenues of their progress4 ,also the funeral pyres which ,greece and ,rome copied from ,assyria were hung with splendid materials and embroideries4 ,without describing one of these awful erections1 it is impossible to give any idea of how much artistic treasure was thrown into the flames which consumed the remains of a great man4 ,the funeral pyre dedicated by ,alexander to his friend ,hephstion recalls that erected by ,sardanapalus in one of the courts of his own palace1 on which he perished1 surrounded by his wives and his treasures4 ,hephstion's catafalque was built of inflammable materials1 #bej feet high1 raised in many stories1 and hung with pictorial tapestries1 painted and embroidered4 ,each story was adorned with images of ivory and gold4 ,in the upper story were enormous hollow figures of ,sirens1 filled with singers1 who chanted the funeral odes4#dej ,it is to be hoped that they were released before the conflagration4 ,the records of such extravagant funeral ceremonies teach us how much of human thought1 how much of art and beauty which had helped to civilize the world1 were torn from the places they were intelligently designed to decorate1 heaped up by the conquerors1 and as ruthlessly spent and destroyed for the boast of a day4#dea ,christian ,rome adopted the traditions of ,pagan decoration1 and introduced them in her worship1 processions1 and shows4 ,a great religious procession like that of the ,corpus ,domini in our own times1 has reminded us of a ,roman triumph4 ,the baldachini and the banners2 the torches2 the streets1 festooned with draperies2 even the ,pagan emblems1 which have been converted into ,christian symbolism--all these were the echoes of classical days2 but they are fast disappearing4 ,two thousand years will have worn out and effaced these customs1 and our children will not see them4 ,i have not space to linger over the many descriptions of ,oriental1 ,grecian1 and ,roman work to be gathered from classical authors1 but from them this lesson is to be learned that the first principle which guided those great decorators was the individuality and appropriateness of each design to the purpose for which it was intended and the place it was to fill4 ,but even their peculiar excellences did not save them from the universal law of destruction4 ,when the hangings were worn1 or became for any reason distasteful1 they were replaced by others1 often by gifts or spoils from friendly allies or conquered kings4 ,the quantity of gold laid upon these great religious or national works was the cause of their destruction as soon as they were withdrawn and superseded by something of a newer fashion4 ,the intrinsic value in precious metals of such works is proved by ,pliny's statement that ,nero gave four millions of sesterces for covers of couches in a banqueting-hall4#deb ,the hangings or carpets taken by the ,caliph ,omar from ,kosroes' white palace 7,a4,d4 #fea7 must have been some of the finest and most valuable embroideries ever known4 ,they formed a tapestry carpet or hanging1 representing all the flowers of spring1 worked in coloured silks1 gold1 and precious stones4 ,kosroes entreated ,omar to keep it intact for himself1 but he was so virtuous that he cut it up into little bits and divided it amongst his generals4 ,gibbon describes this wonderful piece of work4#dec ,we have heard much of a marvellous carpet1 given lately by the ,guicowar of ,baroda to the tomb of ,mahomet at ,medina1 which1 from its description1 recalls the style of ,kosroes' hangings2 and their history gives us a notable instance of how works of art in the time of war and conquest come to be considered only for the value of their materials4 ,war1 the enemy of culture1 all but effaces whole phases of art when a country is overrun and plundered4 ,but there is almost always a residuum1 which has influence whenever there is a revival1 beginning with the smaller arts of luxury in more peaceful and prosperous days4#ded ,to return to the classical veils and hangings4 ,you may see them on ,babylonian bas-reliefs1 on ,greek fictile vases1 or painted in frescoes on the walls of ,egyptian tombs and temples2 in the houses in ,pompeii and ,herculaneum1 and in the remains of ,roman villas and tombs everywhere4 ,from all of these we may learn something4 ,the obvious intention of hangings in household decoration is to cover bare walls1 so as to adorn at once that which was rough or common1 without delay or trouble4 ,they were also used as curtains to shut out the cold or the heat1 and to give privacy to rooms without doors or windows4 ,hangings on bare walls have always been meant to hang straight down1 undisturbed by folds1 whereas curtains and portires would probably have to be looped up or continually drawn aside4 ,the designs to be worked upon them should necessarily be regulated by their shape and use4 ,semper considers that a square is an expressionless form1 and that it should be avoided4#dee ,if you wish to give dignity to a room1 its hanging decorations should be divided into panels of greater height than breadth1 so as to elevate the spaces they cover4 ,horizontal stripes bring down the ceiling1 and even in furniture1 look ill except as borders4 ,nothing can be more ugly or inartistic than the curtains one finds in old illuminations1 covered with bands of the same pattern throughout the surface1 but even this is less unpleasant on the walls than lines crossing each other at right angles4 ,the ,romans looked on chequers as barbarous national characteristics1 and left them to the ,gauls and ,britons4 ,chequers should be avoided unless they express a meaning1 as in ,scotch tartans4 ,semper observes that the striped stuffs1 especially those of ,oriental fabrics1 were never intended to be spread out flat1 but to be draped in folds and loops1 and the lines only seen broken up4 ,he continues3--,one rule1 which cannot be neglected with impunity1 is this3 that whether the hanging or screen is supposed to stand or to hang1 there must be an above and a below to every pattern1 and it must1 moreover1 be upright4 ,all foliage designs1 and those containing animals1 must start from below1 and grow upwards4 ,another of his laws is that the heaviest colours should be placed below1 and the palest and brightest above4 ,this may be disputed4 ,it must be first determined where contrast is needed4 ,if the darkest part of the pattern is below1 it may be necessary to give it the lightest background1 on the principle of balancing quantities in colour4 ,the dado1 or lowest border1 will often give the necessary weight to the design4 ,semper goes on to say1 ,a surface may be made to appear to stand1 or to hang down1 according to its decoration4 ,for instance1 a triangle will hang or stand1 according as its apex points downwards or upwards4 ,but in draped curtains all symmetry of design is lost1 and the rich forms and fulness of folds rather tend to destroy the effect of elaborate patterns1 and to take their place4 ,another important difference between standing and hanging tapestries is their finish or edge1 the upper one being an upright continuous border1 and the lower one a fringe4 ,in both cases it is a continuation of the main threads of the material1 and these belong exclusively to the hanging tapestries and curtains4 ,the fringe is so essential a part of hanging decoration1 that we must pause and give it our best consideration4 ,in ,babylonian art it is most important4 ,the extreme solidity of the knotted fringes in their dress and hangings show either the thickness of the woven substance1 or that the fringes were made by enriching the warp and adding to it4 ,they are almost always1 on the ,assyrian sculptures1 simply knotted fringes2 but the little portable ,chaldean temple on the bronze gates from ,balawat 7near ,nimroud71 in the ,british ,museum1 shows fringes of bells or fruit like those of the ,jewish tabernacle in the wilderness 7fig4 #b74 ,on ,egyptian linen we sometimes see1 woven or worked1 a reticulated pattern which imitates a fringe4 ,the carpets of the ,egyptians1 ,babylonians1 and ,persians were evidently used sometimes as hangings1 though many of their designs would not have served both purposes equally well4 ,that the ,babylonian weavers1 however1 understood that a carpet lying on the ground should be covered with an even pattern1 and be finished with a border all round1 is evident from the exquisitely chiselled designs1 imitating carpets1 on two portions of pavements in the ,british ,museum 7pl4 #bg72 and we may compare these with the different treatment of designs for the veils of the temples1 both in ,babylon and ,egypt1 on which were represented the signs of the zodiac and all the heavenly bodies1 and other symbolical and unconventional forms4 ,the ,atrium of the ,greek and ,pompeian houses1 which was modelled on the same idea1 was separated from the ,court by curtains1 hung on rods or nails4 ,on festive occasions these may have been garlanded with natural flowers4 ,if so1 we may be sure that the little wreaths worked on them1 as we learn from frescoes1 would combine with the gala day's decorations1 and would be designed with that view4 ,the ,greek artist would never have approved of natural flowers or trees1 embroidered as if growing out of a dado1 simulating a garden worked in wool4 ,this would have been considered a bad attempt at pictorial art4 ,m4 ,louis de ,ronchaud1 in his ,tapisseries des ,anciens1 speaks of the hangings which he supposes to have decked the recess that contained the chryselephantine statue of ,athen ,parthenos in her temple at ,athens4 ,he says these votive hangings dressed the pillars that surrounded the ,hecatompedon1 and formed a tent over the head of the goddess4 ,m4 de ,ronchaud believes that among the subjects of the ,delphic embroideries1 described by ,euripides in the tragedy of ,ion1 may be recognized some derived from the designs on saffron-coloured hangings1 spoken of by the poet as the wings of the peplos4#def ,the downfall of decorative art1 domestic as well as national1 kept pace with the downfall of the ,roman ,empire4 ,during the ,dark ,ages1 of such art there seems to have been very little2 and of that the best was ,celtic or ,anglo-,saxon4 ,but the darkness shrouds from our view the artistic life of the world1 and the dawn was very long in breaking4 ,we must therefore return to the subject of hangings1 after a gap of nearly a thousand years1 when the first stirrings of the ,european revival came1 in the twelfth century4#deg ,symonds says3 ,the arts and the inventions1 the knowledge and the books1 which suddenly became vital at the time of the ,renaissance1 had long lain neglected on the shores of that ,dead ,sea which we call ',the ,middle ,ages4'#deh ,there can be no doubt that1 during the ,dark ,ages1 hangings woven and embroidered continued to be the custom throughout ,europe4 ,our own ,anglo-,saxon records prove that such furnishings were employed to mitigate the cold bareness of our northern homes from the earliest times4 ,sir ,g4 ,dasent informs me that in ,icelandic ,sagas1 as early as the eleventh century1 there are frequent notices of hangings both in churches and in the halls of houses2 such1 for instance1 as the ,saga of ,charlemagne1 i4e4 scenes out of ,charlemagne's life1 worked on hangings #bj ells long4 ,in ,scaldic poetry1 a periphrasis for a lady is the ground of hangings1 or the bridge of hangings1 all pointing to embroidery4 ,from illuminated ,,mss4 engraved in ,strutt's ,antiquities of the ,english1 and contemporary ,european work of the tenth to the thirteenth centuries1 we find that the favourite style of embroidery1 when not representing historical or sacred subjects1 was a parsem pattern4 ,armorial bearings were generally reserved for cushions1 chair-backs1 and the baldachinos of altars1 beds1 and thrones4#dei ,richer and more flowing designs were later introduced4 ,in the fifteenth1 sixteenth1 and seventeenth centuries1 splendid tapestries of ,arras1 and hangings even of cloth of gold1 were common as palatial decorations4 ,sometimes we have a glimpse of less ambitious hangings2 for instance1 in the ,london house of ,sir ,andrew ,larkynge1 ,knight1 in the fifteenth century1 the hall was hung with sage-green panels1 bordered with gold darned work1 and the parler with sage-green1 bordered with crimson4 ,french embroidered hangings were very fine in the sixteenth century4 ,jeanne d',albret1 the mother of ,henri ,,iv41 was a great patroness of such works4 ,miss ,freer tells us that-- ,when ,jeanne and ,antoine took possession of the ,castle of ,pau1 they found their new abode rich in works of art and splendid decorations4 ,the refined taste of ,marguerite d',angoulme was visible everywhere4 ,jeanne's presence-chamber was adorned with hangings of crimson satin1 embroidered by the hand of ,marguerite herself4 ,the embroidery represented a passage from the history of the ,queen's own life4 ,during the hours which the ,queen allowed herself for relaxation1 she worked tapestry1 and discoursed with some one of the learned men whom she protected4 ,the ,queen daily attended the afternoon sermon1 preached by her chaplains in rotation4 ,often1 however1 weary with the excess of her mental labours1 and lulled by the drowsy intonation of some of these ministers1 the ,queen slept during part of the discourse4 ,jeanne always felt severe reproach of conscience when she had thus involuntarily yielded to fatigue2 and finding the inclination grow upon her1 she demanded permission from the ,synod to work tapestry during the sermon4 ,this request was granted2 and from thenceforth1 ,queen ,jeanne1 bending decorously over her tapestry-frame1 and busy with her needle1 gave due attention to the rambling addresses of her preachers4 ,comme elle 7,jeanne d',albret7 estoit grandement adonne aux devises1 elle fit de sa main de belles et grandes tapisseries1 entre lesquelles il y a une tente de douze ou quinze pices excellente qui s'appelle les ,prisons brises1 par lesquelles elle donnoit connistre qu'elle avoit bris les liens et secou le joug de la captivit du ,pape4 ,au milieu de chaque pice1 il y a une histoire du ,vieu ,testament qui resent la libert1 comme la dlivrance de ,suzanne1 la sortie du peuple de la captivit d',egypte1 l'largissement de ,joseph4 ,et tous les coins il y a des chaisnes rompues1 des menottes brises1 des strapades et des gibbets en pices1 et par-dessus en grosses lettres ce sont ces paroles de la deuxime aux ,corinthiens1 ch4 iii43 ,ubi spiritus1 ibi libertas4#dfj ,cluny boasts a most curious suite of hangings from the ,chateau de ,boussac1 of the early part of the fifteenth century1 which are charming1 quaint1 and gay1 and historically and archologically interesting4 ,they tell the story of the ,dame au ,lion4 ,modern ,french tapestries1 from the manufactories of the ,savonnerie1 the ,gobelins1 and elsewhere1 are decorative to the highest degree4 ,nothing can be more festive than these works of the time of ,louis ,,xiii41 ,,xiv41 and ,,xv41 framed in white and gold1 carved wood1 or stucco1 reflected in mirrors1 and lighted by crystal or glass chandeliers and girandoles4 ,such hangings have nothing in common with those of early times2 they are not temporary coverings of bare spaces1 but panels in decorated walls1 where they form an integral part of the architectural composition and design4 ,they do not merely serve to give warmth1 comfort1 and colour to desolate halls1 as did those ancient tapestries belonging to the furniture of the great man who sent them on before him from palace to palace1 carrying them away with his baggage lest some one else should do so in his absence4 ,these were probably merely attached by loops and nails1 as one sees in country villas or castles in ,italy to this day4 ,we find that the ,italians in the sixteenth and seventeenth centuries often hung their walls with upright strips of work1 in the guise of pilasters4 ,the walls were thus divided into panelled spaces1 which separated pictures1 statues1 and cabinets1 of which the style did not agree in juxtaposition4 ,these pilasters were generally of opus consutum1 or appliqu in its different forms4 ,above1 next to the cornice1 and below1 next to the dado1 or even touching the floor1 they were connected by borders of similar work4 ,the spaces between were mostly filled in with rich brocades or velvets of one colour1 so as to make the best backgrounds for the artistic treasures grouped against them4 ,sometimes fine tapestries filled the intervening spaces1 and sometimes splendid embroideries4 ,there is a beautiful example of this sort of decoration at ,holland ,house1 where the dining-room is adorned with pilasters worked on velvet in gold and coloured silks1 with tapestries between them4 ,this is ,florentine work1 of the sixteenth or beginning of the seventeenth century4 ,hangings entirely in needlework1 to cover large spaces1 are rare1 but a few are to be found all over ,europe in museums1 palaces1 and private houses1 which are interesting as objects of art4 ,the genealogical tree of the ,counts of ,kyburg1 designed in the sixteenth century1 and carried to ,france as plunder1 and now restored to its home near ,zurich1 is a remarkable instance of a piece of needlework that deserved the value placed on it4 ,many splendid pieces of embroidered tapestries are at the ,cluny ,museum4 ,the beatitudes of ,st4 ,catherine1 from the castle at ,tarrascon1 and the hangings worked in appliqu and flat stitches with portraits of ,henri ,,iv41 ,jeanne d',albret1 c41 are monuments of industry1 and design2 and are very beautiful4 ,there1 is a large room at ,castle ,ashby hung with tapestry in cross stitches1 worked by the ladies of the family1 and finished #aej years ago4 ,the industry shown here is indubitable1 but the designs are barbarously bad and funny4 ,in the ,palazzo ,giustini at ,florence there is a suite of hangings worked also in cross stitches of the same period1 of which the design is very clever and graceful1 and the effect beautiful and artistic4 ,an irregular bank of brown earth is crowded with grasses and small flowers about a foot above the dado1 and from this grow rose-bushes1 covered with blossoms of different shades1 held back to a treillage of delicate cane colours4 ,the leafage is brown1 against a sky that is not blue1 but which rather reminds one of blue than of grey4 ,it is conventionally treated1 and the effect is singularly rich and harmonious4 ,had it been a little more naturalistic1 it would have looked too much like a painted picture2 but as it is1 the decoration is charming1 and so universally admired that we cannot but wonder it has never been imitated4 ,in the ,borghese ,palace at ,rome there is a ball-room hung with white satin embroidered with wreaths of flowers1 and a similar one in the ,caetani ,palace1 on crimson satin4 ,these are about #aej years old1 and are so far above being mere objects of fashion1 that they must be placed by their beauty of design and execution amongst objects of art1 and so will probably survive more centuries of change1 holding their own1 and increasing in value and esteem4 ,for hangings in church decoration1 the reader is referred to the chapters on ecclesiastical art and on tapestry4 ,having discussed the origin and reason for hangings1 and having tried to draw from what has been accepted as beautiful and perfect in taste1 some guidance in hanging our modern rooms1 supposing always that the spaces are fitted for really fine decorations1 ,i yet would add a few more words on this subject4 ,there are in general some previous conditions which will help us to choose the style and design of such furnishings4 ,in the first place1 we should study what is appropriate to the persons who will first inhabit the rooms4 ,the bride's apartment may be white and gold1 garlanded with roses1 and gay with groups of ,cupids2 but such prettinesses would not be suitable to the home of a mourning ,queen4 ,tender or subdued colouring equally sets off groups of young and lovely faces1 and the bent form robed in black4 ,embroideries are always agreeable on such backgrounds1 and it is as a vehicle for needlework that ,i now allude to the design of the artist in hangings4 ,we are somewhat restricted1 or we ought to be1 when there are treasures of art already in the house1 by the desire to exhibit them to the best advantage4 ,the hangings should be of a colour which suits all pictures1 and if the walls are either embroidered or tapestried with woven designs1 they should be very much subdued1 both in form and colour1 so as not to prevent the eye from perceiving at once the precious objects hung against them4 ,a fine brocade or velvet of one colour suits pictures best2 but if our object is to show off our cabinets1 which are generally black1 and our statues1 which are mostly white1 then richly embroidered backgrounds in brilliant colours are the best1 compensating the eye in variety and splendour4 ,,footnotes3 #dch ,the women who wove the hangings for the grove were probably priestesses of the worship of ,astarte 7#b ,kings xxiii4 #g74 #dci ,he says that within the sacred shrine was revealed their god--a beast rolling on a purple couch--veiled with gold embroidered hangings2 and he describes the magnificent temples1 gleaming with gold1 silver1 and electrum4 ,quoted from ,clemens ,alexandrinus1 in ,renouf's ,hibbert ,lectures1 p4 #b4 #ddj ,fine linen with broidered work from ,egypt was that which thou spreadest forth to be thy sail4--,ezekiel xxvii4 #g4 ,egyptian sails were woven and painted2 sometimes they were blazoned with embroidered patterns4 ,the ,phnix was set there to indicate the traveller's return4 ,see ,wilkinson's ,ancient ,egyptians1 vol4 iii41 ed4 #ahcg1 p4 #baa4 #dda ,see ,semper1 ,der ,stil1 vol4 i4 p4 #bgc4 #ddb ,the figure-painting of the nations we have spoken of1 successful so far as it concerns its special purpose of exhibiting a clear and comprehensive chronicle of events1 is at the same time no more1 so far as it concerns its artistic effect1 than a piece of tapestry or embroidery done into stone1 and can only be estimated 444 as a piece of coloured wall decoration4 ,woltmann and ,woermann1 ,history of ,painting1 ,eng4 ,trans41 pp4 #bc-cj4 ,see also ,perrot and ,chipiez1 ,histoire de l',art dans l',antiquit1 for tile decorations at ,nimroud2 vol4 ii4 p4 #gjd4 #ddc ,compare this record with ,solomon's veil for the ,temple1 of blue1 and purple1 and crimson1 and fine linen 7#b ,chron4 iii4 #ad71 and the hangings designed by ,bezaleel1 of scarlet1 blue1 purple1 and embroidered with gold 7,exod4 xxxix4 #b1 #c1 #e2 see also ,josephus1 ,wars of the ,jews1 ,whiston's trans41 p4 #hie74 #ddd ,as cited from ,abulfeda by ,gibbon1 chap4 lii4 ix4 p4 #cg1 ed4 #agig4 ,when one is moved to pity1 thinking of the enforced labour of thousands of captive women1 fallen1 perhaps1 from high estate1 and only valued for the toil of their hands1 it comforts one to believe that they would hardly have produced beautiful works without enjoying some happiness in the creation of that beauty4 #dde ,yule's ,marco ,polo1 vol4 i4 p4 #cid1 note #g4 #ddf ,see ,semper1 ,der ,stil1 i4 pp4 #caj1 #caa2 ,chares1 ap4 ,athen4 xii4 #ed1 p4 #ech4 #ddg ,semper's ,der ,stil1 i4 p4 #caa2 ,athen4 v4 #be1 p4 #aif4 #ddh ,phylarchus1 ap4 ,athen4 xii4 #ee1 describes a ,persian tent in which were golden palm-trees1 and vines fruited with precious stones1 under which the ,persian kings held their state4 ,on an ,assyrian sculpture at the ,british ,museum is seen ,assurbanipal on a couch1 the queen opposite to him1 under an arbour of jewelled vines2 unless it represents a rural entertainment1 which is unlikely4 #ddi ,the art of the tapezziere1 tapissier1 tapestry-hanger1 is not a recognized one with us1 though it is in ,italy and ,france1 where the hangings for special occasions in churches and houses are stored away1 treasured for hundreds of years1 cleaned and mended1 and hung and placed to the best advantage by men educated for the purpose4 ,in poor churches which possess no fine materials for decoration1 one has often wondered at and admired the picturesque effects extracted from yards of muslin1 gold tinsel1 and box wreaths1 artistically combined4 ,our house carpenter is the only representative we have of the vestiarius1 and he is but a feeble descendant from the ancestors of his craft1 who were expected to study and evolve the adornments of the building for its completion1 the materials of decoration for special occasions1 and lastly1 the mechanical means for hanging and stretching the draperies4 ,these were sometimes movable frames or posts--scabella 7whence escabeau1 chafaudage1 scaffolding74 #dej ,semper1 ,der ,stil1 i4 pp4 #cad1 #cae4 #dea ,never again will such great works be executed with the needle4 ,in civilized countries1 sovereign splendours are at a discount4 ,the ,east occasionally produces something fine1 because there they still have harems and slaves2 but even these ancient institutions are losing their stability and in the interest of humanity1 if not in that of needlework1 we may soon hope there will be neither the one nor the other4 ,we must allow1 however1 that the purple and gold embroideries now being executed for the ,king of ,bavaria in his school at ,munich are royally splendid1 and1 by their execution1 worthy of past days4 #deb ,pliny1 viii4 #dd1 #aif4 #dec ,gibbon's ,roman ,history1 ix4 c4 #ea1 p4 #cgj1 ed4 #agig2 also see ,crichton's ,history of ,arabia1 i4 p4 #chc4 #ded ,the utter dispersal of accumulated family and household treasures has had a sad illustration in the loads of ,turkish and ,slav embroideries which have flooded the markets of ,europe since the ,russo-,turkish war4 ,work1 treasured for generations1 sold for a piece of bread1 robbed from the deserted home or the bazaar1 stolen from the dying or the dead4 ,these are so suggestive of the horrors of war1 and touch us so nearly in connection with the rights and wrongs of the ,eastern question1 that they cause us more pain than pleasure when we study these beautiful specimens of well-blended colours and designs1 that show their ,aryan 7,persian or ,indian7 origin4 ,lady ,layard's residence in ,constantinople was1 perhaps1 the happy accident which will have preserved the secrets and practice of this work for future generations1 by her active and generous institution of a working organization for the poor exiled and starving women1 and for the sale of their work in ,england4 #dee ,semper1 ,der ,stil1 i4 p4 #cj1 #aj4 #def ,this subject has been ably treated in the ,introduction to ,la ,tapisserie1 by ,eug4 ,mntz2 ,paris1 #ahhe4 #deg ,i refer to the chapter on ,english ,embroideries for the parsem patterns of our medival hangings1 and to the section on tapestry in the chapter on ,stitches4 #deh ,renaissance in ,italy1 ,j4 ,a4 ,symonds1 p4 #d4 #dei ,but to this rule there are notable exceptions1 of which ,charles the ,bold's hangings for his tent 7now at ,berne7 furnish a brilliant example4 ,here the ,order of the ,golden ,fleece is repeated on a field of flowers1 exquisitely designed4 #dfj ,life of ,jeanne d',albret1 by ,miss ,freer1 pp4 #fh1 #abc1 #ccj4 ,,chapter ,,viii4 ,,furniture4 ,jane1 ,i hate sthetic carpets2 ,high-art curtains make me swear4 ,pray cease hunting for the latest ,queen ,anne chair4 ,i care nothing for improvements1 ,on the simple style of ,snell1 ,which will suit both you and me ex- tremely well4 ,,robert ,,cust1 ,parody of the ,last ,ode of the ,first ,book of ,horace4 ,first1 as you know1 my house within the city ,is richly furnish'd with plate and gold2 ,basons and ewers1 to lave her dainty hands2 ,my hangings all of ,tyrian tapestry2 ,in ivory coffers ,i have stuff'd my crowns2 ,in cyprus chests my arras1 counterpoints1 ,fine linen1 ,turkey cushions boss'd with pearl1 ,costly apparel1 tents and canopies1 ,valance of ,venice gold1 in needlework2 ,pewter and brass1 and all things that belong ,to house1 or housekeeping4 ,,shakespeare1 ,taming of the ,shrew1 ,act ,,ii41 ,scene ,i4 ,the last chapter on hangings1 their history and uses1 and the preceding account of tapestries1 naturally lead to the consideration of the furniture which may accompany them4 ,homer's description of ,penelope's bridal couch is very curious4 ,the central idea is the bedpost1 fashioned out of the stem of an olive-tree growing in the court1 and inlaid by ,ulysses himself with gold1 silver1 and ivory1 and bands of dyed purple ox-hide4 ,the stone walls and roof were built over to cover it in1 as it stood yet rooted in the ground4#dfa ,the illustration is a very quaint delineation of a ,chaldean four-roomed house1 where the rooted tree with its stem and branches is suggestive of the state of the domestic art of the architect and the upholsterer in those ,archaic days4#dfb ,illustration3 ,fig4 #bd4 ,assyrian delineation of ,chaldean ,house4 ,furniture has been the excuse and the vehicle for embroideries1 from the footstool and the cushion to the window curtain and the bed-hangings4#dfc ,such curtains are the most permanently important features in the economy1 or rather the luxury of the house4 ,let us begin with the decorations of the state bedroom4 ,now the shape of the bed must regulate the design4 ,if there is only a canopy--like that over a throne--one may have fine work for the head of the bed inside the canopy1 and a rich border round its valance2 this should contrast with the walls2 and the curtains should marry the two together1 by the embroidered borders belonging to the fashion of the bed1 and accompanying the window curtains2 while the plain surface should match with the wall hangings4 ,another method is to have the bed and curtains hung with plain materials1 to contrast with embroidered or tapestried hangings on the walls4 ,this style of bed canopy absolutely belongs to the decoration of the wall to which it is attached4 ,but when we have to deal with a large four-post bed--a room within a room1 as poor ,prince ,lee ,boo said--the bed may1 in its own decoration1 be totally independent of the wall hangings2 and care must be taken that we do not injure the effect of both by too much contrast or too much similarity4 ,every room has its own individuality1 and the first beginning of its decoration must be the key-note to guide the rest of the furnishing and adornment4 ,i am anxious to point out that the bed and its belongings are a most important element in the beauty and dignity of style of the room and the house that contains it4 ,it is a splendid opportunity for displaying the embroideries of the women of the family1 and for exercising their taste4 ,the chamber of ,dais1 as it was called in old times1 was always carefully adorned for the welcome of the honoured guest4 ,the bed-hangings1 and even the linen1 were embroidered1#dfd and the greatest care and the most artistic work were lavished on the coverlet in firm stitches and twisted threads1 while on the curtains the frailest materials and most delicate stitches were freely bestowed1 as they were safe from friction4 ,we may employ floss-silk and satin-stitch for such works with safety4 ,as a rule we should avoid too great a variety of design in the decoration of a bedroom1 and at the same time beware of its becoming monotonous4 ,i should say that a change in the design1 though not in the style1 of the different parts of the bed is admissible1 and gives opportunities for rich and graceful work4 ,for instance1 a parsem pattern may be varied judiciously on the curtains1 the valance1 and the heading2 provided there is a connecting link 7say a cypher7 found throughout4 ,if the back of the ,baldachino is embroidered1 it admits of totally different treatment1 and the valance must include a border according to its outline4 ,the ingenuity and magnificence of the ,elizabethan bedroom furnishings are proved by the inventories to be found in old houses4 ,those describing the property of the ,earl of ,leicester1 in the ,library at ,longleat1 are so characteristic of a time when each room contained artistic furniture1 that ,i cannot help making here some extracts1 and pointing out that embroidery was usually employed to individualize each decoration4 ,at ,killingworth 7,kenilworth7 ,lord ,leicester's ,bedsteads4 ,a fayre1 rich1 standing ,square ,bedstead of carved walnut-tree wood3 painted with silver hearts1 ragged staves and roses4 ,the furniture and teste crimson velvet embroidered with silver roses1 and lined throughout with ,buckram4 ,there was apparently a second set of curtains inside of striped white satin1 trimmed and fringed with silver1 and the velvet curtains were also fringed with silver with long buttons and loops4 ,another bedstead is described1 with the pillars painted red1 and varnished4 ,the teste and curtains of red silk edged with gold and silver bone lace1 and embroidered in a border of hops1 roses1 and pomegranates4 ,another ,bedstead painted red and gold1 and varnished2 with crimson velvet1 gold and silver in breadths1 embroidered over with red1 gold1 and silver1--lined with ,milion 7,milan7 fustian1 c41 c4 ,the catalogue of the tapestries and embroidered hangings include fifteen suites at ,kenilworth only2 and three other houses are equally well provided4 ,the ground of one of these suites of five pieces of embroidery1 of animals and flowers1 is described as being ,stannel cloth lined with cannevois 7canvas74 ,each room has chairs1 cushions1 carpets 7which appear to have covered the floor and the tables71 and ,cabinutts 7cabinets7 covered with embroideries4 ,in a ,florentine ,palace 7the ,alessandri71 there is a state apartment1#dfe where the bed1 the walls1 the curtains1 and the furniture are entirely decorated with the same splendid materials1 i4e4 gold brocaded with crimson velvet4 ,the eye longs for some repose amidst the gorgeous reiterated forms and colours4 ,if the bed and curtains had been either plain crimson velvet or embroidery1 it would have been much more beautiful4 ,this sort of example is a lesson and a warning1 which is valuable even under less splendid conditions4 ,amongst our fine ,indian embroideries1 those of ,lucknow1 ,gulbargah1 ,aurungabad1 and ,hyderabad are well fitted for beds and furniture4 ,these we can study in the ,indian ,museum1 and it seems a pity not to profit by1 and encourage the resources of our own ,empire4 ,carpets and rugs were sometimes embroidered as well as woven in patterns4 ,they were anciently spread on thrones1 couches and sofas1 at entertainments2#dff and used for covering the catafalques at funeral ceremonies1 or for laying over tombs1 as is still the custom in the ,east4 ,we who restrict their use to domestic purposes1 are beginning to understand that these decorations look best when the patterns are geometrical1 and that natural objects1 such as rabbits and roses1 even when conventionalized1 are unpleasant to tread upon4 ,the sofa and chairs are so often the vehicles for embroidery that we must give them a separate share of our attention4 ,the square shapes of the chair-backs repeated several times give us an opportunity for balancing colours and introducing forms of decoration which may be made to contrast with everything else in the room1 and so enhance the general effect4 ,say that the carpet is red1 and the furniture and hangings are of tender broken tints1 it will be a pleasure to the eye if the cushions on the sofa and the chairs and seats are panelled with a deeper or lighter colour than the carpet1 but always reposing the eye by contrasting plain surfaces with richness of design4 ,then the footstool or cushion should break away entirely from the carpet on which it lies1 that the poor thing may be spared the kick it invariably receives1 when the master of the house has tripped over its invisible presence4 ,for furniture1 the cushion stitches1 i4e4 canvas and cross stitches1 are certainly the best4 ,they are the most enduring1 as they bear friction without fraying2 and are therefore1 in this case1 preferable to satin stitches1 which are liable to be spoilt by contact1 and give the lady of the house1 who is probably the artist1 a pang each time an honoured guest occupies the comfortable chair embroidered in floss silk1 unaware that it is an sthetic investment1 and that a percentage of its beauty is disappearing every time it is brought into collision with broadcloth4#dfg ,this brings us to the subject of the covers called housses by ,french upholsterers1 and which may come under the head of small decorations1 or rather1 of petty disfigurements4 ,the things which went by the horrid name of antimacassars have1 however1 given way to chair-backs1 and crochet has been displaced by linen veils worked in crewels4 ,this is a step in the right direction4 ,no well-regulated eye could do otherwise than suffer from the glaring white patterns of crochet-work1 mounted aggressively on the back of every chair in the room1 as a buffer between it and the human head and shoulders4 ,the suggestion was disagreeable1 and the present chair-back still recalls it4 ,to reconcile us to its use1 it must be sparingly used1 and artistically disposed4 ,the antimacassar is a remaining sign of the overlap of dress and manners4 ,our great-grandmothers embroidered the chairs1 and valued them exceedingly1 and never would have contemplated that they should be soiled by a male or female head lying back upon them4 ,true1 they wore powder and pomatum then--but they never leant back2 such a solace1 and solecism in manners1 was reserved for the privacy of the bedroom and the arm-chair covered with cotton piqu or washing chintz4 ,under the new manners1 and since the introduction of the graceful lounge1 the antimacassar doubtless has saved many ancestral works1 but nowadays we wear neither powder nor pomatum4 ,on the contrary1 we dye1 dry1 and frizzle our hair till it might serve as a brush to remove any dust it encountered1 and it spoils nothing4 ,the table-cover is a source of endless variety2#dfh on the whole ,i should recommend here plain surfaces and deep borders4 ,the articles thrown on the table are best set off by plain grounds4 ,the colour of the table-cover may be a test of artistic taste1 and may make or mar the whole effect of the furnishings of the room1 especially if it is newly acquired1 in order to enliven the fading glories of ancestral taste4 ,the ,screen4--,this evidently began its existence as a curtain hung on a movable frame for the purpose of dividing large chambers for separate uses4#dfi ,the ,chinese seem to have been the first to stretch the curtain tight over the frame1 making it a fixture1 and often an actual partition1 painted with pictures by brush or needle4 ,to our modern home1 the screen in a large room1 gives a sense of snugness1 and is an actual necessity for keeping off the draughts drifting in through ill-fitting window-frames and doors2 and at the same time serving sthetically as a background to high chairs and tables heaped with objects of art1 and tall vases of flowers4 ,the high screen groups and unites the pictures of active and still life around it2 and meanwhile the little fire-screens are performing the merciful service of saving the complexions of our daughters from being sacrificed to ,moloch in front of our scorching coal fires4 ,i need not recommend these as fit surfaces for embroidery--they offer themselves to it2 and the ,school of ,art ,needlework is a living witness to how much they are appreciated and how largely employed4 ,on the screen1 decorative ambition is permitted to rise to pictorial art4 ,nothing in furniture is prettier than the screen covered with refined needle painting1 either arabesqued or naturalistic4 ,you may vary the designs to any extent1 either as large pictures covering many folds1 or in small pictures repeated or varied on each4 ,here design to individualize the living-room comes into play1 and is most conspicuous for good or for evil effect4 ,amongst the occasional furnishings of the home1 we would instance embroidered curtains to veil pictures1 which are perhaps too sacred to expose to the general eye4 ,we know how often in churches and sacristies on the ,continent1 one1 or even two veils have to be withdrawn before the holy and precious picture is displayed4 ,we have seen these little curtains beautifully worked so as to form by their design a picture in the space they cover4 ,crimson silk is perhaps worked in gold and colours for a gilt frame1 and white and silver within ebony or walnut settings4 ,i would recommend this style of work to the consideration of our decorators4 ,it is interesting to find in an old catalogue at ,hampton ,court1 how pictures of sacred subjects were thus decently veiled1 in the profaner moments of court gaieties4#dgj ,embroidered book coverings were often very beautiful1 either as simply clothing the boards1 or when finished with metal-work corners1 backs1 and clasps4 ,i quote the following lines1 said to have been written by ,tasso on a case for a book1 embroidered for him by ,leonora d',este3-- ,questo prezioso dono1 ,ch' ornar coll' ago ad ,eleanora piacque1 ,lo vidde ,aracne1 e tacque4 ,or se la mano1 che la piaga f al core1 ,si bello f d' amore il dolce laberinto1 ,come uscirne potro1 se non estinto8 ,in the catalogue of ,charles ,v4's library1 the materials used for bindings are thus named3 ,soie veluyau1 satin damas1 taffetas1 camelot1 cendal1 and drap d'or2 and many were embroidered4 ,tact1 discretion1 and knowledge are required when we undertake to adorn the home to be lived in2 and while employing the art of embroidery to embellish it1 we must never forget that harmony1 and the absence of anything startling1 tends to the grandiose as well as the comfortable4 ,bright bits of colouring should be reserved for pictorial art1 or for small objects1 such as cushions and stools4 ,if for the general tint blue be chosen1 let it be either pure pale colour1 like the ther1 or a soft one1 pale or dark1 such as indigo2 but the startling aniline blues should be avoided as being offensive to the nerves of the eye4 ,if red be the foundation colour1 let it be ,venetian red1 part scarlet1 part crimson2 or pure crimson 7,tyrian purple71 or pure scarlet 7cochineal74 ,never employ scarlet with a yellow tinge2 it may not affect yourself1 but it is blinding to many eyes4 ,avoid brickdust1 which is simply a dirty mixture of earthy colours4 ,of green there are few shades that are not beautiful1 soothing1 and more or less fitted for a background to needlework4 ,olive-green1 sea-green1 pea-green1 emerald-green1 and sage-green1--,nature teaches us how these harmonize together and with all other colours4 ,only arsenical green is impracticable and repulsive4 ,yellow1 pale as a primrose1 glowing as gold1 or tender as butter1 is always beautiful2 but one tint we would exclude from our list1 called buff1 which never can assimilate with any other colour1 and is often the refuge of the weak-minded man that cannot face the responsibility of choosing an atmosphere in which he will have to spend many hours of his existence1 when the walls1 the ceiling1 and the hangings will inevitably obtain a subtle1 but real influence on his nerves2 which1 in the case of buff1 will be that of a yellow fog1 while pale primrose will have the effect of early sunrise1 and pure gold that of sunset4 ,a rule to be respected is that decoration should be reposing instead of exciting4 ,the unexpected1 which is an element in the enjoyment of what is new1 should be such as to become the more agreeable the longer we are accustomed to it4 ,mr4 ,morris's golden rule is this3 ,have nothing in your houses that you do not know to be useful or believe to be beautiful4#dga ,in decorative art1 and therefore in embroidery1 the first object to consider is beauty--beauty in conception1 proportion1 drawing1 and colour4 ,i would not have it thought that ,i am placing our secondary art too high1 and giving it too much importance1 when ,i apply to it the first essential rules of art2 but one of these furnishes my excuse4 ,it is that the simplest and smallest creation should be as faultless as the greatest and grandest4 ,now beauty cannot be obtained1 even in little works1 without proportion in size1 harmony and balance in colour1 and correctness in form1 and these require the careful study of first principles4 ,proportion in size is most important1 both as regards ourselves and our surroundings--objectively and subjectively4 ,when our masters1 the ,greeks1 wished to express force and majesty1 they sculptured their gods of unearthly size1 larger than their heroes1 who yet exceeded in stature their human models4 ,the statue of the god placed in the temple was the largest object seen1 and the delicacy and refinement of the details in dress1 throne1 and base only enhanced the effect of majestic proportion4 ,in the temple men were to be reminded of their own nothingness4 ,in the gymnasium1 and on the racecourse1 and at the public games1 the surrounding pictures and statues were all intended to excite ambition by showing men the heroic size to be attained by the awards of fame4 ,but at home1 in the house1 man is already supreme1 and needs no incentive to assert himself1 and no tall standard by which he may be measured4 ,the ,lares and ,penates themselves were very small objects to look at1 whatever may have been the thoughts they suggested4 ,nothing is so alarming or unpleasant as gigantic figures worked in tapestry or embroidery4 ,and if even the guardian gods of the house were kept in due subjection as to size1 why not all decorations1 and especially those representing the flowers of the field8 ,certainly in worked decorations flowers should be no larger than in nature--perhaps on the whole they are best rather smaller4 ,botanical monstrosities on the wall dwarf the flowers in a bow-pot near them1 and nature has her own lovely proportions1 which should be studied and respected4 ,these remarks1 of course1 apply exclusively to domestic decoration1 which is the special object of our art1 and for the guidance of which the suggestions contained in this chapter are intended4 ,i would strongly advocate the return to the old system for the production of large embroideries4 ,if ladies would design1 or have designed for them1 curtains or tapestries1 and let the work-frame be the permanent occupier of the morning sitting-room1 they might at least commence works that members of the family or friends might continue and complete at their leisure2 and should they at any time hang fire1 a needlewoman or clever professional worker might be called in to help to finish it4 ,thus ladies might assist the art of needlework by their own original ideas1 and give individual beauty to their homes1 and an impetus to the occupation which helps to support so many of our struggling sisters4 ,the frame or mtier is always a pretty object in the drawing-room or boudoir4 ,the ,french understand this well2 and make it one of their most useful properties in their scenic representations of refined home life4 ,i will conclude this chapter with two quotations4 ,the first is part of ,sir ,digby ,wyatt's advice in a ,cambridge ,lecture4 ,you can never hope 7he says7 to have the means of supplying yourself with what is beautiful unless you take pains to add to the production of that beauty4 ,the colour which the decorative painter 7and the embroiderer also7 may cast around you is neither more nor less than an atmosphere in which your eye will be either strengthened or debilitated4 ,if you accustom your eye only or mainly to contemplate what is satisfactory in colour and form to the highest tastes1 it will gradually become allured to such delicacy of organization as to reject unintentionally all that is repugnant to perfect taste4 ,mr4 ,morris1 in a lecture to the ,birmingham ,society of ,arts and ,school of ,design1 says of ugly furnishings3 ,herein the rich people have defrauded themselves as well as the poor4 ,you will see a refined and highly educated man nowadays1 who has been to ,italy and ,egypt and where not1 who can talk learnedly enough 7and fantastically enough sometimes7 about art and literature of past days1 sitting down without signs of discomfort in a house that1 with all its surroundings1 is just brutally vulgar and hideous4 ,all his education has done for him no more than that4 ,you cannot civilize man unless you give him a share in art4 ,but the man must be civilized by education to accept that share of art that his life offers to him4 ,it must be admitted that though a man may be educated enough to enable him to theorize1 he may yet be too poor to furnish with taste4 ,if he is able to act up to his theories1 and to surround himself with what is refined1 and fail to do so1 and is contented not to stir in this matter1 he is not truly educated4 ,now that which breeds art is art4 ,any piece of work that is well done is so much help to the cause4 ,the cause is the ,democracy of ,art1 the ennobling of daily and common work4 ,,footnotes3 #dfa ,odyssey1 xxiii41 l4 #aij4 #dfb ,layard's ,monuments1 #ast series1 pl4 #gg2 see ,histoire de l',art1 ii41 ,perrot and ,chipiez4 #dfc ,a bed may be absolutely without any hangings or tester1 and yet carry embroidery1 as in the curious funeral couch of a sepulchral monument in painted terra-cotta in the ,campana ,museum of the ,louvre4 ,here the mattress is worked to resemble ticking1 striped1 and the cushions have embroidered ends2 and are made in the form of bolsters4 ,there is a similar sepulchral monument in the ,british ,museum4 ,both of them were found at ,cervetri1 and are quaint examples of early ,etruscan art4 ,see ,dennis' ,etruria1 #bnd ed41 p4 #bbg4 #dfd ,the thread embroideries in counted stitches were worked in an endless variety of beautiful designs1 of which the collection in ,franz and ,frida ,lipperheide's ,musterbcher fr ,weibliche ,handarbeit is most interesting and exhaustive2 including ,italian and ,german ,lienenstickerei1 ,berlin1 #ahhc4 #dfe ,of the seventeenth century4 #dff ,the carpets used by the ,romans were called ,triclinaria ,babylonica1 for the use of the triclinium1 and ,polymata cubicularia1 for the cubiculum4 ,these were dyed crimson1 scarlet1 and purple4 ,see ,horace's ,satires1 ii4 #f2 also ,smith's ,dictionary of ,greek and ,roman ,antiquities1 s4v4 ,tapes41 p4 #ajb-ajf1 ,triclinium4 #dfg ,marco ,polo1 p4 #ib1 ed4 ,yule1 speaking of the ladies of ,caramania in the thirteenth century1 says they produced exquisite needlework on silk stuffs of divers colours1 with figures of birds1 beasts1 trees1 and flowers4 ,they worked hangings for the noblemen's use1 as well as cushions1 pillows1 quilts1 and all sorts of things4 #dfh ,lampridius 7,antonin4 ,heliogab4 cap4 xxvi4 see ,bock1 p4 #abi7 says1 in the life of ,heliogabalus1 that table-covers were embroidered for the emperor1 representing the dishes which were to be placed upon them at the festal table of this epicure4 #dfi ,see the screen on the ,assyrian bas-relief in the ,british ,museum1 placed round the back of the throne on which the king is seated4 ,this is apparently a frame on which hangings are fixed4 #dgj ,see inventory ,of ,henry ,,viii4's goods1 c41 ,i4 ,ed4 ,,vi4 7,bib47 ,harl4 #adai1 quoted by ,felix ,summerley in his ,handbook of ,hampton ,court4 #dga ,i would add1 except that which is consecrated by time or sentiment4 ,,chapter ,,ix4 ,,dress4 ,whatever clothing she displays1 ,from ,tyre or ,cos1 that clothing praise2 ,if gold show forth the artist's skill1 ,call her than gold more precious still2 ,or if she choose a coarse attire1 ,e'en coarseness1 worn by her1 admire4 ,,ovid1 ,ars ,amat4 ii4 #big1 #cjj 7,yates1 p4 #ahj74 ,having glanced at the decoration of the house1 ,i must now proceed to say a few words on ,dress4 ,semper1 ,labarte1 and ,sir ,digby ,wyatt all take it for granted that the ,art of ,dress preceded all other arts4 ,every ancient record shows how early decoration of dress by needlework began1 and how far it had gone2 and when we read of festal hospitalities and marriage gifts1 embroidered garments are invariably named4 ,solomon in all his glory1 though he praised the lily1 yet shone in splendid apparel4 ,the ,greeks refined the gold1 and painted the lily4 ,illustration3 ,pl4 #ej4 ,italian ,knight dressed for conquest1 by ,gentile da ,fabriano4 ,academia at ,florence4 ,as soon as dress became an art1 and not merely an acknowledged necessity for warmth and decency1 ,i see no reason to deny that the same decorative genius that embroidered the garment might at the same time have imagined the carving of the chair and the inlaying of the sword and bow2 but as regards the precedence of the arts1 we can only guess at what is probable4 ,beauty in dress is certainly a universal instinctive passion4 ,perhaps the birds 7which ,mr4 ,darwin and others credit with preening their plumage1 conscious that their spots are the brightest1 and their feathers the glossiest1 and that they are therefore adored by the hens1 and the envy of the shabbier cocks7 suggested to men the same method for securing the preference of the other sex1 who in return willingly helped to adorn the idols of their hearts and homes4 7,plate #ej47 ,this natural state of things still prevails in ,central ,africa1 where ,schweinfrth describes a king dancing before his #ajj wives costumed in the tails of lions and peacocks1 and crowned with the proboscis of an elephant4 ,it appears1 however1 that1 unlike ,cleopatra1 custom had staled his infinite variety1 and the #ajj ladies looked on the splendid display with blank indifference4 ,this is only a barbarous illustration of the fact that in the earliest civilizations magnificent garments were worn by men to dazzle and awe the beholders by the splendour which represented wealth and conquest4 ,how glorious a man could appear apparelled to represent majesty and dominion1 may be learned by studying ,canon ,rock's book on the coronation dresses of the ,emperors of ,germany--a book great in every sense of the word4 ,the portrait of ,charles ,v4 robed and crowned is a dazzling example of the arts of dress1 embroidery1 and jeweller's work4 ,these garments have for ages been treasured at ,vienna1 ,aix-la-,chapelle1 and in the ,vatican at ,rome4 ,the coronation garments of the ,emperors of ,russia are said to be gorgeously beautiful4 ,it seems hardly necessary to assert that embroidery has always been especially applicable to dress4 ,each garment1 being individualized by the design depicted on it1 was fitted for individual uses and occasions4 ,the conqueror's palmated mantle1 the coronation robe1 the bridal garment1 the costume of the peasant for festival days1 and the officiating vestments of the priests for special services of prayer and praise--these were loyally or piously worked2 they descended from generation to generation as family treasures or as historical memorials1 and sometimes as holy relics1#dgb till they and the call for them1 were swept away at once by social changes2 yet some still remain and hold their place4 ,priestly garments1 together with ,church decorations1 never laid aside in the ,roman and ,greek ,churches1 are being partially revived in our own2 and for secular adornment the embroiderer is often called upon to work a garland1 to enwreathe the form of a pretty woman1 to lie on her shoulders and encircle her waist4 ,the greatest loss to the art is that men as a rule have ceased to individualize themselves1 or their position or office by dress1#dgc and have left entirely to the women the pleasure and duty of making themselves as lovely and conspicuous as their circumstances will permit4 ,the same linen and broadcloth are cut in the same shapes1 of which the only merit is that they are said to be comfortable1 and whose highest aim is to be spotless and unwrinkled2 these show the altered conditions of the highly civilized man1 and woman too1 for he has long left behind him the idea of dazzling the female eye or heart by the attraction of colour4 ,this applies only to ,european costume at home or in the colonies4 ,the ,east still retains its pleasure in gorgeous combinations1 in which man enfolds his person1 and shows how beautiful he can make himself when thus clothed1 in accordance with the classical axioms1 as to how much of the human form should be revealed1 and how much concealed4 ,the principle on which the ancients embroidered their garments was like that of the ,indians1 the large surfaces plain1 or covered with quiet diapers or spots1 the rich ornaments being reserved for the borders1 the girdles and the scarves4 ,their garments hung loose from the shoulders or girdle2 whether long or short they clung to the figure or fluttered in the wind4 ,the long flowing robes to the feet veiled the form completely1 and were only thrown off for the battle or the chase1 or in the struggles for victory in the races and games4 ,dress1 in the supreme reign of beauty1 was intended to flow around1 or to conceal1 but never to disguise1 the human frame it enclosed4 ,homer thus describes ,juno's toilet before calling on ,jupiter3-- ,around her next a heavenly mantle flow'd1 ,that rich with ,pallas' labour'd colours glow'd2 ,large clasps of gold the foldings gather'd round2 ,a golden zone her swelling bosom bound4 ,iliad1 xiv4 v4 #bjg4 ,the ,greeks certainly wore delicate and tasteful embroidery on their garments1 frequently finished with splendid borders1 while the large space between was dotted with stars or some simple pattern4 ,we learn this from the paintings on ,greek fictile vases4 ,in the ,british ,museum there is a little bronze statuette of ,minerva 7with twinkling diamond eyes74 ,she has a broad band of embroidered silver foliage from her throat to her feet4 ,as the beauty of ,greek forms acted and reacted on the beauty of their ,art of ,dress1 so we may be certain that all deformity of dress has been produced by deformity of race in mind or body1 and that climate is an important factor in both4 ,the cold of the farthest north has produced people short1 fat1 and hairy2 which natural gifts have been supplemented by their warm clothes or coverings1 in the same way that a cosy covers a teapot4 ,flowing garments there would be utterly out of place1 petticoats are unknown1 and the ,lapp hangs out nothing that can be the vehicle for carrying an icicle4 ,their dresses1 or cases1 are planned to keep out the cold1 and to place another atmosphere between the heart of the breathing mass1 and the cruel1 cutting1 outer wind4 ,hence1 the materials used are not only woven hair1 but the furry skins themselves4 ,in the south1 under the sunshine1 dress is for the greater part of the year only needed for decency and beauty4 ,the flowing and delicate cottons and silks and fine woollens1 are shaped to cover and adorn the beautiful forms1 which for entire isolation take refuge in the never-failing mantle4 ,the mantle was the great opportunity for the embroiderer's craft4 ,alkisthenes1 the ,sybarite1 had a garment of such magnificence that when it was exhibited in the ,temple of ,juno at ,lacinium1 where all ,italy was congregated1 it attracted such universal admiration that it was sold to the ,carthaginians by ,dionysius the ,elder for #abj talents4 ,the ground was purple1 wrought all over with animals1 except the centre1 where were seen ,jupiter1 ,juno1 ,apollo1 ,minerva1 ,venus1 and ,themis4 ,on one border was the figure of ,alkisthenes himself1 on the other was depicted the emblematic figure of his native city1 ,sybaris4 ,the size of the garment was ,homeric--it was fifteen cubits1 or twenty-two feet in breadth4#dgd ,that the ladies of ,greece in the fourth century carried down the historical and ,homeric traditions of the embroidery frame1 and made it part of their daily lives1 while the ,persian women of rank left such work to their slaves1 is evident from the pretty legend told of ,alexander the ,great1 who desiring to beguile the weariness of his prisoners1 the wife and family of ,darius1 sent them some of his garments to embroider4 ,when it was reported to him that these princesses were much mortified1 believing it was a suggestion of their fallen fortunes1 ,alexander hastened to reassure them--saying that his own mother and sisters occupied themselves in embroidering dresses4 ,the ,persians and ,babylonians seem to have preferred subjects for their embroidered dresses somewhat in the style of the mantle of ,alkisthenes1 which was probably ,oriental1 and suggests the ,babylonian mantle in ,jericho1 which tempted ,achan to sin4 ,the ,egyptian frescoes on the other hand1 sometimes give us women and goddesses dressed in small flowery patterns that remind one of ,indian chintzes4 ,these were probably woven1 painted1 and embroidered1 and filled in with threads of gold4 ,the ,romans varied their fashions1 but they preferred for a time striped borders on their garments1#dge and called them molores1 dilores1 trilores1 up to seven4 ,the ,greeks but seldom departed from the rule of plain or quietly patterned surfaces with rich borders in their delineations of dress1 though there are examples of large designs covering the whole garment4 ,the embroidered dresses of early ,christian times are to be judged of by mosaics and frescoes--mostly ,italian4 ,those of the dark ages were till lately only names and guesses4 ,but a hiatus in our knowledge has been filled up lately by the store of entombed textiles discovered in the ,fayoum in ,egypt1 and now at ,vienna1 in ,herr ,graf'schen's ,collection4 ,here we have a variety of shapes1 designs1 and stitches1 and every kind of subject1 sacred and profane1 ,christian and ,pagan1 and the missing links between ,indian and ,byzantine fabrics are revealed4 ,they cover nearly #djj years1 from the third to the seventh century1 and many of them may be looked upon as apart from any ecclesiastical or even ,christian suggestions4 ,i have spoken of them in the chapter on ,woollen ,materials4#dgf ,after the seventh century1 we again come into the dawning light of history--and find here and there an illustrative fragment1 nearly always ecclesiastical1 taken from the graves of priests and monarchs4 ,charlemagne's mantle and robe embroidered with elephants and with bees1 preserved at ,aix-la-,chapelle--his dalmatic in the ,vatican--the ,durham embroideries1 are rare and precious examples of that early period4 ,semper describes the difference between the covering and the binding4 ,this seems to be little considered in modern costume1 but it is so essential that ,i would impress it on my readers4 ,he says that the covering seeks to isolate1 to enclose1 to shelter1 to spread around1 over a certain space1 and is a collective unit1 whereas binding implies ligature1 and represents a united plurality1--for example1 a bundle of sticks1 the fasces of the lictors1 c4 ,binding is linear1 in dress it is either horizontal or spiral4 ,what can the united plurality be that justifies the binding often bestowed on the figure in fashionable costumes8 more fitted for binding together the bones of the dead1 than for permitting the agility of the muscles of the living4 ,semper continues1--,anything that goes against this important axiom is wrong4#dgg ,i think we must all agree that the objects of dress are decency1 isolation1 warmth1 grace1 and beauty4 ,as long as fashion takes the place of taste1 and extravagant chic supersedes grace and beauty1 we must not hope that fine designs to individualize dress will be called for4 ,the ,french machine-made embroideries are so beautiful1 and comparatively cheap1 that we cannot compete with them4 ,the best artists design them1 and the only fault to be found is this1 that as they are made by thousands of yards1 and can only be varied by interchange of colours1 they become common the day they are produced4 ,it has been said that fashion is made for a class1 but taste for mankind4#dgh ,fashion is the enemy of taste1 though she makes use of her services4 ,the gown1 of which the fashion is in every sense imported from ,france1 will probably never again be the vehicle for home embroideries4 ,but there are other articles of personal adornment which will always be available for the fancies of decorative taste--the fan1 the purse or satchel1 the apron1 the fichu1 the point of the shoe1 and the muff--all these are objects on which thought and ingenuity may well be expended1 and which will remain as records of personal feeling when the workers and givers of such graceful mementoes are far away4 ,carriage-rugs and foot-muffs1 and embroidered letter-cases1 and book-covers1 must be placed somewhere between furniture and personal ornament4 ,in all these the imprvu1 or unexpected1 is what is valuable1 including all that is original and quaint4 ,embroidery will1 however1 probably continue occasionally to be employed in the adornment of dress--and will leave of each phase and period of art some fine examples on which the archologist of the future may pause and reason4 ,there are in most old houses some specimens of old secular work--few earlier than the date of ,henry ,,viii4 ,gothic dress is very rare1 except the ecclesiastical4 ,but from the fifteenth century till now1 there remains enough to exercise our curiosity1 our artistic tastes1 and our power of selection and comparison2 and hints for beauty and grace may often be found and adapted to the style of our own day4 ,planch's ,dictionary of ,dress1 and ,ferrario's ,costumi antichi e moderni di tutti i ,popoli1 are great works on dress and costume1 and both are splendidly illustrated and worthy of study4 ,,footnotes3 #dgb ,elsewhere ,i have spoken of dress being continually offered to the images of the pagan gods in the temples4 ,herodotus 7ii4 p4 #aei7 tells us that ,pharaoh ,necho offered to the ,apollo of ,branchid the dress he happened to have worn at both his great successes 7the victory of ,magdalus and the taking of ,cadytis74 ,in the procession of ,ptolemy ,philadelphus the colossal statue of ,bacchus and his nurse ,nysa were draped1 the former in a shawl1 the latter in a tunic variegated with gold4 ,see ,yates1 ,textrinum ,antiquorum1 p4 #cfi4 ,old clothes were sent as votive offerings to temples1 and inscriptions recording lists of such decorations are still extant4 ,see ,appendix #a4 ,the ,greeks honoured the menders and darners1 and called them healers of clothes4 ,blmner1 p4 #bjb4 #dgc ,men in former days preferred to show by their dress their station and the company they belonged to4 ,guilds had their ceremonial dresses1 and their liveries1 and their cognizances1 and considered it an honour to wear them4 ,see ,rock1 ,church of our ,fathers1 ii4 p4 #aae4 #dgd ,aristotle1 ,de ,mirab4 ,auscult41 xcvi4 #dge ,asterius1 ,bishop of ,amasis1 in the fourth century1 describes both hangings and dress embroidered with lions1 panthers1 huntsmen1 woods1 and rocks2 while the ,church adopted pictorial representations of ,christian subjects4 ,sidonius alludes to furniture of like character4 ,see ,yule1 ,marco ,polo1 p4 #fh4 #dgf ,katalog der ,theodor ,graf'schen ,fnde in gypten1 von ,dr4 ,j4 ,karabacek1 ,wien1 #ahhc4 #dgg ,semper1 ,der ,stil1 p4 #bh4 #dgh ,unfortunately this axiom may be reversed4 ,taste only belongs to a small class1 and mankind follows it1 whether good or bad1 if it only be the fashion4 ,,chapter ,x4 ,,ecclesiastical ,,embroidery4 ,and now as ,i turn these volumes over1 ,and see what lies between cover and cover1 ,what treasures of art these pages hold1 ,all ablaze with crimson and gold4444 ,yes1 ,i might almost say to the ,lord1 ,here is a copy of ,thy ,word ,written out with much toil and pain2 ,take it1 ,o ,lord1 and let it be ,as something ,i have done for ,thee6 ,how sweet the air is6 how fair the scene6 ,i wish ,i had as lovely a green ,to paint my landscapes and my leaves6 ,how the swallows twitter under the eaves6 ,there1 now1 there is one in her nest2 ,i can just catch a glimpse of her head and breast1 ,and will sketch her thus1 in her quiet nook1 ,for the margin of my ,gospel-book4 ,,longfellow1 ,the ,golden ,legend 7,the ,scriptorium71 p4 #agf4 ,upon ,thy right hand did stand the queen in a vesture of gold1 wrought about with divers colours4444 ,the king's daughter is all glorious within3 her clothing is of wrought gold4 ,she shall be brought unto the king in raiment of needlework4--,psalm xlv4 #aj1 #ad1 #ae4 ,if the ,bride is the type of the ,church1 how truly has she been1 for eighteen centuries1 throughout ,christendom1 adorned with gold1 and arrayed in raiment of needlework4 ,by ecclesiastical embroideries1 we mean1 of course1 ,christian work for ,christian churches4 ,the first pictured decorations of our era1 in early frescoes1 mosaics1 and illuminated ,,mss41 and the first specimens that have come down to us of needlework and textiles1 testify by their navet to their date4#dgi ,the prosperity of the ,church's hierarchy was founded on the ruins of the ,empire1 over which ,attila had boasted that where his horse trod no grass grew2 and truly the cultivated art of those splendid days had lapsed at once to a poverty of design and barrenness of ideas which would soon have dwindled into mere primitive forms1 had not a fresh ,oriental impulse arrived from ,syria1 ,egypt1 and ,byzantium1--and then the arts were born anew4#dhj ,the continuity was broken2 yet1 being devoted to the service of the ,church1 the new arts were by it moulded and fostered4 ,little lamps twinkled here and there in monastic houses4 ,hangings for the churches1 coverings for the altars1 robes for the priests1 occupied the artist and the embroiderer4 ,the forms1 the colours1 the uses1 were adapting themselves to become the symbols of orthodoxies and heresies1 and thus became a part of the history of the ,church4 ,the links are many between them and the history of the ,state2 and here ecclesiastical embroideries come in as landmarks4 ,royal and princely garments1 which had served for state occasions1 were constantly dedicated as votive offerings1 and converted into vestments for the officiating priest1 and so were recorded and preserved4#dha ,royal and noble ladies employed their leisure hours in work for the adornment of the ,minster or the home church or chapel4 ,gifts of the best were exchanged between convents1 or forwarded to the holy father at ,rome1 and were often enriched with jewels4 ,the images of the ,virgin and saints received from wealthy penitents many costly garments1#dhb besides money and lands4 ,this dedicatory needlework has preserved to us the records of classical1 ,byzantine1 and ,arab-,gothic design1 which otherwise must have been lost4 ,the ,church records and illuminated ,,mss4 give us most trustworthy information of the way in which the altars1 the priests1 and even the kings were arrayed2 and the catalogues of royal wardrobes are also very instructive1 as we find how often princely gauds became1 as gifts to the ,church1 commemorative of historical events1 such as a victory or an accession1 a marriage or a coronation4 ,woltmann and ,woermann say that the efforts of the ,christians in the time of ,constantine tended to delay the extinction of classical design in ,rome4 ,of the fourth century they give as examples the mosaics of ,sta4 ,pudenziana1 where we can still find antique beauty of design4 ,we may also mention the church of ,st4 ,agnese fuori le mura1 which once contained the sarcophagi of ,constantine and his mother ,helena1 and of which the decorations in the ceilings are entirely classical1 though the motives had been transferred to ,christian symbolism4#dhc ,the total disappearance of ,greek art did not occur till the eighth century1 when the new blood infused from foreign sources began to assert itself4#dhd ,rome had succeeded to ,greece as being the centre of ,christian art1 which assumed the phase commonly called the ,romanesque4 ,this was a conglomerate of ,oriental1 ,byzantine1 and ,grco-,roman1 varied in different countries4 ,then there were the ,scandinavian1 and ,runic1 and ,celtic styles drifting from the ,north2 the ,lombardic1 of ,central ,italy2 the ,ostro-,gothic1 of ,ravenna2 the ,byzantine1 of ,venice1 all acting and reacting upon each other4 ,all these rough and inchoate attempts at the beautiful1 prepared the world for the acceptance of the ,arabic influence1 which is said to have been imported at the end of the eleventh century by the ,crusaders1 to whose pious enterprise some attribute the whole of the splendid ,gothic art of the three succeeding centuries4 ,but the marking characteristic of the ,arabic arch is wanting2 the ogee shape is seldom to be found in ,christian architecture2#dhe and the pointed arch so naturally results from the intersection of the round arches1 that we cannot but look upon these causes as co-incident4 ,i have elsewhere remarked how often in art different causes co-operate to form a style4 ,the father and mother are of different nationalities1 and the result shows the characteristics of its double parentage4 ,the learned antiquaries1 who draw their arguments mainly from the form of the arch1 must settle whence and how ,gothic art in stone came into ,europe4 ,it was doubtless the effect or result of more than one cause4 ,but in as far as it influenced textile art1 we have come to the period when it must be studied in ,sicily1 the half-way house and resting-place of the ,crusaders on their highroad to the ,holy ,land4 ,sicily1 which had succeeded to ,constantinople as being the great manufacturing mart during the ,middle ,ages1 was1 in the hands of the ,moors1 the origin and source of all ,european ,gothic textile art4 ,yet even at ,palermo and ,messina they were controlled by the traditions of the schools of ,greece1 ancient and modern1 and by ,babylonian1 ,indian1 and ,african forms and symbolisms4 ,byzantium furnished many of their designs1 which were sometimes of very remote date1 though pressed into the service of the new style and the ,church4 ,these and all the streams of ecclesiastical decoration throughout ,europe flowed towards ,rome1 and were re-issued with the fiat and seal of the ,central ,church1 which also afterwards presided over the art of the ,renaissance4#dhf ,by studying what remains to us of fragments and records we know all the materials which clothed the primitive and medival ,church1 and we find that there was but little originality in textile decoration or in the forms of dress1 which either resembled those of the priests in the ,jewish synagogue or those of the heathen temples2 and were adapted from traditional patterns4 ,the constant repetition of the cross and the signs of the ,passion1 with the emblems of saints and martyrs1 were interwoven with the ancient classical forms1 mixed up with the old symbolisms partially altered to suit their new service of ,christian art4 ,of course such changes were inevitable1 while the old motives were being translated to the new uses4 ,the corselet of ,amasis 7the ,egyptian corselet1 p4 #bj1 ante7 closely resembles the ,jewish ephod1 which probably was borrowed from ,egypt4#dhg ,in ,rock's ,church of ,our ,fathers1 vol4 i4 p4 #dji1 we find mention of the consular trabea1 profusely worked in gold1 as being the origin of the cope4 ,illustration3 ,pl4 #ea4 ,st4 ,mark4 ,anglo-,saxon ,book of the ,four ,gospels in the ,cathedral ,library at ,york4 ,it has been suggested and disputed that the stole was an adaptation of the latus clavus2 indeed1 if we compare the examples given by ,bock#dhh we can hardly doubt that the consular trabea and the latus clavus either served as the models for the ,christian ,bishop's dress1 or were derived from the same traditional sources4 ,such is the intimate chain of design from century to century1 from age to age2 from ,egypt to the ,holy ,land1 and thence to ,rome4 ,bock gives his authorities for saying that the clavus was sometimes an applied border1 sometimes a loose stripe hanging down in front1 as may be seen in two consular diptychs given in plate #gj4 ,much has been written on this latus clavus1 its origin and meaning1 and ,i shall return to it in reference to the chrysoclavus pattern1 p4 #ccg1 post1 and ,i refer the reader1 who may wish to enter more fully into the questions raised by conflicting opinions regarding the clavus1 to ,marquardt's ,handbuch ,rm4 ,alterthmer1 vii4 p4 #b1 pp4 #ebh-ecc1 where great learning and ingenuity have been expended1 without arriving at any satisfactory conclusions4#dhi ,this keeping to the old lines and outward appearance as much as possible was mainly due to a regard for safety during the persecutions1 and also to the ,christian spirit of adoption and conversion1 rather than that of antagonism1 which influenced all their early manifestations4 ,this unchanging character of art was also partly owing to the absolute sterility of the ashes of ,roman ,imperialism4 ,it is true that through the ,dark ,ages individual genius occasionally flashed and left a mark here and there2 but such phenomena are so rare1 that when they occur we hesitate before we assign them to that age4 ,the ,anglo-,saxon art of illumination shows these inspired moments2 ,i would point to their drawings in the books in the ,bodleian at ,oxford1 and the ,book of the ,four ,gospels 7of the tenth century7 in the ,minster ,library at ,york1 which are original and graceful1 and have a reflection from the classical traditions4 ,to an artistic eye they are beautiful4 7,plate #ea47 ,the conscientious colouring of the ,anglo-,saxon ,,mss4 is liturgical4 ,mr4 ,clapton ,rolfe#dij says that the ,levitical traditions in the earlier system of decoration in the ,christian ,church had a far stronger hold on the popular mind than we are willing now to admit2 and that the five ,levitical colours1 gold1 blue1 purple1 red1 and white1 were retained in the ,christian ritual4 ,whenever we come across figures of ,anglo-,saxon bishops1 the liturgical vesture entirely agrees with the ,biblical description4 ,embroideries before the twelfth century generally preserve a semi-,roman1 semi-,oriental character1 which is nearly related to the art which is called ,lombardic4 ,this differs from what we know of ,scandinavian and ,celtic design through illuminated books1#dia carving on stone crosses throughout the north of ,europe1 ,great ,britain1 and ,ireland1 and the remains we possess of their metal work4 ,i am not aware of any ecclesiastical embroideries which show a ,celtic origin1#dib unless the intertwined patterns on ,italian dresses in paintings of the thirteenth and fourteenth centuries may be supposed to be derived from that source4 7,see p4 #ia1 ante47 ,illustration3 ,fig4 #be4 ,in accounting for the instances of evident ,oriental influence on ,christian art1 which came through ,byzantium1 we must not restrict ourselves to searching out the ,arabian traditions1 but we must remember also how much ,babylon and ,persia1 as well as ,india1 had given to the ,empire of the ,east1 and these influences were in full force at the time that ,christian art was being organized4 ,we know1 for example1 that the great veil of the temple at ,jerusalem1 given by ,herod1 was ,babylonian4 ,the materials--linen1 silk1 and woollen--on which ecclesiastical embroideries were worked at ,rome and ,constantinople were accepted all over the ,christian world4 ,the fabrics were plain1 striped1 and figured2 and came from ,persia and ,india1 ,greece1 ,alexandria1 and ,egypt4 ,even ,chinese and ,thibetian stuffs are often named4 ,cloths of gold and silver also came from the ,east1 as in the days of ,attalus4 ,all these furnished the grounds on which needlework was lavishly spent4 ,the great veils which divided the pagan and ,jewish temples were at first adopted in the ,christian churches1 but they gradually disappeared from common use1 in spite of occasional survivals and revivals during the ,dark ,ages4 ,records exist of the hangings of the ancient basilica of ,st4 ,peter at ,rome1 spread between the pillars supporting the baldachino over the high altar and those of the choir2 and at the ,ostro-,gothic imperial court of ,ravenna1 in the fifth century1 ,maximianus ordered a set of similar splendid curtains 7tetravela7 to be worked for the altar4 ,anastasius ,bibliothecarius 7ninth century71 in his biographies of the popes1 mentions curtains and embroidered altar-pieces worked in the sixth and seventh centuries4#dic ,sergius 7,a4,d4 #fhg7 ordered four white and four scarlet curtains1 and ,pope ,john 7#gja7 hung white ones between the pillars on either side of the altar at ,st4 ,paul's4 ,st4 ,zacharias#did gave similar hangings to the churches of ,st4 ,peter and ,st4 ,paul4 ,stephen ,,iv4 placed immense silver curtains at the entrance of the basilica of ,st4 ,peter's1 and in #gfh gave to it sixty-five curtains of figured ,syrian stuffs4#die ,the same hangings prevailed at intervals in ,england1 ,france1 and ,germany1 till the twelfth and thirteenth centuries1 when the new ,gothic style of high1 pointed arches altered the decorative customs4 ,illustration3 ,pl4 #eb4 ,fragments of ,silk to be seen at ,coire in ,switzerland1 also in the ,south ,kensington ,museum4 ,from ,anastasius's mode of speaking of ecclesiastical garments1 it appears that they were named in the treasury catalogues after the animals represented on them--the peacock garment1 the elephant casula1 the lion cope4 ,evidently these were ,oriental gold brocades1 ,indian or ,persian1 or else reproductions of their designs1 and from ,auberville's and ,bock's books of engravings we can judge how they repeated and varied their motives4 ,one woven subject1 which evidently started its textile career as one of the labours of ,hercules1 was gradually transferred to ,samson1 or to ,daniel in the lions' den4 7,plate #d1 ,auberville's ,l',ornement des ,tissus47 7,plate #eb47dif ,however1 in ,russia and throughout the ,greek ,church the ancient ,byzantine use of hangings still remains in force4 ,the art of embroidery has always given its best efforts to these church draperies4 ,rome was so laden with splendid embroideries by her eastern conquests1 that probably the ,christian decorators would have availed themselves of some of the accumulated stores2 but we have no record of such adaptations1 unless the splendid curtains and the silver hangings of ,pope ,stephen ,,iv4 were taken out of some imperial treasure-house4 ,the contrast between early ecclesiastical art and that which immediately preceded it in the palaces of the ,csars 7at ,rome1 ,tivoli1 and wherever we find their ruined glories7 is most remarkable4 ,the lovely and the lively had been suddenly abandoned for the heavy earnest solemnity and inartistic drawing of the frescoes of the underground church of ,st4 ,clemente in ,rome1 and that of the early ,christian mosaics4 ,it is as if the arts which had lent1 nay1 given themselves to the glorification of idols1 had suddenly died out1 leaving behind them neither an artist1 nor a skilled artisan1 scarcely a tradition4 ,the new ,christian ideas had to be painfully recorded on sacred buildings and their furnishings for more than a thousand years2 with all the patient acquiescence of untaught ignorance1 and the struggling uncertainty of genius pursuing a distant glimmering light1 apparently unconscious of all that had preceded it in ,egyptian and classic art4 ,the great political and religious revolutions in ,europe had crushed and buried the arts under the ruins of the ,empire over which ,time himself seemed to have broken his hour-glass1 so little was there to show any memory of their past1 or hope for their future4 ,the alternate progress and destruction of the arts in ,european civilization strike the student1 in vivid contrast with the immutability of those of the ,east1 especially in ,india and ,china1 where the old forms were still being maintained by the swaddling bands of codified custom#dig that had restricted their development1 but prolonged their existence1 and so they had survived1 while ,greece conquered and robbed the ,east and ,egypt1 and ,rome crushed ,greece and was in her turn despoiled by the ,goths and ,huns4#dih ,christian art had to begin at the very beginning1 and collect its own traditions1 and organize its own forms4 ,these gradually accumulated1 availing themselves of accepted symbols1 and adding to them hidden meanings4 ,the ,reformation checked this development in the north of ,europe1 but after #cjj years we are now witnessing its revival1 which is not merely owing to a religious impulse1 but also to the archological tendency of our day and to the historical interest we attach to the ceremonials of the ,east4 ,as the ,reformation in ,germany was less sweeping and iconoclastic than our own1 we find there many more remains of ecclesiastical art collected in the churches to which they have always belonged1 or in museums into which they have drifted2#dii and the ,germans have thus been enabled to do more than even the ,french1 in training the different schools of work throughout the ,continent4 ,they have proved the ,oriental character of the fabrics employed through the ,dark and ,middle ,ages1 i4e4 for about #adjj years1 whether they were ,syrian1 ,indo-,chinese1 ,indian1 ,alexandrian1 ,greek1 ,sicilian1 or ,spanish1 or whether they had come from ,asia by the north or the south of ,europe4 ,the same traditional forms governed them all4 ,but an adept is able generally to class and name each specimen by the texture of the webs1 by the way gold or gilt thread is inwoven in them1 whether the metal is pure or alloyed1 round or flat2 also by the mode of twisting and dyeing the wool1 flax1 or silk1 and its quality and colouring matter4 ,among the earliest historical church embroiderers the foremost figure is that of the ,empress ,helena1 the mother of ,constantine1 claimed in ,wales and in the ,welsh ballad of ,the ,dream of ,maxen ,wledig as being a ,welsh princess married to the ,emperor ,constans4 ,she is said to have embroidered an image of the ,virgin1 which ,muratori speaks of as existing in the ,church of ,vercelli in the seventeenth century4 ,bock says it is still there1 and he quotes an ancient inventory of the treasures of ,phillip the ,good1 of ,burgundy1 which names a ,riche et ancienne table d'autel de brodeure que on dit que la premire ,emperriez ,christienne ,fist4#ejj ,the ,empress ,helena died in the fourth century4#eja ,then after a long interval comes ,berthe aux grands pieds the mother of ,charlemagne1 who in the eighth century was famed for her needlework1 which is celebrated in a poem by ,adhelm in the eighth century1 quoted by ,mrs4 ,palliser1#ejb a ouvrir si com je vous dirai n'avoit meillior ouvriere de ,tours jusqu'a ,cambrai1 and her grand-daughter ,gisela followed in her footsteps4 ,nearly contemporary1 is ,aelfled's ,durham embroidery1#ejc described in the chapter on ,english work4 ,christian art before the twelfth century is very often rich1 usually picturesque1 from its fulness of intention2 sometimes beautiful1 when it recalls some echo from the ,east1 or some tradition of ,greek art2#ejd but the embroideries of those centuries are almost always quaint2 this is invariably the archaic phase of all early art4 ,born in the catacombs of ,rome--roused by impulses from the north1 by education in the south1 and everywhere encouraged by the fostering hand of the ,church1 and the patronage of papal and of royal and imperial houses1--it evolved its forms1 and emancipated itself at last from its poor and sordid condition2 and the ,gothic phase of each nation attained to its own peculiar growth and characteristics2 and among them the foremost in the world's estimation was the ,english school of embroidery1 to which the next chapter is devoted4 ,there has been much controversy as to the date of the dalmatic of ,charlemagne in the ,vatican treasury4 ,like every good early piece of ,gothic work in ,italy1 it is allotted to the days of ,pope ,boniface ,,viii4 7thirteenth century74 ,but when we examine this splendid relic we cannot doubt that it is of a much earlier time1 as there is nothing ,gothic to be found in it4 ,it is full of the lingering traces of ,greek art 7not ,byzantine74 ,it reminds us most of the mosaics of ,santa ,pudenziana1 which are always quoted to prove that ,greek art still survived in ,rome in the eighth century4#eje ,the dalmatic has been much restored1 but1 ,i believe1 most carefully kept to the old lines4 ,it is worked on a thick1 dark-blue1 or purple1 satiny silk1 which had entirely fallen into little stripes1 but has been skilfully mended1 and the embroidery has never been transferred4 ,on the front is our ,lord in glory1 saints below1 and angels above1 with a border of children playing1 which is truly ,greek4 ,the motive of this is the ,ibi et ,ubi4 ,on the back is the ,transfiguration1 and on the humerals are the sacraments of bread and wine4 ,the whole1 as art1 is beautiful2 and it is historically most interesting4 ,lord ,lindsay tells us that in the dalmatic of ,charlemagne1 7called that of ,leo ,,iii47 ,cola di ,rienzi robed himself over his armour1 and ascended to the ,palace of the ,popes after the manner of the ,csars1 with sounding trumpets before him1 and followed by his horsemen--his crown on his head and his truncheon in his hand--,terribile e fantastico4#ejf ,this dalmatic must be ranked first and highest among ecclesiastical embroideries4 7,plates #ec1 #ed1 #ee47 ,some of the details are curious4 ,the whole of the blue satin ground is worked with crosses parsem4 ,parts of the design are so adorned with larger and smaller ,greek crosses--and others with the starry cross4 ,on the shoulder is once embroidered the mystic swastika4#ejg ,illustration3 ,charlemagne's ,dalmatic ,the ,vatican1 ,rome ,illustration3 ,charlemagne's ,dalmatic ,the ,vatican1 ,rome ,illustration3 ,pl4 #ee4 ,details of ,charlemagne's ,dalmatic4 ,vatican ,treasury4 ,illustration3 ,pl4 #ef4 ,cope called of ,st4 ,silvester4 ,treasury of ,st4 ,john ,lateran1 ,rome4 ,english ,embroidery1 thirteenth century4 ,rock says1 ,those who have seen1 in the sacristy of ,st4 ,peter's at ,rome1 that beautiful light-blue dalmatic said to have been worn by ,charlemagne when he sang the gospel at ,high ,mass1 at the altar vested as a deacon1 the day he was crowned ,emperor in that church by ,pope ,leo ,,iii41 will remember how plentifully it is sprinkled with crosses between its exquisite embroideries1 so as to make the vestment a real 'stauracin4'#ejh ,illustration3 ,pl4 #eg4 ,portion of the ,cope at ,st4 ,john ,lateran1 showing its condition4 ,illustration3 ,pluvial1 ,english1 ,,xiii4 ,century ,museum at ,bologna ,illustration3 ,pl4 #ei4 ,the ,daroca ,cope4 ,museum at ,madrid4 ,opus ,anglicanum1 fourteenth century4 ,illustration3 ,pl4 #fj4 ,portion of the ,cope of ,boniface ,,viii41 twelfth century4 ,from ,anagni4 ,now in the ,vatican ,collection4 ,illustration3 ,pl4 #fa4 ,altar ,frontal from ,anagni1 ,italy4 ,signor ,galletti1 ,professor of ,embroidery to the ,pope1 says it is undoubtedly of the eighth century4 ,it has been suggested that the design is of the date of the ,exarchate4 ,it is1 however1 something of infinitely finer style2 it is noble1 simple ,greek4 ,charlemagne's dalmatic is embroidered mostly in gold--the draperies in basket-work and laid stitches2 the faces in white silk split-stitch1 flat1 with finely-drawn outlines in black silk4 ,the hair1 the shadowy part of the draperies1 and the clouds are worked in fine gold and silver thread with dark outlines4 ,the hands1 feet1 and draperies have a fine bas-relief effect4 7,plate #ec1 #ed1 #ee74 ,the pluvial of ,st4 ,silvester1 in the church of ,st4 ,john ,lateran at ,rome1 is probably1 from its ,gothic style1 of the time of ,boniface ,,viii4 7thirteenth century74#eji ,it never served ,st4 ,silvester1 except as being perhaps dedicated to him4 ,on seeing it1 one is convinced that it is ,english4 ,it has one peculiarity of ,english ,gothic design in the canopies being supported by twisted pillars of vine-stems1 in this case intersected by green shoots1 and carrying leaves4 ,the angels1 the two cherubim clothed in peacocks' feathers1 the fine split-stitch1 the gold grounding1 and the drawing are also distinctly ,english4 ,i give an outline of the pluvial from photographs1#eaj and a finished woodcut of the centre to show the style and condition of the work4 ,the design is most beautiful1 and we can only regret the loss of the border1 which has been entirely cut off4 ,this shows how elaborate is the design1 yet how artistically arranged as a whole composition4 7,plate #ef1 #eg47 ,it is difficult to settle the precedence between this splendid piece of church decoration and the rival pluvial of ,bologna in the ,museo ,civico1 said to have come from the church of ,san ,giacomo4 ,it resembles in style and execution that of ,st4 ,silvester1 but its architectural arrangement contains six circles of subjects1 worked like the other in silk and gold1 with gold groundings2 and both are embroidered on linen4 ,on careful examination of this splendid work of art1 ,i have come to the conclusion that it is ,english4 7,plate #eh47 ,the ,daroca cope 7lately belonging to the ,archological ,museum at ,madrid7 is undoubtedly ,english4 ,we can claim it by its peculiar shrine-work1 and the twined columns on the orphreys2 by the cherubim1 by the peacock-feathered angels1 and by the form of the panels enclosing the different subjects1 from the ,life of ,our ,lord4 7,plate #ei47 ,the cope of ,boniface ,,viii4 in the ,vatican came from the church of his native place1 ,anagni 7plate #fj71 where are still very curious old embroideries 7see ,hon4 and ,rev4 ,i4 ,clifford's list of embroideries in ,appendix #e74 ,some appear extremely ancient1 but there is no sign by which they may be dated4 ,some are probably of the thirteenth century1 and are very coarse ,italian work1 though finely designed 7plate #fa74 ,there are doubtless many interesting specimens still to be found in the sacristies of ,italian churches4 ,but they have generally been transferred to museums4 ,illustration3 ,pl4 #fb4 #a4 ,from ,tomb in ,worcester ,cathedral1 of ,bishop ,walter de ,cantilupe1 consecrated #abcf4 #b4 ,embroidered ,cope at ,aix in ,switzerland4 ,illustration3 ,pl4 #fc4 ,mitre of ,thomas ,becket at ,sens1 showing the ,scandinavian ,fylfot ,cross 7thirteenth century74 ,jewelled ,cross on ,rose-coloured ,cope at ,rheims 7twelfth century74 ,in the tomb of ,walter de ,cantilupe 7eighteenth century7 at ,worcester1 were found the remains of a dress which is decidedly of an earlier date--evidently of ,oriental material1 but ,anglo-,saxon work--so exactly resembling in style that at ,aix given by ,bock1#eaa that we can hardly doubt that they proceeded from the same workshop1 or at least are of coeval design4 ,both are worked with a dark red outline on a red silk ground4 ,the faces and hands are in white silk--all the rest between the outlines is gold thread1 flat stitch4 ,bock places its date as antecedent to the tenth century1 and indeed there is no reason to doubt that this is correct1 though the ,worcester fragment was taken out of a tomb of two centuries later4 ,as these garments were stored in the church treasuries2 and as antiquity 7without an historical interest7 was then of no value1 these old clothes1 holy by their use and office1 yet by their shabbiness unfit for public show1 may have been reverently disposed of in clothing the bodies of departed priests1 who probably had worn those very vestments1 when officiating at the altar near which they were laid to rest4 ,when the date of the wearer of the garment is ascertained1 the dress cannot be of a later period1 but it may have belonged to a much earlier one4 ,the architectural part of these two embroideries1 i4e4 the canopy work1 resembles that of the ,bayeux tapestry4 ,both appear to be ,english4 7,plate #fb47 ,illustration3 ,pl4 #fd4 ,from ,tomb of ,bishop ,william of ,blois1 died #abcf4 ,worcester ,cathedral ,library4 ,illustration3 ,pl4 #fe4 ,a portion of the ,mantle embroidered by ,gisela for her husband1 ,st4 ,stephen of ,hungary4 ,from ,bock's ,kleinodien4 ,in the eleventh century1 and for some part of the twelfth1 needlework design in ,england1 ,france1 and ,germany first assumed a phase1 which may be called the metal-work style4 ,it is to be found on the robes and mitres of ,st4 ,thomas of ,canterbury 7,thomas ,becket7 at ,sens#eab--on the famous rose-red cope of satin embroidered with gold and pearls at ,rheims 7which we should incline to believe is ,english7#eac 7plate #fc74 ,the fragment of the cope of ,william of ,blois1 found in his tomb1 is in this style4 7,he died in #abcf47 ,the fragments of this curious garment1 worked in gold on a purple silk material1 evidently ,oriental1 are also preserved under glass in the ,cathedral ,library at ,worcester 7plate #fd74 ,amongst the finest instances of ecclesiastical needlework1 and1 indeed1 we may say1 of ecclesiastical art of the twelfth century1 is the coronation robe of ,st4 ,stephen of ,hungary1 decorated by his queen1 ,gisela1#ead which is preserved in the ,imperial ,treasury at ,ofen 7plate #fe74 ,of this authentic historical work we have the whole story4 ,the original design1#eae drawn on linen1 carefully coloured1 is to be seen at the ,benedictine convent abbey of ,martinsburg1 near ,raab in ,hungary4 ,the care with which the work was carried out shows the value then placed on such undertakings considered as art1 and it has been justified by its survival of #hjj years2 time having spared it owing to its perfect materials and manipulation1 till it received cruel injuries by being carried off and thrown into the bog of ,orsava during the revolution under ,kossuth4 ,it was1 however1 recovered and restored1 and was worn by the present emperor at the splendid and picturesque ceremonial of his coronation at ,pesth4 ,the design reminds us of the mosaics in the apse of ,santa ,maria ,maggiore and other churches at ,rome1 and it is extremely beautiful4 ,it consists of an arrangement of medallions and inscriptions1 with metal-work ornaments in bands alternated with smaller medallions4 ,yet the figures are not so finely drawn as those of the ,durham relics of the beginning of the tenth century4 ,the drawing of the figures of the ,gisela mantle resembles those on the garments of ,walter de ,cantilupe 7plate #fb71 which1 from their design and stitches1 seem to be of this period4 ,the architectural parts are very like in design to those of the ,bayeux tapestry1 though they are infinitely better1 and they have ,lombardic characteristics4 ,illustration3 ,pl4 #ff4 ,portion of the ,coronation ,mantle of ,henry ,,ii4 of ,germany1 embroidered by the ,empress ,kunigunda4 ,from ,bock's ,kleinodien4 ,it appears that ,queen ,gisela had personally embroidered this many-figured1 richly-embroidered representation of the ,ibi et ,ubi--,the ,saviour in ,his glory as ,victor over death and hell1 seated on the bow of heaven1 surrounded by choirs of angels and saints1 and prophets of the ,old ,testament2 below on thrones1 are the twelve ,apostles4 ,the figures are worked in ,oriental gold thread on ,byzantine crimson silk4 ,in contrast to the ,ubi1 the heavenly hereafter1 the queen1 in the lowest broad hem 7border7 has represented the ,present1 the then ,ibi1 by the leaders of the ,hungarian magnates and the half-figures of the royal givers in large gold-embroidered medallions4 ,the next finest specimen of eleventh century needlework was the gift of ,henry ,,ii41 ,emperor of ,germany1 and his wife ,kunigunda1 to the cathedral of ,bamberg1 where it still exists#eaf 7plate #ff74 ,this1 again1 consists of medallions great and small1 of which the borders1 gracefully intertwined1 form a large composition#eag covering the whole surface of the imperial pallium it once adorned4 ,but in the fifteenth century it was transferred from its original purple silk ground to one of dark-blue damask1 and altered to the form of a chasuble1 as we see it now4 ,the general design resembles that of the mantle of ,gisela4 ,bock calls the style of these works ,romanesque2 and he thinks that they show a ,saracenic influence4 ,they appear1 however1 as ,i said before1 to be rather ,lombardic than anything else4 ,the reader is referred to ,dr4 ,bock's preface for further lists of ,continental works and workers4 ,abb ,martin considers that in the thirteenth century the opening out of ,gothic art was extended to the laity1 and was really the sign of a great social revolution4 ,gothic art had till then only served the ,church1 and had been by circumstances closed to the people1 who were yet unfitted1 by their want of education1 for artistic life4#eah ,art was till then almost exclusively produced by the monastic orders1 into which all talent had drifted4 ,but about this time it fell into the hands of architects and other originators of design1 who presently banded themselves together into brotherhoods and guilds4#eai ,embroidery till the thirteenth century had been entirely in the hands of cloistered women1 and the ladies who practised it learned their craft with the rest of their education in convents1 and their work was simply ecclesiastical and dedicatory4 ,at that period social burgher life in the towns had first begun to develope its love of luxury1#ebj and to follow the fashions of other countries1 and the changes of forms in dress and furnishing which came from foreign parts1 though frequently checked by sumptuary laws4 ,this social movement preceded everywhere political and religious revolutions4 ,embroidery then became customary in lay dress1 and lost its religious character1 or rather its religious monopoly4 ,illustration3 ,pl4 #fg4 ,the ,syon ,cope1 ,south ,kensington ,museum 7thirteenth century74 ,we find that about this time throughout the ,church the forms of ecclesiastical garments were considerably modified1 and made more comfortable for the officiating priest2 and the old traditional trabea was cut down to the medival chasuble4 ,english needlework of the twelfth and thirteenth centuries had its own peculiar style of metal-work pattern1 resembling the hinges and spreading central ornament branching across the wood-work on our church doors4#eba ,when we meet with this kind of design on foreign church vestments1 we feel inclined always to claim the merit of them for the ,english school4 ,the foreign metal-work patterns are much lighter and more geometrical1 and have not the firmness and at the same time the fancy that we find in our own of the twelfth century2 and they remind us rather of the goldsmiths' than of the blacksmiths' craft4 ,the ,english embroidery of this style has the character of appliqu1 i4e4 one material laid upon another and fastened down4 ,there are differences of opinion as to the accepted characteristics of the opus ,anglicanum1 which in the twelfth century began to be celebrated4#ebb ,some say that it was principally remarkable for its admixture of jewellers' work in the borders1 or the imitation of it in gold thread4 ,some give the attempt to reproduce the effect of bas-reliefs in the embroidered groups of figures2 others1 again1 point out the peculiarities of the laid stitches in gold1 which so permeated the linen grounding1 as to give the look of a material woven with gold thread4 ,we may fairly say that all these1 which were then ingenious novelties1 combined to give this opus ,anglicanum its value1 as well for its beauty as for its ingenuity4#ebc ,the ,syon cope1 7now one of the treasures of art in the ,kensington ,museum71 is a perfect example of this work2 and is also1 according to ,bock1 one of the most beautiful among the liturgical vestments of the olden period anywhere to be found in ,christendom4 ,dr4 ,rock's study of this piece of thirteenth century work in his ,catalogue of the ,embroideries in the ,south ,kensington ,museum is most interesting1 as exemplifying all the characteristics of the ,gothic art of the period1 in its historical1 sthetic1 heraldic1 liturgical1 emblematical1 and textile aspects4 ,i have ventured to transcribe the whole of this notice in the ,appendix4#ebd ,i will only add here that the one error into which ,i think he has fallen1 is in naming the stitches4 ,the diapers are not opus plumarium1 but opus pulvinarium1 of the class of laid stitches4 ,this was ascertained by examining the back of the material under the ancient lining by a most competent judge#ebe in my presence1 and so a long-disputed point is set at rest 7plate #fg74 ,ciampini says that in the twelfth century1 the arts went hand in hand1 each lending something to the design of the others4 ,this1 however1 has always been the case4#ebf 7,whether they greatly profited by such exchanges is another question47 ,i cannot but agree with ,semper's often-reiterated theory1 that textile art was a leading influence and constant suggestion to all art from the beginning4 ,and the way that ecclesiastical decoration was so led in the twelfth century is very apparent4 ,in the new art of stained mosaic glass in church windows we see the reflex of the flat illuminations and embroideries of that period2 and while these were being influenced by metal-work1 painting was being transferred again to textile art1 pictures being woven as well as embroidered1#ebg while textiles were seeking to emulate reliefs in a forced and unnatural manner1 more ingenious than artistic4 ,while ,england in the twelfth and thirteenth centuries was exciting the admiration of all ,european artists by the imitation of bas-reliefs in needlework1 by the arrangement of the light and shadows in the lay of the stitches1 and by a little help from the pressure of hot irons1 to accentuate its apparent indentations1 a similar inroad into the sister art of sculpture1 or1 perhaps1 we should say a similar adaptation from the sister art1 was going on in ,switzerland and ,germany1 especially in ,bavaria4 ,there was a clever and artistic mode of stuffing and raising of the important parts of the embroidered design1 such as the figures1 the coats-of-arms1 or the emblems of the ,passion1 c41 in sacred subjects in imitation of high-relief4 ,there are some beautiful specimens that have been evidently designed in the ,school of ,cranach4 ,i will only mention the orphrey1 of which the subject is the ,tree of ,jesse1 exhibited at ,zurich1 #ahhc1 the chasuble at ,coire in the ,grisons1 and the little triptych in the museum of the ,wasser-,kirche in ,zurich4 ,this last is exquisitely pretty4 ,the finest1 however1 is the altar-piece belonging to ,prince ,borghese at ,rome1 which is certainly ,german in its design4#ebh ,beautiful as these few examples are1 they yet show the mistake of mixing different forms of art4 ,the designs are reduced to a compromise between painting1 sculpture1 and needlework1 which excites interest and perhaps amusement rather than admiration4 ,glass painting1 of which we have no notice till the tenth century1 shares many of the rules which hitherto had applied only to embroideries4 ,it was intended to give colour and interest to those parts of a building which otherwise were cold and lifeless4 ,flatness in the composition1 and the avoidance of pictorial effects 7especially any perspectives7 show that it was intended for conventional decoration1 rather than as a rival to mural painting4 ,there is no doubt that it generally superseded textile hangings1 because it supplied the want of colour for the large traceried windows just coming into architectural design1 toning down the crudeness of the masses of light1 and tinting the walls and pavements on which it was cast4 ,when coloured glass came into general use1 embroidered hangings mostly disappeared4 ,whatever may have been the cause1 there is no doubt of the coincidence4 ,illustration3 ,pl4 #fh4 ,an embroidered ,panel1 designed by ,pollaiolo1 and worked by ,paulo da ,verona4 ,in the ,church of ,st4 ,giovanni at ,florence 7fifteenth century74 ,the applied embroideries of the north of ,germany were evidently inspired by the newly-discovered art of glass-painting1 and resemble its designs1 both in the compositions of figures and heraldic subjects4 ,of this we may remember examples in the ,scandinavian ,exhibition at ,south ,kensington in #ahha4ebi ,all the most beautiful and picturesque needlework that we possess of the true ecclesiastical ,gothic type1 and which belongs to the perfect flowering of the art1 is of the fourteenth and fifteenth centuries1 just before the spirit of the ,renaissance crept northward over ,europe1 preceding the ,reformation and its iconoclastic effacements4 ,this remark especially applies to ,england4#ecj ,the art of representing ,scriptural subjects in flat stitches1 as medallions accompanied by beautiful foliage1 and heraldic designs1 is illustrated to us by the palls belonging to several ,london companies--and by those belonging to churches1 especially that of the church at ,dunstable1 in which court ladies1 knights1 and saints form a most artistic border--the costumes being of the date of ,henry ,,vii4 7see p4 #cgh1 post74 ,the perfection of the embroideries of ,flanders of that period has never been exceeded1 and it continues still to produce the most splendidly executed compositions in gold and silken needlework1 of every variety of stitches4 ,the ,flemish work and its peculiar mode of laying golden grounds with flat-laid thread stitched down in patterns was carried into ,italy1 where great artists did not disdain to design for textiles4 ,i give1 as an instance1 ,vasari's account of the embroidered set of vestments designed by ,antonio ,pollaiolo for the church of ,san ,giovanni at ,florence4 ,these were carried out by ,paolo da ,verona1 and took twenty-six years for their completion2 and they were only one set of vestments1 embroidered by the most subtle master of the art1 ,paolo da ,verona1 a man most eminent in his calling1 and of incomparable ingenuity 7ingenio74 ,the figures are no less admirably executed with the needle than drawn by ,pollaiolo with the pencil1--and thus we are largely indebted to one master for his design1 and to the other for his patience 7plate #fh74 ,towards the end of the fifteenth century the ,gothic styles were replaced by the ,renaissance1 but the technical part of the art of embroidery for the churches lost none of its value4 ,all the talent of the artist and the ingenuity of the craft continued to be lavished on altar decoration and priestly garments1 in ,flanders1 ,spain1 ,france1 and ,italy4 ,but the solemnity of these works was certainly impaired by their being emancipated from the traditional ecclesiastical forms and their accompanying symbolism1 to which the old designers had so faithfully adhered4 ,ecclesiastical decorative art became1 so to speak1 unorthodox4 ,as a proof of this secular1 ,i might almost say irreverent spirit1 ,i quote ,bock's accusation against ,queen ,mary of ,hungary1 who in her embroideries1 preserved at ,aix-la-,chapelle1 is said to have represented herself as the ,queen of ,heaven1 surrounded by her adorers on their knees4 ,there is no doubt1 however1 that needlework aspired in the fourteenth and fifteenth centuries to the highest place in art1 and was enthusiastically cultivated by women of rank and position1 of artistic taste1 who still gave themselves to the productions of beautiful decorations1 though they no longer confined themselves to ecclesiastical motives4 ,illustration3 ,spanish ,altar ,frontal1 ,gold ,embroidery ,,xvii4 ,ceny ,gabrielle of ,bourbon and ,isabella1 sister of ,louis ,,xi41 spent their lives in preparing and overlooking fine works in their own apartments1 and assembled around them noble damsels for this purpose4 ,anne of ,brittany1 who lived in an artistic atmosphere1 had her own workshop of embroidery4 ,pictorial design now asserted its dominion over needlework1 which accepted it1 just as it had been influenced in the eleventh and twelfth centuries by metal-work motives1 and1 before then1 by the art of mosaic4 ,in the sixteenth and seventeenth centuries the ,spanish plteresque embroideries 7adopted and modified in ,flanders and in ,france71 consisting of heavy gold and silver arabesques of mutilated vegetable forms1 superseded the graceful ,renaissance of the classical taste4#eca ,these ,spanish embroideries forced their way by their gorgeousness1 in spite of their want of real beauty4 ,they varied their effects with pearls1 corals1 and precious stones#ecb 7plate #fi74 ,spain1 though she was much despoiled during the ,peninsular ,war by her ,french invaders1 yet still possesses some of the finest ecclesiastical work in the sacristies of ,seville1 ,granada1 ,burgos1 ,toledo1 ,segovia1 and ,barcelona4 ,don ,juan ,f4 ,riano#ecc says that ,toledo is a perfect museum of the work of the sixteenth century4 ,sicilian and ,neapolitan ecclesiastical needlework showed the ,spanish taste of their masters1 but not its perfection4 ,the use of pearls1 coral1 and beads#ecd prevailed1 and we may in general affix its date and its origin to each specimen by the silver largely used in the two kingdoms of ,sicily and rarely elsewhere2 also by the extreme brilliancy or rather the gaudiness of its colouring4 ,english ecclesiastical work came suddenly to an end at the ,reformation4 ,what was not destroyed is to be found in the possession of the old ,roman ,catholic families who have religiously collected the residue1 preserved by concealment or by being overlooked2 and in the wardrobes of ,continental sacristies4#ece ,but the church decorations of ,france1 ,germany1 ,flanders1 ,spain1 and ,italy have meantime1 for the last #cjj years1 gone through all the variations of lay styles1 emanating from anything but ecclesiastical motives4 ,first1 the ,renaissance's semi-pagan 7so-called7 arabesques2 then the ,spanish plteresque1 which was a revolt against their own bastard ,moorish-,gothic2 next1 the ,louis ,quatorze1 followed by the ,louis ,quinze and the ,louis ,seize1 light1 frivolous1 and elegant1 essentially social1 and not serious4#ecf ,then a return to the classical of the ,empire2 and finally1 since the beginning of this century1 to a conglomerate1 lawless imitation of forms and styles1 utterly meaningless and uninteresting1 as well as wanting in ecclesiastical dignity and decorum4 ,we are glad to believe that we are ourselves striving to reconstruct some sort of style that shall be able to express poetical and religious ideas1 especially in our church decorations4 ,at any rate1 it must be of some use to understand the hidden springs which once raised ecclesiastical embroideries1 and especially those of ,england1 so high as objects of beauty1 worthy to adorn the house of ,god1 and to be for centuries valued as monuments of pious industry and thoughtful art4 ,one of these hidden springs and ancient underlying motives was the symbolism which gave a religious intention to the smallest design for the humblest use1 provided that its purpose was the service of the ,church4 ,sacred symbolism is a subject to which ,i have alluded more than once2 and it has played such an important part in the construction and growth of ecclesiastical art1 that ,i cannot but give a short notice to the subject under this aspect4 ,symbolism in art is what metaphor is in speech4 ,it is the representation to the eye of an object which suggests something else besides itself4 ,dr4 ,rock tells us that the symbolism of ,scripture texts was given to the world in a book by ,st4 ,melito1 ,bishop of ,sardis1 ,a4,d4 #agj4 ,its title is ,the ,key4#ecg ,in the fourth century were produced two great works on ,scriptural symbols1 that of ,st4 ,basil in his homilies on the six days of the creation1 and that by ,st4 ,ambrose2 both entitled ,hexameron4 ,we meet this subject at every turn in the succeeding centuries1 till in the twelfth we find it formulated and divided into branches--,bestiaria1 ,volucraria1 and ,lapidaria--and each type had frequently more than one meaning4 ,thus a lion represented power1 sovereignty1 dominion2 also the ,house of ,judah2 a hare the emblem of man's soul2 a peacock that of wisdom 7many-eyed74 ,the ruby represents love4 ,the pearl1 innocence4 ,the twelve stones in a breastplate1 the twelve tribes of ,israel4#ech ,trees and flowers had also their symbolical meanings1 though we are not aware of their being recorded in any medival book4 ,we know that the vine is the tree of life2 the stem of ,jesse1 the sacramental emblem2 that the lily stands for purity1 the woodbine for chastity1 and the rose for religious ecstasy4 ,the crowned lily was always the special emblem of the ,virgin4 ,these symbols had many of them a distant source1 and had been1 as ,i have already indicated1 emblematic of other inner meanings in the expression of pagan faiths4 ,the tree of life was ,babylonian2 the horn1 ,persian2 the fire-sticks of the prehistoric cross1 ,egyptian or ,indian2 and the composite animals representing many qualities1 ,ninevite 7probably ,accadian74#eci ,all these were utilized1 so that their already accepted uses should be helps and adjuncts1 instead of impediments to the appreciation of divine truths2 in the same way that all that was lovely and of good repute in the belief and morals of the ancient peoples1 reasserted and purified1 was claimed by the new teachers as types and antitypes4 ,the symbolism of colours has been always considered very important in liturgical decoration1#edj and their meanings are discussed in the chapter on colour4 ,the mystical colours1 as has been already stated1 are five--red1 blue1 purple1 white1 and gold4 ,these the ,christian ,church inherited from the ,levitical law1 and continued faithful to them till the modern ,roman use introduced green and black4 ,the ,church of ,england before the ,reformation never allowed any but the original five mystic colours4 ,the symbolism of ecclesiastical embroideries1 as well as that of all ,christian art1 being intended to illustrate the truths of ,christianity by the teaching of the eye1 the great symbol of our faith1 the ,cross1 naturally drew to itself all its prehistoric forms as being the prophetic types of the true cross4 ,the earliest form of the prehistoric cross1 ,illustration1 is supposed to refer to the worship of the sun1 and is said to be formed of two fire-sticks 7for producing fire by friction7 laid across each other4 ,this is almost universal in prehistoric1 archaic1 classical1 and ,christian art to the thirteenth century4 ,the next most ancient form is a broken cross1 thus1 ,illustration1 said to be the double of the ,tau1 or ,egyptian sign of life1 and claimed by the ,rabbins as having been the sign in blood1 which stopped the hand of the angel of death1 over the doors of the ,israelites at the first ,passover4 ,this afterwards was called the ,gammadion1 from its likeness to a doubled ,greek gamma1 and it was also said to symbolize the corner-stone4#eda ,the third commonest form1 apparently a modification of that of the fire-sticks1 ,illustration1 is to be found throughout ,celtic and ,scandinavian art1 and was called in ,england the fylfote 7from its likeness to the arms of the ,isle of ,man71 and likewise the ,gammadion1 though it shows another source than the ,greek letter4 ,from these three forms already in use1 added to that of the ,crucifixion1 endless varieties were composed to suit the ecclesiastical taste and requirements of different national styles of symbolical decoration4 ,i refer my readers to plate #bf in the chapter on patterns for a few of these from different sources4 ,they are extremely suggestive4 ,i have there entered more fully into the subject1 regarding it as a fertile pattern motive in textile art4#edb ,the cross bearing twelve fruits for the saving of the nations#edc is so like some of the representations of the ,persian or ,indian ,tree of ,life1 that the transmission and adoption of the symbolic form is evident4 ,the cross 7plate #fc7 is a good medival example1 and is taken from the celebrated rose-coloured cope at ,rheims1 embroidered with gold and pearls on a rose-coloured satin ground4 ,illustration3 ,pl4 #gj4 ,,ivory ,,consular ,,diptych4 #a4 ,in the ,wasser-,kirche ,museum1 ,zurich4 ,sixth century4 #b4 ,of an earlier period1 and finer workmanship1 at ,halberstadt4 ,no date given4 ,the ,ros is an ecclesiastical pattern of wide use and of very long descent1 often named in ancient ,church inventories4 ,it is sometimes called the ,wheel and ,plate4 ,its origin is probably ,oriental1 but it certainly was adopted by the ,romans as the motive of their triumphal garments1 the tog pict1 worn in the processional return of a conqueror1 whether he were a general or a sovereign4 ,the first motive was a surface covered with circles1 closely touching each other1 and containing figures which had a reference to their purpose4 ,in ,christian times the heads of saints were sometimes inserted1 especially in that form of the ,ros called the chrysoclavus1 from the intersticial ornament between the circles4 ,i have written 7p4 #cjh-i7 about the ,trabea1 which on the ,roman consular ivory diptychs of several centuries is so invariably embroidered with this same clavus pattern 7plate #gj7 that we must conclude that it had a meaning and a tradition4 ,the very ancient superstition that driving in a nail is a fortunate rite1 may have been connected with the pattern called the clavus2 and the chrysoclavus1 from being merely a nail pattern1 became consecrated in ,christian art as representing the heads of the nails of the ,crucifixion1 and hence its early ,christian name4#edd ,it was originally filled in with a radiated ornament like the sun2 7probably the first motive of this pattern1 which seems to be the same as the ,egyptian sun-cross17 and its peculiar decoration remained in possession of the descriptive name palmated1 though it is difficult to discover in it any likeness to the palm branch or tree1 unless it is supposed to resemble it as seen from above4 ,the toga triumphalis was also called the toga picta1 because its precious purple fabric was covered with gorgeous embroideries4 ,after it had been worn at the triumph or festival1 by the victorious general1 the distinguished noble1 or the ,emperor1 it was laid by and dedicated in the temple of ,jupiter ,capitolinus4 ,thus these palmated triumphal patterns1 and their traditional decorations1 having by their dedication to the gods assumed a religious character1 were woven for ,christian ecclesiastical use during the dark ages1 and were repeated in ,sicily and ,spain down to the beginning of the fifteenth century4#ede ,i have elsewhere spoken of the cloud pattern1 which is very ancient1 ,chinese1 ,indian1 and medival4 ,its use has always been for celestial subjects in embroidery1 either isolating or supporting spiritual figures4 ,this was appropriated by ecclesiastical art1 and we find it nowhere else in ,europe4 ,this sketch of the history of ecclesiastical needlework1 7necessarily incomplete from want of space71 is founded on the works of ,semper1 ,bock1 ,rock1 and the comparison of many specimens in collections and exhibitions in ,london and elsewhere4 ,auberville absolutely places before us the materials as well as the patterns of the weaving of the ,christian era1 as well as fragments of ,egyptian textiles1 in his beautiful book on ,tissues4 ,for forms and patterns we cannot do better than study ,bock's liturgical chapters and their illustrations1 as well as ,dr4 ,rock's ,church of our ,fathers4 ,the stitchery of ,christian art has been discussed in the chapter on stitches1 and ,i repeat that there is nothing new in the treatment of solid embroideries1 7lace stitches having been the only innovation of the last #djj years71 though many of the ancient stitches have lost their distinctiveness1 and fallen into a pitiful style by gradual descent which reached its lowest point in the early part of this century1 as is shown by the robes embroidered for the coronation of ,charles ,x4 in the museum of the ,louvre4 ,in the commencement of this our nineteenth century1 there was a total cessation of embroidery1 which had1 for nearly #bjjj years held its own as an art1 apart from all others2 perhaps a secondary one--yet mixed up with every refinement and luxury of civilization4 ,its revival in ,england1 especially1 is owing to many causes4 ,as ecclesiastical decoration ,i have already attributed it to the archological tendencies of our day1 as well as to the sthetic sentiment which protests1 after so long a period of abstention1 against the puritanical bareness and coldness of our national forms of worship4 ,the obliteration of embroidery from the list of the arts was more complete in ,england than elsewhere2 as the church of ,rome still continued to be adorned with beautiful work on altar-cloths and frontals1 and priest's dresses1 which1 though too much regulated in design by the lay tastes and fashions of the time1 have combined to keep up a traditional school of needlework throughout the ,continent4 ,exhibitions abroad and at home have shown us what a latent power in art embroidery still preserves1 and architects have employed the women's needles to give colour and beauty to the decaying churches1 which have been restored to their original architectural effects by careful copies of what remained in wood1 stone1 and glass4 ,the number of new churches has also given rise to the production1 in more than one semi-conventual establishment1 of beautiful and effective works1 such as the altar-cloth at ,durham1 and those at ,canterbury and ,worcester4 ,such works have revived the impulse of artistic and ecclesiastical taste1 and in many small churches we have seen beautifully embroidered altar decorations4#edf ,there are1 however1 many amateurs who are perhaps mistresses of the craft of needlework1 and who are yet not educated sufficiently to design a really thoughtful and beautiful work of art1 and to these a few remarks may be addressed1 which may help the struggling aspirants1 and show them how they fail1 and where to seek for assistance4 ,i shall begin by pleading for more careful design1 and less parsimony in expenditure upon the usual church adornments4 ,it is once more a received dogma in ecclesiastical art1 one in which all religious opinions agree1 that the building in the parish which is set apart for the first public duty1 that of worship1 should show as much beauty as the means and taste of the community can command4 ,perhaps the little church has just been restored1 or completely rebuilt from the foundations2 the consecration is imminent4 ,the white stone1 carved or plain1 shines fresh and cold1 and the whole space looks poor and bare4 ,the rich woman of the neighbourhood sees and feels that colour is wanting 7for the windows must wait till their use as pious memorials fills them with glowing tints74 ,the central point of the whole edifice1 the altar1 calls for the first key-note in colour to be struck1 and a splendid altar-cloth is the fitting instrument4 ,she consults the architect1 who probably is also an artist1 and the design is agreed upon1 and hurriedly drawn and carried out2 for there is not a moment to lose if it is to be ready for the opening day4 ,it may be beautiful1 and it sometimes is so1 but the mere want of time for due consideration often results in the commonplace ornamentation1 which neither satisfies the eye nor the mind4 ,it is often only a mere bit of colour and a medival pattern1 and has no apparent motive or meaning to give it value4 ,one sometimes finds that a conventional form has been selected1 of which the emblematic intention it originally expressed has been forgotten or overlooked4 ,therefore1 while to the unlearned it conveys no meaning1 it is read as absolute nonsense by the ecclesiastical archologist1 simply because it is worked in a language of undeciphered hieroglyphics--unknown to the worker--meaningless1 reminding us of the ,grco-,egyptian inscriptions1 of which the pictured words seem to have been copied at random for their prettiness1 or the ,arabian lettering on some of the ancient ,sicilian textiles1 which is nonsense4 ,the sense and the emblematic meaning are forgotten1 and the conventional form--an empty shell--is alone retained1 conveying no idea1 and reduced to the low purpose of being a pretty pattern1 vague and unintelligent4 ,i have so often said that a pattern always originally possessed1 and should always retain a meaning1 that ,i fear to become tiresome2 but ,i repeat it here1 as in ecclesiastical design it is more important than elsewhere2 the meanings are deeper1 and convey more essentially solemn traditions and allusions4 ,if the motive of the designer is evident1 and is conscientiously worked out1 its value receives an enduring quality1 and its present interest is enhanced4 ,embroidery is not less eloquent than her sister-arts in the teaching of divine lessons1 and appealing through the beauty of form and colour to the poetical instincts of the congregation1 of which the least educated members almost unconsciously feel the influence2 and besides1 the people are always alive to the charms of symbolism1 when it is placed within their reach4 ,as a proof of this1 among our own peasantry and mechanics1 ,i would point to their universal enjoyment of the ,pilgrim's ,progress4 ,in the symbolism of art1 the thoughts which are individual to the artist can only be expressed by known forms and colours1 even as the poet must employ the words and the metres already accepted by the literature of his language4 ,hurry is fatal to art4 ,but another and very serious cause of its deterioration is its costliness4 ,in the dark and medival ages1 time was of no account4 ,skilled labour1 such as was needed for carving1 illuminations1 and embroideries1 was freely given as the duty of a life1 for one particular object1 the good of a man's soul4 ,the cloistered men and women worked for no wages2 neither to benefit themselves nor their descendants2 hardly for fame1--that was given to the convent which had the credit of patronizing and producing art1#edg while the very name of the artist was forgotten4 ,it was from pure love of the art as a craft1 and the belief that it was a good work in which they were engaged1 and from their abundant leisure1 that they were enabled to evolve the lovely creations which delight and astonish us when shown in the sacristies and treasuries of foreign religious houses and churches1 where they have been cherished for centuries4 ,like the silkworm they spent themselves2 and by their industrious lives were surrounded in their living graves by the elaborated essence of their own natures1 a joy and consolation to themselves1 and a legacy to all time4 ,to them1 also1 art appeared as the consoler4 ,but to return to the grievances of to-day--cheapness and hurry1 economy of pence and hours--these often are the bane of the work which we give to the ,church1 sometimes as a memorial1 sometimes as a thank-offering4 ,the colours are bad1 because cheap dyes fade1 and none others can be had without much trouble1 and we have only time to select among those that are for sale4 ,the work is poor because it must be done quickly1 and we cannot afford to delay and pay for the extra hours necessary to make the stitches worthy and capable of lasting4 ,possibly we cannot give the time ourselves1 nor can find any one effectually to organize and overlook the work4 ,though the design1 the motive1 the colours and materials1 as well as the stitches1 need to be each carefully studied1 yet we perhaps accept an ancient drawing intended for a different place and use2 and thus we fail to produce any effect1 with uncongenial surroundings4 ,sometimes we feel obliged to take the design forced upon us by a shopwoman as ignorant as ourselves1 with the submissive hope that it will do4 ,now to a truly artistic mind it would appear that each little church1 however simple and devoid of ornament1 requires its own special colours and design1 besides the individual motive of the giver2 and people forget that the whole effect in any such compositions must be comprehensive1 and that one careless mistake spoils all4 ,the ,high ,church1 in its love of ritualistic vestments1 has sometimes been prejudicial to the general adoption of properly studied altar decorations2 as there is a common suspicion that a clergyman's personal wish for ornament1 akin to a woman's addiction to fine clothes1 governs all his attempts to adorn the altar2 whereas there should be1 and there often is1 a real artistic feeling for the fitness of things1 in the furnishings of the most beautiful building set aside by the community for the glory of ,god4 ,but it is not necessary for beautiful effects that there should be any coloured vestments4 ,when the clergy are duly robed in the orthodox surplice and scarves1 there is1 perhaps1 something funereal in the white linens and black ,geneva silk1 but yet the traditional white and black have their own value against a background of altar-cloth and reredos splendidly coloured4 ,now that1 in spite of prejudice1 church decoration is so much the custom of our day1 it is worth our while to consider seriously how best to carry it out1 and search into the principles which may apply to all ecclesiastical embroideries1 whether they are to be dedicated in the ,minster1 the village ,church1 or the home ,chapel4 ,we must begin by remembering that in these days1 if we cannot do the work ourselves1 it must be highly paid for4 ,the skilled artisan who is no artist1 receives enough to feed his family1 according to the higher wages of the time4 ,the woman's slow stitchery has to support probably as many claims1 and yet it is always grudged as being too costly4 ,the sculptor or the painter who succeeds in obtaining employment1 is highly paid1 but the designer for metal-work or embroideries occupies an unrecognized place in art1 and barely earns enough to live by4 ,the illuminator has ceased to exist2 he would starve--probably has been starved out long ago4 ,the decorative designer1 having1 therefore1 no status1 has no education2 and it is almost impossible to find in ,england an artist to accept orders for thoughtful ecclesiastical designs4 ,hundreds of boys and girls are taught freehand drawing1 and having copied some casts and lithographs and drawn some flower-pieces1 without any particular aim1 find a precarious living by designing frightful wall-papers for the million4 ,these poor creatures1 from whose lives all ambition and originality have been effaced1 are our decorative artists4 ,still a beautiful original design can sometimes be obtained1 and if that is beyond our reach1 we may courageously copy from ancient models1 selecting judiciously what is most suitable for our purpose4 ,the ecclesiastical artist should be well informed in the modes of working a design4 ,the stitch if selected without experience may mar the effect of the whole composition1 as some stitches of themselves convey the meaning of shadow1 and others that of light4 ,in ecclesiastical work which is intended to be effective in the distance1 as well as perfect in detail1 it is worth while to weigh the claims of the architectural low-relief motive1 i4e4 a flat raised surface1 with an edge sufficiently accentuated to catch a light on one side1 and cast a sharp shadow on the other4 ,all flat raised stitches conduce also to this effect1 especially if edged with a cord1 and it is much more striking than in stuffed work 7on the stamp71 which has not the incisive effect that is given by the tool to the sharp edge of stone or wood carvings4 ,if we can afford to give to our church without stint1 let us seek for the most beautiful textiles1 such as are again woven in imitation of the old fabrics2 gratefully acknowledging all that ,pugin1 ,ruskin1 and the foreign manufacturers1 especially those at ,lyons1 have done in the revival of woven designs4 ,let us avoid those materials which are easily spoiled by sunshine1 dust1 and smoke1 and all those that fray easily4 ,woollens are not long lived4 ,crewels1 beautiful as they are1 are not salient in their effect4 ,silks1 satins and velvet1 and gold brocades1#edh or groundings worked in with gold thread1 are the only materials worthy of bearing fine embroidery1 fit to receive them1 and capable of keeping them for centuries4 ,plushes and worsted velvets are unworthy1 indeed they are worthless4 ,the gold we employ must be either pure passing1 or else the ,chinese or ,japanese gold threads which differ in colour1 but have each their own value1 and never tarnish1 even in the coal smoke of ,london4 ,pure silver1 too1 is beautiful1 and if it is really pure1 can be kept bright with bread crumbs4 ,in composing the altar decoration for the cathedral or the village church1 we ought to take into consideration what is suitable for the surrounding architecture4 ,in great spaces1 the majestic altar-cloth or frontal1 shining with gold and silver1 and glowing with silken embroideries1 recalls the splendid altar palli encrusted with gems in ,st4 ,mark's1 ,st4 ,peter's1 and other ancient churches2 and is in perfect keeping with the high and gorgeous reredos1 the rich screen1 the fretted roof and clustered ornaments of a great cathedral choir4 ,such glories are unattainable in the modest village church4 ,but though we may subdue the brilliancy of our decoration1 we should try to make it yet a work of art4 ,the design may have as much intention1 the work be as refined and individual1 and the gold as pure1 as in larger works4 ,the precious metals may be confined to small spaces in the parts we desire to accentuate1 such as the cross in the centre1 or the edges of the orphreys1 or they may be entirely replaced with fine silk work4 ,the altar-cloth we desire to present1 may be simply a gift1 so that we may choose any design that will agree with the date of the building4 ,we may prefer any subsequent style1 but not one anterior to that of the architecture4 ,it would be a mistake to imitate ,anglo-,saxon ornaments in a church of the flamboyant style4 ,perhaps the altar-cloth we are discussing may be intended as a sort of votive offering1 a memorial of a baptism1 a wedding1 or a funeral4 ,for the first1 white silk worked in gold and silver1 or gold-coloured silk1 or parsem with conventional spring flowers would be appropriate4 ,for a marriage1 crimson1 rose-colour1 blue and gold1 or a mixture of all these1 to produce a festive and gorgeous effect4 ,for a funeral1 purple or violet silk or velvet1 with palms and the crown of thorns in gold or silver4#edi ,these would serve at the festivals of the ,church3 the purple for ,good ,friday1#eej the crimson for ,saints' days1 the white for ,christmas and ,easter ,sunday4 ,the reredos1 or the screen curtain behind the altar1 should be made available for enhancing its effect1 as well as for enlarging the area of textile coloured decoration4 ,as this is intended for a background1 it should be either subdued or else contrasting1 in juxtaposition with that which it is intended to supplement4 ,woollen embroideries or tapestries are the most usually selected for this purpose4 ,the softness of fine crewels is well shown near the more glowing tints of silk1 velvet1 and gold of the altar frontal4 ,if this is white1 or light coloured1 the reredos hanging should be of dark or richly worked material2 if the frontal is dark1 the contrast should be preserved by hangings of tender shades4 ,the pulpit and reading-desk1 with their small cushions and veils1 and beautiful worked covers for the books1 give opportunities for repetition of colour which is often required for picturesque effect4 ,i should recommend the young ecclesiastical designer to study the principles which guided the authors of some of the fine ,gothic examples remaining to us1 such as the great ,stoneyhurst cope1 and the palls of the different ,london companies1 as well as the very few fine altar-cloths still existing4 ,all these have their brilliant and effective treatment2 they are intended to be glorious1 and either represent massive jewellers' work or tissues of wrought gold4 ,anciently1 the ornaments for the different church services1 which we timidly reduce to floral decorations 7often1 however1 very beautifully planned and executed71 gave the opportunity for displaying costly embroidered hangings4 ,the paschal of the choir of ,durham1 for example1 was a marvellous construction of wood and gilding1 metal-work1 and 7probably7 hangings4 ,it was as wide as the lateral of the choir1 and as high as the building1 so that the central and seventh candlestick 7that from which the new fire for the year was kindled7 was so near the roof that there was a fine convenience through the said roof of the church for the help of lighting it4 ,i quote from a rare book printed by ,g4 ,s4 ,ross for ,mrs4 ,waghorn1 #agcc4 ,this little book is full of interesting matter regarding ,durham ,cathedral1 though the author is most concerned in relating the vandalisms committed by the dean's wife1 ,mrs4 ,whittinghame1 who evidently had no culture1 and a strong turn for appropriating odds and ends1 such as tombstones1 embroidered silk1 and other curiosities which she deemed valueless except for her own purposes1--such a woman is a real archological misfortune6 ,the corporax used in celebrating the mass by ,st4 ,cuthbert in the seventh century 7he died and was buried at ,holy ,isle in #feg7 was supposed to be endowed with miraculous powers and was carried into battle on many occasions as a banner4 ,this banner was of crimson velvet on both sides1 wrought with flowers in green silk and gold1 and fringed with red silk and gold4 ,the corporax cloth was inserted in the centre1 and covered with a square of white velvet1 having on it a cross of red velvet1 most artificially worked and fringed1 with little silver bells in the fringe4 ,this was carried into battle1 till ,dame ,whittinghame did most injuriously destroy the same in her fire4 ,one feels as if this woman were spiteful1 as well as stupid4 ,but for her punishment1 her memory is kept quite the contrary to green by ,mrs4 ,waghorn's careful record of her iniquities2 which has at the same time fortunately preserved to us the description of the banner of ,st4 ,cuthbert1 and gives also an idea of the good and sumptuous furniture of changeable suits1 and of the divers vestments wrought and set round about with pearls1 both stoles and flannels1 c4 ,looking at it from a distance1 it appears that the fair white linen for the communion service always requires the softening of the edges by fringes1 by cut work embroidery1 or by thick lace edgings4 ,if a white ground for embroidery is required1 nothing is more beautiful than linen1 especially if it is not over-bleached4 ,white1 in art1 should be represented by the nearest approach to no colour2 but it is more agreeable to the eye by its being tempered with a suggestion of the natural tint1 of which all textile substances possess something 7excepting cotton7 before they have passed through the hands of the fuller or the chemist4 ,corporals and veils for the pyx used to be of white linen1 embroidered with white silk or linen thread2 the silk gives a beautiful1 varied1 shining brightness4 ,i think a few words should be said about the fringe4#eea ,its motive and raison d'tre is the disposal of the threads of the warp when it is cut out of the frame2 these being tied and knotted symmetrically1 become an artistic decoration instead of an untidy tangle of threads and thrums4 ,edging the material and finishing it with its own loose ends is a very ancient custom2 and we can see from the sculptures of ,nineveh that they were great in that city in the art of fringe-making1 and the ,israelites1 when they made their hangings for the sanctuary1 trimmed them with fringes4 ,it stands to reason that an added fringe should be arranged with reference to the origin of the decoration1 and the moment we think of it1 the eye is annoyed by seeing a deep fringe of one or two colours traversing the whole widths of the frontal and super-frontal1 quite irrelevantly1 and without any reference to the masses of colours1 woven or embroidered1 above them2 and the consequence of this carelessness is1 that it makes it look as if this part of the decoration1 came from another source1 independent of the composition which it ought to supplement4 ,the fringe should belong to the whole design1 and be carefully fitted to the spaces occupied by the colours above it1 each of its compartments or divisions being filled in with those tints which are most conspicuous in the general design and would show effectively in the warp4 ,it is not necessary to account for all the colours1 as the threads employed to form the woof would naturally disappear at the sides of the web4 ,the sections of the fringe should be skilfully arranged so as to reappear at equal distances1 or at least they should be so balanced as to produce that effect4 ,if this is impossible1 the fringe should be all of one shade1 matching exactly the ground of the textile4 ,it may be relieved by clustered knobs1 or hanging beads or cups of different colours and gold4 ,the celebrated pluvial at ,aix-la-,chapelle has a fringe of gold bells hanging to a gold cord1 which amalgamates with the pattern4#eeb ,the veils of the ,sanctuary in the wilderness were fringed with attached ornaments1 bells1 blossoms1 knops1 flowers1 and fruit1 which sounds extremely pretty4 ,to resume1 let me once more urge that in church work neither time nor trouble be spared2 nor yet money grudged1 if possible4 ,the design should be full of intention1 the stitching perfect1 and the materials most carefully chosen for tints1 for endurance and smoothness4 ,remember that no inferior substitute will serve to give present effect1 nor will it last into the future4 ,design1 as ,i have elsewhere said1 is all the better for being to a certain degree circumscribed1 relegated1 and regulated by the laws of traditional usage1 as well as those of good taste1 and this applies especially to ecclesiastical design4 ,these laws serve as the frame which encloses the motive thought1 and makes it a complete whole1 that can admit of no amplifications4 ,new symbols should not be adopted except for the expression of new facts or altered circumstances1 and these can but seldom enter into liturgical art4 ,there is so much already formulated and admitted1 and the area in which we may gather our materials is so large1 that we need not seek for more than we find under our hand1 ready for use4 ,besides the symbolism of dogma1 we have all the heraldry of the ,saints2 and can repeat and vary the emblems of those to whom the church we are working for is dedicated4 ,the keys of ,st4 ,peter1 the sword of ,st4 ,paul1 the lilies of the ,virgin1 the cross of ,st4 ,andrew1 the eagle of ,st4 ,john1--,i need hardly enumerate all these legitimate sources of decoration4 ,then there is the lay heraldry which belongs to the history of each church1 and which memorializes the reign of the monarch when it was begun1 finished1 or restored1 and the pious work and care of the founder and benefactor1 the architect1 and sometimes that of the sculptor4 ,now as our forefathers accepted all this material for ecclesiastical design1 remodelling it to their own uses in different centuries1 so we cannot ourselves do better than imitate them1 and profit by their experience2 never missing an opportunity of studying ancient embroideries2 and while we admire in them all that is admirable1 and appreciate their historical and archological value1 we may yet extract greater benefit for ourselves1 by criticizing what is imperfect1 as well as what is possibly a descent and failure from a higher type4 ,we must make a judicious selection of what to imitate and what to avoid4 ,as a general rule1 ,i should warn the young artist against the imitation of navet and so-called quaintness2 especially in our designs for ,church embroidery as it is hardly a noble quality in art1 though we look on it with a tender pity1 half-way between admiration and contempt1 when we find it inevitably in medival work2 struggling to overcome the expression of something difficult1 and expressing a difficulty only partly overcome4 ,we find ourselves putting our minds into the attitude of the artist who conceived those figures with arms conventionally growing out of the encasing garment2 conventionally holding a book1 and giving a blessing with a conventional twist1 not entirely ungraceful1 nor devoid of a certain dignity1 rather felt than perceived4 ,yet we contemplate them with a smile of conscious superiority1 appreciating our own refined sense of their merits and infantine progress towards something good1 that time--a long time--would1 and did evolve4 ,but those efforts at last culminated in a ,christian art1 such as is seen in the splendid forms and adornments in stone1 gold1 silver1 glass1 and embroideries of the thirteenth and fourteenth centuries4 ,such splendours as the windows of ,bourges1 the ,sainte-,chapelle at ,paris1 or those of the ,cathedral of ,toledo1 or ,king's ,college ,chapel at ,cambridge4 ,such sculptures and traceries as those of the ,puits de ,moise at ,dijon1 and the ,chapter ,house at ,southwell in ,nottinghamshire4 ,such embroideries as the ,syon cope1 and the ,borghese triptych4 ,these are types worthy of all praise1 and they are full of instruction to the student of ecclesiastical art4 ,the ,kensington ,museum offers us endless help and suggestions in its very interesting collection of liturgical vestments of every date and school2 and its textiles1 illustrated by the inventory of their learned collector1 ,dr4 ,rock1 are most instructive4#eec ,in the library of that museum are to be found many of the learned works on these subjects by ,french and ,german savants4 ,the exhibitions in the ,english counties are never without a case or a room full of embroideries1 collected from the treasure-chests of the neighbouring churches and country houses1 and especially from those of the ancient ,roman ,catholic families4 ,the colleges of ,oscott and ,stoneyhurst have collected1 by purchase or by gift1 many fine relics of the craft1 which are most liberally granted for exhibition4 ,for those who can go further afield there is instruction in almost every ,continental town4 ,rome1 ,florence1 ,milan1 ,toledo1 ,sens1 ,rheims1 ,aix-la-,chapelle1 ,berne1 ,vienna1 ,halberstadt1 ,berlin1 and ,munich--each and all have stores of beautiful liturgical objects carefully preserved2 of many dates1 and many styles1 and showing endless varieties of design1 which can be employed on new works by careful selection and adaptation4 ,most of these belong to the eleventh and succeeding centuries2 any earlier examples are fragmentary1 and have generally been taken from the tombs of kings and bishops4 ,it seems to savour of desecration1 this opening of shrines and disturbing the ashes of the illustrious dead1 if only for the satisfaction of archological curiosity4 ,but except where it has hitherto been protected by the sanctity of the tomb1 there is so little that remains to us1--so few textiles have survived the friction of use1 or even that of the air1 through as many as a thousand years or more1 that we may plead the hunger for truth1 and the eager desire for proofs of identity and verification of historical legends1 which are to be extracted from the shape of a garment1 from the pattern on the border1 or the lettering on the web of which it is composed2 whence we reverently cut a fragment1 and preserve it under glass4 ,if studious1 copie fair what time hath blurr'd1 ,redeem truth from his jawes4#eed ,before closing this chapter1 ,i would wish to observe that ,i have entered into the subject of church decoration in no ritualistic spirit2 ,i do not treat it theologically1 but as art2 and if these decorations are to be carried out at all1 ,i feel that ,i am rendering a service to those whose duty or pleasure it is to provide them1 by pointing out where they may find the principles which have been the spring and life of medival art1 and the survivals which are now the best exponents of those principles to guide us in the works of our day4 ,,footnotes3 #dgi ,figure-drawing in early ,christian art was for nearly a thousand years primitively barbarous1 with occasional exceptions4 ,the rapid decline in ,europe1 through the art of the ,catacombs and ,st4 ,clemente at ,rome1 and the frescoes and mosaics of ,ravenna1 down to the ,bayeux tapestries1 is very remarkable4 ,in those inartistic compositions during the early ,middle ,ages1 the figures were drawn facing the spectator1 the head and feet in profile1 differing in nothing from the ,egyptian and ,assyrian modes of representation4 ,we can hardly account for this return to childish ways1 from which ,greece and ,rome had so long been emancipated1 except by supposing that they came from the imitations of ,oriental textiles1 which still retained very ancient forms2 for instance1 the motive of the sculptured lions over the gate of ,mycen4 ,we cannot say that ,greek art in ,rome was quite extinct till the eighth century4 ,about that time there was a remarkable revival in ,england4 #dhj ,till very lately we have been entirely dependent on the frescoes in the ,catacombs and in the underground ,church of ,st4 ,clemente at ,rome1 and on monumental art and illuminations1 for our knowledge of the textiles of the earliest days of ,christianity4 ,but ,herr ,graf'schen's discoveries in ,egypt will1 when published1 add greatly to our information on this subject4 #dha ,the book by ,parker on the ,liturgical ,use says that only the five liturgical colours were permitted in the use of the ,church of ,england4 ,before the ,reformation the ,norman and ,english liturgical colours were different4 7,rock1 ,church of our ,fathers1 ii4 p4 #bfh47 ,perhaps nothing was originally worked departing from this rule1 but votive offerings are inventoried as being of all colours1 having been accepted and used as decoration and for vestments4 #dhb ,i have already spoken of the custom of clothing the images of the gods as a classical tradition4 ,the ,greeks draped their statues in precious garments1 often the spoils of subjugated nations1 offerings from the conquerors1 or obsequious tribute from the conquered4 ,newton 7,appendix #a7 tells us of inscriptions containing inventories of old clothes offered in the ,greek ,temples4 ,ezekiel 7xvi47 speaks of silk and linen embroideries given for covering the idols4 ,the images of the saints in ,roman ,catholic churches are1 we know1 constantly draped in splendid embroideries1 and hung with jewels4 #dhc ,there is here an overlap of several centuries4 #dhd ,charlemagne's dalmatic1 described hereafter1 of which the pedigree is well ascertained1 justifies ,woltmann and ,woermann's theory2 as this eighth-century embroidery shows1 by its design1 that ,greek art was still a living power4 #dhe ,of which we have yet examples on the ,continent1 here and there2 for instance1 in the ,cathedral at ,coire in the ,grisons1 and in the ,romanesque church at ,clermont in ,auvergne 7not the cathedral74 ,i do not include in this statement of the rare occurrence of the ogee1 the ,european countries which were subject to ,moorish rule1 i4e4 ,spain and ,portugal4 #dhf ,this1 slightly modified1 continued to prevail till the time of ,louis ,,xiv41 when ,france took the lead1 and gave a style to the world which entirely broke away from all medival tradition4 #dhg ,rock's ,church of our ,fathers1 i4 p4 #dji4 ,compare ,wilkinson's ,ancient ,egyptians1 i4 p4 #ccb 7see fig4 #a72 and ,bock's ,liturgische ,gewnder1 taf4 i41 i4 p4 #acj1 fig4 #f4 ,bock does not give his authority for the pattern on the ephod4 #dhh ,bock's ,liturgische ,gewnder1 i4 taf4 i41 iii41 vi4 #dhi ,yates' ,textrinum ,antiquorum1 pp4 #bjc1 #cgf1 #ajc4 ,he quotes from ,claudian the description of a trabea1 said to have been woven by the goddess ,roma herself1 for the consul ,stilicho4 ,i give this as showing how forms and patterns become sacred by their being attributed to the inspiration of the gods4 ,the name of ,stilicho marks his tomb in ,sant' ,ambrogio's ,church at ,milan1 on which is a curious moulding1 carved with alternate roses and mystic crosses4 #dij ,clapton ,rolfe1 ,ancient ,use of ,liturgical ,colours4 #dia ,see the ,book of ,kells1 ,library1 ,dublin2 also ,st4 ,cuthbert's ,durham ,book1 ,british ,museum1 and the ,celtic ,,mss4 in the ,lambeth ,palace ,library4 #dib ,celtic and ,scandinavian designs are characterized by meandering1 interlaced1 and knotted lines1 which are described and discussed in the chapter on patterns4 ,the forms of the ,celtic stone crosses are very beautiful4 ,see ,l',atlas de l',archologie du ,nord1 par la ,socit ,royale des ,antiquaires du ,nord 7,copenhagen1 #aheg71 where the metal remains are shown by careful engravings2 also ,george ,stephen's ,old ,northern ,runic ,monuments4 #dic ,see ,bock's ,liturgische ,gewnder1 i4 p4 #abf1 quoting ,anastasius ,bibliothecarius1 pp4 #aec1 #aef1 #ahi4 #did ,ibid4 p4 #ahi4 #die ,the information here collected proves that these sovereign gifts to the great basilicas were by no means of costly materials1 especially as compared with the preceding splendours of ,rome1 or the still more astounding luxury of ,alexandria through the ,greek conquests of the ,eastern nations4 ,to these rules of economical decoration1 however1 we find occasionally exceptions4 ,we gather also from later lists that the embroideries of the ,papal ,see were culled1 in the thirteenth century1 from ,france1 ,spain1 ,germany1 and ,england4 #dif ,see also ,bock's ,liturgische ,gewnder1 vol4 i4 pp4 #i1 #ah1 #ef1 #hf1 plate #b4 ,at a later period the lion motive is supposed to have represented a ,christian in the arena1 and it certainly in time was symbolical of man struggling with the dominion of sin4 ,however1 ,bock considers the design to have been originally classical ,greek1 and it survived to the seventh and eighth centuries1 and was reproduced as late as the sixteenth4 #dig ,the ,code of ,manu in ,india1 which #bejj years ago regulated all the crafts and ruled their decorations1 is still in full force1 and ,chinese art was crystallized in the reigns of the first emperors of the ,hia dynasty1 #baig ,b4,c4 #dih ,we cannot but respect the memory of ,attila1 who checked the spoliation of ,rome by his troops4 #dii ,the collections of needlework in ,germany are very rich4 ,the treasury of the cathedral at ,halberstadt1 the ,markt-,kirche of ,brunswick1 the sacristy of the ,marien-,kirche of ,dantzic1 and that of the ,kaland ,brethren at ,strahlsund are especially quoted by ,bock4 ,at ,quedlinburg are the tapestries of its famous abbess2 at the ,pilgrim ,church of ,marie at ,zell are fine remains of stuffs and embroideries by the ladies of the imperial house of ,hapsburg1 of the thirteenth century2 at the ,abbey of ,gss 7near ,lieben1 ,steiermark7 is to be seen the remarkable needlework of the ,abbess ,kunigunda1 and in the cathedral treasury of ,heidelberg the antipendium of the fourteenth century1 made for the church at ,tirna4 ,the museums of ,berlin1 ,munich1 and ,vienna are very rich in textiles4 #ejj ,see ,bock's ,liturgische ,gewnder1 p4 #acc4 #eja ,helen ,lwyddawc4 ,see ,mabinogion1 by ,lady ,c4 ,guest1 pp4 #bgi-bhd4 ,this beautiful story is told in the language of the romance period1 and yet has a certain ,celtic colouring in it1 which shows its origin4 ,the ballad opens with a description of ,helen watching a game of chess1 clothed in white and gold1 seated on a chair of gold1 when ,maxentius finds her in her father's palace4 #ejb ,see ,mrs4 ,palliser's ,lace1 p4 #d4 #ejc ,see chapter on ,english embroidery1 post4 #ejd ,early decorations of ecclesiastical dress are so thoroughly illustrated by the ancient frescoes and mosaics in ,italy1 that we can form an idea of the embroidered vestments of each period by studying them1 and the early illuminated books that are scattered over ,europe4 ,dr4 ,bock gives authentic illustrations as well as information about the finest ,continental specimens4 #eje ,for the mosaics of ,santa ,pudenziana1 see ,woltmann and ,woermann1 i4 p4 #afg1 ,history of ,painting4 ,translated by ,sidney ,colvin4 #ejf ,appendix #d4 ,lord ,lindsay's ,history of ,ecclesiastical ,art1 i4 p4 #acf4 ,these gorgeous vestments are engraved by ,sulpiz ,boissere in his ,kaiser ,dalmatika in der ,st4 ,peterskirche1 and far better by ,dr4 ,rock1 in his splendid work on the ,coronation ,robes of the ,german ,emperors4 #ejg ,it is singular that we find the starry cross and the swastika filling alternate square spaces on the mantle of ,achilles--playing at dice with ,ajax--on a celebrated ,greek vase in the ,etruscan ,museum at the ,vatican4 ,i have referred to this design elsewhere4 7,plate #bf47 #ejh ,rock's ,introduction1 p4 liii4 #eji ,this date is assigned to it by ,monsignor ,clifford4 #eaj ,kindly supplied to me by the ,father ,superior of ,san ,clemente in ,rome4 #eaa ,in the cathedral of ,aix1 ,switzerland4 ,bock's ,liturgische ,gewnder1 i4 taf4 ii4 #eab ,one of these mitres has1 it is said1 been brought to ,england4 #eac ,bock1 ,liturgische ,gewnder1 ii4 taf4 xii4 ,this is dyed in ,tyrian purple 7rosy red71 and is simply the cross1 representing the tree with twelve leaves1 for the healing of the nations4 #ead ,bock1 ,liturgische ,gewnder1 i4 taf4 iii4 pp4 #aeg-afj4 #eae ,bock1 ibid41 p4 #aeh1 quotes the ,jesuit ,erasmus ,frhlich1 7#aged74 #eaf ,see ,bock's ,liturgische ,gewnder1 i4 taf4 iv4 pp4 #afe1 #aff4 ,one of three costly garments4 #eag ,modifications of the wheel pattern 7wheel and plate74 ,of these works of the tenth and eleventh centuries the fine ,roman lettering in the borders is a marking characteristic4 #eah ,see ,bock's ,liturgische ,gewnder1 i4 p4 #bad4 #eai ,there was no guild of embroiderers in ,england that we know of till that incorporated in the reign of ,elizabeth4 ,see chapter on ,english embroidery4 #ebj ,bock1 i4 #bad1 says that the splendid stuffs and embroideries were entirely consecrated to the use of the ,church1 till the luxurious arts invaded ,european domestic life from the seventh to the twelfth century4 #eba ,see the cross on the ,rheims cope 7plate #fc74 #ebb ,there is no doubt it was only used for church work4 #ebc ,at ,aachen1 in ,switzerland1 there is a very remarkable pluvial of one kind of opus ,anglicanum1 which has been already alluded to4 ,the border1 of splendid gold embroidery1 has the pattern completed in fine flowers of jewellers' work4 7,see ,bock1 ,liturgische ,gewnder1 ii4 p4 #big1 taf4 xli4-xliv47 ,rock1 ,textile ,fabrics1 ,introduction1 p4 xxxi1 cites from ,mon4 ,angl4 7ii4 #bbb71 the vestments given to ,st4 ,alban's ,abbey by ,margaret1 ,duchess of ,clarence1 ,a4,d4 #adbi1 as being remarkable for pure gold in its texture and the splendour of the jewels and precious stones set into it1 as well as for the exquisite beauty of its embroideries4 ,these are some of the characteristics of the opus ,anglicanum4 #ebd ,appendix #f4 #ebe ,mrs4 ,bayman1 of the ,royal ,school of ,art ,needlework4 #ebf ,if it is true that in the days of the ,greeks and ,romans the art of acupictura or needle-painting copied pictorial art1 so likewise in the ,egyptian early times1 painted linens imitated embroideries4 ,this we learn by specimens from the tombs4 ,painted hangings and embroideries appear to have been equally used for processional decorations4 ,in the ,middle ,ages painted hangings imitated embroideries and woven hangings1 and were considered as legitimate art4 #ebg ,see ,bock1 vol4 i4 p4 #aj4 #ebh ,exhibited in the ,esposizione ,romana in #ahfi1 in the cloisters of ,santa ,maria degli ,angeli4 #ebi ,see ,woltmann and ,woermann1 who quote evidence as to works in painted glass as early as the ninth and tenth centuries in ,france and ,germany 7,history of ,painting1 vol4 i4 pp4 #caf-cci74 ,they remark that the character of painted glass is nearly akin to textile decoration1 that it is essentially flat and unpictorial4 ,and doubtless there is an analogy between the two1 but rather suggesting patchwork or cut work than legitimate embroidery4 #ecj ,vasari1 ed4 ,monce1 taf4 v4 p4 #aja4 #eca ,see plate #fi1 which is a fine altar-frontal of the plteresque ,spanish4 #ecb ,the dress of the ,virgin del ,sagrario at ,toledo1 embroidered with pearls1 and the chasuble of ,valencia1 worked with corals1 show how profusely these costly materials were employed4 #ecc ,see ,the ,industrial ,arts of ,spain1 pp4 #bej-bfd1 by ,don ,juan ,f4 ,riano1 and catalogues of ,loan ,exhibition by him for the ,south ,kensington ,museum series1 #ahha4 ,the works of ,spanish ,queens and ,infantas are to be seen at the ,atocha1 the church of the ,virgin del ,pilar at ,madrid4 #ecd ,there are most interesting examples of ,scriptural subjects in ,bock's ,liturgische ,gewnder1 i4 taf4 x4 pp4 #bjg1 #bjh2 taf4 xi4 pp4 #bci-bgh4 ,these are of the thirteenth and fourteenth centuries2 and we have some good fifteenth century bead-work in the ,south ,kensington ,museum4 #ece ,the splendid embroideries from ,westminster ,abbey1 sold to ,spanish merchants at the ,reformation1 now at ,valencia1 and the cope in the ,museum at ,madrid1 are instances of these exportations4 ,the ,syon cope also was returned to ,england1 after its long wanderings1 about sixty years ago4 ,i give its history by ,dr4 ,rock in the ,appendix #f4 #ecf ,for examples of this ornate and graceful1 but frivolous style1 we may remember the mosaic altar frontals throughout the basilica of ,st4 ,peter's at ,rome4 #ecg ,see ,dr4 ,rock's ,catalogue of ,textile ,fabrics1 ,south ,kensington ,museum1 ,introduction1 p4 cxxxvi4 #ech ,bock's ,liturgische ,gewnder1 i4 taf4 vi41 vii41 pp4 #che-cib4 ,the emblematic meanings of stones is constantly alluded to in the ,old ,testament4 ,their symbolism has1 therefore1 a high authority and most ancient descent4 ,in the ,ashmolean ,museum at ,oxford is an illuminated copy of ,philip de ,than's ,bestiarium1 composed for ,adelais1 second wife of ,henry ,i4 #eci ,cyclopdia of ,bible ,literature1 vol4 vii4 p4 #dgg4 #edj ,see ,clapton ,rolfe1 ,the ,ancient ,use of ,liturgical ,colours4 7,parker1 #ahgi47 #eda ,see ,indian ,arts1 by ,sir ,g4 ,birdwood1 i4 p4 #ig4 ,he says this ,illustration form is the sign of the ,buddhist or ,jainis1 and that the ,illustration fire-stick form was that of the ,sakti race in ,india4 #edb ,see chapter on patterns1 p4 #ajc-d1 ante4 #edc ,revelations chap4 xxii4 v4 #b4 #edd ,in medival times the cross in a circle was sometimes called the clavus ,illustration4 ,it was the same as an ,egyptian sign1 meaning land 7plate #be74 ,donelly fancifully claims the sign as being that of the garden of ,eden1 and of the four rivers flowing from it 7see ,atlantis74 #ede ,see plate #gj1 ,no4 #a4 ,in the upper part of the ,halberstadt diptych1 ,no4 #a1 the gens togata are sitting on ,olympus1 clothed in such purple garments embroidered with the chrysoclavus4 #edf ,i would instance the little church of ,st4 ,mary1 built and adorned by the late ,w4 ,e4 ,street1 at ,feldy1 in ,surrey4 #edg ,the art of illumination had in general kept a little in front of that of the painter1 and illumination and embroidery went hand in hand4 #edh ,the fine brocades of velvet and gold1 of which we find examples in the centres of palls1 and a notable one in the celebrated ,stoneyhurst cope1 are still reproduced to order at ,lyons1 ,genoa1 ,florence1 and in ,spain4 ,the ,florentine is distinguished by the little loops of gold thread which pervade it4 #edi ,in the ,english ritual gold was permitted wherever white was enjoined4 ,this shows a true appreciation of the effect of the metal1 separating and isolating all colours1 and being of none4 #eej ,the purple is not one of the five mystic colours named2 it is included in blue1 and therefore the most ritualistic critic need not object to it4 #eea ,under the ,carlovingians1 priestly garments were often enriched with splendid fringes1 trimmed with bells4 ,a ,bishop of ,elne1 who died in #iae1 left to his church a stole embroidered with gold and garnished with bells4 ,so rich were the fringes at that epoch1 that ,king ,robert1 praying one day in the church1 became aware that while he was lost in meditation a thief had ripped off part of the fringes of his mantle4 ,he interrupted his proceedings by saying1 ,my friend1 suppose you content yourself with what you have taken1 and leave the rest for some other member of your guild4 ,see ,histoire du ,tissu ,ancien1 ,union ,central des ,arts ,dcoratifs4 ,for a fringe with bells1 see the beautiful example in ,bock's ,liturgische ,gewnder 7plates xli4 xlii4 xliii4 vol4 ii4 p4 #big71 already quoted4 #eeb ,resembling the fringe of ,st4 ,cuthbert's corporax1 with its silver bells4 #eec ,this valuable collection of textiles is so ancient and therefore so frail1 that it seems a pity to send portions of it continually travelling about the country for loan exhibitions4 ,change of climate--cold1 heat1 and damp--carelessness in packing and unpacking--above all1 the reckless exposure to floods of sunshine even when they are protected from dust by glass1--all these endanger the preservation of what can never be replaced1 and has only survived till now because of the quiet and darkness in which it has lain for centuries4 #eed ,george ,herbert1 ,the ,churchyard ,porch1 v4 #ae4 ,,chapter ,,xi4 ,,english ,,embroidery4 ,through the preceding chapters ,i have tried to moderate my predominant interest in our national school of needlework1 seeking to place it in its just position alongside of the coeval ,continental schools4 ,however1 the more ,i have seen of specimens at home and abroad1 the more ,i have become convinced of the great superiority of our needlework in the ,middle ,ages4 ,as information about our own art must be valuable to us1 ,i give a short account of ,english embroidery4 ,in ,england our art1 like our language1 is mixed4 ,our early history is one of repeated conquest1 and we can only observe where style has flowed in from outside1 or has formed itself by grafting upon the stem full of vitality already planted and growing4 ,it is interesting to seek its root4 ,there is every reason to believe1 from the evidence of the animal remains of the ,neolithic ,age 7including those of sheep71 that they came with their masters from the central plateau of ,asia4 ,the overlap of the ,asiatic civilizations over the barbarism of ,northern ,europe shows that ,assyria#eee as well as ,egypt was a highly organized empire1 and the ,mediterranean peoples far advanced in the arts of life1 while the ,neolithic man survived and lingered in ,britain1 ,france1 and ,scandinavia4 ,yet1 even at that early period1 the craft of spinning and the use of the needle were practised by the women of ,britain4#eef ,our first glimpses of art may have come to us by ,phnician traders1 touching at the ,scilly ,islands and thence sailing to the coasts of ,cornwall and ,ireland4 ,from ,ireland we have curious relics as witnesses of their presence--amongst others1 jewellery connected by1 or pendant from1 ,trichinopoly chains1 similar to those dug out of ,etruscan tombs1 and which were probably imported into ,ireland as early as the sixth century ,b4,c4#eeg ,in the ,bronze ,age the chiefs and the rich men wore linen or woollen homespun4 ,fragments of these have been found in the ,scale ,house barrow at ,rylston1 in ,yorkshire4 ,dr4 ,rock says that an ancient ,celtic barrow was opened not long ago in ,yorkshire1 in which the body was wrapped in plaited 7not woven7 woollen material4#eeh ,before this time the ,cymri in ,britain probably wore plaited grass garments2 they also sewed together the skins of animals with bone needles4 ,dyeing and weaving were well understood in ,britain before the advent of the ,romans4 ,hemp and flax1 however1 though native to the soil1 were not employed by the early ,britons4 ,linen perhaps came to us first through the ,phnicians1 and afterwards through the ,celts1 and was naturalized here by the ,romans4 ,anderson 7,scotland in ,early ,christian ,times7 gives a high place to the forms of pagan art which prevailed in the ,british ,isles1 before the ,roman civilization2 and differing from and influencing that which came from ,scandinavia4 ,we must certainly allow that it was art1 and that it contained no ,greek or other classical element4 ,his illustrations explain and give great weight to his theories4 ,csar invaded ,england forty-five years ,b4,c4#eei ,the ,romans gave us ,christianity and the rudiments of civilization1 but their attempts to ,romanize us met with little success4 ,probably they imported their luxuries1 and removed all they valued at the time of their exodus4 ,from them we know what they found and what they left in ,britain4 ,boadicea1 ,queen of the ,iceni1 the day of her defeat wore a tartan dress 7polymita7 and an embroidered or fur mantle2 probably the fur was inside1 and the skins embroidered outside4 ,dion ,cassius1#efj who describes ,boadicea's motley tunic1 says that the bulk of the people wore what was apparently a chequered tartan4 ,semper says that the early tribes of ,northern ,europe1 like the ,north ,american ,indians of the present time1 embroidered their fur wraps4 ,the ,emperor ,honorius1 in the fourth century1 made it illegal for ,roman nobles to wear extravagantly-worked fur robes2 perhaps the report of ,boadicea's dress had set the fashion in ,rome4 ,during the first four centuries of our era1 all art in ,britain must have come from our ,roman masters2 and owing to their neglect of the people they conquered1 we benefited little by their civilization4 ,all that we know of their decorative art in ,britain1 is that it was1 with few exceptions1 chiefly of small bronze statues1 somewhat crude and colonial1 as appears from the remains of their architecture1 sculpture1 mosaics1 and tombs4#efa ,of their textiles we have no relics1 and hardly know of any recorded1 if we except the works of the ,empress ,helena4 ,see p4 #caf1 ante4 ,we must remember that1 as she was a ,british princess1 it is likely that she had learnt her art at home1 and therefore that the women of ,england were already embroiderers as early as the beginning of the fourth century4#efb ,on the departure of the ,romans1 chaos ensued1 till the ,britons1 who had called in the ,saxons to help them1 were by them driven into ,wales1 ,brittany1 and ,ireland1 which last they ,christianized2 and mingled the art of the ,germans and ,celts with that of the ,danes and ,norsemen#efc2 all which may be traced in the ,irish remains to be seen in the ,college ,museum at ,dublin and elsewhere4 ,from the time that ,england became ,anglo-,saxon1 literature1 law1 and art began to crystallize2 and when1 under ,egbert1 one kingdom was formed out of the heptarchy1 order and a sense of beauty were in the course of development4 ,then came the invasion of the ,danes 7ninth century71 who robbed1 destroyed1 and arrested all artistic improvement1 till ,alfred got rid of them for a time4 ,early in the seventh century the women of ,england had attained great perfection in needlework4 ,this appears from a passage in a poem by ,adhelme1 ,bishop of ,sherborne4 ,he speaks of their shuttles1 filled not with purple only1 but with various colours1 moved here and there among the thick spreading threads4#efd ,he had himself a robe of a most delicate thread of purple1 adorned with black circles and peacocks4 ,this may or may not have been woven in ,england1 but at that time weaving1 as well as needlework1 was the delight and occupation of the ladies of the court and of the cloistered nuns4#efe ,the thralls 7slaves or serfs7 were employed in weaving in the houses of the nobles1 probably they embroidered also4 ,mrs4 ,lawrence sees reason to believe that in the seventh century1 silk and fine linen were the materials for altar decorations1 vestments1 and dress2 whereas the hangings of the house were of coarse canvas adorned with embroidery in thick worsted4#eff ,she says the term broiderie was reserved for the delicate works on fine grounds1 in silk and gold and silver thread1 and enrichments in metal work4 ,precious stones and pearls had already been introduced into the ,byzantine and ,romanesque designs imported from ,greece and ,rome4 ,the ,english ,dominican ,friar1 ,th4 ,stubbs1 writing in the thirteenth century1 describes in his notice of ,st4 ,oswald a chasuble of ,anglo-,saxon work1 which exactly resembles that of ,aix4#efg ,this is splendidly engraved in ,von ,bock's ,kleinodien amongst the coronation robes of the ,emperors of ,germany1 and is adorned with the richest golden orphreys1 imitating jewellers' work1 enriched with pearls and silver bells4 ,there is an ,icelandic ,saga of the thirteenth century which relates the history of ,thorgunna1 a woman from the ,hebrides1 who was taken to ,iceland on the first settlement of the country by ,norway1 ,a4,d4 #ajjj4 ,she employed witchery in her needlework1 and her embroidered hangings were coveted by1 and proved fatal to1 many persons after her death1 till one of her inheritors burned them4#efh ,illustration3 ,pl4 #ga4 ,one of the ends of the ,stole of ,st4 ,cuthbert at ,durham1 which together bear the inscription1 ,aelfled fieri precepit pio ,episcopo ,fridestano4 ,english ecclesiastical art did not necessarily keep to ,christian subjects2 for it is recorded that ,king ,wiglaf1 of ,mercia1 gave to ,croyland ,abbey his splendid coronation mantle and velum2 and that the latter was embroidered with scenes from the siege of ,troy4#efi ,illustration3 ,pl4 #gb4 ,st4 ,john4 ,st4 ,roger4 ,durham ,embroideries1 tenth century4 ,it was probably on account of such derelictions from orthodox subjects of design that in the eighth century the ,council of ,cloveshoe admonished the convents for their frivolous embroideries4#egj ,in the eighth century our ,english work in illuminations and embroideries was finer than that of any ,continental school2 and therefore1 in view of the great advance of these secondary arts1 we may claim that we were then no longer outer barbarians1 though our only acknowledged superiority over ,continental artists was in the workrooms of our women and the cells of our religious houses4 ,during the terrible incursions of the ,danes1 and the many troubles that accrued from these barbarous and idolatrous invaders1 the convents and monasteries1 especially those of the order of ,st4 ,benedict1 kept the sacred flame of art burning4#ega ,both monks and nuns wrote1 illuminated1 painted1 and embroidered4 ,they evidently continued their relations with foreign art1 for it is difficult to say at what period the ,norman style began to be introduced into ,england4 ,it was the outcome of the ,romanesque1 and of this1 different phases must have come to us through the ,danes and the ,saxons4 ,i cannot but dwell on the early life and springtide of our ,anglican ,christian art1 which in many points preceded and surpassed that of other northern nations1 as we arose from that period commonly called the ,dark ,ages4 ,ours was a gradual development1 adding to itself from outer sources new strength and grace4 ,the better perfection of details and patterns was succeeded by ,anglo-,saxon ingenuity and refinement in drawing the human figure4 ,the art1 which was native to ,england1 may be judged by the rare examples that we possess1 and of which we may well be proud2 though we must remember with shame how much was destroyed at the ,reformation4 ,enough however1 remains to prove that our ,english art of illumination of the ninth1 tenth and eleventh centuries was very beautiful1 and we are not surprised therefore to find in the embroideries of that period grace and artistic feeling4 ,the stole and maniple of the ,durham cathedral library1 which bear the inscription ,aelfled fieri precepit pio ,episcopo ,fridestano1 are of the most perfect style of ,anglo-,saxon design2 and the stitching of the silk embroidery and of the gold grounding are of the utmost perfection of needlework art 7plates #ga1 #gb74 ,the history of this embroidery is carefully elucidated by ,dr4 ,raine in his ,saint ,cuthbert4 ,he says that ,frithestan was consecrated bishop in #ije1 by command of ,edward the ,elder1 son of ,alfred the ,great4 ,aelfled was ,edward the ,second's queen4 ,she ordered and gave an embroidered stole and maniple to ,frithestan4 ,after her death1 and that of ,edward1 and of the ,bishop of ,winchester1 ,athelstan1 then king1 made a progress to the north1 and visiting the shrine of ,st4 ,cuthbert1 at ,chester-le-,street1 he bestowed on it many rich gifts1 which are solemnly enumerated in the ,,mss4 ,cott4 ,brit4 ,mus4 ,claud4 ,d4 iv4 fol4 #ba-f4 ,among these are one stole1 with a maniple2 one girdle1 and two bracelets of gold4 ,that the stole and maniple are those worked for ,frithestan by the command of his mother-in-law1 ,aelfled1 may fairly be said to be proved4 ,these embroideries1 worked with her name and the record of her act1 were taken from the body of ,st4 ,cuthbert in #ahbg4egb ,illustration3 ,pl4 #gc4 ,st4 ,dunstan's ,portrait of himself in adoration4 ,from his ,missal in the ,bodleian ,library1 ,oxford4 ,another and earlier ,aelfled was the widow of ,brithnod1 a famous ,northumbrian chieftain4 ,she gave to the cathedral of ,ely1 where his headless body lay buried1 a large cloth1 or hanging1 on which she had embroidered the heroic deeds of her husband4 ,she was the ancestress of a race of embroiderers1 and their pedigree will be found in the ,appendix4#egc ,at this time a lady of the ,queen of ,scotland was famed for her perfect skill in needlework1 and the four daughters of ,edward the ,elder were likewise celebrated embroiderers4 ,st4 ,dunstan1 ,archbishop of ,canterbury1 is said to have designed needlework for a noble and pious lady1 ,aedelwyrme1 to execute in gold thread1 ,a4,d4 #ibd4egd ,he prepared and painted a drawing1 and directed her work4#ege ,i here give the portrait of our celebrated early designer from the ,,ms4 in the ,bodleian ,library at ,oxford1 said to be by his own hand1 and which represents him kneeling at the feet of the ,saviour 7plate #gc74 ,shortly before the ,norman conquest1 in the beginning of the eleventh century1 we have notices of sundry other very remarkable pieces of work4 ,the ,danish ,queen ,emma1 daughter of ,richard1 ,duke of ,normandy1 when she was wife to ,ethelred the ,unready1 and again during her second marriage to ,canute1 gave the finest embroideries to various abbeys and monasteries4 ,canute1 being then a ,christian1 joined her in these splendid votive offerings4 ,to ,romsey and ,croyland they gave altar-cloths which had been embroidered by his first queen1 ,aelgitha1#egf and vestments covered with golden eagles4 ,she worked one altar-cloth on shot blood-red and green silk1#egg with golden orphreys at the side and across the top4 ,when one considers what the life of poor ,queen ,emma was1 one hopes that ,art the ,consoler came to her in the form of her favourite craft1 and that she did find consolation in it4 ,croyland ,abbey seems to have been most splendidly endowed by the ,anglo-,saxon monarchs4 ,there is continual mention in the records of those times of offerings of embroideries and other ,church apparels4 ,queen ,editha1 the wife of the ,confessor1 dispensed beautiful works from her own workrooms1 and herself embroidered ,king ,edward's coronation mantle4 ,when in the eleventh century the ,normans became our masters1 they found cathedrals1 churches1 and palaces which almost vied with their own2 likewise sculptures1 illuminated books1 embroidered hangings1 and vestments of surpassing beauty4 ,william of ,poitou1 ,chaplain to ,william the ,conqueror1#egh relates that the ,normans were as much struck on the ,conqueror's return into ,normandy with the splendid embroidered garments of the ,saxon nobles1 as with the beauty of the ,saxon youth4 ,queen ,matilda1 who evidently appreciated ,anglo-,saxon work1 left in her will1 to the ,abbey of the ,holy ,trinity1 ,my tunic worked by ,alderet's wife1 and the mantle which is in my chamber1 to make a cope4 ,of my two golden girdles1 ,i give the one which is adorned with emblems to suspend the lamp before the great altar4 ,i come now to the earliest large work remaining to us of the period--the ,bayeux tapestry4 ,we must claim it as ,english1 both on account of the reputed worker1 and the history it commemorates1 though the childish style of which it is a type is indeed inferior in every way to the beautiful specimens which have been rescued from tombs in ,durham1 ,worcester1 and elsewhere4 ,they seem hardly to belong to the same period1 so weak are the designs and the composition of the groups4 ,though ,mr4 ,rede ,fowke gives the ,abb de la ,rue's doubts as to the accepted period of the ,bayeux tapestry1 which he assigns to the ,empress ,matilda1 he yet leans to other equally good authorities who consider the work as being coeval with the events it records4#egi ,mr4 ,collingwood ,bruce is of the same opinion1 and for this reason--the furniture1 buildings1 c41 are all of the eleventh century1 and our ancestors were no archologists1 and always drew what they saw around them4 ,mr4 ,bruce fancies the design to be ,italian1 because of the energetic action of the figures2 this seems hardly justified when we look at the simple poverty of the style4 ,miss ,a4 ,strickland suggests that the artist was perhaps ,turold the ,dwarf1 who has cunningly introduced his effigy and name4 ,that the tapestry is not found in any catalogue before #acfi1 is only a piece of presumptive evidence against the earlier date1 and cannot compete with the internal evidence in its favour4 ,on #bbg feet of canvas-linen1 twenty inches wide1 are delineated the events of ,english history from the time of ,edward the ,confessor to the landing of the ,conqueror at ,hastings4 ,the ,bayeux tapestry is worked in worsted on linen2 the design is perfectly flat and shadowless4 ,the outlines are firmly drawn with cords on thickly set stem-stitches4 ,the surfaces are laid in flat stitch4 ,though coarsely worked1 there is a certain maestria in the execution4 ,the word orphrey 7,english for auriphrigium or ,phrygian gold embroidery7 is first found in ,domesday ,book1 where ,alvide the maiden receives from ,godric the ,sheriff1 for her life1 half a hide of land1 ,if she might teach his daughters to make orphreys4#ehj ,in the end of the eleventh century1 ,christina1 ,abbess of ,markgate1 worked a pair of sandals and three mitres of surpassing beauty1 sent through the ,abbot of ,st4 ,alban's to ,pope ,adrian ,,iv41 who doubtless valued them the more because they came from his native ,england4#eha ,illustration3 ,pl4 #gd4 ,english ,patterns1 chiefly from ,strutt's ,royal and ,ecclesiastical ,antiquities of ,england4 #a4 #ajff4 #b4 #ajib4 #c4 #aajj4 #d4 #aaga4 #e4 #aaga4 #f4 #aahi4 #g4 #aahi4 #h4 #acfa4 #i1 #aj4 #acgg4 #aa4 #acii4 #ab4 #adbb4 #ac4 #adbf4 #ad4 #addj4 #ae4 #adde4 #af4 #adaf4 #ag4 #adde4 #ah4 #adgg4 #ai4 #aecj4 #bj4 #abgb4 ,illustration3 ,pl4 #ge4 #a4 ,panel of a ,screen in ,hornby ,church4 ,painted fifteenth century4 #b4 ,dress pattern from painted glass4 ,st4 ,michael's ,church1 ,york4 ,fourteenth century4 #c4 ,a portion of the material of the ,towneley ,copes4 ,fifteenth century4 ,of the twelfth century 7#aagj7 we have the robes and mitres of ,thomas ,becket at ,sens2 and another mitre of the period1 white and gold1 is in the museum at ,munich1 with his martyrdom embroidered on one side1 and that of ,st4 ,stephen on the other4 ,the gold needlework is so perfect that it resembles weaving4 ,it is recorded that a splendid dress was embroidered in ,london for ,elinor of ,aquitaine1 which cost #hj1 equal to #adjj of the value of to-day4#ehb ,rock 7,church of our ,fathers1 t4 ii4 p4 #bgi7 truly says that it is shown by plentiful records and written documents1 from the days of ,st4 ,osmond to the time of ,henry ,,viii41 that the materials employed in ,english ecclesiastical embroideries were the best that could be found in our own country or in far-off lands1 and the art bestowed on them was the best we could learn and give4 ,various fabrics came from ,byzantine or ,saracenic looms1 which are described as damasked1 rayed1 marbled1 c4 ,the few surviving specimens fully justify the admiration bestowed on them throughout ,christendom4 ,matthew ,paris1 in the reign of ,henry ,,iii41 says that ,innocent ,,iii4 7#abdf71 seeing certain copes and inful with desirable orphreys1 was informed they were ,english work4 ,he exclaimed1 ,surely ,england is a garden of delight6 ,in sooth this is a well inexhaustible6 ,and where there is so much abundance1 from thence much may be extracted6#ehc ,from the ,conquest to the ,reformation the catalogues of ,church vestments which are to be found in the libraries of ,york1 ,lincoln1 and ,peterborough1 show the luxury of ecclesiastical decoration4 ,in ,lincoln alone there were upwards of #fjj vestments wrought with divers kinds of needlework1 jewellery1 and gold1 upon ,indian baudichyn1 samite1 tartarin1 velvet1 and silk4 ,even in reading the dry descriptions of a common inventory1 we are amazed by the lists of orphreys of goodly needlework1 copes embroidered with armorial bearings1 and knights jousting1 lions fighting1 and amices barred with amethysts and pearls1 c4 c4 ,the few ,i have named will give an idea of the accumulation of riches in the churches1 and the gorgeousness of ,english embroideries4#ehd ,i have collected from ,strutt's ,illustrations#ehe and other sources a number of patterns for domestic hangings1 copied from ,,mss4 of contemporary dates1 covering about #djj years1 from the time of ,harold to ,edward ,,iv4 ,the hangings may have been more effective than appears at first sight1 if the materials were rich and enlivened with gold4 ,i give two textile designs which in their style are peculiarly ,english 7plates #gd1 #ge74 ,now we enter on the age of romance and chivalry1 when all domestic decorations began to assume greater refinement4 ,carpets from the ,east covered the rushes strewn on the floors1 and splendid tents were brought home by crusading knights2 and the decorative arts of northern ,europe were once more permeated with ,oriental taste and design4 ,we know that in the so-called days of chivalry1 i4e4 from the ,conquest till the beginning of ,henry ,,viii4's reign1 needlework was the occupation of the women left in their castles1 while the men were away fighting for the cross1 for the king1 for their liberties1 or for booty4 ,this period included the ,crusades1 the ,wars of the ,roses1 wars with ,france1 and rebellions at home2 and yet there was a taste for art1 luxury1 and show spreading everywhere4#ehf ,the women were expected to provide1 with their looms and their needles1 the heraldic surcoats1 the scarves and banners1 and the mantles for state occasions4#ehg ,they also worked the hangings for the hall and chapel1 and adorned the altars and the priests' vestments4 ,alas6 time1 taste1 and the moth have shared in the destruction of these gauds4 ,the taste for the baroc is a new acquisition2 no one cared for what was old1 merely because it was old4 ,the rich replaced their hangings and their clothes when they became shabby2 the poor let them go to pieces1 and probably burned the old stuff and the embroideries for the sake of the gold thread1 which was of intrinsic value4 ,but both in prose and poetry we read descriptions of beautiful works in the loom1 or on the frame1 executed by fair ladies for the gallant knights whose lives and prowess these poems have preserved to us4 ,i will give one quotation from that of ,emare1 in ,ritson's collection3 ,her mantle was wroughte by a faire ,paynim1 the ,amarayle's daughter4 ,this occupied her seven long years4 ,in each corner is depicted a pair of lovers1 ,sir ,tristram and ,iseult--,sir ,amadis and ,ydoine1 c41 c4 ,these pictures were adorned with precious stones4 ,the figures were portrayed-- ,with stons bright and pure1 ,with carbuncle and sapphire1 ,kalsdonys and onyx clere1 ,sette in golde newe2 ,diamondes and rubies1 ,and other stones of mychel pryse4 ,the lady who owns this mantle is herself great in workes of broderie4 ,from the ,conquest to the ,wars of the ,roses1 ,england may claim to have gradually acquired a higher place in art4 ,our architecture1 sculpture1 manuscripts1 and paintings were not surpassed on the ,continent3 witness ,queen ,eleanor's crosses1 and her tomb in ,westminster ,abbey2 and the portrait of ,richard ,,ii41 surrounded by saints and angels1 at ,wilton ,house1#ehh a picture which1 preceding ,fra ,beato ,angelico's works by at least a quarter of a century1 yet suggests his style1 refined drawing1 and tender colouring4 ,all who saw the frescoes found in the ,chapel at ,eton ,college when it was restored1 will remember their extreme beauty1 and regret that they were effaced1 instead of being preserved and restored4 ,they were a lesson in what ,english art was in the end of the thirteenth1 during the fourteenth1 and into the beginning of the fifteenth centuries4 ,during the ,wars of the ,roses1 when a duke of the blood-royal is said to have begged his bread in the streets of the rich ,flemish towns1 ladies of rank1 more fortunate1 were able to earn theirs by the work of their needle4#ehi ,the monuments of the eleventh and twelfth1 thirteenth and fourteenth centuries1 are our best authorities for the embroideries then worn4 ,the surcoat of the ,black ,prince in ,canterbury ,cathedral is a noteworthy example4 ,the sculptured effigy on the tomb over which it is suspended is absolutely clothed in the same surcoat1 with the same accidents of embroidery1 as if it had been modelled from it4 ,in ,worcester1 when the archologists opened ,king ,john's tomb in #agig1 they found him in the same dress and attitude as that portrayed on the recumbent statue4#eij ,dress was then extravagantly expensive1 and embroidered dresses were worn with borders richly set with precious stones and pearls4 ,the ,librate ,roll of ,henry ,,iii4 gives us a list of embroiderers' names3 ,alain de ,basinge1 ,adam de ,bakeryne1 ,john de ,colonia1 c42 and in the wardrobe accompts of ,richard ,,ii41 ,william ,sanstoune and ,robert de ,ashmede are called the ,broudatores ,domini ,regis4 ,these may have been the artists to whom the orders were delivered1 for in the ,librate ,roll of ,henry ,,iii4 we find ,adam de ,baskeryne receiving #fs4 #h;d4 for a cloth of silk1 and fringe1 purchased by our commands to embroider a certain chasuble which ,mabilia of ,st4 ,edmunds made for us4 ,there were certainly then purveyors and masters of the craft4 ,stephen ,vigner1 in the fourteenth century1 is so warmly commended by the ,duke of ,berri and ,auvergne to ,edward ,,iii41 that ,richard ,,ii4 appointed him his chief embroiderer1 and ,henry ,,iv4 pensioned him for his skilful services4 ,john ,garland1 in the beginning of the thirteenth century1 is a good authority for the use by our women of small hand-looms4 ,in these they wove1 in flax or silk 7often mixed with gold71 the cingul or blode-bendes so often mentioned1 supposed to be gifts between friends for binding the arm1 when blood-letting was so much in fashion that the operation was allowed to assume a certain air of coquetry4 ,but the idea suggests itself that this was oftener the gift of the fair weaver to her favoured lover1 to fold round his arm as a scarf in battle or tourney1 to be ready in case it was needed for binding up a wound1 and had possibly served as a snood to bind her own fair hair4 ,there is an account of a specimen of this kind of weaving by ,m4 ,lopold ,delisle4#eia ,he describes the attachment of a seal to a grant from ,richard ,cur de ,lion to ,richard ,hommet and ,gille his wife1 preserved in the archives of the ,abbey of ,aunai1 in the department of ,calvados4 ,he considers it to be either ,french or ,english1 and says it was a lac d'amour1 or tie of love1 cut up to serve its present purpose4 ,it is woven with an inscription in white on a ground of green1 backed with pale blue1 and the material is silk4 ,the woven legend is thus translated from the old ,french--,let him perish who would part us4 ,illustration3 ,opus ,anglicanum1 ,,xiii4 ,century ,british ,museum ,the term opus ,anglicanum is first recorded in the thirteenth century1 and is supposed simply to mean ,english work4 ,but there is also good authority for its having been applied1 on the ,continent especially1 to a particular style of stitchery1 of which the ,syon cope in the ,kensington ,museum is the best preserved great example known4 ,its peculiarity consists in its fine split-stitch being moulded so as to give the effect of a bas-relief2 and this appears to have been generally reserved for the medallions representing sacred subjects1 and especially employed in modelling the faces and the nude parts of the figures delineated4 ,the effect of this work has often been destroyed1 as time has frayed and discoloured the parts that are raised1 exhibiting the canvas ground1 reversing the high lights1 and causing dark spots in their stead4 ,this reversal of the intended effect is an additional practical argument for the flatness of embroidery4#eib ,from the ,librate ,roll of ,henry ,,iii4 one can form an estimate of the value of the opus ,anglicanum in its day4#eic ,in #abda the king gave ,peter de ,agua ,blanca a mitre so worked1 costing #hb4 ,this would be1 according to the present value1 #bcj4 ,the finest specimens of this ,english work are to be found on the ,continent1 or have been returned from it4#eid ,they had either been gifts to popes or bishops before the ,reformation1 or they had been sold at that time of general persecution and pillage4 ,among the most remarkable are the pluvial 7called7 of ,st4 ,silvester at ,rome1 the ,daroca pluvial at ,madrid1 the great pluvial at ,bologna1 and the ,syon cope1 of which ,i have already spoken4 ,the general idea and prevailing design of these three great works are so singular1 and yet so alike1 that they must have issued from the same workshop1 and that was certainly ,english4 ,in the ,daroca cope the cherubim1 with their feet on wheels1 which are peculiar to ,english design1 and the angels 7in the vacant spaces between the framed subjects from the life of our ,lord7 have their wings carefully done in chain split-stitch representing peacocks' feathers1 of which the silken eyes are stitched in circles1 and then raised with an iron by pressure1 so as to catch a light and throw a shadow4 ,the ground is entirely ,english gold-laid work4 ,this cope1 so markedly national in design and stitches1 probably drifted to the ,continent at the time of the ,reformation4#eie ,illustration3 ,pl4 #gg4 ,characteristic ,english ,parsem ,patterns for ,ecclesiastical ,embroideries4 ,illustration3 ,pl4 #gh4 ,dunstable ,pall4 ,property of the ,vicar of ,dunstable ex officio4 ,a wonderfully preserved specimen of the opus ,anglicanum1 of which a photogravure is here given1 was lately presented by ,mr4 ,franks to the ,medival ,department of the ,british ,museum 7plate #gf74 ,in this may be seen most of the characteristics of this work in the thirteenth century2 such as the angels with peacock feather wings1 moulded by hot irons2 the features of all the figures similarly manipulated2 the beautiful gold groundwork1 which in this instance is covered with double-headed eagles2 and lastly1 the fashion of the beard on the face of our ,lord and of all the men delineated--the upper lip and round the mouth being invariably shaven2 whereas1 in ,continental work1 the beard is allowed to grow into the moustache1 closely surrounding the mouth4 ,there are other peculiarities belonging to ,english design--such as the angels rising between the shrine-work on the pillars out of a flame or cloud pattern1 and the pillars very often formed of twined stems bearing vine-leaves or else oak-leaves and acorns4 ,the compartments which frame the groups1 when they are not placed in niches1 are usually variations of the intersected circle and square4 ,plate #gg shows the cherubim which from the thirteenth to the sixteenth centuries are found on ,english ecclesiastical embroideries--also the vase of lilies 7emblematic of the ,virgin71 and the ,gothic flowers which are so commonly parsem over our medival altar frontals and vestments4 ,illustration3 ,fig4 #bf4 ,it appears that in the reign of ,edward ,,iii4 the people ingeniously evaded the penalties against the excess of luxury in dress1 by wearing something that looked as gay1 but was less expensive than the forbidden materials2 and which did not come under the letter of the law4 ,they invented a spurious kind of embroidery which was1 perhaps1 partly painted 7such examples are recorded74 ,in the #bnd ,henry ,,vi4 7#adbb7 it was enacted that all such work should be forfeited to the king4 ,the accusation was that divers persons belonging to the craft of ,brouderie make divers works of ,brouderie of insufficient stuffe and unduly wroughte with gold and silver of ,cyprus1 and gold of ,lucca1 and ,spanish laton 7or tin72 and that they sell these at the fairs of ,stereberg1 ,oxford1 and ,salisbury1 to the great deceit of our ,sovereign ,lord and all his people4 ,in those days any dishonest work or material was illegal and punishable4#eif ,this was1 in fact1 a protectionist measure in favour of the chartered embroiderers1 and gave them a slight taste of the advantages of protection4 ,for a time it was doubtless useful in keeping up the standard of national work4 ,then followed further measures for the benefit of the established monopolies4 ,first1 a statute in #adec 7,henry ,,vi471 forbidding the importation of foreign embroideries for five years4 ,this is re-enacted under ,edward ,,iv41 ,richard ,,iii41 and ,henry ,,vii42 and was partially repealed in the #crd and #eth ,george ,,iii4 ,while we are on this subject1 we may remark that in #agjg1 the importation of embroidery was forbidden to the ,east ,india ,company1 and we closed our ports to all manufactured ,indian goods4 ,the only artistic trade now protected is that of the silversmith2 no plate from foreign workshops being permitted to enter ,england--not even do we allow ,indian plate to come in1 except under certain conditions4 ,this may be the reason that our own plate is so very bad in design and execution1 for want of competition and example4 ,protection is always more or less fatal to art4 ,the ,wars of the ,roses had injured our own best schools1 and we needed refined imported ideas to raise our standard once again4 ,perhaps1 since embroidery had become a regular industry1 our markets were overstocked by home productions which were outrivalled by the works from the ,continent1 and it was distress that caused the plea for protection4 ,illustration3 ,pl4 #gi4 ,pall of the ,vintners' ,company 7sixteenth century74 ,it is fair to say that some of the ,english works of that time1 of which we have specimens1 are as good as possible4 ,in the ,dunstable pall1 for instance1 the figures of which are perfectly drawn and beautifully executed1 the style is excellent and pure ,english 7plate #gh74 ,the pall itself is of ,florentine crimson velvet and gold brocade1 with the little loops of gold drawn through the velvet1 showing the loom from whence it came4 ,the white satin border carries the embroidery4 ,it is a more perfect specimen of the later fourteenth century work than the famous pall of the ,fishmongers' ,company1 which shows the impress of the ,flemish taste1 which was at its perfection in the fifteenth4 ,the style reminds us of that of the fine tapestries from the ,st4 ,mary's ,hall1 ,coventry1 of which the subject is ,king ,henry ,,vi4 and ,cardinal ,beaufort praying4 ,the ,vintners' ,company's pall is also very fine 7plate #gi74 ,illustration3 ,henry ,,vii4's ,cope from ,stoneyhurst ,of the time of ,henry ,,vii4 we have the celebrated cope of ,stoneyhurst1 woven in ,florence1 of a gold tissue1 the design raised in crimson velvet4 ,it is without seam1 and the composition which covers the whole surface is the crown of ,england lying on the portcullis2 and the ,tudor rose fills up the space with a magnificent scroll4 ,the design is evidently ,english1 as well as the embroidery1 which is1 however1 much restored#eig 7plate #hj74 ,this is one of the whole suite of vestments and copes of cloth of gold tissue wrought with our badges of red roses and portcullises1 the which we of late caused to be made at ,florence in ,italy 444 which our king1 ,henry ,,vii41 in his will bequeathed to ,god and ,st4 ,peter1 and to the ,abbot and ,prior of our ,monastery at ,westminster1#eih which were designed for him by ,torrigiano4 ,from the portraits of the fourteenth and fifteenth centuries we can judge of the prevailing taste in dress embroideries of that period1 which consisted mostly of delicate patterns of gold or silver on the borders of dresses1 and the linen collars and sleeves4 ,of this style ,i give a small sampler1 from ,lord ,middleton's collection4 ,we have a good many specimens of the work of these centuries1 both ecclesiastical and secular4 ,they had still a ,gothic stamp1 which totally disappeared in the beginning of the sixteenth century in the new style of the ,renaissance4 ,illustration3 ,fig4 #bg4 ,sampler1 from ,lord ,middleton's collection4 ,time1 ,henry ,,viii4 ,the next great change throughout northern ,europe affecting all the conditions of life1 most especially in ,england1 was caused by the ,reformation1 which swept away both the art and the artist of the ,gothic era4 ,the monasteries which had fostered painting1 illumination1 and embroidery1 and the arts which had been so passionately devoted to the ,church1 were doomed4 ,george ,gifford1 writing to ,cromwell of the suppression of a religious house at ,woolstrope1 in ,lincolnshire1 after praising that establishment says1 ,there is not one religious person there1 but what can and doth use either embrotheryng1 wryting bookes with a fayre hand1 making garments1 karvynge1 c4#eii ,in the general clearance the churches and shrines were swept1 though never again garnished1 and the survivals have to be painfully sought for1 and are so few that a short catalogue will tell them all4 ,the greater part of the fine embroideries which escaped the iconoclastic rage of the ,reformation1 and the final sweep of the ,puritans1 are to be seen now in the houses and chapels of the old ,roman ,catholic families1 who have either preserved or collected them2 also in the museums of our cathedrals1 and spread about the ,continent4 ,for instance1 at ,sens are the vestments of ,thomas ,becket1 and at ,valencia1 in ,spain1 there are yet in the chapter-house a chasuble and two dalmatics1 brought from ,london by two merchants of ,valencia1 whose names are preserved--,andrew and ,pedro de ,medina4 ,they purchased them at the sale of the ,roman ,catholic ornaments of ,westminster ,abbey in the time of ,henry ,,viii4 ,they are embroidered in gold1 and represent scenes from the life of our ,lord4 ,the background of one is a representation of the ,tower of ,london4 ,in #aebj was held the famous tournament of the ,field of the ,cloth of ,gold4#fjj ,here came all ,england's chivalry surrounding their splendid young king2 followed by squires and men-at-arms1 and carrying with them tents1 banners1 and hangings covered with devices and mottoes4 ,their own dresses1 of rich materials and adorned with embroidery 7as well as the housings of their horses71 vied in ingenuity and splendour with those of the still more luxurious court and following of ,francis ,i41 the ,french king4 ,the tradesmen and workmen and workwomen in ,england were driven crazy in their efforts to carry out the ideas and commands of their employers4 ,it is recorded that several committed suicide in their despair4 ,it was worse than the miseries caused by a ,court ,drawing-,room now4 ,ingenuity in devices was the order of the day4 ,francis and his ,partners of ,challenge illustrated one sentimental motto throughout the three days' tourney4 ,the first day they were apparelled in purple satin1 broched with gold1 and covered with black-ravens' feathers1 buckled into a circle4 ,the first syllable of corbyn 7a raven7 is cor1 a hart 7heart74 ,a feather in ,french is pennac4 ,and so it stode4 ,the feather in a circle was endless1 and betokened sothe fastnesse4 ,then was the device ,hart fastened in pain endlesse4 ,the next day the ,hardy ,kings met armed at all points4 ,the ,french king and his followers were arrayed in purple satin1 broched with gold and purple velvet1 embroidered with little rolls of white satin1 on which was written ,quando2 all the rest was powdered with the letter ,l--,quando ,elle 7when she74 ,the third day the motto was laboriously brought to a conclusion4 ,francis appeared dressed in purple velvet embroidered with little white open books2 ,liber being a book1 the motto on it was1 ,a me4 ,these books were connected with worked blue chains2 thus we have the whole motto3 ,hart1 fastened in pain endlesse1 when she delivereth me not of bondes4 ,could painful ingenuity go further8 ,on the ,english side we have similar devices4 ,brandon1 ,duke of ,suffolk1 the bridegroom of the ,dowager ,queen of ,france1 ,henry's sister1 was clothed on one side in cloth of frise 7grey woollen71 on which appeared embroidered in gold the motto1-- ,cloth of frise1 be not too bold ,that thou be match'd with cloth of gold4 ,this parti-coloured garment was on the other side of gold1 with the motto1-- ,cloth of gold1 do not despise ,that thou be match'd with cloth of frise4 ,besides mottoes1 cyphers and monograms were the fashion1 embroidered with heraldic devices4 ,these particulars we find in ,hall's account of the tournament1 with a detailed description of the golden tent in which the monarchs met1 and which gave its name ever after to the plain near ,guisnes1 where the jousts were held4 ,what we read of its construction recalls the ,alexandrian erections1 of which ,i have spoken already1 as well as their hangings and embroideries4 ,illustration3 ,pl4 #ha4 ,english ,specimens of ,spanish ,work4 ,time of ,henry ,,viii4 ,lord ,middleton's ,collection4 ,illustration3 ,pl4 #hb4 ,english ,specimen4 ,spanish ,work4 ,henry ,,viii4 ,louisa1 ,lady ,waterford's ,collection4 ,incrustations of pearls and precious stones gave a dazzling brilliancy to the tent1 divided into many rooms1 and adapted to the climate of the north4 ,it covered a space of #cbh feet4 ,hall describes the tent1 the jousts1 and the splendid apparel belonging to this last chapter of the magnificence of chivalry4 ,brewer remarks that magnificence was1 in those days1 often supposed to be synonymous with magnanimity 7at any rate1 it was erected into a royal virtue74 ,the ,medival ,age1 he says1 had gathered up its departing energies for this last display of its favourite pastime1 henceforth to be consigned without regret to the mouldering lodges of the past4#fja ,we cannot say how much of ,french taste was imported from this meeting of ,french and ,english luxury4 ,the spirit of the ,renaissance1 fresh from ,italy1 was reigning in ,france1 but we had also in ,italy our own emissaries4 ,john of ,padua was probably only one of many ,englishmen who travelled to learn and improve themselves in their special crafts4 ,catherine of ,aragon introduced the ,spanish taste in embroidery1 which was then white or black silk and gold lace stitches on fine linen 7plate #ha74 ,this went by the name of ,spanish work1 and continued to be the fashion down to and through the reign of ,mary ,tudor1 who remained faithful to the traditions of her mother's and her grandmother's work#fjb 7plate #hb74 ,catherine of ,aragon had learned her craft from her mother1 ,queen ,isabella1 who always made her husband's shirts4 ,to make and adorn a shirt was then an artistic feat1 not unworthy of a queen4 ,isabella instituted trials of needlework amongst her ladies4 ,in the days of her disgrace and solitude1 ,catherine turned to her embroidery for solace and occupation4 ,she came forth to meet the ,cardinals ,wolsey and ,campeggio with a skein of red silk round her neck4#fjc ,taylor1 the water poet1 says1-- ,virtuously1 ,although a queen1 her days did pass ,in working with her needle curiously4 ,at ,silbergh ,castle1 in ,westmoreland1 was a counterpane and toilet embroidered by ,queen ,catherine4 ,anne of ,cleves brought with her the taste for ,flemish and ,german ,renaissance designs2 and all the cushion stitches were in vogue4 ,the ,renaissance borders for dress were mostly worked in gold on coloured silk on the linen collars and cuffs4 ,holbein's and other contemporary portraits illustrate this peculiarity of the costumes of the time4 ,the women's head-dresses also carried much fine1 beautifully designed1 and delicate work4 ,in the reign of ,henry ,,viii4 fine hangings were worked and woven in ,england2 the royal inventories give us an idea to what extent4 ,cardinal ,wolsey's walls were covered with splendid embroideries1 besides the suites of tapestries still adorning the hall at ,hampton ,court4 ,one room was hung with embroidered cloth of gold4 ,mary ,tudor1 as ,i have said1 was ,spanish in all her tastes1 and we have lists of her smocks all worked in ,spanish stitches1 black and gold1 or black silk only4#fjd ,this taste1 following the political tendencies of the time1 entirely disappeared under ,elizabeth4 ,it survives1 however1 in peasant dress in the ,low ,countries4 ,queen ,elizabeth spent much of her time in needlework4 ,she herself had received the education of a man1 as well as her cousin1 ,lady ,jane ,grey2 and doubtless many women were taught at that time ,greek and ,latin1 and to study philosophy1 mathematics1 and the science of music1 as a training for serious life4 ,elizabeth studied and embroidered too2 at any rate1 she stood godmother to many pieces of embroidery1 which are to be seen still in the houses she visited or occupied4 ,while at ,ashridge1 and afterwards as a prisoner at ,hatfield1 she so employed herself2 and among the specimens of work of the sixteenth century exhibited at ,south ,kensington in #ahgc1 were her shoes and cap1 worked in purl1 a semainire in the same stitch1 also cushion-covers in divers cushion stitches1 and a portmonnaie in exquisitely fine satin-stitch2 all of which articles1 and many more1 were left by her at ,ashridge when she was hurried away in the dead of night to ,hatfield4#fje ,the character of the ,renaissance of the sixteenth century1 just released from the trammels of ,gothic traditions1 was somewhat lawless in ,england1 being unchastened by the classical element which entirely controlled the movement in ,italy4 ,the queen's dress soon departed from the severe simplicity which she at first affected1 and every part of her costume was covered with flowers1 fruit1 and symbolical designs2 while serpents1 crowns1 chains1 roses1 eyes and ears crowded the surfaces of the fine materials of her dresses4 ,these symbolical designs were rich without grace1 and ingenious rather than artistic1 although their workmanship was perfect4 ,in ,louisa1 ,lady ,waterford's collection we find a jacket for a slight girl's figure1 of white linen1 covered with flowers1 fruit1 and berries1 all carried out in satin and lace stitches4 ,there are butterflies with their wings disengaged from the ground2 pods bursting open and showing the round seeds or peas2 caterpillars stuffed and raised2 all these astonish us by their quaint perfection1 and shock us by their naturalistic crudeness of design1 and the utter want of beauty or taste in the whole effect4 ,the impression left on the mind is1 how dear it must have cost the pocket of the purchaser and the eyes of the workers4 ,there are1 however1 exceptions to these defective poor designs2 and in the same collection is a cushion-cover worked in gold and silver plate1 purl and silk1 on a red satin ground1 which is as good as possible in every respect1 and is purely ,english in style4 ,the stitches and materials are most refined and varied4 ,purl1 which was a newly made material imported from ,italy and ,germany1 was then in much vogue1 and we have seen a few fine specimens of it1 that have been imitated from the ,italian cinque-cento raised and stuffed needlework1 which are very curious and almost very beautiful1--only one feels that the same effect could have been produced by simpler means4 ,this work is characteristic of the reigns of ,henry ,,viii41 ,elizabeth1 and ,james ,i4 ,we have needlework of another most unhappy queen of this date4 ,poor ,mary1 ,queen of ,scots1 tried to soften ,elizabeth's heart towards her prisoner by little gifts of her own embroideries4#fjf ,we have no account of the cause of the incorporation of the ,embroiderers' ,company by ,queen ,elizabeth1#fjg in the third year of her reign1 ,oct4 #beth1 #aefa1 confirmed by ,james ,,ii41 ,april #abth1 #afhf1 which is still a ,london guild4 ,it received the lions of ,england as a special favour4 ,the arms are thus blazoned3 ,pale of six argent and azure on a fess gules1 between three lions of ,england pass4 gardant or4 ,three broches in saltire between as many trundles 7i4e4 quills of gold thread71 or4 ,crest3 on a wreath a heart2 the holy dove displayed argent1 radiated or4 ,supporters3 two lions or 7gutte de sang74 ,motto3 ',omnia ,desuper4' ,hall1 #bj1 ,gutter ,lane4 ,there were branches1 incorporated and bearing the arms1 at ,bristol and ,chester1 in #aghj4 7,see ,appendix47 ,illustration3 ,fig4 #bh4 ,arms of ,embroiderers' ,guild4 ,in the reign of ,james ,i4 it was the fashion to do portraits in needlework1 stitched flat or raised4 ,some are artistic in design and execution1 but they are mostly ridiculously bad4 ,the ,east ,india ,company was founded in #aefj1 under ,elizabeth1 and obtained the monopoly of the ,anglo-,indian trade1 under ,cromwell1 in #afcd4 ,this would have been the moment for encouraging a fresh importation of ,oriental taste into our degenerate art4 ,cromwell's own service of plate was scratched over 7graffito7 with a childish and weak semi-,indian1 semi-,chinese design2 and we must accept this as typical of the artistic ,oriental knowledge of that day4 ,grafted on the style of ,james ,i41 it shows1 however1 that ,indian ideas were creeping in and sought for1 if not understood in high places1 under the auspices of the ,east ,india ,company4 ,needlework alone was excluded from all benefit4 ,from that date1 for #aej years1 ,indian manufactures were imported1 with the exception of embroidery1 which was contraband by the ancient statutes4 ,this accounts for our faint and ignorant imitations of ,indian work1 and the extreme rarity of the true specimens to be met with in ,england1 unless of a later period4 ,illustration3 ,cushion cover ,temp4 ,queen ,elizabeth ,,xvi4 ,century ,but our ,aryan instincts have always led our ,english tastes towards conventional naturalism4 ,although we have lost the rules and traditions which converted natural objects into patterns1 we are continually1 in our style1 leaning and groping in their direction1 and twining flowers1 those of the field by preference1 into semi-conventional garlands and posies4 ,in the seventeenth century1 when ,james ,i4 was king1 protection had done its worst4 ,the style of work called embroidery on the stamp was then the fashion4 ,this sort of work in ,italy continued to be artistic1 but the ,english specimens that have survived from this reign are mostly very ugly4 ,continental art had ceased to influence us1 and bad taste reigned supreme1 except in our architecture1 which had crystallized into a picturesque style of our own called ,james ,i41 and was the outcome of the last ,gothic of ,henry ,,viii4 and the ,italian style of ,edward ,,vi4 and ,elizabeth4 ,but the carvings of that phase of architecture were semi-barbarous4 ,nothing could have been poorer than their composition1 or coarser than their execution1 and the needlework of the day followed suit4 ,infinite trouble and ingenuity were wasted on looking-glass frames1 picture frames1 and caskets worked in purl1 gold1 and silver4 ,the subjects were ambitious ,solomon and the ,queen of ,sheba1 and ,james and ,anne of ,denmark1#fjh and other historical figures were stuffed with cotton or wool1 and raised into high relief2 and then dressed and garnished with pearls2 the faces either in painted satin or fine satin stitch2 the hair and wigs in purl or complicated knotting4 ,windsor ,castle as a background for ,king ,james and ,king ,solomon alike1 pointed the clumsy allegory1 and the lion of ,england gambolling in the foreground1 amid flowers and coats-of-arms1 filled up the composition4 ,the drawing and design were childish1 and show us how high art can in a century or less slip back into no art at all4 ,any one comparing the ,dunstable or the ,fishmongers' pall with one of the best caskets of this period would say that the latter should have preceded the former by centuries4 ,in ,james ,i4's time1 ignorance of all rules of composition was added to the absence of any sort of style4#fji ,i give the illustrations of the time of ,james ,i4 ,plate #hc is a cushion from ,hatfield ,house1 rich and rather foolish1 with tiny men filling in the corners left vacant by large flowers1 caterpillars1 c4 ,charles ,i4 gave a raised embroidered cope to the ,chapter of ,durham1 of this description of work4#faj ,illustration3 ,pl4 #hd4 ,english embroidered curtain 7,james ,i471 at ,cockayne ,hatley1 ,beds4 ,illustration3 ,pl4 #he4 ,embroidered ,hangings4 ,crewels on ,linen4 ,hardwicke ,hall4 ,the other fashionable work of that day had its merits4 ,it was the custom to embroider hangings or linen in crewels4 ,considering how often in this book and my preceding lectures ,i have said that this style of work was common 7even in the early days of ,egypt and ,assyria71 it may well be said1 when was it not the fashion8 and ,i must answer1 only since the days of ,queen ,anne4 ,it seems as if before that time our designs for work were partially influenced by the fine ,indian specimens which had surreptitiously crept into ,england4 ,some of these are very cleverly executed4 ,huge conventional trees grow from a green strip of earth carrying every variety of leaf and flower done in many stitches4 ,the individual leaf or flower is often very beautiful4 ,on the bank below1 small deer and lions disport themselves1 and birds twice their size perch on the branches 7plate #hd74faa ,but even where the work is finest1 the incongruities are too annoying4 ,the modern excuse for it1 that it is quaint1 does not reconcile us to its extravagant effect4 ,to be quaint in art is1 as ,i have said before1 to be funny without intending it2 and these curtains are funny by their absence of all intention or perspective1 and when hung they make everything in the room look disproportionate to the unnatural size of the foliage4 7,plate #he47 ,specimens of this work are to be found in most ,english country houses4 ,it has lasted till now1 partly because the crewels first manufactured in the sixteenth century were of an excellent quality1 and secondly1 because there was no gold to make it worth any one's while to destroy them2 so the old hangings went up into the attics in all the disgrace of shabbiness1 and have come down again as family relics4 ,even the moths have been deprived of their prey1 by these curtains having served for the beds of the household1 so that they have been kept for their nearly #cjj years of existence1 aired and dusted4 ,much of this work has been recovered from farmhouses and cottages in tolerable preservation4 ,in many cases the flowers have survived the stout linen grounds on which they were worked4 ,the ,royal ,school of ,needlework has often been commissioned to restore and transfer the crewel trees on to a new backing4 ,the hangings and the curtains ,i have described1 prevailed from the end of ,elizabeth's reign to that of ,queen ,anne1 and gradually deteriorated4 ,the stitches1 of which the variety at first was infinite1 had given place to a coarse uniform stem stitch--gobble stitch4 ,the materials also were of inferior quality1 and less durable1 so that the latest specimens are in general in the worst condition4 ,it is remarkable how little the beautiful ,continental work influenced our ,english school4 ,we were enjoying perfect protection1 and were clumsily taking advantage of our security from all competition4 ,in the ,italian palaces this was the moment of the finest secular embroideries in satin stitches1 gold and silver1 and inlaid and onlaid appliqus4 ,likewise in ,spain and ,portugal the ,oriental work1 especially that executed at ,goa1 filled the palaces and the convents with gorgeous hangings1 carpets1 table-covers1 and bed furniture4 ,we feel it painful to contrast with these our own shortcomings in art1 and our faded glories4 ,the fact is1 that1 owing to our art-killing protectionist laws1 embroidery had the misfortune to be treated at that time as textile manufacture1 and not as art at all4 ,in the reign of ,william and ,mary1 ,dutch taste had naturally been brought to the front4#fab ,this included ,japanese art1 or imitations of it1 and also had something of late ,spanish4 ,the ,georges brought into ,england1 and naturalized a rather heavy work1 in gold and silver--the design being decidedly a ,german ,louis ,quatorze--richly stitched and heavily fringed1 and much employed on court dresses and on state furniture4 ,we have seen royal beds and court suits which show very little difference in style4 ,it does not appear that this was worked by ladies4 ,it has1 somehow1 a professional look4 ,illustration3 ,fig4 #bi4 ,part of ,james ,,ii4's ,coronation ,dress4 ,from an old ,print4 ,occasionally1 however1 we meet with pieces of exceptionally beautiful work of the end of the seventeenth and early part of the eighteenth centuries4 ,the style is the most refined ,louis ,quatorze1 but the work is actually ,english4 ,the white satin coverlets belonging to the ,marquis of ,bath and the ,duke of ,leeds are not to be exceeded in delicacy and splendour4 ,the embroidered dresses of the ,duke and ,duchess of ,buckingham1 in ,westminster ,abbey 7early eighteenth century7 are of this description4 ,from ,queen ,anne to ,george ,,iii41 a great deal of furniture was covered with the different cushion stitches1 either in geometrical or kaleidoscope patterns1 or else displaying groups of flowers or figures1 quaint and sometimes pretty4 ,these designs are generally1 however1 wanting in grace1 and their ,german feeling shows them to be the precursors of the ,berlin wool patterns4 ,when the crewel-work hangings ceased to be the fashion1 home work took another direction4 ,all the ladies imitated ,indian dimity patterns1 on muslin1 in coloured silks or thread1 with the tambour-frame and needle2#fac but in #agjg the ,broiderers' ,company1 we presume1 found that the ,indian manufactures were engrossing the market1 and a fresh statute was obtained1 forbidding the importation from ,india of any wrought material4 ,this cruel prohibition carried its own punishment4 ,the ,indian trade was ours1 and we might have adapted and assimilated the ,indian taste for design4 ,we might have brought over men and women great in their most ancient craft1 and so produced the most splendid ,indo-,english ,school4 ,the ,portuguese at least sent out their own silks and satins to be worked at ,goa2 we threw away our chance1 and signed the death-warrant of our art4 ,about the middle of the last century1 several ladies1 notably ,miss ,linwood1 ,miss ,moritt1 of ,rokeby1 and ,mrs4 ,delany1 copied pictures in worsteds4 ,some of these are wonderfully clever and even very pretty1 but they are rather a painful effort of pictorial art under difficulties1 than legitimate embroideries4 ,these pictures would have served the purpose of decoration better as medallions in the centres of arabesque panels1 than framed and glazed in imitation of oil paintings4 ,some of the followers of this school produced works that are shocking to all artistic sense1 especially as seen now1 when the moths have spoiled them4 ,they can only be classed with such abortive attempts at decoration as glass cases filled with decayed stuffed birds1 and vases of faded and broken wax flowers4 ,i may record with praise the efforts of ,mrs4 ,pawsey1#fad a lady who started a school of needlework at ,aylesbury4 ,she was patronized by ,queen ,charlotte2 and for her she worked the beautiful bed at ,hampton ,court1 of purple satin1 with wreaths of flowers in crewels touched up with silk1 which look as if they might have been copied from the flower-pieces of a ,dutch master4 ,the execution is very fine1 and reminds one of the best ,french work of the same period4 ,mrs4 ,pawsey taught and helped ladies to embroider in silk and chenille1 as well as crewels1 and in many country houses we can recognize specimens of her style2 usually on screens worked in silk and chenille1 with bunches of flowers in vases or baskets1 artistically designed4 ,this was our last attempt at excellence1 immediately followed by the total collapse of our decorative needlework1 and the advent of the ,berlin wool patterns4 ,,postscript4 ,a postscript to this chapter will perhaps be acceptable to those who have taken an interest in the ,history of ,english ,embroidery1 and who will therefore care to know about the revival which has filled so many workshops with what is now called ,art ,needlework4 ,there was a public demand for something better than the worsted patterns in the trade1 and the ,royal ,school of ,art ,needlework rose and tried to respond to that call by stimulating original ideas and designs1 and imitating old ones in conformity with modern requirements4 ,the difficulties to be overcome were at first very great4 ,the old stitches had all to be learned and then taught1 and the best methods to be selected2 the proper materials had to be studied and obtained--sometimes they had to be manufactured4 ,lastly1 beautiful tints had to be dyed2 avoiding1 as much as possible1 the gaudy and the evanescent4 ,the project of such a school was first conceived in the autumn of #ahgb4 ,lady ,welby1 herself an accomplished embroideress1 had the courage to face all the difficulties of such an undertaking4 ,a small apartment was hired in ,sloane ,street1 and ,mrs4 ,dolby1 who was already an authority on ecclesiastical work1 gave her help4 ,twenty young ladies were selected1 and several friends joined heartily in fostering the movement4 ,h4,r4,h4 the ,princess ,christian of ,schleswig-,holstein gave her name as ,president1 and her active co-operation4#fae ,the school grew so fast1 that for want of space for the work-frames1 it had to remove into a larger house1 ,no4 #ca1 ,sloane ,street1 and finally in the year #ahge it found its present home in ,exhibition ,road1 when the ,queen became its ,patron4 ,in #ahgh the ,association was incorporated under the ,board of ,trade1 with a ,managing and a ,finance ,committee1 and a salaried manager to overlook the whole concern4 ,from #ajj to #aej ladies at a time have there received employment4 ,their claims were poverty1 gentle birth1 and sufficient capacity to enable them to support themselves and be educated to teach others4 ,branch schools have been started throughout the ,united ,kingdom and in ,america4#faf ,the education of the school has been much assisted by the easy access to the fine collections of ancient embroideries in the ,kensington ,museum1 and by the loan exhibition of old artistic work1 which was there organized in #ahge1 at the suggestion of ,h4,r4,h4 the ,president2 and since then there have been three very interesting loan exhibitions in the rooms of the ,royal ,school4 ,it was1 indeed1 necessary that the acting members should avail themselves of every means of instruction1 in order to fit themselves for the task they had undertaken4 ,they were expected at once to be competent to judge all old work1 to name its style and date1 and even sometimes its market value4 ,they were to be able to repair and add to all old work2 to know and teach every stitch1 ancient and modern2 and produce designs for any period1 ,gothic1 ,renaissance1 ,elizabethan1 ,james ,i41 or ,queen ,anne2 besides contemporary ,european work1--all different1 and each requiring separate study4 ,some important works have been produced which will illustrate what has been said3-- #a4 ,a suite of window curtains for her ,majesty1 at ,windsor 7style1 nineteenth century2 sunflowers74 #b4 ,curtains for a drawing-room for the ,duchess of ,buccleuch3 crimson velvet and gold appliqu 7,louis ,quatorze74 #c4 ,curtain for ,louisa1 ,lady ,ashburton3 coloured silk embroidery on white satin 7,venetian1 sixteenth century74 #d4 ,curtain1 also for ,louisa1 ,lady ,ashburton3 brown velvet and gold appliqu 7,italian74 #e4 ,dado for the ,hon4 ,mrs4 ,percy ,wyndham3 linen and crewels4 ,peacocks and vines 7,medival74 #f4 ,furnishings and hangings for state bedroom for ,countess ,cowper1 ,panshanger3 crimson satin1 embroidered and coloured silks 7,chinese74 #g4 ,curtains for music gallery for ,mr4 ,arthur ,balfour3 blue silk1 appliqu1 velvet1 and gold 7,italian74 ,the earnest attempt to produce an artistic school of embroidery met with recognition and help from the highest authorities4 ,sir ,f4 ,leighton granted permission for appeals to his judgment4 ,mr4 ,burne ,jones1 ,mr4 ,morris1 ,mr4 ,walter ,crane1 and ,mr4 ,wade gave original designs4 ,we cannot guess whether the taste which has sprung up again so suddenly will last4 ,perhaps its catholicity may prolong its popularity1 and something absolutely new in style may be evolved1 which shall revive the credit of the opus ,anglicanum4 ,of one thing we may be sure--that it is inherent in the nature of ,englishwomen to employ their fingers4 ,and the busy as well as the ignorant need a guide to the principles of design1 as well as the technical details of the art of embroidery4 ,this should be supplied by the ,royal ,school of ,art ,needlework1 which by inculcating careful drawing1 by reviving old traditions and criticizing fresh ideas1 becomes a guarantee for the improvement of domestic decorative design4 ,,footnotes3 #eee ,the people of ,babylon1 the ,accadians1 had a written literature and a civilization superior to that of the conquering ,assyrians1 who borrowed their art of writing1 and probably their culture1 which may have been the centre and starting-point of the western civilization of ,asia1 and therefore the origin of our own4 ,accadian civilization was anterior to that of the ,phnicians and the ,greeks1 and is now received in these later years as the original form1 and become again the heritage of mankind4 ,it has been said that ,assyrian art was destitute of originality1 and to that of the ,accadians1 which they adopted1 we ourselves owe our first customs and ideas4 ,four thousand years ago these people possessed a culture which in many of its details resembles that of our country and time4--,assyrian ,life and ,history1 p4 #ff1 by ,m4 ,harkness and ,stuart ,poole4 #eef ,the arts of spinning and the manufacture of linen were introduced into ,europe and drifted into ,britain in the ,neolithic ,age4 ,they have been preserved with but little variation from that period down to the present day in certain remote parts of ,europe1 and have only been superseded in modern times by the complicated machinery so familiar to us4444 ,the spindle and distaff are proved by the perforated spindle-whorls1 made of stone1 pottery1 or bone1 commonly met with in ,neolithic habitations or tombs4 ,the thread is proved1 by discoveries in the ,swiss lakes1 to have been made of flax2 and the combs that have been found for pushing the threads of the warp on the weft show that it was woven into linen on some sort of loom4--,boyd ,dawkins' ,early ,man in ,britain1 p4 #bge4 #eeg ,i am aware that the presence of the ,phnicians 7or ,carthaginians7 on our coasts has been disputed2 but ,i think that the evidence of the ,etruscan ornaments ,i have mentioned gives more than probability to the truth of ,pliny's account of the expedition of ,himilco from ,gades1 #ejj ,b4,c4 ,by some he is supposed to have been a contemporary of ,hanno1 and of the third century ,b4,c4 ,there is some confusion in the imperfect record of the voyage2 but it is difficult to interpret it otherwise than that he touched at several points north of ,gaul4 7,see ,boyd ,dawkins' ,early ,man in ,britain1 pp4 #deg-dfa2 see also ,perrot and ,chipiez1 ,l',histoire de l',art dans l',antiquit1 t4 iii42 ,phnicie et ,cypre1 p4 #dh47 ,for a contrary opinion1 see ,elton's ,origins of ,english ,history4 ,elton ascribes the first knowledge of the ,british islands to the voyage of ,pytheas in the fourth century ,b4,c42 he acknowledges that the geography of ,britain was well known to the ,greeks in the time of ,alexander the ,great4 ,we owe to ,pliny and ,strabo the few fragments from ,pytheas that have been rescued from oblivion1 and to ,pliny the notices of ,himilco4 7,see ,bouillet's ,dictionnaire d',histoire et de ,gographie47 #eeh ,see ,rock's ,introduction to ,textile ,fabrics1 p4 xii4 #eei ,i give the following amusing tradition1 which was probably founded on the celebrity of the ,english pearl embroidery of the ,anglo-,saxon times1 of which much went to ,rome3-- ,then ,csar1 like a conqueror1 with a great number of prisoners sailed into ,france1 and so to ,rome1 where after his return out of ,brytaine1 hee consecrated to ,venus a surcote of ,brytaine pearles1 the desire whereof partly moved him to invade this country4--7,stow's ,annales1 p4 #ad1 ed4 #afcd47 ,tacitus1 in the ,agricola #ab1 says that ,british pearls are grey and livid4 #efj ,see ,rock's ,introduction to ,textile ,fabrics1 p4 xii4 #efa ,these are the poor results of the ,roman invasion and neglect of ,britain during their occupation4 ,the second invasion of ,britain by the ,romans1 under ,claudius1 was caused by the squabbles between the chiefs of the different tribes4 ,comnenus1 the prince of the ,atrebates1 was at war with the sons of ,cunobelinus 7,cymbeline74 ,he took his grievances to ,rome1 and the ,roman legions were despatched to settle the matter1 and to dazzle the world by the echoes rather than the facts of the triumphant victories in the land of the wintry pole4 ,claudius marched with elephants clad in mail1 and bearing turrets filled with slingers and bowmen1 accompanied by ,belgic pikemen and ,batavians from the islands in the ,rhine1 ,a4,d4 #dd4 ,the dress of ,claudius on his return from ,britain was purple1 with an ivory sceptre and crown of gold oak leaves4 ,one officer alone was entitled to wear a tunic embroidered with golden palms1 in token of a former victory4 ,the ,celts1 the ,gauls1 the ,gaels1 the ,picts1 the ,scots1 and the ,saxons1--all crowded and settled in ,britain when the ,romans left it in #daj1 after nearly four hundred years of misgovernment4 7,see ,elton's ,origins of ,english ,history1 pp4 #cjf-cjh47 #efb ,semper1 ,der ,stil1 pp4 #acc1 #acd4 ,see ,louis ,viardot1 ,des ,origines ,traditionnelles de la ,peinture en ,italie 7,paris1 #ahdj71 p4 #ec1 note4 ,also see ,les ,ducs de ,bourgogne1 part ii4 vol4 ii4 p4 #bdc1 ,no4 #djib4 ,muratori was born in #afgb2 and he says the ,empress ,helena's work was in existence in the beginning of the eighteenth century4 7,see p4 #caf1 ante47 #efc ,when ,st4 ,augustine 7#edf7 came to preach to the ,anglo-,saxons1 he had a banner1 fastened to a cross1 carried before him1 on which was embroidered the image of our ,lord4 7,see ,mrs4 ,lawrence's ,woman in ,england1 pp4 #bif1 #big47 ,probably this was ,roman work4 #efd ,quoted by ,mrs4 ,lawrence1 ,woman in ,england1 p4 #di1 from one of ,adhelme's ,latin poems4 ,adhelme1 ,bishop of ,sherborne1 died in #gji1 having been thirty years a bishop4 ,he wrote ,latin poems1 of which the most important1 in praise of virginity1 is in the ,lambeth ,library1 ,no4 #bjj4 ,the ,,ms4 contains his portrait4 ,see ,strutt's ,english ,dresses1 ed4 ,planch4 #efe ,an ,anglo-,saxon lady named ,aedelswitha1 living near ,whitby1 in the sixth century1 collected a number of girls and taught them to produce admirable embroideries for the benefit of the monastery4 7,see ,rock's ,church of our ,fathers1 p4 #bgc2 also his ,introduction to ,textiles1 p4 xxvii47 ,bock speaks of ,hrothgar's tapestries1 embroidered with gold1 of the thirteenth century4 ,see ,appendix #h4 ,but the earliest ,english tapestry ,i have seen is that in ,york ,minster1 in which are inwoven the arms of ,scrope1 #acij4 ,wright says of the ,anglo-,saxon women1 ,in their chamber1 besides spinning and weaving1 the ladies were employed in needlework and embroidery1 and the ,saxon ladies were so skilful in this art1 that their works were celebrated on the ,continent4--,history of ,manners in ,england during the ,middle ,ages1 by ,thomas ,wright1 p4 #eb4 #eff ,see ,mrs4 ,lawrence's ,woman in ,england1 i4 p4 #bif-g4 #efg ,see ,rock's ,church of our ,fathers1 ii4 p4 #bgb1 quoting ,th4 ,stubbs4 ,acta ,pontif4 ,th4 ed4 ,twysden1 #a4 ii4 p4 #afii2 also ,bock's ,liturgische ,gewnder1 i4 p4 #bab1 and p4 #cbe ante4 #efh ,appendix #i4 #efi ,this could hardly have been intended originally for an ecclesiastical purpose4 ,it sounds as if it were a stray fragment from ,grco-,roman art1 rather than a survival of the classical legend employed as a pretty motive for decoration4 ,wiglaf's veil is named by ,ingulphus4 ,see ,strutt's ,english ,dresses1 pp4 #c1 #g4 ,see also ,historia ,eliensis1 l4 #b1 ed4 ,stewart1 p4 #ahc4 #egj ,see ,rock's ,textile ,fabrics1 p4 xxi42 also for ,council of ,cloveshoe1 see his ,church of ,our ,fathers1 p4 #ad4 #ega ,the ,benedictines drained the marshes of ,lincolnshire and ,somersetshire to employ the poor in the eighth century4 ,st4 ,bennet travelled to ,france and ,italy1 and brought back from his seven journeys cunning artificers in glass and stone1 besides costly books and copies of the ,scriptures1 in order 7as is expressly said by ,bede7 that the ignorant might learn from them1 as others learned from books4 ,see ,mrs4 ,jameson's ,legends of the ,monastic ,orders1 pp4 #ef1 #eg4 #egb ,see ,raine's ,st4 ,cuthbert1 pp4 #ej-bji4 ,mr4 ,raine describes it as being of woven gold1 with spaces left vacant for needlework embroidery4 ,beautifully drawn majestic figures stand in niches on rainbow-coloured clouds1 and the effect is that of an illumination of the ninth century4 ,the style is rather ,greek or ,byzantine than ,anglo-,saxon4 ,for further notices of ,st4 ,cuthbert's relics1 see chapter on ,materials1 ante2 also see ,rock's ,introduction1 p4 cxvii4 #egc ,appendix #aj4 #egd ,see ,calendar of the ,anglican ,church1 by ,j4 ,h4 ,parker 7#ahea73 ,st4 ,dunstan was not only a patron of the useful and fine arts1 but also a great proficient in them himself2 and his almost contemporary biographers speak of him as a poet1 painter1 and musician1 and so skilled a worker in metals that he made many of the church vessels in use at ,glastonbury4 #ege ,see ,rock's ,church of our ,fathers1 p4 #bgj4 #egf ,strutt's ,english ,dresses1 p4 #gj1 quoted from ,ingulphus' ,history of ,croyland ,abbey4 #egg ,shot1 or iridescent materials1 were then and had been some time manufactured at ,tinnis in ,egypt1 a city now effaced4 ,it was called bouqualemoun1 and employed for dresses and hangings for the ,khalifs4 ,see ,schefer's ,relations du ,voyage de ,nassiri ,khosrau1 p4 cxi4 ,the original was written in the middle of the eleventh century4 #egh ,see ,duchsne's ,histori ,normanorum4 ,fol4 ,paris1 #aeai4 #egi ,queen ,matilda was not the originator of the idea that a hero's deeds might be recorded by his wife's needle4 ,penelope wove the deeds of ,ulysses on her loom1 and it is suggested by ,aristarchus that her peplos served as an historical document for ,homer's ,iliad4 ,see ,rossignol's ,les ,artistes ,homriques1 pp4 #gb1 #gc1 cited by ,louis de ,ronchaud in his ,la ,tapisserie1 p4 #cb4 ,gudrun1 like the ,homeric woman1 embroidered the history of ,siegfried and his ancestors1 and ,aelfled that of the achievements of her husband1 ,duke ,brithnod4 ,the ,saga of ,charlemagne is said to have been embroidered on twenty-six ells of linen1 and hung in a church in ,iceland4 #ehj ,domesday ed4 ,record ,commission1 under head of ,roberte de ,oilgi1 in co4 ,buckingham4 ,see also another entry under ,wilts1 where ,leivede is spoken of as working auriphrigium for ,king ,edward and his ,queen4 #eha ,canon ,jackson1 writing of embroidery1 says3 ,that this was cared for in the great monasteries at this early date appears from a ,,ms4 register of ,glastonbury ,abbey in the possession of the ,marquis of ,bath4 ,it is called the ,liber ,henrici de ,soliaco1 and gives an account of the affairs of that abbey in ,a4,d4 #aahi 7,richard ,i474 ,there was a special official whose business it was to provide the monastery with church ornaments generally1 and specially with aurifrigium1 or gold embroidery1 on vestments4 ,for this a house and land1 with an annual allowance of food1 was set apart4 ,another tenant also held some land1 to which was attached the obligation to find a worker in gold4--,letter from ,canon ,jackson to the ,author4 #ehb ,see ,mrs4 ,lawrence's ,woman in ,england1 vol4 i4 p4 #cfj4 ,she quotes an entry from ,madox1 a sum of #hj 7equal to #adjj of to-day7 for an embroidered robe for the ,queen1 paid by the ,sheriffs of ,london4 #ehc ,matthew ,paris1 ,vit4 ,abb4 ,st4 ,albani4 p4 #df2 ,rock1 ,church of our ,fathers1 vol ii4 p4 #bgh4 #ehd ,see ,mrs4 ,dolby's ,introduction to ,church ,vestments4 #ehe ,strutt's ,royal and ,ecclesiastical ,antiquities of ,england1 ed4 mdcclxxiii4 #ehf ,though the work was domestic1 the materials came from the ,east and the ,south2 and while the woven gold of ,sicily and ,spain was merely base metal on gilded parchment1 our laws were directed to the preservation of pure metals for textile purposes4 #ehg ,matthew ,paris1 ,hist4 ,angl41 p4 #dgc1 ed4 ,paris1 #afdd4 ,see ,hartshorne's ,medival ,embroideries1 pp4 #bc1 #bd4 #ehh ,the reproduction by the ,arundel ,society of this picture will familiarize those who care for ,english art with what is1 perhaps1 its finest example1 next to the crosses of ,queen ,eleanor4 ,it has been erroneously attributed to ,van ,eyk1 but it is undoubtedly ,english4 ,that its art is contemporary with the time of ,richard ,,ii41 is shown by the design and motives of the woven materials and embroidery in which the king and his attendant saints are clothed4 ,they remind us of the piece of silk in the ,kensington ,museum1 into which are woven 7probably in ,sicilian looms7 the cognizance of the ,king's grandfather1 the sun with rays2 that of his mother ,joan1 the white hart2 and his own1 his dog ,math4 ,this is a good example of the value of an individual pattern4 ,it helps us to affix dates to other specimens of similar style4 #ehi ,see ,miss ,strickland's mention of the ,countess of ,oxford in her ,life of ,queen ,elizabeth of ,york1 p4 #df4 #eij ,from the fragments found1 it appeared that ,king ,john's mantle was of a strong red silk4 ,till lately1 when it was effaced by being completely gilt1 the mantle on the recumbent effigy was of a bright red1 bordered with gold and gems4 ,see ,greene's ,worcester1 p4 #c1 quoted in the ,report of the ,archological ,association of ,worcester1 p4 #ec4 #eia ,notice sur les ,attaches d'un ,sceau1 par ,m4 ,lopold ,delisle 7,paris1 #ahed72 and also ,rock's ,introduction to ,textile ,fabrics1 p4 xxii4 #eib ,the opus ,anglicanum often included borders and orphreys set with jewellers' work 7or its imitation1 worked in gold thread71 gems1 and pearls4 #eic ,edward ,,iii4 had from ,william de ,courtenay an embroidered garment1 inwrought with pelicans1 images1 and tabernacles of gold4 ,the tabernacles were like niches1 with pinnacles and roofs4 #eid ,bock1 ,liturgische ,gewnder1 i4 p4 #baa1 says there is a piece of opus ,anglicanum in the treasury of ,aix-la-,chapelle1 called the ,cope of ,leo ,,iii4 #eie ,for further notice of the opus ,anglicanum1 see chapter 7ante7 on ecclesiastical embroideries4 #eif ,appendix #aa4 #eig ,the orphreys are probably not the original work4 #eih ,testamenta ,vetusta1 ed4 ,nicholas1 t4 i4 p4 #cc4 #eii ,woolstrope1 ,lincolnshire4 ,collier's ,ecclesiastical ,history of ,great ,britain1 v4 p4 #c 7ed4 ,lothbury74 ,this proves that the monks sometimes plied the needle4 #fjj ,see ,hall's ,union of the ,houses of ,york and ,lancaster1 pp4 lxxv-lxxxiii4 #fja ,see ,brewer's ,reign of ,henry ,,viii41 vol4 i4 pp4 #cdg-cgf4 #fjb ,in the ,public ,record ,office is an inventory of ,lord ,monteagle's property1 #aebc ,a4,d42 amongst other things1 is named a piece of ,spanish work1 eight partletts garnished with gold and black silk work4 ,this ,spanish work is rare1 but the description reminds us of a specimen belonging to ,louisa1 ,marchioness of ,waterford 7,plate #hb7--;a square of linen1 worked with ostriches1 turkeys1 and eagles in gold and black silk stitches4 ,see ,mrs4 ,palliser's ,history of ,lace1 pp4 #f1 #ab4 #fjc ,quoted from ,cavendish by ,miss ,strickland1 ,queens of ,england1 iv4 p4 #acb4 #fjd ,the invalid queen1 in her moments of convalescence1 soothed her cares and miseries at the embroidery frame4 ,many specimens of her needlework were extant in the reign of ,james ,i41 and are thus celebrated by ,taylor1 the poet of the needle3-- ',mary here the sceptre sway'd2 ,and though she were no queen of mighty power1 ,her memory will never be decay'd1 ,nor yet her works forgotten4 ,in the ,tower1 ,in ,windsor ,castle1 and in ,hampton ,court1-- ,in that most pompous room called ,paradise1-- ,whoever pleases thither to resort1 ,may see some works of hers of wondrous price4 ,her greatness held it no disreputation ,to hold the needle in her royal hand1 ,which was a good example to our nation ,to banish idleness throughout the land4 ,and thus this queen in wisdom thought it fit2 ,the needle's work pleased her1 and she graced it4' ,according to ,taylor1 ,mary finished the splendid and elaborate tapestry begun by her mother4--,miss ,strickland's ,life of ,mary ,tudor1 v4 p4 #dag4 #fje ,after the action at ,d',arbre de ,guise1 ,elizabeth 7of ,england7 sent to ,henri ,,iv4 a scarf embroidered by her own hand4 ',monsieur mon bon frre1' wrote the queen1 'its value is naught in comparison to the dignity of the personage for whom it is destined2 but ,i supplicate you to hide its defects under the wings of your good charity1 and to accept my little present in remembrance of me4'--,henri ,,iv41 by ,miss ,freer1 p4 #caa4 #fjf ,in the year #afhc the ,marchese ,luca ,casimiero degl' ,albizzi visited ,england1 and his travels were recorded in manuscript by ,dr4 ,a4 ,forzoni4 ,at ,windsor he observed over a chimney-piece a finely wrought piece of embroidery--un educazione di fanciulli--by the hands of ,mary ,queen of ,scots4--,loftie's ,history of ,old ,london2 also article on ,royal ,picture ,galleries1 by ,george ,scharf1 p4 #cfa 7#ahfg74 #fjg ,the ,company of the ,embroiderers can make appear by their worthy and famous pieces of art that they have been of ancient use and eminence1 as is to be seen in divers places at this day2 but in the matter of their incorporation1 it hath relation to the fourth year of ,queen ,elizabeth4--,stow's ,survey of ,london and ,westminster1 part ii4 p4 #baf2 also see ,edmonson's ,heraldry1 vol4 i4 7#aghj74 ,the ,keepers1 ,wardens1 and ,company of the ,broiderie of ,london4444 #b keepers and #dj assistants1 and the livery consists of #aae members4 ,they have a small but convenient hall in ,gutter ,lane4--,maitland's ,history of ,london1 book iii4 p4 #fjb4 #fjh ,the fashion of this work began much earlier1 for we find in the inventory of ,st4 ,james's ,house1 nigh ,westminster1 #aedi3 #db ,item4 ,a table wherein is a man holding a sword in his one hand and a sceptre in his other hand of needlework1 partly garnished with seed pearl 7p4 #cjg74 #fji ,the merit or blame of this rounded padded work 7a caricature of the raised embroidery of the opus ,anglicanum7 is often erroneously awarded to the nuns of ,little ,gidding4 ,the earliest specimens we know of this embroidery on the stamp are ,german4 ,at ,coire in the ,grisons1 at ,zurich 7see chapter on ecclesiastical art71 and in the ,national ,museum at ,munich are some very beautiful examples4 ,the ,italians also executed elaborate little pictures in this manner2 but ,i cannot praise it however refined in execution or beautiful the design4 ,i have seen no ,english specimens that are not beneath criticism2 they are only funny4 #faj ,in the ,calendar of the ,state ,papers ,office 7,domestic1 ,charles ,i41 vol4 clxix4 p4 #ab71 ,mrs4 ,h4 ,senior sues the ,earl of ,thomond for #bjj per annum1 her pay for teaching his daughter needlework4 ,mrs4 ,hutchinson1 in her ,memoir1 says she had eight tutors when she was seven years old1 and one of them taught her needlework4 ,this shows how highly this accomplishment was still considered in the days of ,charles ,i4 and the ,commonwealth4 ,later1 ,evelyn speaks of the new bed of ,charles ,,ii4's queen1 the embroidery of which cost #cjjj 7,evelyn's ,memoirs1 ,january #bd1 #afhg74 ,evelyn says of his own daughter ,susanna1 who married ,william ,draper3 ,she had a peculiar talent in designe1 as painting in oil and miniature1 and an extraordinary genius for whatever hands can do with a needle4 ,see ,evelyn's ,memoirs1 ,april #bg1 #afic2 also see ,mrs4 ,palliser's ,history of ,lace1 pp4 #g1 #h4 #faa ,the tree-pattern1 already common in the latter days of ,elizabeth1 reappeared on a dress worn by the ,duchess of ,queensberry1 and described by ,mrs4 ,delany2 she says1 ,a white satin embroidered at the bottom with brown hills1 covered with all sorts of weeds1 and with a brown stump1 broken and worked in chenille1 and garlanded nasturtiums1 honeysuckles1 periwinkles1 convolvuluses1 and weeds1 many of the leaves finished with gold4 ,mrs4 ,delany does not appreciate this ancient pattern4 #fab ,queen ,mary only knotted fringes4 ,bishop ,burnett says3 ,it was strange to see a queen work so many hours a day4 ,sir ,e4 ,sedley1 in his epigram on the ,royal ,knotter1 says1-- ,who1 when she rides in coach abroad1 ,is always knotting threads4 ,probably it was the fashion1 as ,madame de ,maintenon always worked during her drives with the king1 which doubtless prevented her dying of ennui6 #fac ,i quote from the ,spectator1 ,no4 #fjf3 ,let no virgin receive her lover1 except in a suit of her own embroidery4 #fad ,her style was really legitimate to the art4 ,it was flower-painting with the needle4 ,miss ,moritt copied both figures and landscapes1 with wonderful taste and knowledge of drawing4 ,miss ,linwood's and ,mrs4 ,delany's productions are justly celebrated as tours de force1 but they caused the downfall of the art by leading it on the wrong track4 #fae ,lord ,houghton alludes to ,h4,r4,h4's patronage of the revival of embroidery in his paraphrase of the ,story of ,arachne1 p4 #bch1 ante4 #faf ,opposed to the 'utility stitches' are the art needlework schools that have branched out in many directions from ,new ,york4444 ,the impulse that led to their formation was derived from ,south ,kensington 7,england71 and affords a striking instance of the ramifications of an organization4--,atlantic ,monthly 7,women in ,organization71 ,sept41 #ahhj4 ,,finis4 ,,appendices4 ,,appendix ,i41 ,,to ,,page #aje4 ,by ,ch4 ,t4 ,newton4 ,though the embroidered and richly decorated textile fabrics of the ancients have perished1 all but a few scraps1 we may form some idea of the richness and variety of ,greek female attire from the evidence of the inventories of dedicated articles of dress which have been preserved for us in ,greek inscriptions4 ,in the ,acropolis at ,athens have been found a number of fragments of marble on which are inscribed lists of various female garments dedicated1 for the most part1 in the ,temple of ,artemis ,brauronia1 in the ,archonship of ,lykurgos1 ,b4,c4 #cch-ce4 ,these articles were thus carefully registered because they formed part of the treasures dedicated to the gods of the ,acropolis1 which it was the duty of the state to guard1 and to commit to the custody of officers specially selected for that duty4 ,one of these fragments is in the ,elgin ,collection at the ,british ,museum1 and has been published by ,mr4 ,hicks in the ,collection of ,ancient ,greek ,inscriptions in the ,british ,museum1 ,part #a1 ,no #cd2 and the entire series has since been given to the world in the ,corpus ,inscriptionum ,atticarum of the ,academy of ,berlin1 ii41 ,part #b41 ,nos4 #gea-fe4 ,the material of these garments seems to have been either linen or fine woollen2 the colours white1 purple1 or some shade of red1 mostly used as a border or in stripes2 or a shade of green1 the tint of which is described as frog colour1 saffron1 or sea-green4 ,the borders and patterns noted remind us of those represented on the garments of figures in vase pictures1 such as the embattled border1 the wave pattern1 and certain patterns in rectangular compartments4 ,a group of ,dionysos pouring out a libation while a female serves him with wine1 and a row of animals1 are also noted among the ornaments4 ,the inscription1 ,sacred to ,artemis1 woven into the fabric of the garment1 occurs twice4 ,gold1 as an ornament fixed on the dress1 is mentioned in these entries4 ,it is noted that some of these dresses served to deck the statue of the goddess herself4 ,most of the garments are the chiton or tunic1 flowing to the feet2 the chitoniskos1 a shorter and more ornamental garment worn over it2 and the mantle1 himation4 ,pieces of cloth or rags are also mentioned among the entries2 these were probably the remnants of cast-off garments dedicated by their wearers4 ,some of the dresses are described as embroidered with the needle4 ,in the worship of the ,artemis ,brauronia1 certain ,athenian girls between the ages of five and ten were solemnly dedicated to the goddess every five years4 ,in publishing the inventory in the ,british ,museum already referred to1 ,mr4 ,hicks remarks1 ,it may have been the custom sometimes to dedicate to the goddess the garments worn by children at their presentation1 just as we know that the garments in which persons had been initiated at the ,greater ,eleusinia were worn by them until threadbare1 and then dedicated to some god4 ,if so1 the number of children's clothes mentioned in our inventory is easily explained4 ,or were these the clothes of children cut off by ,artemis in infancy1 such as bereaved mothers nowadays often treasure for years1 having no temple wherein to dedicate them8 ,mr4 ,hicks further remarks that it was usual for the bride before marriage to dedicate her girdle to ,artemis2 and at ,athens the garments of women who died in childbirth were likewise in like manner so dedicated4 ,it is probably on account of such dedications that ,artemis was styled ,chiton--the goddess of the chiton4 ,another list of vestments is preserved in an inscription found at ,samos1 and published by ,carl ,curtius in his ,inschriften u4 ,studien zur ,geschichte von ,samos1 pp4 #ag-ba4 ,the garments in this list were dedicated to the goddess ,her 7,juno7 in her celebrated temple at ,samos4 ,the entries relate chiefly to articles of female attire1 but some few are dedicated to the god ,hermes4 ,some of these articles were doubtless worn by the deities themselves on festive occasions1 when their statues were decked out4 ,the toilet1 kosmos1 of goddesses was superintended by a priestess specially chosen for that purpose4 ,she was called kosmeteira1 or ,mistress of the ,robes4 ,in the ,samian list of garments1 those which are embroidered or ornamented with gold are specially noted4 ,some of the tunics are described as ,lydian4 ,curtains or hangings are also mentioned in this list4 ,these must have been used to ornament the interior of the temple1 or to screen off the statue of the goddess on the days when she was withdrawn from the gaze of the profane4 ,such hangings were1 probably1 a main cause of the conflagrations by which ,greek temples were from time to time destroyed in spite of the solidity of their walls4 ,,appendix ,,ii41 ,,to ,,page #baj4 ,in the ,castle of ,moritzburg1 built by ,augustus the ,strong1 ,elector of ,saxony and ,king of ,poland1 is a quaint apartment1 on the walls of which are hung rugs of feather-work1 of which the borders are adorned with set patterns of fruit and flowers1 and the colouring is as soft as a ,gobelins tapestry4 ,the feathers are woven tightly into the warp1 in the same manner as the tufts are set in a velvety carpet2 forming a surface as delicate as silk to the touch4 ,there are four high-backed chairs covered with the same work in smaller patterns4 ,but what is especially remarkable is an immense canopy1 like that of a state bed1 with urn-shaped ornaments of stiff feathers at the corners2 and a pretty bell-shaped fringe of scarlet feathers4 ,the same ornament edged a large rug like those on the wall1 thrown over what at first appeared to be a bed2 but on examination it was found to be a rough wooden platform1 said to be the throne of ,montezuma4 ,the story is that ,augustus the ,strong went to ,spain incognito at the age of eighteen1 in search of adventures1 and distinguished himself at a bull-fight4 ,when the king 7,charles ,,ii47 heard the name of the young hero1 he gave him a hospitable reception1 and afterwards sent these ,mexican treasures to him as a token of friendship4 ,,appendix ,,iii41 ,,to ,,page #bcg4 ,story of ,arachne1 abridged by ,earl ,cowper from ,ovid's ,metamorphoses4 ,arachne's tale of grief is full3 ,her father was of low degree2 ,no thought beyond his crimson'd wool1 ,his daughter and his wife had he4 ,the wife had fill'd an early tomb1 ,the daughter lived--and all the land ,of ,lydia boasted of her loom1 ,her needle1 and her dexterous hand4 ,to watch her task the nymphs repair ,from fair ,timolus' vine-clad hill2 ,they deem the work divinely fair1 ,the maid when working fairer still4 ,the softness of the fleecy ball1 ,by skilful fingers taught to flow ,in lengthening lines--they watch'd it all-- ,and round and round the spindle go4 ,wondering1 they view the rich design3 ,ah1 luckless gift6 ah1 foolish pride6 ',twas ,pallas taught the art divine1 ,but this the haughty maid denied4 ,me taught1 she cried1 by ,pallas6 ,me ,by ,pallas6 ,let the goddess first ,accept my challenge4 ,then1 should she ,surpass me1 let her do her worst4 ,vain1 impious words6 ,the goddess came ,in likeness of an ancient crone1 ,with grizzled locks and tottering frame1 ,and spoke with warning in her tone4 ,though matchless in thine art1 she cried1 ,though first of mortals1 tempt not fate4 ,age makes me wise4 ,thou hast defied ,a goddess4 ,it is not too late4 ,the unhappy maid1 with madness blind1 ,replied1 and scarce restrain'd the blow4 ',tis plain1 old woman1 that your mind ,is drivelling to address me so4 ,some daughter or some slave may want ,your counsel4 ,let her but appear1 ,this mighty ,pallas whom you vaunt6 ,the goddess answer'd1 ,she is here4 ,she spoke1 and lo6 that ancient crone ,was young and fair1 and tall and proud3 --,the nymphs fell prostrate4 ,she alone-- ,arachne--neither shrank nor bow'd4 ,one blush quick came and pass'd away1 ,hovering as clouds1 when night is done1 ,grow rosy at the dawn of day1 ,then whiten with the rising sun4 ,she did not shrink--she did not pause-- ,but headlong to destruction ran2 ,and thus the strife ordain'd to cause ,such dark calamity began4 ,each for the contest takes her stand-- ,the goddess here1 the mortal there-- ,and each proceeds with skilful hand ,the means of victory to prepare4 ,the beam each loom supports full well1 ,and to the loom the warp is tied2 ,nor will ,i now forget to tell ,the reed that doth the warp divide4 ,the woof the shuttle in doth bring1 ,the nimble fingers guide its way2 ,and still from either work-frame ring ,the blows inflicted by the slay4 ,each to her bosom binds her vest3 ,the arms of each1 quick moving1 feel ,no sense of toil1 no need of rest1 ,for weariness is quench'd by zeal4 ,and all the gorgeous tints of ,tyre ,in varying shades are mingled there2 ,and every hue the sun's bright fire ,can kindle in the showery air1-- ,when the wide rainbow spans the sky2 ,the bow whose colours1 in the end ,so different1 yet so like when nigh1 ,in harmony's own concord blend1-- ,and precious threads of glittering gold ,enrich the growing web4 ,but say6 ,what ancient tale by each was told8 ,what legend of an earlier day8 ,pallas her well-known triumph drew2 ,the gods assembled in their force1 ,and ,neptune with his trident1 too1 ,exulting in the fiery horse1-- ,which from the rock he made to bound3 ,but she herself1 more deeply wise1 ,a greater blessing from the ground ,the olive brought1 and gain'd the prize4 ,the border of this main design ,with ,rhodope's sad tale was set2 ,and all who dared the gods divine ,to rival--and the fate they met4 ,meanwhile ,arachne wove the wool3 ,the web with many a picture shone4 ,she drew ,europa with her bull1 ,and ,leda with her snow-white swan4 ,deois with her snake display'd1 ,and ,dane with her shower of gold2 ,and many a tale besides the maid1 ,had fate permitted1 would have told4 ,but the dread goddess now no more ,to check her rising envy strove2 ,the half-completed task she tore1 ,and all the pictured crimes of ,jove4 ,the shuttle thrice the air did rend1 ,thrice did the heaven-directed blow ,full on ,arachne's head descend1 ,and made her purple blood to flow4 ,arachne's soul was proud and high3 ,she drew a cruel cord around ,her tender neck--and1 driven to die1 ,was from a beam suspended found4 ,her death the unpitying goddess stay'd2 ,henceforth1 vain fool6 for such a crime ,for ever shall thou hang1 she said2 ,a warning to the end of time4 ,in scorn she spoke1 and over all ,her rival's face and form she smear'd ,a deadly drug4 ,the head grew small1 ,and each fair feature disappear'd4 ,and off the beauteous tresses fell2 ,the tender waist that was so slim1 ,in loathly sort was seen to swell1 ,shrivell'd and shrank each comely limb4 ,the spider's fingers still remain ,to spin for ever4--,we may vie ,with fellow mortals1 but 'tis vain ,to struggle with the gods on high4 ,january1 #ahhe4 ,,cowper4 ,,appendix ,,iv41 ,,to ,,page #cah4 ,extract from ,history of ,christian ,art4 ,by ,lord ,lindsay4 ,vol4 i4 pp4 #acf-aci4 ,but perhaps the noblest testimony to the revival under the ,comneni is afforded by the designs on the ,dalmatic or sacerdotal robe1 commonly styled ',di ,papa ,san ,leone1' preserved in the sacristy of ,st4 ,peter's--said to have been embroidered at ,constantinople for the coronation of ,charlemagne as ,emperor of the ,west1 but fixed by ,german criticism as a production of the twelfth1 or the early part of the thirteenth century4 ,the ,emperors wore it ever after1 when serving as deacons at the ,pope's altar during their coronation-mass4 ,you will think little of it at first sight1 and lay it aside as a piece of darned and faded tapestry1 yet ,i would stake on it1 alone1 the reputation of ,byzantine art4 ,and you must recollect1 too1 that embroidery is but a poor substitute for the informing hand and the lightning stroke of genius4 ,it is a large robe of stiff brocade1 falling in broad and unbroken folds in front and behind1--broad and deep enough for the ,goliath-like stature and the ,herculean chest of ,charlemagne himself4 ,on the breast1 the ,saviour is represented in glory1 on the back the ,transfiguration1 and on the two shoulders ,christ administering the ,eucharist to the ,apostles4 ,the composition on the breast is an amplification of ,no4 ,v4 7as above enumerated7 of the ,personal traditional compositions4--,in the centre of a golden circle of glory1 ',jesus ,christ1 the ,resurrection and the ,life1' robed in white1 with the youthful and beardless face1 his eyes directly looking into yours1 sits upon the rainbow1 his feet resting on the winged wheels#fag of ,ezekiel1 his left hand holding an open book1 inscribed with the invitation1 ',come1 ye blessed of ,my ,father1'--his right raised in benediction4 ,at the four corners of the circular glory1 resting on them1 half within it1 half without1 float the emblems of the four ,evangelists2 the ,virgin and the ,baptist stand to the right and left of our ,saviour1 the ,baptist without1 the ,virgin entirely within the glory1 the only figure that is so placed2 she is sweet in feature and graceful in attitude1 in her long white robe4 ,above ,our ,saviour's head1 and from the top of the golden circle1 rises the ,cross1 with the crown of thorns suspended upon it1 the spear resting on one side1 the reed with the sponge on the other1 and the sun and moon looking down upon it from the sky4 ,the heavenly host and the company of the blessed form a circle of adoration around this central glory2 angels occupying the upper part1 emperors1 patriarchs1 monks and nuns the lower2 at the extremity1 on the left side1 appears ,mary ,magdalen1 in her penitence--a thin emaciated figure1 imperfectly clothed1 and with dishevelled hair4 ,in the corners1 below this grand composition1 appear1 to the right1 ,st4 ,john the ,baptist1 holding the cross1 and pointing upwards to ,our ,saviour2 to the left1 ,abraham seated1 a child on his lap1 and resting his hand on another by his side4 ,the background and scene of the whole composition is of blue1 to represent heaven1--studded with stars1 shaped like the ,greek cross4 ,the ,transfiguration1 which corresponds to this subject on the back of the robe1 is the traditional composition1 only varied by the unusual shape of the vesica piscis which encloses ,our ,saviour4 ,the two compositions representing the ,institution of the ,eucharist1 on the shoulders1 are better executed and more original4 ,in each of them1 ,our ,saviour1 a stiff but majestic figure1 stands behind the altar1 on which are deposited a chalice and a paten or basket containing crossed wafers4 ,he gives1 in the one case1 the cup to ,st4 ,paul1 in the other the bread to ,st4 ,peter1--they do not kneel1 but bend reverently to receive it2 five other disciples await their turn in each instance1--all are standing4 ,i do not apprehend your being disappointed with the ',dalmatica di ,san ,leone1' or your dissenting from my conclusion1 that a master1 a ,michael ,angelo ,i might almost say1 then flourished at ,byzantium4 ,it was in this ,dalmatic--then seme all over with pearls and glittering in freshness--that ,cola di ,rienzi robed himself over his armour in the sacristy of ,st4 ,peter's1 and thence ascended to the ,palace of the ,popes1 after the manner of the ,csars1 with sounding trumpets and his horsemen following him--his truncheon in his hand and his crown on his head--'terribile e fantastico1' as his biographer describes him--to wait upon the legate4#fah ,,footnotes3 #fag ,in the ',manual of ,dionysius1' recently published by ,m4 ,didron 7p4 #ga1 c471 these winged wheels are interpreted as signifying the order of angels commonly distinguished as ,thrones4 ,their interpretation as the ,covenants of the ,law and ,gospel1 sanctioned by ,st4 ,gregory the ,great in his ,homilies1 is certainly more sublime and instructive4 #fah ,cited from the original life1 printed in ,muratori's ',antiquit4 ,ital4 ,medii vi1' tom4 viii41 by ,m4 ,sulpice ,boissere1 in his essay1 ',ueber die ,kaiser-,dalmatica1' c4 ,,appendix ,v41 ,,to ,,page #cbj4 ,the ,hon4 and ,rev4 ,ignatius ,clifford has permitted me to make extracts from his ,memoranda of some remarkable ,specimens of ,ancient ,church ,embroidery4 ,first on his list is the ,cope now in the possession of ,colonel ,butler ,bowden1 of ,pleasington1 near ,blackburn1 ,lancashire4 ,i give his account of the mutilated condition1 from which he has made his beautifully drawn restoration4 ,formerly1 he says1 portions of this cope1 some made up into chasuble1 stole1 maniple1 and some scraps detached1 were at ,mount ,st4 ,mary's ,college1 ,spink ,hill1 near ,chesterfield1 ,derbyshire4 ,the well-known architect1 the late ,augustus ,welby ,pugin1 having seen them 7or at least the chasuble71 wrote on the #bjth ,april1 #ahdi1 to the ,rector of the ,college1 ,i found it to be of ,english work of the time of ,edward ,i41 and have no hesitation in pronouncing it to be the most interesting and beautiful specimen of church embroidery ,i have ever seen4 ,other portions of the cope had been made up into an altar-frontal1 and were in the possession of ,henry ,bowden1 ,esq41 of ,southgate ,house1 ,derbyshire1 some four or five miles from the college4 ,the ground is crimson velvet4 ,the designs are wrought in gold1 silver1 silk1 and seed pearls4 ,the silks are worked in chain1 or rather in split stitch4 ,it contains between seventy and eighty figures4 ,only two small fragments remain of the quasi-hood4 ,in the orphrey are kings1 queens1 archbishops1 and bishops4 ,in the body of the cope are the ,annunciation--,adoration of the ,magi--,our ,lady enthroned at the right of her ,divine ,son4 ,lowest row of single figures--,st4 ,simon1 ,st4 ,jude1 ,st4 ,james1 ,st4 ,thomas1 ,st4 ,andrew1 ,st4 ,peter1 ,st4 ,paul1 ,st4 ,barnabas1 ,st4 ,matthew1 ,st4 ,philip1 ,st4 ,james1 ,st4 ,bartholomew4 ,middle row--,st4 ,edward the ,confessor--a ,bishop--,st4 ,margaret1 ,st4 ,john the ,evangelist1 ,st4 ,john the ,baptist1 ,st4 ,catherine1 an ,archbishop1 ,st4 ,edmund king and martyr4 ,top row--,st4 ,lawrence1 ,st4 ,mary ,magdalene1 ,st4 ,martha 7or ,st4 ,helen871 ,st4 ,stephen4 ,in the intervals1 angels seated on faldstool thrones1 and bearing stars2 also two popinjays4 ,mr4 ,clifford describes the ,steeple ,aston ,cope4 ,the ground is of a richly ribbed faded silk4 ,the design worked in gold and silks is enclosed in quatrefoils of oak and ivy4 ,the ,syon ,cope he refers to ,rock's ,textile ,fabrics4 ,see ,appendix4 ,the ,dalmatic from ,anagni1 exhibited at ,rome in #ahgj1 he thinks is probably ,english4 ,the ,pluvial in the ,basilica of ,st4 ,john ,lateran at ,rome1 he speaks of as having much the appearance of the celebrated ,opus ,anglicanum4 ,he describes the subjects embroidered on it thus3 ,no border round the curved edge4 ,the orphrey is divided into tabernacles containing an archbishop1 two bishops1 and three kings and queens4 ,between the tabernacles are four angels1 each accompanied by one of the evangelistic symbols4 ,the body of the cope is cut into a most elaborate system of tabernacles1 with a centre compartment of a different form for the group of the ,crucifixion4 ,the subjects are chiefly from the life of our ,lord and the ,blessed ,virgin4 ,the small quasi-hood is embroidered with two wyverns or griffin-like creatures4 ,the pelican and the phnix are introduced over the top central group of the enthronement of our ,lady4 ,mr4 ,clifford gives the history of the ,cope of ,pius ,,ii4 7,bartolomeo ,piccolomini1 neas ,silvius7 fifteenth century4 ,it is a masterpiece of ,italian embroidery of the early ,renaissance4 ,the material was gold brocade1 covered with wonderful designs carried out in needlework1 representing saints and angels1 trees and birds1 and arabesques4 ,the whole was adorned with pearls and precious stones valued at #hj1jjj4 ,at his death the pope bequeathed this vestment to the cathedral of his native town4 ,the cope was stolen in ,march1 #ahhd1 from the treasury at ,pienza2 and shortly afterwards discovered in the shop of a dealer in antiquities at ,florence1 but completely stripped of its precious stones and of some of its more valuable embroidery4 ,after magisterial investigation1 the cope was restored to ,pienza4 ,the cope at ,bologna is thus described3 ,subjects from the ,new ,testament contained in two rows of tabernacle compartments1 twelve in lower1 seven in upper row4 ,spandrils occupied by angels playing on various musical instruments4 ,after each row1 a border containing medallions with heads 7of angels1 prophets1 c471 twenty-three in lower1 nine in upper row4 ,no orphrey2 no border or outside curve2 quasi-hood very small4 ,,appendix ,,vi41 ,,to ,,page #cbf4 ,from ,rock's ,textiles1 p4 #bge4 ,the ,syon ,monastery ,cope2 ground green1 with crimson interlacing barbed quatrefoils1 enclosing figure of our ,lord1 the ,blessed ,virgin ,mary1 the ,apostles1 with winged cherubim standing on wheels in the intervening spaces1 and the orphreys1 morse1 and hem wrought with armorial bearings2 the whole done in gold1 silver1 and various coloured silks4 ,english needlework1 thirteenth century2 #i feet #g inches by #d feet #h inches4 ,this handsome cope1 so very remarkable on account of its comparatively perfect preservation1 is one of the most beautiful among the several liturgical vestments of the olden period anywhere to be now found in ,christendom4 ,if by all lovers of medival antiquity it will be looked upon as so valuable a specimen of art of its kind and time1 for every ,englishman it ought to have a double interest1 showing1 as it does1 such a splendid and instructive example of the opus ',anglicum1' or ,english work1 which won itself so wide a fame1 and was so eagerly sought after throughout the whole of ,europe during the ,middle ,ages4 ,dr4 ,rock gives a list of the subjects4 ,st4 ,michael overcoming ,satan 7from ,rev4 xii4 #g1 #i74 ,the next quatrefoil above this is filled with the ,crucifixion4 ,here the ,blessed ,virgin is arrayed in a green tunic1 and a golden mantle lined with vair2 her head is kerchiefed1 and her uplifted hands sorrowfully clasped4 ,st4 ,john--whose dress is all of gold--is on the left1 at the foot of the cross1 upon which the ,saviour1 wrought all in silver--a most unusual thing--with a cloth of gold wrapped about ,his loins1 is fastened by three 7not four7 nails4444 ,in the highest quatrefoil is figured the ,redeemer in glory1 crowned as a king1 and seated on a cushioned throne4 ,resting upon ,his knee and steadied by ,his hand is the ,mund1 or ball representing the earth4444 ,this is divided into three parts1 of which the largest1 an upper horizontal hemicycle1 is coloured crimson 7now faded to a brownish tint71 but the lower hemicycle is divided vertically in two1 of which one portion is coloured green1 and the other white or silvered4444 ,the next two subjects to be described are--one on the right hand1 the death of the ,blessed ,virgin ,mary2 the other1 on the left1 her burial4444 ,below the burial we have our ,lord in the garden1 signified by two trees2 still wearing the crown of thorns2 our ,lord in ,his left hand holds the banner of the ,resurrection1 and with ,his right bestows ,his benediction on the kneeling ,magdalene1 who is wimpled1 and wears a mantle of green1 shot yellow1 over a light purple tunic4 ,below1 but outside the quatrefoil1 is a layman clad in gold1 upon his knees1 and holding a long1 narrow scroll bearing words which cannot now be satisfactorily read4 ,lowermost of all we see the ,apostle ,st4 ,philip1 with a book in one hand1 in the other the flaying knife4 ,a little above him ,st4 ,peter1 with his two keys1 one gold1 the other silver2 and somewhat under him is ,st4 ,andrew with his cross4 ,on the other side of ,st4 ,michael and the ,dragon is ,st4 ,james the ,greater--sometimes called of ,compostella1 because he lies buried in that ,spanish city--with a book in one hand and in the other a staff1 and slung from his wrist a wallet1 both emblems of pilgrimage to his shrine in ,galicia4444 ,in the next quatrefoil above is ,st4 ,paul with his sword1 and over to the right ,st4 ,thomas2 still further to the right ,st4 ,james the ,less4 ,just above is our ,saviour1 clad in a golden tunic1 and carrying a staff1 overcoming the unbelief of ,st4 ,thomas4 ,upon his knees that ,apostle feels1 with his right hand held by the ,redeemer1 the spear wound in ,his side4 ,as at the left side1 so here1 quite outside the sacred history on the cope1 we have the figure of an individual probably living at the time the vestment was wrought4 ,the dress of the other shows him to be a layman2 by the shaven crown of his head1 this person must have been a cleric of some sort2 but we cannot tell 444 for the canvas is worn quite bare1 so that we see nothing now but the lines drawn in black to guide the embroiderer4444 ,this ,churchman holds up another scroll bearing words which can no longer be read4 ,when this cope was new1 it showed1 written in tall gold letters more than an inch high1 an inscription now cut up and lost 444 the word ne1 and a ,v on some of the shreds are all that remains of it4 ,in its original state it could give us the whole of the twelve ,apostles4 ,portions can still be seen4444 ,the lower part of the vestment has been sadly cut away1 and reshaped with the fragments2 perhaps at that time were added the present heraldic orphrey1 morse1 and border1 probably fifty years later than the other portions of this matchless specimen of the far-famed ',opus ,anglicum4' ,of angels1 the nine choirs1 and the three great hierarchies1 ,cherubim1 ,seraphim1 and ,thrones1 are figured here4 ,led a good way by ,ezekiel1 but not following that prophet step by step1 our medival draughtsmen found out for themselves a certain angel form4 ,to this they gave a human shape1 that of a comely youth2 clothing him with six wings1 with human feet2 instead of the body being full of eyes1 the wings are often composed of the bright-eyed feathers of the peacock4 ,on this cope the eight angels standing upon wheels are so placed that they are everywhere nearest to those quatrefoils wherein our ,lord's ,person comes1 and may therefore be taken as representing the upper hierarchy of the angelic host4 ,the other angels1 not upon wheels1 no doubt belong to the second hierarchy2 while those that have but one pair of wings 7not three7 represent the lowest hierarchy4 ,all1 like our ,lord1 are barefoot4 ,all of them have their hands lifted in prayer4444 ,for every lover of ,english heraldry this cope1 so plentifully blazoned with armorial bearings1 will have a special value1 equal to that belonging to many an ancient roll of arms4 ,the orphrey1 morse and hem contain the arms of ,warwick1 ,castile and ,leon1 ,ferrars1 ,geneville ,everard1 the badge of the ,knights ,templars1 ,clifford1 ,spencer1 ,lemisi or ,lindsey1 ,le ,botiler1 ,sheldon1 ,monteney of ,essex1 ,champernoun1 ,england1 ,tyddeswall1 ,grandeson1 ,fitz,alan1 ,hampden1 ,percy1 ,chambowe1 ,ribbesford1 ,bygod1 ,roger de ,mortimer1 ,golbare or ,grove1 ,de ,bassingburn1 with many others not recognized1 and frequent repetitions4444 ,besides their heraldry1 squares at each corner are wrought with swans and peacocks of curious interest for every lover of medival symbolism4444 ,these coats of arms1 being mostly blazoned on lozenge-shaped shields1 suggest that possibly they record those of the noble ladies who worked the border2 while those on circles may be the arms of religious houses or donors4 ,a word or two upon the needlework2 how it was done2 and the now unused mechanical appliance to it after it was wrought1 so observable on this vestment1 lending its figures more effect4 ,we find that for the human face1 all over this cope1 the first stitches were begun in the centre of the cheek1 and worked in circular lines1 into which1 after the first start1 they fell1 and were so carried on through the rest of the flesh tints4 ,then with a little iron rod1 ending in a small bulb slightly heated1 were pressed down those parts of the faces worked in circles1 as well as the wide dimple in the throat4 ,by the hollows thus sunk a play of light and shadow is brought out that lends to the parts so treated a look of being done in low relief4 ,upon the lightly clothed figure of our ,lord the same process is followed1 and shows a noteworthy example of the medival knowledge of external anatomy4 ,we must not1 however1 hide from ourselves that the unequal surfaces1 given by such a use of the hot iron to parts of the work1 expose it to the danger of being worn by friction more than other parts1 and soon betray the damage by their threadbare1 dingy look1 as is the case in the example just cited4 ,the method for grounding the quatrefoils is remarkable for being done in a long zigzag diaper pattern 7laid stitch74444 ,the stitching on the armorial bearings is the same as that now followed in many trifling things worked in wool 7cross stitch74 ,the canvas 7or linen7 for every part of this cope is of the finest sort1 but its crimson canvas lining is thick and coarse4444 ,a word or two about the history of this fine cope4444 ,dr4 ,rock now enters into the history of the guilds1 which included noble laymen and women1 and members of the clergy2 and tells us that the rolls of these associations sometimes grew to be exceedingly wealthy4 ,he says that each of these guilds had usually in its parish church a chapel or altar of its own1 splendidly provided for1 to which offerings were spontaneously given by individuals1 or by members clubbing together that their joint gift might be the more worthy4 ,perhaps the cleric and the layman worked on the cope may have been the donors4 ,dr4 ,rock suggests that possibly ,coventry may have been the place of its origin1 where the famous ,corpus ,christi plays 7which this cope so well illustrates7 drew crowds every year to see them1 as is testified by the ,paston letters4 ,taking this old city as a centre1 with a radius of no great length1 we may draw a circle on the map enclosing ,tamworth1 tower and town1 ,chartley castle1 ,warwick1 ,charlcote1 and ,althorp4 ,the lords of these broad lands would1 in accordance with the religious feelings of those times1 become brothers of the famous ,guild of ,coventry1 and on account of their high rank find their arms embroidered on the vestments belonging to their fraternity4 ,that such a pious queen as the gentle ,eleanor1 wife of ,edward the ,first1 who died #abij1 should have in her lifetime become a sister is very likely1 so that we may easily account for the shield--,castile and ,leon4 ,the other noble shields may possibly record munificent benefactions4 ,the whole must have taken very long in the working1 and the probability is that it was embroidered by the nuns of some convent which stood in or near ,coventry4444 ,upon the banks of the ,thames at ,isleworth1 near ,london1 ,henry ,v4 built and munificently endowed a monastery1 to be called ',syon1' for the nuns of ,st4 ,bridget's order4 ,among the earliest friends of this new house was a ,master ,thomas ,graunt1 an official in one of the ,ecclesiastical ,courts of the kingdom4 ,in the ,syon ,nun's ,martyrologium--a valuable ,,ms4 lately bought by the ,british ,museum--this ,churchman is gratefully recorded as the giver to their convent of several precious ornaments1 of which this very cope seemingly is one4 ,it was the custom for a guild or religious body to bestow some rich church vestment upon an ecclesiastical advocate who had befriended it by his pleadings before the tribunal1 and thus to convey their thanks to him with his fee4 ,after such a fashion this cope might easily have found its way1 through ,dr4 ,graunt1 from ,warwickshire to ,middlesex4 ,at the beginning of ,elizabeth's reign it went with the nuns1 as they wandered in an unbroken body through ,flanders1 ,france1 and ,portugal1 where they halted4 ,about sixty years ago it came back again from ,lisbon to ,england1 and has found a home in the ,south ,kensington ,museum4 ,for want of space ,i have been obliged to omit a great deal of ,dr4 ,rock's interesting account of the ,syon ,cope4 ,the reader is referred for further details1 especially regarding the heraldry and the subjects in the quatrefoils1 to ,rock's ,textile ,fabrics1 pp4 #bge-bia1 in the ,south ,kensington ,museum 7,no4 #iahb74 ,,appendix ,,vii41 ,,to ,,page #cej4 ,the ,assyrians were great in fringes4 ,of this we can judge from their sculptures1 in which the rich deep and broad fringe forms the ornament and accentuates the shaping of the garments of kings and priests and nobles4 ,loftus1 in his ,babylon and ,susiana1 tells of the only actually existing remnant of their textile art of which ,i can find any record4 ,some terra-cotta coffins were opened at ,warka 7the ancient ,erech71 and in one of them was a cushion1 on which the head1 gone to dust1 had reposed4 ,it was covered with linen--fringed4 ,nothing else had survived the ages except a huge wig of false hair4 ,such fragmentary echoes from a life1 a civilization1 and an art dead for thousands of years1 are curiously pathetic1 and touch and startle the thinking mind4 ,,appendix ,,viii41 ,,to ,,page #cfi4 ,the following poem from the ,anglo-,saxon poem of ,beowulf shows that the hospitable hall of the ,saxon earl was hung with tapestry embroidered with gold4 ,fla pra was ,much people were ,wera and ,wifa pe pat win rued ,men and women who that wine house ,gest sele gyredon gold fag scinon ,that guest-hall garnished4 ,cloths embroidered with gold ,web-after wagum4 ,wundersina feld ,those along the walls many wonderful sights ,sioga gustryleum para pe on swyle stara ,to every person of those that gaze on such4 ,translation by ,thomas ,arnold4 ,the poem of ,beowulf is supposed to have been written in the early part of the twelfth century4 ,the lines which follow are from a poem1 recomposed from earlier sagas1 in the beginning of the twelfth century4 ,it serves to show that arras was used in bedrooms thus early in ,germany4 ,from the ,niebelungen ,lied1 bersetzt von ,karl ,simrock1 p4 #bid4 ,manche schmucke ,decke von ,arras da lag ,aus lichthellem ,zeuge und manches ,ueberdach ,aus arabischer ,seides so gut sie mochte sein1 ,darber lagen leisten du gaben herrlicher ,schein4 ,i owe these notices to the kindness of the ,rev4 ,a4 ,o4 ,winnington ,ingram4 ,,appendix ,,ix41 ,,to ,,page #cfb4 ,abridged from ,trans4 by ,sir ,g4 ,dasent4 7,from the ,ezrbyggja ,saga47 ,in that summer in which ,christianity was established by law in ,iceland 7,a4,d4 #ajjj71 there came a ship from off the sea out to ,snowfellsness1 in ,iceland4 ,it was a ,dublin ship1 and on board it were ,irishmen and men from ,sodor and the ,hebrides1 but few ,norsemen4444 ,on board the ship was a woman from the ,hebrides1 whose name was ,thorgunna4 ,her shipmates said that they were sure she had such treasures with her as would be hard to get in ,iceland4 ,thurida1 the housewife at ,frida1 was envious and covetous of these precious goods1 and received ,thorgunna into her home in hopes1 by some means1 to possess herself of them1 especially the embroidered hangings of a bed2 but ,thorgunna refused to part with them4 ,i will not lie in the straw for thee1 though thou art a fine lady1 and thinkest great things of thyself4 ,thorgunna made her own terms with ,thurida and ,master ,harold1 and set up her bed at the inner end of their hall4 ,her richly worked bed-clothes1 her ,english sheets and silken quilt1 and her bed-hangings and canopy were such that men thought nothing at all like them had ever been seen4 ,an air of truth is given to the whole story by the details4 ,thorgunna is described as tall and strong and very stout4 ,she was swarthy brown1 with eyes set close together2 her hair was brown and very thick4 ,she was well-behaved in daily life1 and went to church every morning before she went to her work4 ,then comes an account of a storm1 and a rain of blood2 and how ,thorgunna sickened and died1 and at her own desire was carried to be buried to ,skilholt1 which she prophesied would one day be considered holy1 and that priests might there sing dirges over her4 ,there is a curious and picturesque account of the two days' journey to ,skilholt1 and the adventures that befell the funeral cortge2 including the incident of the corpse cooking the supper of the convoy at an inhospitable farmhouse where they had sought refuge and received no entertainment4 ,on ,harold's return home after the funeral1 he proceeded to carry out the wishes of ,thorgunna1 who had warned him that the ownership of her embroidered hangings would cause trouble1 and therefore she had desired they should be burned4 ,thurida1 however1 could not bear to lose them1 and persuaded ,harold to spare them4 ,after this followed many signs and portents1 and deaths of men and women1 and apparitions of ghosts1 until ,kjartan 7,thurida's son7 brought out all ,thorgunna's bed-hangings and furniture1 and burned them in the fire4 ,,appendix ,x41 ,,to ,,page #cfe4 ,aelfled or ,athelfleda was the founder of a race of embroiderers4 ,their pedigree is as follows3-- ,,brithnod1 ,,athelfleda4 a ,northumberland ,she embroidered the ,chief or ,alderman4 daring deeds of her husband4 ,,leofleda4 ,,king ,,oswic4 ,oswic's sister ,aedelfleda was adopted by ,hilda1 ,abbess of ,whitby4 ,she succeeded ,hilda1 and died #gac4 ,she was a great embroiderer4 ,,aelfwin4 ,,aelswith4 ,,leofwed4 ,,aelswith4 ,leofwed made her will in the time of ,king ,cnut2 dividing her revenue between her daughter ,aelswith and the ,abbey of ,ely4 ,aelswith accepted the residence of ,coveney1 a small property belonging to the convent1 and there she embroidered with her maidens4 ,see ,liber ,eliensis1 ed4 ,d4 ,j4 ,stewart1 ,anglia ,christiana1 vol4 i41 #ahdh4 ,,appendix ,,xi41 ,,to ,,page #cgg4 ,in the ,statutes at ,large there is the following in vol4 i4 p4 #ebf 7in old ,french73-- #b ,henry ,,vi4 ,a penalty on deceitful workers of gold and silver embroidery4 ,item4 pur ceo que diverses defautes sont trovez en loveraigne de diverses persons occupiantz le mestier de brouderie4 ,ordonnez est assentiez1 que tout loveraigne stuff de brouderie d'or ou d'argent de ,cipre ou d'or de ,luke melle avec laton de ,spayne mys a vent en deceit des lieges du ,roi sont forfait au ,roi ou as ,seigneurs et autres accenz franchises d'autielx forfaitures ein quy franchise autiel overaigne soit trouve et durera c'est ordinance longue parlement prochainement avenir4 #cc ,henry ,,vi4 ,that if any ,lombard or any other person1 ,stranger or ,denizen1 bring or cause to be brought by way of merchandize any wrought silk thrown1 ,ribbands1 ,laces1 ,corses of ,silk1 or any other thing wrought1 touching or concerning the mystery of ,silk women1 the corses which come from ,genoa only excepted1 into any part or place of the ,realm from beyond the ,sea1 that the same 444 be forfeit4 #c ,edward ,,iv4 ,whereby the importation of any wrought silk thrown1 ,ribbands1 ,laces1 ,corses of ,silk1 or other things wrought1 concerning the craft of ,silk women is prohibited or restrained4 #bb ,edward ,,iv4 ,that no ,marchant1 ,stranger1 nor other person shall bring into the ,realm to be sold1 any ,corses1 ,girdles1 ,ribbands1 ,laces1 ,coll4 ,silk or ,colein ,silk1 thrown or wrought1 upon pain of forfeiture of the same4 ,also ,richard ,,iii4 ,an ,act touching the bringing in of ,silk ,laces1 ,ribbands1 c4 ,also #ai ,henry ,,vii4 ,an ,act for ,silk ,women4 ,these acts appear to have been partially repealed1 #c and #e ,george ,,iii4 ,,index4 ,achilles1 shield of1 #cc1 #ajc4 ,aelgitha1 wife of ,canute1 embroideries by1 #cff4 sthetic1 #ag1 #ij1 #cci4 ,agrippina1 golden garment of1 #adc4 ,alessandri ,palace1 ,florence1 #bhd4 ,alexander the ,great1 #adb1 #bii2 wedding tent of1 #bfc-d2 pall of1 #adb4 ,alkisthenes1 mantle of1 #bih4 ,altar1 #db1 #cdf2 altar-piece1 #cbh2 altar-cloths1 #cdj1 #cdf2 by ,queen ,emma1 #cff4 ,amasis1 corselet of1 #bj1 #cjh2 ,bishop of1 #bii4 ,anne of ,brittany1 #cca4 ,apollo of ,branchid1 #bif4 ,arabesque1 #dc1 #hj4 ,arachne1 #bcg4 ,aragon1 ,catherine of1 embroideries by1 #chc4 ,aristophanes1 #ih4 ,arras1 #bch1 #bdc1 #bee-f1 #bgd4 ,arrazzi1 #bde2 ,prince of1 #bdi2 trade with1 #bej1 #beb4 ,art of dress1 #bih2 of needlework1 #cif4 ,art1 ,greek1 #ah1 #ce1 #ei1 #cjf2 ,egyptian1 #bj1 #be1 #cd1 #ef-g2 ,scandinavian1 #bi1 #dj2 ,roman1 #cg1 #fj1 #caj2 ,romanesque1 #cf1 #cbc2 ,christian1 #cg1 #ci1 #cjj1 #cjf1 #caa1 #cae1 #cag2 ,chinese1 #ch1 #gc1 #aec1 #aee2 ,japanese1 #ch1 #fd1 #fe1 #cic2 ,gothic1 #db1 #eb1 #fh1 #cjg1 #cbd2 ,italian1 #dc1 #caa2 ,french1 #df2 ,ecclesiastical1 #da1 #gh1 #cjc1 #cje2 ,aryan1 #fi1 #gj2 ,celtic1 #if1 #bgc2 decorative1 #bhi2 ,lombardic1 #caj2 ,pagan1 #cch4 ,asbestos linen1 #abc4 ,atrebates1 #acf1 #bdf4 ,attalus ,,ii41 #adb4 ,auxerre1 ,bishop of1 #bdb4 ,balawat1 bronze gates from1 #bga4 ,baldachino1 #agj1 #bfh1 #bhc1 #cab4 ,banner1 #bae2 of ,st4 ,cuthbert1 #cdi4 ,bas-relief1 ,assyrian1 #bhg4 ,bayeux tapestries1 #cfg4 ,beads1 #ccb4 ,bede1 mention of worked palls by1 #afj4 ,bedsteads1 #bhb2 at ,kenilworth1 #bhc-d2 at ,hampton ,court1 #cie4 ,bellini1 portrait of ,mahomet ,,ii41 #adg4 ,black1 #ahg4 ,blode-bendes1 or silk arm-bindings1 #cgd4 ,blue1 #ahd1 #ahg4 ,boadicea1 dress of1 #hg1 #cei4 ,bombacinum or cotton1 #ach4 ,book-coverings in library of ,charles ,v41 #bhi4 ,borghese ,palace1 ,rome1 #bgg4 ,british ,museum1 sculptures in1 #bb2 vases1 #ca1 #aad2 frieze of ,parthenon1 #ca2 mantle of ,demeter1 #ic2 ,egyptian dress1 #ic2 glass bowls1 #aja2 carpets from ,nineveh1 #aje2 ,egyptian woollen embroidery1 #acj2 fine linen printed1 #acd2 garment with gold ornaments1 #add2 opus pectineum from ,egypt1 #bcf2 pavements1 #bgb2 bronze statuette of ,minerva1 #big2 specimen of opus ,anglicanum1 #cgf4 ,brocade1 #ada4 ,bronze age1 #ceh2 statues1 #cei4 ,brown1 #ahg4 ,buckram1 #aci4 ,burleigh ,house arras1 #bef4 ,byrri1 #bch4 ,byssus1 #acd-e4 ,byzantium1 #cjf1 #cad4 ,carpets1 #bfa1 #bhe2 ,persian1 #bc1 #gc1 #acb1 #ahh1 #bda1 #bga1 #cga4 ,cashmere1 #acc4 ,castle ,ashby1 tapestries at1 #bgg4 ,catacombs1 #cjd4 ,chair1 #bhe2 chair-backs1 #bhf4 ,chaldean house1 #bha4 ,charles ,i41 #bee1 #cij4 ,charles ,v41 library of1 #bhi1 #bie4 ,chasuble1 #afd2 by ,isabella of ,spain1 #adg2 at ,coire1 #cbh2 of ,st4 ,oswald1 #cfb2 at ,valencia1 #cha2 for ,henry ,,iii41 #cgd4 ,chaucer1 #bea4 ,chemmis1 city of ,pan1 woollen trade in1 #abg4 ,chenille1 #cie4 ,church historical embroideries1 #caf4 ,ciclatoun1 #ade4 ,cinnabar1 #ahc4 ,clavus latus1 #cji1 #ccg4 ,cleves1 ,anne of1 #chd4 ,cochineal1 #ahd4 ,code of ,manu1 #hi4 ,colour1 #age-aic2 prismatic1 #agg2 purple1 #ahj2 crimson1 #ahd2 copper1 #ahd2 yellow1 #ahe2 pure1 #ahi1 #aib2 iodine1 #aij2 chromatic1 #aij2 ,oriental1 #aia2 gas1 #aia2 foundation1 #bhi2 green1 #bhi2 liturgical1 #cje2 mystical1 #cce4 ,complication1 #fg4 ,confusion1 #fe4 ,constantine1 #cjf1 #caf4 ,consutum1 #bad4 ,contrast1 #ff4 ,conventional1 #ga1 #ig4 ,cope of ,st4 ,andrew1 #add2 ,syon1 #bjf1 #cbf2 of ,boniface ,,viii41 #cbj2 at ,rheims1 #cba-b2 ,daroca1 #cbj1 #cgf2 at ,stoneyhurst1 #cdh1 #cgi2 of ,innocent ,,iii41 #cfi2 at ,durham1 #cij4 ,copper1 #ahd4 ,coral1 #hh1 #abd1 #ccb4 ,coronation robes1 #bie1 #cah1 #cfb2 of ,st4 ,stephen of ,hungary1 #cbb2 of ,charles ,x41 #cci2 of ,edward the ,confessor1 #cff2 of ,james ,,ii41 #cic4 ,corselet of ,amasis in temple at ,lindos1 in ,rhodes1 #bj1 #cjh4 ,cotton1 #acg2 cotton trees1 #ach2 woven1 #aci2 cotton plush1 #aci4 ,counterpane worked by ,queen ,catherine1 #chd4 ,coverlets1 #cic4 ,crewels1 #acc1 #bbi1 #cde1 #cih2 work in1 #cij1 #cib4 ,crimson1 #ahd4 ,cross1 #ajc2 of ,st4 ,andrew1 #add2 ,greek1 #afe2 emblem of1 #cjh2 prehistoric1 #cce-f4 ,croyland ,abbey embroideries1 #cff4 ,crusaders1 #cjg1 #cga4 ,curtains1 #bfa1 #bgj1 #bgb1 #bha1 #bhh2 ordered by ,sergius1 #cab2 by ,pope ,john1 #cab2 by ,stephen ,,iv41 #cab4 ,cushion at ,hatfield1 of ,james ,i4's reign1 #cij4 ,cuthbert1 ,st41 #add2 silk garments in tomb of1 #afc1 #afe1 #cfd-e4 ,cyprus bowls1 #aji4 ,dado1 #bga4 ,dais1 the chamber of1 #bhb4 ,dalmatic of ,charlemagne1 #ec1 #cag-ah2 at ,valencia1 #cha4 ,damascus1 #abg4 ,decoration1 #e1 #ej1 #gj1 #bij1 #cee2 art of1 #bgc4 ,decorative1 #ha1 #bgc4 ,design1 #ed-ha2 floral1 #ga1 #cde1 #cdh2 ,english1 #cgg2 by ,st4 ,dunstan1 #cfe4 ,detail1 #ga4 ,dress1 #gj1 #bid1 #cja1 #cgc2 ,greek1 #big-h2 ,roman1 #bii2 early ,christian1 #cjj2 of ,claudius1 #cfj2 of ,duke and ,duchess of ,buckingham1 #cic4 ,durham ,cathedral1 #cdh4 ,dyes1 #ahc1 #ahe1 #ceh2 ,indian1 #ahg4 ,east ,india ,company1 monopoly of trade by1 #chh4 ,ecclesiastical embroidery1 #cjc1 #cbg1 #ccj1 #cec2 for images1 #cje2 priests' robes1 #cjf2 materials used in1 #caa2 names of garments in1 #cac1 #caf2 at ,durham1 #caf2 ,english1 #ccb4 ,edward 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,richard ,cur de ,lion1 #cgd4 ,robes of ,julius ,csar1 #aec2 of ,childeric1 #add2 of ,bishop ,adhelme1 #cfa2 of ,st4 ,thomas ,becket1 #cfi4 ,roger1 ,king of ,sicily1 transports silk-weavers from ,greece1 #afa4 ,roman silks1 #afj2 fashions1 #bii4 ,romanesque1 #cf1 #cjf1 #cbc1 #cfb1 #cfd4 ,roses1 ,wars of1 #cga1 #cgb-c1 #cgh4 ,rugs1 #bhe4 ,runic art1 #bi1 #cjf4 ,samit1 #ade4 ,sampler of ,henry ,,vii4's reign1 #cgi-hj4 ,saracenicum1 #bdj4 ,satin1 #afa1 #agj2 of ,bruges1 #aga4 ,scarlet1 #ahb1 #ahg1 #ahi4 ,school of ,art ,needlework1 ,south ,kensington1 #bai1 #bhh1 #cib2 rise of1 #cif-g2 list of work executed at1 #cih2 designs for1 #cih4 ,schools1 branch of ,art ,needlework1 #cig4 ,screens1 #bfa1 #bhg4 ,sculptures1 #d1 #cec4 ,seam1 #aih4 ,seres1 #aed1 #afj4 ,seventh century work1 #cfa-b4 ,sewing1 plain1 #aig4 ,shells1 #hh1 #abd1 #aij4 ,sicilian patterns1 #aaa2 embroideries1 #abd2 textile designs1 #afb1 #cda2 silk manufactures1 #afh2 fabrics1 #cae2 ecclesiastical designs1 #cca4 ,sicily1 textile art in1 #da1 #cjg4 ,si-ling-chi1 ,empress1 inventor of unwinding the cocoon1 #aef4 ,silk1 origin of1 #aea2 first woven by ,pamphile at ,cos1 #cjj ,b4,c41 #aeb2 ,roman and ,chinese1 #aec1 #afj2 trade in1 #aec2 in cocoon1 #aec1 #aef2 wild silk in ,china1 #aed-e2 attire mentioned in ,latin poets1 #aeg2 silken robes sold by ,marcus ,aurelius1 #aeh2 garments given by ,emperor ,carinus1 #aeh2 edict of ,diocletian1 with prices of articles1 #aei2 silk mentioned by poets and historians from first to sixth century1 #aei2 silkworm1 #aei2 monopoly of silk manufactures in ,constantinople1 #aei2 first allusion to use of silk in ,christian ,church1 #afj2 palls of silk brought from ,rome1 ,a4,d4 #fhe1 #afj2 ,bede's remains wrapped in silk1 #afj2 specimens of silk in ,auberville's ,tissus1 silk tissues called ,imperial1 #afa4 ,silk-weavers1 ,jewish1 at ,thebes in #aafa1 #afa2 transported by ,roger1 ,king of ,sicily1 from ,greece to ,palermo1 #afa1 #afe2 description of ,royal manufactory at ,palermo1 by ,hugh ,falcandus1 twelfth century1 #afa2 three periods in ,sicily1 #afb-c2 ,saracenic1 in ,india1 #aff-g2 ,italian1 in ,lyons1 #adej1 #afg1 #afi2 ,spanish at ,malaga and ,almeria1 #afh2 in ,hungary under ,queen ,gisela1 #afi2 in the ,flemish towns1 #agj2 ,asiatic1 #agj4 ,smock of ,mary ,tudor1 #che4 ,society of ,arts1 ,birmingham1 #bib4 ,sofas1 #bhe4 ,spangles1 #adf4 ,spanish ,armada1 hangings1 #bec4 ,sphinx1 #bfe4 ,spinning1 #ceg4 ,stamford1 ,arras woven at1 #bef1 #beg4 ,stitches1 #aid-bei2 lists of1 #aif2 gold1 #bjc2 mosaic1 #bjd2 cushion1 #bjd2 plumage1 #bjg2 satin1 #bad2 sampler1 #bcd2 ecclesiastical1 #cde2 stem1 #bad4 ,stole1 #cjh2 at ,durham1 #cfd2 of ,aelfled1 ,queen of ,edward ,,ii41 #cfd4 ,style1 #ad-ec4 ,sun-cross1 ,egyptian1 #ccg4 ,sunflower1 #ia2 radiated pattern of1 #aaa4 ,surcoat of ,black ,prince1 #cgc4 ,swastika1 #ajc4 ,symbolism1 #ei1 #ie1 #ih1 #cjg1 #ccc1 #ccd-e1 #ceb4 ,symmetry1 #fc-d4 ,table covers1 #bhg4 ,tanaquil1 robes worked by1 #abi4 ,tapestry1 #bce-bei2 in ,british ,museum1 #bcf2 woven1 #bcg2 of ,charles1 ,duke of ,burgundy1 #bdc2 ,gobelins1 #bcg2 ,arras1 #bch2 ,saracenic1 #bdj2 at ,brussels1 #bde2 ,french1 #bde2 ,italian1 #bde2 ,english1 #bdh1 #bgg2 revival of1 at ,windsor1 #beg2 in ,cluny ,museum1 #bgg4 ,taste1 #eb2 ,oriental1 #chh4 ,tau1 #cce4 ,tent1 funeral1 of an ,egyptian queen1 #be1 #bae2 of ,antar1 #bfc2 of ,nadir ,shah1 #bfc2 of ,alexander1 #bfd2 of ,ptolemy ,philadelphus1 #bfd-e2 ,persian1 #bfe4 ,textile art1 #de1 #ei1 #gd1 #gg1 #ic1 #ajd1 #ajg1 #agd1 #agf1 #ahg1 #bje1 #cjg1 #caj4 ,thebes1 silk-weavers of1 #afa4 ,tissus of ,auberville1 #afj4 ,titian1 #agh4 ,toga1 #cch4 ,tomb of ,agamemnon1 #ai2 of ,rameses1 #bj2 of warrior at ,kuban1 #abi2 in ,crimea1 #acj1 #bag2 ,anglo-,saxon1 #add2 of ,st4 ,cuthbert at ,durham1 #afc4 ,trabea1 #cji1 #ccg4 ,tree of ,life1 #ccf4 ,triptych in ,cluny ,museum1 #baa2 at ,zurich1 #cbh4 ,tyrian purple1 #ahj1 #bhi4 ,ulysses1 #bha4 ,vatican1 ,etruscan gold ornament1 #ba1 #bie1 #cjj4 ,veil of ,temple1 #bb2 classical1 #bfa1 #bfe1 #caa1 #cab2 for pyx1 #cej2 of ,hebrew sanctuary1 #caa1 #cea4 ,velvet1 #gf1 #cde1 #cdg2 stoles1 #afa1 #agb1 #bba2 pall1 #cgh4 ,venetian red1 #bhi2 style1 #cjf4 ,vestments1 #cac1 #cbf2 ,italian1 #cbi2 ,spanish1 #cca2 modern1 #cdc2 set presented to ,romsey and ,croyland by ,canute1 #cff1 #cgj2 set bequeathed to ,westminster ,abbey by ,henry ,,vii41 #cgi4 ,watteau1 school of1 #bdh4 ,welby1 ,lady1 founder of ,school of ,art ,needlework1 ,south ,kensington1 #cif4 ,wiglaf1 ,king1 #cfb4 ,william and ,mary1 #cic4 ,wilton carpet works1 #aij4 ,windsor1 #beg1 #cih4 ,wool1 #abe1 #abg1 #acj2 ,berlin1 #cie4 ,worcester1 dress in tomb of ,walter de ,cantilupe1 #cbj2 cope of ,william of ,blois1 #cbb2 tomb of ,king ,john1 #cgc4 ,workhouse sheeting1 #adj4 ,wroxton ,house1 ,arras at1 #bef4 ,york1 ,archbishop of1 ,arras with design of the ,four ,seasons1 #bee4 ,zoroaster1 #aja4 ,,errata4 ,page xv1 line #bg1 for ,albert ,castet read ,albert ,castel4 #aj1 #bd1 read as that of an important factor4 #ag1 #bb1 for slow read swift4 #bf1 #af1 for art read artistic4 #db1 #af1 for are read were4 #ef1 #e1 read advance of them1 in the earliest4 #ff1 #ba1 for we read ,i4 #ge1 #bj1 for ,these read ,those4 #aja1 #ah1 for from ,cervetri1 in ,southern ,italy1 read from a tomb at ,chiusi1 in ,etruria4 #aef1 #h1 for ,chin read ,chan4 #aie1 #bj1 for #f1 #g4 ,bone needles from ,neolithic cave-man's grave1 read #f4 ,cave-man's needle from the ,pinhole1 ,churchfield1 ,ereswell ,crag4 #g4 ,bone needle from ,la ,madeleine1 ,dordogne4 #aih1 #e1 footnote1 for act read art4 #bjh1 #c1 footnote1 for ,arte ,plumarii read ,arte ,plumaria4 #bcg1 #h1 for which prove read proving4 #bci1 #ag1 delete after of art4 #ah1 insert after backwards4 #bdb1 #i1 for in the ,crimea read at ,chiusi4 ,transcriber's ,note ,page #bjb--the marker for footnote #b was missing in the original4 ,the transcriber has estimated where it should have been1 based on the text and reference material therein4 ,page #cjc includes an excerpt from ,psalm #de1 with quoted verse numbers of #aj1 #ad and #ae4 ,these should be verses #i1 #ac and #ad4 ,archaic spelling is preserved as printed4 ,variable spelling1 hyphenation and use of accents has been made consistent where there was a clear prevalence of one form over the other1 or with reference to reliable sources2 otherwise1 these are preserved as printed4 ,typographic errors1 e4g4 omitted1 superfluous or transposed letters1 and punctuation errors have been repaired4 ,other amendments are as follows3 ,plate #ga--precipit amended to precepit and omitted word 'pio' added--444 ,aelfled fieri precepit pio ,episcopo ,fridestano4 ,page xx--#c amended to #i--;,from ,layard's ,monuments1 ,series i4 pl4 #i4 ,page xxi--,edward amended to ,richard--#f4 ,badge of ,richard ,,ii4 ,page xxii--,john amended to ,mark--,,st4 ,,mark4 ,anglo-,saxon ,book of the ,gospels4 ,page #aae--e4 removed from beginning of section title1 for consistency with others in that chapter1 ,,geometrical4 ,page #aig--;,encyclopedia amended to ,cyclopdia--,the second list is from ,rees' ,cyclopdia 7,stitches71 #ahai 444 ,page #caa--;des ,antiquits amended to ,royale des ,antiquaires--444 par la ,socit ,royale des ,antiquaires du ,nord 444 ,page #caf--,lwewelig amended to ,wledig--444 and in the ,welsh ballad of ,the ,dream of ,maxen ,wledig 444 ,page #caf1 footnote #ejb--,pallison's amended to ,palliser's--,see ,mrs4 ,palliser's ,lace1 p4 #d4 ,page #cbj--,t4 amended to ,i4--444 7see ,hon4 and ,rev4 ,i4 ,clifford's list of embroideries in ,appendix #e74 ,page #cca--,riario amended to ,riano--,don ,juan ,f4 ,riano#ecc says that ,toledo is a perfect museum 444 ,page #cca1 footnote #ecc--,riario amended to ,riano--,see ,the ,industrial ,arts of ,spain1 pp4 #bej-bfd1 by ,don ,juan ,f4 ,riano1 444 ,page #dag--cej amended to #cdh--;,design1 444 floral1 #ga1 #cde1 #cdh2 444 ,page #dag--baj amended to #aji--;,embroideries1 444 ,egyptian1 #ic1 #aad1 #acj1 #acd1 #bji1 #bcf1 #bga2 444 ,page #dai--dg amended to #df and #cjh amended to #bgf--,louis ,,xiv41 #df1 #bdg1 #bgf1 #ccb1 #cic4 ,page #dai--afg amended to #ic--,mosaics1 444 ,empress ,theodora's dress figured in1 #da1 #ic2 444 ,page #dai--cjf amended to #aag--,mosaics1 444 in ,sta4 ,maria ,maggiore1 #aag1 #cbb4 ,page #dbj--;index entries for ',pall' and ',pamphile1' which originally followed the entry for ',pattern1' have been moved to their correct places4 ,page #dba--cii amended to #cde--,stitches1 444 ecclesiastical1 #cde2 444 ,there are a number of discrepancies between the information in the list of illustrations 7,,loi7 and the information on the plates themselves4 ,some of these are simple omission1 others involve conflicting information4 ,the transcriber has resolved and repaired some of these differences with reference to alternative sources4 ,in general1 it seems that the information on the plate is correct4 ,those that could not be resolved are as follows3 ,pl4 #e--,,loi has ,journal ,asiatique1 ,syro-,egyptien-,phnicien4 ,plate has ,journal ,asiatique1 ,coupe de ,palestrina4 ,pl4 #i--,,loi has sixteenth century4 ,plate has seventeenth century4 ,pl4 #aj--,,loi has #e1 #f1 #g4 ,egyptian smooth and rippling wave pattern4 ,plate has #e1 #f1 #g4 ,egyptian ,smooth and ,rippling ,water ,patterns4 ,pl4 #aj--,,loi has #aj1 #aa1 #ad4 ,babylonian and ,chaldean4 ,plate has #aj1 #aa1 #ad4 ,assyrian4 ,pl4 #aa--,,loi omits ,assyrian references4 ,pl4 #ab--,,loi has #b1 #c4 ,egyptian4 #d1 #e4 ,greek4 ,plate has #b1 #c4 ,indian ,lotus ,patterns4 #d1 #e4 ,egyptian ,lotus ,patterns4 ,pl4 #ae--,,loi has ,book of ,kells4 ,plate has ,lindisfarne ,gospels4 ,pl4 #bj--,,loi has #a1 #b1 #c4 ,assyrian4 #d4 ,sicilian ,silk4 #e4 ,medival4 ,plate has #a1 #b1 #c1 #e4 ,assyrian4 #d4 ,sicilian ,silk4 ,pl4 #bh--,,loi has #a4 ,dress patterns from old ,,ms4 #b1 #c4 ,old ,english tiles4 ,plate has #a1 #b4 ,gothic tiles4 #c4 ,gothic ,border of a ,dress4 #d4 ,gothic ,vine4 ,pl4 #ca--,,loi omits mention of a third ,egyptian fundata pattern4 ,pl4 #cb--,,loi references ,bock's ,lit4 ,gew4 ii4 p4 #bdf4 ,plate references ,vol i4 taf4 xi4 ,pl4 #ce--,,loi omits mention of a peacock pattern4 ,plate omits mention of ,persian type4 ,pl4 #da--,the source of the examples are either omitted or different on the ,,loi to those given on the plate4 ,pl4 #fh--,,loi has sixteenth century4 ,plate has fifteenth century4 ,pl4 #gj--,,loi has ,a4,d4 #dcd4 ,plate has sixth century4 ,pl4 #gb--,,loi ,,st4 ,,gregory ,,and ,,st4 ,,john 7,,prophet74 ,plate has ,st4 ,john and ,st4 ,roger4 ,pl4 #gd--,,loi gives different title for ,strutt's book to that given on the plate4 ,from research1 it seems that the short title is actually ,the ,regal and ,ecclesiastical ,antiqities of ,england4 ,pl4 #gf--,,loi has twelfth century4 ,plate has ,,xiii4 century4 ,illustrations have been moved where necessary so that they are not in the middle of a paragraph4 ,some of the plates do not have numbers on the plate themselves4