gett: a tay 1A EROS eer ae ee ” = - CHAR fH il Wh te Pat Bt AHARARRIE RARE ARH I I; itil nk THE J. PAUL GETTY MUSEUM LIBRARY HISTORIC TEXTILE FABRICS Frontispiece. FLOWERED FRENCH Second half of XVIII Century. SIE KS bROGAD is HISTORIC TEXTILE FABRICS A SHORT HISTORY OF THE TRADITION AND DEVELOPMENT OF PATTERN IN WOVEN ®&® PRINTED STUFFS BY RICHARD GLAZIER HEADMASTER OF THE MUNICIPAL SCHOOL OF ART, MANCHESTER HON. ASSOCIATE OF THE ROYAL COLLEGE OF ART ASSOCIATE OF THE ROYAL INSTITUTE OF BRITISH ARCHITECTS AUTHOR OF “A MANUAL OF HISTORIC ORNAMENT” ILLUSTRATED BY 83 PHOTOGRAPHS AND OVER 120 DRAWINGS CHIEFLY BY THE AUTHOR TOGETHER WITH 4 PLATES IN COLOUR NK G55 NEW YORK CHARLES SCRIBNER’S SONS LONDON: B. T. BATSFORD LTD. t= . < ; mr ‘3 - \ v -M 2h ; . 4 ‘MADE AND PRINTED IN GREAT BRITAIN _ 1 3 He r et eye s : “i Pe do! THE J. PAUL GETTY MUSEUM ow hati A 0 Aes io a eae PREFACE HE purpose of this manual is to give a short, but, never- theless, a comprehensive history of figured weaving; tracing its development through what is termed the characteristics or styles of certain periods, communities, or countries, and thus enabling those readers who are interested in woven or printed patterned fabrics to understand readily and to appreciate the magnificent inheritance of beautiful and useful examples of the weaver’s craft that now lie available for reference and inspiration to those who desire to know what has been done in the past, and what may be done in the future. To the designer, the salesman, the student, and also the general reader, the study of ancient, medieval, and Renaissance fabrics, with their delightful imagery, variety and beauty of form, texture, and colour, correlated as they are with the social and industrial life of the present day, should prove interesting, instructive, and stimulat- ing, as the possibilities of the craft for usefulness or richness of material, together with suggestiveness and beauty of pattern, are understood and appreciated. Advantage has been taken to secure representative examples of textile design from the splendid collections of historic fabrics in the Victoria and Albert Museum, and also from the smaller yet choice Manchester Collections, both of which are freely accessible to all who are interested in the subject. The Author’s thanks are due to Mr. Herbert Batsford for his experienced co-operation, and also for his valuable help in securing many hitherto unpublished photographs of fabrics included among the illustrations of this manual. RICHARD GLAZIER MANCHESTER NOTE HE publication of Mr. Glazier’s book has been held over owing to the death of the Author and various unfavourable conditions. In view of the revived interest in Textile Design it seemed advisable to increase the scope and comprehensiveness of the book by adding considerably to the number of the photographic plates, especially in regard to such styles as Coptic and Chinese, and the period of the later 18th and early 19th centuries. The endeavour has been, while keeping the book moderate in size, to include a further selection of Textile Patterns which should increase its usefulness for reference, and enable it to be studied as a brief but, it is hoped, not altogether inadequate survey of the evolution and changes of Design, woven and printed. At the present time the text has been extended by the inclusion of further notes and particulars, chiefly on the Historical side, and grateful acknowledgment is due to the Authorities who have helped by advice and suggestions, by reading the proofs and correcting the text. At the same time additional details have been inserted in regard to the colours and provenance of the stuffs illustrated. THE PUBLISHER March 1923 vi VII. CONTENTS PAGE PREFACE. : , ; ; : . : V INDEX TO PLATES AND TEXT ILLUSTRATIONS . : - ix . INTRODUCTION . : : ; ‘ ; I Classification of Ty, pes. . MATERIALS USED BY THE WEAVER : 3 Silk—Cotton—Hemp—Gold and Silver—The Making of Cloth—Medieval Fabrics—Cloth of Gold—Baudekins— Fustian— Diaper. . THE Loom : ‘ c ; II The Draw Foor “The racruned Toot . THE EVOLUTION OF PATTERN . : : “ ny . WovEN PATTERNS : : net mes ts . EARLY TAPESTRIES ; ; , : ease 2E Peruvian Patterns. WoveEN Faprics. ; : : : : Bee Greek—Sassanian—The Frieze of Archers—Arrangement of Pattern—Woven Patterned Fabrics—Asiatic—Floral Type of Pattern—Indian—Cashmere Shawls—Chinese— The Sung Dynasty—Cultivation of Silk—Japanese—Persian —Other Islamic Fabrics—Sicilian Patterned Fabrics— Palermo Patterning—Thirteenth-Century Designs—Spanish Work—Early Lucchese, 13th Century—Late Lucchese, 14th Century—Florentine, 15th Century—Florentine Vel- vets—Brocatelle Patterns—Cultivation of Italian Silkk— Genoese Coloured Velvets—The Vase Pattern—Changes in Design—Mixed Fabrics—French, Lyons, 17th and 18th Centuries—Period of Louis XIII.—The Rouen Potters— The ocaille Type of Ornament—Refinement of Design —The Empire Period—Weaving Industry in Flanders, 16th Century — Linen Damasks— Irish Linen — English Fabrics, 18th Century—Silk Weaving—Spitalfields Weaving Industry. vii CONTENTS VIII. THe PRINTED PATTERN Block Printing—Machine or a hclien Printing. IX. DyED AND PRINTED FABRICS The Dyeing of Eis es tea in Colours—Baniee Printed Fabrics—Indian Printed Calicoes—Printing from Metal Rollers—Genoese Printed Fabrics. X. ECCLESIASTICAL VESTMENTS : Amice — Apparel — Alb— Ghasebte — Cope — Dalene Maniple—Orphreys—Stole—Tunicle. RETROSPECT A SHort REFERENCE List OF Books ON TEXTILE DESIGN . INDEX TO TEXT. Vill PAGE a5 99 IIl 113 115 117 INDEX TO PLATES AND TEXT ILLUSTRATIONS The references in Roman Numerals are to Plates ; those in Arabic Numerals refer to the Text Illustrations. Animas, PatTrerns wITH. Chinese Brocade, probably 18th Cent., xvi. ; Fabrics of Hither Asia or Alexandria, 6th—7th Cent., xm.; Flemish Linen Damasks, txxvi. ; Flemish Linen, 16th Cent., .txxv.; Lucchese Brocade Silk, Early 14th Cent., 1.3; Lucchese Silks, 13th Cent., xxxvi.; Persian Brocade, Late 16th Cent., xxvu.; Persian Silk Brocade, Late 16th Cent., xxrx. ; Sassanian Silks, xi.3; Sicilian Brocades, 13th Cent., xxxin. ARTICHOKE. Florentine, 15th Cent., xxxvul. ; Florentine Pattern, 32, 33; Florentine Velvets, Early 16th Cent., xt.; Italian Pattern, 47. AssyriAN Reiger. 8. Batixs. Javanese, 18th Cent., Lxxxv. ; 19th Cent., Lxxxvi. Birps, PatTTerns wWITu. Chinese Silk ‘Tapestry, 18th Cent., xix.; French Silk Tex- tiles, 18th Cent., rxxi. ; Japanese Brocades, Early 19th Cent., xxu. ; Lucchese Silk, 13th Cent., xxxvi. ; Saracenic Silk Brocades, tith—14th Cent., xxxiv. ; Sassan- ian Silks, x1. ; Sicilian Brocades, 13th Cent., xxx. ; Silks, possibly Sicilian, 13th Cent., xxxu. Borpers. Brocaded, 16th Cent., Lv. ; Chinese Silk Tapestry, 18th Cent., x1x.; Chinese Weaving, 253; Coptic Tapestry, 6th Cent., mi., xu.; Design for Printed Cottons, Indian, 18th Cent., xciv.; Flemish Linen, 16th Cent., yxxv.; Indian Brocades, 17th Cent., xvi.3; German Printed Cottons, 18th Cent., xcv.; Javanese Batiks, 18th and roth Cent., rxxxv., Lxxxvi.; Moorish Brocade, Granada, 29; Persian Printed Cover, 18th Cent., LxxxIx.; Persian Silk Brocades, 18th Cent., xxvi.; Peruvian Cloth, 10, 113 °&®Peruvian Tapestry, x.; Printed Cotton Scarf, Early 19th Cent., cit. ; Sicilian Brocades, 13th Cent., xxx. ; Spanish Silk Brocade, 18th Cent., rxxu1.; Woven Silk Fabrics, Empire Period, Lxx1. BrocaDes. Borders, 16th Cent., Lv. ; Chinese, probably 18th Cent., xvi. 3; Design by Gabriel Tri- chard, 41; Early Sicilian, 26; Florentine Velvet, 15th Cent., xxxvi.; French and Spanish, Late 17th Cent., vxiv.; Indian, 17th Cent., xv., xvi; Italian Satin, Late 15th Cent., xum. ; Japanese, 18th and Early 19th Cent., xxm.; Moorish, 15th Cent., 29; Persian, Late 16th Cent., xxvu. ; Sicilian, 13th Cent., xxxin.; Spanish, 15th Cent., xxxv.; Spanish Satin, Late 17th Cent., Lvu. BrocaDEs, SILK. Chinese Velvet, 18th Cent., xx. ; Florentine Brocaded Damask, Late 15th Cent., u.; Flowered French, Second Half of 18th Cent., Frontispiece ; French, Early 18th Cent., Lxi., Lxum. ; French, 18th Cent., Lxvi. ; INDEX TO PLATES AND ILLUSTRATIONS French (or Italian), Late 17th Cent., ux. ; French (or Spanish), Late 17th Cent., tvim.; French (or Spanish), Middle 18th Cent., ixvi.; French (or Spanish), 18th Cent., rxvu. ; Italian, Early 18th Cent., rxu.; Italian, 15th Cent., xu. ; Italian Silk Robe, 16th Cent., u1.; Japanese, Early 19th Cent., xxiv.; Japanese, Late 17th Cent., xxm.; Japanese, Late 18th Cent., Lxxxtll. ; Lucchese, 30; Lucchese, Early 14th Cent., 1.3; Persian, 17th Cent., xxvi.; Persian, Late 16th Cent., xxix. ; Persian Robe, 17th Cent., xxvi.; Saracenic, 11th— rath Cent., xxxiv.; Sicilian Cover, 17th Cent., tiv. ; Spanish, 18th ~Cent., Lxxil.,” LxxIv. ; Spitalfields, 18th Cent., Lxxix., LXXX., LXXXI., Lxxxu.; Turkish, 16th Cent., xxx., xxx1.; Vene- tian, Early 16th Cent., xxiv. BrocaTELtes. 16th Cent., xiv. ; Early French, rth Cent. LH. Byzantine Sturrs MEDALLION. 19. ByzANTINE Woven Stk Fapsrics. 10th or 11th Cent., xiv. CuineseE Brocabe. Probably 18th Cent., xvim. 5 Silk Velvet, xix. Curnese Looms. Cotton, 6; Silk, 5. CuineEsE SILKs. 18th—1gth Cent., xvi, xx. Cuinese Sirk TAPESTRY. 18th Cent., xix. CHInEsE WEavING. 14th Cent., 25. CHINTZ. English, Early 19th Cent., cl. ; English Printed, 18th Cent., xcix., c.3 Indian, 18th Cent., XC.—XCIII. Cuurcw VESTMENTS. 48. CoLtocne WeEavINGs. 15th Cent., Lxxvil., 42. Corour Prints. Japanese by Shunsen, 18th Cent., XXI. Cotour Printinc. Vide under PrinTING. ConsuLaTE AND DirEcTorRE. Vide under ** Empire’’ Fasrics. Corric Tapestry. 6th Cent., m., 1x.; from Upper Egypt, 5th or 6th Cent., x1. Corrons PrinTED. Dutch Hanging, 18th Cent., xcvi.; English Glazed, 18th Cent., c1.3 French Hangings, Late 18th Cent., xcvil., XCVIII. ; German, 18th Cent., xcv.; Indian, 18th Cent., xcrv.; Italian Scarf, Early 19th Cent., cu. Cover. Persian Printed, 18th Cent., LXXKIS; Damasks. Flemish Linen, 16th Cent., txxvi.; Florentine, 15th Cent., xul.3; Irish Linen, 18th Cent., txxvit. ; Lucchese, Early 14th Cent., xxxvil. Damasxks, Linen. Flemish, Lxxv., LXXvI. Damasxs, SILK. Florentine, Brocaded, Late 15th Cent., u.; French, Late 17th Cent., tx.; French, Late 18th Cent., cxix., wxx.; Sicilian, possibly 13th Cent., xxxtl. ; Spanish (or Italian), Late 15th Cent., xxxix.; Spanish, Late 18th Cent., Lxx. Diapers, PATTERNS OF. Brocaded Silk Robe, Italian Weaving, 16th Cent., 1. ; Chinese Silks, 18th-19th Cent., xx.; Coptic Tapestry from Upper Egypt, 5th-6th Cent., xu. 3 Doublet of Green Velvet, Italian, Early 17th Cent., xxrx. ; Egyptian Tapestries from Akh- mim Panopolis, vim.; Greek Patterns, 15, 16, 17; Japanese Colour Print by Shunsen, 18th Cent., xxi1.; Japanese Silks, 18th Cent., 25. INDEX TO PLATES AND ILLUSTRATIONS Dovster. Italian, Green Velvet, Early 17th Cent., xLix. Draw Loom. DutcH Printrep HanGinGs. 18th Cent., xcvi. Ecyrtian Earty Looms. IV. nig EGcypTrian Earuy PaTrerns. Slate Relief, 7, 46. Ecyptian T ApESTRIES. From Akhmim Panopolis, vin. ‘sEmpire”’ Fasrics. French Silk Textiles, -txxn. ; Woven Silk Fabrics, Lxx1. EncuisH Earty Looms. 4. EncutsH Guiazep Corron Print. 18th Cent., ci. Encuso Printep CHINTz. Early 19th Cent., ct. ; Cent. Design, xcix., c. EncuisH Woop Brock. 44. 18th Fatcon’s Loom. Early 18th Cent., v. FriemisH Linen. Damask, 16th Cent., 16th Cent., xxv. FLoRENTINE ARTICHOKE. Vide ARTICHOKE. FLorenTiInE Damask. Brocaded Silk, Late 15th Cent., is. 25th Cent., x11. FLorENTINE FiLorat Patrern. EXXVI. 34- Fiorentine Vetver Brocapbe. 15th Cent., xxxvil. FLorenTINE VELVETS. Early 16th Cent., xv. Frencu Brocapes. Flowered Silk, Second Half of 18th Cent., Frontispiece ; Late 17th Cent., txiv.; Silk, Early 18th Cent., cx1., -xiu.; Silk, 18th Cent., rxvu., xvi. ; Silk, Late ft Scene, tvi., vix.; Silk, Middle 18th Cent., xvi. Frencn Earty Brocate.ugs. 17th Cent., xvi. Frencu Printrep Haneincs. Late 18th Cent., xcvu., xcvil. FrencH Sitk Fasrics. Late 18th Cent., rxxu.; Woven, the Empire Period, Lxx1. Frencu Sirk Damasks. Late 17th.Cent., .x.; 18th Cent., Lx1x., Lxx. Late FRIEZEs. Of Archers, Susa, 18. Genogse VELVETS. Late 18th Cent., Baroque Style, 06 ath Cent, xv. GERMAN Printep CorTrons. 18th Cent., xcv. German Printep LINENS. 13th Cent., LXxxvil. Greek Costume. Froma Greek Vase by Python, 14. Greek Faprics. From a Greek Vase by Hieron, tas Patterns, £5, 10:17. Hats, Frans. Nurse and Child, from a Painting by, 1. Hancincs. Dutch Printed, 18th Cent., xcvi.; French Printed, Later 18th Cent., xcvi. HirHer Asian oR ALEXANDRIAN Faprics. 6th or 7th Cent., xm.; Medal- lion, 20. Inpian Brocabes. 17th Cent., xv., xvi. Inpian CHINTZ. 18th Cent., Designs for, xc., XCI., XCII., XCIII. InpiAN PALAMPORE. 18th Cent., rxxxvi. 2a. Inpian Printed Corrons. 18th Cent., Designs, xciv. 43. InpiAN Pine SHAWL. Inpian Woop Bt tock. Irish Linen Damask. 18th Cent., Lxxvul. Istamic Morives. Vide under Perstan and Turkisn. Travian ARTICHOKE PaTrerN. 47. INDEX TO PLATES AND ILLUSTRATIONS Iratian Satin Brocabe. Late 15th Cent., xu. Iravian Sirk Brocanes. Brocaded Silk Robe, 16th Cent., Lis. Early) 18th) Cente, uxi.5 15th Cent., xii. Irauian Textite Desicn. The Vase Pattern, 36, 37. Iratian VELVETS. Green Velvet Doublet, Early 17th Cent., xurx.; 16th Cent., xiv. ; Silk, 17th Cent., Lu. JacguarD Loom. Early 19th Cent., vi. Jacguarp Weavinc. Diagram of, vu. JAPANESE BrocaDEs. 18th and Early 19th Cent., xxu. ; Silk, Early 19th Cent., xxiv. ; Silk, Late 17th Cent., xxi. JAPANESE SILKS. 18th Cent., xxv. JAPANESE STENCIL PATTERNS. 1gth Cent., ci., civ. JAVANESE Batiks. 18th Cent., rxxxv.; 19th Cent., LXXXVI. LINENS. Damask, 18th Cent., vLxxvit. ; Flemish, 16th Cent., Lxxv.; German Printed, 13th Cent., LXXXVII. Looms. Chinese Cotton, 6; Early Egyptian, 2, 33; Early English, 43 Chinese Silk, 5; Falcon’s Loom, Early 18th Cent., v.; Old Draw Loom, 1v.; Original Jacquard Loom, Early 19th Cent., vi. Louis XV. Farrics. French Silk Brocade, Louis XV., 18th Cent., xvi; French (or Spanish) Silk Brocades, 18th Cent., txvu.; French (or Spanish ) Silk Brocade, Middle 18th Cent., txvi.; Italian Silk Brocade, Early 18th Cent., rxu.; Relief Orna- ment, Rocaille Period, 40; Spanish Satin Brocade, Late 17th Cent., xil Lvu.; Spanish (or French) Silk Brocade, Late 17th Cent., tvim. Louis XVI. Fasrics. Design for Brocade by Gabriel Trichard, 41; French Silk Damasks, Late 18th Cent., LXIX., LXX. LuccuEseE Damask. Early 14th Cent., xxxvu. LuccuEsE SILK. Brocade, Early 14th Cent., 1. ; 14th Cent., xxxvi. Lyons, Woven Sitk Fasric. 39. Macuines. Diagram of 3-Colour Printing, LXXXIV. Marort, Danie. Design for Velvet, end of 17th Cent., Lxv. MEDALLIONS. Alexandria or Hither Asia, 20; Byzantine, 19. Naturauistic Desiens. Early 18th Cent.—French Silk Brocades, Lx1., Lxim.; Italian Silk Brocade, Lx. Late 18th Cent.—Chinese Silks, xvu.; English Printed Chintzes, xcix., c.3; Flowered French Silk Brocade, Frontispiece, Lxvi., Lxvil. 3; French Silk Damasks, LXIX., Lxx.; German Printed Cottons, xcv.; Spitalfields Silk Brocades, Lxxx.—LXxXIII. 19th Cent.—Japanese Silk Bro- cades, XxIv. ORPHREYS. Vide CotoGne WEavINGS. PALAMPORE. Indian, 18th Cent., txxxvm. PATTERNED Fasrics. Byzantine Woven Silk, 10th or 11th Cent., xiv.; Early Egyptian, 7, 27, 46; Florentine Floral Pattern, 34; Hither Asia or Alexandria, 6th or 7th Cent., xi.; Lucchese Pattern from Italian Painting, 31; Nurse and Child from painting by Frans Hals, Early 17th Cent., L. INDEX TO PLATES AND ILLUSTRATIONS Persian Brocanes. Late 16th Cent., xxvu.; Satin Robe, 17th Cent., xxvm.; Silk, rth Cent., xxvi.; Silk, Late 16th Cent., xxix. Persian Puate. 16th Cent., 9. Persian Printep Cover. 18th Cent., rxxxix. Persian VELVET. 24. Peruvian Tapestry. 10, 11, 123; From Tombs near Lima, x. “Pine”? Ornament, INDIAN. Design for Indian Chintz, 18th Cent., xcm., 23; Indian Brocades, ruth Cent., xv., Xvi. PoMEGRANATE PATTERN. Florentine Brocaded Silk Damask, Late 15th Cent., 1.; Florentine Damasks, 15th Cent., xt. ; Florentine Velvets, Early 16th Cent., xt.; Spanish (or Italian) Silk Damask, Late 15th Cent., xxxix.; Velvet Brocade, 15th Cent., xxxvill. Printep Fasrics. Designs for English Printed Chintz, 18th Cent., xcix., c.; Designs for Indian Chintz, 18th Cent., xci.—xcu.; Designs for Indian Printed Cottons, 18th Cent., xciv.; Dutch Printed Hanging, 18th Cent., xcvi.; English Chintz, Early 19th Cent., c1.; English Glazed Cotton Print, 18th Cent., c1.; French Cotton Hanging, Late 18th Cent., xcvui.; French Printed Cotton Hanging, Later 18th Cent., xcvu.; German Printed Cottons, 18th Cent., xcv.; German Printed Linens, 13th Cent., txxxvu.; Indian Palam- pore, 18th Cent., Lxxxvi. ; Italian (Mezzaro) Printed Cotton Scarf, Early 19th Cent., cu. ; Japanese Stencil Patterns, 19th Cent., cu., crv.; Javanese Batiks, 18th and 19th Cent., Lxxxv., Lxxxvi.; Persian Printed Cover, 18th Cent., txxxix. Xili Printinc Macuines. Colour Printing, 45; Diagram of 3-Colour, Lxxxiv. RELIEF ORNAMENT, PeRiop. 40. ROCAILLE Roses. Italian Silk Brocade, 16th Cent., ul; Persian Silk Brocade, 17th Cent., xxvin.; Silk, St. Cuthbert in Durham Cathedral, 22. RocAiLLeE Periop. French Silk Brocade, Louis XV., yxvil.; French (or Spanish) Silk Brocades, 18th Cent., LXvi., Lxvul.; Italian Silk Brocade, Early 18th Cent., rxu.; Relief Ornament, 40; Spanish (or French) Silk Brocade, Late 17th Cent., tv. ; Spanish Satin Bro- cade, Late 17th Cent., tvu. SarAcenic Sitk Brocapes. 11th—14th Cent., xxxiv. SASSANIAN SILKS. XI. ScarF. Italian, Printed Cotton, Early 19th Cent., cn. SHAWLS. Indian Pine, 23. SHUNSEN. Japanese Colour print by, 18th Cent. xxi Siciu1an Brocapes. 13th Cent, xxx; 26. SiciLian SILKs. 13th Cent. (possibly), xxxu.; 28. SILKS. Chinese, 18th—-1g9th Cent., xvu., xx. 3 Japanese, 18th Cent., xxv. ; Lucchese, 14th Cent., xxxvi. ; Lyons, Woven Fabric, 39; Robe, St. Cuthbert, in Durham Cathe- dral, 22; Sassanian, x1.; Sicilian, 28; Sicilian (possibly), 13th Cent., XXXII. SpanisH Brocabes. reth Cent., xxxv.; Late 17th Cent., txiv.; Satin, Late 17th Cent., tvu.; Silk, 18th Cent., LXXIII., LXXIV. INDEX TO PLATES AND ILLUSTRATIONS SpANISH SILK DAMASKS. Late 18th Cent., Lxx. SPITALFIELDS. Silk Brocade, Late 18th Cent., yxxxu.; Silk Brocade, 18th Cent., Designs for, LXXIX., LXXX+, LXXXI., LXXXII. Stenci, PATTERNS. Japanese, 19th Cent., ci., Civ. Susa. Frieze of Archers, 18. ‘T APESTRIES. Chinese Silk, xx. ; Coptic, from Upper Egypt, 5th or 6th Cent., xu.3; Coptic, 6th Cent., 11., 1x. 5 Egyptian, from Akhmim Pan- opolis, vit.; Peruvian, from Tombs near Lima, x. 'TRICHARD, GABRIEL. Design for Brocade, Louis XVL., 41. TurkisH Rep VELVET. 2 I. TurxisH Sirk BrocaDEs. 16th Cent., xxx., XXXI. Vase PatTern. 36, 37- XiV VELVETS. Chinese Silk Brocade, 18th Cent., xix.; Design by Daniel Marot, Late 17th Cent., Lxv. 3 Florentine, Early 16th Cent., xt. ; Florentine Velvet Brocade, 15th Cent., xxxvui.; Genoese, 17th Cent., xiv. ; Genoese Vel- vet, Late 18th Cent., 38; Italian Silk, 17th Cent., uu. ; Italian, 16th Cent., xivi.; Persian, 24 5 Turkish Red, 35; Venetian Silk, Baroque Style, about 1700, Lill. VENETIAN SiLK BrocaDes. Early 16th Cent., xiv. VeneTIAN Sitk VELVET. Baroque Style, about 1700, Lin. WEaAvINGS. Cologne, 15th Cent., LXxvil., 42 5 Diagram of Principles, 1; Chinese, 14th Cent., 25 5 Jacquard, vil. Woop B ocks. English, 44 Indian, 43. Woven Fasrics. Cologne Weavings, 15th Cent., txxvu.; Empire Period, Silk, ixx1.; French, Late 18th Cent., Silk, uxxm.; Roman, 213 Silk, Lyons, 39- HISTORIC TEXTILE FABRICS INTRODUCTION NCIENT and Medieval history are intermingled with many arts, of which few are so indissolubly associated with the industrial, civic, and religious life of the people, as that of weaving. This is doubtless due to the wide distribution of suitable materials and the universal need and desire for useful or sumptuous clothing, hence, contemporaneously with the production of plain linen and cotton cloths, were produced the delicate “woven air” of Mosul, the splendid woollen patterned shawls of Cashmere, the rich silken brocades and velvets of Florence, and the costly cloths of gold of Bagdad. Many interesting and instructive descriptions are given by the Ancient and Medieval writers of the beauty, sumptuousness, and the significance of contemporaneous patterned fabrics—Homer, Ovid, Euripides, and Virgil describe the earlier, and Chaucer the medieval examples. That these descriptions were something more than mere word painting is proved by the remains of such figured fabrics as are now treasured in our National Museums. The written records of the craft of weaving are also largely associated with certain centres, cities, or communities, each having some distinctive mode of production, use of materials, or type of pattern, which must have added considerably to the importance of the community and its commercial prosperity. The ornamentation of woven fabrics is so universal and so varied in methods of production, that some restriction is necessary in order to cover within the pages of a small manual any adequate description of the development of pattern; it is therefore thought desirable to exclude Carpets, Embroideries, and Tapestries (with the exception A I CLASSIFICATION OF TYPES of the primitive fabrics of Egypt and Peru which merit inclusion for their historic importance and interest) as beyond the scope of the present inquiry, and to treat only of the smaller patterned fabrics, such as Brocades and Damasks; a chapter on Printed, Dyed, and Stencilled Fabrics is also given. In the consideration of patterned fabrics, the classification into specific periods or types, each with their characteristics of design, rather than a classification according to materials or technique of weaving, is undoubtedly the most convenient and instructive to the craftsman and the general reader; and further, patterned fabrics may be broadly divided into woven and printed patterns, each of which is in this manual treated separately. Ancient and Medieval patterned fabrics are clearly differentiated by marked characteristics corresponding to racial and religious customs, yet there is no doubt that woven fabrics, more than any other of the products of the industrial arts, were largely influenced by the persistency of Eastern tradition of material and design due : to the migratory habits of the weavers. This is shown by the marked similarity of the early Sicilia a fabrics to the Lucchese examples of the 14th century (plate 1), and undoubtedly due to the importation of many skilled Siciliar weavers into Lucca. It is perhaps singular that the Eastern tradition of significant and sumptuous fabrics, with their distinctive patterning, should have so largely influenced European textiles during the 15th and 16th centuries, especially in Italy, where the Acanthus was such a dominant feature of the painted and relief ornament of the Renaissance; yet at this period, and even later, the magnifiaae e velvets and brocade the product of the Florentine, Venetian, and — Genoese looms, were richly patterned with variants of the Easter ia Artichoke and Pomegranate (plates 2, 38-41). | Some knowledge of the technique of weaving is requisite to those who desire to understand the structure of the fabric, with its possibilities and its limitations for the production of pattern; the reader is therefore referred for further information upon the science of weaving to such technical manuals as are given in the Appendix. The reader is also referred for a fuller and more comprehensive knowledge of the subject to the list of books and portfolios of — patterned fabrics given in the Appendix. 3 A short chapter upon the Elements of Weaving, with a descrigis ye note upon the loom and its history, together with one on the technique of the printed fabric, will no doubt prove interesting @ instructive to the general reader. 2 Early XIV Century LUCCHESE BROCADE SILK in gold lon . Des ig. Dantz d. on a brown backgroun ) s Church ’ St. Mary From the Treasury of ian weavers mpositions of the N. Ital iod of their industry. during the last per Dr. Bock alludes to this design as one of the finest co Plate 2. Late XV Century. FLORENTINE BROCADED SILK DAMASK ilk ite § gold on whi in ign woven granate des Rose and pome at sii as Se Cues ak Rcd COPTIC FARR SRY: VI Century. Shoulder bands and roundels, parts of a tunic made in Hither Asia or Alexandria, woven in coloured silk and wool on yellow linen. II MATERIALS USED BY THE WEAVER INEN.—The oldest existing fabrics have come from the tombs of Egypt, where, owing to the mode of burial and the dryness of the climate, they have remained in an excellent state of preservation. These early fabrics are of linen, fine in texture and without pattern, and were produced extensively for native requirements, for clothing, and mummy wrappings, and to meet the large demand from other countries for these famous Egyptian linens. Although woollen fabrics are but rarely found in the early tombs of Egypt, they were doubtless used extensively for clothing; the following passages give some explanation why woollen textiles are not found with the linen ones. Herodotus says, “Egyptians wear a linen tunic fringed about their legs and called ca/asure, over which they wear a white woollen garment; nothing of woollen, however, is taken into the temple or buried with them, as their religion forbids it.” Apuleius says, “ Wool, the excretion of a sluggish body taken from a sheep, was deemed a profane attire even in the times of Orpheus and Pythagora ; but flax, that cleanest production of the field, is rightly used for the most inner clothing of man.” Some rare fragments of mixed linen and wool have been found in an early Egyptian tomb (see page 21). Numerous examples, however, of a later date have been found at Panopolis in Egypt. They are known as tapestry-woven fabrics, of linen and wool, and are of the Coptic period, A.D. 370—700 (plates 3, 8, and 9). SILK.—This most beautiful of fibres was an early product of the East. Aristotle mentions the silkworm and relates, “that women unroll and separate the cocoons and afterwards weave them; and that silk was first woven in the Island of Cos by Pamphile, daughter of Plates.” 3 MATERIALS USED BY THE WEAVER Virgil speaks of, “how the Seres spin their fleecy forests in a slender twine.” Pliny, writing of the Chinese, says, “They have a pleasant, healthy climate, a clear atmosphere, gentle and favourable winds, in many places dusky woods (of mulberry trees) from which, working the fleecy product of the trees with frequent sprinklings of water, they comb off a very delicate and fine substance, a mixture of down and moisture, and, sprinkling the thread of it, they make silk, which was formerly used by nobles, but now by the lowest class, without distinction. Dionysius Periegetes (A.D. 275-325) says, “ The Seres (Chinese) make precious garments resembling in colour the flowers of the field, and rivalling in fineness the work of spiders.” Wrought silk was brought from Persia to Greece in B.C. 325. The Roman Emperor Heliogabalus in A.D. 220 first wore a garment of silk. In 780 Charlemagne sent Offa, King of Mercia, a present of two silken vests. CotTtTon.—Cotton is also a product of the East. Pliny says, “The Seres are celebrated for a most delicate wool (cotton) which they collect from the trees in their own country and send to all parts of the world to be made into beautiful garments.” It was, however, in India and Central Asia that cotton fabrics, such as the famous muslins of Mosul, reached their highest development. The former country was the original home of the cultivation of cotton HEemp.—Hemp was also used in the production of ancient fabrics Herodotus says, “Hemp grows in Scythia; it is very like flax, only it is a much taller and coarser plant. “ The Thracians make garments of it which closely resemble linen, so much so, indeed, that, if a person has never seen hemp, he is sure to think that they are of linen, and if he has, unless he is very experienced in such matters, he will not know of which material they are.” The Latin name, Cannabis sativa, of the hemp plant, has given the name of canvas to a woven hempen fabric. GOLD AND SILVER.—Threads of gold and silver have been extensively used in the past, occasionally alone, but more usually in combination with silk and cotton threads, for the production of sumptuous fabrics. The earliest description of the interweaving of gold and linen is given in the Book of Exodus : “ And he made the ephod of gold, blue and purple, and scarlet and fine twined linen, and they did beat the gold into thin plates and cut it into wires (strips) to work in the blue and the purple and the scarlet, and in the fine linen, with cunning work.” In medieval times the fabrics of India and China in the East, 4 THE MAKING OF CLOTH and of Cyprus and Sicily in the West were frequently interwoven with gold and silver threads, THE MAKING OF CLOTH.—As a fabric is formed by the inter- weaving of warp and weft threads, the durability, substance, texture, and pattern must necessarily depend upon the materials used and the mode of interweaving. A plain fabric is formed by the interweaving, in regular sequence, of warp and weft threads of equal weight or thickness, as in plain calico; or by a thicker weft, which gives a ribbed appearance across the fabric, asin poplin; or by thicker or double warp threads forming cords down the length of the fabric; or by alternate thick and thin warp and weft, as in vepp. When additional weight, thickness, or closeness of material is desired, double cloth is made, which consists of two separate cloths, each having its own warp and weft, but interwoven to form one complete fabric. Patterns may be formed either by the warp or the weft, or by both together. They may consist of simple geometrical repeats, with white linen warp and weft uniformly floated, now termed diaper; or be formed by differences of weaving rather than by contrasts of colour (damask weaving); or consist of short lengths of colour, which are put in by small additional shuttles, and allowed to float under the surface where not required (brocade weaving). Pile fabrics, such as velvets, are produced by the weaving of silken warp threads under a ground weft and over a wire-weft rod, which is afterwards withdrawn, leaving a looped fabric, termed terry. If the loops are cut, the velvet is known as a “terry ” velvet. Velveteen is produced by “floating” loosely, over the warp threads, weft threads of cotton, which are then cut to form a pile. A Brussels carpet is produced by looping coloured woollen warp threads over wire rods in the same manner as “terry” velvet. If the loops are cut to form a velvet surface, it is termed a Wilton carpet. A Brussels carpet is woven 27 inches wide with, nominally, 260 loops or pile, in the width, but frequently with 256. The design thus covers 256 spaces on the point paper for each “ pick” or horizontal line, while the length of the repeat varies to suit the pattern; # of a yard is a common length, but larger patterns may be 14 yard long. The figuring warp threads are arranged on separate spools in frames at the back of the loom, and according to the number of frames used it is styled 3, 4, or 5 framed carpet. 3 5 MEDIEVAL FABRICS The manufacture of Brussels carpets was first introduced in 1750, at Wilton near Salisbury. Tapestry carpets are produced in the same manner as a Brussels carpet, but the warp threads are printed with the required length of colour to form the pattern when looped over the pile wires. The number of pile loops is about the same as in a low class Brussels carpet, ze. 216 to 225; the width is the same, and the length 27, 36, or 54 inches. The pattern of a patent Axminster carpet is formed from chenille weft threads, which are triple threads interwoven with short strands of coloured wools which produce the pile; it has a beautiful soft surface, but owing to the mode of producing the chenille it is necessarily costly. A Kidderminster carpet is a double or triple cloth (two or three plies) woven together, the pattern being formed by the interchange of fabrics or the intermingling of colours. “Oriental” or true Axminster carpets are produced by interweaving with the strong vertical warp threads various coloured short woollen strands which form the pattern. : é: MEDIEVAL fabrics were known by various names for the different classes, in order to distinguish their material, texture, colour, or use, and most of these names have an Eastern origin. The following are some of the principal classes :— Holosericum, a fabric wholly of silk; Sudsericum, partly of silk. Examitum, or Samit, had a six-threaded silken warp, hence a costly fabric. Many church vestments, such as chasubles, dalmatics, and copes of the 12th, 13th, and 14th centuries, were of this rich material. | Chaucer, in his Romaunt of the Rose, describes the dress of “Mirth”: “Full yong he was, and merry of thought, And in Samette, with birdes wrought, And with gold beaten full fetously, His bodie was clad full richely.” This passage not only indicates the richness of this fabric of silk and gold, but also its ornamentation of “birdes wrought” ; probably it would be of Sicilian or Lucchese weaving. | Ciclatoun.—A thin, glossy, silken fabric, frequently with some threads of gold interspersed; used for vestments and for the dress of nobles. Chaucer, in his Sive Thopas, speaks of his “robe of ciclatoun.” Cendal, or sandal, and taffeta are thin silken fabrics used chiefly for linings, Chaucer says of his “ Doctour of Phisike ge 6 CLOTH OF GOLD “In sanguin and in perse he clad was, alle Lined with taffeta and with sendalle.” Sarcenet_—Since the 15th century, cendal has been described as sarcenet. Satin is a glossy silken fabric, first mentioned in English inventories during the 14th century, and Chaucer speaks of it in his Man of Law’s Tale: “Clothes of gold and satins rich of hewe.” Camoca, or camak, is mentioned in the inventories of the 14th century, for church vestments and the draperies of beds of state. Edward the Black Prince bequeaths to his confessor “a large bed of red camoca.” This material was probably of fine camels’ hair and silk, made in Northern China (page 39). Cloth of Tars, or Tarsus, is a similar fabric to camoca, but richer in colour, being a royal purple. Chaucer tells us of the “ King of Inde” that “ his cole armure was a cloth of Tars couched with perles.” _ Cloth of gold—Gold had been used from remote times as a material for weaving, either alone, or interwoven with linen, silk, or cotton. © The Asiatic kings and nobles of the time of Alexander the Great wore robes splendid with gold and purple. Quintus Curtius, the historian, describes the dress worn by Darius thus: “ The waist part of the royal purple tunic was woven in white, and upon his mantle of cloth of gold were figured two golden hawks, as if pecking at one another with their beaks.” Of its early use, without any other material for weaving, Pliny says, “Gold may be spun or woven like wool, without any wool being mixed with it.” Some indication is given of the sumptuousness of the apparel of Imperial Rome, in the record that Agrippina, the wife of the Emperor Claudius, wore a robe woven entirely of gold. The wife of the Emperor Honorius died about A.D. 400, and in 1544 her grave was opened and the remains of the golden tissues, in which her body had been shrouded, were melted, and it amounted to thirty-six pounds of gold. _ These early tissues of gold were undoubtedly the products of _ Asiatic looms, whilst at a later date they were woven in Cyprus, Sicily, Lucca, Venice, and Southern Germany. There is no doubt that some narrow cloths of gold were woven upon the English looms of the 14th century, but the larger pieces of this material in use during this period were from the Cyprian or Lucchese looms. 7 BAUDEKINS A record of the death of Anne, Queen of Richard II., states that the “ Herec ” was covered with cloth of gold, which was afterwards sold for £66. Some indication of the use and cost of this sumptuous fabric during the reign of Henry VIII. may be gathered from the following item of the expenses of Princess Mary, in 1540: “Payed to Peycocke, of London, for ae yerds iii, qft. of clothe of golde at xxxviij.§ the yerde xxxviji xs. vj” And for “a yerde and d’ qit. of clothe of siluer xl*.” Mention is also made in the York fabric rolls of the time of Edward VI., “ of two copes of sanguine purple clothe of goulde, and a redd vestment with lyons of goulde.” The gold and silver used in early Asiatic fabrics was in the form of strips of metal. In Sicilian, Cyprian, Italian, and German fabrics, the thin metal, either by itself, or upon thin skin, was wrapped round a silken or linen thread, while the Saracens in Spain used a strip of gilded parchment. Fine gold wire was in use at an early date, for embroidery, but not for the woven fabric. Baudekins (from Bagdad), a fine silken tinted shot cloth of gold, somewhat similar to “ciclatoun,” was extensively used as cloths of estate, which were spread overhead or behind the thrones of kings. The following passage indicates the amount of cloth necessary for such a purpose, and its value, during the reign of Henry VII.:— “Ttem to Antony Corsse fe a cloth of estate conteyning 474 yerds, £11 the yerd, £522, 10s.” These baudekins were also frequently used at this pence for funeral palls, and known as cloths of pall. Another material used extensively during the reign of Edward VI. was coloured velvet. In the York fabric rolls mention is made of “white velvet copes, together with a cope of greene velvet with flowers. Some Blew copes and Redd copes, and two tunicks of Redd Sarcinett.” Fustian.—Originally produced at Fustat (Cairo), in Egypt, is a fabric having a linen warp and a thick twilled cotton weft, which is cut on one side showing a low pile. In the 13th century St. Paul’s Cathedral had a “ white chasuble of fustian.” Frequent mention is made during the 12th and 13th centuries of the fustian chasubles of the Cistercian abbots. Diaper.—Originally a silken patterned fabric, usually white, In the early church inventories of Exeter (1161) there is mentioned, “a cope of white diaper with half moons”; and at St. Paul’s 8 DIAPER Cathedral, “a.chasuble of white diaper with coupled parrots in places; amoung branches, and a cope of a certain diaper of Antioch colour, covered with trees and diapered birds, of which the heads, breasts, and feet, as well as the flowers on the tree, were woven in gold thread.” There is no doubt that these specific fabrics were the products of the Sicilian looms. \, Vit Did : lies ~—S SSS SN SK i} r i | , WN Wi : : ae ie hs a io ‘oo tl = =a | All — (= = ‘ mh yi i Si ! ; Nest ee 10 Ill THE LOOM HE loom is the apparatus upon which a woven fabric is produced. Its essential features are, the warp and cloth beams, placed and supported at each end of the frame work ; the com or reed through which the warp threads pass from the warp beam to the cloth beam; and the 4ealds or the apparatus for lifting the warp threads to permit of the passage of the shuttle containing the weft thread. A diagram ex- planatory of the DIAGRAM SHEWING THE elements of WeEaV-_| LIFTING of A PORTION OF ° ° 34 THE WARP THREADS BY THE | q ing is here given |HEALO, B. | ee aartic Cee alternate warp threads being lifted by the heald to form the shed for the shuttle to pass through, after which the reed is beaten up against the weft to produce a firm structure; the process is repeated by the next /ea/d, producing what is known as plain cloth. The illustration given in fig. 2 is an early Egyptian loom, taken from the original model in the Lyons Museum, and is probably the type of loom that was in general use before the introduction of patterned fabrics. Fig. 3 is taken from a painting in the tomb of Beni Hassan, B.C. 2500, and it shows the weavers working at the upright loom, as was customary in Egypt. Fig. 4, from a 12th-century manuscript, is doubtless typical V7 Fic. 1.—Diagram of the Principles of Weaving. y if. i = = z —a : == : : ———— = == Za = eas = —— SSS SS : a ——_ WA i \ ' Ve cd = ee er =f - | —e | = = = A = The ||| ry Tie r i py i] | STI ey WW; Ht Yy { () 0 | fil i : : | Wi ; = ! | , i 0 -j) =~—)s _ | at ZA = a = a é =e ; ry : | ice " FALCONS LOOM : ll Sa 1728. THE DRAW LOOM of the Medieval European loom, having the warp threads stretched horizontally. The draw loom was the earliest type for elaborate figured weavings, and it is still in use in China. The draw-boy stands upon the top of the loom to draw up the warp threads as required. The draw loom was in _ use saan | i in Europe until 1604, when M. Ca i 7 ts Simplot, a Frenchman, introduced | th | | [fs Sat peered Ss natty fe Fic, 2.—Early Egyptian Loom. Fic. 3.—Early Egyptian Loom. a series of cords called simples, so that a boy could work at the side of the loom (plate 4). In 1687 Mason invented a draw- bey Joong by “ which the weaver may perform the whole worke of weavingsuchstuffe, asieithe: ~oreatest weaving trade in Norwich doth now depend upon with- out the aid of a draught.” The re- markable invention of perforated paper or cards for facilitating the weaving of figured fabrics was introduced by Bouchon (1725), and was continued by 13 Fic. 4.—Early English Loom. Plate 6. ORIGINAL JACQUARD LOOM. : 1804, 14 THE JACQUARD LOOM Paicon in 1728, | (plate 5), by Vau- canson in 1746, and perfected by Joseph Marie Jacquard in 1800-1804. ate. 6 “is from the original Jacquard loom now in the Lyons Museum; and to show the simpli- fication effected by M. Jacquard in the lifting of the warp threads,a drawing is given of the earlier loom (plate 4), with its multipli- city of tail cords. Plates 4, 5, d and 6 are taken Fic. 5.—Chinese Silk Loom. from the original models made by M. Marin in 1855, which are now in the Manchester School of Tech- ‘nology. The ori- ginal looms are in the Lyons Museum. An explana- tory drawing of the Jacquard movement for the weaving of pat- terned fabrics is given on plate 7, Two _ interesting examples of Chinese looms are given here—fig. 5, a 17th-century silk loom; and fig. 6, a modern loom weaving plain cloth. Fic. 6.—Chinese Cotton Loom. 15 Plate 7, THE GRIFFE. FOR LIFTING tHe HOOKS, REVOLVING CYLINDER | TO CARRY THECARDS. DIAGRAM OF JACQUARD WEAVING . | HOOKS For LIFTING THE LEASH. Bins. SPRING BOX FOR THE \ 5 ENDS OF NEEDLES ie “~ THE NEEDLES on WIRES TO WHICH ARE CONNECTED THE HOOKS EIGHT ina ROW AWE al SPRING. i sige ng te 123456761 25456781 oe Chile ’ LEASHES oa CORDS f SREC EGS RARER ASES THE LEASHES BEING CONNECTING THE HOOKS iy TIED TO THE SAME, WWATH THE WARP THREADS . PORTION or SYMMETRICAL HOOKS ARE LIFTED PATTERN , THE DARK. SIMULTANEOUSLY / _/ REPRESENTING THE WEFT ON EACH SIDE OF THE LOOM. IREED on COMB | ROU WHICH COMBER BOARD, THE WARP On el iT — ine Sy NN \\ ( NIM THE SHUTTLE THE MAIL on THE LEASH WARP THREADS WHICH Richeababidicraib : enone ane oe AS REQUIRED FOR THE 1.28: AATIO TTERN. ARE LIFTED AS THERE ARE ' FORMATION cea CORRESPONDING HOLES CUT INTHE ~ WEIGHTS or LINGOES. CARDS, THE WEFT THREADS THEN et PASS UNDER THE WARP THREADS AT THOSE NUMBERS, < 16 IV THE EVOLUTION OF PATTERN ATTERN undoubtedly arose from a desire, or necessity, for some symbol or emblem, significant of power, life, or association. This significance is a characteristic feature of all ancient and medieval art; hence in the earliest of woven fabrics, a symbol is invariably the motive of the pattern. Many examples may be cited, such as the lotus and tree of life of Egypt and Assyria, the palm, pome- granate, and pine of India and Persia, the Scandinavian and the Chinese dragon, and the heraldic symbols of medieval Europe; some of which still remain an essential part of fabric patterning. Apart from the significance of the symbol, two principles of ornament, symmetry and repetition, have played an important part in the formation of pattern. 9 4 mi CLE y 5 ie as i Fic. 7.—Slate relief, Early Egyptian. yyw. B)) aE, CELE LES BE EP CER RRS The symmetrical placing of figures, ae EE pills 2 elias i ; ( he Ne SID : EDA ne Nn m 2 “| HIERON 400; B.C BRITISH MUSEUM, ) Fic. 13.—Greek Fabrics. “A robe of military purple flow’d O’er all his frame, illustrious on his breast The double clasping gold, the king confest. In the rich woof a hound, mosaic drawn, Bore on full stretch and seized a dappled fawn ; Deep in his neck his fangs indent their hold, They pant and struggle in the moving gold.” 23 SASSANIAN FABRICS This passage clearly indicates the use of animals as motives in patterning of early textile fabrics. The simplicity and refinement of the Greek costume, with its multiplicity of vertical and radiating folds, did not permit of much rich patterning. Figs. 13-17 are therefore no doubt fairly representative of early Greek patterns, consisting of fret borders, with the ground perhaps slightly semé with rosettes or stars. On some early vases, patterned costumes are shown having imbricated and trellis designs, which were probably produced by printing. Greek art affected the art of both the Near and the Far East as a result of the reactions set up by the conquests of Alexander the Great. Remarkable examples of Chinese patterned weaving, apparently dating from the period of the Han dynasty (B.C. 206— A.D. 220), have recently been found by Sir Aurel Stein in the Tarim basin in Eastern Turkestan. It is under this dynasty that Greek influence begins to be felt in Chinese art. SASSANIAN FABRICS Of early extant patterned fabrics, woven with the shuttle, those silk stuffs frequently classed as Sassanian (though this would be a ) disputable description of a good i many of them), dating from about a/) the 6th or 7th century A.D., are among the most interesting. The . dynasty of the Sassanians was founded by Ardeshir in A.D. 226, after driving out the Parthians, who had ruled over the former lands of the dynasty founded by Cyrus for nearly five centuries. Now, for the first time since the days of the Achzmenians, Persia was governed by native rulers, and during a period of four centuries reached a high degree of achieve- ment in the arts, especially that of weaving. The remarkable set of figured silks, excavated some years ago on the site of Hadrian’s city of Antinoe in Egypt, may have been woven within the borders of the new Persian empire, but this is by no means certain; their date is 24 BRITISH MUSEUM. Fic. 14.—Greek Costume. THE FRIEZE OF ARCHERS about the 6th century. This class of fabrics show a high degree of technical and artistic excellence. FROM AN EARLY Y CREEK STATUE . FIG. 15. COSTU UME PATTERNING FROM AGREEX Vi SE B.C.G00° Fic. 16. Greek Patterns. Numerous examples exist, some ij.) an excenedt state of preserva- tion, others frag- mentary; yet all distinctive in pat- terning, consisting of a_ series of roundels, contain- ing single or sym- metrically placed figures or animals, Fic. 17. reminiscent of the costume patterning shown on the early Assyrian reliefs, and Chinese and Indian paintings. The frieze. of Archers from Susa (fig. 18) is an in- teresting example of an early costume enriched with a series of roundels. The significance of this class of silks may be readily understood by not- ing the geographi- cal position of the country which was in the direct line of communication between East and West; hence in these Sassanian woven fabrics, the influence of China and Persia may be seen, not only in the materials used, Sue -aiso)* in. . the a (tee ae ee SO eT A eS mee eee prec et ae e le IETS ToT Soaemeneroeee ey Chante] EA ae pat yg ate Se A oe le _@. p2s ; a. Oy ae ex CALA cL REAR AIA TATE ATA ATA _AIA VAL VANES ASENAN ZAEN AAAS pace? SS on pRete ere ye vy Et ERS PS Nee aS] kt Jar aes Ss +) Bon (aes), HIMES <0 175 Waar: per SSE) om oy she se de meso ys Sa = ak se a eal Pres Be Sits: anima Ee. | ee Be PRTG IAG — a — — RET Ay Y VIVE VIVO VIV VV ALY VI Vit 2 RAD SPACER SARS AAA An FRIEZ EIN FAAMELLED RADA OE CEL BRICKS. FROM THE PALACE WAAAY ANA ATA ATA OF SUSA 485®* LOUVRE Fic. 18.—The Frieze of Archers, Susa. types of pattern and their significance. Four examples are given on plate 11, sufficiently representative of the period or style. No. 2 is perhaps the earliest in date; No. 3 25 Plate 11. < 1 gee. ¥y a é.LINEN ah™. DAMASK\ . SASDANIAD\: Bs) EN : ; ro iw SOXS WVU Centiary18 A MW % ‘_Ji7i Fic. 22.—Silk Robe. X Century. Found on the body of St. Cuthbert in Durham Cathedral. Purple and crimson in colour, the pattern woven in gold. worked in gold, and with various stones, and they wear also flowered garments of the finest muslins.” This passage, together with that of Periegetes, that “the Seres (Chinese) make precious figured garments resembling in colour the flowers of the field,” clearly indicates the floral type of pattern that characterised the ancient fabrics of China and India; a type that has remained so persistent a feature to the present day. 31 INDIAN FABRICS INDIAN FABRICS India had reached a high degree of civilisation before it was invaded by Alexander the Great in B.C. 327. This invasion doubtless left the influence of the Persian tradition upon the native Hindu art; and this influence was still further developed by the commercial intercourse between Persia and India, and by the Arabian invasions of India in A.D. 711, when a Mohammedan dynasty was established (711-1153); but it was under the great Mougul dynasty (1525) that the beautiful cotton muslins and silken brocades of India reached their highest development. Although silk had been cultivated and used in India from time immemorial, it was the beautiful cotton fabrics, often interwoven with gold, that were the glory of their weaving. Speaking of the kingdom of Mosul, Marco Polo says: “Tn this country they manufacture the finest cottons that are to be met with in any part of India. All the cloths of gold and silver that are called ‘ muslins’ are made in this country, and those great mer- chants called Mossulini who carry for sale such quantities of spicery and pearls, and cloths of silver and gold, are also of this kingdom.” The finest of these gossamer webs of Dacca muslins were in the early centuries known as Running Water, Woven Atr, or Evening Dew, poetic names which convey some idea of their delicacy and fineness. A turban cloth, 1 yard wide and 20 yards long, could be passed through a finger-ring. The garments of India are differentiated by the racial conditions of caste and religion; having their origin in the remote past, and have undergone but little change in many provinces. The native costume usually consists of a fabric woven to a specific shape, and of ample material, ready for use, and patterned only where it may be seen. In other provinces the type of costume and its patterning have been largely influenced by the Mohammedan costume of made-up garments cut from the woven piece. The chief garment of the Hindus is the Dfotee, a scarf or loin- cloth, usually 7 to 8 yards in length by 1} yard wide. It is woven of cotton or silk, or of silk alone. Its patterning is frequently a check or stripe, with narrow borders and ends of ornament. The Loongee is a scarf worn over the shoulders and chest, woven of cotton, silk, or wool, and from 4 to 6 yards by 1% yard; frequently patterned with checks or stripes, with narrow borders and wide cross bands of ornament. 32 CU Bo \ e J £, e De © ay ma as CPO BS SHAWL PATTERN, SILK’& COTTON , HERAT. Ls » EP > ma ay Ey} i 2 SILK KINCOB. AHMEDAHAD. 3% + PORE 68. 2S 7% ?. eee, D I% BER AS ee BERET cat Edgy ere a ly eG ot ON Pes so las Saya) De Cypxiea BT OO GL Seater eet ? RAS RNG} Paste ae ’ nS he LEN @ Fah U 88029 os ae oe erat | WEEE Ds e SILK KINCOBS, INDIAN BROCADES. XVII Century. C a3 i Se CASHMERE SHAWLS The Saree, or woman’s plaid, is the common dress of the Hindu women of all ranks, as well as of many Mohammedans, The Zurban, worn by Hindu and frequently by Mohammedan, is usually 9 to 12 inches wide, and 15 to 25 yards long; but is frequently woven 60 yards in length with a proportionate width, bands of ornamentation, varying from half an inch to several inches wide, are woven across the ends of the piece, frequently supple- mented by a narrow border running the length of the piece. Coloured stripes in mixed fabrics of silk and wool are common, the colours being green and crimson, or yellow and crimson, with delicate patterning of floral forms; these are undoubtedly the most ancient of Indian fabrics. Among the Hindu and Moham- medan upper classes, costumes cut from the woven piece and correspond- ing to the European made-up garment are worn; a style that dates back to the Mohammedan invasion, and was sometimes followed, though reluc- tantly, by the Hindus. These gar- ments of silk, or cotton, or silk inter- woven with gold and silver, like the Hindu cotton fabrics, are invariably richly brocaded with pattern. The beautiful Azzcobs are representative of these brocaded patterns (Nos. 3, 4, 5, plate 15). The Cashmereshawls were famous for their technical qualities of weaving | and material, and for the beauty of Fic. 23.—Indian Pine. design and colouring. The distinctive feature of the ornamentation is the free use of the pine, which is, together with the ground, filled with small floral forms. Fig. 23, taken from a shawl weaver’s pattern book, about 1850, is an interesting example of the pine pattern, It is also instructive, showing that the weaver was allowed a free hand in the interpreta- tion of the floral details, which in the sketch are just suggested by the designer. The finest of these Cashmere shawls are woven of the wool of the Thibetan goat; and a shawl of a full flowered field of the finest quality of wool will cost in Kashmir £300. These shawls are usually woven in separate pieces corresponding 34 Plate 16. as aE . af Leh, ae 427 hers antsy a7 teriiedelat rs TJ (4 Ne .} w a Oo a $ 6) ,e) a me] 3 9 ; 6 = Oo O 5 p= a ip) SIAM. CRIMSON SILK & GOLD XVII Century INDIAN BROCADES 35 CHINESE FABRICS to the shape of the larger pines, these are then sewn together with such precision that the sewing is imperceptible. Nos. 1, 2, plate 15, are good examples of the Cashmere pine on the smaller shawls of cotton and silk, and No. 3, plate 16, of a small silk and wool scarf. The characteristic feature of Indian patterning is the typical Mohammedan division into definite ornamental spaces or shapes, which are filled with a decorative treatment of’ floral forms, such as the Date or Hom, the Pine, the Iris, the Lotus, and the Rosette. The pine is treated occasionally as a single flower, but more frequently as a cluster of flowers, which still retains the distinctive form of the pine (plates 15, 16, and 93). This decorative representation of the inflorescence of plants and trees, selected, doubtless, for their significance as symbols of life, is typical not only of Indian, but of all Eastern art, differing only in the mode of interpretation and arrangement of pattern. In Indian art, symmetry and alternation play an important part in the arrangement of pattern, with a somewhat conventional or formal treatment of the floral forms, as compared with the more frank interpretation in Persian art. The Siamese textile designs frequently correspond in type with those of India, but with a greater insistence upon the triangle and diagonal line in the planning of patterned fabrics. No. 1, plate 16, is a characteristic example of Siamese design. The great development of Indian cotton printing during the 16th to 19th centuries has naturally caused many fine representative examples of Indian design to be produced in that class of fabric, and specimens are illustrated in that section (plates 88 and 90-94). CHINESE The woven silk fabrics of China have a splendid reputation for beauty and richness of material and distinctive patterning. The tradition of the art of weaving, in China, is lost in the mists of antiquity, yet the textures and patterning of to-day undoubtedly retain many of the characteristic features of the past. Abundant references are found in the Chinese medieval literature, descriptive of the types of patterns woven upon the fabrics of the earlier dynasties. A Chinese book, written in the latter part of the Ming Dynasty (A.D. 1386-1628), speaks of the ancient silk brocades of the Han Dynasty (B.C. 206—A.D. 220), which had designs of dragons, birds, and flowers. It is recorded that in the 3rd century A.D., the Chinese Emperor, 36 Plate 17. OS @:-. nz 2 = | LEQ 4 SSO S Age CEN 4 Raised pattern of flowers and butterflies in dark purple on blue ground. ~ CHINESE SILKS. AVITI-XIX Centuries. 37 THE SUNG DYNASTY Ming Ti, made a presentation to the Emperor of Japan of five rolls of silk, brocaded with dragons woven upon a crimson ground. A description is here given of a few out of fifty brocaded patterns of the Sung Dynasty (A.D. 960-1279). : “Floral emblems. Dragons coiling through a hundred flowers. Lotus and Tortoises, emblems of Longevity, and Tree peonies. Wild geese flying in the clouds. Squares and Medallions of white flowers.” This description fittingly illustrates the characteristics of ancient Chinese patterned fabrics, in which the ornamental details were chosen for their significance as emblems of sovereignty or seasons, or of happy augury. . This is illustrated in plate 18, where the symbol of longevity is prominently displayed above the dragon. The intermingling of animals and floral forms is characteristic of all Asiatic and early European art and dates back to the remote past. Marco Polo, in his travels in China (1275 A.D.), speaks of “the housing of cloth fancifully and richly worked in gold and silk, in figures of birds and beasts, that were upon the 5000 elephants of Kublai Khan, in Kanbalu (Peking).” Of the beautiful flora of China the chrysanthemum, the peony, and camellia are largely used as motives in patterning, together with butterflies and a type of foliage suggestive of sea-weed, Represen- tative examples of these are given on plates 17 and 19. Geometrical diapers of polygon shape, enclosing radiating flowers and diagonal frets, are also prevalent. The key or fret, and its variant, the svastika or fylfot, play an important part in the ornament of many nations, but more especially in that of China and Japan. | These frets are used occasionally alone, but more frequently in conjunction with floral or animal forms, as in plates 18 and 19. The antiquity and persistency of the fret as an ornamental feature is remarkable, as similar forms to those shown on the blue damask (plate 20) are also found on some bronze vessels of the Chow Dynasty (B.C. 1122—255), which indicates the persistency of the early symbols in Eastern art. Chinese fabrics sometimes consist of these floral motives (plates 17 and 19 lower), or of geometrical patterns (plate 20); the floral pattern, as in plate 19, often appears delightfully free, but in reality conforms to strict but unseen conventions rather after the fashion of the structural basis of a musical piece, such as a sonata or fugue. Chinese patterned fabrics are characterised by fine technical 38 Plate 18. CHINESE BROCADE, Probably XVIII Century. Removed from the Summer Palace, Peking, in 1860. Part of a seat cover. Bright yellow ground; design in blue, green, and red ; much gold thread. Plate Io. eeeste. ON x Stntate® , tates te: : eT Fe ee Seats e525 \e ateretete Bg eee el Part ofa hanging, the dragons woven in blue and flowers in dull red on a sepia background. The border, framing a red flower in bloom with green foliage, is worked in gold thread on green silk, CHINESE SILK VELVET BROCADE. Table hanging worked in dark and light blue ; flowers white on a rich gold background, CHINESE SILK TAPESTRY. XVIII Century, Plate 20. a5 1/8 Td i \/ ie ya (@ es r Zs “Ww @ c\ as Gea ¥ ie. é SAN PSD ma Ws af e “iN Y, ; 0-5 ets % i SN Agee (4 io //95\ ONG. ole k a, E "aN J y = R a La /; fs atede «fate SOS %¢ sett on aay me te) OK ~~ Lm Y, WAC aX Poy Aig Zher39) Upper: Pale blue and yellow ornament, white outline, deep gold ground Lower: Indigo blue warp and weft. CHINESE SILKS. XVITI-XIX Centuries. 39 CULTIVATION OF SILK qualities of material and weaving, combined with skilful planning and significance of pattern. Colour symbolism is an important feature of all Chinese art, especially that associated with religious rites. In the Temple of Heaven during the religious ceremonies blue is the prevailing colour; blue light is transmitted into the building, the sacrificial vessels are of blue porcelain, and the robes of the priests are of blue brocades. Yellow brocades are used in the Temple of Earth, red in the Temple of the Sun, and white in that of the Moon. The ancient Chinese kingdom had an enormous trade in raw silk and woven fabrics. Marco Polo, speaking of the city of Kanbalu (Peking), says that “no fewer than a thousand carriages and pack-horses, loaded with raw silk, make their daily entry,” and that “gold tissues and silks of various kinds were manufactured to an immense extent in many parts of China, perhaps more especially at Nankin.” Marco Polo also relates that cottons woven in coloured threads were largely produced and sent to various parts of the country. North of the Yellow River the cultivation of silk was not carried on, probably for climatic reasons; but Marco Polo speaks of the beautiful white camelots or camoca, manufactured of fine wool and camel’s hair, which were sent to other countries. This fabric was used extensively in England during the 14th century for church vestments, and for the draping of State beds. In 1385 the Royal Chapel at Windsor had a set of vestments of white camoca, and Lord Despencer in 1375 wills to his wife “my great bed of blue camaka, with griffins, and another bed of camaka, striped with white and black.” These fabrics no doubt were woven in North China. Tradition ascribes the introduction of silk culture to the wife of the Emperor Hwangti (B.C. 2602), and frequent allusions to the rearing of the silkworm are found in Chinese literature as early as B.c. 780. An historian records that during the reign of the Emperor Ching-Tang (B.C. 1743), there was a seven years’ drought ; at the close of which the emperor repaired to the sacred mulberry grove to pray for rain. The production and consumption of silk is still enormous in China, as it is the chief material for the clothing of the people. Of the many provinces producing silk and silken fabrics, Hoochow takes the first place; followed by Kiangsu, Anhwei, Chéhkiang, and Kwangtung. In Shantung a coarser kind of silk is woven, known as Shantung Pongee, and used as an article of summer clothing. Although cotton was known in the early Chinese dynasties, it 40 JAPANESE FABRICS was not until 1364 A.D. that the cultivation of it was established, chiefly in the provinces of Chéhkiang, Kiangnan, Kiangsu, Hupeh, Hunan, and Fukien; where it is still largely produced, but it has never reached the degrees of excellence of the silken fabrics of China or of the cotton fabrics of India. In many districts the greater part of the cotton only leaves the farm where it is raised in the form of cloth, as all the processes of cleaning, flocking, spinning, and weaving are carried on close to the cotton farm. These cotton cloths are woven on hand looms chiefly by women (fig. 6). The cloths are usually 16 to 20 inches wide and have a plain weave. Much of the cloth is dyed indigo or black, the patterns being produced by block printing or stencilling with a resist of ashes, flour, and glue or gum, before the fabric is dyed. Good grass cloths are used extensively for summer wear, they are woven in the provinces of Kwangtung, Kwangsi, and Kiangsu. Woollen cloths are not woven to any appreciable extent in China, warmth being supplied by wadded clothing. Cotton yarn from the numerous spinning mills in Bombay, and the district, is now largely imported into China, where there is an extensive demand for the coarser counts; and Japan also has now extensive mills in India for the spinning of cotton for the Japanese markets. JAPANESE The Industrial Arts of Ancient and Medieval Japan were un- doubtedly derived in large measure from those of China: hence in the early products of the Japanese looms the beautiful flora and fauna of nature; the chrysanthemum, peony, iris, lily, bamboo, cherry, or plum, with birds, fishes, and dragons, with their signi- ficance of life or of the seasons, are used as elements of patterning having similar decorative conventions to those of China. Modern Japanese patterns are differentiated from those of China by a more capricious planning, and a greater degree of realism in the interpretation of natural forms; not the realism of Western ideals, but the realism of drawing and structure, in fact “pattern” with all its significance and beauty of line and form. Their spontaneity and accuracy of craftsmanship, their keen and alert vision for the beautiful and the significant in nature, and their singular, though clever, conventions in the representation of the human figure, are essentially Japanese. The conventions employed in the delineations of the human figure are probably due to natural 4I Plate 21. (ie) NT Oat Vy, 4 ye IQUE Hi Gaseaee - JAPANESE COLOUR PRINS by Shunsen. AVIII Century. 42 and gilt paper strips. tems. ple terla s . 18 ” dancer’s robe, woven in pur snow on bamboos and w 2 ight t of a ‘* No irds in fl , par B ilk brocade Green s XVIII Century ite, h Early XLX Century lage bamboo stems and fol ilt, brown and ¢g OWS 1n Ik, flying sparr i Dark blue s JAPANESE BROCADES e JAPANESE SILK BROCADE. Late XVII Century. Part of a Buddhist priest’s vestment, woven with strips of silvered paper. Black ground ; pattern in blue, gold, and brown. ips on a ground ilt paper str iaper lk and g lozenge d in gold ies and rosettes woven Peon , and foliage in blue. ight gold br Rich brown silk with flowers in JAPANESE $ . entury, half of XIX First ¢ CADES = ILK BRO r3 By a © f oe. Vie. hie OY a? NN patterns of a style not easily distinguished from Persian work. This splendid tradition still retains much of its vitality, and suggestiveness of design and colour, in the production of modern carpets, with their decorative pat- terning and beautiful colour harmonies. Plate 26 shows two treatments: the left-hand fabric has a rose and bird sub- ject, repeated and re- versed ; in the other, the design is more conventional and symmetrical, after the fashion of a carpet Fic. 24.—Persian Velvet. pattern. Fig. 24, from a yellow silk velvet, is a representative example of the delightful freedom of drawing and planning that is so character- istic a feature of Persian patterned fabrics. Plate 28 shows a robe of yellow silk brocade with a symmet- rical design of well-grouped cypress trees, flowers, and birds. . The cypress tree, which is so frequently an important feature of Eastern design, was doubtless selected partly for its significance, but also for its value in giving stability and boldness of mass to the design, and 45 OTHER ISLAMIC FABRICS acting as a foil to the more delicate treatment of the birds and flowers. Persian velvets are the most beautiful in all Asia, and were mostly produced at Yezd and Kashan, those of the latter being of a finer texture than the Yezd velvets. Plate 29 is taken from a characteristic brocaded pattern of the late 16th century; and the introduction of the figures, birds, animals, and fishes into the decorative landscape is typical of the daring of the Eastern craftsman. The pattern is admirably drawn, having consider- able reticence of detail, combined with perfect distribution. The verti- cal lines of the trees, apart from their significance, give stability and a rhythmical quality to the design. Plate 27 gives a similar treatment. Contemporaneously with the Persian fabrics, many fine velvets and brocades were produced at Broussa, Bilejik, Hereke, and Scutari in Turkey, corresponding in design with the broad ogival bands of Persia, but frequently having some of the detail distinctly Islamic in character. On plate 31 are two examples of early brocades showing Persian influence, where the pomegranate shapes are enclosed by bold ogival bands, upon which are trailed a delicate rendering of the rose, pink, and tulip. Plate 30 is also a representative example of this class, with the central filling of typical Mohammedan ornament. The woven patterns of Persia have probably had a wider and more lasting influence upon European fabrics than those of either China or India, due doubtless to the interest and beauty of the natural form selected and the skilful patterning, and also to the migratory habits of the Eastern weavers. OTHER ISLAMIC FABRICS The rise of the Mohammedan power, which was destined to exercise such a remarkable influence upon the arts, was contemporary with the Byzantine civilisation. The history commences with Mohammed (A.D. 570-632), who founded the religion. In 635 Damascus became the capital, and Kula and Bassora were founded in Persia. Jerusalem was captured in 637. Egypt was conquered in 641, Persia in 642, and Sicily in 827. Spain was invaded in 711, and India in 997. Thus the Arabs, from a roving tribe, became, by religious zeal and conquest, the most powerful and wealthiest nation of medieval times, assimi- lating and encouraging the industrial arts of provinces and nations, and in none of the arts was their influence more widely felt than in that of woven fabrics. | The Fatimide caliphs of Egypt (969-1171) and their courts wore sumptuous attire of figured silks shot with gold; magnificent tents of 46 Plate 30. TURKISH SILK BROCADE. XVI Century. Dark blue ogival panels surrounded by trailing flowers in red and white, on a background of gold, we Plate 31. y, 3 IW, 7 a a Crimson satin ground with gold and blue ornament, partly outlined in white. TURKISH SILK BROCADES. XVI Century. 47 SICILIAN PATTERNED FABRICS cloth of gold, velvets and silk damasks, patterned with elephants, lions, birds, and flowers, were also a part of the equipment of the court. Considering the limitations imposed by Mohammed upon the use of natural objects, it is singular that the Arabs should have so largely encouraged the weaving of such decorative silken fabrics ; no representation of any living thing was held to be permitted by the Prophet, nor the use of silk in the production of fabrics. His followers, however, avoided the literal interpretations by frequently mixing a cotton or linen thread with the silk and making the bird and animal forms somewhat formal or conventional in treatment. Richly patterned fabrics of great beauty were produced in many provinces under the Mohammedan rule, but it was in Sicily that the art of pattern weaving reached its highest achievement. Almost immediately after the conquest in A.D. 827 the Sicilian looms in the Palace workshops at Palermo began to produce the distinctive patterns of animals, birds, and foliage, interwoven with inscriptions from the Koran, or the names of princes; for it was one of the privileges of the Saracenic rulers to have their names or an inscription interwoven with the rich silken fabrics intended for personal adornment. These Arabian inscriptions, though originally introduced for their significance, were in later fabrics frequently used for their ornamental value alone. An early Oriental writer tells that the Arabian princes wore rich robes woven with inscriptions in gold, and that the place set apart for such fabrics was 77raz (the skirt of a robe). The Sicilian patterned fabrics are of three periods: the first dates from the Arabian occupation of Sicily in 827-1140 A.D., during which period skilled weavers were imported from Byzantium, Persia, and India. The patterns were composed chiefly of roundels of the Byzantine type, or bands and stripes of various widths, containing bird and animal forms, interspersed with geometrical diapers, or arabesques within square or rectangular panels. Fig. 25 is a remarkable fabric showing a mingling of Chinese and early Sicilian design. It was undoubtedly woven by a Chinese craftsman, possibly working in Persia after the Mongol conquest. The inscription states that it was woven for Master Abd-el-Aziz, on behalf of William the Second of Sicily (c. 1169-89). It is a portion of a coloured silk dalmatic, interwoven with gold, and was presented to the Cathedral of Regensburg by the Emperor Henry IV., who died in 1197. A fragment of a beautiful red silk and gold damask was found in Henry’s grave, and is now in the British Museum. The design — 48 Plate 32. Peete Uy ROI SO? | Vora) af . ij VORX We pe ey ~ Co) Sas Ss SSS “ SS = = = ) ext (5 ‘e ° AMASK wi ortion oF Me SICILIAN NEARS SH ME NaN LT OER OE.: SILKS, posststy SICILIAN. XTIT Century. Light green ground; dark green Upper: Pale purple ground; grey ornament; birds’ heads and ornament; birds’ heads, claws, rosettes gold. and wing-shoulders gold. D 49 Plate 33. pot OL SET SICILIA » Xill Century. 339.293999IDP>- S555 5 5y4055999-93999929I79I>>2973997PDd>>9> 927)? SICILIAN BROCADES. XIII Century, 1. Bluish-purple ground; white and red floral ornament. 2. Red ground; green hounds and geese; gold chain and roses; border roses white. 3. Red ground; light blue foliage; gold lions. | 50 PALERMO PATTERNING consists of symmetrically placed trees, birds, and animals, and is probably the earliest extant example of this characteristic Sicilian fabric patterning. The second period commenced during the reign of the Norman King, Roger II., who, in 1130, introduced many skilled weavers from Greece and Byzantium, and enlarged the Imperial factory or Hote/ de Tivaz at Palermo. Hugh Falcandus, writing in the 12th century, speaks of this famous weaving establishment : “It is impossible to pass over in silence the celebrated workshop in which silk is spun into different coloured threads. Here one can see stuffs made of single, double, and threefold thread, which are less expensive and require less skill than those made with sixfold thread, more raw silk being used for the more substantial material. “ Here fabrics are orna- mented with a circular de- sign, requiring for this reason great skill and a high price. There are also S ORG, numerous ornamental pat- terns of various kinds and colours, woven in gold and silk threads.” This passage clearly indicates that gold was interwoven with the silk, y and that the circular roundels, which were very characteristic of the Sassanian and Byzantine fabrics, were also a feature of the Palermo patterning of the 12th century. This period was undoubtedly the most prolific and important of any for the production of sumptuous patterned fabrics; the designs are characterised by a splendid vitality, beauty, and interest of design, with perfect distribution and spacing. The patterns are composed of the palm and date trees, with their inflorescence, together with eagles, swans and ducks, lions, harts and dogs symmetrically placed. On plate 32 are three typical examples of this interesting period, and a fourth is given in fig. 26. SI EuINVINVINGINI OS A \ ha h NARA, Vie ONIONS ED ff Fic. 25.—Chinese Weaving. XLV Century. 3 Hi tam Bony Yay Gold Pattern in gold on dark blue. ITALIAN, XIV Cent. BYZANTINE, XI-XII Cents, Ground originally red; patterns green and HISPANO-SARACENIC, XJI-XIII Cents. white; birds and animals gold. N. ITALIAN. XIV Cent, SARACENIC SILK BROCADES. AI-XIV Centuries. 52 THIRTEENTH-CENTURY DESIGNS The horizontal banding of the first period is continued with a greater degree of freedom in the elements and arrangement of the pattern. On plate 33 representative examples are given, showing considerable invention and decorative qualities of design. : Another characteristic feature of this period was the use of intersecting lines or bands, forming geometrical compartments, within which birds or animals are symmetrically placed. Four interesting examples of this | type are given on plate 34. AN Fig, 27 is a fine diaper pattern QV of this type. All these fabrics are FAC distinguished by skilful weaving, beauty of colour, and the use of splendid material. Grounds of crimson, olive green, or purple were usually interwoven with birds and animals in “ Cyprian ” mt Bw. : gold, consisting of linen threads é VOOM bh round which were wrapped strips of We be ah N eras catgut or some animal substance, which was first silvered and then gilt. The third period of Sicilian Art covers the first half of the 13th century, and is characterised by a greater freedom and diversity of design, and was probably due to a further importation of Eastern craftsmen, to meet the increased demands for these famous silks from Italy, France, and England. Figures were frequently introduced, together with heraldic charges, animals, castles, and rayed suns, the foliage being more trailing and less symmetrical. Fig. 28 is an unusual variant of the bird patterning for a woven fabric, having an all-over radiating design. A similar design is figured in Fic. 27.—Gold Orna-_ Fischbach’s “Woven Textiles” (Ornamente der menton Violet Satin. Cewebe), plate 62, but the details are slightly different, and the ground is purple with the pattern in white and | gold. | Palermo was undoubtedly the centre of the Saracenic weaving industry, yet Persia, Syria, Egypt, and Spain produced richly 53 ine Fic, 26.—Early Sicilian Brocade. As SPANISH WORK No 1, plate 11, page 26, is an interesting example of Syrian weaving, similar in arrangement of pattern to the Sassanian and Byzantine fabrics given on the same plate, and to those of Palermo, spoken of by Hugh Falcandus (page 51); yet this design, a part In Spain, also, splendid Saracenic fabrics were produced; more of 7%raz, is inscribed with the name of Kay Kubad, who was a especially under the patronage of the Caliphs of Cordova. patterned fabrics corresponding in technical characteristics, if not in Sultan of Rim, and reigned at Iconium (A.D. 1214-39). design, to those of Sicily. Po eS si a \ i =e < aN i ay Z ; indigo blue ornament. The two brocades on plate 35 x L\ 8 : a Ny \ " bY Ny "atte, \ N ss ‘ RS aod N s av fe ay egw Nyy yal A Ag A wedoull™ ‘ sate. AY ) i é 5 Magnificent Z7zvaz were woven in their palaces up to the 11th century, and the industry was continued in the 13th century by the kings of Granada. t Nan aig { yg Cs Nw . OR4 28.—Sicilian Silk. Green ground FIG. fh . D \\ a TS Wat hs as oe = a g See : ae " e \y \\ vo “X \ , X ve AY : oF hONI 2 wee (OD, at {Nog N BLUE & GREE PALERMO,xNI Fig. 29 is a beautiful fabric of this period, contemporary with the building] of the Alhambra (A.D. 1248), and like the ornamenta- Ww \ animal and floral forms, and has an inscription in Hispano-Arabic, tion of that building, this pattern shows an entire absence of “ Honour to our Lora the Sultan.” early as the roth century the Chronicle of Razzi the Moor speaks of the silks of Almeria. 54 K; , white, and fawn. XV Century. in green damask, with pineapple pattern rimson al Red silk, floral and scroll devices in green and yellow, and foliage in white, SPANISH BROCADES. EARLY LUCCHESE FABRICS ‘ a4 — th é : YW 7 b A t a a . i¢ %; Clg (| a. dos 3 i 4 f d plik f ’ ry "i } ; ¢ ! eon y : ‘ : ih 2) =< "i D hy fe ay \ Ii fy , x yy mite egal ‘2 : bay ig OD | : all Ail Sty $8 : ds 1 f(\ {4 4 Y iG) } J G4 n | i | é aN q Vy WU ai N's); ie y ou HIN ( NN SW * WG oy oy lity \ ae : arr aN ‘aba Silt : IN g . DUT ay , 7 Jha i 19-4 4 4 ; 4 3 TP all vast ‘e 7 LUCCHESE DAMASKS. LATE LUCCHESE FABRICS The bold radiating flower of the pomegranate tree is the distinctive feature of plate 1, opposite page 2, This design is full of Oriental imagery, with the bird and chained dog within a boat, floating upon water on which float swans and ducks; it is suggestive of Persian origin. Fig. 30 is a well-distributed ogival pattern, having a serrated flower enclosing a pair of rabbits. Typical ogival patterns of the later Lucchese fabrics are given on plate 37, where the vine is used as the motive of the national sa88), Fic. 30.—Oriental Weaving. Pattern in Fic. 31.—Lucchese Pattern from Italian gold thread on deep blue ground. Painting. patterning. This ogival framing was suggested frequently by sym- metrically placed birds, as in fig. 31, which is from a picture by Spinello Aretino (13 30—1408) now in the National Gallery. Aretino was probably also a designer for some of the later fabrics of Lucca. This period of Lucchese industrial and artistic activity did not last for more than fifty years, for in 1315 the Florentines laid siege to the city and, capturing it, carried away many of the Lucchese and Sicilian weavers to Florence, which now took the chief position in the production of magnificent patterned fabrics. 58 FLORENTINE FABRICS FLORENCE—VENICE—GENOA The weaving industry was not new to Florence, for fine woollen fabrics had been produced there for fully two hundred years; and for some thirty years before tieeesack= Of— Lucca. The Velluti family, who were per- haps the inventors of velvet in Europe, must have been weaving great quantities of this material in Florence, as _ there are records of large “& warehouses and works being > ‘ce a eer 1. ade af if é ii, & : ; aes 225 Ce RO cacti agent ae smal ee SS Eos ae ee Seg ties soe eee ei oe ea FS ‘ ‘ met ‘ :, ( c ae - % yee pr ae Fee = oe z - ke ae A Oe >. es j & a ~ E is ° ; y i ve SRY 0 no gees nm ALi. LUC Dyes gas is si NS a e as < Seeeses Rss Ci — wees a ef é 4 ee ie care SO Go as ‘ Rae a es ; Poet ere ’ oe 3 < { ; ag Cc j : : i ; } a oN eS wl Bes ES ees y ew aa . Pus ae m. ; NS ce pe : be G. : CON ike . vat i‘ fod 1 a 4 C j / of : 2 oh 8 : a S - : 2 Ss —£ y ry : any me’ XV Century. FLORENTINE VELVET BROCADE. Rich red velvet on a ground of gold. Plate 30. Late XV Century. SPANISH OR ITALIAN. Bright gold design on a red background. | 2 SILK DAMASK om pent ar 35 ¢ "uh q , x / ee FLORENCE, ‘ Apres yi W\7 = FLORENCE pat Contiiry.. ie ob a PAY a Na Y XVI Century = , : WOOLLEN 2 = ; ~ pay CERMAN ‘ SAN Century, 2) SI aa XVI Century, FLORENTINE VELVETS. Early XVI Century. 61 Plate 41. vai ot D si (1) FLORENTINE DAMASKS. XV Century. 62 . J 4 J \ 5 id P i> f i 5? , < s “a § - iN ; ‘ ‘ a ie --. “a _ J “415 os f t " i id a se eon : ’ ; ly oP aes oel 7 SATIN BROCADE IAN LagAle BROCATELLE PATTERNS are represented upon the robes and vestments of the Saints and Church dignitaries in the pictures by the early Flemish masters—the brothers Van Eyck, Hans Memling, Jan de Mabuse, and Bernard Van Orley; and also by the early Italian masters—Andrea Ocagna, Spinello Aretino, Benozzo Gozzoli, Fra Angelico, Carlo Crivelli, and Marco Marziale, which confirms the authenticity of the date of these distinctive patterns. There is also a great probability that many of these artists contributed designs for the richer class of fabrics, especially Carlo Crivelli, who, in his figure subjects, shows a wider range of patterned dresses than most of his contemporaries, Fine examples will be found in f2fteenth Century Italian Ornament, by Sidney Vacher. No. 2, plate 41, is selected from his work as being representative of the loose Florentine cusp, and No. I of the Lucchese type. On the 15th century rood screens at Southwold in Suffolk, and’ Ranworth, Norfolk, many interesting representations of patterned fabrics are painted in oil colours upon the backgrounds and the carved wooden figures of the Saints. These patterns bear a marked resemblance to the silk and gold fabrics of Lucca and Florence. Many bold and symmetrical patterns of a class called “ Brocatelle” were produced during this period. The well-designed patterns, in blue or purple on a gold ground, were distinctive in type, the ogival stems and flowers being filled with rectangular and triangular details, giving a simplicity to the design and a strength to the fabric. In addition to the sumptuous velvets and brocatelles of this period, the Florentine looms also produced splendid brocaded damasks, These fabrics have a damask ground, with a subsidiary pattern woven in the same material and colour, over which the chief pattern is brocaded in coloured silks. Plate 42 is a beautiful example of this class, with the sub- sidiary cusp in light damask, and the brocaded pattern showing an interesting survival of the bird forms that characterised the Sicilian and Lucchese designs. This splendid period of industrial activity was not confined to Florence, although the Podesta and the Consuls of the city endeavoured to retain their supremacy in the production of silken fabrics. In the 14th century it was enacted that no member of the silk or wool guilds could leave Florence without a permit, and pawn- brokers were forbidden to accept silk, or any tool used in the craft of weaving. The raw silk for these northern Italian fabrics up to this period 63 CULTIVATION OF ITALIAN SILK had been imported from the East, but in 1444 it was enacted that on every farm there should be planted at least five mulberry trees annually until the number reached fifty. The successful cultivation of Italian silk, together with the growing power, wealth, and industrial activity of Venice, Genoa, and Milan, gave an enormous impetus to the textile industry, and the splendid productions of their looms, together with those of Florence, were used not only by the wealthy nobles and citizens of Italy, but were largely exported to France, Flanders, and England, to be used for ecclesiastical vestments or the dress of princes and nobles, Many beautiful patterned fabrics from the various North Italian looms are extant, in which the radiating Florentine inflorescence is the distinctive feature. Plater 2 (facing page 3) is an interesting a example of “2 damask __bro- cade; the pat- tern is planned Yj on ogival lines, 7 (4, flattened to form hexagonal shapes within which are the typical pome- granates with their radiating inflorescence surrounded by cusps of ground damasks. The coloured illustration given on plate 43 is a bold and effective pattern, more conventional in its interpretation of natural forms than plate 2, but equally decorative in its patterning. A beautiful example both in technique and design is given in fig. 34, taken from a fragment of a yellow and crimson lampas; the radiation of the pomegranate towards in place of from the central flower, is an interesting and unusual variant of this type of pattern. About the middle of the 16th century the Venetian and Genoese looms began to take precedence in the production of splendid patterned fabrics, especially velvets and brocades. Plate 44 represents one of the most beautiful of the Venetian brocades, 04 i oe Aes i lorentine Floral Pattern. Llatewe7 = te ths : 1 $ : * XV Century. PeAtIAN SILK BROCADE. ROR sca eS ine mm eee) a ahs : se Seaons has Eee ee esti 2 VENETIAN SILK BROCADE. Early XVI Century. Floral design in blue, red, green, and brown silk, the connecting crowns in bright gold, on a ground of silver tissue. , GENOESE COLOURED VELVETS having the usual Eastern ogival constructive lines, enclosing a decorative and symmetrical treatment of the lily and iris, with that delicate superimposed patterning which is so marked a feature of the Persian fabrics. (See plate 31.) Owing to the commercial intercourse that took place in the 16th and 17th centuries between Venice and the East, the Venetian fabric designs correspond very much, both in materials and pattern- ing, with those of Persia and Syria, and it is this Persian flavour that differentiates the products of the Venetian looms from those of Florence, Genoa, and Milan. On the other hand, fig..35, a fine red velvet brocade, though the design is Italian, is undoubtedly of 17th-century Turkish weaving. It is woven in silk and cotton, and was possibly manufactured for the Western market. Genoa was especially distinguished for its coloured velvets. The richness of the material, the excellence of weaving, and the beautiful and wide range of colours, made the Genoese velvets famous throughout Europe during the 16th and 17th centuries. On plate 45 are the representative examples of these velvets, which were used not only for costume, but also for hangings and the covering of furniture. | One (No. 1) has the bold symmetri- cal artichoke, with subsidiary stems, pee ara vores een in Uk bearing leaves and fruits, which still and Cotton. TURKISH. retain traces of their Eastern origin. A beautiful series of rich brocatelles, usually having a red silk warp and yellow weft, and interwoven with silver threads, were produced chiefly at Venice during the 16th century, and were used for vestments and hangings, and for ladies’ dresses. On plate 46 are two representative examples showing the distinctive ogival patterns, having an Arabian type of foliage that is invariably used on this class of fabric. In the latter part of the 15th and the early 16th century the vase made its appearance as an element in Italian textile design. It first appeared in a modest way, but it gradually assumed a degree of importance not commensurate with its value or appro- priateness as an element of patterning. The concentric lines of the vase and the necessity for some degree of perspective to interpret its E 65 g lal + sal f Ne GENOESE VELVETS. XVII Century. Plate 46. Aa tA hE EE RS ny y mn = ( & R ~ \ : Ay a j : aS w= MNES eA ad : ——— F¥ LOGO Yi r myn : a 4 | ; <8 f hw iS Yea it i | ea | ie fi } fl “ qlee PAK iy KU : S Wigs VOR q » M4 Ds Vi? / rN i A) zi a2 A} el 5 aS ‘ | ." OY, ’ a CU J iN \ Birath\ tie ae Py e: Sig XVI Century: FLEMISH LINEN DAMASKS. 89 IRISH LINEN Later Flemish linens also show a similar treatment of figures, usually riders and huntsmen, combined with architecture and foliage. Many smaller patterned linens were produced in Flanders, having a diaper of flowers or emblems. Diaper is a term frequently used to define a white damask fabric having a formal patterning. In Chaucer’s “Squire of Low Degree,” the King of Hungary promises his daughter a chair or carriage that— ~ ‘Shall be covered wyth velvette reede And cloths of fine golde at about your heade, Wyth damaske whyte and azure blewe, Well dyaperd with lylles newe.” An illustration of a fine piece of Irish linen is given on plate 78. This splendid fabric, woven at Lisburn in Ireland, equals the finest of Flemish linens in material and texture; |) tae design is, however, distinctly French in character. Cologne was also a great weaving centre, producing quantities of narrow cloths of gold, called Orphrey webs; a class of fabric having woven inscriptions and figures of saints enriched with embroidery. Some narrow bands of cyprus gold, with inscriptions and floral forms, were the work of the Guild of Embroiderers and Weavers of Cologne, and were extensively produced during the 15th and 16th centuries; fig. 42 and plate 77 are typical examples of these interesting 3 fabrics. | COLOGNE WEAVINGS. XV Century, Orphrey webs were also pro- Fic. 42.—Cyprus gold thread ground ; green duced at Venice and Florence, stems and leaves, scarlet and white paving distinctive characteristics ground ; blue lettering. 7 of colour and technique of weav- ing. Those of Venice are usually woven in gold or yellow silk upon a crimson ground; while the Florentine webs had white silk introduced in the faces of the figures. go XV Century. COLOGNE WEAVINGS Four typical examples of the Orphrey webs, woven in red, blue, and green silk and gilt thread, XVII Century. IRISH LINEN DAMASK, ENGLISH FABRICS ENGLISH England early had a reputation for embroidery and the production of woven fabrics in which linen and wool were the chief materials used. The patterns, when not in stripes, would doubtless consist of a repetition of small and simple geometrical figures, such as is shown on the 12th century loom given in fig. 4, page 13. In 1246, the embroidered orphreys of the English clergy in Rome excited the admiration of Pope Innocent IV., who, finding they were worked in England, is said to have exclaimed, “ Truly England is our garden of delight, in sooth it is a well inexhaustible, and where there is great abundance, from hence much may be extracted.” In the 14th century mention is made of the fine woollen cloths of Bath, Worcester, and Norwich; at that period these towns had reached a considerable degree of importance in the production of textile fabrics. There is no doubt that the Flemish weavers took a very important part in the commercial: life of England, and in the industrial activities of the early English looms, for in 1343 Edward III. granted “ protection to John de Bruyn, burgess of Ghent, now making stay in Abyndon for the making of woollen cloths.” The king also granted “protection to John Kemp of Flanders for the making of cloths.” He also invited Flemish fullers and dyers to come and settle in England. Other towns associated with the weaving industry were Ailesham in Lincolnshire, where, during the 14th century, excellent linens were made; and Worsted in Norfolk, where a fine woollen of a peculiar hard quality was produced and used exiensively for church vestments and bed covering. Figured fabrics of wool were also frequently used for hangings, for the wardrobe account of Edward II. contains this item :— “To a mercer of London for a green hanging of wool, woven with figures of Kings and Earls upon it, for the king’s service in his hall on solemn feasts in London.” In 1592 the Earl of Arundel willed to his wife “the hangings of the Hall which was lately made in London of blue tapestry, with red roses and the arms of my son.” Silk weaving was established in London and Norwich during the reign of Edward III. by Queen Phillipa of Hainault, who knew some- thing of the advantages to be derived from this industry, and in 1455 we hear of silk throwing and weaving by a company of women called silk women. They petitioned Parliament against the competition of the Lombards, and an Act was passed prohibiting the import of laces, ribbons, and such narrow fabrics as were manufactured by them. gI Plate 79. SLE J Bia: (Se K " oe a NOeeE i ce me sf E YZ af>, bes feo eal 5 NEY 0 . SPITALFIELDS SILK BROCADE. Early XVIII Century. Protection was granted to the English silk industry by Edward IV., who passed an Act prohibiting the importation of wrought silks. Queen Elizabeth granted a charter in 1564 to the Dutch and Walloon settlers in Norwich, where 300 of them were established in the weaving of damask and striped and flowered silks. | The silk industry first became of importance during the reign of James I., when some attempts were made to establish the art of sericulture in various parts of the country, but without success. fe The importation of French woven silks was forbidden by statute in 1697, and it was also enacted in 1701 that the importation of silk fabrics from Persia, India, and China should cease. These laws remained in force for more than a century. Q2 SILK WEAVING In 1685 the revocation of the Edict of Nantes caused some ‘ 50,000 refugees, many of them skilled weavers, to fly from France, and they formed settlements at Canterbury, Norwich, Braintree in Essex, and London. The London settlement, known as Spitalfields, with its 3500 French refugees, soon became the chief centre in Europe for the production of fine silken damasks and brocades. Its industrial and artistic activity lasted up to 1824, when there were 17,000 looms employing 50,000 hands in weaving and its allied crafts. In the reign of George II. (1732) a grant of £14,000 was given to Sir Thomas Lombe to erect three Italian machines for gauzing silk, and granted him for fourteen years the sole privilege of working this machine which would do as much as fifty hands would do before. These machines were erected upon the river Derwent and were worked by water power. Towards the end of the 18th century at Norwich, which up to that time had produced splendid patterned silks, Colonel Harvey, a manufacturer, commenced the weaving of beautiful figured shawls in silk and wool similar to those of cashmere and almost equalling them in the beauty of colour, and in technical qualities of weaving.’ Another centre for the weaving of these shawls was Paisley, where from the 15th century linens and home-spun woollens had been produced. In 1760 the weaving of silk and fine muslins was introduced, an industry that continued up to 1820 when the weaving of woollen shawls was commenced. The patterns have the characteristic pine ornament which is so pronounced a feature of the famous cashmere shawls; woven on the old draw looms, these Paisley shawls have remarkable technical qualities of weaving com- bined with beauty of colour. This weaving industry at Paisley had a remarkably successful, though short, period of artistic activity, lasting from 1820 to 1870, when, owing to a change of fashion, the production of these shawls ceased, to be succeeded by the spinning of thread. The weavers of Spitalfields, like those of Lyons, produced the silken fabrics in their own homes, from materials and designs supplied to them by the master weavers. Such a condition of labour existed during the same period among the silk weavers of Lancashire and Cheshire. An interesting and instructive pattern book for the Spitalfields weaving industry is now in the Victoria and Albert Museum, in which are many original designs for silk brocades, some by French, and others by English designers, and dated from 1715 to 1754. The names of the following designers frequently occur: Mr. 93 SPITALFIELDS WEAVING INDUSTRY Vernon, Palmer, Vauteir, M. Sabilier, Carr, Gulin, and Anna Maria Garthwaite. Although these designs may not all have been woven, they afford clear evidence of the type of design that was prevalent during the most prosperous period of the Spitalfields production. Plate 79, dated 1728, is from an early design in this pattern book, and is identical with others signed “ before I came to London.” This, and the insistence of the lace effects similar to the Lyons fabrics, shows it to be the work of a Frenchman. On plate 80 are some interesting examples of the middle period of the Spitalfields industry. No. 1 is a representative example by Palmer and Vauteir (1749) of a striped pattern; similar to many produced at this time. Late designs (1752) by Sabilier, No. 3 on the same plate and No. I on plate 82, show the later development of Spitalfields pattern- ing; the damask design by Vauteir (plate 81, 1) is similar. The pattern by Palmer and Vauteir (plate 82, 2) and the anomy- mous design shown on plate 81, 2, show graceful floral treatment of a more naturalistic type. Judging from the available materials associated with the Spitalfields weaving industry, we must conclude that the designer and weaver, like their contemporary craftsmen in Lyons, relied more on numerous or fancy weaves and textures, than upon any distinctive beauty or nobility of design, hence the primary difference between the Eastern and early European patterned fabrics, and the later ones of Lyons and Spitalfields. In Eastern and early European patterning insistence is laid upon the beauty of detail, harmony of line and mass, and the perfect distribution and significance of the ornament; while in the later European fabrics, such essentials were considered to be of secondary importance, stress being laid primarily on the number of weavings or textures to interpret the realistic rendering of floral forms. | Plate 83 shows a late 18th-century English silk brocade, which ~ may have formed part of the Prince’s furnishings at Carlton House. vA A sidelight is thrown on the desire of society ladies for novelty in dress fabrics during the reign of George III., by Horace Walpole, who relates that two great ladies prevailed on William Kent, the architect and painter, to design their birthday gowns. “The one he dressed in a petticoat decorated with the five orders of Architecture, the other like a bronze, in a copper-coloured satin with ornaments of gold.” 7 These patterns were probably embroidered and not woven. 94 Plate 8o. SPITALFIELDS SILK BROCADES. XVIII Century. I. Striped pattern in sepia wash, by Palmer and Vauteir, 1749. ‘¢ A Tissue” designed by Anna Maria Garthwaite. Sepia wash on a white ground. 3 ‘‘A Tissue,” by Sabilier, 1752, white wash on purple ground. Plate 81. SPITALFIELDS SILK BROCADES. XVIII Century. 1. “ A Damask,” by Vauteir, in purple on white. 2. A pattern, dated 1725, “by different hands.” Flowers and foliage in purple, blue, green, scarlet, and brown, on white ground. SPITALFIELDS SILK BROCADES. XVIII Century. 1. Design by Sabilier, in sepia and white. 2. Flowers in blue, green, scarlet, and brown, by Palmer and Vauteir, SPITALFIELDS SILK BROCADE. About 1790. Probably from Carlton House. : Red ground; design in pink, gold, and white. VIII THE PRINTED PATTERN HE process of printing, compared with that of weaving a pattern, is comparatively simple, rapid, and economical. Printed fabrics are of two classes—(a) block printed ; (6) machine printed. Block printing is the earliest and the most universal, and is still used extensively both in the East, and also in Europe, when quality and breadth of colour are required, or when the run or length of a specific pattern is not sufficient to incur the cost of engraving the number of rollers required. The engraved blocks of wood vary in size and shape according to the scale and detail of Fic. 44.—English Wood Block. the pattern; and also in relief, which varies, ™® Ota pee from } to 4 inch; where fine details or delicate lines are required, brass strips are frequently used. The metal strip is also used to define the boundary of broad masses of ornament made up of thick felt. Fig. 43 shows a small Indian block with a pattern of sym- metrical ogival bands. Fig. 44 gives the back of an English block showing the clutch for handling the block, In printing, the block is charged with colour by being lightly pressed upon a leather sieve or cloth covered with the requisite amount of colour, which is then transferred by pressure on to the fabric. Machine or roller printing, with its accuracy and delicacy of engraving and printing simultaneously in various colours, and its 95 Plate 84. Diagram of a three colour Printin machine. The printed Cloth passing to the drying chamber Back \ oy (am Ohh wets for printing 4 \ Roller, for Steadyin thecleaan as it reaches the cylinders ee o, sy 83 : a Colour c=7 doctor, Copper rollers each engraved for aseparate colour. MACHINE PRINTING rapidity of production, is totally different in technique from block printing. Plate 84 gives an explanatory diagram of a modern three- colour printing machine; each of the engraved pattern rollers (A) receives the requisite amount of colour by contact with the colour roller or furnisher, which revolves in its colour trough or tray. The surface of the engraved roller after receiving its colour is scraped quite clear, except the sunk or engraved portion, by the steel colour doctor; the coloured pattern is then transferred by considerable pressure upon the soft fabric as it revolves with the large cylinder. Where the position of the rollers will permit, a /ént doctor is placed in contact with the pattern roller after it leaves the cloth, to gather up any lint before the roller touches the furnisher again, The number of rollers and the size of the cylinder are neces- sarily determined by the number of colours required to produce the pattern; they may range from one to twenty. The scale of the design is determined by the width of the . Colour. fabric and the cir- ae _——— eT ee cumference of the SS pattern rollers, which wood block. Copper roller. are nominally 16 Fic, 45.—Colour Printing. Pieced) I hese | rollers, however, are frequently reduced in course of time to 15 inches, owing to the necessity for turning the rollers down when they are required for other patterns. The size of the pattern repeats will therefore be 16”, 8”, 4”, 15", 74",5”, 32”, 3”, and 24”. The larger the pattern, and the more numerous the colours, the greater is the cost of production. Where larger patterns are required, or where the quantity of a specific design is insufficient to repay the cost of engraving a large number of rollers, the printer then has recourse to block printing. It is perhaps singular that the oldest method of textile printing, which is with wood blocks, should be still in use side by side with the modern machine with its accuracy of register and rapidity of production. This is largely due to the gua/zty of colour obtainable by the use of the block, especially in large and bold patterns: by quality is meant the infinite variations of tone and hue of the colour when it is impressed on the cloth. The annexed diagram (fig. 45) will doubtless explain the differ- ences in the resulting colour by the two processes. The block receives the required amount of colour by direct G 97 BLOCK PRINTING contact, hence the colour is full and varied in its quantity, while on the engraved roller the design, however large in mass, must be engraved in lines in order to retain the colour as the roller passes under the colour doctor. In block printing there is, of course, an irregularity of register when many blocks are used which undoubtedly gives variety and interest to the pattern. 98 IX DYED AND PRINTED FABRICS YED, stamped, or printed patterns without doubt pre- ceded those woven by the shuttle, and although few examples exist of an earlier date than the 4th century A.D., sufficient evidence is afforded by the descriptive accounts of the early historians to show the extensive use of dyed and printed fabrics. ONO In the Egyptian tombs of the early dynasties many ZSIZSIZIS iN PSEA i SSCS fine linen fabrics have been found, but few patterned NIANIANIANIZN | many paintings of figures FIG. li Egyptian Patterns. having costumes enriched with patterning, which, to judge from the repetition of its details, was no doubt derived from an_ original stamped or printed fabric. Some interesting ex- amples of early patterned fabrics, doubtless from a printed original, are repre- sented on the walls of a 12th dynasty tomb at Beni Hasan (B.C. 2500). Four of these patterns are shown in fig. 46: the star diaper is from the dress of Hotept, wife of Amenemhat, and the chevrons and frets are from the costumes of their son Chnemhotep ; but the earliest representations of patterned fabrics extant are found in the wall paintings of the 3rd dynasty, recently discovered. These show hangings patterned with stars and chevrons, in 99 Vw GIP AAEA A A THE DYEING OF FABRICS blue, brown, and amber ; and the original fabrics, which the painting depicts, were probably dyed in the ancient manner described by Pliny (below). The dyeing of fabrics was carried to a high degree of achieve- ment at an early date in Egypt and Asia. Pliny speaks of “the Egyptian taking white cloths and applying to them certain drugs, they are then put into a caldron of some colouring matter which gives a variety of colours to the fabric.” The textile fabrics of the Sidonians and the purple cloths of the Tyrians were celebrated for their richness and beauty of colour. The Phcenician purple was not a single colour, but a generic name for all shades of purple and scarlet. The dye was obtained from the shell-fish Wuvex trunculus and the Murex brandaris, both of which were plentiful in the Mediterranean. At Sidon the débris of shells left by the ancient dyers may still be seen. This famous Tyrian purple was greatly esteemed by the Romans. Its cost was great, as one pound of wool dyed with this purple was worth about 436, and when woven into cloth was worn only by those in high positions, India was probably the first country to develop the full resources of dyeing. The early dyers were familiar with the madders, nutgalls, blue and green vitriol, and indigo, which were so extensively used in the dyeing of fabrics. The Chinese also made an extensive and skilful use of the art of dyeing. Marco Polo, in his description of Kanbalu (Peking), says: “Indigo also of an excellent quality, and in large quantities, is made here. They procure it from an herbaceous plant, which is taken up by the roots and put into tubs of water, where it is suffered to remain until it rots, when they press out the juice; this on being exposed to the sun, and evaporated, leaves a kind of paste which is cut into small pieces of the form which we see it brought to us.” In Europe, Florence was the chief city during the medieval period for the dyeing of beautiful fabrics. It is recorded that in the 14th century two hundred dye-works were in active operation in Florence. Indigo was rarely used in Europe prior to the 17th century, when the Dutch and Portuguese imported it from India. Its introduction was strongly opposed by the growers of woad, which up to that period had been the chief material for a blue dye in Europe. In the reign of Elizabeth, a law was passed forbidding the use of indigo asa dye. The discovery of America added considerably to the pallet of I0O PRINTING IN COLOURS the dyer; such materials as logwood, cochineal, and brazil-wood being introduced into Europe. Coal-tar colours were discovered in the 19th century. In 1834 Runge produced kyanol, and in 1856 W. H. Perkin introduced the first aniline colour, a mauve; this was followed two years later by a magenta, discovered by R. W. Hoffman, whose name is largely associated with naphthalene colours of which there is so wide a range. The alizarine colours were introduced by Graehe and Liebermann in 1868. Alizarine has now entirely superseded the madder which was so largely used for Turkey reds. There are several methods of direct printing in colours upon fabrics: first, those which are at once fixed by the steaming process ; second, those in which the colours are produced either by first printing with a mordant, such as an acetate of alumina, then fixing and dyeing the cloth in a bath of colouring matter; or the cloth is first dyed all over, and the pattern is produced by the discharging process, or a resist is printed on the cloth, which is then dyed. White or coloured patterns may thus be produced upon the coloured ground. For instance, upon cloth dyed with indigo, the pattern is printed with an alkaline chromate. It is then passed through a hot solution of sulphuric and oxalic acid, which discharges the indigo dye from the pattern. The same effect is produced upon Turkey red by printing with a tartaric acid paste; the cloth is then passed through a solution of caustic soda to discharge the red. The older processes of dyeing are still used extensively in the East, and the beautiful reds from the fermes, yellows from we/d, blues from zzazgo and woad, and browns from the walnut, give a range of harmonious colour, unapproachable even by the modern scientific dyer’s pallet, with its wide range of colours that have so enlarged the possibilities of colour printing; but as yet, they have not exceeded the beauty, quality, and the durability of the older dye-stuffs. An early process of producing a pattern upon a coloured ground was by covering portions of the fabric with clay or wax as a resist, or by tying small portions of the cloth with thread before being dipped in the dye-vat. India at an early date perfected a process known as bhandana work, or “tye and dye process”—so called from the Hindu verb bhanda, “to tie.” The pattern having been drawn upon the fabric, it is passed on to the knotter, who follows the design by pulling up the cloth into minute portions and tying with thread, which success- fully resists the action of the dye when dipped in the vat. This bhandana work is also used in the production of chzné selks IOI Plate 85. a ts OV ian Tee: poy Fay Fy Py itty Beatedatii —_ uy 4 P ‘ b eth a 4 oF aie en a ME hs at bye § EASON { eT Ad on ON / PY LENT Fae JAVANESE BATIK. XVIII Century. Cream-coloured ground ; blue and brown ornament. 102 Plate 86. JAVANESE BATIK. ALIX Century. Loin cloth (sarung) of cotton, with resist printing in black, white, and blue. Plate 87. GERMAN PRINTED LINENS. XIII Century. BATIKS or shadow silks, the warp, and in some cases, the weft, being dyed with a pattern before it is woven. English chzmé work is produced by block printing on the warp before weaving. Owing to the technical character of the process, there is an indistinctness and softness of the pattern, hence the term shadow silk. The natives of Java are especially expert in the use of a fluid wax as a resist for the production of patterned fabrics. The work is done chiefly by women, who use a bamboo or metal pipe with a small reservoir, called a dtjanting, from which runs liquid wax to protect the material in the parts not required to be dyed. The cloth is then dyed, usually in a blue shade, and further designs can be traced on it, and, after wax protection, these can be dyed in other colours. The whole process is often of the most elaborate kind, and calls for a large number of stages. These patterned cloths or Jdatzks, as they are termed, are distinctive in type, and have reached a considerable degree of excellence in design and dyeing. Owing to the slight cracking of the wax, the design frequently shows a network of fine lines due to the penetration of the dye. The colours of these datzks are usually yellow or amber, brown, blue, and black. Plate 85, although showing a Chinese influence, is a representative example of a Javanese Jatik. Plate 86 is alsoa characteristic specimen. These examples are from a finely executed modern dJatzk, showing the delicate lines and graded effects that are possible by the use of liquid wax in the hands of the skilful Javanese women. Many imitation Jdatzks are now printed by machinery in Manchester and exported to Java. The earliest known examples of printed fabrics have been found in the Coptic tombs at Panopolis, of the gth century A.D., one of which has a blue ground and a pattern of white rosettes within a trellis. Numerous examples are printed with figure subjects, and were doubtless used for hangings in the Greek and Byzantine churches, Printed fabrics are scarce from- this period until the 13th century is reached, when many printed linens and silks were produced in Germany, the pattern being derived from the earlier or contemporary woven fabrics. No. 1, plate 87, is distinctly Sicilian in character, while No. 2 is evidently from a Byzantine origin. Many of these early patterned fabrics were printed in gold or silver on red, blue, or green grounds. The Rhenish industry of printed fabrics undoubtedly derived 103 Plate 88. De " i : : eh --= 18 pt ae 3 Oe Ee! a ee . _ Ne <=wer Te Pe RS ee ns Oe SF a AA 7:9 mys = = v EC Ang = , aur ag RF oy atl MON! th K 2 eX, : B -< oe, SS. NBME 26> afte G87) ! : oe afi: Ls POL: ORES (3 LIDS Sau Re oe a © ORAZAOSD Jeena © 8 LPL a. w > a &, gle oe DESIGNS FOR PRINTED COTTONS, AVIIT Century. INDIAN. Colours red and blue on a white ground. “hanguary TITAX ‘SNO.LLOO GaLNIYd NVWYAD ‘pal uO USISap 914M pure Yorlgq ‘SULIapsog anyq IYsIT ¢ punos3 afdind yaep uo ISeI[OF ANT ISI] pur sJaMoy pay dane tie Peta Pareainrsy XVIII Century. DUTCH PRINTED HANGING. in red, light and dark blue, on as) q iss | oO =) OD o om 4 as te 5°) ahs O (aa) 28; q SS n test oO 5 {e) es a Later XVIII Century Red, FRENCH PRINTED ° COTTON HANGING Plate 98. Xx otras FRENCH COTTON HANGING. Late XVIII Century. Printed in red by Oberkampf of Jouy. Piola Ner OR PRINTED CHINTZ, XVIII Century. ENGLISH. Flowers in blue, red, and yellow, leaves in green, Plate. 100 DESIGN FOR PRINTED CHINTZ, XVIII Century. ENGLISH. Red and blue flowers, green and yellow foliage and stalks. PRINTING FROM METAL ROLLERS Mulhouse in 1746, and two years later introduced block printing with the use of mordants. Some English prints are in existence, printed from engraved metal plates, with landscapes and architecture, frequently Chinese in type. They are printed with the name of Collin Woolmers, and the date 1766. In 1780, almost simultaneously in England and France, printing from metal rollers was introduced: in Lancashire by Bell, a Scots- man; and by a Frenchman named Oberkampf at Jouy, near Paris, which immediately gave a great impetus to the printing of calicoes. The patterns of all these early printed fabrics were clearly suggested by those of India and China, as may be seen in plate 101; but a little later an endeavour was made, more especially in France, to produce more original work, in line, corresponding to the con- temporary engraving upon metal and having pictorial groups of figures and woodland scenery, printed in blue or red. Of the more decorative patterns of this period, that given on plate 97 is a representative example by “I. P. Meillier & C* de Beautiran.” This is a hanging of red cotton, with the pattern reserved in the dyeing. This design, although of Louis XV. period, is an extremely dignified one, having all the finer qualities of the Louis Seize, the reticence and refinement of patterning, and the prevalence of vertical stripes. This design is a fairly large one, the width of the cloth, with its two repeats, being 4 feet 2 inches. The finest European printed fabrics were undoubtedly those produced by Oberkampf at Jouy, near Versailles, from 1760 to 1843. Many of the Jouy prints were of the pictorial type, but during the reign of Louis XVI. (1774-89), Oberkampf pro- -duced many beautiful decorative fabrics, having that daintiness and reticence of design which was so characteristic a feature of the Louis Seize period. Plate 98 is a representative example by Oberkampf. Contemporary with this period in France (the last quarter of the 18th century), England produced excellent printed chintzes, having floral designs of considerable delicacy in drawing and freedom in planning. Two representative examples are given on plates 99 and 100, taken from a set of original designs for chintzes which are now in the Victoria and Albert Museum. They represent the best period of English naturalistic design. At the close of the century and the commencement of the next, a considerable quantity of small prints were produced in Switzerland, France, and England, and many of the designs were reminiscent of India and Persia in both pattern and colouring, as in plate Io1, No. 2. 107 GENOESE PRINTED FABRICS Contemporary English prints were characterised by consider- able inventive qualities of design, and refinement of drawing, showing a frequent use of vertical or waved stripes, and a distinct preference for light grounds. An interesting class of printed fabrics are those variously known as mezzari or meseri, formerly worn as veils covering the head and shoulders by peasant women of the Genoese territory. These were made of cotton material, imported from Switzerland and other countries of Europe, and printed in Italy from wood blocks, as many as eighty being used for a single piece. The patterns were inspired by those of the zzdzennes, which were brought over in the ships of the East India Companies. The two principal names in connection with this industry are those of Michele Speich, a Swiss craftsman from Glarus, and of his cousin Luigi Testori, The former began the printing of mezzari between Conegliano and Campi in the neighbourhood of Genoa in the year 1787. Speich was succeeded in 1830 by Testori, who worked at San Pier d’Arena, near Conegliano. Testori inherited his predecessor’s wood blocks, and reprinted all or most of his designs; his colours, however, are said to be less brilliant and solid than those of Speich’s fabrics. The works of Testori closed down shortly after the middle of the 19th century. The tradition of brightly coloured naturalistic flowers extended well on into the 19th century in several countries. Indeed, some of the kerchiefs worn by Italian peasant women, of brilliant flowers on a dark ground, seem to show that the influence of this style has not entirely died out. During the 17th and 18th centuries the Japanese craftsman reached a high degree of achievement in colour printing on paper from wood blocks; yet, singularly, this process was rarely used for the printing of fabrics, which was done almost entirely by the aid of paper stencils. Plates 103 and 104 are representative of these stencilled fabrics. 108 Plate rot. Predominant colours red and green on fawn ground, Large floral design in many colours, chiefly blue. ENGLISH GLAZED COTTON ENGLISH CHINTZ. LN. XVIII Century. Early XIX Century. Plate 102. PRINTED COTTON SCARF, Early XIX Century. ITALIAN (MEZZARO). Whole design and enlarged portion. Probably made at San Pier d’Arena, a suburb of Genoa. Light brown ground, floral pattern in red, blue, and purple, Plate 103. KS SSS = | atin vos “iit ee eS =< x ay Vin BR ue a ieee JAPANESE STENCIL PATTERN. XIX Century. ~.) ws wz SUAS XIX Century. ~~ y% 77 = wwe'Z, Zi, im ere Geeen ee wears a = i NANA | NON | SANESONT DNDN ZN NNN ZINY \ y 7 t ) % [A x ql x wf =f SF, = ) Y ) ( 4 \ a), ~ (A) a Ay 7 a we LG, ; KS aD ~ ~ ~ %, ) a Se Se Se oS —e ee -m ow 2 OR oe Th — ee = «pew eo ee Ce, oe Oo SDS [Hj JAPANESE STENCIL PATTERNS. X ECCLESIASTICAL VESTMENTS HE best preserved medieval fabrics are those that are, or have been, in the BIN TIE From the brass possession of the Church, which Ge SME of Goodrich, from an early period of its ae Bishop of history was the great patron of Ely. 1554. the more sumptuous products Full Canonical of the weaver’s art ; hence there are perhaps more written records in medieval times of ecclesiastical vestments, than of civic or domestic costumes. A glossary is appended of the chief canonical vestments usually associated with the early ritual of the Church. AMICE.— A __ rectangular piece of fine linen suspended over the shoulders of the clergy. The apparel is the embroidered part which was fastened to it to serve as a collar. APPAREL. — Embroidered panels on the alb and the amice; on the alb they were Aue) au a Hl armere, ery | ali hes SPT usually four and sometimes six : ABPSY Y in number, of which the two smaller ones are on the sleeves Fic. 48.—Church Vestments. just above the back of the III ECCLESIASTICAL VESTMENTS hand. The other two at the bottom of the alb or skirt, one before and one behind. ALB.—A garment which reached to the feet. It was usually made of pure white linen ; but other colours were used, and silk, velvet, and cloth of gold albs were worn in the Middle Ages. CHASUBLE.—The upper or last vestment put on by the priest before celebrating the Mass. In form it is nearly circular, having an aperture in the middle for the head. CopE.—A vestment like a cloak. Its form is an exact semi- circle without sleeves. It is fastened across the breast by a morse or clasp. DALMATIC.—A vestment with wide sleeves. It has an aperture for the head. The garment is slit up a short distance on either side. MANIPLE—A narrow scarf fringed at each end of the richest materials, such as cloth of gold. It was worn depending from the left hand. ORPHREYS.—Gold embroidered work—cloth of gold. The golden bands fastened to or embroidered on chasubles or copes. The orphreys were frequently used separately, STOLE.—A narrow woven or embroidered scarf worn over the shoulders. In 1287 it was directed to be long enough to reach the bottom of the alb. TUNICLE—A short outer garment but with tight sleeves. The same shape as the dalmatic, but slightly longer and less ornamented. The vestments of the Christian priesthood, both of the Greek and the Latin churches, have evolved from the secular dress of the later Roman empire. Thus the chasuble derives from the penula, planeta, or casula, a bell-shaped, sleeveless cloak, worn out of doors by persons of all classes. The cope was a cloak for wet weather (hence its alternative name, p/uvial). The alb was an under-tunic, and the dalmatic an over-tunic. The two bands that run down the fronts of all except the Spanish dalmatics are the survivals of the old clavi latterly characterising the dress of all Roman citizens (the tunics found in Egyptian burying-grounds frequently have them). The maniple has developed out of a small cloth or handkerchief (mappula), dropped by consuls or pretors in starting races. There are certain differences between the vestments of the Latin and those of the Greek and other Oriental churches, the latter being as a rule ampler than the former. The maniple does not exist in the Greek church, its place being taken by the epigonation, a lozenge-shaped piece of cloth, which hangs down over the right knee. I12 RETROSPECT N a retrospective glance over the history of the weaving industry, especially in relation to pattern, the strong vitality, and remarkable persistency of certain early distinctive features of Eastern design and texture, are clearly seen through many historic periods. Doubtless the remarkable continuity of traditional craftsman- ship in China, India, and Persia, the early cultivation of silk and cotton by the inhabitants of these countries, and their skill in the weaving of splendid tissues of varying degrees of delicacy, ornamented by beautiful and significant patterning, necessarily exercised a controlling influence upon early European fabrics, by reason of the large importation of silk, cotton, and woven fabrics as articles of commerce; and also by reason of the fitness, beauty, and vitality of Eastern patterning. There is no doubt that the Eastern influence was also largely extended by the industrial and commercial activity of the Saracens, or Arabian craftsmen, and merchants throughout the Mediterranean littoral. Possibly some of this continuity has necessarily resulted from the practical and universal conditions of the loom, which, as may be seen in the chapter devoted to this subject (page 11), had under- gone various changes and developments which culminated in the Jacquard loom of 1804. It must be remembered, however, that the development of these appliances for weaving was only to simplify or expedite the process of weaving, and they did not produce anything more complex or more beautiful in pattern than before. The silken fabrics of Byzantium of the Ioth century (plates II, 14), the Florentine velvets and brocades of the 15th century (plates 2, 38-41), the Indian and Persian brocades and the Chinese silks of the 17th—18th centuries (plates 15-20, and 26-29), all woven on the old draw-loom type, may be compared with the French Empire patterning (plates 71, 72), produced in 1810—13 on the Jacquard loom. H 113 5 RETROSPECT The Eastern influence retained much of its vitality and character in Italian and Flemish fabrics almost up to the 18th century, but in Lyons it was largely superseded by a more literal or naturalistic treatment of floral forms. It is instructive to note the difference in the ideals of realism of the Eastern and Western craftsmen as expressed in the patterning of fabrics. The Persian weaver (plate 29) gives a somewhat realistic _ interpretation of figures, mountains, trees, animals, and fishes, yet it is treated flatly, as pattern. In the Lyons example (frontispiece) realism is carried further by an attempt at modelling, and there is an endeavour made by floating the weft loosely, to get various qualities of textures, even at the cost of durability. The realism of patterned fabrics was not confined to Lyons but was catried on contemporaneously at Spitalfields (plates 80-83), followed a little later by the printers of English chintzes (plates 99-101). The weavers of this realistic period were undoubtedly highly skilled craftsmen, but it is questionable whether the result justified the expenditure of so much effort, when beauty and sumptuousness had been obtained by a more intelligent and artistic mode of enrichment, as shown in the magnificent productions of the Eastern looms, the significant patterning of the Sicilian silks and the Flemish linens, or the dignified, yet sumptuous, velvets of Florence. It is not the purpose of this brief review to carry the story of Textile Design beyond the commencement of the 19th cen- tury, and yet it is impossible to close without pointing out that Decorative Design is a living art, and has always continued to evolve, even if occasionally on commonplace or bizarre lines. As in the art of Music, some recent developments seem to be of a somewhat extreme type, yet these are a proof of vitality, and, even if objectionable in some ways, are preferable to a slavish copyism of the historic design of past centuries. The last few years have seen a fuller realisation of the possibilities of colour in pattern, though possibly this has been accompanied by the production of work in which form has been subordinated or even sacrificed to colour, and the design has not always been well balanced or proportioned. Nevertheless it is a fact that at the present time much fine and vigorous work of distinctive and original types is being accom- plished in England. 114 A SHORT REFERENCE LIST OF BOOKS ON TEXTILE DESIGN Alte Stoffe. Ein Leitfaden fiir Sammler und Liebhaber. Professor P. SCHULZE. Illustrations. znd Edition. Berlin, 1920. Calico Printing in the East Indies in the XVII. and XVIII. Centuries. G. P. BAKER. Coloured Plates. London, 1922. Chinese Embroideries and Textile Ornaments (Broderies Chinoises). Coloured Plates. French Text. Paris, 1922. Coptic Textiles and Tapestries (Tapisseries et Etoffes Coptes). Coloured Plates. French Text. Paris, 1922. Decorative Silks (Translation from Kumnstgeschichte der Seidenweberet). Otto von Fake. New and condensed edition in 1 vol. Text and Plates. Berlin and London, 1922. Decorative Textiles. G. L. Hunter. Text and Plates. New York and London, 1918. Design in Textile Fabrics. T.R.ASHENHURST. [Illustrated. London, 1907. Die Textilkunst. Plates and Text. Max HeIpEn. Berlin. Die wichtigsten Webe-Ornamente. Coloured Plates. F. FISCHBACH. 3 vols. Die Zeugdrucke der byzantinischen, romanischen, gothischen und spateren Kunstepochen. Plates and Text. R. ForrReErR, Strassburg. Embroidery and Peasant Art in Czecho-Slovakia (Broderies et Décorations Tchéco-Slovakiennes). Coloured Plates. Introduction in French. Saris: 1022; Etoffes anciennes (XVII., XVIII., and XIX. Centuries). Plates and Explan- atory Index (French). Paris, 1914. Etoffes et Tapisseries des XVII° et XVIII° Sitcles. E. DuMoNrHIER. wo atiates. Paris, 1913. Etoffes Style Empire. E. DUMONTHIER. Plates. Paris, 1913. Examples of Chinese Ornament. Owen Jones. Coloured Plates. London, 1867. Fifteenth Century Italian Ornament. (Chiefly textile patterns from pictures.) Plates and Notes by SypNEY VacHER. London, 1887. Flat Ornament. Pattern Book for Designers of Textiles, Embroideries, etc. Plates. Stuttgart and London. Japanese Textiles in the Victoria and Albert Museum. Guide by A. D. Howe.tt Situ. QI. Textile Fabrics; II. Costume. Illustrated. London, 1919-20. Japanese Textiles. VERNEUIL. Coloured Plates. Paris. L’Art de décorer les Tissus. (Catalogue of the Museum, Lyons.) RAYMOND (ox. Flates and Text. Paris. Les Soieries d’Art depuis les origines jusqu’a nos Jours. R.Cox. Text and Plates. Paris, 1914. Le Velours. Atcoup. Plates. Paris, 1914. L’Ornement des Tissus. M. Dupont-AUBERVILLE. Coloured Plates and Notes. Paris. I15 LIST OF BOOKS ON TEXTILE DESIGN Ornament in European Silks. ALAN S. Coe. Illustrated. London, 1897. Ornamente der Gewebe. oo fol. plates in colour. F. FiscHBACH. Soieries Marocaines (Les Ceintures de Fes). Coloured Plates. Paris, 1921. Stoffmuster der XVI.-XVIII. Jahrn. Kumscu. (Photos of Textiles in Dresden Museum.) Several Series Photographic Plates. Dresden. Textile Fabrics in South Kensington Museum. D. Rock. _ Illustrated. London. Textile Manufactures of India. Plates. Science and Art Department, London. Textiles in the Victoria and Albert Museum from Burying Grounds in Egypt. (Coptic Stuffs) A. F. Kenprick. Vol. I. Greco-Roman Period; Vol. II. Transition and Christian Emblems. Illustrated. London, 1920-1. Tissus Anciens. (XVI., XVII., and XVIII. Centuries.) Plates. Paris. Wandteppiche und Decken des Mittelalters in Deutschland. Plates and Text (German). JuLius Lessinc. Berlin. TEXT-BOOKS & BOOKS OF REFERENCE ON WEAVING FABRICS Analysis of Woven Fabrics. A. F. BARKER and E. Mipciey. London, IQT4. Foot-Power Loom Weaving. E.F.Worst. Illustrated. Milwaukee, U.S.A. Hand-l.oom Weaving. L. Hooper. Illustrated. London, 1920. | History and Principles of Weaving. Boston, 1879. Jacquard Weaving and Designing. Bell, 1895. Textiles and their Manufacture. A. F. BARKER. London. Theory and Practice of Damask Weaving. KINZER. 1903. Weaving for Beginners, with Plain Directions for making a Hand Loom, mounting it, and starting the Work. J. LutHeR. London, 1920. TEXT-BOOKS & BOOKS OF REFERENCE ON PRINTING & DYEING OF FABRICS Bleaching and Dyeing of Vegetable Fibrous Materials. J. HuBNER. Colour in Woven Design. RoBERTs BEAUMONT. Plates. London, 1912. Dyes and Dyeing. C. E. PELLEw. New York, 1916. Grammar of Textile Design. H.Nisser. London, rg19. Introduction to the Study of Textile Design. A. F. Barker. London, 1919. Manual of Dyeing. KNECHT, Rawson,and LOEWENTHAL. 2 vols. London. Praktisches Handbuch des Zeugdrucks. LauBEr. Principles and Practice of Textile Printing. KNrecuT and FOTHERGILL. Textile Printing. C. F. S. RorHwsE tu. Traite théorique et pratique de l’Impression des Tissus. J. PERSOz. A full list of works on technical processes of Textile Weaving, Materials, Dyeing, and Bleaching, together with works on Textile Machinery, Calcula- tion and Reference Books, will be found on pages 297-302 of the Catalogue of British Scientific and Technical Books, published by the British Science Guild, 1921. 116 Carlton House PINION Or Bex Achzmenians 24 Ailesham linens QI Alb ; . &I12 Alexander the Great : a aad Alizarine colours . Sime te Almeria 54 Amice . It! Aniline dyes. IOI Antinoe 24 Apparel 111 Apuleius 3 Arabian patterns . 53 Ardeshir 24 Aristotle 3 Artichoke 59, 63 Asiatic fabrics 29 Assyrian relief 17 Axminster carpet . 6 Bath woollen cloths gI Batiks, Javanese 103 Baudekins 8 Bérain, Jeam. 82 Bhandana work IOI Block printing ; 95) 97 Bouchon’s cards for weaving. 13 Brocades 5 rh Persian . 44 ‘ Sicilian . 74 2d Turkish. 46 Brocatelle 63, 65 Bruges. : 87 Brun, Charles le 76 Brussels carpet 5 Byzantine 24 Calico . 106 Camoca 7, 40 Canvas 4 Carpets Carr, a designer Cashmere Cendal. Chasuble Chaucer Chenille Chiné silk Chinese fabrics Chinese looms Chinese patterned weaving Chintz . Ciclatoun. Cloths of gold ee ier Coal-tar colours Cologne Commans, Marco ae Consulate period . Cope Cords . Cotton Cuvilliés, Beste Cyrus . Dalmatic Damask Darius, dress of Diaper . Dionysius Penceeics Directoire period . Draw loom . Dutch printed fabrics Dyeing of fabrics . Ecclesiastical vestments Egyptian fabrics . linens ee loom a printed patterns e relief PAGE 5 94 71; 34 6 TI2 6, 7, 9° 6 IOI 36, 38 15 24, 38 106 INDEX PAGE Egyptian tapestries : © ge; Empire period 86, 87 English chintz 106, 107 nL SROHIES = ee tate OE » use of cloth of said ; 7 Estate, cloths of . ; : 8 Evolution of pattern. eet iy Examitum . ‘ ‘ 6 Falcandus, Hugh . 4 gt, 54 Falcon . : tae $. Figured silks : ; Me tee: Flemish fabrics. } i WOT Florentine dyeing . ‘ S< {roo a fabrics . : MSG + velvets . ; = 1,66 Francis I. period . : Sante French fabrics. : sha ra Frets . : ; : i ae Fustian : ; : i 8 Garthwaite, Anna Maria SERA Genoa . : ; : Rs German linens. : 2 oo , printed fabrics 2» 108 Ghent . ; : : ee Gobelins. 3 : seRLeres Gold ; 4, 8 Grass cloth . : d maete he Greek art. : : oes » costume ; : : 24 », patterns ; ; : 25 Gulin, a designer . : + eg Han dynasty , : pein 24 Hebrew patterns . mes Ie Hemp. ‘ ; - 4 Henri II. of Beane : un, eae ete “4 : dy ee Heraldic patterns . : a eeoo Herodotus . : : : 3 Holosericum . ; “ 6 EO TERE Homer ss Houghton Hall Inca peoples, work of . Indian costume », cotton printing . 2 OVES ts 5. tabries Indigo . Italian fabrics » masters 3. velvets Jacquard’s loom Japanese fabrics Kalamkar Kanbalu Key patterns Kidderminster carpets . Kincobs : Kocchlin brothers Labaines, Salomon de . Lace effects . : Lasalle, we de Linen . Linen damask Lombe, Sir Thomas London silk . Looms. Louis XI. aaa <5 ae 4 oe oe 3. eh Vee Lucchese fabrics . Lyons . Machine printing . Maniple 118 Marot, Daniel eo Sean. Mason’s loom Materials for weaving Medieval loom Meissonier, Jean A. Mezzari Mohammed . Mohammedan fabrics Mosul muslins Mulhouse cloth printing Naphthalene colours Neuchatel manufactory . Norwich shawls + silks © woollens. Oberkampf . Oriental carpets Orphrey webs Orphreys Oudenarde . Paisley . Palampore Palermo Palmer, a Resieier Panopolis Pattern Pautre, Jean le pee rier le ., Percier, Charles Persian Peruvian fabrics Philippe, Louis Pizarro Plain fabrics. Planche, Francois de la | Pliny : Polo, Marco. es 2 Pomegranate pattern INDEX TO TEXT 4, 100 "38, 40, 100 2,64 Pont, Pierre du Poplin . Poterat, Louis Printed patterns Razzi the Moor Repp Revel, Jean . Ringuet Roller printing Roman cloth of gold Romanticist style . Rood screens Rosseau brothers . Rouen pottery Sabilier, a designer Safidian dynasty . Saint Cuthbert Samit . Sandal . San Pier d’Arena . Saracenic fabrics . Sarcenet Sassanian fabrics . Satin Savonnerie eure poe . 28, 64, 92 Sericulture Shawls, Cashmere. » Norwich . aa el aisiey Siamese fabrics Sicilian fabrics Sis » English Silver . Simplot’s loom Spanish dress »_fanrics » silks Speich, Michele Spitalfields silks Stauracin 108 46 7 24 7 74 34 INDEX TO TEXT PAGE Stein, Sir Aurel 24 Stencils, Japanese 44, 108 Stole 112 Subsericum . 6 Susa, frieze from . 25 Swiss printed fabrics. . 108 Syrian textiles 60 Taffeta. : 6 Tapestries 3, 6, 21 Tapestry carpet 6 $3 weaving . IQ, 22 Tarim basin. 24 Terry 5 Testori, Luigi 108 Tiraz ' Si ok4 Trichard, Gabriel . 84 Tunicle 112 Turkish fabrics 46 Vaucanson . Vauteir, a designer Velvet . » Persian » Lurkish Velveteen Venetian fabrics Vernon, a designer Virgil . Watteau, Antoine . Wilton carpet Wolterton House . Wool Worcester cloths . Worsted Woven patterns Ypres . PRINTED BY MORRISON AND GIBB LIMITED, EDINBURGH +r igs fsa ph “ . WUHAN 3 3125 000 oS wp < = a ad u an perro eee Sat “ STP a peat phere! apace ia Pr. Al eed re" 4 Pa Efe a leer Atul ty mow Rit et am net ne Tce pode ie ia er Sek hee ne oie fone FT Fae $ ma Oe A gen Pap gk eer See ee TO ee ee hor yo tet eg pe ee Ee + te eS te ee aes a ly. hare ae nbineg emp a ee Legs eens et ae tela pe AD Bm 09 SS ses ae en ee cote oo eu Ae bac = pve weit Cal ~Fhe gee ace on ee er ge ee Be en eigeate Wh 7 ym hpi cel