AS A t V ;W-< • •f •.•■.■»* .' .,.t *• I'i % . Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/paintedtapestryi00godo_0 PAINTED TAPESTEY LONDON : PRINTED BY SPOTTISWOODB AND CO., NEW-STREKT SQUARE AND PARLIAMENT STREET PAINTED TAPESTEY AND ITS APPLICATION TO INTEEIOE DECOEATION IN TAPESTRY PAINTING WITH LIQUID COLOUR JULIEN GODON TEAN8LATED BY B. BUCKNALL, ABCHITECT LONDON LECHEETIEE, BAEBE, AND CO. 60 REGENT STREET 1879 CoNb . N \(pOlS 1515 GETTY CEfiTER library TBANSLATOB'S NOTE. Among the various means that have been employed for the decoration of interior wall surfaces there are none more pleasing or richer in effect than the woven tapestries so commonly used in former times for the embellishment of apartments and churches. Clothing the bare walls, these hangings present an aspect of warmth and comfort, while their soft blended tones engage the eye and soothe the mind. Woven by hand, the very exigencies of their fabrication assist in giving them an artistic character, and prevent mechanical reproductions such as those which render our modern wall papers so commonplace. In a chmate like ours, whose moist atmosphere is so unfavourable to the durabihty of mural painting, this means of decoration has special advantages ; — the non-conducting material of the tapestry hinders the condensation of vapour, through which every process of wall-painting soon becomes soiled and faded, while the hangings can be rolled up and put by when the apartment is not in use. There is, however, one serious obstacle to the general VI TEAJ^SLATOR'S NOTE. use of woven tapestries, which is, their enormous cost, rendering them unattainable by any but the most wealthy. A very admirable substitute for woven tapestry has been invented, called ‘ Painted Tapestry,’ consisting of canvas manufactured for the purpose, and painted with ‘ liquid ’ colours. By this means, the fle xil e character and pleasing effects of actual tapestry are obtained at a cost that allows of their general adoption. The canvas employed for this painted tapestry is woven in imitation of the various fabrics of the old tapestry cloths. Having no ‘ body,’ the colours penetrate into the material of the canvas, as would a stain or dye. The canvas thus preserves its ‘ grain ’ and its pliancy, and the design has every appearance of having been woven with coloured threads. The process of painting on the canvas with these liquid colours is simple, and can be easily learned by any one pos- sessing a previous knowledge of drawing in colours ; and as the painting can only be executed by the artist’s own hands, it will have all the merits of original work. Painted tapestry may either be hung against the wall in the manner of ancient tapestries, or stretched on wood frames, or fastened on the wall with some adhesive substance. In either case this mode of decoration has undoubted advantages, in point of duration, over any process of wall painting now practised. To tliose who are as yet unacquainted with painted TEANSLATOR’S NOTE. vii tapestry, no higher recommendation can be desired than the fact of its being employed by the distinguished French architect, Monsieur VioUet-le-Diic, for wall decorations in his beautiful buildings. Coloured illustrations of some of the simpler of these are given in Ms charming book, ‘ How to Build a House,’ (page 261) where the foUowihg description occurs in reply to Paul’s observation concerning them ‘ I never saw any hangings like this painted canvas before ; they look very well ; one might fancy they were tapestry.’ ‘ Yes ; I cannot imagine why these kinds of hangings, which were formerly much used, should have been abandoned, for it is clear that everybody could not have Flemish or Gobelin tapestry, any more than Cordova leather. Those tMngs were very costly ; whereas painted canvas hangings do not cost much more than wall papers, and less than up- holstery hangings, chintz excepted. But it would scarcely do to hang a drawing-room or a dining-room with chintz ; it does not look sufSciently substantial, though it may be well enough for a bed-room. In the principal apartments, hang- ings should have a velvety, warm, substantial effect.’ ‘ And are these of painted canvas substantial ? ’ ‘ In appearance certainly, and in reality also ; in proof of which you may see at Eheims some dating from the fifteenth century, and which are perfectly well preserved. . . . The cost of the material is trifling, and the value of the hangings depends on the artist’s work. The cloths can be rolled up and sent anywhere at small expense. On the spot translator’s note.' viii they are fastened on thin frames called tapestry strainers. Thus there is a space between the wall and the hanging, which is necessary in the country, where sized papers always spoil ; and this is so much the more convenient as if the rooms are not warmed in winter, and if damp is feared, the cloths can be taken down, rolled up and put in a dry place, to be replaced in the spring, as we do with tapestry.’ ‘ I thought when I opened the drawing-room door that it was tapestry.’ ‘ The coarse texture of the cloth does in fact resemble the tapestry stitch, and the painting has the flat tone of the wall. On the whole the painted tapestries of our house scarcely cost more than the high-priced papers that are made now-a- days, and they last longer, to say nothing of our being sure not to see our own patterns on everybody’s walls.’ ‘ Very true ; often on going into a drawing-room I have recognised a paper which I had seen elsewhere.’ Painted tapestry is being largely employed by French architects and decorators for the adornment of interiors, and its great advantages cannot fail to be soon duly appre- ciated by ourselves. Benjamin Bucknall. Algiers: January \Q7Q. PBEFAOE. Painting, properly so called, held only a secondary place among the arts of ancient times. ‘Decorative Painting, regarded as the complement of Architecture, was co-extensive with the latter.’ ‘ The further we go back into Antiquity,’ says M. VioUet le Due, ‘ the more intimate do we find the alliance between Architecture and Painting. All the build- ings of India, Asia Minor, Egypt and Greece were covered with painting within and without. The Architecture of the Dorians, that of Attica, of Magna Greecia and of Etruria was painted.’ In the present day the employment of decorative painting has received a considerable impulse. Now, especially, the progress of the Arts, the refinement of taste, the caprices of fashion, the demands of luxury, but above aU the habituation to elegant comfort that has been prevalent throughout society, have made the decorative painter an indispensable auxiliary in the embellishment of modern buildings. Public buildings, such as Churches, Palaces, Theatres, Chdteaux, Mansions, Hotels, etc., are not considered finished X PREFACE. until they have received an artistic completion at the hands of the decorative painter, which supplies a kind of final consecration to the architect’s work. As every step in advance leads to another, a novel branch of gesthetic industry has made its appearance as an effective auxiliary in the extension of this form of art. We refer to the use of decorative painting on canvas for ceilings and wall spaces of rooms. It was in 1861, At the first Exposition de Vunion Centrale des Beaux Arts appliques a V Industrie, that this novel appliance was brought into notice. It had been invented some time before by M. Binant, one of the original founders of the Union Centrale des Beaux Arts. The following year in London, at the Great Exhibition of 1862, these hangings again attracted attention on account of their large dimensions without seams ; and the widths of 20 ft. and 26 ft. there exhibited, and for which prizes were awarded, assured the adoption of this novel appliance for decorative painting. The Art Journals of the time, Le Moniteur des Arts, Le Propagateur Plustre, Le JournaLManuel de Peinture, Le Con- seiller des Artistes, etc., called pubhc attention to the revolu- tion which must result from this new branch of artistic industry. Kesults have justified their predictions.^ Consequently, * In the second part of this work will he found a notice of the principal PREFACE. XI since the dates referred to, how many paintings have been executed in the ateher, with comparative ease, and with the advantage of having the materials all at hand ; in how many important decorative works have these hangings been used, besides the large paintings of the New Opera, the interiors of the Churches of St. Augustin and La Trinite, the Hotel de la Legion d’Honneur, etc. ; how many works have been sent to distant places, ready finished, — thus obviating the necessity for a method of painting on the spot on scaffold- ings — nearly always inconvenient and often dangerous. In the domain of progress all things exert a reciprocal influence, and innovations apparently the most trifling have often a most important bearing both on art and manufacture. The influence of a particular invention on the customary processes of any branch of productive industry cannot there- fore be ignored. Decorative industry forms no exception ; the impetus once given, it will follow the progressive move- ment of the age. Through what phase in the sesthetic hfe of the nation are we now passing ? Never, to all appearance, has the taste for works of art been so general. When have Exhibi - tions been so much in vogue as now ? The number of visitors, as also that of the objects sent for exhibition, is yearly increasing. The productions of painters and sculptors create a warm interest, and receive well deserved praise on the advantages offered by these hangings, both as regards decorative art and architec- ture, and an enumeration of the many works in which they have been employed. Xll PREFACE. part of the visitors. The number of buyers increases, and prices are rising. A further proof of the esthetic tendencies of the time is the multiphcation of expensive works treating on special branches of art, and which are so largely read. The idea of bringing examples of ancient as well as contemporary art with- in the reach of the public is a happy one, and has afforded the originators the double satisfaction of a well merited success and legitimate profit. It need not be feared, as some have suggested, that imag- ination will be dulled and finally paralysed by the facilities thus afforded for procuring ideas. The mind of the true artist will only be roused and stimulated to invention by the treasures thus put within his reach. On the other hand he who has not the priceless gift of inspiration, will at least derive from them the means of rendering his works toler- able. He does not run the risk of losing his power of origin- ation if he does not possess it, or if it is too feeble to hinder him from interpreting ill the ideas of others. We learn from the official reports published on the occa- sion of the Industrial Exhibition of 1828, that we had become dependent on foreigners for numerous productions of an artistic character, such as paper-hangings, chintzes, costly furniture, and in fact for most of the new designs which constitute the ‘ fashion.’ Now, however, the contrary is the case ; instead of having to borrow anything from without in matters of taste, it is we PREFACE. xin who supply the foreigner. Paris has become the centre of a host of skilful artists who furnish designs, not only for our own looms but for those of other countries. In decorative art our neighbours have for a long while been indebted to our designers and ornament makers. This dependence, however, is becoming irksome to them, and we must not ignore the fact that the founding of Schools of Art and other national institutions with a similar object is tend- ing to render them more independent. One of the most definite results of International Exhibitions is that they have enabled us clearly to appreciate — in fact through ocular demonstration — our distance behind or in advance of rival nations in the various branches of art and manufacture. It has become almost a patriotic duty for the wealthy classes to encourage our artists by taking an interest in their works, but especially by acquiring the cultivation necessary for appreciating with discernment, knowledge and taste those novel productions which receive from the pubhc so little intelhgent criticism. The best incentive to a sincere artist is the certainty of being criticised by real connoisseurs and enlightened amateurs. It would be well if we could see restored that numerous body of intelligent critics to whom in former times our decorative arts owed nearly as much as to the very skilful artists who produced them. The race of real amateurs is sadly diminished in number ; it now forms only a minority too feeble to offer any serious counterpoise to the mass of XIV PREFACE. the opulent or well-to-do public which, without having taken the trouble to form or educate its taste, buys, orders and assumes to direct or influence the artist and the work- man. We are too apt to forget the good service which a few persons of refined taste, whose opinions are in the long run sure to influence those of the public, might render to the art of a country. But men cannot become enlightened critics or distinguished amateurs without some practical acquaintance with the subject, for it is always difiicult to form a well- founded judgment in any branch of art when we are entirely ignorant of all those practical methods which constitute what may be called its technical grammar. Should they devote themselves to sculpture or painting properly so called ? If they have perseverance, leisure, ability, and natural genius — 'that is, if they combine in them- selves the conditions and faculties which make great artists— without doubt we should urge them to become sculptors or painters. But how many years would be required to pro- duce anything even tolerable in either department ! In the imitation of tapestry, by painting on a particular kind of canvas, and with special colours, we have however a branch of pictorial art which does not present such serious difliculties, but afibrds lively enjoyment to the amateur at an early stage of his progress, because he very soon acquires the power of producing original or at least meritorious work. PREFACE. XV In the Exposition of last year, so successfully organised by the Union Centrale des Beaux Arts appliques a VIndu trie, in tlie palace of the Champs Elysees, there were exhibited many of these painted tapestries which obtained the well-deserved admiration of all. Here again manufacture has aided art, and tissues have been produced by M. Binant, who, taking Hie initiative in this effort also, has succeeded in producing specimens character- istic of various epochs, in the style of which any subject, or copy of a piece of tapestry may be rendered so as to realise all the effect of ancient needle-work. Harmonising with the EBsthetical movement above referred to, these painted tapes- tries will naturally find their place in interior decoration, whether in panels, curtains or wall-hangings, and accommo- date themselves to the taste which has lately arisen for this kind of painting, and which has spread so rapidly among amateurs and artists. But if we would thoroughly understand the various kinds of ancient tapestries and the worth of our manufactured materials, we must know how to distinguish the various modes of fabrication ; a point we shall endeavour to make clear. We shall then describe the principal historical pieces existing in our churches and museums, and shall con- clude with some general reflections on the influence which this revival of a pictorial art of former times is calculated to exert on modern decoration. a ' ' J-* .■>VHv;\ ■1^ 1 ^ -'v. ^1 f . i CONTENTS PdQK Teanslatok’s Note v Peeface ix PART I. Notes Historical and Technical on Tapestry . ... 1 Hadte-lisse (vertical warp) Tapestry ... , . . 14 Basse-lisse (horizontal warp) Tapestry 1’/ Savonneeie Tapestry 17 Remarkable Tapestries 22 Painted Tapestries 38 Contrast of Colours 41 Ornamental Borders ......... 44 PART II. Requisites foe Studio and Preliminary Operations . . .47 Liquid Colour Process : — First Lesson .......... 61 Second Lesson .......... 66 Third Lesson . ........ 67 Fourth Lesson .......... 69 General Instructions ......... 71 XVlll CONTENTS. Various Processes:— paoe Albumen Painting ........ 75 Wax Painting .......... 76 Turpentine Painting ......... 77 Mixed Painting .......... 77 Oil Painting on Prepared Canvas ...... 78 Acid Painting .......... 79 Gilding 81 Canvas of great Widths for Decoration . . . . .88 Fixing (Marodflage) of Painted Tapestry 87 Artistic Restoration of Tapestry 88 PAINTED TAPESTEY. PAET I. NOTES HISTORICAL AND TECHNICAL ON TAPESTRY- REMARKABLE TAPESTRIES—ANCIENT PAINTINGS ON CANVAS. NOTES HISTORICAL AND TECHNICAL ON TAPESTRY. ‘ We possess no examples of woven tapestry of earlier date than the fourteenth century,’ says M. Parcel, in his interesting essay recently published in the ‘ Gazette des Beaux Arts ’ in reference to the Exposition de TUnion Centrale, ‘ but as the unity of Art in the Middle Ages enables us to trace back- wards from the known to the unknown, we may be certain that, like mural paintings, the most ancient hangings were only enlarged miniatures.’ The art of producing tissues in imitation of paintings by the combination of threads of various colours has existed from the earhest times. ^ The description given in the Book of Exodus of the hangings which embellished the interior of the Tabernacle prove this. Certain of these stuffs, em- broidered in silk, wool, and gold thread with the needle, were called opus plumarii (product of the workman) because they * Larousse, Eictionnaire du XIKP“* Siecle. 2 PAINTED TAPESTRY. came out of the workshop of the weaver who made them by combining, with the help of numerous shuttles, wools and silks of divers colours. At Babylon, also, the temples of the gods and the palaces of the kings were decorated with storied hangings. According to Apollonius, the Babylonian women excelled in the making of these sumptuous fabrics. Philostratus informs us that in the palace of the Assyrian kings were to be seen tapestries woven with gold and silver, which por- trayed the Greek fables of Andromeda, Orpheus, &c. The famous tapestries which in the time of Metellus Scipio were sold for 800,000 sesterces and which later on were bought by Nero to cover his festal couches, for the exorbitant sum of 2,000,000 sesterces (about 16,400^.) were of Babylonian origin. On some of the Egyptian monuments may be seen portrayed looms and shuttles which are closely analogous to those which have been since employed in manufacturing tapestry. The Medes, the Persians, the Phoenicians, and many other Eastern nations, were celebrated in ancient times for their skill in manufacturing tissues of rich design and brilliant colours. According to Herodotus, certain nations on the shores of the Caspian Sea were wont to ornament their garments with representations of animals, flowers, and landscapes. For many ages the East retained the distinction of supplying Europe with stuffs, hangings, and woven or embroidered tapestries. Greece and Pome eagerly sought these precious fabrics. Homer frequently makes mention of works of this kind. The web of Penelope, portraying the exploits of Ulysses, has become famous. It was on tapestry that Philomela, a prisoner and dumb, embroidered her adventure with Tereus and by means of it informed her sister Procne of the bar- NOTES IIISTOPJCAL AND TECHNICAL ON TAPESTRY. 3 barons infidelity of her husband. Helen, during the siege of Troy, worked at an embroidery representing the combats of the heroes who were slaying each other on her account. On the cloak of Ulysses was represented a dog tearing a child. Of course we are not to infer that all these works, real or fabulous, are to be understood as tapestries, in the strict sense of the term ; but the descriptions of them which the Greek authors have left us show that the taste for pictorial fabrics dates from very remote times. The Eoman authors, again, make frequent mention of rich hangings used for draping the walls of houses and covering festal couches. The tapetes Attalici, so named because they had been bequeathed to the Eoman people by Attains, king of Pergamus, were of incom- parable magnificence. We find an historian of the reign of Theodosius describing the young Eomans in the decline of the Empire as engaged in making tapestries. In the earhest period of the Middle Ages we find em- broidered or woven fabrics used for ornamenting churches. Gregory of Tours often mentions them in his descriptions. At the consecration of the Church of St. Denis, the walls were covered with tapestries embroidered with gold and enriched with pearls. Queen Adelaide, wife of Hugh Capet, presented to this same church a chasuble, an altar frontal, and hangings wrought by her hand. Doublet, the historian of the ancient abbey of St. Denis, mentions Queen Bertha’s having embroidered a series of representations portraying the glorious deeds of her ancestors. Some French churches still possess ancient fabrics of raised silk work ornamented with figures in which ecclesTstical dignitaries were arrayed on days of high ceremonial. We may mention among others the cope of St. Mesme at Chinon ; the winding-sheet 4 PAINTED TAPESTRY. of St. Germain at Auxerre ; the cope of St. Louis d’Anjou, at Saint Maximin (Yar), the chasuble of St. Yves at the episcopal residence of Saint Brieuc. ‘ From these fabrics to storied tapestries or pictures in wool,’ says M. Lacordaire (‘ De rOrigine des Tapisseries reunies aux Gobelins ’ ) the transition might have been silently effected, during a long course of time, beneath the shadow of the cloisters and cathedrals, to which this kind of interior decoration was so perfectly suited. The ancient historians of the town of Auxerre say that St. Anthelme, bishop, who died in 840, had many fabrics made for his church. About 985 a verit- able manufactory of tapestries and of various stuffs was estabhshed in the monastery of St. Florent de Saumur. ‘ In the time of Eobert, third Abbot,’ say Dom Marte n n e and Dom Durand, ‘ the works or manufactures of the cloister were enriched by splendid paintings and sculptures ac- companied with inscriptions in verse. The said Abbot, an enthusiastic lover of art, sought and obtained a considerable quantity of magnificent ornaments, such as great dorserets (dossels), woven of wool, curioms, fastiers (canopies), hang- ings, seat-cloths, and other ornaments embroidered with various designs. Among others he caused to be made two tapestries of great beauty and width representing elephants ; and these pieces were wrought by paid weavers of tapestry, in costly silk. ' He also ordered two dorserets to be woven of wool. Now during the making of these cloths, the said Abbot being absent in France, the brother cellarer bade the weavers not to execute the weaving as usual. The work exists to prove the truth of the circumstance. They made, therefore, several cloths whose length was equal to their width, representing silver hons on a red ground, with a white border representing figures of animals and birds in red. NOTES illSTOEICAL AND TECHNICAL ON TAPESTEY. 5 This unique tapestry remained in our possession as a model of work of the kind and was considered the most remarkable of the tapestries of the monastery. In fact, on great occa- sions the Abbot had the cloth of the elephants displayed, and the Prior the cloth of the lions.’ A portion of a certain letter that passed in 1025 between an Itahan bishop named Leo and William IV. Count of Poitou, shows that at this period the tapestries of Poitiers enjoyed great repute. The cities of Eeims, Troyes, Beauvais, Ambusson, Pelletin, &c., were also famous at an early date for works of this kind. M. le Baron Ch. DaviUier, in his interesting sketch, ‘ Une Manufacture de Tapisserie de haute lisse k Gisors,’ informs us that a certain Adrian Neusse, a native of Oudenarde, who had left the subsidised manufactory of Beauvais, came and settled at Gisors in 1703. He asked from the municipahty the same privileges as the king had granted to the Beauvais manufactory, and in return for the hberality with which he had been received he presented to it in 1708 a portrait of the king in tapestry. This portrait was sent to Paris, ‘ to have a suitable frame made for it and a glass over it to preserve the colours,’ and twelve days afterwards it was placed over the great fire-place of the Hotel de ViUe, strongly fixed with several fastenings, with a curtain over it hung on a rod. The portrait in question, with its frame of carved and gilt wood, and its bevelled glass, was exliibited in one of the Historical Tapestry rooms at the Exposition de TUnion Centrale. But it was not only in Prance that skilful weavers were to be found in early times ; the ‘ Chronique des Dues de 6 PAINTED TAPESTRY. Normandie,’ written by Budon in the eleventh century, informs us that those of England were inferior to none in point of skill and taste ; a specimen of magnificent em- broidery or rich cloth was designated as English work. The same chromcle tells us, moreover, that the Duchess Gonnor, wife of Eichard I., with the aid of her embroideresses, pre- pared hangings of hnen and silk ornamented with subjects and figures representing the Virgin and the Saints, to embelfish Notre-Dame de Eouen, The Bayeux tapestry attributed to Queen Matilda, wife of William the Conqueror, is the oldest work of the kind in existence. ‘ It was not till the twelfth century,’ says Paul Lacroix (‘Les Artsdu Moyen-^ge ’), ‘ after the return from the Crusades, which had been the means of creating in the West an admira- tion and desire for the wonderful tissues of the East, that the use of tapestry, becoming still more general in the churches, obtained in the castles. While in the monasteries the monks had found occupation in the artistic weaving of wool and silk, such occupation would naturally be yet more welcome as a source of pleasant distraction to the noble dames in the irksome confinement of their feudal homes. Sur- rounded by their tire-women, as in ancient times the noble Eoman matrons by their slaves, these fair ladies, deeply stirred by the stories of chivalry to whose recital they were listening, or inspired by profound faith, devoted themselves to the portrayal with the needle, of the pious legends of the Saints or the feats of warriors. Thus covered with touching scenes or martial exploits, the bare walls of the great castle halls assumed an impressive eloquence which could not fail to fill the mind with inspiring visions and noble emotions.’ In the twelfth century beds were hung round witli tapes- NOTES HISTOEICAL AND TECHNICAL ON TAPESTRY. 7 tries which enclosed them hke a tent ; in the fourteenth century the castle halls were almost entirely hung with large fringed tapestries, at a sufficient distance from the wall for a person to be able to hide behind them. These great apart- ments, says M. YioUet le Due, did not afford sufficient privacy for famihar intercourse ; this explains why we often find in castles, close to those large rooms, deep recesses to which persons might retire for private conversation. Towards the twelfth and thirteenth centuries, under the influence of Oriental habits, the custom of being seated on carpets was introduced into the courts of the West. From this period also we may date the very frequent use of rich tapestry for tents used in war and the chase. They were also displayed on the walls by way of decoration, on great occasions, and to hide their bareness, as e.g. at the visits of princes. Festive haUs were hung with magnificent tapestries, which added to the brilliant effect of the entremets or interludes which were acted during the banquets. At tournaments the fists and the galleries were resplendent with brilliant stuffs which represented scenes of heroic daring. Lastly, the caparison— the livery of the noble steed — displayed its rich and brilliant imagery to the wondering multitude. It may also be remarked that the tapestries were usually emblazoned with the armorial bearings of the noble for whom they had been fabricated, doubtless with a view to occasions when they might be publicly exhibited. An inventory dated January 21, 1379, preserved in the Biblio- theque Nationale, and in which are mentioned, together with aU the jewels of gold and silver, ‘ all the chapels, rooms of embroideries and tapestries ’ of King Charles V. — may give us an idea not only of the great number of hangings aiid cloths that formed part of the royal furniture, especially at 8 PAINTED TAPESTEY, Hotel Saint-Pol, but likewise of the variety of the subjects represented thereon. A few^ of these tapestries are still in existence, but among those which have been destroyed or lost may be noticed : the great cloth of the Passion of our Lord, that of the Life of Saint DenL, and that of the Life of Theseus ; the great cloth of Goodness and Beauty, that of the Seven Mortal Sins, that of the Twelve Months, that of the Fountain of Youth (‘ Fontaine de Joiivence ’) ; the two cloths of the Nine Preux, that of the Ladies who hunt and who fly (that is, who hawk), that of the Wild Men, that of Godefroy de Bouillon ; a white chapel-cloth, in the centre of which was represented ‘ a compass and a rose ; ’ a fine large cloth ‘ which the king bought, which was enriched with gold, picturing the Seven Sciences and Saint Augustin ; ’ a large arras cloth representing the Battles of Judas Maccahoeus and Antiochus, another representing the Battle of the Duke of Aquitaine and Florence, &c. The list is endless. ‘ And it must not be supposed,’ says M. Paul Lacroix, ‘ that royal mansions alone presented these sumptuous displays. The taste for rich cloths was, it may be affirmed, diffused throughout the upper classes ; an expensive taste, if ever there was one, for in addition to the proof afforded by the examination of these wonderful productions that they could have been acquired only at very great cost, we find in ancient documents more than one formal attestation of the fact. For example, Amaury de Goire, weaver, received in 1348, from the Duke of Normandy and Guienne, 392 livres, 3 sous, 9 deniers for a ‘ woollen cloth on which were pictured scenes from the Old and New Testament.’ In 1368 Huchon Barthelemy, money-changer, received 900 francs Tor for a ‘ wrought cloth, representing the Quest of the Holy Grail, and in 1391, the cloth of the History of Theseus, mentioned above, was NOTES HISTORICAL AND TECHNICAL ON TAPESTRY. 9 bought by Charles V., for the sum of 1,200 livres — enormous values for the period.’ The tapestry manufacture of Flanders was already in high repute in the twelfth century ; it became very extensive during the succeeding centuries, and the works executed at Arras were sought after throughout Europe. The Church of La Chaise-Lieu, in Auvergne, possesses tapestries which are said to have been made at Arras in the fourteenth century from the cartoons of the Florentine painter Taddeo Gaddi ; they represent subjects taken from the Old and New Testa- ment alternately. So highly esteemed were Arras tapestries in Italy that in that country the name arazzi was given to all works of the kind brought from any manufactory in Flanders. The arazzi executed for the Vatican from the cartoons of Eaphael are justly celebrated. Brussels, Oudenarde, and other Flemish towns had important workshops for the weaving of tapestries. The Mush de Cluny contains several Flanders tapestries of the fifteenth and sixteenth centuries ; among others a series of ten pieces (nos. 1692 and 1701) re- presenting the History of David and Bathsheha. Vasari informs us that the Grand Duke Cosmo de’ Medici employed Bronzino, Pontormo and Francesco Salviati, all three painters of great merit, to design cartoons, which were reproduced by a Flemish weaver named Jean Post ( ‘ maestro Giovanni Eosto arazziere fiamingo ’) ; he adds that that prince was so charmed with these tapestries that he estabhshed in Florence itself a manufactory which soon pro- duced excellent works. At Mantua, the Duke Frederic, and at Urbino the Duke Francesco Maria, estabhshed manu- factories of arazzi. Venice likewise possessed work-shops where ‘ storied ’ fabrics were made, and cloths in which silk and gold were mingled. 10 PAINTED TAPESTRY. In England, the art of weaving haute lisse tapestries was imported by Wilham Sheldon, towards the end of the reign of Henry VIII. King James I. founded at Mortlake in Surrey a manufactory whose management was entrusted to Sir Francis Crane, and the inspection of the works to the painter Cleen or Cleyn of Eostock ; it was in this manufactory that in Charles I.’s time were executed in tapestry the seven famous cartoons of Eaphael now kept at Hampton Court. The most ancient weavers of cloths in France were called Sarrazinois, according to what we are told by Pierre du Pont, master-weaver to Henry IV., in a curious httle work published in 1632 entitled ^ Stromatourgie, or. Of the excel- lence of the manufacture of Turkey cloths newly estabhshed in France under the direction of that notable man Pierre du Pont, weaver in ordinary to the king for the said works.’ Pierre du Pont tells us : ‘ It is probable that after the utter defeat of the Saracens by Charles Martel in 726, some of them — possibly fugitives or wanderers who had escaped after the defeat — who were skilled in the weaving of these cloths, settled in France to gain their livehhood, and set up a manufacture of Saracenic cloths. As to the fabric and style of their cloths, we have no means of judging beyond what we may infer from a legal decision of the year 1302 which says that these Saracenic tapestry weavers had been estabhshed long before the weavers of haute lisse tapes- try, and had long been the only makers, but were now declining, and that the said weavers of haute lisse had begun to establish tliemselves and to supersede the said Sarrazinois, as in fact they have done.’ The Saracenic tapestry-weavers formed in Paris, in tlie twelfth century, an important corporation, with regulations for its members, and which among other privileges had that of NOTES fflSTORlCAL AND TECHNICAL ON TAPESTRY. 11 exemption from service in the watch. The legal decision of 1302 mentioned by Pierre du Pont, had the effect of incor- porating the weavers of haute lisse with the Saracenic body. In 1652, this guild was again augmented by the incorpora- tion of other guilds which had only a distant relationship with the tapestry-weavers : the couverturiers-notres-sergiers and the contrepointiers-coutiers. These three trades enjoyed the same privileges ; the entire corporation had four patrons : St. Louis, St. Genevieve, St, Sebastian, and St, Francis d’Assisi, We find in the ‘ Notice sur la manufacture des Gobehns ’ by M, Lacordaire, the following information respecting the origin of the royal manufactures of tapestries in France. The weaving of tapestries was exclusively a private manufacture until Francis I. brought from Flanders and Italy some master-weavers, and estabhshed at Fontainebleau a manufactory of tapestry of haute lisse, under the direction of Phihbert Babou, Sieur de la Bourdaisiere, superintendent of the royal buildings, and of Sebastian Serlio, his painter and ‘ architecteur ’ in ordinary. Some of the numerous painters employed to decorate the Chateau de Fontainebleau were entrusted with the execution of designs which were, for the most part, merely reproductions on paper of the paintings constituting part of the decoration of the chateau. The accounts of the Eoyal expenditure from 1540 to 1550, in referring to this branch of outlay, frequently mention Claude Badouyn as commissioned to execute works of the kind. They also give the names of fifteen master-weavers receiving from the king silk, wool, gold, and silver thread — materials for their fabrication — and paid, according to their skill, at the rate of ten or fifteen livres a month ; they were under the special and daily inspection of the brothers 12 PAINTED TAPESTEY. Solomon and Pierre de Herbaines, master-weavers to the king and having charge of the furniture and tapestries of the chateau. The French hangings of this period were enriched in a novel manner by the admixture of gold and silver introduced into the texture, but still more remarkably by the designs of the first painters of the time, among whom was Primaticcio. Felibien mentions among other tapestries executed from the designs of this master, ‘ a hanging at the Hotel de Conde painted on silver canvas, with fight colours, which was formerly at Montmorency.’ The impulse given by Francis I. to the art of tapestry-weaving was not con- fined to the founding of manufactories at Fontainebleau ; he encouraged by numerous orders the manufactories of Paris and even those of Flanders, from which he purchased, at a cost of 22,000 crowns, tapestries then considered the master- pieces of the workmen of that country — the Battles of Scipio after Giulio Eomano, a collection which Henry H. completed some years afterwards by the Triumph of Scipio, executed in tapestry from the cartoons of the same painter. Henry II. maintained the establishment founded at Fontainebleau, and entrusted the general management to Philibert Delorme, superintendent of the royal buildings and his architect in ordinary ; he also established at the Hopital de la Trinite, in Paris, a manufactory of tapestry which, through the con- cession of privileges of various kinds, soon became very prosperous. Among the remarkable tapestries produced in these new workshops, Sauval mentions those of the Church of Saint Merry, executed in 1594 by a master-weaver named Dubourg, from designs by Lorambert. In 1597 some weavers of haute lisse were settled by Henry IV. in the Convent of the Jesuits, in the Faubourg St. Antoine, vacant at tlie expulsion of the order. Ijaurent, ‘ a skilful weaver,’ NOTES HISTOEICAL AND TECHNICAL ON TAPESTRY. 13 says Sauval, was appointed manager of tlie new manufactory, and Diibourg was afterwards associated with him. After the recall of the Jesuits, the establishment was transferred to the galleries of the Louvre. In 1604, Pierre du Pont was authorised to estabhsh in the same galleries a manufactory of cloths in the style of the Levant. Henry TV. did not confine himself to found- ing these various manufactories ; he sent to Planders for about two hundred working weavers, and installed them first in certain apartments of the ‘ Palais des TourneUes ’ which still exist, and whence they afterwards migrated to the ‘ Faubourg St. Germain.’ Under Louis XIH. an enact- ment of the Conseil royal dated April 17, 1627, accorded to Pierre du Pont and Simon Lourdet ‘ the right to fabricate and manufacture aU kinds of cloths, and other furniture and productions of the Levant, in gold, silver, silk, and wool,’ on condition that ‘ in all the towns of the kingdom where the weavers settle they shall instruct in the art a certain number of poor children placed with them by the adminis- trators of the hopitaux.' The number of these children was fixed at a hundred for the City of Paris, and the place appropriated to the new manufacture was a large build ing which had originally served as a soap manufactory {Savonnerie), situated near the banks of the Seine, not far from Passy, on the site of the modern Quai de Billy. The tapestries produced by this manufactory— -the only one of the kind which existed in France — rivalled the pro- ductions of the Gobehns ; they were destined to furnish the royal residences. Piganiol de la Force mentions among the productions of the Savonnerie a carpet which was to cover the entire floor of the great gallery of the Louvre, and which consisted of ninety-two pieces. u PAINTED TAPESTRY. On the founding of houses intended as asylums for the poor, a certain number of indigent children were placed in the Savonnerie, and there received a Christian education and were also taught the art of tapestry-weaving ; but some time after the foundation of the Hopital general, differences arose between the administrators of the estabhshments for the poor who wished to interfere in the management of the Savonnerie, and the director of that house. The interven- tion of Colbert became necessary, and in 1663 that minister gave the manufactory of the Savonnerie a new organisation. Towards the end of Louis XIV, ’s reign the estabhshment lost somewhat of its ancient repute ; but in 1713 it resumed all its activity in consequence of the exertions of the Due d’Antin, the superintendent, who had the buildings repaired. The chapel had been founded, in 1615, by Marie de Medicis, under the invocation of St. Nicholas. This fine establish- ment prospered till 1728, at which date it was incorporated with the Gobelins manufactory. Part of the old buildings were taken down to make way for new ones intended for the storage and administration of provisions for the army. We will conclude this account with an explanation of the looms employed for manufacturing the different kinds of tapestry, and some technical details respecting their working. HAUTE LISSE (VERTICAL WARP) TAPESTRY. In the looms for haute lisse tapestry, a fabric is made with a warp and a weft ; but the weft only appears on the face and back. In making, the warp is stretched vertically. The warp-yarns, parallel to one another and in the same plane, are strung on alternate sides of a beam placed HAUTE LISSE TAPESTRY. 15 horizontally, called the crossing-beam {baton de croisnres), so that, relatively to the weaver, seated between the warp and the pattern when he is at work, half the warps are in front, and the other half behind the fabric. But the back warps can be drawn forwards by means of strings, called lisses, which clip them and connect them with a pole called the lisse pole, which is movable and placed below the warp beam and outside the loom. The woof is wound on small wood shuttles, called broaches, tapered to a point at one end. The process of weaving is as follows ; the broach is passed from right to left between the front and back warps. Suppose them to be ten in number — five front and five back warps. The weft thus passed forms a demi-throw ; it covers, on the side of the weaver, the five back warps ; drawing these forward by means of the lisses, then passing the broach between the back and front warps a second demi-throw is made, which covers the five front warps ; the weft is pressed with the point of the shuttle. At every pass the weft is pressed down with an ivory comb, whose teeth penetrate between each thread of the warp to make the superposed demi-throw he close and so conceal the warp. The five front and five back warps are completely covered by the weft on both sides and they are brought to the same plane. It is evidently possible to form any kind of figure whose shape or outhne shall be oblique to the warp, by varying the length of each demi-throw, or, if the demi-throws are of equal lengths, by varying the starting-point of each ; but the obhque outhne will manifestly not be rectihneal or re- gularly curved ; it will always be jagged. On the other hand, the surface of the tapestry, instead of 16 PAINTED TAPESTRY. being plane or smooth like that of a painting or a mosaic, is ribbed by the threads of the warp, and the ribs are striated by the threads of the weft which are perpendicular to them. From this structure it results that the surface of a silk tapestry stuff — Gobelins, for example — forming a white ground, will never have the sheen of an equally white satin formed of parallel threads whose surface is as smooth as possible ; the surface of the tapestry presents ribs that reflect the light and grooves and striations that partly absorb it. From this double arrangement of the weft and the warp result the particular effects presented by the tapestries and which form their special decoration. If the preceding details have been clearly understood, it will be easy to imagine how the artist reproduces the design although he only sees the back of the copy he is mak- ing. Each demi-throw showing on the front, the effect of the whole throw is the same front and back. Besides, the weaver always has in view the black or red outline marked on the warp in conformity with the pattern reproduced ; the marking indicates the extent of each throw. If the thread ends of the weft-thread did not show at the back of the tapestry, it might be said that the stuff had no back. The haute lisse loom is the only one now in use at the Gobehns because it lends itself to all the requirements of the largest design, both as regards the size of the figures and the number of the details, and is also specially fitted for weaving hangings or copies of the longest and widest histori- cal pictures. BASSE-LISSE AND SAVONNERIE TAPESTRY. 17 BASSE-LISSE (HORIZONTAL WARP) TAPESTRY. The basse-lisse loom differs from the haute-lisse loom in the warp being stretched nearly horizontally and the weaver being over it ; he thus works with the back towards him hke the weaver of haute-lisse. The small wood shuttles on which the weft is twined are called flutes instead of broaches. No outline is marked on the warp, because it is traced on a paper fastened to a table placed beneath the warp. The basse-lisse loom is now the only one employed in the Beauvais manufacture. It lends itself to all the requirements of the most finished tapestry work for furniture, while it allows of greater rapidity in the execution. It was employed at the Gobelins until 1826 ; it was used concurrently with the haute-lisse loom and for the manu- facture of tapestries for furniture. An attempt was made to work with the front to the weaver, but without success. The principal disadvantage was the difficulty of preventing the soihng caused by the touch of the workmen and by the dust. SAVONNERIE TAPESTRY. The Savonnerie cloths are produced by a process alto- gether different from the preceding, for these fabrics are veritable velvets. Their structure is very complicated ; neither the warp, which is of wool, nor the weft, which is of hemp, shows when the tissue is woven. The weaver sees the front of the cloth and not the back ; the warp is stretched vertically, but the dimensions of the loom are greater. In this kind of weaving, which we shall also describe, (as it is but little known) the warp consists of parallel threads ; ^ c 18 PAINTED TAPESTRY. the warp beam so divides the series of back threads from that of front threads, that each front thread is opposite a back thread. The cloth is begun with what is called the fabric {lidere) which is woven in the same way as the Gobehns tapestry. A weft of wool is wound on a shuttle ; it is passed between some of the front threads and the back threads from right to left ; this is called wefting. Then having drawn the lisses forwards, the weft is passed from left to right between the back threads drawn forward and the front threads ; this is called throwing. After this double passing of the shuttle, every thread of the warp is surrounded by the weft both in front and behind. At each passing the weft is pressed down with an iron comb to prevent the warp from showing. We must now explain how the knotted pile of these cloths is made when the fabric (lisiere) is of sufficient height. This pile is made with a yarn of wool wound on a shuttle. This yarn is nearly always formed of five threads of wool, but sometimes of ten ; there are three ways of minghng the threads. 1. With threads all alike ; for grounds nearly always. 2. With threads of one scale of colour, but of different tones. 3. With threads belonging to different scales of colour, but of nearly similar tones. The mingling of threads com- posing the yarn allows of an almost endless variety in the colours, not only in point of tone, but also in respect of shade. The wool which constitutes the pile or yarn is the only part of the cloth that shows when in its place. To make the knot, the yarn shuttle is passed from right to left behind one of the front warp threads. A kind of loop SAVONNEEIE TAPESTRY. 19 is left on the front of this thread by not tightening the pile yarn. By pulling forward a lisse, the contiguous back thread which corresponds with the former front thread is brought forwards. It is in this contiguous warp thread, thus advanced, that the knot is made. To do this the shuttle is passed from right to left behind it, and then brought so as to knot the yarn round this thread. Each knot is pressed down with the thumb and fore- finger, and the loops are opened with the scissors ; or, to economise the pile, use is made of the thread-cutter, which is a cyhndrical piece of iron of an inch in diameter, ter- minated by a knife blade. Before making the knot the thread-cutter is placed horizontally at the height of the intended knot, the wool being at the weaver’s left hand. After having passed the shuttle on a first warp thread, the pile is wound around the cylindrical part of the thread-cutter, thus forming a loop of a similar kind to that mentioned above ; then the knot is made on the companion thread, and this time the shuttle is passed behind the thread-cutter, whereas in the first instance it passed in front to surround it. The same thing is repeated continuously. On completing a series of horizontal knots whose loops surround the cyhndrical parts of the thread-cutter, the latter is drawn from left to right, to cut them so as to divide the loop into two ends which are set perpendicularly on the warp. Thus in the Savonnerie tapestry each thread of the warp is double, since each consists of a front thread corre- sponding with a back thread, while in the Gobehns and Beauvais fabrics each thread of the warp is single. When a horizontal series of knots of a certain length 20 PAINTED 'TAPESTRY. has been made, it must be strengthened with hempen threads. These are arranged on two shuttles ; on one is wound a double hempen thread called duite ; on the other is wound a single hempen thread called frame. The horizontal series of knots are fixed by passing the duite from right to left between the front and back warp threads ; and then striking it with the comb to press it down on the knots. If the duite, which exceeds the length of the knots to be strengthened, be not cut, it may be laid back from left to right in the interior of the stuff! The back warp threads are drawn forwards by means of lisses, and the weft is then passed from right to left between the front and the back threads which are brought for- wards. The work is again pressed down with the comb, and the pile is thereby made firm. It is evident that this hemp thread makes with the woollen thread of the warp an actual tissue, for every woollen thread is bound round with hemp thread. This may be plainly seen by looking at the back of the tapestry : the pattern shows distinctly, but it is flat, not in pile, and the woollen pile is separated by the hemp threads. When several rows of knots have been superposed and tightened, the pile is clipped perpendicularly to its axis with wide-bladed scissors whose handles are crooked at right angles. By this clipping the interior of the woollen pile is ex- posed and presents the visible surface of the cloth when in place. To produce a satisfactory effect, it is evident that the partial clippings should be managed so as to appear of a single clear and even cut. It is in the selection of the woollen pile threads which the weaver judges most suitable for rendering a cartoon, SAVONNEEIE TAPESTEY. 21 and in the art with which he blends them together, that his skill consists, for this is not mere mechanical work. From the foregoing it may be concluded that in the present day the Gobehns and Beauvais manufactures present the most advanced phase of tapestry fabrication in point of beauty of effect ; that the Gobehns manufacture is the type of tapestry fabrication for hangings with historical designs, and is wrought in vertical warp looms ; that the Beauvais manufacture represents the fabrication of tapestries for furniture and employs the horizontal warp looms ; and that the manufacture of la Savonnerie represents the most advanced stage in the fabrication of what are called Turkish cloths. We may add that the Flanders tapestry contains from 10 to 12.^ strands to the inch ; that of the Gobehns 21 to 22|, Beauvais 26 to 27^, Paris 18.^ ; Brussels 16, and Alengon 9. If we would appreciate the characteristics of our manu- factures in point of origin and quahty, we must evidently first make ourselves acquainted with the differences between the Gobehns and Beauvais tapestries on the one hand, and the fabrics of la Savonnerie on the other hand ; and next distinguish the tapestry for hangings or the copies of pictures executed at the Gobehns from the tapestry for furniture executed at Beauvais. We trust that our readers will now be able to make this distinction. 22 PAINTED TAPESTRY. EEMAEKABLE TAPESTEIES. Tapestries of Aix — Anet — Angers — Arras — Anlhac — Anxerre — Bayard — ■ Bay eux — Beauvais — Berne — la Chaise-Dieu — Dijon- — Mid dleburg — Nancy — Paris — Reims — Toulouse — Valenciennes. THE ATX TAPESTRY. Made at the beginning of the sixteenth century, this tapestry bears the arms of Henry HI. of France, and those of William Warham, Archbishop of Canterbury. It came from England, but had been purchased at Paris in 1656. It is divided into twenty-seven compartments, representing the principal events in the lives of Jesus and Mary. It is worked in wool mingled with silk. THE chateau D’ANET TAPESTRIES. These ta|restries date from the middle of the sixteenth cen- tury — the time when the chateau of Diana of Poitiers was built. They came from the manufactory of Fontainebleau, founded by Francis I., and which Phihbert Delorme, architect of Anet, was commissioned by Henry II. to superintend. They are four in number, but they must have formed part of a more numerous series which embellished a gallery or hall of the first story. They represent mythological sub- jects — Tlie Fable of Tphigenia; l\\e Fable of Meleager; the EEMAEKABLE TAPESTEIES. 23 Fable of Latona, and the Fable of Orion. In the borders are the arms of Diana of Poitiers, besides emblems and scrolls ornamented with inscriptions characteristic of this period. In the top border is a large cartouche containing the descrip- tion in Prench verse of the subject represented by each tapestry. The upright borders consist of architectural features intermingled with caryatides, female figures, ciphers and emblems special to Diana of Poitiers. In the middle of the lower border is a large cartouche with figures and inscriptions. Height 15 ft. 6 in., width 13 ft. 6 in. THE ANGERS TAPESTRY. Judging by the architectural decorations of the pictures, and the initials and arms with which they are ornamented, the tapestries bearing the name of the Apocalypse date from two periods — the fourteenth and the fifteenth centuries. They contain no less than forty-two subjects, on grounds alternately red and blue. The first subject, which is a sort of preface to the work, represents a man meditating on the Apocalypse which is placed on a desk before him ; a fabric enriched with fleur-de-hs and crosses forms a canopy above his head and a dossel behind his chair ; butterflies whose wings are diapered with the arms of Anjou and Brittany are fluttering in the air ; lastly, two angels at the summit of the canopy which shelters this personage, hold two standards bearing the arms of Anjou and the Cross of Lorraine. The first Apo- calyptic scene exhibits St. John hstening to the celestial voice which is speaking to him, and viewing the book in which he is going to write his vision, to send it to the Seven Churches which are before him, guarded by seven angels. In the forty-second compartment the angel who measures 24 PAINTED TAPESTRY. the Holy City holds a golden rod ; he is taking St. John by the hand and'leading him to the Heavenly Jerusalem. THE ARRAS TAPESTRIES (CALLED ARAZZI). These celebrated tapestries of the Vatican, executed at Arras (whence this name) for the decoration of the Sixtine Chapel, were designed by Eaphael in 1516-16. It has been asserted that they were not executed in Flanders till 1520, and that they did not arrive in Eome until after the death of Eaphael ; but authentic documents prove that they were brought to the Vatican in 1518, and that this great master had the pleasure of seeing his work crowned with perfect success, for the enthusiasm of the Eomans was inde- scribable. Vasari, speaking of these tapestries, says that ‘ they appear rather as if created by miracle than produced by the hand of man.’ It is supposed that the Fleming Bernard Van Orley, who had studied under Eaphael, superintended the fabrication of the Arazzi. These tapestries, the subjects of whidi are borrowed from the New Testament and the Acts of the Apostles, occupy a special gallery in the Pontifical Museums called the Gallery of the Arazzi. The most admired are the Miraculous Draught of Fishes ; the Massacre of the Innocents (in three compositions) ; the Cure of a Lame Man hy St. Peter ; the False Prophet Ely mas ; St. Paul in the Areopagus ; the Adoration of the Magi ; the Ascension ; St. Paid and St. Barnabas in the City of Lystra ; Jesus Christ appointing St. Peter his Vicar ; and the Death of Ananias. The others represent St. Paul delivered from Prison ; the Re^^urrection ; the Descent of the Holy Ghost ; the Appearing to St. Mary Magdalen ; the Supper at Emmaus ; tlie Conversion of St. Paid ; the Presentation in the Temple ; the REMARKABLE TAPESTRIES. 25 Adoration of the Shepherds ; the Death of St. Stephen ; and the Virtues (Eehgion, Justice, and Charity, with two hons sup- porting the arms of the Church). Admirable as regards the composition, the style of the figures, and the elevated treatment of the subjects, the Arazzi may also be considered masterpieces of the weaver’s art, and thus confer the highest honour on the ancient manufactory of Arras which produced them, and the Flemish artists under whose superintendence they were executed. Not only are the minutest details of the costumes and acces- sories rendered with wonderful excellence, but the expres- sion of the figures, the shading of the nude of the body, and the blending and harmony of the tints, are in every respect admirable. These priceless treasures were twice saved from being lost. The first occasion was when, having been carried away by the troops of the Constable de Bourbon at the sack of Eome, they were returned by the interposition of the Constable de Montmorency. The second was in 1798, when, having been sold by the needy Pontifical Government to some Jews who, it is said, were preparing to destroy them after having taken out the gold thread. Cardinal Braschi succeeded in getting them back. Since that period the Arazzi have never left the Vatican ; and Pius VII., in his anxiety for their preservation, determined that they should no longer be used, as had been the custom, to decorate the porticos of that palace at the feast of Corpus Christi. The cartoons of Eaphael have not fared so well. Thrown aside in some out-of-the-way corner of a manufac- tory at Arras after the Arazzi had been completed, they were purchased at the recommendation of Eubens by Charles I., King of England, who commissioned a weaver 26 PAINTED TAPESTRY. named Cleen to reproduce them in tapestry. Then they were once more cast aside and forgotten. The efforts made by order of King William to discover them were but partly successful. Only seven cartoons were found in a chest, and they were so spoiled that a restoration appeared indis- pensable. This dehcate work was entrusted to the English painter Cook,^ who accomphshed it skilfully. As thus restored, these seven Cartoons form one of the noblest orna- ments of the Gallery at Hampton Court. They are those representing the Miraculous Draught of Fishes ; Jesus Ap- pointing Peter Vicar of His Church ; the Death of Ananias ; St. Paul at Lystra ; the False Prophet Elymas ; Saint Paul at the Areopagus ; and the Cure of the Lame Man. The Arazzi of the Vatican were not the only ones executed from the Cartoons of Eaphael. The BerUn Museum possesses nine, of which seven are copies of the Cartoons at Hampton Court ; the other two portray the Martyrdom of St. Stephen and the Conversion of St. Paul. Eichly framed and protected by sumptuous curtains, these nine tapestries embelhsh the walls of the large rotunda which separates the vestibule from the picture Galleries. The Dresden Gallery possesses six arazzi of the seven which were sent to the Elector Erederic the Wise ; these six tapestries, reproduc- tions of the Hampton Court Cartoons (the absent seventh represented the Death of Ananias), were brought to hght in 1790 by the Baron de Eacknitz. THE AULHAO TAPESTRIES, IN THE PALAIS DE JUSTICE AT ISSOIRB (PUT DB DoMe). These tapestries, which during the Eevolution were carried away from a house at Aulhac and taken to Issoire, ‘ Henry Cook, a pupil of Salvator Rosa ; died 1700. EEMAEKABLE TAPESTEIES. 27 are imfortimately nmcli injured. They represent incidents in the Trojan War, and appear to have been executed in the latter half of the fifteenth century. Their composition is very remarkable for the period. Height 14 ft. 3 in., width 7 ft. 9 in. THE AUXERRE TAPESTRY (CALLED ST. STEPHEN’S). The hangings which belong to the Hotel Dieu at Auxerre are divided into four scenes. The first represents the Body of St. Stephen left in the place of his Martyrdom and exposed to the Beasts ; two angels are carrying to heaven the soul of the holy deacon. In the second compartment is seen ‘ how Gamaliel (Gamahel) secretly, for fear of the Jews, carried the body of St. Stephen into the town called Capharmagala, and placed it in the Sepulchre.’ In the third scene the Priest Lucian is informed three times in a dream by Gamahel of the place where the body of St. Stephen lies. The fourth scene sees Lucian reveahng his vision to John, Bishop of Jerusalem. The arms of I. BaiUet, Bishop of Auxerre at the end of the fifteenth century, appear on a column and on a well which separate two of the scenes. THE CHATEAU DE BAYARD TAPESTRY. This tapestry, hke that of Aulhac, represents scenes from the Biad Penthesilea, Queen of the Amazons, coming to help the Trojans, received by Priam and his Court ; the said Queen in combat with Diomed, while Philomenes is engaged with Ajax, son of Telamon ; Pyrrhus armed as a Knight with the customary Ceremonial of the Middle Ages. These various scenes are rendered with dramatic force ; the figures are fine and the costumes rich and elegant. 28 PAINTED TAPESTRY. This tapestry long adorned the great hall of the Chateau de Bayard, near Grenoble. It was taken to Lyons, where it was purchased by M. Jubinal, by whom it has been described and illustrated in his work entitled ‘ Anciennes Tapisseries historiees ; ou collection des monuments les plus remar- quables de ce genre qui nous soient restes du moyen ige, k partir du XT jusqu’au XYI® siecle inclusivement ’ (Paris, 1838, 2 vol. in-foho). Height 14 ft. 3 in., width 7 ft. 8 in. THE BAYEUX TAPESTRY. This is the oldest work of the kind known. It represents the history of the Conquest of England by Wilham of Normandy, in a series of scenes whose subjects are explained by a Latin inscription. The series begins with the departure of Harold from the court of Edward, and ends with the battle of Hastings. The figures, rude and barbarous in the drawing but most expressive in gesture, are embroidered on hnen canvas with wools of eight different colours, viz., fight and dark blue, red, yellow, fight and dark green, black, and dove colours. These colours are by no means distributed accord- ing to the nature of the subject. The filling in of the figures is done with wool laid flat and afterwards fastened down by chain stitches ; the outlines, the articulations, and the folds of the dresses are edged with a kind of cording. The contours of the flesh are simply indicated by a blue, red, yellow, or green fine. The historical scenes occupy a height of only 13 in., and are comprised between two borders in which are figured real or fabulous animals, scenes from the chase and from rural fife &c. Mr. Frank Eede Fowke, in his magnificent work (London, 1875, quarto, with 79 plates). REMARKABLE TAPESTRIES. 29 thus describes the tapestry ‘ The ancient work of art pre- served at Bayeiix is a band of hnen upwards of 230 ft. in length by about 20 in. in width, on which the history of the Norman Conquest is portrayed with the needle by means of woollen thread of eight different colours. ‘ It contains 72 compartments or scenes, in which are figured 623 persons, 202 horses and mules, 55 dogs, 505 animals of other kinds, 37 buildings, 41 ships and boats, and 49 trees ; making a total of 1,512 objects. The historical part of the tapestry is chiefly confined within a width of 134 in., the top and bottom forming fantastic borders, con- taining hons, birds, camels, minotaurs, dragons, sphinxes, some of the fables of ^sop and Phtedrus, feats of horseman- ship, scenes of the chase, fishing, &c. Sometimes the border exhibits references to the history, containing allegorical allu- sions to the events represented.’ According to the tradition still extant at Bayeux this tapestry was the work of Queen Matilda. Another supposi- tion attributes an Enghsh origin to it, as testified by the orthography of certain words, such as cea^tra, franel, celigyva, &c. Others maintain that the work, which from the earhest times has belonged to the cathedral of Bayeux, was fabricated by the order of Bishop Odo, brother of Wilham the Conqueror, whose portrait appears there several times. Most archgeologists agree in regarding the Bayeux tapestry as a work of the eleventh century, their reason for this judgment being that the falcons have no hoods — -these having been introduced only about the year 1200 — the two V’s instead of W, the resemblance of the letters to those seen on the products of the eleventh century, the conformity of the costumes, arms, &c. Everything seems to indicate that 80 PAINTED TAPESTRY. this remarkable tapestry was probably executed at Bayeux for Bishop Odo by native workmen. This tapestry barely escaped being destroyed at the Revolution by soldiers employed in the commissariat, who were on the point of cutting it up to pack mihtary effects in. Sent to Paris by order of Napoleon I. it was later on restored to the town of Bayeux, which in 1839 decided on building the gallery of the Hotel de Ville where it is now exhibited. The Bayeux tapestry has been drawn and otherwise copied several times. Reproductions of it specially deserving of notice are those in the ‘ Monuments de la Monarchic Fran- 9 aise,’ by Montfaucon ; the ‘ Antiquites Anglo-Normandes,’ by Ducarel ; the ‘ Anciennes tapisseries historiees,’ by M. A. Jubinal ; the work by Fowke,^ with its photo-engravings ; and the full size facsimiles in photo-engraving of the South Kensington Museum. THE BEAUVAIS TAPESTRIES. Guillaume de HoUande, Bishop of Beauvais from 1444 to 1462, presented to his cathedral tapestries of haute-lisse which decorated the choir of that church until the eighteenth century. Several pieces of this decoration have perished ; the fragments that have been preserved represent the Acts of St. Peter, Apostle. One of these fragments belongs to the Musee de Cluny and bears tlie following inscription which explains the subject, ‘ How the Angel led St. Peter out of Herod’s Prison.’ The other fragments which are preserved in the cathedral of Beauvais are, hkethe one just mentioned, remarkable for the richness of the costumes and the natural 1 The Bayntx Tapestry, reproduced in autotype plates, with historic notes, by Frank Rede Fow Ice, 4to. London: Arundel Society, 1876. REMARKABLE TAPESTRIES. ^ ! oi expression of the faces. Other tapestries of the first half of the fourteenth century, and which are said to have been the production of the manufactories of Arras, but which very probably were executed at Beauvais itself, relate to the founding of various Galfic towns, and present figures of personages more or less apocryphal, to whom tradition ascribed their foundation ; such as Belgius, king of the Gauls, founder of Beauvais ; the Phrygian Paris, founder of Paris ; Lugdus, king of the Celts, founder of Lyons; Eemus, brother of Eomulus, founder of Eeims. One compartment presents a map with the names of countries, rivers, &c., spelt as follows : le Ehin, Souisse, Savoye, Mediterranee, Loyre, Aquitaine, Gironde, Gascoigne, France, Seine, Bretaigne, Normandie, Picardie, Angleterre, Flandres, Artois, Holende, Ardene. THE BERNE TAPESTRIES. These are ten in number. Six of them were taken as booty at Grans on and at Morat (1476) and appear to date from the first half of the fifteenth century. They represent the Adoration of the Magi ; the Judgment of Trajan, St. Gregory of Nazianzus hy his Prayers delivering the soul of that Emperor from Hell ; Ccesar passing the Rubicon; &c. The other four date from the first half of the sixteenth century, and represent the Life of St. Vincent. These tapestries, whose execution is remarkably beautiful and which are well preserved, are exhibited within the choir of the cathedral of Berne on special occasions, as, e.g., at the opening of the Helvetic Diet. 32 PAINTED TAPESTEY. THE CHAISE-DIEU TAPESTRIES. The best archgeological authorities agree in regarding these tapestries as not of older date than the beginning of the sixteenth or the end of the fifteenth century. They exhibit the arms of Jacques de Saint-ISlectaire, last regular abbot of the Abbey of la Chaise-Dieu, and were presented by him to that monastery in 1518. But there is reason to believe that they were fabricated after the Cartoons of an Italian artist, perhaps even made in Italy — at Florence or Venice ; the figures have an elegance of attitude and a nobihty of type not to be found in the works of Northern schools. The fabric of the tapestry is rich and fine ; the tissue is loom- woven, with woollen, golden, and silver threads. These tapes- tries are fourteen in number, three of which, square in form, measure eleven feet each way, and represent the Birth, Death, and Resurrection of Christ. A fourth is 28 ft. long and 6 ft. 8 in. high. The other ten are only 20 ft. by 6 ft. 8, and are each divided into three compartments separated by colonnettes ; the centre compartment generally exhibits an event in the life of Christ, and the other two, scenes from the Old Testament prefiguring the New. Latin inscriptions explain and comment on the subjects. THE DIJON TAPESTRY. This tapestry represents three episodes in the Siege of Dijon hy the Swiss in 1513. The first subject is the com- mencement of the siege by the allied armies of Switzerland and Germany, whose chiefs, Jacques de Watteville and Ulric of Wurtemburg, are on horseback, in full armour, in the foreground of the scene ; near them the Seigneur de REMARKABLE TAPESTRIES. 33 Vergy, at the head of the volunteers of Pranche Comte directing the fire of the artillery against the ramparts of Dijon, where a breach has been already effected, and on which floats the standard of La Tremouille. The militia of Dijon, commanded by the Master of the Horse, Jean de Bessey, and the Seigneurs d’Arcelot, d’Arc sur Thil, and d’Auvillars are preparing to resist the assault. In the back- ground are seen the steeples of Dijon. The second subject has relation to the cessation of hostihties, which was at- tributed to the intercession of the Blessed Virgin ; the image of Hotre Dame de Bon Espoir is carried in procession with great pomp along the ramparts of Dijon ; the clergy are arrayed in the most magnificent sacerdotal vestments ; the chief magistrates, followed by the ladies of the city and the citizens, form a numerous and brilhant cortege. The background of the tapestry exhibits the church of the Jacobins and that of Notre Dame. In front the besieging ' army is preparing to retreat. The third subject is the enemy in actual retreat ; a white horse is laden with two iron chests supposed to contain the gold which induced the Swiss to raise the siege ; in the mid-distance, men of family or distinction belonging to Dijon are giving themselves as hostages into the hands of the Bernese and Imperial armies. In the background, within the church of Notre Dame, La Tremouille, Governor of Burgundy, is praying before the image of the Virgin. These three subjects are divided by columns ornamented with garlands ; above the capitals and within the field of the pictures there is a cipher which some writers have sup- posed to be the weaver’s mark, but which there is better opinion for beheving to be the monogram of the Admiral, Phihppe Chabot, who governed Burgundy some years after D 34 PAINTED TAPESTRY. the raising of the siege of 1513, and who may very well be supposed to have given orders for the making of this tapestry. The style of the drawing shows that this work was executed soon after the event it portrays. The richly elaborated designs and quaint figures quite recall the French miniatures of the beginning of the sixteenth and end of the fifteenth centuries. This tapestry formerly belonged to the church of Notre Dame at Dijon ; having at the close of the last century fallen into the hands of a dealer, it was bought for the city by M. Eanfer de Bretomere, mayor of Dijon from 1802 to 1806, and placed in one of the rooms of the Hotel de Ville ; it has since been transferred to the Museum. Length, 32 ft. 9 in. ; width, 8 feet. THE MIDDELBIJRG TAPESTEY. This piece of tapestry is divided into three compartments representing the victories of the Zealanders over the Spaniards in 1574 ; inscriptions in Latin verse explain each subject. This interesting tapestry, executed in 1593 by Jean de Maegt, of Middelburg, was formerly placed in the palace of the States of the province of Zealand. It was exhibited at the Paris Exposition Universelle in 1867, in the gallery de lliistoire du travail (History of Labour). THE NANCY TAPESTEY. This comprises two quite distinct subjects : one, Ahasue- rus revoking his proclamation against the Jews^ in presence of Esther, Haman, and Mordecai ; the other is an allegory whose purport is to show the iU-effects of good living. The per- sonages of this latter scene bear their names written on them. The hosts are called, Dinner, Supper, Banquet ; the guests, EEMARKABLE TAPESTRIES. 35 Pastime, Good Company, Gluttony, Daintiness, Your good health. Compliance, Hahituation. After the repast their guests are attacked by certain very disagreeable personages — Apoplexy, Paralysis, Pleurisy, Colic, Quinsy, Dropsy, Jaundice, Gravel, and Gout ; they are aided by Sobriety, Pill, Clyster, &c. The inscriptions in black-letter explain the scenes. Unfortunately the tapestry is incomplete and the conclusion is lost ; the tapestry having suffered cutting and interpolations at various periods. The costumes, ornaments, and furniture, and the style of the work itself belong to the fifteenth century. This tapestry decorated the tent of Charles the Bold when that Prince went to besiege Nancy (1477) ; it came into the hands of the Lorrainers. It embelhshed the palace of the Dukes of Lorraine till the time of Charles IV., who pre- sented it to his sovereign court. It is now in the Lorraine historical museum. Length, 82 ft. ; width, 13 ft. I^ in. THE PARIS TAPESTRIES. The Musee de Cluny possesses several very valuable historical tapestries, the products of several manufactories. At the Louvre is a piece of tapestry which belonged to Eichelieu, and which Charles X. bought of the painter Eevoil ; it represents a Miracle of Saint Quentin, and mea- sures 27 feet 4 inches in length by 13 feet 1^ inches in height. It is framed in a magnificent border decorated with fohage, fruits, and various designs. The dresses, the character of the designs, and even the style of execution, seem to indicate a Flemish origin. Among the masterpieces in the Gobehns gallery we may mention the portrait of Louis XIV. by Eigaud (the original 36 PAINTED TAPESTRY. of which is at the Louvre) executed in tapestry by M. Collin, an admirable work ; Titian’s Assumption, an immense piece, measuring 23 feet in height, is also to be seen there, a very successful work (the original of the latter is at Venice) ; repro- ductions of several paintings by Boucher, delicately finished pictures, difficult to render on account of their light indescrib- able rose-tints ; a head after Nicholas Poussin by Marie Gilbert, &c. THE REIMS TAPESTRIES. These tapestries consist of ten pieces ; they were given to the Church of St. Eemi, in 1531, by Eobert de Lenoncourt, Archbishop of Eeims. The subjects are as follows : The Birth of St. Remi, his Alms and Miracles ; the Battle of Tolhiac, the Baptism of Clovis, the History of St. Genebaut, and Clovis punishing a Miller for disrespect to St. Remi ; St. Remi raising a dead man to life, and several other actions of that Saint ; the Plague of Reims, and lastly the Glorification of St. Remi. These tapestries — remarkable for the skill displayed in the work, the life-like and picturesque composition of the various subjects, and the ability shown in the drawing of the figures — ^were engraved in 1838 from drawings by Victor Sansonnetti. The Cathedral of Eeims possesses other tapestries, the gift of Eobert de Lenoncourt in 1530, portray- ing the Life of the Virgin. THE TOULOUSE TAPESTRY. This tapestry now belongs to the Cathedral of Angers. It formerly decorated the Church of St. Saturninus at Toulouse, and represents three scenes from the Life of St. Saturninus, Bishop of that city. EEMARKABLE TAPESTRIES. 37 In the first compartment is a representation of Christ receiving St. Satnrninus into the company of his seventy- two disciples ; and in the background are the Crucifixion, the Resurrection, the Ascension, the Descent of the Holy Ghost, and the Miraculous Draught of Fishes. The second subj ect presents the Farewells of St. Peter and St. Satnrninus, St. Paul giving his commission to St. Saturninus to preach the Gospel, and St. Satnrninus building a church. The third' scene is the Martyrdom of St. Saturninus. These compositions are framed in pilasters ornamented with grotesque designs. THE VALENCIENNES TAPESTRY. This represents a Tournament-, twelve knights in armour, and mounted on richly caparisoned horses, are engaged in fierce combat with the dagger ; the chivalric lances have been broken and their splinters strew the hsts. The general arrangement of this composition is perfect ; a remarkable harmony prevails between its various parts ; the rules of perspective, which are often disregarded in tapestry, are here carefully observed. The border is ornamented with 20 shields, presenting, as far as the faded colouring enables us to ascertain, the arms of famihes of the district of Liege and the Ehenish provinces. This tapestry was fabricated in Flanders in the fifteenth century ; it was discovered in 1830 in a garret of the Hotel de ViUe, and it now occupies one of the large rooms of that building. Width, 18 ft. ; height, 16 ft. 5 in. 38 PAINTED TAPESTRY. PAINTED TAPESTEIES. Painted tapestry of the Fifteenth Century — Paintings on Canvas in imitation of ancient tapestrj—Their adaptation to the purposes of interior decoration — Contrast of Colours — Borders. Although tlie quantity of works of tlie kind produced by the looms of France and the neighbouring countries is enormous, tapestry of real artistic value is very rare ; its cost is therefore sometimes excessive, and it is in all cases too expensive for ordinary amateurs. This consideration and the difficulty of using it for the decoration of modern dwellings on account of its uncertain dimensions, has led to the endeavour to obtain a substitute by quicker and less ex- pensive means. Hence the idea suggested itself of producing painted tapestry on canvas prepared for this purpose. The idea however was not a new one, but as old as the fifteenth century, for the Hotel-Hieu of Eeims has preserved a great number of painted tapestries, which date from that period. M. Vitet was the first to call attention to them, and this is what he says of them : ‘ The hangings of the Hotel-Hieu at Reims are not tapestries, but large sheets of painted canvas, intended probably to be copied by weavers of tapestry. These hangings were most of them painted about the middle of the fifteenth century. The drawing is free and bold, the colours laid on with a master hand ; they are pictures of FIFTEENTH CENTURY WORKS. 39 great merit, apart from historical interest and their value in point of rarity and singularity. ‘ The Hotel-Dieu of Eeims still possesses twenty-seven of these paintings, eleven of whose subjects are scenes from the Mysteries of the Passion; seven, illustrating The Wrath of Our Lord Jesus Christ ; ten, the 3Iost admirable Mystery of the Old Testament. Three compartments are occupied by portraits of Apostles.’’ It is not known at what period the Hotel-Dieu of Eeims became possessed of these works of art. It is extremely probable that they were, if not bequeathed to it, at least deposited in this building by the Chapter of Notre Dame, at whose instance they were executed. We know for certain that for a long period these hangings have been regarded as part of the furniture of the Hotel-Dieu. Oil-painting was applied to tissues and often combined with the effects of woven material in the time of Henry II., Louis XIH., and Louis XIV. ; proof of this is to be found in the accounts of the disbursements of that period, in which the canvas and the colours are mentioned. The great tapestry of Louis XIV., discovered in the Tuileries, and kept in the Garde-meuble, gives a notion of this kind of painting, which has long since fallen into desuetude. It appeared, therefore, that at a time like the present, when a taste for art is daily gaining ground in aU classes of society, the revival of this neglected style of decoration, and the invention of means that would place its productions within the reach of the many, would be a veritable boon and afford a new source of high aesthetic enjoyment. This revival, however, presented many difficulties of a particular kind : the manufacture of canvas whose texture should be an exact imitation of the various kinds of 40 PAINTED TAPESTRA". tapestry, and the securing of colours, which while easy to apply to these tissues, should be at the same time fast and brilliant. The difficulties of this double problem have, however, been overcome. Proper colours have been prepared, and, as will be seen in due course, canvas may now be had — expressly manufactured for painted tapestry — of remarkable pliancy, and which perfectly fulfds all the required conditions. There are fifteen or twenty different kinds of canvas, and they are all to be had in widths sufficient for paintings of the largest dimensions. Purther explanations will show the advantages afforded by the variety and large dimensions of the canvas. To painters, decorators, and architects this invention will be a real boon, as it will enable them to obtain beautiful painted hangings, possessing all the merits of those tapes- tries which are the most harmonious in colouring and effec- tive in drawing, with every other advantage belonging to this kind of decoration, without the drawbacks of slow pro- duction and high price. An essential advantage also offered by this mode of decoration is the possibility of at once producing an original work — to which the best renderings are always inferior. To be assured of this we have only to call to mind the chef- d'ceuvres of the Gobelins : we feel that despite all his skill the weaver is only the translator of a conception not his own. By superseding the common-place paper-hangings, these painted tapestries, which afford the means of a really artistic decoration, will greatly contribute to the awakening of a love for fine art ; for each piece will have an intrinsic value, since it will be an original work, and will be so much the CONTRAST OF COLOURS. 41 more decorative as it will have been designed and painted for the particular place it occupies. At the present day we too often sacrifice the interior decoration of our buildings to exterior display, as if the con- trary were not more rational. But a reaction is, we beheve, setting in, and architects who give such proofs of skill where they have full play for it, will bestow more of the resources at their disposal on the ornamentation of interiors, in which they -wiU find these painted hangings a valuable aid ; for no form of mural decoration can compare with them in point of taste, elegance, harmony, and richness of effect, or even in cheapness. CONTRAST OF COLOURS. It is very important that both the painter and the weaver should be thoroughly famihar with the physical law of the contrast of colours. The principle of contrast is the reverse of that of mixture. Thus, while yellow and blue, properly mingled, produce green, an orange-coloured stuff in juxta- position to a blue stuff appears of a brighter orange, and the latter takes a more violet hue. As the phenomenon occurs every time two colours are seen together, we see how important to every artist Avho uses colour is the observation of this comprehensive law. The painter who is ignorant of it cannot intelligently and with full consciousness of the grounds of procedure, copy the colours of any design whatsoever; because these colours, seen together, produce a sensation different from what they would produce if they were seen apart. The phenomena of contrast, classed as simultaneous contrast, successive contrast, and mixed contrast, enabled M. Chevreul more than thirty years since, to place instruction 42 PAINTED TAPESTRY. in the perception of colour on a basis of certainty which was previously lacking. We now know that the contrast of two colours in juxta- position affects both the tone and the colour. Wlien, for instance, the neighbouring colours are of different tones, the deepest appears deeper than it really is, and the other pro- portionally lighter. When the colours belong to different scales, they affect the eye as if the complementary colour of the one were added to the other. Physicists call complementary colours the two colours optically pure whose mingling produces white. When the colours placed together are yellow and blue, the violet, which is complementary of the yellow, is added to the blue, and the orange, which is complementary of the blue, is added to the yellow ; at least, these are the sensations we experience as the result of the colours in juxtaposition— effects, however, of which we are still far from having found a satisfactory physiological explanation. It is only by the observance of the law of contrast that white or grey designs on a coloured ground can be prevented from appearing united with the colours complementary of that ground. The means consist in slightly tinting the white or grey with the colour of the ground. White, or more strikingly a grey ornament, on a blue ground will assume a russet hue ; by tinting it with blue the russet-tint disappears. These and the following observations are of special importance as regards the execution of painted tapestries such as those we shall treat of further on ; the artist or amateur should never lose sight of them. He must remember them in the selection of designs for tapestry, and take account of the impossibihty of defining forms so sharply CONTRAST OF COLOURS. 43 as in painting. Hence tlie designs should as far as possible present unblended colours, and the contrast of colour and tone should conduce to render the forms distinct at a distance at which the groovings and striations of the tapestry cease to be visible. Tapestry, or paintings on canvas in imitation of it, executed in contravention of this rule, will always have a too sombre an effect. To charm the eye and lead the imagination into the land of dreams by enchanting visions is the object of Oriental art, and this is the effect sought in the tapestries of the East. Colour forms their principal charm. The ornamental design is derived from natural forms, but with an interpretation which allows considerable scope for fancy. Arabesques, scrolls, and interlacings are regularly designed, but are never stiff. Geometry plays an important part in the arrangement of the lines, but the richest tones profusely shed their warm rays over these combinations. Long before tapestry was known even by name in Western Europe, the Orientals were manufacturing the most beautiful fabrics. Our earhest models were therefore derived from the East. Unfortunately we have departed from them, and, disregarding the essential conditions of true decorative design, instead of tapestries we have made pictures. It is true that the greatest painters of their respective periods (Mantegna at the close of the fifteenth century, Eaphael at the beginning of the fifteenth, Eubens in the earher part of the seventeenth, and Boucher in the eighteenth) devoted the best efforts of their genius, or— in default of genius — of their talents, to the painting of cartoons for tapestry. But their compositions, it should be observed, were expressly designed for the tapestry- 44 PAINTED TAPESTRY. looms of Flanders or the Gobelins, and the painter did not fail to consider the special requirements of the case. He worked as much as possible in flat, i.e. unshaded tints, and his colours were simple rather than blended. The cartoons themselves resembled tapestry ; and it is certain that the tapestry made from the designs would never resemble pictures properly so called. This is the essential considera- tion. We must not confound works of art that differ in kind ; each should preserve its special character. A piece of tapestry which does not present the appearance of tapestry is a hybrid product which has no name in the language of art. In fabricating such mongrel work we produce two bad works at the same time, a bad tapestry and a bad picture. In accordance with the principles we have been explaining, the effects which tapestry, and, we may add, the imitation of tapestry, can produce have been ascertained ; it has long been used for interior decoration, but most of the specimens we now see are more or less faded ; the effect would, therefore, be greatly enhanced if these appeared in all the brilliance of fresh colours. Original works might, however, be executed, without deviating from the style adopted for the interior decoration of a pubhc edifice or a private dwelhng. We may add that the more general adoption of this kind of decoration in furnishing would be readily welcomed by the pubhc, since a taste for such works has been widely developed. ORNAMENTAL BORDERS. For the guidance of amateurs who are adopting tapestry- painting for the ornamentation of room-walls or for decora- tive panels, we may remark that according as the subjects of ORNAMENTAL BORDERS. 45 the painting consist of figures or of ornament simply, the borders assume very different degrees of importance. On this point we shall cite the remarks of M. Darcel. ‘ Borders usually constituted an important part in tapestry designs. Though in the Middle Ages they were altogether absent or consisted of only a narrow edging whose effect was insignificant, at a later date the finest tapestries were regarded as incomplete unless framed in a border form- ing part of the general design. ‘ At the Eenaissance the borders were widened. They were of endless variety, and consisted of ornaments of more or less classical character, combined with figures. Generally border designs of small pattern accompanied the large figures composing the central subject, but care was taken to give firmness to certain parts by the use of ornaments on a larger scale. The middle of the horizontal borders, and especially the corners, were marked by shields and medal- lions, which were sometimes also interpolated in the upright borders. ‘ In the time of Louis XIV. upright borders in the form of flowering stems were for a short time in vogue ; they were suggested by the wish to adopt running designs intended for the decoration of too narrow piers. Later on, small figures were introduced, combined in the most graceful manner with slender foliage and delicate scrolls contrasting with straight or angular designs. The ornament stands out on a ground in which gold is the prevailing tint, and the tone of the border is generally lighter than that of the subject.’ The above hints will be useful to artists who may have to design or furnish a complete set of tapestry-paintings for buildings of any particular style. The amateur artist especially, who undertakes work of this kind, should give 46 PAINTED TAPESTRY. them careful consideration as likely to aid him efficiently in its successful prosecution. By facilitating the production of works of art we contri- bute to the enjoyment and love of them, and thereby to the elevation of the mind and the advancement of human pro- gress ; for while the statues of false divinities, to which humanity has at various times done homage, have one after the other been displaced from their pedestals, those of Science and Art are destined to perpetuity. The first bestows the greatest material good, and the second the highest intellectual enjoyment. LESSONS IN TAPESTRY- rAINTING, 47 PART II. PRACTICAL LESSONS IN TAPESTRY-PAINTING WITH LIQUID COLOURS. REQUISITES FOR THE STUDIO AND PRELIMINARY OPERATIONS. Before considering in its practical details the process of which it is our purpose to treat, we deem it desirable to give some information respecting the appliances which are neces- sary for its proper execution, and to explain as briefly as possible the use of the various requisites for the studio. THE EASEL. The winding up easel is the best for the purpose, being the only one capable of supporting canvasses of any size. For pieces of exceptionally large dimensions, a wooden rail may be affixed to the top of the upright, the width of the stretcher on which the work has to be done ; the stretcher is fastened against this rail, and thereby acquires the steadiness which is absolutely requisite. THE STRETCHING FRAME. The stretcher is indispensable for straining the canvas ; it should be made hke picture-stretchers, that is, the frame 48 PAINTED TAPESTRY. should be bevelled so that the canvas may touch only the outside edges. It should always be an inch or two longer each way than the size of the subject to be painted. If the stretcher much exceeds a yard in width, it must be strengthened by cross-pieces to keep it stiff, as the canvas, when wetted by the colour, shrinks, and may warp the stretcher. The wedged stretcher may also be advantageously used ; it allows of the canvas being re-stretched at pleasure. It need scarcely be remarked that the canvas should always be clear of the wood to prevent the running of the colour in the latter, which would be very injurious to the effect. THE CANVAS. The canvas called Binant canvas is that which we prefer ; being woven with the yarn prepared for this kind of paint- ing, it has an especial affinity for the liquid colours. The great widths of various dimensions in which this can- vas is made enables it to be used for decorations of all forms and sizes. They may be had in twenty varieties or textures. Those of square grain, for instance, serve — Nos. 11 and 17, for imitations of ancient tapestry with fine and irregular stitch. Nos. 12, for ancient square stitch tapestry, of which the famous Bayeux tapestry is one of the finest examples. Nos. 15, 16, 19, 20 and 21 — called points Gobelins — as well as Nos. 13 and 14 — fine and coarse ribbed reps — suit all other kinds of tapestry, from the tapestries of Flanders, Saumur, Fontainebleau, &c., to our tapestries of the Gobehns, Beauvais, and Aubusson. LESSONS IN TAPESTRY-PAINTING. 49 For the Flanders tapestries : Of 2 yds. and upwards, Nos. 14 and 21 are used. Of l.| to 2 yds. no. 16. Under 1^ yds., Nos. 13 and 15. For the tapestries of Beauvais, Gobelins, and Aubusson [haute lisse and basse lisse). Of 2 yards and upwards. No. 16 is used. Of 1 to 2 yards. Nos. 13 and 15. Under 1 yard. Nos. 19 and 20. When the copy to be made is to be of the size of the original, it is best to use the canvas which contains as many threads to the inch as the original. When a stock of canvas is kept it should be protected from the dust ; and it is well to beat the dust out of that which is being worked upon, every two or three days. FASTENING THE CANVAS ON THE STRETCHER. When chosen the canvas should be cut one or two inches larger than the size of the stretcher. Then it is spread on a table or clean floor, and the stretcher placed on it, with the bevelled side downwards, of course ; and the four corners are fastened with small sprigs pushed in a little way. One is put in the middle and at the corners of each side to keep the canvas in place. The stretcher may now be taken up and held in a vertical position to finish the straining, the sprigs being put in two inches apart. When one side is tacked, the opposite is done, and so with the other two. It is very important, especially for the Gobelins canvas, to strain it so that the strands or ribs are kept straight and parallel to the edges of the stretcher. This is easily managed E 50 PAINTED TAPESTRY. as follows : Let a B c d (fig. 1) represent the stretcher. After having pinned the canvas at the corners and middle, the stretcher is raised up in order to fasten the side a b [straight in the grain) by gently piilhng from a to b. The temporary sprig in the middle of the side a d and those at the corner d are withdrawn ; the corner d is tight- Fig. 1. A It t> c ened by pnUing from a b, and that corner is permanently fastened. The corner c is next tightened by a pull from c to B so as to get the same number of strands or ribs between c and b as there are between a and d ; . the side c d is nailed, keeping the rib parallel to the edge ; and so on with the sides a d and B c. Care must be taken not to strain the canvas too tightly, for in painting the moisture will render it too rigid and the strands will part company and no longer retain the colour. And on no account must the canvas be wetted in order to stretch it ; the puckers, when there are any, are not got rid of by stretching, but in the course of the work ; the moisture of the colours makes them disappear. Wliere much work is done in tapestry-painting a good LESSONS IN TAPESTRY-PAINTING. 61 many stretchers will be accumulated, but in the case of a design whose dimensions do not agree with any of them one larger than the canvas is selected and the canvas is stretched upon it in the following manner. Let A E F G (fig. 2) represent a piece of canvas and a b c d a stretcher of larger size ; two sides of the canvas, e f and F G are hemmed to prevent it from unravelhng. Then the two sides a e and a g are fastened on the stretcher in the way above described ; and with ordinary twine one end of Fig. 3. Fig. 2. which is fastened at b and with a packing needle, the canvas is corded to the uncovered sides of the stretcher (at intervals of about two inches), the canvas being strained by drawing the twine at each loop, taking care, as before explained, that the strands c f of the edge of the canvas are everywhere parallel to the edge d g of the stretcher. When working with Gobehns or Eep canvas, the edges E F and F G (fig. 3) of the canvas are nailed on a bar of wood an inch wide and three quarters of an inch in thickness. The needle is put through near the bar as at e f, or— which is preferable— through rings previously screwed in the edge of 52 PAINTED TAPESTRY. the bar as at g f. As the pull acting on the bars strains the canvas equally along its height and breadth, the undulations caused by the pull of the cording are avoided, and the strands or ribs are kept, as they always should be, straight and parallel. COLOURS. The names of the liquid colours are the same as those of the colours used in water-colour drawing. They are as follows : Ivory Black Payne’s Grey Sepia Burnt Sienna Vandyke Brown Raw Sienna Roman Ochre Cadmium Yellow Deep Chrome Yellow Light Chrome Yellow Carmine These twenty-two colours suffice in most instances ; they are very fast colours. For delicate work requiring fresh tints, the following colours may be added to the above list : Madder Lake Rose Madder Purple Lake Purple Solferino These fugitive colours should be sparingly used. Pearlash and picric acid are also used ; the former to remove colour in certain cases ; the latter, in crystals of a fine yellow, on which ordinary water is poured as required, gives a solution which serves for mixing colours and for washes. Light Red Red Lead Vermilion Ultramarine Cobalt Blue Prussian Blue Indigo Bright Oxyde of Chromium Olive Green Hooker’s Green Violet Carmine I.ESSONS IN TAPESTRY-PAINTING. 53 POTS. The pots should be of porcelain or glazed pottery, metal being rigorously excluded. These pots should be straight and without a lip ; those used for preserves, drugs, or perfumery are well adapted for the purpose. Several sizes are required : No. 2, in. high. No. 2, in. „ No. 3. 3 in. „ No. 4. 4. in. „ (two). One of these last will hold the water intended for spreading the colours ; the other that for washing the pencils ; and in each case the water should be often changed. BOTTLES. The bottles should be of clear glass. Two kinds are necessary, large and small : The larger, holding three or four ounces, are for keeping the colours in ; they will form the store from which colours will be taken when required. The smaller, intended to stand in the palette, and whose neck should be rather wide so as to allow of the brushes being easily dipped in. Both large and small should have glass stoppers. On no account should corks be used ; they are apt to stick to the sides of the neck and break in being withdrawn, leaving impurities which affect the colour. Even the glass stoppers should be rubbed with grease 54 PAINTED TAPESTRY. to prevent tlieni from sticking too tightly ; tallow is best for this purpose. The store bottles should always be well stopped ; but the small bottles may remain open without harm during work- time. When colours have to be mixed together, it is necessary to avoid as much as possible dipping the brushes alternately into different bottles ; it is best to pour a little colour on the palette so as not to dirty the colour in the bottles. It is needless to add that when a bottle has been emptied it should be carefully cleaned before re-filling, THE BRUSHES. Three medium length sable pencils are required, of three different sizes. These pencils are for outlines and any fine touches in small work. Half-a-dozen short hair round hog hair brushes of various sizes, like those for oil-painting ; these brushes are intended to be used for filling flat tints within the outlines and for the laying of smaller tints. Six brushes, called tapestry brushes, made purposely (fig, 4) for the large washes in trees, skies, ground, dresses, &c. Fig. 4. Fig. 5. Some short hog hair brushes (fig, 5) complete the assortment ; they serve to make the colour penetrate into the grain of the canvas. All these brushes, selected as hard as possible, will im- prove by a little use. LESSONS IN TAPESTRY-PAINTING. 55 One set of brushes should, as far as possible, be made to serve for colours of the same scale ; thus the brushes which have been used for green tones should not be employed for bright yellows or for reds, as that would sully each of the tones. Four series of brushes suffice ; One for greens. One for browns. One for blues. One for reds and yellows. SPONGES. Two sponges of medium size, but of fine quahty, are required, and they should be close in texture. One will serve for washing the canvas, the other for wiping the brushes on. THE PALETTE. The palette is generally a thin wooden board, around which are compartments for placing in their due order the bottles containing the colours for use (fig. 6). Fig. 6. These bottles should always remain in the same order. 66 PAINTED TAPESTRY. Tlie brushes are placed in front of the compartments or in a box of their own, which is preferable. In the middle of the palette a hollowed plate of porcelain or ground glass on which are mixed colours required in small quantity, as when trying tints and for finishing touches. The pots containing the colours are ranged in front of the compartments. On the right are the two water-pots and the sponges. PAINTING TABLE. For the processes here described we have devised a table palette on which everything required, without exception, may be placed on shelves (fig. 7). Fig. 7. This table serves at the same time for a palette. It may be mounted on castors, so as to be moved as the work requires. THE MAHL- STICK. The mahl-stick is so well known that we mention it here only to recommend its use and to condemn the bad habit LESSONS IN TAPESTRY-PAINTING. 57 which some have of resting the hand immediately on the canvas. PAPER AND POUNCING. The sketch of the subject to be painted should always be previously drawn on ‘ papier bulle ’ (French sketching paper) not fluffy. This paper is manufactured in sheets or in rolls, and is the paper used for pouncing. Wlien a piece of tapestry or a painted design has to be copied, and the copy is intended to be of the same size as the original, a tracing may be made which will serve for pouncing. Tracing paper, which is made in large sheets or in rolls, will suit in most cases ; for tapestries that are some- what faded, however, it is sometimes necessary to employ ‘ Vegetal ’ tracing paper, which is much more transparent and stronger than the former. When either of these tracing papers is employed, and the tracings have to serve for the sketch, the drawing should be pricked from the back, that is on the side opposite to the sketch, and consequently to the surface on which the pounce is rubbed. As the prickings stand out on the front side of the drawing, they retain the pounce better and exhibit the design more clearly than papers that are too smooth, pricked on the right side. THE PRICKER. The pricker is simply a needle whose head is driven into a bit of wood — a brush-handle for instance. Laying the paper perfectly flat on a woollen blanket folded double, the hues of the drawing are pricked through, the needle being held strictly upright. The design is then re- 58 PAINTED TAPESTRY. peated on the other side of the paper by a series of holes which should be sufficiently close together to clearly mark the design without being close enough to cut the paper. Eeady-inade prickers can be bought, called tracing-points, (fig. 8), which are so contrived that the needles may be replaced when they break, which often happens. Fig. 8. The necessity of holding the pricker quite upright cannot be too strongly insisted on. If this is neglected the pounce- powder will not go through the holes. THE PRICKING WHEEL. The pricking wheel resembles the rowel of a spur with the stem fixed in a wooden handle (fig. 9). Fig. 9. Instead of placing the design to be pricked through on a blanket, it is placed on a board of soft wood ; poplar with- out knots is well fitted for the purpose : the roulette is run along the fines of the drawing while pressed sufficiently for the holes to be well marked. The pricking wheel cannot be used for small details ; but for long straight fines — those of architecture, the chief curved or swelling fines of trunks of trees, the larger folds of draperies ;■■ ?^--:>»i.'v{ tk^ I'r.f r*. . ■' '■ :.-i *;;;■ ) '\r ■ ’ m •; /*J ' t' i <“? ' t ■• ““r j* O? . .'i' '■ I* - I 'i'i ^ / v> ., - .■; ' ■-■ - -i - ■ ■ -c ■■p f; • ■■; .? -"■ t .- • i.-f'q « .• :»>' 9Si8r‘ilIg^ )'-i v.:%. f' <-'T; ' * ■- '■ir-r':" ';^V '■ ^' ■* ' -■' ”'■ 'l' ' ' t 'iiv.: ^ - . ■■'/.■ - ■ ,- ^-Fjr . ^ .'•' - ■ - «. ■ ' ‘-J'* ■'• * , “Tv . V’;;l ' ''■ V ..Xt/- .' r. # r.4 FI ‘^nr fTTiTy-Mte '•> '. 'J ' t. -j »•“:• .3i ;i^ S - - »- - -^— - , i'--':,:! LECHERTIER, BARBE, & CO. AETISTS’ COLOUEMEN AND STATIONEES, MANUrACTUEERS AND IMPOETEKS. ESTABLISHED 1827. HONOURABLE MENTION, PARIS UNIVERSAL EXHIBITION, 1878. LIST OF OOLOUES AND MATEEIALS FOR TAPESTEY PAINTING, OIL PAINTING, &c. LONDON : 60 REGENT STREET, W.; 7 GLASSHOUSE STREET, W. 1879. LIQUID COLOURS' PEEPAEED SPECIALLY FOR TAPESTRY PAINTING. Ivory Black Payne’s Grey Sepia Burnt Sienna Vandyke Brown Kaw Sienna Koman Ochre Cadmium Yellow Deep Chrome Yellow Light Chrome Yellow Carmine Light Red Red Lead Vermilion French Ultramarine Cobalt Blue Prussian Blue Indigo Oxyde of Chromium Olive Green Hooker’s Green Violet Carmine Madder Lake Purple Lake Rose Madder Purple %d. 1 «. 5s. above prices. Price per bottle „ „ double bottle ... „ „ half litre Carmine, double the The names applied to the colours only designate the resemble, and not the substances of which they are composed. known colours they TAPESTRY PAINTING COLOUR BOX, FITTED WITH LIQUID COLOURS. In oak, size 14J inches by 12J, and inches deep, containing 17 Colours, 15 Jars, Palette Slab, Sable Brushes, Hog-hair Brushes, Scrub Brushes, Palette Knife, Pricker, and Pounce Bags. Price £2. 10s. PAINTING TABLE In Stained Deal, fitted same as the above Colour Box. Price £3. 10«. & CO.’S LECHERTIER, BARBE, FINELY GROUND OIL COLOURS, IN COMPRESSIBLE TIN TUBES. Most Colours are in 4:-inch tubes, a limited number in Z-inch tubes, and the expensive ones are in %inch tubes. (SEE EE'GBAVIE'GS OPPOSITE.) BLACKS. Blue Black Ivory Black ...each ••• S. rf, 0 4 0 4 Lamp Black s, d. ...each 0 4 BLUES. Antwerp Blue ...each s. 0 d, 4 Prussian Blue each s. 0 d. 4 Cobalt 55 1 0 Ultramarine Ash (light) ... „ 2 6 Coeruleum ... )) 0 6 „ ,, (deep) ... „ 6 0 French Ultramarine ... ... )) 1 0 „ (lapis lazuli, deep) „ 10 6 Indigo ... 0 4 » ( » very deep) „ 21 0 Permanent Blue ... 0 4 BROWNS. Asphaltum each s. 0 d. 4 Cassel Earth each s. 0 d. 4 Bitirmen 55 0 4 Mars Brown 1 0 Bone Brown ... 0 4 Mummy 0 4 Brown Madder 1 0 Raw Umber ,, 0 4 „ Ochre ... 55 0 4 Rubens’ Madder .. 1 0 „ Pink ... 55 0 4 Vandyke Brown . . 0 4 Burnt Umber... „ 0 4 Verona Brown 55 0 4 Capfah Brown 55 0 4 « Lechertier, Barbe, & Co., 60 Regei^t Street, W. 5 QUADRUPLE TUBE. GREENS. 2-in. tube. Cinnabar Green, No. 1 each s. 1 d. 0 Scheele’s Green each 5. 0 d. 4 „ „ No. 2 1 0 Terre Verte * >5 0 4 Cobalt Green >5 1 0 Transparent Oxide of Chromium 1 0 Emerald Green 0 i Verdegris 0 4 Green Oxide of Chromium .. 1 0 Veronese Green „ 0 4 Malachite • 1 0 Vert Bmeraude 1 6 Sap Green 0 4 6 Lecheetier, Barbs, & Co., 60 Eegent Street, W, GREYS. s. d* I s. d. Mineral Grey flight) each 0 4 | Mineral Grey (deep) each 0 4 MEDIUMS. Megilp „ double tube s» d, ...each 0 4 ... „ 0 8 Roberson’s Medium Sugar of Lead s. d. ...each 1 0 ... „ 0 4 Purple Lake ... „ Madder PURPLES. d. ...each 0 4 ... „ 2 6 Violet Carmine s. d. ...each 1 6 REDS. s. d. i. d. Burnt Lake ...each 1 0 Madder Carmine ... .€acli 3 0 „ Roman Ochre ... 9) 0 4 „ Lake 1 0 „ Sienna ... 99 0 4 Pink Madder 5) 1 0 Carmine ... 99 2 6 Puzzoli Red ... 99 1 0 Crimson Lake ... ... ... 9 0 4 Rose Madder J5 1 0 Indian Lake ... 99 0 4 Scarlet Lake » 0 4 „ Red ... 99 0 4 „ Vermilion . „ 1 0 Laqne Robert, No. 1 ... ... 99 1 0 Venetian Red ... ... „ 0 4 Light Bed ... 99 0 4 Vermilion ” 0 8 WHITES. d. s. d. Flake White ...each 0 4 Flake White, quadruple tube, each 1 4 „ „ double tube ... 99 0 8 Zinc White • 0 4 YELLOWS AND ORANGES. s. d. X. d. Aureolin ...each 2 6 King’s Yellow each 0 4 Bright Naples (light) ... ... 99 0 4 Lemon Yellow „ 1 0 „ „ (deep) ... ... 99 0 4 Mars Orange 1 0 Cadmium (light) ... 99 2 6 „ Yellow n 1 0 „ (deep) ... 99 2 6 Naples Yellow (light) » 0 4 „ (orange) ... „ 2 6 „ „ (deep) 0 4 „ (deep orange) ... 99 2 6 Orange Vermilion 1 0 Chinese Orange ... *9 1 0 Pinart’s Antimony Yellow, Chrome (light) ... 99 0 4 Nos. 1, 2, 3 1 a „ (deep) ... 99 0 4 Raw Sienna 0 4 „ (orange) ... 99 0 4 Roman Ochre 0 4 „ (deep orange) ... ... 99 0 4 Strontian Yellow 1 0 Gamboge ... )) 0 4 Transparent Gold Ochre 0 4 Indian Yellow ... 99 1 0 Yellow Lake ,, 0 4 Italian Pink ... 99 0 4 „ Ochre ,9 0 4 Lechertiee, Baebe, & Co., 60 Regent Street, W. 7 OILS, VARNISHES, &c. For Oil Painting, &c. 1 Glass 1 bottle ^pint Stone bottle ^-pint Stone bottle 1 pint Stone bottle each each each each s. d. s. d. s. So d. Amber Varnish (genuine) 2 6 4 0 7 0 14 0 Duroziez’s Copal 4 I’huile 2 6 *Duroziez’s Siccatif de Harlem 1 3 ,, „ ,, large hots. ... 2 6 French Spirit Leather Varnish 1 2 2 3 4 0 8 0 tHaro’s Chromophile Oil 1 0 Japan Gold Size 0 9 1 3 2 3 4 0 Mastic Varnish 1 6 2 6 4 6 9 0 Ditto, extra strong for making Megilp, &c. 2 0 3 6 6 0 12 0 Newman’s Sizing Preparation for colouring Photographs 1 6 Nut Oil 0 6 0 10 1 6 2 6 Oil Copal Varnish 1 0 1 9 3 0 5 6 Oil Gold Size, per lb., 3«. M. Pale Drying Oil 0 6 0 10 1 6 2 6 Picture Copal Varnish 1 0 1 9 3 0 5 6 Poppy Oil 0 6 0 10 1 6 2 6 P’arified Linseed Oil 0 6 0 10 1 6 2 6 Siccatif de Courtrai 1 0 Siccatif Zumatique per packet 1 0 §Soehnee’s Spirit Varnish, for varnishing and retouching in Oil Painting 2 0 3 9 7 0 13 6 Spirits of Turpentine 0 6 0 10 1 6 2 6 Strong Drying Oil 0 6 1 9 3 0 5 6 II Zaeck 1 9 * Dtjroziez's Siccatif dr Harlem is a substitute for drying oils and salts of lead, which are commonly used as dryers. It is mixed with the colours on the palette in every proportion, in its pure state, or diluted in oil when it is required to retard the drying up, and in turpentine when required to accelerate it. It preserves the tints, prevents the sinking-in or makes it disappear ; it prevents also the cracking, and is used to retouch and restore pictures. It gives body to the colours, and makes them keep their place. Mixed with turpentine it is employed for glazing, and also to varnish paintings over. It will retain every one of its properties for an unlimited period, will go on continually losing its colour, and becoming more and more siccative. If it gets thick, an addition of turpentine will restore its fluidity. t Haro’s Chromophile Oil is the same as was used by the old Flemish Masters, Van Eyck, Hemling, &c. It is colourless, and produces a film which does not turn yellow, and does not contract with age. These properties have been tested by fifteen years’ experience. t The Siccatif db Courtrai is a powerful dryer, made after the identical receipt given oat by old Flemish Masters. 5 SiEHXEE FRfcRES’ SPIRIT Varxish is very clear and fluid, and quick drying, its base being Alcohol. It is extensively used in retouching, as it brings up parts that have sunk in. A picture varnished with it may at any time be touched up again. II Zaeck, a medium with Copal as a base, much in use among modern Belgian Artists and manufactured from the receipt of Baron Leys. H 8 Lechertier, Barbe, & Co., 60 Begent Street, W . FLAT HOG-HAIR BRUSHES FOR OIL PAINTING, Tin Ferrules, Polished Cedar Handles. each j> i. d. 0 4 0 6 ...each ... 0 6 0 8 No. 00 to 6 No. 7 ... No. 8 ,, 9 Lechertter, Bakbe, & Co., 60 Regent Street, W, 9 FLAT HOG-HAIR BRUSHES FOR OIL PAINTING, Tin Ferrules, Polished Cedar Handles. j. (A s. No. 10 ...each 0 9 No. 15 each 1 6 „ 11 ... ... ... ... ... „ 0 10 „ 16 ... ... ... ... ... „ 1 8 „ 12 ... ... ... „ 1 0 „ 17 ... „ 1 10 „ 1.3 „ 1 2 ,, 18 ... » 2 0 „ 11 ... ... „ 1 4 FRENCH HOG -HAIR BRUSHES FOR OIL PAINTING, Tin Ferrules, White Wood Handles. Same sizes as the engraving. 5, d. 5. d. Nos. 00 to 6, flat or round No. 10, flat ... each 0 per doz. 2 0 „ 11, „ ... ... 0 5 No. 7, flat or round ... . . . each 0 3 9> ISj ... ... ... ... „ 0 6 „ 8, „ 0 34 „ 14, „ ... ... „ 0 7 ... „ 0 4 „ 16, „ „ 0 9 Nos. 2, 4, 6 ROUND STUDIO HOG-HAIR BRUSHES. Bound with Wire, 20-inch Handles. h2’" .. eacli 4d. 10 Lecheetier, Barbe, & Co., 60 Regent Street, W, ROUND HOG-HAIR BRUSHES FOR OIL PAINTING, Tin Ferrules, Polished Cedar Handles. ...each s. d. 0 4 0 6 3. d. ...each 0 6 Nos. 00 to f) No. 7 No. 8 0 0 8 11 Lechertier, Barbe, & Co., 60 Regent Street, W. ROUND HOG-HAIR BRUSHES FOR OIL PAINTING, Tin Ferrules, Polished Cedar Handles. TAPESTRY SCRUB HOG-HAIR BRUSHES, Round Tin Ferrules, White Wood Handles. |-inch diameter 1 „ n s. d. each 0 6 l|-inch diameter ... ,, 0 8 I 2 j) ” Large size Od. s. d. . . .each 0 10 ... „ 1 0 MELONCILLO BRUSHES, Tin Ferrules, Polished Cedar Handles. A firm and elastic hair, same sizes as Bed Salle Brushes. No. 1, flat or round „ 2 „ „ .. 3 ,, ...each s. d. 0 4 0 5 0 6 No. 4, flat or round „ 5 „ „ s, ft , each s, d. 0 7 0 9 0 11 O O ^ • Rigffers. 12 Lechertiee, Barbe, & Co., 60 Regent Street, W. SABLE AND CAMEL-HAIR WRITERS, IN QUILLS. Crow Duck Goose Small Large Camel-hair Brown Brown Eiggei-s, Sable Sable Red Sable Writers, Riggers Liners, Riggers, Liners, or Stripers or Writers or Stripers or Writers per doz. each each each s, d. Pigeon Quill — 0 6 — 0 6 Crow „ 0 6 0 6 0 5 0 6 Duck „ 0 9 0 9 0 8 0 9 Goose „ ... 1 6 1 6 1 4 1 6 Small Swan — 3 9 3 0 3 0 Large „ — 7 6 5 0 — Assorted, Crow, Duck, Goose 0 11 0 9 8 11 0 Lbchertiee, Barbe, & Co., 60 Regent Street, W. 13 ROUND RED SABLE BRUSHES FOR OIL PAINTING, Tin Ferrules, Polished Cedar Handles. The brushes are the same size as the engravings. s. d. s, d. No. 0 each 0 5 No. 7 each 1 6 1 • • • >5 0 „ 8 )> 2 0 „ 2 )) 0 6i » 9 ff 2 7 „ 3 0 „ 10 „ 3 3 ,, 4 „ 0 9 ,, 11 » 4 0 ,, 5 J) 0 lOi „ 12 )> 4 9 ,, 6 1 0 Long-haired., foi' tracing m* writing., Kos. 1 to 6, same pHce as above. FAN-SHAPE SABLE BRUSHES For light feathery touches, foliage, &c. Nos. 1, 3, 5 ... each 9d. 14 Lecheetier, Baebe, & Co., 60 Eegent Street, W. FLAT RED SABLE BRUSHES FOR OIL PAINTING, Tin Ferrules, Polished Cedar Handles. The brushes are the same size as the engravings. d. d. No. 0 ... each 0 5 No. 7 each 1 6 „ 1 ... 0 6| » 8 )) 2 0 „ 2 ... >> 0 6i „ 9 >> 2 7 » 3 ... » 0 7A „ 10 ... ... >> 3 3 „ 4 ... >> 0 9' ,, 11 J> 4 0 » 3 ... >> 0 10^ „ 12 >» 4 9 „ 6 ... )> 1 0 GILDERS’ CAMEL-HAIR MOPS OR DABBERS, Two Ties of Wire. s. d. 4 quills each 1 0 5 „ 1 6 1 quill s. d. ...each 0 .3 ... „ 0 6 . ri !) Lechertier, Barre, & Co., 60 Regent Street, W. 15 GILDERS’ CAMEL-HAIR MOPS OR DABBERS. On Handles, Four Ties of Wire. .5. d. s. d. No. 1 each 0 7 No. 7 each 1 10 „ 2 99 0 8 „ 8 99 2 1 „ 3 99 0 10 „ 9 • • 99 2 6 „ 4 99 1 2 „ 10 99 3 0 „ 5 * • • • 99 1 5 „ 11 • • • * • • • ■ 99 3 6 „ 6 „ 1 7 „ 12 99 4 0 GILDERS’ BEAR-HAIR DABBERS IN QUILLS. Tied with Wire. No. 2 each 0 4 No. .3 ... each 0 7 „ „ 0 5 I „ 4 ... „ 0 8 GILDERS’ BEAR-HAIR DABBERS ON HANDLES. Tied with Wire. No. 00 i. d. ... each 0 7 ... „ 0 9 No. 2 99 3 ... each ... „ j. I 1 d. 3 7 GILDERS’ CAMEL-HAIR TIPS. •t. d. Short, middle, or long hair each 0 3 Best ditto... „ 0 4 BURNISHERS. s. d. Gilders’ Flint Burnishers, small or large each 3 0 „ Agate „ 2 3 Illuminating Agate Burnishers, in albata ferrules, straight, curved, or club shaped „ 2 0 GILDERS’ CUSHIONS. s. d. Best make, 8| inches by 5^ each 2 0 „ ,, 9 „ 6 i ,,2 6 SPONGES. From 4(7. to Is. each. 16 Lecheetier, Barbe, & Co., 60 Regent Street, W. FRENCH UNPREPARED CANVASES For Tapestry Painting. No. 10, Fern Pattern 11, Tapestry, medium stitch 12, Tapestry, coarse stitch 13, Eeps 14, Eeps, coarse corded 15, Gobelin Tapestry, fine stitch 19, Eeps, fine corded 20, Gobelin Tapestry, extra fine stitch 21, „ „ extra large stitch WIDE WIDTH FRENCH PREPARED CANVAS For large Paintings, Ceilings, Decorative Panels, &c. Per yard run Width Unprepared Sized Ft. In. s. d. S. d. 10 0 10 0 13 0 10 0 12 0 15 0 10 0 12 0 15 0 10 0 15 0 18 0 10 0 18 0 10 0 18 0 6 10 12 0 6 10 15 0 10 0 15 0 Per yard rim £ S, d. Strong Ticken ... 9 feet 9 in. -wide 1 9 3 „ Canvas ... 13 „ 2 „ 1 19 6 Coarse grained, for ceiling paintings, ko. ... 13 „ 2 „ 1 2 0 Medium „ „ „ ... 9 „ 9 16 3 *Strong Cotton Canvas „ „ ... 9 „ 9 16 3 Cotton Canvas, for gold ground ... 8 „ 6 11 4 „ for decoration For theatrical scene painting ... 8 „ 8 9 2| ... 10 „ 8 >, Ditto ... 7 „ 3 * This canvas is made up to 26 feet in width. ARTISTS’ FRENCH PREPARED CANVAS IN ROLLS. (Tbtfe a peindre, fine, dcmi-fine et m'dinaire, une coxiche.') Fine Medium Coarse s. d. s. d. s. t/. 2 feet 2 inches wide . . per yard run 5 0 5 0 3 4 • • >> 7 6 7 6 5 0 • • >» 10 0 10 0 6 8 6 )) 6 >> >) 15 0 15 0 10 0 PREPARED CANVAS, In 6-yard rolls, fine linen, primed white in a superior manner. with fine or grained surface. warranted to keep without cracking. Canvas Roman Ticken d. s. d. A. d. 5 or 27 inches wide per yard 2 4 2 9 3 0 1 or 31 „ 2 8 3 2 3 6 1 yard or 36 inches wide >> 3 0 3 6 4 3 3 feet 6 inches wide »» 3 8 4 0 5 0 4 9 5 0 5 6 6 0 6 6 7 0 5 ,, 2 )) 7 3 8 0 8 3 „ 8 6 10 6 10 0 7 „ 2 „ »» 10 6 12 6 Lechertier, Barbe, & Co., 60 Regent Street, W. 17 ACADEMY BOARDS FOR STUDIES OR SKETCHES. s. d . 24 inches by 19 inches each 0 10 Ditto, stout „ 1 0 Half size, half price. PREPARED OIL SKETCHING PAPER. s. d. Imperial j 30 inches by 21 inches per sheet 0 8 CANVAS, PANELS, OR MILLBOARDS. s. d. Gilt over for Decorative Painting at per sq. foot 5 o PALETTE KNIVES. 2 4 6 8 13 20 3 in. in. 4 in. 44 in. 5 in. 54 in. 6 in. jf. d. s. d. (/. s. d. X. d. 5. d. 5 . d No. 2, Cocoa handle . each 0 8 0 9 0 10 0 11 1 0 1 4 1 8 4, Ditto, balance 0 11 1 0 1 0 1 1 1 2 6, Ditto, askew blade.. 1 2 1 3 1 4 1 6 1 6 1 9 2 8 8, Ditto, trowel • » 2 0 2 1 2 2 2 4 2 6 2 9 3 0 10, Ebony handle. askew blade • )) 1 2 1 3 1 4 1 6 1 6 1 8 12, Ivory handle. balance • 1) 2 4 2 8 3 2 40, Artists’ Ivory-handle Pocket Palette Knife, with 4 blades and corkscrew each 20, French curved Canvas Scrapers „ „ „ » .. large size „ 14, Gilders’ 6-inch Knives „ 13, „ „ balance „ Ivory Palette Knives, 6-inch „ ») )» !» 8 >> SJ JJ ^ JJ ••• >! 7 0 1 6 1 10 1 3 1 6 1 6 2 0 1 0 Horn 18 Lecheetiee, Baebe, & Co., 60 Regent Street, W. GLASS SLABS AND MULLERS. For Grinding Colours. Slabs set in Slab only Mahogany Frame s. rf. s. ... 0 9 3 0 99 99 ^ 99 8 ,, ... • * * 99 1 6 4 3 „ „ 10 „ 10 „ ... ff 2 0 5 0 99 99 12 ,, 12 „ ... )) 3 0 6 0 Glass Mullers 1 in. diameter .each 0 6 )) 99 ^4 » • )) 0 8 99 99 li 99 99 •• • .. 1 0 99 99 2 ,, ff • >, 1 6 >1 » 2^ „ „ • 99 2 0 99 99 3 99 " 2 6 TIN DIPPERS FOR OIL PAINTING. 41 MA h ^ CONICAL, CONICAL, WITH CAPPED LID. WITH NECK. WITH REMOVABLE RING. ,1. (I. Single conical each 0 3 Double „ „ 0 6 Single „ with capped lid „ 0 8 Double „ „ „ „ 1 4 Single ,, with neck „ 0 4 Double „ „ „ 0 8 Single semi-spheiical, with removable ring to prevent the oil spilling ... „ 0 6 Double ditto „ 1 0 Single conical, with screw top „ 0 9 Double „ „ „ „ 1 6 Lechebtiek, Barbe, & Co., 60 Regent Street, W. 13 SMUDGE PAN, Square Oil Bottles, with screw top Round Brush Washers Large square Brush Washers, with hinged lid Round Brush Cases, 14 in. by 2 in Plain Smudge Pans, 14 in. by 2| in 3. d. each 1 9 TABLE EASELS. Mahogany Table Easel, with pegs, 21 in. high each 4 Ditto, ditto, 24 inches high 5 Ditto, with rack, 21 „ 11 Ditto, ditto, 24 „ 12 Folding-up Pocket Easel, in mahogany 3 rf 6 6 6 6 20 Lechertiee, Barbe, & Co., 60 Regent Street, W. RACK OR PEG STUDIO EASELS. Stained deal Closing Easel, 6 feet high ,, „ „ folding in half, 6 feet liigh Mahogany Closing Easel, 6 feet high „ „ folding in half, 6 feet high French beech Rack Easel, 5 feet 4 inches high „ „ „ with sliding up bar, 6 feet 4 inches high „ „ „ 6 feet 2 inches high Handsome Rack Easel, in polished walnut, 6 feet 4 inches high 4 4 „ )) jj » ^ j) ’ » » Dwarf mahogany framed Easel, with rack, 3 feet high, exclusive of lengthening frame £ s. (?. 0 7 0 0 14 0 0 16 0 12 0 0 12 0 0 17 0 16 0 3 0 0 1 16 0 1 15 0 Lecheetier, Barbe, & Co., 60 Regent Street, W. 21 ' RACK OR PEG STUDIO EASELS - — continued. COEBOULD EASEL, WITH DESK. Corbould’s Eack Easel, in mahogany, 6 feet high, exclusive of lengthening frame 3 3 Ditto, with, desk 4 0 MAHL STICKS. s. Bamboo, about 36 inches, padded ball .• ... each 0 White-wood, 42 inches „ 0 » 54 ,, „ 1 66 ,, ,, 1 French-polished, 40 inches „ i Portable, .36 inches, to take in three pieces „ 3 » 48 „ „ four „ „ 4 d. 0 0 d. 8 8 0 6 0 0 0 22 Lechertier, Barbe, & Co., 60 Eegent Street, W. FRENCH WINDING-UP STUDIO EASELS. Nos. 102 and 104. WITH BAR. With these the heaviest canvas is raised or lowered, or inclined forward, or removed from a place to another in the studio, with the slightest effort. They are made of solid oak, which gives them considerable advantage over those made of lighter wood, as keeping in better working order, being more suitable for an artist’s studio, and being more steady from their greater weight. WITH FRAME. No. 106. Lechertiee, Baebb, & Co., 60 Regent Street, W, 23 FRENCH WINDING-UP STUDIO EASELS — continued. No. 108.— To IxcLiNE Forward. o o o o o cj o O O o OS CO ^ Ci ! O C« s > ^ § bB H 2 2 CL oT s a) w 43 33 o t) G ^ o 2 O O rG ^ . Q a? -P S QfT g 'S) P £3 bB G 6B ^ S a bB G ^ S o g -S 9^ o 4: > OT CJ -S c« X ° aj 43 fi fi N -!f «> t- 00 O o © o o o o " No. H9, With conIriTance to lean picture forward, and desk at back, o-t inches high , 121, Ditto, 574 „ „ 12.S, Ditto, 65 „ „ 112, Stained deal, with rack or pegs, chiefly used for exhibition 1 £ s. J) J' folding Extra-large oval walnut-wood ... MAHOGANY. SYCAMORE. s. d. s. d. each 1 4 ... 1 10 „ 1 8 ... 2 2 „ 2 0 ... 2 6 „ 3 6 ... 4 0 ,, 4 0 ... 5 0 „ 3 9 ... 4 6 ... eacli 10 6 26 Lecheetiee, Baebe, & Co., 60 Regent Steeet, W. SUNDRIES. Continuous Drawing Cartridge, 54 in. wide, per yard run — thin 6d., thick M extra thick... French Bulle Paper, buff or blue-grey, 58 in. wide, per j'ard run Paper, per sheet, 60 in. by 40 Vegetal „ 99 99 23 „ 18 ... 0 3J )> JJ „ „ 28 „ 21 ... 0 5 99 99 99 99 40 „ 27 ... 1 3 Plain Pricker, cedar handle Pricker, with shifting needle, ivory handle Pricking Wheel Pounce Bag, with black or white colour Sketching Charcoal, per box Drawing Pins, per dozen — small 6d., middle 9if., Pearlash Water, per bottle Picric Acid, per ounce Gold Leaf, per book White Glazed Earthenware Pots, each large «. d. 1 0 0 6 0 7 0 .8 3 6 0 6 1 0 1 6 2«f. to 0 6 lONDOX ! PIlIXTED BY 8POTTISWOODE ANT) CO., NEW-6TREET SQUARE AND PARLIAMENT STREET r k r I k k' t:> ■■■« A , • iV i GETTY CENTER LIBRARY n ND 1625 G58 1879 bks ^ Godon, Jullen Painted tapestry and Its application to 3 3125 00250 0144