In an inventory of the Princess of Burgundy there occurs this curious description of a tapestry: "The three tapestries of the Church Militant, wrought in gold, whereon may be seen represented G.o.d Almighty seated in majesty, and around him many cardinals, and below him many princes who present to him a church."

Household luxury in England is indicated by a quaint writer in 1586: "In n.o.blemen's houses," he says, "it is not rare to see abundance of arras, rich hangings, of tapestrie... Turkie wood, pewter, bra.s.se, and fine linen.... In times past the costly furniture stayed there, whereas now it is discarded yet lower, even unto the inferior artificers, and many farmers... have for the most part learned to garnish their beds with tapestries and hangings, and their tables with carpetts and fine napery."

Henry VIII. was devoted to tapestry collecting, also. An agent who was buying for him in the Netherlands in 1538, wrote to the king: "I have made a stay in my hands of two hundred ells of goodly tapestry; there hath not been brought this twenty year eny so good for the price." Henry VIII. had in his large collection many subjects, among them such characteristic pieces as: "ten peeces of the rich story of King David" (in which Bathsheba doubtless played an important part), "seven peeces of the Stories of Ladies," "A peece with a man and woman and a flagon," "A peece of verdure... having poppinjays at the nether corners," "One peece of Susannah," "Six fine new tapestries of the History of Helena and Paris."

A set of six "verdure" tapestries was owned by Cardinal Wolsey, which "served for the hanging of Durham Hall of inferior days."

The hangings in a hall in Chester are described as depicting "Adam, Noe, and his Shyppe." In 1563 a monk of Canterbury was mentioned as a tapestry weaver. At York, Norwich, and other cities, were also to be found "Arras Workers" during the sixteenth century.

There was an amusing law suit in 1598, which was brought by a gentleman, Charles Lister, against one Mrs. Bridges, for accepting from him, on the understanding of an engagement in marriage, a suite of tapestries for her apartment. He sued for the return of his gifts!

Among the State Papers of James I., there is a letter in which the King remarks "Sir Francis Crane desires to know if my baby will have him to-hasten the making of that suite of tapestry that he commanded him."

In Florence, the art flourished under the Medici. In 1546 a regular Academy of instruction in tapestry weaving was set up, under the direction of Flemish masters. All the leading artists of the Golden Age furnished designs which, though frequently inappropriate for being rendered in textile, were fine pictures, at any rate. In Venice, too, there were work shops, but the influence of Italy was Flemish in every case so far as technical instruction was concerned.

The most celebrated artists of the Renaissance made cartoons: Raphael, Giulio Romano, Jouvenet, Le Brun, and numerous others, in various countries.

[Ill.u.s.tration: TAPESTRY, REPRESENTING PARIS IN THE 15TH CENTURY]

The Gobelins work in Paris was inaugurated in the fifteenth century under Jean Gobelins, a native of Rheims. His son, Philibert, and later, many descendants persevered steadily at the work; the art prospered under Francis I., the whole force of tapestry weavers being brought together at Fontainebleau, and under Henry II., the direction of the whole was given to the celebrated artist Philibert Delorme. In 1630 the Gobelins was fully established as a larger plant, and has never made another move. The work has increased ever since those days, on much the same general lines. Celebrated French artists have designed tapestries: Watteau, Boucher, and others were interpreted by the brilliant manager whose signature appears on the works, Cozette, who was manager from 1736 until 1792. With this technical perfection came the death of the art of tapestry: the pictures might as well have been painted on canvas, and all feeling for the material was lost, so that the nave charm of the original workers ceased to be a part of the production.

Among European collections now visible, the best is in Madrid, where over six hundred tapestries may be seen, chiefly Flemish, of the fifteenth and sixteenth centuries. The collection at the Pitti Palace in Florence comprises six hundred, while in the Vatican are preserved the original Raphael tapestries. South Kensington Museum, too, is rich in interesting examples of various schools.

It is a very helpful collection to students, especially, although not so large as some others.

In 1663, "two well intended statutes" were introduced dealing with curiously opposite matters: one was to encourage linen and tapestry manufacture in England, and the other was "for regulating the packing of herrings!"

The famous English Mortlake tapestry manufactory was not established until the seventeenth century, and that is rather late for us. The progress of craftsmanship has been steady, especially at the Gobelins in France. Many other centres of industry developed, however, in various countries. The study of modern tapestry is a branch by itself with which we are unable to concern ourselves now.

CHAPTER VI

EMBROIDERIES

The materials used as groundwork for mediaeval embroideries were rich in themselves. Samit was the favourite--shimmering, and woven originally of solid flat gold wire. Ciclatoun was also a brilliant textile, as also was Cendal. Cendal silk is spoken of by early writers.

The first use of silk is interesting to trace. A monopoly, a veritable silk trust, was established in 533, in the Roman Empire. Women were employed at the Court of Justinian to preside over the looms, and the manufacture of silk was not allowed elsewhere. The only hindrance to this scheme was that the silk itself had to be brought from China. But in the reign of Justinian, two monks who had been travelling in the Orient, brought to the emperor, as curiosities, some silkworms and coc.o.o.ns. They obtained some long hollow walking sticks, which they packed full of silkworms' eggs, and thus imported the producers of the raw material. The European silk industry, in fabrics, embroideries, velvets, and such commodities, may owe its origin to this bit of monastic enterprise in 550.

Silk garments were very costly, however, and it was not every lady in early times who could have such luxuries. It is said that even the Emperor Aurelian refused his wife her request for just one single cloak of silk, saying: "No, I could never think of buying such a thing, for it sells for its weight in gold!"

Fustian and taffeta were less costly, but frequently used in important work, as also were sarcenet and camora. Velvet and satin were of later date, not occurring until the thirteenth and fourteenth centuries.

Baudekin, a good silk and golden weave, was very popular.

Cut velvets with elaborate patterns were made in Genoa. The process consisted in leaving the main ground in the original fine rib which resulted from weaving, while in the pattern these little ribs were split open, making that part of a different ply from the rest of the material, in fact, being the finished velvet as we now know it, while the ground remained uncut, and had more the appearance of silk reps. Velvet is first mentioned in England in 1295, but probably existed earlier on the Continent.

Both Roger de Wendover and Matthew Paris mention a stuff called "imperial:" it was partly gold in weave, but there is some doubt as to its actual texture.

Baudekin was a very costly textile of gold and silk which was used largely in altar coverings and hangings, such as dossals; by degrees the name became synonymous with "baldichin," and in Italy the whole altar canopy is still called a _baldachino_.

During Royal Progresses the streets were always hung with rich cloth of gold. As Chaucer makes allusion to streets

"By ordinance throughout the city large Hanged with cloth of gold, and not with serge,"

so Leland tells how the Queen of Henry VII. was conducted to her coronation and "all the stretes through which she should pa.s.s were clenely dressed... with cloths of tapestry and Arras, and some stretes, as Cheepe, hanged with rich cloths of gold, velvetts, and silks." And in Machyn's Diary, he says that "as late as 1555 at Bow church in London, was hangyd with cloth of gold and with rich Arras."

The word "satin" is derived from the silks of the Mediterranean, called "aceytuni," which became "zetani" in Italian, and gradually changed through French and English influence, to "satin." The first mention of it in England is about 1350, when Bishop Grandison made a gift of choice satins to Exeter Cathedral.

The Dalmatic of Charlemagne is embroidered on blue satin, although this is a rare early example of the material. At Constantinople, also, as early as 1204, Baldwin II. wore satin at his coronation.

It was nearly always made in a fiery red in the early days. It is mentioned in a Welsh poem of the thirteenth century.

Benjamin of Tudela, a traveller who wrote in 1161, mentions that the Jews were living in great numbers in Thebes, and that they made silks there at that time. There is record that in the late eleventh century a Norman Abbot brought home from Apulia a quant.i.ty of heavy and fine silk, from which four copes were made. French silks were not remarkable until the sixteenth century, while those of the Netherlands led all others as early as the thirteenth.

Shot silks were popular in England in the sixteenth century. York Cathedral possessed, in 1543, a "vestment of changeable taffety for Good Friday."

St. Dunstan is reported to have once "tinted" a sacerdotal vestment to oblige a lady, thus departing from his regular occupation as goldsmith to perform the office of a dyer of stuff.

Many rich mediaeval textiles were ornamented by designs, which usually show interlaces and animal forms, and sometimes conventional floral ornament. Patterns originated in the East, and, through Byzantine influence, in Italy, and Saracenic in Spain, they were adopted and modified by Europeans. In 1295 St. Paul's in London owned a hanging "patterned with wheels and two-headed birds." Sicilian silks, and many others of the contemporary textiles, display variations of the "tree of life" pattern. This consists of a little conventional shrub, sometimes hardly more than a "budding rod," with two birds or animals advancing vis-a-vis on either side. Sometimes these are two peac.o.c.ks; often lions or leopards and frequently griffins and various smaller animals. Whenever one sees a little tree or a single stalk, no matter how conventionally treated, with a couple of matched animals strutting up to each other on either side, this pattern owes its origin to the old tradition of the decorative motive usual in Persia and in Byzantium, the Tree of Life, or Horn. The origin of patterns does not come within our scope, and has been excellently treated in the various books of Lewis Day, and other writers on this subject.

Textiles of Italian manufacture may be seen represented in the paintings of the old masters: Orcagna, Francia, Crivelli, and others, who delighted in the rendering of rich stuffs; later, they abound in the creations of Veronese and t.i.tian. A "favourite Italian vegetable," as Dr. Rock quaintly expresses it, is the artichoke, which, often, set in oval forms, is either outlined or worked solidly in the fabric.

Almeria was a rich city in the thirteenth century, noted for its textiles. A historian of that period writes: "Christians of all nations came to its port to buy and to sell. From thence... they travelled to other parts of the interior of the country, where they loaded their vessels with such goods as they wanted. Costly silken robes of the brightest colours are manufactured in Almeria."

Granada was famous too, a little later, for its silks and woven goods. About 1562 Navagiero wrote: "All sorts of cloth and silks are made there: the silks made at Granada are much esteemed all over Spain; they are not so good as those that come from Italy.

There are several looms, but they do not yet know how to work them well. They make good taffetas, sarcenet, and silk serges. The velvets are not bad, but those that are made at Valencia are better in quality."

Marco Polo says of the Persians in certain sections; "There are excellent artificers in the cities, who make wonderful things in gold, silk, and embroidery.... In veins of the mountains stones are found, commonly called turquoises, and other jewels. There also are made all sorts of arms and ammunition for war, and by the women excellent needlework in silks, with all sorts of creatures very admirably wrought therein." Marco Polo also reports the King of Tartary as wearing on his birthday a most precious garment of gold, while his barons wore the same, and had given them girdles of gold and silver, and "pearls and garments of great price." This Khan also "has the tenths of all wool, silk, and hemp, which he causes to be made into clothes, in a house for that purpose appointed: for all trades are bound one day in the week to serve him." He clothed his armies with this tythe wool.

In Anglo-Saxon times a fabric composed of fine basket-weaving of thin flat strips of pure gold was used; sometimes the flat metal was woven on a warp of scarlet silk threads. Later strips of gilded parchment were fraudulently subst.i.tuted for the genuine flat metal thread. Often the woof of gold strips was so solid and heavy that it was necessary to have a silk warp of six strands, to support its wear.

Gold cloth was of varying excellence, however: among the items in an inventory for the Earl of Warwick in the time of Henry VI., there is allusion to "one coat for My Lord's body, beat with fine gold; two coats for heralds, beat with demi-gold."

It is generally a.s.sumed that the first wire-drawing machines were made about 1360 in Germany; they were not used in England until about 1560. Theophilus, however, in the eleventh century, tells "Of the instruments through which wires are drawn," saying that they consist of "two irons, three fingers in breadth, narrow above and below, everywhere thin, and perforated with three or four ranges, through which holes wires are drawn." This would seem to be a primitive form of the more developed instrument. Wire drawing was introduced into England by Christian Schutz about 1560. In 1623 was incorporated in London, "The Worshipful Company of Gold and Silver Wire-Drawers."

The preamble of their charter reads thus: "The Trade Art of Drawing and flattening of gold and silver wire, and making and spinning of gold and silver thread and stuffe." It seems as though there were some kind of work that corresponded to wire-drawing, earlier than its supposed introduction, for a pet.i.tion was sent to King Henry VI. in 1423, by the "wise and worthy Communes of London, & the Wardens of Broderie in the said Citie," requesting protection against "deceit and default in the work of divers persons occupying the craft of embroidery;" and in 1461 "An act of Common Council was pa.s.sed respecting the gold-drawers," showing that the art was known to some extent and practised at that time. In the reign of George II., in 1742, "An act to prevent the counterfeiting of gold and silver lace and for the settling and adjusting the proportions of fine silver and silk, and for the better making of gold and silver lace," was pa.s.sed.

Ecclesiastical vestments were often trimmed with heavy gold fringe, knotted "fretty wise," and the embroideries were further enriched with jewels and small plaques of enamel. Matthew Paris relates a circ.u.mstance of certain garments being so heavily weighted with gold that the clergy could not walk in them, and, in order to get the solid metal out again, it was necessary to burn the garments and thus melt the gold.

Jewelled robes were often seen in the Middle Ages; a chasuble is described as having been made for the Abbot of St. Albans, in the twelfth century, which was practically covered with plaques of gold and precious stones. Imagine the unpleasant physical sensation of a bishop in 1404, who was obliged to wear a golden mitre of which the ground was set with large pearls, bordered with balas rubies, and sapphires, and trimmed with indefinite extra pearls!

The body of St. Cecilia, who was martyred in 230, was interred in a garment of pure woven gold.

The cloth of solid gold which was used for state occasions was called "tissue;" the thin paper in which it was wrapped when it was laid away was known as tissue paper, and Mr. William Maskell states that the name has clung to it, and that is why thin paper is called "tissue paper" to-day.

St. Peter's in Rome possessed a great pair of silver curtains, which hung at the entrance to the church, given by Pope Stephen IV. in the eighth century.

Vitruvius tells how to preserve the gold in old embroidery, or in worn-out textiles where the metal has been extensively used.

He says: "When gold is embroidered on a garment which is worn out, and no longer fit for use, the cloth is burnt over the fire in earthen pots. The ashes are thrown into water, and quicksilver added to them. This collects all particles of gold, and unites with them. The water is then poured off, and the residuum placed in a cloth, which, when squeezed with the hands suffers the liquid quicksilver to pa.s.s through the pores of the cloth, but retains the gold in a ma.s.s within it."

An early allusion to asbestos woven as a cloth is made by Marco Polo, showing that fire-proof fabrics were known in his time. In the province of Chinchintalas, "there is a mountain wherein are mines of steel... and also, as was reported, salamanders, of the wool of which cloth was made, which if cast into the fire, cannot burn. But that cloth is in reality made of stone in this manner, as one of my companions a Turk, named Curifar, a man endued with singular industry, informed me, who had charge of the minerals in that province. A certain mineral is found in that mountain which yields threads not unlike wool; and these being dried in the sun, are bruised in a brazen mortar, and afterwards washed, and whatsoever earthy substance sticks to them is taken away. Lastly, these threads are spun like ordinary wool, and woven into cloth.

And when they would whiten those cloths, they cast them into the fire for an hour, and then take them out unhurt whiter than snow.

After the same manner they cleanse them when they have taken any spots, for no other washing is used to them, besides the fire."