Page:EB1911 - Volume 28.djvu/471

ARCHAEOLOGY AND ART] well-known and kindred textiles. Frequently one meets with odd phrases such as “silk of Brydges” (Bruges), “silk dornex” (from Dorneck), “sheets of raynes” (Rheims), and “fuschan in Appules” (Naples fustian).

Many of the foregoing stuffs are identifiable by textures peculiar to them; this is, however, not so as regards their ornamental patterns, for these are frequently interchanged, the same class of patterns appearing in satin damasks, velvets and brocades. This is particularly the case with 13th- and 14th-century Italian stuffs. In the patterns of these, as previously suggested, are strong traces of Saracenic and Byzantine motives, intermingled with badges, heraldic devices, human figures, eagles, falcons, hounds, lions, harts, boards, leopards, rays of light, Persianesque pine cone and cloud forms, and even Chinese mystical birds, symmetrically distributed, without framings, as a rule, though elaborations of the ogival frame or scheme are also met with, but less frequently (see fig. 41). Such fabrics, made in the main by Lucchese weavers, appear to have been traded in with other European countries. But besides trade records, there are others relating to Lucchese weavers who left their own town under stress of circumstances, civil wars and the like, to settle and work elsewhere, as in France and Flanders, during the 15th century. Nevertheless the northern parts of Italy were the fertile places for producing fine types of patterned textiles used by Italian and other 42.—Damask and Brocade Silk Fabric, Italian manufacture of the 15th century.

European courts and nobles: and if the art seriously dwindled in the town of Lucca, it flourished conspicuously, from the end of the 14th century and up to the beginning of the 16th century, in Venice, Bologna, Genoa, Florence and Milan. There was nothing similar to compete with it in France, Germany or England. The identification of its splendid varieties is made possible upon referring to contemporary paintings by Orcagna, Crivelli, Spinello Aretino and later Italian masters, as well as to those of the Flemish School, Gheraet David, Mabuse, &c.

Of a specially distinct class, very dignified in effect, are patterns of the 15th century based upon the repetition of conventional pentagon ally constructed leaf panels, clearly defined in outline, each encircling a pomegranate or cone form around which radiate small leaves or blossoms; though they were more richly developed in superb velvets and cloths of gold, for which Florence, Venice and Genoa were famed, this type of design is also woven in less costly materials. A composite unusual and beautiful design of another kind is given in fig. 42. Repeated large leaf shapes can just be detected in it, but more remarkable are the bunches of radiating stalks of wheat-ears and cornflowers within them; whilst about them, arranged in hexagonal trellising, are leafy bars, small birds, crowns, pomegranates and other daintily depicted plant forms. This piece of damask combined with brocade weaving is of late 15th centui-y manufacture: and after the opening of the next century the freedom .towards realistic treatment, which we find here, enters into many of the Italian patterns. In some of them, however, an Ottoman or Anatolian feeling is apparent, as in fig. 43 from a figured silk which is considered to have been made in Venice. The chained dogs and birds in this design recall the rather more formal ones in Lucchese patterns of a hundred and fifty year? earlier, whereas the fengthy serrated leaves and elongated flower devices charged v.ith carnations and hyacinths depicted on a smaller scale are unmistakably Ottoman. Persian fabrics of rather thin silk material or taffetetas like that of the original of this were also being woven with varieties of floral designs, as well as others portraying Persian stories. At this period there was considerable activity in weaving sumptuous stuffs at Broussa and Constantinople (fig. 44). Arabic and Turkish weavers often came over to be employed in Venice, blending Italian and Oriental characteristics into their designs. In Spain during the early i6i:h century we have traces of Hispano-Moresque influence in the overlapping and interlocking nondescript forms; but Spanish weavings are hardly comparable in quality with the Italian of the same time. In the middle of this century cloths of gold or of silver, with the pattern details raised in velvet and brocatelles of similar formal design were made in greater quantities in Italy for costumes of men and women. The frequent basis of most of the designs is the ogival framework already referred to, but it is much elaborated with detail and combined with the cone device of a previous century. The ornamentation of this style is purely conventional throughout, the various devices having little of the appearance of actual objects like fruit, leaves, &c. The time, however, was close at hand when a more general reaction was to set in, in the direction of designs representing forms very nearly as they actually look, an example of which occurs in fig. 45, with its leaf forms and crowns. This from a class of silk damask or lampas, which is kindred to brocatelle; a feature in lampas is that its ground is different in colour from that of the ornament on it, and as in the case of portions of brocatelles its texture is of taffeta or sarcenet quality. At the end of the 16th century a peculiar type of pattern consists of repetitions in different positions of the same detail treated realistically or purely ornament ally, little if anything of quite the same character having been previously designed. Of such fig. 46, with its repeated realistic leafy 43.—Piece of Venetian Silk Weaving showing Ottoman influence in the design (16th century).

logs variously placed, is an example. The principle in the composition of these patterns, but with a greater variety of conventional detail, is followed in French 17th century examples. However, as soon as figured weaving became well organized in prance at this time, a school of designers arose in that country who adopted a realism that predominated in French patterns during the succeeding 150 years, that is, from Louis XIV. to the end of the l8th century. Throughout this period French figured stuffs seem to surpass those of other countries. If writes Monsieur Pariset, “any account is to be taken of the weavers during the 14th and 15th centuries who made cloths and velvets of silk at Paris, Rouen, Lyons. Nimes and Avignon, It must be remembered that they were almost solely Italian emigrants from Lucca and Florence, who had fled their towns during troublous times.” By a charter granted by Francis I. to Lyons, foreign and native workmen were encouraged to promote the city's interests in trade and manufacture; still, it is not until the 17th century that Lyons really asserts herself in producing fabrics possessing French taste and ornamentation. The more important designs were supplied by trained artists of whom Reval, a pupil of Le Brun, the first principal of the Academic des Beaux Arts founded by Colbert in Paris (1648), Pillement and Philippe de la Salle in the 18th century, may be