A Syllabus of The History of Decora’ tive Textiles Virginia H. fries SCIYJQ‘IL OF HOE?) ECONWJHS MICE'IKCAN :1x_ CCLLEGE EAST [ANSINQ MICHIGAN ’ Mulligan State University ’ #1“. _____N h 4". PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE DATE DUE DATE DUE 6/01 c:/C|RC/DateDue.p65-p.15 "HEW _ SYLLABUS OF THE HISTORY OF DECORATIVE TEXTILES ****$t##**¥* Presented for the Degree of Master of Science By Virginia Hoerig Fries, B. 8. #****#**¥*** MICHIGAN STATE COLLEGE 1949 TABLE OF' mYPT O O O O O O O O BABYLON IA AND ASSYR IA GREECE. . . ROMAN o . . COPTIC, GRAECO ROMAN. CHRISTIAN PERSIAN, SASSANIAN. BYZANTINE . . . . ARABIC. . . . . . CHINA . . . . . . SICILY. . . . . . ITALY, LUCCA. . . FLORENCE . VENICE . . SPANISH o . . . . PERSIAN, SAFIDIAN TURKISH . o . . . INDIAN, PRINTS. o SHAWLS. . FRANCE, LOUIS XIV LOUIS XV 0 PH IL IPPE do CONTENT 8 LA SALLE. TOILES d0 JOUY. o o o LOUISXVI. . . o . . Page 10 15 16 19 22 25 28 52 55 58 1+1 47 55. 57 60 65 66 7o TABLE or CONTENTS (Continued) FRANCE (Continued) DIRECTOIRE. . . . . . . . . . . EMPIRE. . .. . . . . . . . . . . ENGLISH, EMBROIDERIES. . . . . . . . . PRINTS. . . . . . . . . . . . SPITALF‘IELDS. . . . . . . . . SHAWLS. . . . . . . . . . . . JAPANESE . . . . . . . . . . . . . . . AMERICAN COVERLETS . . . . . . . . . . PERUVIAN O O O O O O O 0 O 0 0 O O O O - 75 75 78 81 85 87 89 92 95 EGYPT 2500-1500 B. C. The distinguishing features of Egypt are the Nile and the desert. The sun and the river were worshiped by the ancient Egyptian for they brought him gifts vital to his existence. The Egyptian believed in a revival after death; consequently, miniature replicas of his earthly possessions were placed in his tomb. These have been well preserved due to the dry climate and the burial customs of the Egyptians. Thus the record of Egypt is more complete than that of any other country of antiquity. In fact, some of the painted finish on the articles and walls found in the tombs seem as fresh today as when executed. The conventionalized designs seen in Egyptian art are a forceful eXpression of much decorative beauty. CHARACTERISTICS OF TEXTILES brain‘s. Major: Geometric; stars, chevrons, frets, checks, discs, waves, meanders, florals; the lotus, lily, palmette, rosette, papyrus, the sphinx, the sacred beetle, and the winged sun are the most important Egyptian motifs. Minor: Wheat, daisies, the marsh plant, lions, panthers, horses, zebras, peacocks, and ducks were also found on these excavated stuffs. 2. METHOD OF APPLICATION The first designs were printed or painted on the cloth. About 1400 B. C. tapestry weaving was done. This was a method of decoration (.)\ “3U" 6” unflONIZDI / < ——' G D 0° 83‘: {WE-J: Se Some 9?; 5:16 9 El QWDOEVD /<‘<\ "' 0‘ B h0\0/0\ ”I“ “LL-1:3? ‘9 B Q00 60° 3/33, | l9 3 a L86 go§fl A“ $5423 as [Mow/Kl ‘ . 1/ DD, , , \ v'r’ . \\ V..‘ #‘;52;. &<’/”// ‘\ ’.D ‘:;‘ w /,J t. :79”. \——-______—- -/ a. _, Y/ \r/ “\f‘"\:’i {sf / \ -/ \A'Q‘P' V/ ‘ ' I _ .I'\ Q EC? YPT': A N produced by darning colored threads into the material. Designs were also embroidered onto the fabric. 3. WEAVE The plain weave was most commonly used. During the eleventh dynasty a looped pile was woven. This was looping weft threads around pairs of warp threads. A type of tapestry weave was also woven by 1400 B. C. 4. FIBER Linen, the oldest of fibers, was grown in Egypt. This linen was of very fine quality. It was spun into thread rather than used as un- twisted fibers. Cotton was imported from India. Some wool was used. 5-.C_0L_OB. White was the color preferred in that warm country. Blue, red, and amber were commonly used about 2500 B. C. Yellow, green, black and dark brown were found on stuffs dating about 1400 B. C. In general the Egyptians preferred primary colors, the favorite being blue. 6. ARRANGEMENT The first textiles were plain. About 2500 B. C. borders made of printed conventional designs were added. All-over designs were worn by the lower classes. Some stripes were found. The first floral designs (1500 B. C.) were symmetrical in arrangement. 7. SCALE The designs were small. 8. INFLUENCES The religion of the Egyptians exerted strong influence on the design 2 motifs.. The occupations of the people were also a source for the decorations. REFERENCES Flemming, Ernest, An Encyclopedia of Textiles, p. 11. Lewis, Ethel, The Romance of Textiles, Chap. 1. Riefstahl, Elizabeth, Patterned Textiles in.Pharanic Egypt. Speltz, Alexander, Styles of Ornament, PP. 12-14. ILLUSTRATIONS Glazier, Richard, Historic Textile Fabrics, p. 99. Speltz, Alexander, Styles of Ornament, pp. 15,16,18,21. BABYLONIA and ASSYRIA 5000-600 B. C. The people of Babylonia and Assyria lived in the fertile valley of the Tigris-Euphrates Rivers. Due to the climate, the burial custom (cremation), and the warfare between the two countries, there are no remains of the textiles woven during this period of antiquity. The alabaster slabs that covered the walls of the palaces of Nineveh depict colorful scenes of the life of the people.. It is from such sources as this that information of their textile designs has been obtained. The people of Babylonia and Assyria were famed for their weaving during the entire period of antiquity. These textiles provided an important trade item. The designs used by the Babylonians and Assyrians were expressed sometimes realistically, sometimes conventionally but were always based on the immediate world.. CHARACTERISTICS OF TEXTILES 1.139222; Major: The tree of life (Rom) is thought to have originated here. The winged disc (Ashur), hunters, lotus flowers, and the pomegranate which also had its beginning in this period. Lozenges, the chevron, circle, feather border, rosette, and the guilloche were also used. Minor: The almond, war chariots, and implements of war, animals (wild beasts), and the lily are found among their designs. ASSYRIAN 2. METHOD OF APPLICATION Designs were embroidered. A kind of tapestry weave was also used. 5. WEAVE The reliefs on the walls of the palaces show incised designs on the garments, thus indicating the use of woven fabrics. 4. FIBER Wool, goat‘s hair, and a fine quality of cotton were grown. Silk was brought from the Orient. 5. COLOR White was preferred by the wealthy classes.. The ceremonial color was purple, in its many tones.. Blues and scarlets as were spoken of in the Bible were also used. 6. ARRANGEMENT The arrangement was symmetrical in feeling. Animals were placed on either side of the tree of life.. The animals were generally placed back to back with necks twisted to glare at each other. 7. SCALE The designs were small. 8. INFLUENCES There are evidences of Egyptian influence. Warfare with each other and hunting provided sources for designs. REFERENCES Flemming, Ernest, An Encyclopedia of Textiles, p. 11. Lewis, Ethel, The Romance of Textiles, pp. 14-19. ILLUSTRATIONS Speltz, Alexander, Styles of Ornament, pp. 22-28. GREECE 5th Century B. C. Greece is a coutry of diversified climate and geography.- The imaginative Greeks peOpled the sea, sky, mountains, and woods with gods, human in form. This love of myths had mush influence on their art. The creating of the perfect individual became an ideal to the Greeks.. 'Man' became the measure of all things. The Greek peOple, who by nature were sensitive to beauty, used design motifs having only aesthetic appeal which is in contrast to the symbolic art of Egypt. The Greeks concentrated on the subtleties of relationships. It was an art of discipline-of perfection. The textiles of the people likewise eXpressed the art of the period.. The Greeks did not as a general thing use all-over patterns. They preferred borders which were simple and beautiful. The fifth century B. C. is considered the most outstanding period of Greek textiles. CHARACTERISTICS OF TEXTILES 1.259223 Major: Meander of ivy or laurel, anthemidn, acanthus, leaf, Greek key or fret, rinceau, wave, guillock, festoons of flowers or drapery swags were the major motifs. Minor: Lozenges, trellises, dots, stars, crosses, animals, figures in combat, chariots with horses, dolphins, birds, winged horses, and fighting warriors were also found. 2. METHOD*OF APPLICATION Designs were embroidered, and painted or printed. Some tapestry weaving was done. 5. WEAVE Plain weaves were commonly used. A. FIBER Wool, silk, linen and fine cotton were used. 5. COLOR Gay and vivid colors were used.. Apple green, sea green, purple, dark and light, fiery red, and white were the favorite colors. 6. ARRANGEMENT During this period borders came into use,and according to some authorities, were developed to perfection. Even after all-over printed designs were used borders continued to be preferred by the Greeks. 7. SCALE The designs of this period were small. 8. INFLUENCES The all-over patterns; especially show influences of the Baby- lonians, Assyrians,and Egyptians. The sea motifs of Crete influenced Greek design. REFERENCES Flemming, Ernest, An Encyclopedia of Textiles, p. 12. Lewis, Ethel, The Romance of Textiles, pp. 22-26. Speltz, Alexander, Styles of Ornament, pp. 45-45.‘ ILLUSTRAT IONS Speltz, Alexander, Styles of Ornament, pp. 46, 50-66. ROMAN 100 B.C.-4OO A.D. The Romans were more interested in making money, procuring land, and develOping their empire than in art.. In the beginning they had no designs of their own, but slavishly copied the Greek and enlarged upon it to the point of extravagance. Little weaving was done by the Romans themselves. Crude cloth was woven by the servants and used only by them. The garments worn by the wealthy class were brought from China and were costly and extravagant. Distinctly Roman designs were divided into three periods: Christ- ian, Pompeian, and Military. CHARACTERISTICS OF TEXTILES low Christian Era: These were religious symbols such as the fish, dove, peacock, boat, anchor, shepard, lamb, olive branch, wreath, circle, square, triangle. These had hidden meanings until the Christ- ian religion was accepted by the Romans in 511 A.D. Pompeian Era: This was a mixture of Greek and Roman designs. The rinceau, festoons and acanthus leaves of fuller proportions were used. Rounded shells and the guilloche were also of this era. Military Era: The lictor's rod, shield, standard, spear, helmet, armor, dolphin, eagle, chariot, four horses, roses, fasces, and gar- lands of laurel are characteristic of this era. 10 2. METHOD OF APPLICATION Designs were embroidered on plain cloth. The extravagant gar- ments of the wealthy class were woven in China. 5. WEAVE A plain weave was used. The quality was crude. 4. FIBER Wool was the common fiber. Silk was worn by every person who could afford it. Gold was very much in demand. 5. COLOR Blue and red were the favorite colors for the wool garments. There was a preference for luxurious gold. The Christians used symbolic colors. 6 . ARRANGEBENT Much of the design was symmetrical in arrangement and had a real- istic feeling about it. 7. SCALE The designs were larger and fuller than the Greeks: They were extravagant to the point of being ostentatious. 8. INFLUENCES The outstanding influence was the art of the Greeks. REFERENCES Lewis, Ethel, The Romance of Textiles, pp. 26-29. Speltz, Alexander, Styles of Ornament, pp. 91-92. 11- LLUSTRAT IONS Speltz, Alexander, Styles of Ornament, pp. 95-97. Speltz, Alexander, Styles of Ornament, pp. 46, 50-66. 12 COPTICS, GRAECO-ROMAN 5rd—5th Century Coptic is the name given those Egyptians who followed the teach- ings of Jesus. Due to the burial customs and their dry climate frag- ments of these early Coptic textiles have been preserved.. Most of the garments worn were white linen. These were stiff and in need of decoration. Wool medallions of various shapes were woven and appliqued onto the linen. Some designs of wool were woven directly into the linen giving the effect of "inlaid" weaving. These were crude, in that they were done by the slaves of the very rich estates. The designs were mostly Roman, due to the dominion of the Roman Empire, which covered most of the known Western world at that time. The colors were plain with the designs outlined in white. The use of polychrome colors enlivened the garments and relieved the "flat" effect. CHARACTERISTICS OF TEXTILES l. MOTIFS Major: The hunter and hunting scenes, human figures, flying cupids, the eagle, vines, scrolls with leaves and fruit, and birds were among the most featured motifs. I Minor: Lions, plants, baskets of flowers were also used. The waves, discs, fretwork, lozenge, and guilloche were remaining Greek influences. Some geometric designs from the Islam border were also found. 15 2. METHOD OF APPLICATICN Designs were woven in wool, into the linen and gave the appear- ance of 'inlaid' weaving. Some designs were woven in wool and then appliqued on the white or natural linen. 5. WEAVE Plain weave was used for their linen. A pile weave of wool fiber, woven into linen back, was also used. This gave the effect of a hooked rug. 4. FIBER Linen and cotton were used for the garments. Wool was used for the design. 5.2mm. Plain colors were used with the design outlined in white. Dark blue, purple, and brown were the colors used. The third century brought the use of multicolored wools giving the effect of three dimensions in preference to the original flat appearance. 6. SCALE The center designs were larger than the small designs of the back- ground. 7. ARRANGEMENT Borders and bands were woven for the plain white linen garments. Longitudinal bands from shoulders were used. Medallions of all shapes, having a central figure with small designs surrounding it, were used. These were never overcrowded. l4 8. INFLUENCES 1. Roman Empire ruling force. 2. Greek (Romans originally copied Greeks). 5. Saracens, geometric figures. 4. Persia, hunters and hunting scenes. REFERENCES Candee, Helen C., Weaves and Draperies, Chap. III Flemming, Ernest, An Encyclopedia of Textiles, p. XIV Hunter, George L., Decorative Textiles, p. 29. Lewis, Ethel, Romance of Textiles, p. 88. ILLUSTRATIONS Candee, Helen C., Reeves and Draperies, pp. 2,5. Falke, Otto Very Decorative Silks, pp. 48-52. Flemming Ernest, An Encyclopedia of Textiles, pp. 1-5. Glazier, Richard, Historic Textile Fabrics, Plates 8, 15 (upper). Hunter, George L., Decorative Textiles, p. 14. 15 Low-c it fly “a... Lf...Lr.Lr. 4 J1 I . at +4.4 ML“ Imam amt-D {mall @fiEfi‘fififi GRsaK co'PT'tc. SAssAN'ra N A ,.-—---~-¢--—-—.-——. ----—- ,-.« ~. , . re w. '2" A ' ‘4 ,'\ ."“ t)' 1T. ' h, ‘ LIA '- 1 / \-., - rm , «“1 ‘ ‘ . .., \I‘ ' W . 1"" I ‘- I \ v I& I [I .. I L1. ’ ‘-. I J 1" I, ..\.|-‘ < I .. -... .2. h..- -- I '11F/ "/ ~""‘ " o" I -.— . I I I\ ',’ P . I 'I F‘ I f\ -. ~ 2" . &;-;':J._ =J \\/ o \ A I.“ ~-~- 1— i f' \ 3‘! 1" 7‘ -\ ! 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This period was one of confusion, due to a change-over in religion constantly going on. Thus many of the designs may carry both the pagan and Christian symbols. The Captic textiles were rough and were not in demand, as were the contemporary Persian ones. In order to meet the demand of’the Emperors, they had to turn from their simple tapestries to a more elegant type of design and weaving, with.the preferred use of silk. CHARACTERISTICS OF TEXTILES Liane Major: Squares or rectangles ccntaining central motifs were used, surrounded by vines or floral borders. The eight point star was also papular.. Saints and Biblical scenes were much in demand for church use. Minor: Limited amounts of flowers, fish, birds, and animals were used. Baskets of flowers or fruit, geometric figures, and Captic let- tering were also found. 2. METHOD OF APPLICATION Woven designs, silk embroidery, and some applique were made. 16 5. WEAVE The tapestry weave was the most common used. It was seemingly preferable for the amount of colors used. 4. FIBER Wool on cotton and linen were the most common fibers used. Silk finally replaced wool and linen in importance. 5. COLOR Red, dark blue, apple green, green, yellow, and white were the most pOpular colors used. These were set in the favored cherry or black background. 'Two tones, light on dark, were also frequently used. 6. SCALE The designs became larger as the textiles became more sumptuous. 7. ARRANGEMENT Designs were quite naturalistic.. The designs were centered and the side accompaniments were symmetrically placed. 8. INFLUENCES 1. Egyptian, Inherited techniques and designs. 2.. Greece-Roman, the Copts were dominated by the Roman.Empire. 5.. Sassanian, Trade with Persia. Hunters, etc. 4.. Byzantine, Doublets of animals in roundels. 5. Mohammedan, Tendencies carried across the Arabian borders. REFERENCES Flemming, Ernest, An Encyclppedia of Textileg, p. Lewis, Ethel, Romance of Textiles, p. 95. 17 ILLUSTRATICNS Candee, Helen.C., Weaves and Draperies, pp. 10,11. Falke, Otto Von, Decorative Silks, Fig. 52-46, Fig. 47-p.8, Plate III, p. 8. Flemming, Ernest, An Encyclopedia of Textiles, pp. 4-7, 12-15. Glazier, Richard, Historic Textile Fabrics, Plates 5,9,12,15 (lower). Hunter, George L., Decorative Textile Fabrics, p. Lewis, Ethel, Romance of Textiles, Frontispiece, p. 101. 18 PERSIA, SASSANIAN 250-641 A.D. During the Sassanian period, the art of'Persia develOped to a veryghigh quality, for Persia at this time was under native rulers who were interested in the art of Persia and especially that of weaving. Geographically Persia was in the path of trade from the East and the West. The Persians purchased the textiles from the East and re- loaded the caravans with their own textiles which were carried further west. Exchange was again carried on in the same manner on the return trip east. The textile art of the period has much vitality and grandeur. The forms of all the figures were highly conventionalized and filled the space pleasingly. These simple drawings expressing a great deal of vigor are especially suited to textile design. The Sassanian period is one of the high marks in the history of textile art. CHARACTERISTICS OF TEXTILES l-EQIEB Major: Warriors, hunting scenes, roundels (single and double) with beaded edges, floriated scrolls, tree of life, winged horses, wild animals, the fire alter, and circles and dots were among the early Persian designs. Minor: The bird, eagle, elephant, deer, griffin (hippocamp), and peacock were the featured animals. 19. 2. METHOD OF APPLICATICN Woven fabrics were used. The woven designs were sometimes in- tricate in detail. 5. WEAVE The damask weave was extensively used. Brocades were also woven. The use of an inner warp was known. This was perfectly blended and gave strength, luster, and smoothness to the fabrics. 4. FIBER Wool_and linen were the first fibers used. Later silk,and silk and cotton woven together became popular. Silk was most desired. Gold was also used. 5. COLOR The colors were not brilliant, but were rich, sophisticated, and impressive. Blues, crimson, greens and golden yellow were especially used. 6. ARRANGEMENT A stately symmetry of design is always found. Roundels, single or joined, doublets of animals in back to back or affront; position were placed horizontally across the material and perpendicularly up and down the material. The flatness of the pattern is ccnsidered their charm. 7. SCALE The early textiles were woven for special purposes; therefore,— the motifs were sometimes quite large. 20 8. INFLUENCES The influence of the national religion, Zoroastrianism, is found in the fire altar. Trade with China and India was a definite influence. The tree, a motif frequently used, was an influence from the Assyrian tree of life. REFERENCES Candee, Helen C., Weaves and Drgperies, pp. 25-29 Flemming, Ernest, An Encyclgpedia of Textiles, pp. 16,17. Glazier, Richard, Historic Textile Fabrics, pp. 24-27. Hunter, George Leland, Decorative Textiles, pp. 21-25. Lewis, Ethel, Romance of Textiles, pp. 74-79. Pope, Arthur Upham, An Introduction to Persian Art, pp. 144-146. Heath and Sachs, Persian Textiles, p. 15. ILLUSTRATIONS Flemming, Ernest, An Encyc10pedia of Textiles, p. 12. Glazier, Richard, Historic Textile Fabrics, p. 26. 1 Hunter George L., Decorative Textiles, Plates 2-5. Reath and Sachs, Persian Textiles, Plates 44,45,46,47,48. 21 BYZANTINE 4th.-1lth. Centuries When Constantinople became the new capitol of the Roman Empire, about 4 A. D., Christianity was the State religion. The art was a “fusion of the East and West' and was at its best during the sixth century. It had spread over the entire Christian Empire. The art included that of those countries bordering the Eastern part of the Meditterean. To this art, the name Byzantine was given. Constantinople held a vantage point for trade with the East and West, and it was not until the rule of’Justinian (527-565 A.D.) that silk was woven in Europe. The designs were esthetic and symbolic. Roundels were most out- standing until the eleventh century when they opened into ogival frames. The designs were of Roman background mostly Christian, but had lost much freedom and were stiff and conventional. They were quite formal- ly placed in the roundel. Many of the textiles were woven for special occasions, for the church and the Emperor. CHARACTERISTICS OF TEXTILES Limits Major: Religious symbols; lily, serpent, fish, crosses, and Biblical scenes were the most popular. Hunters with fluttering scarfs were also found. Roundel frames were outstanding, large, singles, in pairs or all over. Minor: The leaf, vine, acanthus, and chariot race were carried 22 over from the old Roman designs. Animals; griffins, dogs, unicorns, lions, tigers, leopards, winged horses, elephants, birds; peacocks and wild ducks were all to be found among the designs. The sacred tree and pomegranate were still in evidence. Geometrical forms showing Islam influence were also found. 2. METHOD OF APPLICATION The designs were woven into the material. Some of these fine textiles have been taken for embroideries. 5. WEAVE Tapestry, brocades, damasks, velvets, and incised satins were the most important weaves. malaria Linen and wool with some cotton were the fibers used in the early Byzantine textiles.. The court textiles which were silk were imported. After sari-culture was introduced, silk became the favorite and much gold thread was used. This gold came from the island of Cyprus. $999.13. The coloring of these textiles was rather vivid. Purple was the most favored. Tones of red, from the ligltest to a deep purple-red were used.. Dark green, brown, black, deep yellow, white, yellow-green and gray were common. Gold was much preferred. 6. SCALE The textiles were mostly woven for the court or the church.. They were large in scale and very extravagant. 25 7. ARRANGENEN The arrangement was always formal and symmetrical within the de- sign. The roundel was most important. There was a central figure and perhaps, for example, birds faced each other on either side of the central figure. Later the roundel opened and became flowing ogival bands enclosing floral forms. 8. INFLUENCES 1. The Christian Religion. 2. Roman, due to the dominion of Roman Empire. 5. Persian, Sassanian, Imports for the court and the church. 4. Syrian and quptian, Imports for the coat and the church. REFERENCES Candee, Helen C., Weaves and Drgperies, pp. 27-50. Flemming, Ernest, An Encyclopedia of Textiles, p. XXI. Glazier, Richard, Historic Textile Fabrics, p. 27. Hunter, George L., Decorative Textiles, p. 25. Lewis, Ethel, Romance of Textiles, p. 104. ILLUSTRATIONS Falke, Otto ven, Decorative Silks, p. 20, Plate VI, pp. 25,24, Figs. 170-171, p. 26, Fig. 192, p. 207, Fig. 165. Flemming, Ernest, An Encyclopedia of Textiles, pp. 8, 17, 19, 26, 54—45. Glazier, Richard, Historic Textile Fabrics, pp. 27, 50. Hunter, George L., Decorative Textiles, p. 20, Plat. 5,4,5, pp. 24,26. Lewis, Ethel, Romance of Textiles, pp. 112, 115. Speltz, Alexander, Styles of Ornament, pp. 126-155. 24 All i .Mff; A \ I”. - MK” %\ a ‘ 1 at I A. Y r, 00000 W , I X a A i? "is C? ARABIC. . 7n U . (55?. «sea/J . 31 fi 53' e36 571' Bi 33’ .. 381 F g 4W Jtsf ctlkvd“ : , Kw - '-\_“\"5' .- l \ x / \< 1533 h \3 {h {:31 I 31 Ev & 6°? .. lb? av“. e! 'szAw‘nn r... 3: 5“. I 9) 1:? ."f’A ? ’ ‘ ré“ ?/ kg // HI )v: \ cw" / ‘fl \ 27( \ e k. f .15 \ 53¢?“ AN / \- c ~_ ‘ 1. ‘ ‘~ ‘ " ~ ‘ ‘ w- -. ‘f N, a. \ I ‘ l -N-'. T . \ '. _ a“ -" I -r ~t . "‘5‘ "\’ 303", J. ‘) .. 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' 1‘ 1' \\) l ‘ .w- J “ (.l O: I}; 2‘ (I C ‘ 'K) o c ‘V ' ‘ : l | a 1 ‘ ‘ f' \‘ s \\s. . ‘3 w‘ . .\ -) I,, |, . .H 1‘ .l . ., ‘ , . . |—\ g \. i f ' 'f- ~‘:~ :--.. ~.:: I 4 I . sl A ll ; ‘ \ A [ ‘. o r . . ' 1 ‘F . ‘ ~I_’ " v. f I A ' ', t. I .V‘ ‘; ’1 ,(I‘. “ ' I Tl ' ‘ n ‘.v - - \ . .f I . ... .rr- cg 3" c, \ . . \\ ‘h-i -. :'_.. ~- - - -~ g ' = 0—” —.n -w..- o ‘ r _ - ‘ _ Tc—no -..————:;‘-—— .. :a—ufi \‘ .. ‘ ' l ': . ‘ .A .'l’. I 's. 'l' . ‘ I I. ‘ ‘~ " "l " 1\\(“ If ”(7 ‘ X I J \f. .\ ‘ \‘x .r . 1' .Q I ’_ I s r \ \ s l ’ .I ‘ ) \ , I ‘ 7 /,...l -_\‘ ".(y T _ . .2 .3... ’ m ;._ , . ' 4 i \' J ‘1'; I ~ I‘ 'u‘ ’1' \‘ .0" J ,‘ \ a, " T ' : ~. a1 LI r f‘ . \ K 1 p I" ‘ ‘5- ‘ ') ' - J .4 J. I ‘ b . f 4-! R \f- \ " ' ‘ " ‘ ‘ v 1 I . . ' I... ~ I . ‘ J . "5'. ‘ j " T “‘ ‘ \_I ’ I), j r \ . (I - '- L\ \" /.- . —. a . u f, I“\" ‘\‘( 5 r x . ’ . . b L.- 4’ :‘x I. , ' r ' . ‘ ‘ rq" \ " ’ . -—‘ y §‘ 1 e .- ‘\ I \' c L,-' I"e‘.’ . ‘ .45 .7.‘ 4;, kn" , . \l 1;. .-/__/.. ,'., “V“ . :j '-J o . " I ‘ I ‘I -_ . \ J ‘5 I d p T I '\ 1 I T ‘ \r T, ‘v "o ‘ ' 0 ' -' T - .1 ' J r u v ,x - ; .. . .t— - . . ., -..- ~/- ’ . . s v ‘- - ~ . ‘ , , \ . . _ — ‘ - . r, " I “ § ' e' “A '. 1 0' " .‘ \ t ‘ . ' ' ‘ g ‘ _, ‘4 l u. \_ — I l” I a 7 Iulr ll‘ ‘ 7 ' V '- r ""I — - -l ‘ "’ ' ') I ' ‘ ) A ‘ / "\ I, I T \' ‘ ‘ ’ l ‘ ‘ s ‘l . e I I. a ' 4 - . __ .‘ . ‘ . If ' .‘ - ‘z ‘1 ‘r'ld " ' ‘ ’- ~ '. T s a; I \ . ‘f _ .\.r A t ‘ ' ' . \\ ' y ‘ "g . b‘ A 'l \ \‘ ’ \ ' I 1’ l . ‘- I \ fl '4' ‘ I - 's T . ‘\ .‘ ‘ ° ‘ v r I ' ' U. ‘ ‘ I of. \ H I \ ‘/ I r”. . '. \“. ’4 ' . \ | . J ‘J .- \ \ . '.I r. ‘ ON} ‘ / - . '1 i t 4 \ l \; "'3", ‘-" > - “‘ .3 J, ' ‘ . -.« ~‘ .. " ‘. 1' "II. ‘ '4 . . {u\ ‘7’ ‘ ‘ ‘ 1' ‘ ‘ 'l b‘. ‘ I . [I t 3 t \f/ I k I , , \ ‘ ‘ l "I I ‘ ‘t \ , ‘ l ‘ ‘ , \ - ' I' "K "T T I~ ' .’ ' . I I L I Ila " ‘TJ \ ' . I ' ’ ‘ ‘ ’. . (- , I ‘ ‘ . —. ~ . ) ‘ l .a .‘ x ' . uT.“ * . ' ‘ ' -u ‘ f :‘ s‘J . ‘ ' ‘v t ’ -~ . - ., l o u:-\ J "\ § .A\ “~“ - /| . \ ‘n . " ' . . < ,. \ ‘ ,. ‘ f ' . ‘ I (‘w o,- ,,l_/X ‘\.- \ \ \. r.'F~’ .- // r . \_ TD ‘ rr -7: 'I/ ‘ .A'.J ‘. ‘ i ‘ ‘3 r ‘ ' “‘ ' " \ ‘t a, . ’1 ‘ a I I 'l N‘ .‘I A, “‘ J . ‘i --——p _ - ARABIC 7th-12th Centuries The Arabs or Moslems or Mohammedans as they might be called by different authors, being Nomads, had practically no art of their om.. That which they collected on their adventures was enlarged upon and used as their own. Because of their religion, which was Mohamedanism, symbols and subjects were not permitted in their designs. Disobedience to the rules punished the Christian weaver rather than the wearer. They en- joyed the figures. Silk too, also was prohibited. The Arabs' simplicity of form and purity of line was a carry- over from the Greeks. They preferred the roundel because the geometric figures and Kufic script were so well adapted to it. In the formation of their designs some conventicnalized animals were found. CHARACTERISTICS OF TEXTILES l. ‘IOTIFS Major: Vines, foliated scrolls, leaf forms, and Kufic script all combined to for the celebrated arabesque. Roundels and geometric de- signs are typically Arabic. At the close of the period stripes were popular. Minor: Florals, the hunter, the couble headed eagle, the sun, moon, and crescent were also found. 2. METHOD OF APPLICATION Most of the textiles were woven. Some of the designs were ap- 25; pliqued onto the white linen. The very extravagant over-embroidery of gold was popular.. 5.12512 Satins, brocades, damask, and tapestries were the usual textiles woven. Kasad, a sheer white linen, was also woven. Buklamun, a heavy fabric woven of various colored silk and over-laid with gold thread was in demand.. These Arab silks were truly fine, as the old story pro- claims I'a robe sheer enough to be pulled through a ring“. 4. FIBER All silk was not allowed by the rules of the religion.- Silk with cotton or linen was supposed to be within the rules. Wool was also used for the tapestry appliques. Gold was much in demand. 5.99291: The Arabs are noted for their harmony of color combinations. White, yellow, black, green, red, dark blue, and light tan combined with brown were the colors used. A marble effect was produced by dyeing the linen warp threads tones of blue and by having the weft of various colored silk threads. 6. SCALE The scale of decoration must have been large as the textiles were woven for special uses as well as garments. 7 o ARRANGEMENT Designs were symmetrically balanced. One outstanding feature in Arabic design is the use of geometric patterns to fill the spaces. 26 8. INFLUENCES 1. Religion limited designs and weaves. 2. Greek, perfection of line and simplicity of form. 5. Byzantine, roundel to which script blended so well. 4. Persian, florals and hunters. 5. Captic, furnished background of design and technique. REFERENCES . Candee, Helen 0., Weaves and Drapes, pp. 41-46. Flemming, Ernest, An Encyclopedia of Textiles, p. 22. Glazier, Richard, Historic Textile Fabrics, p. 46. Hunter, George L., Decorative Textiles, p. 29. Lewis, Ethel, Romance of Textiles, p. 115. ILLUSTRATIONS Falke, Otto Von, Decorative Silks, pp. 105-115. 27 CHINA , Periods: Han, 206 B.C.-220 A.D. Sung, 960-1280 A.D. Mongol, 1280-l§68 A.D. Ming, 1586-1628 A.D. Ch'ing, 1644-1812 A.D. The designs of China are the same today as two»thousand years before Christ.. Their designs express the three religions of China: Taoism, which was a religion of love turning into fear; Confucianism, the worship of ancestors; Buddhism, the study of spiritual life of mankind of self culture and universal love. Their designs also represent some special person or event. The dragon with five claws represents the emperor.. Dragons with fewer claws were used to represent the lesser nobles. Colors were used the same way. Yellow and all tones of red in- dicated the emperor and his household. These shades were adopted by the Buddhist priests. Since blue represented the temple of Heaven, everything for that service including the lignts were blue.. Colors. used for one occasion were not used for another. This is one reason why it is hard to 'see' what is meant by their designs in some textiles as their garments were woven for these special occasions rather than to be marketed. Weaving was thought to be done as early as three thousand B.C. al- though no remnants were ever found of textiles of this date.. By the first century A.D. trade was fairly well established with the Mediter- ranean countries and China was the main source of the costly robes used by the kings of’those countries. An interplay of Easter and Western motifs are found in the textiles woven around the first century A.D. 28 WHEEL. 6* “Ha. LAW BUD) H151" ‘Pm o, F'uu aw \% / 40> W“ ENDLES: KNOT To the Chinese, credit is given for the finest tapestry weaving. Extremely fine warps of silk were used with gold added to the weft to enhance its beauty. Designs are said to resemble “color of flowers of the field and rivaling in fineness, the work of spiders“. CHARACTERISTICS OF TEXTILES 1. NOTIFS Religions: Taoistism: astrological signs, swords, bamboo, musical instruments, castonets, and flower baskets. Confucianism: scrolls, chessboard, books, pearl, and leaf are those attributed to this religion. Buddhism: swastika, parasol, ribbons, fish, vases, sea shells, clouds, water plants, vines. Florals: lotus, rose, almond, iris, cherry. Some animals were found such as phoenix, dragon, unicorn, lion, tortoise, and wild geese. Twelve Imperial Ornaments: Solar disc, lunar disc, constellations of three stars, the mountain, the five-clawed dragon, the flowery bird, the temple vases, the watergrass, the fire, the millet, the warriors ax, the symbol of distinction which was attained and not hereditary. These twelve motifs each had a special meaning for a special person and therefore were woven on his garment and no one‘else's. General Motifs: Knot of destiny, drains of rice and small geometric figures were artistically worked in. The four seasons were represented by the four flowers: plum, peony, lotus, and the chrysantemum. 2. METHOD OF APPLICATION Textiles were woven. Some embroidery was also done. 29 TAOIST “BL-E Gag iDou FlU'fE .\ : _l w .r a _ . . . r . . , . ‘ ’ i .1 V i 1’. A . x . . . e , . 7 . r .u . _ l . . . u . ) u t. _ n I 1. i 1.1% . . - . . . . . . l. I | . \ 1 y . 4 \ v ‘ . a \ 2 . I . . w . . . c. t .r . . . \ ‘ V o 1. y n . _ I y . . A 9 . a , . s s I. A . I r ‘ A, .I . . 4 \ ~ ; . C ’ h . , . r. . x. . .4; Brocades were seemingly woven as early as the second century. In 960 A.D. the beautiful K'ossu weave was being woven. This weave was extremely hard to tell from their fine embroideries. From thirteenth 'to the sixteenth centuries is the approximate period of their beautiful ‘brocaded satins and tapestries. They also wove damasks and e.thin and lmeavy gauze. Wool camelots were also woven in the north of China. 1:. FIBER The most important fiber in China was silk. Some cotton was im- ported from India. Some crude silk was also raised. Wool and camel's hair were used. $9914.92 Yellow and ranging tones of red were the colors used by the Im- perial household. Yellow, green, white, salmon pink and red were also used by the Taoist priests. Blue was used by the Temple priests. The colors, as well as the designs, were used to designate occallions and rank. 6. ARRANGEMENT Textiles of the Han period do not show symmetrical arrangement. Those of the Mongol period do srnw more definite symmetrical arrange- ment which was attributed to the Persian influence. Most of the Chinese arrangement is free and never encircled. 7. SCALE The designs were small in size. The dragon was sometimes large with many small motifs around it. 50 8. INFLUENCES Nature is the most outstanding influence. The three religions, Taoism, Confucianism, and Buddhism were important influences. Trade with Western countries, 600-900 A.D., brought influences frcm Persia and India. Some Christian and Hellenistic motifs were also found. Later Arabian script found its way into Chinese textiles. REFERENCES Glazier, Richard, Historic Textile Fabrics, p. 56. Hunter, George L., Decorative Textiles, p. 18. Lewis, Ethel, The Romance of Textiles, p. 45 Kendrick, A. F., Chinese Art, Introductory Handbook of Textiles, E. Weyhe, p. 59. Metropolitan Museum of Art, Chinese Textiles. ILLUSTRATIONS Fernald, Helen, Chinese Court Costumes. Glazier, Richard, Historic Textile Fabrics, Plates XVII, XX. Los Angeles County Museum, 2000 Years of Silk Weaving, Plates 1, X, XI, XXXIII, XXXVI. Metr0politan Museum of Art, Chinese Textiles. 51 SICILY l2th-l5th Centuries Sicily, the little island at the tip of the Italian boot, be- gan to be important about 1060 A.D. when the Normans gained control of the country under Count Roger Guiscard.. It was under Roger II (1150-1170) that the art of the country became most outstanding. He was interested in commercial values as well as in the development of art. He captured Greekvveavers and brought them to join those Arabic weavers who had remained when the Normans arrived. The workshop was in the palace. As the industry grew, weavers from other countries were by force joined to these. The basis of all these different artists' design was Byzantine. Sicilian art featured vitality, alertness, and seeming amusement of the animals in the design. Much gold was used, not all over but accents such as the feet, heads, and chains thatymight hold them in place.. Sicily became the leading country in.the West on weaving in the twelfth century. CHARACTER IST ICS OF TEXT ILES hm Major: Roundels, animals, birds, the pomegranate, the peacock, the swan, the date palm, the pine tree, eagles, and Arabic script were the most popular motifs. Fantastic figures and grotesque animals ap- peared as the period progressed.. Sun's rays, hunting scenes, and castles were important as the period closed. 52 Minor: Ducks, lions, harts, dogs, leopards, horses, geese, and some Christian symbols were also found. 2. METHOD OF APPLICATICN The designs were woven. Gold thread was interwoven on some of these textiles. Some were embroidered in gold. 5. WEAVE A sheer gauze weave of very fine quality was woven. Heavy bro- cades were also woven. Velvets, too, were popular. 4. FIBER Silk was the most used fiber by all classes. Gold thread was now made in Sicily and replaced that made in Cyprus. 5. COLOR Purply-red, white, gold, dull blue, purple, pale red, yellow, greens, both light and dark, and gray were the most used colors. They were rich and deep and not harsh. 6. SCALE The designs were quite large. 7. ARRANGEMENT The arrangement suggested formality. The movement became hori- zontal rather than vertical in effect.. At the close of the period freedom of line began to appear. 8. INFLUENCES l. Byzantine 2. Persian 55 50 Eastern 4. Arabic 5. Spain REFERENCES Candee, Helen 0., Weaves and Draperies, pp. 78-80 Flemming, Ernest, An Encyclopedia of Textiles, p. XX Glazier, Richard, Historic Textile Fabrics, pp. 48-54. Hunter, George L., Decorative Textiles, p. 57. Lewis, Ethel, Romance of Textiles, p. 140. ILLUSTRAT IONS Falke, Otto Von, Decorative Silks, Fig. 155-164. Flemming, Ernest, An Encyclopedia of Textiles, pp. 27, 29-55 Glazier, Richard, Historic Textile Fabrics, Plates 52-54, pp. 55,54. Lewis, Ethel, Romance of Textiles, Plate 16. Los Angeles County Museum, 2,000 Years of Silk Weaving, Plates 19-21. 51+ ITALY, LUCCA l5th-lhth Centuries Italy's textiles may be divided into three important cities for study. Lucca is the first in importance after the migration of the .weavers from Sicily in 1282 A. D. to avoid persecution. The early designs were copies of the symbols of Saracenic-Sicily with some Chinese and Oriental motifs having been brought through by trade with the East. By the end of the thirteenth century, these designs were being replaced by more natural motifs of their surround- ings. These were full of action and alive with vitality. CHARACTERISTICS OF TEXTILES low Major: Sun's rays, religious subjects (cherubs, angels, the Christ), the dog and the eagle, doublets of birds and animals, lanceolate leaves, the pomegranate, and the ogival bands are the designs most attributed to Lucca. Minor: Flowers, animals; lions, griffins, stage, harts, swans, ducks, fanciful birds with exotic plumage, and the dragon were used. Clouds, bands of ribbon bearing Arabic script, and castles were also important motifs found on their textiles. 2. METHOD OF APPLICATION The textiles were of a very fine quality of weaving. Some em- broidery was added, especially on the Cologne bands made for the church.. 55 ,. ,4: . .53” ( ( Knee \ 5:; «PI/[TB /7/ \ ‘.\. \\ \‘x‘, \ x ”I ZK \W %¢:’ " r / Jr “Tye/KT (Lfi \ LUGCAE I_ ' \ r \“ l C ’ ’ . ' ’ ' r [I “‘..1"' .(i 1 'I do | ', . 0 pl ' . I, ‘ "'~ I O ' . 0‘ a ,I ' - . r . [' ( 'N - c" ' ‘0‘. . T. “a \ I " N - ‘ I .‘r. ‘ J I". I e \ .\\’ ‘ e I ~:..\ ‘3” ‘ A X . I ll : L K ’. 5.7 \ 2;, 'u I ..\\ ."1‘ 1" l ‘ I} “ v r’..‘ I- I n:"/- ’ D .J I) r a a, ‘ O “—— . ‘- - ’ - ’ a" ' .' . r71 .5 I l . / . .‘ .4- ..-._ ...._-. _ .. -- m.-_.-_-...-._. -....__-...- ....__. FN‘ ." [.1/ , H}... 2 \ -. , -L: . ‘1 \ I. ll :' I-L ‘ \“ Q\ r . {K :5“ . i ‘ V! ’ I ,- .;. ' ' \ ‘\\\ - . j k L A ' I '. .1 " J \‘ \‘ a! ' .‘ . . \ . 3-; ' .\ \ ~ I ' ”KL-a“ ' i Ix \ t x I " x ‘C‘\ \ 'H I A I \ . \‘ ‘ r. ' 1\-‘ ‘ \ 3 I . I ‘ l 0/ A \ I t x i l I ‘ \x \ \: ' ‘ \ ‘ . T .‘ \q ‘ ' I ‘ .I‘ I 0‘ ' ‘ : ’3 \\\ ‘}." \ S‘ ‘u T ’ A I\ \ C f~ X‘ \ I. ' ‘:‘ ‘ ‘ I \ ’ | -. \\ “~ ‘ _ ' I. I | ‘1”) .I A. , w . c, . T‘t‘\\\ \ ‘\,“-I-—-~:- " t J 3‘ \. ' .“ .~ \.\ t‘ _: *l' ‘ | ‘ \ \I‘E.1’ fl: \\ 'x a T . f V \II' l'r 114‘ ~““‘\\‘ /?‘-' -.~ ’I . \"... M.‘ .‘ H‘,‘ .’., u l ,/ o\'fi--l ,' I. Jfi'. "’ E\\ \a k.‘l( / \(f' ’]\l. l ' \ o g ' ,, t : .- "1'. m .2- ! l \\ ' f‘ ' 'r L“ "j ‘ I I?“ Y“. \ . -./ ,0 I .' . y I/ '| / , ,\ .— > [-1 .PO. . I ‘ .7:’ | — .’ I Q \ - I ' I I \ I' f * ‘ / ’1 .~ . :4 I I '; ' H . / I" If — I I, J t t... I ’- Y- ’._." ‘f -x ‘K( H gr” \I' ‘ /‘//:’_\ ' I . h. - x l I . I" - "a: \ n \ l'.’ . ‘1‘ .r UL \. - \ If’ \ ,.,.‘ \ ' —’ I ' (f \ F ‘ ‘ h‘r it ‘x\ r . A \ . M.- 3: 'p‘" a: ' / ,;... t J } 1,}. .. ,’ I a: by? f\ . I V I ‘d' A \ _ ' 5. WEAVE Damasks, brocades, velvets, satins, and the llcloth of gold" were all known and woven. 4-1123; Wool was the fiber used first in Italy. Many more weavers of wool were registered than those of silk which was the fiber that be- came most preferred. Mixtures of silk and other fibers have been found. Linenjwas also known and used. Much gold of fine quality, made in Cypress, was used. seam. Two hues were used on the first textiles; red on green, white on blue, white on green, white on red. All white, red, and gold were also used. Mauve,and purple and gold were the favorite colors for the church. A two tone effect was made by the use of shiny fillings and dull warps. 6. SCALE The motifs tended to be large. 7. ARRANGEMENT Birds and animals were used in pairs, symmetrically arranged. Some ogival frames were found. The designs recur rhythmically in horizontal rows. 8. INFLUENCES Byzantine, Persia, and Islam supplied background of symbols. Trade with the East supplied Chinese and Oriental motifs. 56 The arrival of freedom and naturalistic designs are attributed partially to a capy of Gothic architecture. 9. FAMOUS DESIGNER Spinello Aretino. REFERENCES Candee, Helen 0., Weaves and Draperies, p. 77. Flemming, Ernest, An Encyclopedia of Textiles, p. Glazier, Richard, Historic Textile Fabrics, p. 55. Lewis, Ethel, The Romance of Textiles, p. 152. ILLUSTRATICNS Falke, Otto Von, Decorative Silks, Fig. 210-245, 545-590. Flemming, Ernest, An Encyclopedia of Textiles, pp. 44,57,60,6l,65-75. Hunter, George L., Decorative Textiles, p. Glazier, Richard, Historic Textile Fabrics, pp. 56, 57. Los Angeles County Museum, 2000 Years of Silk Weaving, Plates 2}, 26,27,28,29,h1,h2. 57 ITALY, FLORENCE l5th-16th Centuries The second town of importance in Italy in textile production is Florence.. This importance was gained by capturing the weavers from Lucca and Sicily. It was during this period that the Italian farmers were required to plant five mulberry trees yearly and the culture of silk was begun and later became an important item of eXport.. Designs in the early wools and linens were conventional. With the introduction of silk the designs were more symmetrical, showing the influence of Eastern imports. True Florentine designs were larger and more naturalistic as their ability in the use of silk progressed.. Designs for wearing apparel were smaller than those used for interiors which were large in scale to blend with the architecture of their houses. CHARACTERISTICS OF TEXTILES l. MOTIFS Major: Floral scrolls, palmette, acanthus leaves, vase, pomegran- ate, crown, and some lace motifs are the major motifs. Iinor: Dragon and leaf forms were also found. 2. METHOD OF APPLICATION .The textiles of this period were woven. A book dated 1400 A..D. ~ gave instructions in block printing. 58 3. WEAVE Brocades, damasks, velvets, satin brocades, brocaded velvets, and brocatelles are among the sumptuous weaves Of this city. 4. FIBER Wool and linen were the fibers used before the introduction of silk which became popular very quickly. Gold from Cyprus and Sicily were extravagantly used. sags: For wool, blue and white,and red and white were used. Renais- sance Red, a clear red, was most popular. Ruby red, purple, and sapphire blue were used for silk. Some cream or white damasks over- brocaded in greens, reds, pinks, and blues were popular. 6. ARRANGEMEH Some rhythmic repeats left from Eastern influence. Florentine designs were quite bold and naturalistic in arrangement. The Oblique ‘I branching line was also popular. 7. SCALE Flowers and foliage were fairly heavy. Designs became large (48 inches on 22 inch width cloth). 8. FAMOUS DESIGNER Jacob Bellini. Carlo Crivelli. 9. INFLUENCES l. Persia, background of the pomegranate. \ 59 Flor-chat m IV‘IIYKI II IQ‘I.\ ‘ I n I I ‘ {n.i ‘ '1 I a r. . . . p . . u s a . \ n if A . A: IK,I . V M . \ 4 v s a ., e I r . J . J- O .‘r 2. Far East, source of rhythmic repeats. 5. Greece, classicism. REFERENCES Candee, Helen C., Weaves and Draperies, p. 89. Flemming, Ernest, An Encyclopedia of Textiles, p. 29. Glazier, Richard, Historic Textile Fabrics, p. 59. Lewis, Ethel, The Romance of Textiles, p. 158. ILLUSTRATIONS Flemming, Ernest, An Encyclopedia of Textiles, pp. 86-89. Falke, Otto Von, Decorative Silks, pp. 455-472. Flemming, Ernest, An Encyclopedia of Textiles, Plates XXVI,XXX. Glazier, Richard, Historic Textile Fabrics, pp. 59,64,68. P 1.81103 58,40-1‘20 ITALY, VENICE 15th—16th Centuries A third city of importance in Italy is Venice. Being a seaport, Venice commanded the entrance into Italy of Far Eastern textiles. Venice was considered to be the first city in Italy to take up the art of weaving and as far back as 1200 A.D. was important. Their textile designs were different from other cities as she fused her Eastern import designs with those from the west to the delight of her clientele. It was suggested this fusion might be indicative of the struggle of power between the East and the West. CHARACTERISTICS OF TEXTILES 1.2291223. Major: Chinese: clouds, flowers, imperial phoenix; Persia: palmette, and the archer with his how. The pomegranate may look like a thistle, pinecone, or pineapple. The ogive, I'S" scrolls, vase, crown and lace motifs were used. Minor: Dogs, deer, falcons were among the western animals used. Arabic script, Bible stories, thistles, roses, notched leaves, coats of arms and create were also found. 2. METHOD OF APPLICATION Most of the fabrics were woven. Much fine embroidery was also done. 5. WEAVE Damasks, brocades, velvets, taffetas, satins, brocatelles, cloths 41 if“ ( ~. . V A 3 .1 3‘8: 4-? w. i .\V J“ y. S ‘ I WERE?“ W3 0° 00° \\f}a—\/’ooc 0 . o , 0 0° \ // r: , ' ‘0 " WV jo'oooo“ \«m 10%8€%° °2’é’" v.1?“ V ' ° 0%? ‘55“ o {\x‘ J? o -" 0;: fit ""3” "/ ' \~ v ‘ - 1 (‘4': V ‘ L “\ 1"») " k '1" G ‘1. ' ‘ m“: :: \~L‘M”/ 35C \ 9 ma fifty-1.9.90.” m Van}... Ln. :2 of gold and silver were all known and woven. Sheer cotton and linen were also woven, probably in plain weaves. A. FIBER Silk was the most preferred after its introduction. Wool, cotton, and linen were also used. Much silver and gold yarns were used. 5. COLOR Gold, crimson, yellow, ruby red, emerald green, pale blue, gray, violet and indigo were the most important colors. 6. mamcmgsmn The designs were bold and full, standing out from the backgrounds.. Symmetry was noted in most fabrics as well as large repeats. The oblique branching line was also used. 7. SCALE The patterns used for wall coverings included designs that were large and bold. Those used for garments were small and intricately designed. 8. INFLUENCES Trade with.Persia furnished intricate interlacings, delicate tracery and 'S' scrolls, along with the pomegranate. Trade with China furnished the age-old clouds, flowers, and birds. The wrought iron work and stained glass windows of Gothic architecture was the back- ground of their noted ferronerie velvets. 9. FAMOUS DESIGNERS Jacob Bellini. Antonio Bellini. REFERENCES Flemming, Ernest, An Encyclopedia of Textiles, p. 26. Glazier, Richard, Historic Textile Fabrics, p. 64. Lewis, Ethel, Romance of Textiles, p. 167. ILLUSTRATIONS Falke, Otto Von, Decorative Silks, pp. 525—559, 595-426, 451-454. Flemming, Ernest, An Encyclopedia of Textiles, pp. 62-64,74,75, 77-79,82-85,97. Los Angeles County Museum, 2000 Years of Silk Weaving, Plates 30, 51;fi2-45,h7-51. 45 SPANISH 15th-16th Centuries Spanish design was a mixture of Arabic and Moorish motifs. Neither of the three countries had an art of their own. Cordova, the capitol of Spain, became the center of the weaving industry from about the ninth century. They produced their own silk and perfectly copied fabric and techniques of other countries. Many fabrics were imported during this period. After the Moors left Spain, where they had maintained great in- fluence (1492), the designs were noticeably like the Italians. There was a definite Oriental feeling about these textiles. Another out- standing note was the use of harsh bright colors. The Spanish textiles of true period were in demand by the higher classes for home, church and personal use. During the rule of Isabella the discovery of new countries was uppermost, which resulted in much gold being brought into Spain. The importation of silks was carried on, due to the demand of the newly rich. CHARACTERISTICS OF TEXTILES low Major: Geometric figures, arabesques, polygons, Arabic script, eight-point stars, palmettes, pomegranate, lotus, and the 'cusp' were the most important Spanish designs. Minor: Castles, double headed eagles, coats of arms, flowers; roses, hyacinth, carnation, and the tulip were also found. 44 W .\¢\/\-/\u/: -\L 0 \ \/ SPAINE 2. METHOD OF APPLICATION The designs were woven. Gold embroidery was also pOpular. 5. WEAVE Brocades, tapestry, gauzes, brocatelles, satins, velvets, and damasks were the important weaves. h. FIBER Silk, linen, wool and cotton were all known and used. Many of the textiles had a linen back with silk surfaces. Gold thread was also used. 5. COLOR The colors were bright and harsh. Gold, black, white, blue, red, green, purple were the important colors. During the sixteenth century yellow on blue backgrounds was popular. 60 SCALE During the fifthteenth century most of the designs were large. In the sixteenth the 'plateresque' style, which was a naturalistic style making use of small designs, was used. 7. ARRANGEMENT The flowing lines of the sweeping scroll held its formality of arrangement. Oval frames were made of waving bands, leaves, etc. Stripes, too, were used. 8. INFLUENCES l. Moorish 2. Arabic 45 5. Italian Renaissance 4. Oriental 5. Christian Religion REFERENCES Candee, Helen C., Weaves and Drapcries, pp. 47-54. Falke, Otto V., Decorative Silks, p. 55. Flemming, Ernest, An Encyclopedia of Textiles, p. 29. Hunter, George L., Decorative Textiles, p. 51. Lewis, Ethel, Romance of Textiles, p. 155. ILLUSTRATIONS Falke, Otto Von, Decorative Silks, p. 45, Fig. 151, 152, p. 50, Fig. 427, p. 85, Fig. 482. Flemming, Ernest, An Encyclopedia of Textiles, pp. 56,76,81. Glazier, Richard, Historic Textile Fabrics, Plate 55. PERSIA-SAFIDIAN 1499-1755 In 1499 the Persians were able to overthrow the Mongol yoke and the various provinces of Persia were again united under native rule. This was the first time since the Sassanian period. The Safidian period had its culminating peak in art during the reign of Shah Abbas (A.D. 1586-1625). During this period there was remarkable achievement in splendid carpets, and silk and velvet brocades. The Persians delighted in representing human, animal, and plant forms in flat pattern design. They depicted frankly and decoratively a éyous and lively life of luxury and splendor. The personages and court scenes of romance and sports with backgrounds of flowers give a clear picture of the life during this period. In the textiles is seen the Persians' innate sensitivity in masterly decorative design and intense and subtle color harmonies. CHARACTERISTICS OF TEXTILES l-mims Major: Personnages, court scenes, cypress, and the flowers: roses, jasmine, pansies, stock, lilies, sweet sultans, sweet william, poppies,. larkspur, lotus, gilly flowers and fruit blossoms are always found in Persian textiles of this period. Minor: Clouds, waving ribbons, butterflies and long tailed birds are sometimes found in this period, showing a continuance of Chinese influence. Animals; ducks, foxes, cranes, deer, falcon, gazelles, and 47 pheasant are also found. 2. METEDD CF APPLICATICN Most of the patterned fabrics were woven. The inner warp was still in use and gave perfection of shape to many designs. Sheers were embroidered. Some printing on cotton, used by the lower classes, was also done. 5. WEAVE Brocades, velvets, taffetas, gossamers, satins, and damasks were all woven extensively. Double cloths were also used at this period. A. FIBERS Cotton, linen, and silk were the most important fibers. Gold and silver wound over linen base were used in great amounts. 5-291425. The colors used were refined, subtle, and harmonious. Mellow tones of blue, green, red, yellow-green, crimson, yellow, and pink were the colors that were most popular. Gold was used for the back- grounds of the most luxurious textiles. 6. ARRANGEMENT The serpentine movement was used. In some of the textiles many rows of repeats are seen, the design motifs being alternated in direction. A rhymic movement is characteristic of Persian textiles. 7. SCALE Designs for garments were small with minute florals in the back- ground. Panels for special occasions or perhaps eXport have large 48 designs. 8. INFLUENCES Influences from China and Mohammedan rule are seen in the tex- tiles. Truly Persian influences are the miniature paintings, the legends, the gardens and the luxurious living of the courts. 9. DESIGNER AND WEAVER Ghiyath is the one name found on several pieces of cloth. REFERENCES Candee, Helen C., Weaves and Draperies, pp. 71-72. Columbia University Press, Persian Rggs and Textiles. Flemming, Ernest, AppEncyclopedia of Textiles, p. 57. Glazier, Richard, Historic Textile Fabrics, pp. 44-46. Lewis, Ethel, Romance of Textiles, pp. 85-87. Pope, Arthur U., Introduction to Persian Art, pp. 155-174. Heath and Sachs, Persian Textiles, p. 26. ILLUSTRAT IONS Candee, Helen 0., Weaves and Drapcries, frontispiece, pp. 45, 47,62,65. Falke, Otto Von, Decorative Silks, Plates LXIX-LXXVI. Flemming, Ernest, An Encyclopedia of Textiles, Glazier, Richard, Historic Textile Fabrics, Plates 26-29. Hunter, George L., Decorative Textiles, Plates 6, 8. Heath and SBChB, Persian TOXtileay Plates 1‘4,7-11,15-15,21-50, 55-45 9 56-60 g 64.68 , 72-77 , 80-85, 87—9 1 o 49 3:43! 3 \ ‘7 ' / § 0 / \dA/j‘f‘fn P: (:1: £7 5 g I xx \ ’/ I?) ‘* "mi? 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In I. . .1: c r. a 1”! ~ llll... 11‘. . 1 II. 111 1.111.1Iloor1 '1th 1:01 I POE/"f n"‘- V TURKISH 16th-17th Centuries The most important are of Turkish weaving came under Sulemian (1520-1566 A.D.) a Moslem ruler_following Christian rulers in Con- stantinople.‘ These textiles are an example of court dominance and magnificent display. Many of the backgrounds were Plain allowing the designs to stand out. Designs were gathered from the conquered peoples. They were basically Byzantine and had a definite Arabic influence about them. No animal designs were used, due to the Arabic religion. Designs were quite bold and masculine. CHARACTERISTICS OF TEXTILES 1.21.0232 The designs are clear cut and definite. Florals; carnation, hyacinth, rose, tulip, the artichoke, three balls, the eight pointed star, crescents, arabesques, and the Renaissance crown were the most outstanding Turkish motifs. 2. METHOD OF APPLICATION The designs were woven. Embroidery was also used. 5. WEAVE Brocades and velvets were the most common weaves. he FIBER Silk was the most important fiber. 50 5. COLOR Crimson, gold, blue, white, red, dark blue, silver, green, and purple were the colors used. The colors were stronger than those used in Byzantine textiles. 6. SCALE Large designs were used for the interiors of houses. Small designs were used for wearing apparel. 7. ARRANGEMENT Plain backgrounds accented the designs. Ogival frames formed of flowers and vines were popular. 8. INFLUENCES 1. Byzantine 2. Persian 5. Mabic he Ital 1811 REFERENCES Glazier, Richard, Historic Textile Fabrics, p. 46. Lewis, Ethel, Romance of Textiles, p. 112. ILLUSTRATICNS Candee, Helen C., Weaves and Draperies, pp. 66,74,78. Falke, Otto Von, Decorative Silks, pp. 517-522. Glazier, Richard, Historic Textile Fabrics, Plates 50,51. Koechlin, Raymond and Migeon, Oriental Art, Plates LXXVII,LKXVIII, LXXIX,LXXX. Lewis, Ethel, Romance of Textiles, Plate 1). 51 INDIAN PRINTS 18th Century The first cotton prints were made in India at a very early date. The detail and perfection should make us aware of the patience these people gave to their work. The outstanding characteristic about these early prints was the beautiful colors that were used. They were extracted from berries, trees, shrubs and plants. The Indians could do much of this work in one operation by the remarkable use of mordants. Painting them in different strengths and different constituents, produced rich tones. These colors mellowed with age giving extreme beauty to the fabric, which artists of later centuries had difficulty in reproducing. These Indian prints were carried into many far-off countries. They were oblong in shape and referred to as palampores or bed spreads. Some were used as wall hangings. CHARACTERISTICS OF TEXTILES 1. MCTIFS The pins cone, the tree of life, flowers, animals, and birds native to India were the most pOpular designs. 2. METHOD OF APPLICATION The designs were printed on the cloth by hand. The designs were first drawn on paper and pin holes pricked along the lines. They were laid over the cotton material which was first sized with buffalo milk and the juice of the cadau. Powdered charcoal was scattered on the 52 paper dropping through the holes and leaving the design on the cloth. This was then painted with black paint as were the parts of the design that were to be black. A thin coat of wax was then blocked over the design which was not to be blue, as the indigo bath was the second process.. This wax resist was then removed in boiling water.. Yellow was directly painted over the blue. Wood blocks were also used. 5. WEAVE The weave of this cotton material was probably a plain weave. They called this material calico. 4. FIBER The fiber used was cotton. 59.9.1.493. The dyes used were vegetable dyes. Scarlet came from madder, red from brazil wood, yellow from weld and tumeric, blue from indigo, and violet from rocella tinctoria.' Black was used to paint the out- lines. A large motif such as the three of life was centered and had small flowers filled in on the background.. 7 . mamammrm Some Indian arrangement is quite formal while others had an in- formality in arrangement. There is always pleasing distribution of pattern and ornament. 55 Iwm‘mw 'Pp'mr 8. INFLUENCES 1. Nature. 2. Trade with China and Persia. REFERENCES Candee, Helen C.,_Wesves and Draperies, p. 241. Glazier, Richard, Historic Textile Fabrics, pp. 105-106. Hunter, George L., Decorative Textiles, p. 550. Lewis, Albert Buell, Block Prints from India for Textiles. Lewis, Ethel, Romance of Textiles, p. 59. ILLUSTRATIONS Candee, Helen 0., Weaves and Draperies, pp. 254-55. Glazier, Richard, Historic Textiles Fabrics, Plates 88,89,90-9k. Hunter, George L., Decorative Textiles; PP. 525,525,55l,555. Koechlin, Raymond and Migeon, Oriental Art, Plate LXXXI. INDIAN SHAWLS The beautiful shawls of India, known as Cashmere or Kashmir, are made of a very fine wool of the Thibetan goat. They are outstanding throughout the world. These shawls are woven in pieces, the size of the pieces pertain to the size of the pine cones. They are put together so perfectly that one can not tell that they are several pieces put together. Q I CHARACTERISTICS OF TEXTILES 1. MOTIFS The pine cone is the major motif, with florals; date, iris, lotus and rosette making up the backgrounds. 2. METHOD OF APPLICATION The designs are woven. 5. mm These shawls are woven in the interlocking twill technique. 4. COLOR 5. FIBER The fiber is wool from the Thibetan goat. Silk was combined with this wool. (Cotton was used in cheap copies.) 6. SCALE The background was made up of small designs which surrounded the 55 '1 ,fi- _-- INZMRN ‘p'mua larger cone designs. 7. ARRANGEHENT The arrangement is symmetrical, with an altaiation of design. The florals are conventional and formal. 8. INFLUENCES l. Mohammedan 2. Persian REFEREEC ES Glazier, Richard, Historic Textile Fabrics, p. 54. ILLUSTRATIONS Glazier, Richard, Historic Textile Fabrics, p. 55, no. 2, p.55,no.5. Hunter George L., Decorative Textiles, Plates XXXII,XXXV. FRANCE, LOUIS XIV 1645-1715 Louis the fourteenth became king of France at the age of five.. Through his mother, Anne of Austria, and the Cardinal Mazarin, his appreciation for the arts was established. The palace at Versailles.was built during this era and many tex- tiles were needed. It was too extreme to be comfortable, so he had the Trianon built for his private life with his religious queen, Madame de Maintenon. Weaving was done in many sections of France but Lyons became the most outstanding. It was during this period that France first showed a national influence in textiles. The French love of flowers was a factor in design as was their use of vivid colors. In 1685 the Edict of Nantes was revoked by the King with his queen's aid and many of these weavers left France for Spitalfields, England (Huguenots). CHARACTERISTICS OF TEXTILES 1.102.135; Majorw Pomegranate, exotic fruit, the trellis, the acanthus leaf, and the rinceau were all copied from the Italians in the early part of the period. These were heavy and dark. Later in the period the mood was gayer and the designs became lighter with use use of motifs such as lace, flowers, vases, cornucopia, and the crown.. Minor: Florals, leaves, lilies, scallop decorations, and arabesques were used. 2. METHOD OF APPLICATION Designs were woven. 5. WEAVE Plain velvets, brocades, damasks, changeable taffeta were all in use. 4. FIBER , Silk was the main fiber used, but some woolen textiles were used, and known as camelot. 5. COLOR Crimson was the favorite. White, red, dark green, old gold, blue, and black were the most common.. 6. ARRANGENENT Early designs were purely symmetrical in arrangement. They became more detailed as the designs became lighter and the arrange- ments became more natural and free. 7. SCALE The designs were very large and bold. 8. INFLUENCES 1. Italian, during mid 17th century, due to Cardinal Mazarin. 2. Indian, late 17th century, due to the arrival of muslin prints from India. 5. Siam, 1686, due to the visit of Cortege from Siam. 4. Chinese, due to Louise de la Valliere. 5. Freedom, gayety due to Madame de Montespan. 9. FAMOUS DESIGNERS OF THE PERIOD Mansart, Chas Le Brun, Jean Le Pautre, Boulle, Watteau, and Daniel Marot. REFERENCES Candee, Helen C., Weaves and Draperies, p. 109. Flemming, Ernest, An Encyclopedia of Textiles, p. XXXI. Glazier, Richard, Historic Textiles Fabrics, p..76. Hunter George L., Decorative Textiles, p. 47. Lewis, Ethel, Romance of Textiles, p. 182. ILLUSTRATIONS Candee, Helen 0., Weaves and Draperies, p..159. Flemming, Ernest, An Encyc10pedia of Textiles, pp. 150,151,162, 165-169. Glazier, Richard, Historic Textile Fabrics, pp. 78,79,81. Plates %,59,60,65,650 Hunter, George L. Decorative Textiles, pp. 42,45. Plates XIV,XV. Los Angeles County‘Museum, 2000 Years of Silk Weaving, Plate 78. 1“.— fiv. . . .. I... 4 .3 7.11.- :1 . 1.1-. I .5 Ia..-..nl!. Ii- _ a a}; _ , < A ‘ m . .1 . . . I . v 1 w . .. . L. ‘ \A .P M I v . .. ~,. §. :v . I .. . . . . .‘ \ ,. ‘ . all. _ . . . s . 2- . . w .. .. . ‘ u. . . . . . . . _ , ... .. .. r . . . .4 I w ’ 1. . . . .. . x . . . I \ , . . . . . ..,. . . . . . .. . f . \ \ . . . a .. c . . I I . 4 . _ . i . . .. c 1 _ .7 . l . 1 . c r ,. . . z A. 7 a .1 S 1 ..\. . . . . . . . I. r s . . . . . 4 n . . t . . . - . I... . .t - . . . . . p .‘ - l .. . ._ p , u . . x r a . H y u . 1, .. _ . I ‘ . . 1 . J. v . . . a . . . m . . . a. 2 _. a. . s 4. n u — . . . I . . ,. . a _-r , . . . :. . . ... .. .. . .. x . a _ x- . , . . p . .1 .J l .1 c ’1‘ . \A — — ‘— . . . _ c . . 1 . .12. . . . c h , I — 4 . . . , ... I V U o . a 1 y 0.! .H . yryil y '1... ..sr....'f ,lrv'l. .1 v». , I . 1,. n..."’..fi191l . m .4.- “ J ‘4'--“-" 0““ --_-— FRANCE, LOUIS XV 1715-1774 Louis the fifteenth was married early in life to the Princess ldarie Leczinska of'Poland. He was a restless person and not too in- terested in state affairs. The court was thoughtless, light, and gay. Elaborate costumes were worn. His reign was made glamorous by two outstanding women. Madame de Pompadour whose life was artistic and cultural itself was the more influential. She died at the early age of forty two and her place was taken by Madame Du Barry who was her opposite in most characteristics. She remained with the king until his death.- The designs of the period were sensuous. All the grandeur of Louis XIV had dwindled and designs had become more natural and grace- ful. The revival of trade between China and France gave to this period an Oriental influence. The importations from India also had some effect. The period was full of variety and beautiful soft colorings prevailed. Much gold and silver were used. CHARACTERISTICS OF TEXTILES hm; Major: Roses, "Chinoiserie' (figures, pagodas, vases, bridges, gardens, monkeys). 'Rococo' (rock, shell, 0 and S scroll), Genre scenes, love scenes (cooing doves, bows and arrows, fluttering ribbons, cords and tassels), musical instruments, lace, feathers, and plumes were among the many motifs of this period of variety. Minor: Fur, birds, bow knots, bouquets of flowers and flowers scattered all over the textile were also found. 2. METHOD OF APPLICATION Designs were woven, painted, and embroidered on the textile. 5. WEAVE Brocades, taffeta, lame, damasks, moires, velvets, brocatelles, and tapestry weaves were known and used. 4. FIBER Silk was the most important fiber used. Cotton was imported from India. Silver and gold were very much in demand. 5. COLOR Pompadour rose, white, gold, delicate green, pale rose, yellowish pink, purple, flame, soft gray, mauve, brown, blue, and yellow were the most common.. 6 . ARRANGEMENT The spirit of the period was gay and free with a restlessness of line and movement.. Straight lines were not characteristic of the period. 7. SCALE Motifs were more natural in size. 8. INFLUENCES 1. Henri IV, 150 years earlier, constructed gardens, thus making flowers available for artist's study. 61 2. Three Women: Ba Marie Leszinska b. Madame de Pompadour c. Madame Du Barry 5. Chinese, due to trade. 4.. India, due to importations of chintz. 5. Tonkin and Annam, Chinese designs, exquisite but miniature in size with no particular thought. 6. Lighter thoughts and ideas, due to release frcm.0ppression of heavy designs during Louis XIV period. 9. FAMOUS DESIGNERS OF THE PERIOD Watteau, Pater, Pillement, Jean Meissonier, Louis Quinze, Lancret, Fragonard, Boucher, Grenze, Huet, Van Loo, Oudry, Francois Cuvillies. REFERENCES Candee, Helen C., Weaves and Draperies, p. 125. Flemming, Ernest, An Encyclopedia of Textiles, p. XXXII. Glazier, Richard, Historic Textile Fabrics, p. 82. Hunter George L., Decorative Textiles, p. 47. Lewis, Ethel, Romance of Textiles, p. 195. ILLUSTRATIONS Candee, Helen C., Weaves and Draperies, pp. 170,171,174. Flemming, Ernest, An Encyclopedia of Textiles, pp. 170-174, 178,180-185,192-200. Glazier, Richard, Historic Textile Fabrics, p. 82, Fig. 40, Plates 66-68 and frontispiece. Hunter, George L., Decorative Textiles, p. 45, Plate.XVI, XVII. Los Angeles County Museum, 2000 Years of Silk, Plates 72,75,76,- 78.79.80- 62 PH IL IPPE de LASALLE 1725-1805 Philippe de LaSalle was the outstanding French textile designer during the reigns of Louis XV and XVI. His background of botany gave him a thorough understanding of nature, and his florals, a most natural- istic appearance. He also understood techniques of weaving and the use of colors, which were said to be I'brilliant and sparkling” without aid of gold and silver. He had the ability to use all types of motifs together harmonious- ly. He was ennobled by Louis XVI in 1775. CHARACTERISTICS OF TEXTILES l. MOTIFS ‘Iajor: Florals are his most outstanding and his favorite motifs. Roses, cornflowers, apple blossoms, tulips, carnaticns, jonquils, and morning-glories were all used. Leaves, oak and laurel, ferns and grasses were used. Wreaths and ribbons with picote edges held the bouquets together. Dogs, deer, swans, love birds, pheasants, chickens, eagles, and partridges were the animals'that were most popular. Minor: Fruit, fur, feathers, arabesques, swags, garlands of beads,— tassels, medallions, cupids, urns, and vases showed Classical influ- ences. The country life of Marie Antionette was also seen in designs such as: wheel barrows, shepard's hats, wheat, doves, stripes, and musical instruments. 2. METHOD OF APPLICATION The designs were woven. Philippe de LaSalle preferred satin backgrounds for his textiles although he used other. Satin brocades were the most popular. Damasks, taffeta, and tapestries were used. Many had a fancy weave for the back- ground. Chenille was a popular addition to the brocaded silks. Camille Pernon was the weaver of LaSalle's designs. 4. COLOR The colors used were pastels. Yellow, soft greens, crimson, white, rose, and blue were the most popular. Black was used to ac- centuate designs. 5. FIBER The fiber used was silk. 6. SCALE Most of LaSalle's textiles were for wall hangings. His designs were large.. 7 . ammrsmzmvr The arrangement was bi-symmetrical. Some borders were used to lessen notice of repeats. Outlines of the motifs were softened giv- ing the motifs a modeled appearance. 8. INFLUENCES 1. Trace of Rococo, (Italian). 2. Classical, due to the excavation of Pompeii. 64 5. The reign of Louis XVI and Marie Antionette. REFERENCES Borland, Belle M., Philippe de LaSalle. Lewis, Ethel, Romance of Textiles, pp. 24l-242,247-248. ILLUSTRATIONS Borland, Belle M., Philippe de LaSalle, Plate IAXIII. Falke, Otto Von, Decorative Silks, pp. 506-508. Flemming, Ernest, An Encycloppdia of Textiles, pp. 226-254. 65 TOILES de JOUY The manufacture of toiles de Jouy was started in 1759. Chris- tOphe Philippe Oberkampf was the originator of these famous prints. Iie started on a very small scale, in the town of Jouy. This town was chosen because of the water from the river was chemically good for dyeing. Oberkampf was the designer, engraver, and printer.. Wooden blocks were used. He had a family background of textile printers and had apprenticed ten years for a printer of textiles in Paris. In 1770 copper plates were brought into use. Only one color could be printed, but as toiles de Jouy were monotones, it quickened production.. The material used was a linen-cotton combination.. The fine cot- ton material used was imported from India. Indiennes were popular in France, and they copied them.. The French dyes were not color fast. This contribution, fast dyes, Oberkampf gave to the world.. He was the first to make a grue green. Oberkampf was a business man as well as a producer. He traveled in England each year to learn the demands of his English customers. His designs, pictorial scenes of the times, were done in one color usu- ally red or blue on a white or cream background.. The designs were changed to meet changes in politics. In 1785 Jean Baptiste Huet came to the factory as its art director.. He was outstanding for detai1.and small designs.. In l787”Oberkampf was ennobled by Louis XVI for his outstanding work.. A print of this occasion was made. in 1795 metal rollers, thought to be invented by the Scotchman, 66 Bell, were introduced. Oberkampf was very successful up until 1810. In 1811 Huet died. In 1815 the factory was destroyed by the Prussians. Oberkampf died October 14, 1815. CHARACTERISTICS OF TEXTILES 1- was The designs of 1765 were small with a picotage background. Chinoiserie designs were popular. Following these were pictorial scenes of French landscapes and of joyous living. In 1775 scattered bunches of flowers on a white background appeared.. During the reign of Louis XVI stripes, baskets of flowers, ribbons and trophies were popular. Classical motifs were also popular at this time. Wreathes, formal leaves, palmettes, oval, and circular medallions were used. Jean Huet cmtributed animals; ducks, dogs, doves, goats, and lambs. Gay country fetes, scattered floating islands, and fablesof LaFontaine were favorites. Under Louis XVI, Dresden ladies were placed in naturalistic settings. Plain backgrounds were replaced by beautifully designed grounds. Greek and Roman motives appeared. 2. METHOD OF APPLICATION All of these toile de Jouy fabrics were printed. First they were hand blocked. Following this was the introduction of cOpper plates (1770). The third type, the metal rollers, was introduced after the French Revolution (1795). 5. WEAVE The weave of the material used was plain. The fine cotton 67 material was imported from India. 4. FIBER A cotton and linen combination was used. Cotton alone was also used. 5. COLOR The toiles de Jouy were monotones on a white or cream background. Blue, red, mauve, puce, and violet were the colors used. During the reign of Louis XVI, rose, blue, and yellow backgrounds were used. 6. SCALE The first patterns were small, such as the Indiennes were. Huet's designs were small with much detail. Under Louis XVI the designs for interiors were much larger than those made for apparel. 7. ARRANGEMENT The toiles de Jouy are known for their symmetrical precision in arrangement. Under Louis XVI stripes were popular. After11800 designs became confused and crowded. 8. INFLUENCES 1. Indian 2. Chinepe 5. Reign of Louis XVI 4. French Revolution (1792) 5. Napoleon REFERENCES Olndee, Helen C., Weaves and Draperies, p. 252. 68 Hunter, George L. Decorative Textiles, p. 557. Lewis, Ethel, Romance of Textiles, p. 261. ILLUSTRATIONS Candee, Helen C., Weaves and Draperies, pp. 258-259. Glazier, Richard, Historic Textile Fabrics, Plate 98. Hunter, George L., Decorative Textiles, pp. 556-541, 548 (l and 2). Lewis, Ethel, Romance of Textiles, Plate 54. FRANCE, LOUIS XV I 1774-1789 The weakness of the French reign was showing up more and more and finally came to a climax under Louis XVI. Both he and his beautiful wife, Marie Antionette, were beheaded during the revolution. The king and queen wanted freedom from state affairs so they lived in extreme elegant 'simplicity' by playing farmers. This was a source of many designs. The excavations of Pompeii brolght about a return to classical designs in textiles and refinement in style and COlore C HARACTER IST 103 OF TEXTILES hm Major: Classical (medallions containing scenes, cupids framed by laurel leaves, ivy, swags), garden implements, musical instruments, shepard's hat and crook, stripes, dots, and animals were all found among the motifs. Minor: Festoons of flowers, fruits, vases, urns, pairs of turtle doves, tiny roses, lace, baskets of flowers, and some Chinese motifs were also found among the textiles. 2. METHOD OF APPLICATION Printing on textiles was done. Textiles were also woven. 5. WEAVE Plain velvets, broches, brocades, satins, armures, and lamposes were all in use. 70 4. FIBER Silk and cotton were in common use. 5. COLOR Colors lacked brilliancy. Pastels were preferred.. Subdued greys, silver, gold, mulberry, dark blue, silvery white, dull reds, and purples were the most common colors. 6. ARRANGEMENT Designs were arranged symmetrically in rows having the straight line as a basis. Patterns were distributed so as to have bi-symmetrical balance. 7. SCALE The designs were even smaller than those found in nature. 8. INFLUENCES Classical, due to the excavations of Pompeii. The life and interests of’Marie Antionette. 9. FAMOUS DESIGNERS OF THE PERIOD Philip de La Salle, Gabriel Trichard, David Pillement, Oudry, and Huete REFERENCES Candee, Helen C., Weaves and Draperies, p. 141. Flemming, Ernest, An Encyclopedia of Textiles, p. XXXIII. Glazier, Richard, Historic Textile Fabrics, p. 84. Hunter, George L., Decorative Textiles, p. 49. Lewis, Ethel, Romance of Textiles, p. 254. 71 ILL USTRAT ICIIS Flemming, Ernest, An Encyclopedia of Textiles, p. Glazier, Richard, Historic Textile Fabrics, p. 84, Fig. 41, Plates 69, 70. Hunter, George L., Decorative Textiles, p. 28, Plates XIII,XIV,XV. p. 411, Plates x1x,xx. Lewis, Ethel, Romance of Textiles, Plates 50-52. Los Angeles County Museum, 2000 Years of Silk Weaving, Plates 76-77, 81-82. 72 DIRECTOIRE 1795-1799« The Directoire period may be thought of as a short transitional period between the refinement of Louis XVI and the austerity of the Napoleonic Empire period. It was a period of classical motifs. Many of the designs were those that had been designed for Louis XVI but were slightly changed to meet the change in politics. Since this period followed flee French Revolution, nothing was very elaborate. CHARACTERISTICS OF TEXTILES 1.. MOTIFS Major: Medallions with portrait heads and classical scenes were the most popular. Swags, too, were important. Minor: Urns, torches, the acanthus, the anthemion, lyres, and laurel wreaths were also found. Flowering sprays, cupids, bow knots were Rococo ccntributions that were found. The lion and griffin were used. 2. METHOD OF APPLICATION The designs were woven. Printed cottons such as toiles were important. 5. WEAVES Velvets, damasks, moire, satins were the most important weaves. 4. FIBER Silk and cotton were the two most used fibers. 75 5. COLOR White, red, and blue were the most popular colors. Green and yellow were also used. Some gold and silver were used. 6. SCALE Designs were small in scale. 7. ARRANGEMENT Designs were arranged formally and symmetrically in position.. Stripes were still used, mainly to emphasize background colors. 8. INFLUENCES 10 GIBBBICQI 2. Rococo 9. FAMOUS DESIGNERS OF THE PERIOD Jacques L. David is the outstanding designer of the period. Since he studied in Rome, he had an especially good background for the particular motifs of this period. REFERENCES Candee, Helen C., Weaves and'Draperies, p. 159. Lewis, Ethel, Romance of Textiles, p. 289. ILLUSTRATIONS Hunter, George L., Decorative Textiles, Plates 69,70b,74. Lewis, Ethel, Romance of Textiles, Plate 54, right;56,right. 74 J .‘J m 4') §:: fié 4f a‘:'~ol" ' \ J ‘4‘ p '. . ‘6 ‘\ n . ‘1 \‘ ‘ I'G'] (9.1, 0"“ {1' a...“ a\ Re an ,. 1.534»...me e may. a . I“. \n“ win-v «g \a’ V . Is Louis E E m P.1ra7e‘r1oci. EMPIRE 1802-1815 The Empire period is the period of the short reign of Napoleon. It was a period of severity, which was due to the kind of life Napoleon led from childhood through his army life to Emporer. It is said to be the least French of all the French periods. The designs of the period were gathered from his conquered countries. They were bold and many were definitely copied from the classical of Republican Rome. During this period the marvelous invention of the Jacquard loom was recognized. Napoleon gave Jacquard an annuity to perfect his machine. The textiles of’the period were sumptuous in an austere way. The silks were shiny, which was what Napoleon desired, but they gave a glossy and brittle effect. This period lacked a sense of refinement. CHARACTERISTICS OF TEXTILES 1.1801118. Major: The most important motifs of this period are the bee, the capitol 'N', the star, the eagle, and wreaths of laurel, ivy, or myrtle.. Minor: Flaming torches, the Greek lamp and keys, meanders, honey suckle, acanthus, and palmettes were also used. Goddesses, cupids, the helmet of'Minerva, the thunderbolt of Jove, griffins, and winged lions were found.. The sphinx was also used after Napoleon's campaign of Egypt. 75 2. METHOD OF APPLICATION Some of the designs were woven. Many more were embroidered on the brilliant silk, which generally had a plain background.. The toiles, of course, were printed.. 5. WEAVE Satins, damasks, tapestries, and velvets were the weaves most popular. 4. FIBER Silk was preferred. Cotton was used in the toiles. em The colors were strong. Gold, green, and red were his favorite colors. Blue, brown, and purple were used, as were off white and gray.. Crimson, green, and yellow were featured under Marie Louise who re- placed the empress. 6. SCALE Designs were small. 7. ARRANGEMENT Stripes were used. They were of equal width and the same color as background. Borders were popular. Most of the classical designs were symmetrically arranged although near the close of the period a preference for diagonal lines is shown.. 8. INFLUENCES 1. Classical (Roman) 2.. Campaigns, Egypt, etc. 76 9. FAMOUS DESIGNERS OF TILE PERIOD Jacques L. David, Charles Percier, and P. L. Fontaine were the important designers of this period. REFERENCES Candee, Helen C., Weaves and Draperies, p. 159. Glazier, Richard, Historic Textile Fabrics, p. 86. Hunter, George L., Decorative Textiles, p. #9. Lewis, Ethel, Romance of Textiles, p. 291. ILLUSTRATIONS Flemming, Ernest, An Encuclopedia of Textiles, pp. 265-271. Glazier, Richard, Historic Textile Fabrics, Plates 71, 72 right. Hunter, George L., Decorative Textiles, Plate XXII. Lewis, Ethel, Romance of Textiles, Plate 56, left. 77' ENGLISH ENBROIDERIES 16th-l7th Centuries The period of embroideries in England began with the thirteenth century. During the fifteenth century, under Henry VII and VIII, embroideries were made principally for the church. Most of the beau- tiful textiles used were imported from France and Italy. England had wool and linen but the weaving was coarse and the printing crude.. For this reason, embroideries were in demand. At the end of the sixteenth century these embroideries were made in long bands which could be used for borders on curtains or furniture upholstering. A steel needle for embroidery was introduced into England from Spain, as was the balck embroidery on linen or crash backgrounds. Embroidery was still outstanding during the Jacobean era, which covers the reign of James I, Charles I, Restoration of Charles II, and James II. Late in.the seventeenth century “Fiamma”, a kind of'Hungarian embroidery, was introduced. 'Crewel" embroidery was the most important type of this period. It was used during the reign of William and Mary. An embroidery of "stumpwork“ was also done. CHARACTERISTICS OF TEXTILES hm The first embroidery motifs were Italian. Having stems, leaves and flowers, such as the carnation, columbine, pansy, and strawberries were pOpular. Insects and butterflies were used. Biblical stories, figures from legends and portraits of royalty were also used. 78' Fiamma made use of the Rose of England, the Thistle of Scotland, and pictorial patterns. Especially found in the crewel embroidery was the tree of life and the Chinese river. 2. METHOD OF APPLICAT ICN The method of application was embroidery. Fiamma or flame stitch was made up of large zig zag lines which covered the whole ground cross- wise. Crewel embroidery is long stitches of different lengths, using wool thread. Stumpwork looks like French knots very close together. 5. WEAVE The background of the embroidery was probably linen and a plain weave e 4. COLOR Red, green, blue, brown, rust, or flame were the most popular colors. One color generally blended into another. 5. FIBER The backs are cotton and linen. The embroidery was generally done in wool and silk. 6. SCALE As these embroideries were generally hangings, the designs were large. 7. ARRANGEMENT At first bands were enbroidered, that could be sewn onto furniture or curtains . 79 8. INFLUENCES 1. Italian Renaissance 2. Spanish 3. Dutch and Flemish #. Indian and Chinese REFERENCES Hunter, George L., Decorative Textiles, p. Lewis, Ethel, Romance of Textiles, p. 225. ILLUSTRATICHS Hunter, George L., Decorative Textiles, Plates 9,10, p. 114 Plate XXIV, p. 125. Lewis, Ethel, Romance of Textiles, Plate 27. 80 ENGLISH PRINTS The first prints made in England about 1619 were printed on linen. Blocks of wood were used. In 1676 a new way for faster print- ing was developed by William Sherwin. Few of these early prints are to be found due to the crudeness of the material which was disliked and therefore destroyed. In 1700 Parliament refused to allow further imports from the East. This, of course, stimulated trade.. Finer cotton was being used in English manufacture. These early years of manufacturing had a setback due to laws being enacted against the use of cotton.. These laws were made to protect the wool and silk industry, but by 1756 production was again getting underway. In l7t0 the Manchester mill tried to equal the qual- ity of cottons from India but was not successful. In the next quarter of the century, chintz reached technical perfection in printing. Engraved copper plates were also used. These allowed for finer designs and could be used over again many times. Machine printing was well established by 1775 in northern England and cylinder printing, introduced by Bell at Lancashire, added more speed.. The first roller printed the outline; the colors were filled in by different rollers. Repeats were about eight to twelve inches in size. The end of the 18th century brought lighter backgrounds, the material being sent to Holland to be bleached in the spring and returned in the fall. Doots were used. Pinning was done by small brass pins tapped into the wooden block wherever desired. Sometimes the edge of the design, sometimes the full leaf or sometimes the entire flower 81 was filled in. At times the dots were found in the background. This detail required a refined sense of touch. Fine lines,too,were used. These were made by pressing thin sheets of metal into the wooden block. The quality of water was necessary in the development of colors for dyes. Some dyeing was done by the use of the Indian mordant print- ing process, followed by using the wax resist method. Hand engraved copper rollers were used and were well suited to chintz because of the smoothness of the material. Superimposing blue on yellow producing green was used. By 1850 England was supplying prints for the whole world. CHARATERISTICS OF TEXTILES hm English automatically bring to mind flowers, "the feeling of the Englishman and his home as it really is". All kinds of flowers were used as motifs. The backgrounds and edges of the designs were filled with picotage. Floral panels and stripes were also popular. Fruit, yachting, hunting, coach scenes, field sports, conventionalized trees, and pictorials were found later in the period. 2. METHOD OF APPLICATION Designs were printed, first by hand with wooden blocks. The use of copper plates allowed finer designs to be engraved and printed. The third method was by cylinder printing, invented by Bell, which speeded up production. 82 5. WEAVE Weaves were plain weaves. 4. FIBER Linen was used because it was free of taxation. Later all cotton was used when taxes were lifted. This fiber was imported from India. 5. COLOR Various tones of the five main colors were used. Black was used to outline the figures. Green was made by using blue over yellow until Oberkampf's invention of solid green. 6. SCALE Most of the designs were small flowers. Later panels were used having larger flowers within and smaller flowers in the background. 7. ARRANGETENT The first prints were flowers sprinkled over the cloth.having dark backgrounds. Later panels were used having floral centers. Stripes were also popular. 8. INFLUENCES 1. Indian 2. French 5. Chinoiserie 4. Classicism 9. FAMOUS DESIGNERS OF THE PERIOD The great designer, William Morris, was of'this period. Con- ventional blossoms and scrolling stems were typical of'his work.. He 85 established high standards for good workmanship and beautiful designs. Sicilian and Italian influences are noted among his work. Lewis Day was also a noted designer of'the day. REFERENCES Candee, Helen C., Weaves and Drgperies, p. 246. Hayden, Arthur, Chats on Cottage and Farmhouse Furniture, (Chap. 8, Tom English Chintz", Hugh Phillips). Hunter, George L. Decorative Textiles, p. 522. Hunton, H. Gordon, English Decorative Textiles, p. Lewis, Ethel, Romance of Textiles, p. 2K9. Lewis, Frank, English Chintz. Percival, Maciver, Chintz Book. ILLUSTRATIONS Glazier, Richard, Historic Textile Fabrics, Plate 99,100. Hunter, George L., Decorative Textiles, pp. 550-552. Lewis, Frank, English Chintz. SPITALFIELDS 18th Century Spitalfields was the group of thirty-five hundred French refugees (Huguenots), who had reached the outskirts of London and settled there due to the revocation of the Edict of Nantes in 1685.. Many of these were weavers.. This area in time became one of the fine weaving centers in England.. The weaving was done in the homes of the people. Fibers and patterns were given to them. This period did not last long, 1715-1754, about forty years.. This resulted because silks could be imported cheaper than made and of a better quality. Parliament passed a law in 1775 to protect them against these imports. CHARACTERISTICS OF TEXTILES l. MOTIFS The most pOpular motifs were florals scattered over the cloth. Sables were also used. 2. METHOD OF APPLICATION The designs were woven. 3. WEAVE The most popular weaves were damask, brocades, and velvets. 4. FIBER Silk was the most used fiber.. 85 4' sen-A! Fit-:ITDS ' -———..v —-— 5-29118 6. SCALE 7. ARRANGEMENT Most of the floral designs were symmetrically centered. Some were scattered over the entire cloth. 8. INFLUENCES 1. French, Lyons. 9. FAMOUS DESIGNERS Mr. Vernon, Palmer, Vsnteir, M. Sabilier, Carr, Gulin, Anna Maia Garthwaite. REFERENCES Glazier, Richard, Historic Textile Fabrics, pp. 95,94. Lewis, Ethel, Romance of Textiles, pp. 285,286. Townsend, Gertrude, Eighteenth Century Brocade Costumes, Antiques, May 1945, p. 270. ILLUSTRATIONS Glazier, Richard, Historic Textile Fabrics, Plates 79-85. 86 ENGLISH SHAHLS 19th Century Paisley Shawls as they were called in England were copies of the beautiful Kashmir shawls of India. Colonel Harvey started the manu- facture of these shawls about 1820 in the town of Paisley, Scotland, from which their name was derived. The venture lasted about fifty years, 1870, at about which their popularity dwindled. They were made by hand on draw looms. The colors and weaving techniques of these shawls are outstanding. 1 2. 4. 5. 6. CHARACTERISTICS OF TEXT ILES NOTIFS The most popular motif is the pine or cons bendhig over at the tip. METHOD OF APPLICATION The designs were woven. WEAVE Patterned weaves were popular. FIBER Silk and wool were ccmbined in these shawls. COLCR A bricky red, blue, rusty black and yellow were the colors used. I SCALE _. The large cone was surrounded with small motifs. ‘- 87 M 7. ARRANGEMENT The large motif was woven in the corners or a border was composed of these large motifs. 8. INFLUENCES 10 Indian K881111111. She'lse REFERENCES Blair, Mathew, Paisley Shawls. Lewis, Ethel, Romance of Textiles, p. 287. JAPANESE l8th-19th Centuries Japan is the one country that remained closed to the world so long - until 1868.. They eXported their finished products but bought only silk from China.. This did not build for trade as they later found out . Textile weaving has been done in Japan since the third century.. They have many outstanding techniques.. Most of the designs were Chinese and not until the late 17th and early 18th centuries did the designs become truly Japanese.. The Japanese designs have a bold and dashing effect in which way they differ from the Chinese.. Costumes were woven for certain occasions, for one's status in life, or for entertainment, such as the “NO' drama which idea is to "carry audience into sombre world of departed spirits, many of whom have been victorious in spiritual struggles, have at last been freed from earthly bondage, but nevertheless dwell in torture of tragic l. memories of their lives.I In 1850 the use of silk was forbidden and cotton costumes were worn. Embroidery, also, was forbidden. The textiles of the 19th cen- tury lacked the refinement of the preceding periods. CHARACTERISTICS OF TEXTILES l. NCTIFS Major: Japanese designs like Chinese were used throughout the 1. Gunsaulus, Helen, Japanese Textiles p. , WeylLe, New York, 1941. 89 L\\17/3‘.;'."..' 093.5?ng l/ ‘7 szx"~\\4' 1 ' l/PJ‘ " :) \ 1’ ,, r L/‘l— ( D ‘ew $32.? ‘ d %f°§~’ v04 0 0AA /o\ /\/& Q30 l9; v 1 9h.) 10"." W\ (D > a $71 x?“ @ fey/Ev JA‘PANEsE. ui .'c—-rov-u--.-.--_ 1-”..W <. , ,' 's I u . . ‘ . , 1., 1' s ‘- . ._.‘ ’ ‘1' j" ‘ \ 0" I, . p 1 _ \. ‘ . Xx. ‘ r-'L-_ . .. _:.‘ ‘ . ~ ‘-. . l ' I ‘ ‘ 1' ‘ ' . \ In ' '1 'l ‘ I . . . \ - .. 1'7 ” _ -" 1' u" . (‘1 1 . I, . X ... ‘ ~ ‘- -‘ \‘ -l . ‘ ‘ ' I - .. . ,' .-. .- : rt"\ “ - _ . \ ' A \-. \ I" -I \ t ’, ’\' . I ‘ g .I ) 1" u\ ‘ t’ .4 ‘ . r ‘ '- L In I .4 .4 I ‘ LA" /‘ ‘ ’- I I I ‘ ‘ _ . \ 0 ;‘_D1 —\ ' I ‘ _,_‘ \_‘ 4 ’ ‘1‘ ‘ . I Q | ‘ | I \ Jo .‘f l '1 I" 1 t -" ‘ "' A ’ V . ./ l ‘.\ ..." I . , ‘ I, -"o L \\ I; . ‘V' <-‘ r - . I A \l‘ . \ "' '*—.‘_—.‘ '.....——.v'~.’-.‘ u—w—L\:;.'.—’-{-. 3 new a-TAL “- years. The chrysanthemum, peony, iris, lily, cherry, plum, bamboo, birds, fish, and dragons were the common motifs used over and over. Emblems for the four seasons were also used. Religious symbols were necessary for priest‘s robes. Minor: Waterfalls, flying birds, breaking waves, and floating fans were pepular. 2. METHOD OF APPLICATION This country is the one country that seems to be able tijroduce all types of designed cloth. Woven fabrics are probably the most important, but embroidery, resist printing, block printing, stenciling, tie dyeing, batik, and gold painting were also done. 5. WEAVE Many techniques for weaving were used. Damasks, brocades, bro- caded velvets, brocaded satins, gold gauze, and the famous Ehssu. Many had gold backgrounds. 4. FIBER Bark fibers were known and used, Hemp, silk, wool, and cotton were used. Gold thread was used. . 5. COLOR Special colors were used for certain occasions. Red, blue, yellow. purple, and green were the five color combination that was popular. A bright brown and much gold was used. 6. SCALE The designs were large and extravagant. 9O 7. ARRANGEMENT The arrangement was natural, free and informal. During the nineteenth century the designs became more realistic, less abstract and subtle. 8. INFLUENCE 1. Chinese. 2. Shinto faith during this period. Some Buddah designs remained. 5. One's status in society. 4. Social occasion for which costume was worn. 5. The 'No' drama. 9. DESIGNERS OF THIS PERIOD Korin and Kenzon are listed as masters of decorative design. REFERENCES Blaclmer, J. F., ABC of JJa‘ganese Art, Chap. 11. Gunsaulus, Helen, Japanese Tgtiles. Lewis,Ethel, The Romance of Textiles, p. 55. ILLUSTRATIONS Glazier, Richard, Historic Textile Fabrics, Plate 21-25. Gunsaulus, Helen, Japanese Textiles. 91 u n.1,; ~. CHARACTERISTICS OF TEXTILES hm Geometric designs, squares, circles, leaves, and flowers were the most outstanding designs used in these coverlets. Those made after George Washington's era carried political motifs. These were eagles, stars, the capitol building, and some lettering. 2. METHOD OF APPLICATION The designs were woven. 5. WEAYE Single weave was the first type of weave, evidently a plain weave that we know today. The more fancy coverlets were a double reversible, double woven type of weave. kw The colors used were vegetable dyes. Indigo was used for the most popular blue. Madder was used for the pinks and reds. From the hickory bark came the yellow. Purple came from the cedar taps and the lilac leaves. Black came from steeping the bark of the scrub oak and mixed with maple bark. A mordant was used to set the colors. 5.11m Wool was used with a cotton or linen warp. 6. SCALE The designs were relatively small. 95 .‘ I K .-, l ‘ shah 4.. 1" 7. ARRANGEMENT Most of the patterns were woven in squares of some size. borders were used to finish the coverlets. 8. INFLUENCES 1. General background of weaver. English, Dutch, etc. 2. Politics. 9. FAMOUS DESIGNERS OF TEE PERIOD REFERENCES Atwater, Mary M., Shuttlecraft of American Handweggigg. Baity, Elizabeth C., Man is a New. Bowles, Ella Shannon, Homespun Handcrggtg. Candee, Helen C., Weaves and Draperies, p. 274. Davidson, Mildred, Early Handwoven Coverlets. Earle, Alice Morse, Home Life in Colonial Days. Kean, Frieda, Art Weaving. Lewis, Ethel, Romance of Tegtélgg, p. 311. Little, Frances, Egrly American Textiles. Williamson, Scott Graham, The American Craftsman. ILLUSTRATIONS Davidson, Mildred, Early Handwoven Coverlets. Lewis, Ethel, Romance of Textiles, Plate 38. 94 Later PERUVIAN Textiles from the early civilized Peruvian peoples, of the Andes area, have been found in burial places. The dry climate, such as the Egyptians also had, preserved them. Having no writing of their own, no records were kept. History has been built on the findings of pottery, wood, bones, shells, and textiles. These have given the story of the customs of these people. I Some records were written after the Spanish had visited the area in 1550. Peruvians were accomplished spinners of cotton and wool. These \ exceedingly fine yarns made their excellent fabrics. Not only were they excellent in weaving but also in dyeing. Cotton was used for the warps and wool for the wefts. Fringed ends of cotton were common. Designs were complicated. Modern craftsman are astonished at the quality of detail found in the whole motive. CHARACTERISTICS OF TEXTILES 1.302.126; Major: The motifs were mostly symbolic, full of life and movement. Bird heads, fish, cats, llama, and the puma-god (halfdman and half-beast) were the most favored motifs. Minor: Geometric figures, wives, and scrolls were used to fill the spaces around the major motifs. 2. METHOD OF APPLICATION Some of the textiles were woven; some were embroidered. Printing batik, tie and dye were also known and used. 95 " ‘ r r; = - ‘Lv -' . . 7. . _- . , - __,- s ' . _ r. ‘ _ . . . ,: inrx x 2" .3... if“ \ .;4.\ :' ‘-"~..“’\' '4“. ‘2, \' \ ‘. . - ’ c' ‘L ~ ' .1 ~ u‘ 4, . .. ‘ ‘. . - . -. ' l‘x \9- ‘ ‘8‘ ' ‘.\_‘.) 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' § I ‘ . _ , . _ | a ' . l I ‘ ' O s .-' . . ' ‘l. v v t I .2 - . . ‘ -' - . 1". \ 3.. _ . a“ I a. l-I‘sl In... l|“ ‘ i s I I w ) O I . . . . . .. I s w ~ I ‘ "5_ ‘ I s . . \ ‘\ ‘. . ' . \ ‘. . f . , . ~ | \ . ’ ' ‘ B y ‘ N ‘ .0 lgc - . i . ‘ I ‘ ' . n '— a‘u‘ ‘ '1 ‘ ‘ ‘ -‘ _ . . ‘ n ‘J .. .‘ .- .b ‘ s . ’ l ‘ . ‘ .0. s50.. ,,, . nuts .1 ~., IOJIIIDID'IIO - . a ' .l I '. “‘0 I-QI.I." 0 . “In”. {'0’ .nusna'" . >.. p, a‘ ’ .._.l . , . 0: ‘, n - . .‘ \ I‘ ‘ “ .- ‘ I ‘ ,' , ~ . ‘ \ ‘ s I ‘ ) . , I ~ . ‘ . “ V. q}. . ‘ ' a o . . u . ‘ l I ' C I Q \ . ‘l°\ . ' a .\ " . u ‘ ' ' 'I s . z 0 I C J ‘ ’ ’ '.' ‘ ’ . c " s . ' ‘ . : ‘-a '\ ‘ | ' \.~ ‘.-1 ‘ ' ‘ I ' s. , l . ‘ p h I. — .J ‘ ' ‘ I I -(s a I v ‘ I ‘ 1 c1;: Inn-00...... " ’I. "Ht-H! ‘ s - - l . ., . mi L. ' ‘-_1.'..'A;:.u'.lii'.u ”U. .44“!1a‘: hawvofigf - -'-—-— — . 5. WEAVE Plain weaves were the most common. Tapestry, brocades, gauze, 1 and nets were made. An unusual double cloth was also made. Kelim, an unusual type of tapestry, was made. 4. FIBER Cotton was the most common fiber used. Wool from the alpaca, llama, and vicuna were combined with cotton. 5. COLOR fl Bright colors were the most popular. Red, yellow, bluish-green, . gray, purple, brick red, blue, or brown on white were used. % 6. SCALE ‘ The designs were large with small I'fill--ins" for the background. 7. ARRANGEMENT ~ The designs were adjusted to fit the spaces and to the technique used. 8. INFLUENCES Religion seems to be the only influence. REFERENCES Candee, Helen C., Weaves and Draperies,.pp. 54-57. Glazier, Richard, Historic Textile Fabrics, p. 22. 1 Lewis, Ethel, Romance of Textiles, p. 99. a Means, Philip L., Peruvian Textiles. O'Neal, Lila M., Textile Periods of Ancient Peru. 96 ILLUSTRATICNS Glazier, Richard, Historic Textile Fabrics, pp. 21,22, Plate 10. Hunter, George L., Decorative Textiles, p. .252, Plate III. Lewis, Ethel, Romance of Textiles, Plate 10, right. 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