قراءة كتاب Needlework As Art
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Needlework As Art
illustrations that are not original, have been copied from other works by permission of authors and publishers. To all of these I wish to express my obligations and thanks, especially to Mr. Villiers Stuart, Dr. Anderson, Sir G. Birdwood, and Sir H. Layard, for their courtesy in allowing me the use of their plates. To my old and valued friend, Mr. Newton, I wish to express my gratitude for his unstinted gifts of time and trouble, bestowed in criticizing and correcting my book, encouraging me to give it to the public, and making it more worthy of publication.
I have largely quoted Charles Blanc (“Ornament in Dress,” English translation), Von Bock (“Liturgische Gewänder”), Dr. Rock (“The Church of our Fathers” and “Introduction to Textiles”), Semper (“Der Stil”), Yates (“Textrinum Antiquorum”), and Yule (“Marco Polo”), besides many others. But these authorities often differ, and, after weighing their arguments, I have ventured to select for my use the facts and theories which accord with my own views. Facts are often so interdependent and closely linked, that it requires great care to distinguish where they have been shaped or coloured (however unintentionally) to fit each other or the writer’s preconceived ideas. Certain it is that facts are but useless heaps till the thread of a theory is found on which to hang them. This process, like that of stringing pearls, has to be often repeated, till each occupies its right place. Only those who have adopted and cherished a theory can appreciate the pain of cutting the thread, to displace what appeared to be a pearl, but which, from its false position as to date or place, or its doubtful origin, has proved only an empty manufactured glass bead of error.
This has happened to me more than once; and since I read my lectures I have had to change my opinions in several instances. If, therefore, any of my readers should observe such changes, I hope they will give me credit for trying to convey now what appears to me on each subject a correct impression.
FOOTNOTES:
[1] Besides the art, I have sought to give something of the archæology of needlework. Now the qualifications for being a teacher on such subjects are rarely to be met with, all combined. Mr. Newton, in his “Essays on Art and Archæology,” p. 37, says that “the archæologist should combine with the æsthetic culture of the artist, and the trained judgment of the historian and the philologist, that critical acumen, required for classification and interpretation; nor should that habitual suspicion which must ever attend the scrutiny and precede the warranty of evidence, give too sceptical a bias to his mind.” Such authorities have been interrogated on each part of my subject.
[2] Quoted by permission of the Editor.
CONTENTS.
| PAGE | ||
| INTRODUCTION. | 1 | |
| CHAPTER I.—STYLE. | ||
| Definition of style—Development of style—Primitive—Archaic—Egyptian—Babylonian—Phœnician influences on early Greek style—Decoration of hangings of the Tabernacle in the wilderness—Aryan ideas—The Code of Manu—Indian art—Celtic style—Greek art in dress and embroideries—Homer’s descriptions of embroideries—Pallas Athene—Shield of Achilles—Roman art—Byzantine art—Art of Central Asia—Its arrival in Europe—Art of China, Japan, and Java—Christian art—Scandinavian art—The Dark Ages—Sicilian textile art—Renaissance—Arabesque—Grotesque—Spanish Plâteresque—Style of Queen Anne and the Chippendales—Louis XV. style—Classical revival—Young England’s style—Nineteenth century style | 14 | |
| CHAPTER II.—DESIGN. | ||
| Artist and artisan—Prehistoric design—Naturalistic design—Egyptian immutability—Slow evolution of design—Greek perfection—Necessity of following rules—M. Blanc’s laws of ornamentation—Laws of composition—Repetition—Alternation—Symmetry—Progression—Confusion—Designs for hangings and dress materials—Floral design—Design for carpets—The conventional—First principles | 54 | |
| CHAPTER III.—PATTERNS. | ||
| Ancestry of patterns—Classification—Their historical value—Primitive patterns—The wave—Tartan—Prehistoric African patterns—The naturalistic—Flowers—Shells—Indian forms of naturalistic patterns—Egyptian—The lotus—Sunflower—Celtic Zoomorphic patterns—The human figure on Greek textiles—Animal forms in Oriental patterns—Symbolical and conventional patterns—The wave patterns—The palm leaf—The cone—Gothic—Arab—Moresque—The Sacred Hom—Egg and tongue—The cross—Swastika—Fylfote—Gammadion—The crenelated pattern—The Ninevite daisy—Emblematic patterns—Bestiaria—Volucraria—Lapidaria—Byzantine patterns—Gothic—Renaissance—The cloud pattern—The fundata—Italian—French patterns—Radiated patterns—The shell—Patterns by repetition—Balcony pattern—Chinese wicker-work—Survival of a pattern—Opus Alexandrinum—Quilting patterns | 82 | |
| CHAPTER IV.—MATERIALS. | ||
| Raw materials—Revelations of the microscope—Hemp—Jute—Honduras grass—Spartum—Pinna silk—Hair—Leather—Feathers—Asbestos—Coral—Pearls—Beads—Wool—Classical notices of wool—Careful improvement of wool by the ancients—Tanaquil—Homeric woollen carpets—Crimson textile fragments—Scandinavian woollen garments—Qualities of wool—English wool—Goats’ hair—Flax—Lake cities—Byssus—Fine linen of Egypt—The Atrebates—Embroidery on linen—Cotton—Indian origin—Carbasa—Buckram—Cotton fabrics—Gold—Silver—Gold brocades—Jewish—Indian—Chinese—Dress of Darius—Attalus—Attalic textiles—Agrippina’s golden garments—St. Cecilia’s mantle—Roman tombs—Gold wire—Anglo-Saxon tomb—Childeric’s tomb—Proba’s gold thread—Golden wrappings from tombs of Henry I. and Henry III.—Gold embroideries and jewellers’ work of Middle Ages—Spangles—Enamels—Purl—Modern schools of gold embroidery—Silk—Pamphile of Cos—Early specimens of silk stuffs—Chinese silks—The Seres—Mela—Seneca—M. Terrien | ||