Catalogue of Speci 00 Me TR

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THE METROPOLITAN MUSEUM OF ART
CATALOGUE
OF
A SPECIAL EXHIBITION
OF
TEXTILES
NEW YORK
MCMXV-MCMXVI
CATALOGUE
OF A SPECIAL EXHIBITION OF TEXTILES
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CATALOGUE
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A SPECIAL EXHIBITION
OF
TEXTILES
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NEW YORK
MCMXV-MCMXVI
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COPYRIGHT
BY

JANUARY, MCMXVI
PREFACE
THE
Special Exhibition of Textiles
which the
:
Museum
of calling
has arranged serves a double purpose
first,
the attention of the general public to the really excellent variety of historic
woven
stuffs
owned
in
New
York City
by museums and private collectors; second, of placing before

the manufacturers and designers active in the textile trade ex-
stimulus to artistic production at a time
amples of the best woven materials of past centuries, as a when American makers
are feeling the great possibilities the present
for the development of
results of the
textile
moment affords home industries. One of the noticeable European war has been the difference made in the
either
trade,
through
interference
with
international
fac-
transportation or through the closing of the continental
tories which have previously supplied the American market with
a large portion of the
woven
stuffs used in this country.
purchaser
now
going the rounds of the shops finds that perhaps

is
half of the familiar fabrics he
most anxious
to secure
were
manufactured
in
Belgium and
in
Alsace-Lorraine,
and that
American merchants,
since the complete demoralization of that

fill
region, have of course been unable to
their depleted stocks
from abroad and are obliged

samples from the market.
in considerable
withdraw almost all foreign The French factories which existed

to
numbers
in the vicinity of Lille are
now
partly
destroyed, while
many workmen from
the mills in other parts
of the country have gone to the front, as a result of
which the
English
industry
is
practically paralyzed throughout France.
VI
PREFACE
factories are not so seriously affected, but their output has been
somewhat diminished, and they cannot pretend

of
to
fill
the place
the inactive continental mills.

is
The
closing of
European
sources of goods
a circumstance of
which American manufac-
turers are preparing to take advantage, and a distinct improve-
ment
in the
output of our national looms
may
be expected as
one of the better things growing out of the war.
Paterson,
New
Jersey,
where many
silk mills
are located, has recently
entertained the First National Convention of Silk

turers,
Manufac-
which was enthusiastically attended, one of the features of the meeting being a loan exhibition of historic textiles arranged in the City Hall, to which many museums, private
collectors,
and dealers contributed.

in
The
interest of the
manuhas
facturers in the finer productions of the past has been constantly
growing, and
it
is
response to this that the
Museum
organized the exhibition just opened.
For the past few years the

usefulness
Museum
it
collection of textiles has
been systematically increased until
has reached a position of
and comparative completeness for study purposes,

in the Special
and much of the material included

permanently available
pieces not
to
Exhibition
is
the
public
here.
Many
additional
shown on
this occasion
can be consulted
in the
Study
Room
Arts.
of Textiles in the basement of the
Wing
of Decorative
This study room was described in the Bulletin for January, 191 5, and the Museum collection was outlined in a speHowever, many of the more cial supplement for May, 1915.
splendid pieces included in the exhibition are temporary loans of
a character not previously show^n publicly in
Museum
for the Arts of Decoration at
Institute, of
New York. The Cooper Union and Pratt Brooklyn, have both very kindly allowed the Metro-
politan to draw on their admirable collections of textiles, the former for examples of rare and valuable early weaves, the latter
for
Ottoman
two
velvets
and European
is
silks
of
importance.
Much
in the
of the interest of the exhibition

institutions,
due to the cooperation

the other by
of these
through their Directors, represented

in
one case by the Misses Hewitt,
Mr.
PREFACE
Frederick B.
generously
Pratt.
Vll
Private collectors
include
Dr.
Wetzel, of Boston, with

panels of the
who have responded Denman W. Ross and Mr, H. E. examples of very early weaving. Mr.
Charles L. Freer, of Detroit, has lent twô Chinese tapestry Sung Dynasty. Messrs. Robert W. de Forest,
George Blumenthal, Mortimer L. Schiff, Julian Clarence Levi, Bashford Dean, and H. Oothout Milliken, Mrs. Charles T. Barney and Mrs. Edward Robinson, all of this city, and Mrs.
Archibald G. Thomson, of Philadelphia, have lent numerous
velvets
and
silks of
beauty and unusual quality.
Mr. H. G.
specimen of
Dearth has presented the
Museum
to
with a
fine
Lyons
silk, especially
for the purposes of this exhibition.
The
exhibition
is
limited
patterned
stuffs,
shuttle
and
bobbin-woven on the loom, and does not include tapestries, rugs, and embroideries as such, although a fine tapestry technique is used in many of the Coptic and Chinese textiles, which were
made
rather as garments than as wall hangings.
Plain materials
is
are also not shown, as their interest to most visitors
far less
than that of the patterned weaves, which have a higher artistic
and
historic value, intrinsically considered.
In addition to the main collection in the large

Exhibition
Gallery,
Temporary
stuffs
E-ii,
the
eighteenth-century
are
shown
is
in the
adjoining Lace
Galleries, while one room, E-io,
given over to paintings and photographs of historic portraits,
illustrating the various types of pattern

at the period of their manufacture.
and material
as used
With few
exceptions, all of the pieces exhibited
were made
subsequent to the beginning of the Christian era and show the
changes in technique and design of the different civilizations current in Europe and Asia between the first century and the
beginning of the nineteenth.
The
is
order of arrangement of both exhibition and catalogue

in the
shown
Table of Contents
it
follows as nearly as posas

it
sible the
development of
textile art
can be traced from
country to country and century to century, at least so far as

surviving examples illustrate the process.
Throughout
the his-
Vlll
PREFACE
tory of European weaving, as indicated in the first two chapters, development was chronological rather than national, and
the current fashion
was much more potent
in
determining the
it
character of a European stuff than the country in which
happened
than
to be
made.
In the Orient, however, as the third and
fourth divisions show, national tradition
new
ideas,
and two Asia Minor
pieces
was more powerful made some hundreds
of years apart are
more nearly
tian silk of the sixteenth
alike than, for instance, a Veneand one of the seventeenth century.
The
exhibition has been arranged and the catalogue written
by the members of the Department of Decorative Arts:
Durr
Friedley, Acting Curator; Frances Morris, Assistant Curator;
William
M.
Milliken and Russell A. Plimpton, Assistants.
CONTENTS
LIST OF ILLUSTRATIONS
FACING
PAGE
2
Tapestry, "Coptic," III Century Tapestry, "Coptic,"
20
55
Century
.10 .10 .16 .18

.
Silk Weave, Byzantine,
XI
Museum
Union
57
61
for
.
the Arts of
.
.
Century, Lent by the Decoration at Cooper

.
.
Brocade, Syro-Egyptian, about 1300
Brocade,
Brocade,
Italian or SiciHan,
Italian, Italian,
XII Century
Century
Century.
.
26
80
85
End
Brocade, H. E. Wetzel Brocade,
of XIV XIV-XV
.30
by
Lent
30
93
Second Quarter of Century. Lent by the Museum for the Arts of Decoration at Cooper Union
Italian, Venetian,
.
XV
-34
36
104
108
Velvet, Italian, XV Century. of Theodore M. Davis

Brocade,
Italian,
Lent by the Estate Lent by Pratt In38
XV
Century.
stitute of
Brooklyn
125
Velvet Brocade,
Italian,
...... XV
End
.
of
Century
40
42
127
Cope, Spanish, Early George Blumenthal
XVI
.
Century.
. .
Lent
.
by
180
Brocade, Spanish,
XVI
XVII
the
Century
.50
.
230
308 287
Brocade, French, Early XVIII Century
56
Brocade, Persian,
the
Century
-70
"JO
Silk Brocade, Persian,
Museum
for
Cooper Union
.......
xi
XVI
Century. Lent by Arts of Decoration at
Xii
LIST OF ILLUSTRAl"IONS
FACING
PAGE
289
Brocade, Persian, Brocade, Indian,
284
306
XVI XIX
Century
72
Century
-74
74 74
78
Velvet Brocade,
Century
344
325
Gold Brocade, Asia Minor, XVI Century Velvet Brocade, Asia Minor or Italian, Late
.
Century
336
tury.
........ ........
Persian, First quarter of
XVII
XV
.
Velvet Brocade, Asia Minor, Early XVI

Lent by Mrs. Charles T. Barney
.
,Cen-
80
368
Silk
and Cotton Weave,
Hispano-Moresque,
.
XIV Century. Lent by the Museum for the Arts of Decoration at Cooper Union
.
.86
388
Velvet Panel, Chinese, XVIII Century. by George Blumenthal

.
.
Lent
.
-94
.
394
Gold Brocade,
Japanese,
XVIII Century
96
INTRODUCTION
WEAVING
the
is
among
the most ancient of the arts, and

first
loom was the
mechanical contrivance in
tools
to
which man brought together individual
form a complex organic whole.
Woven
stuffs
were created
as a
more convenient
substitute for animal skins in the
making of
garments, and later furnished a lastingly fertile means of expression for the sense of ornament which seems to be a perma-
nent weakness of
equally universal,
human
nature.
Weaving and
Arachne
fine
agriculture are
to
and almost equally necessary

for
the
race.
The
contest between Pallas and
supremacy
at the
loom, the raveled
web
of Penelope, the ten curtains prescribed
for the Tabernacle of Israel
"of
twined linen, and blue,
and purple, and

tradition
scarlet:
with cherubim of cunning work"
all
bear witness to the high place of ornamented fabrics in ancient
and law.
Because of their
stuffs
fragile
and perishable
except
those
of
nature,
no very early
have
survived
Egypt, and these are
all plain
and undecorated until the beginBabylonian

textiles
ning of
Roman
dominance.
if
were contem-
porary with Egyptian, but
surviving sculptures can be taken
as authority, the kings of the
Euphrates Valley wore sumptuin tapestry stitch.
ously decorated garments rich in fringes and borders, which
have been either embroidered or made
may The
or
archaic Greeks had also a taste for patterned dress, but they
preferred fine spray designs and light borders, which
may
may not have been woven on the The materials for all primitive
xiii
loom.
textiles in the
Occident were
xiv
linen
stuffs
INTRODUCTION
and wool, sometimes cotton, and because of this, early a texture which we should today think
Silk
were probably of
coarse and heavy.
was known
to the
Chinese at a very
its
remote period
in their civilization,
but the process of

state
producpast
tion and manufacture was kept a
secret until
the
beginning of the Christian
era,
when
the people of the nearer
Orient began
the
first
to practise the art of silk to
weaving.
Aristotle
silk,
is
western writer
mention the existence of
and
Heliogabalus was the

silken stuffs imported
refer to silks as
first
emperor
to
be dressed entirely in
from the East.
Virgil, Martial,
and Pliny
among
the treasures of the rich, and Propertius
says of Cynthia that "perchance she glistens in Arabian silks."
Ancient Chinese
there
stuffs penetrated to
very distant countries and
was unquestionably a trade route, long anterior to Roman civilization, between Europe and farther Asia, a fact from which some writers hold that not only silk as a material, but also the ability to weave patterned fabrics on the shuttle loom was derived from the Chinese. The production of silk in Europe is said to have begun about the middle of the sixth
century A. D.,
when
eggs of the silkworm concealed in the

to the
hollow of bamboo walking staves were brought

Justinian at
Emperor
Byzantium by two Nestorian priests who had spent years in China learning the complete process of sericulture. The introduction of so pliant and exquisite a raw material as silk revolutionized weaving in the West and for centuries the production of Occidental looms steadily increased in beauty and
variety,
the supremacy
I
is
passing from
nation to
nation,
as
is
outlined in Chapters
in the
and
II,
where the process of weaving

of
western world
basis
more
fully treated.
consists
The
of
all
weaving
series
of
parallel
threads, the warp, through which a second series, the weft, per-
pendicular to the
first,
is
interlaced, the result being either a
plain expanse of a single hue, or else an arrangement of smaller

fields of
various colors forming the pattern.
The warp may
be
upright or horizontal, as in
there
is little
high-warp and low-warp looms, but
difference in the principle of the technique
and the
INTRODUCTION
Stuffs
XV
in texture.
produced on the two do not vary appreciably

the smaller fields of
In tapestry weaving,
color
are
greatly
varied and the threads composing them seldom pass completely
from edge
but are
to edge of the strip of material
under construction,
wound on
may
bobbins which can be manipulated so as to
encircle only one or
pattern
require.
two of the warp threads at a time, as the Each thread is furthermore tied and
is
knotted in place.
Tapestry technique
a flexible one and can
be easily combined with plain weaving, as in the Coptic textiles
and, conjecturally, the

to.
Greek and Babylonian already referred
In regular textile weaving, however, the weft
a shuttle
is wound on which generally passes over the complete width of the
material, although only a portion of the thread
may show on
series of
the finished surface.
It
is
by combining two or more
warp threads with a number

unending
of varicolored wefts that all the
shuttle-woven fabrics of past centuries have been made, and the

varieties of composition possible to such a technique
have proved one of the most interesting ways yet discovered of

exercising man's artistic and inventive sense.
From
primitive times until the mechanical development of
that is, one manipulated wholly by the workman without the aid of steam or other power underwent few changes, and in its essential workings the
the nineteenth century, the hand-loom
variety used today in the
Carolinas for the making of blue
and white coverlets
differs very little
from that
of the early
Saracenic or Byzantine craftsmen,

of the most perfect pieces of
in
some weaving yet produced. It is only the large manufacturies where the hand-loom has been superare responsible for
who
seded by the elaborate mechanical contrivances growing out of
Jacquard's remarkable but revolutionary invention,

in the last century, that the
made
early
personal touch has vanished from

died
weaving.
out
Hand-loom work, however, has never wholly

the peasantry, and various non-commercial
still
among
art,
estab-
lishments in both England and America
successfully keep
up the
while some of the most modern productions of the

in artistic quality.
mechanical looms show an admirable increase
Xvi
INTRODUCTION
due to a growing appreciation of texture and color among designers, manufacturers, and the modistes who are their chief
clients.
The
varieties of textile
which can be produced are numerous,
and no two authorities seem to agree as to the precise definiHowever, tions of even the best-known kinds of weaving. described as follows, giving the sense in which these are briefly
the terms are used in this catalogue.
came
silk,
Damask, derived from Damascus, whence the into Europe, means a soft material of a satiny
stuff
first
texture, of
or linen, or both, patterned in self-color of a different
texture, the back being the
same design, reversed, as the front. two or more colors. Brocade is the most inclusive term of all and is applied to elaborately ornamented stuffs combining various colors and texIt is made largely of silk and some authorities limit the tures.
Lampas
is
damask
of
term to
stuffs
interwoven with threads of gold and other metals,

is
although that limitation

Brocatelle
silk in its
is
not observed in this catalogue.
a heavy and coarse kind of brocade with less composition, the ground usually being of linen, the
silk,
pattern alone of
or vice versa.
Sarcenet
the
is
thin, light silk,
somewhat
like soft
modern
which
taflfeta,
name
being usually applied to early materials of fine pattern.

a pile,
Velvet
of
is woven with warp threads is looped
by a process
in
a series
cut, resulting in a brush-like surface of
various lengths.
Samite, sendal, and other interesting words were used by
early writers in referring to stuffs, but the terms are not
now
is
current, and were never very definite in their use, so far as
known.
CATALOGUE
I.
EARLY WEAVES
THE
pass
faded fragments of loom-work that have been pre-
served to posterity in the tombs of ancient Egypt are

of little interest to the casual observer
who, lured by
be inclined to
the sumptuous weaves of the later centuries,
may
bits,
them by unnoticed.
it
In these precious
however, the
Nile country has bequeathed to us a living record of the weaving industry as

the arrival of
existed in northern Africa centuries prior to
in
Abraham
Egjpt,
when
that country linen
was ruled
wrapof
by the kings of the early dynasties.

pings
The
mummy
are
from Tarkhan
as others
earlier,
(No,
i.
745-718
in
B.C.)
the
same texture
of
from the same
place,
dating some two
thousand years
the
and these weaves represent the product
primitive hand-looms
artists.
shown
the
wall-paintings of
Egyptian
Such other
belong to a
fabrics
as
have survived
the
ravages of
time
much
is,
later period and are usually designated as
"Coptic"; that
Christianity.
work
of
native
Egyptians
who embraced
to
all
This term has been universally applied

despite the fact that
works of
typically
this period,
many
patterns are
pagan
true
in character.
The
absence of adequate records
in regard to their
sible
;
provenance renders accurate attribution impos"Coptic"
the
to
work,
however,
is
now
generally
assumed
be
that
distinguished
by Christian
motives and
rather crude bright colors.
The
various types of primitive weaves here exhibited have

I
SPECIAL EXHIBITION OF TEXTILES

been
therefore
grouped
"Coptic,"
under
Late
four
heads,
the
first
three
2.
Egyptian I.
Classical,
Mil
3.
Century;
"Coptic," Early Christian, III-VII Century;
Later "Coptic"
and Byzantine, VI-XIII Century the fourth Peruvian, Prehistoric.
In these groups the fabrics are of three distinct characembroidery, and weaving.
is
ters: tapestry,
The
first
group, the Late Classical,
represented by an ex-
ceptionally rare piece of tapestry, a Bacchic scene, from
Akh-
mim,^ or Panopolis
third century, vv^hen
(No. 2), produced probably about the the art of ancient Egypt had practically
disappeared before that of the late classical school.
Most
of
the works of this period, in tapestry technique, have patterns

in
monochrome, usually
in purple, blue,
sometimes brown wool
upon
warp threads
of
natural
linen,
with
details
of
the
pattern accentuated by weavers, following the trend of fashion, drew their inspiration
a delicate tracery In
white thread.
The
from Greek mythology, and depicted gods, in the present example Dionysos, with maenads and satyrs; nymphs, piping shepherds, and warriors were also popular, the figures usually in the nude or wearing the chlamys floating from the shoulders.
Subjects of this character were framed in borders of interlacing bands, such as are familiar in Roman mosaic pavements of the
day.
the period
In the second group, the Early Christian, which represents marked by the outbreak of the Diocletian persecution
rise
and the subsequent
of Christianity
under Constantine, a
decided change appeared in the character of the patterns. pagan themes survived for a time, they gradually gave
While
way
to
nimbed
the
saints
and Christian symbols.

is
The
striking feature of
work
of this period, however,
the introduction of color.

influence;
like
MVork from Akhmim shows marked Greek
Alex-
andria, Antinoe, and many other Nile cities its population was largely Greek, and Perseus, to whom a temple was erected, supplanted the native divinity. As stated by Meyer-Riefstahl, Art in America, vol. 3, No. 6, Nonnos, the greatest Graeco-Egyptian poet of the fourth century, a native of Panopolis, chose Dionysos as the theme of his greatest work (cf.
No. 2).
EARLY WEAVES While

the earlier patterns of interlacing bands in
fields,
monochrome,
with white outline on blue or purple
remained a popular
type that survived well into the Byzantine period, details
were
accentuated by touches of red, green, or yellow
a trend that
marked
splendor.
the
approach
flooded
the
of
an oncoming tide of
color
of
which
eventually
Occident
with
glow
Oriental
In the fourth century the adoption of the tunic as a popular
garment
for both sexes
marked an era
field
in the art of
ornamental
;
fabrics that opened a lucrative
to
the
weaver
shoulder
bands (clavi) terminating

{orbiculi)
in roundels,
and the four medallions

the garment,
this period into
placed
above the
hem
of
originally
Roman
less
badges of rank, degenerated at

all.
meaning-
ornaments and were worn by
In the tunics
shown
in
this collection the
ornaments are woven into the fabric of the

inserts
garment.
Often they are
which have doubtless outworn

to
their original fabric
and been reapplied
new
material.
Many
specimens of the collection are fragments of these bands, individual medallions showing a variety of interlaced band-patterns,
followed by those of the transition period with crudely drawn

figures^
and animal forms, alternating with baskets of

turn were followed by the nimbed saints.
fruit,
which
tine
in
In the fifth century, with Egjpt as a province of the Byzan-
Empire, there developed an increased demand for luxury

richly
hangings- with bold designs in
colored
tapestry
were
produced
wool.
at the different
weaving
centers,
and are represented

proscribed,
by Nos. 20-2I, while No. 17 shows a different style in tufted In works of this period,
when paganism was
designs are characterized by distinctly Christian motives (Nos.

21, 30).
1 The gauche figures that appear in many of these fragments indicate that inasmuch as the tunic was not a garment confined to the higher ranks, much of this was doubtless the work of untrained hands in the home and not the product of a commercial center, a type that finds its parallel in the elaborately embroidered blouses worn by the peasants of the Balkan States.
Hangings such
Museum and
as these are preserved in the Victoria also in the Lyons Museum.
and Albert

In the third group, the Later "Coptic" and Byzantine period,
we
find tunics
trimmed with polychrome medallions

tapestry.
of tapestry
and broad bands of woolen weaves (Nos. 27-28) quite different

in design
from the
It is interesting to note the
marked
similarity of pattern between these
works from
in
Akhmim and
Greek
figures
Antinoe and the pictured fabrics found

vase-painting
of the
fifth
the archaic the
century
B.
C, where
may
are clothed in sack-like garments covered with a surface orna-
ment of rhombic
outline.
Although
is
this
be accounted far
on technical grounds, the motive
nevertheless distinctively
also in tapestry
Greek
and
in character.
This type of design appears
in the silk
silk
it
weaves that were

the
now
sixth
beginning to appear.
While
Empire,^
had long been used by the nobles of the

until
Roman
was not
century that sericulture
became established through the able administration of Justinian, who sj'stematized the industry in the West. The looms of
Byzantium, no longer dependent upon the importation of the
furnish the sumptuous fabrics
raw material from China, found themselves in a position to demanded by the luxurious court
from
of the Empire, and in these fragmentary bits
Akhmim we
may
see
the
prototypes of the splendid weaves of the later
centuries.
The
51, 52,
roundel type of pattern, characteristic of Byzantine and

fabrics,
is
Alexandrian-
represented by
in
two
rare medallions, Nos.
from Egyptian tombs:

is
both of these the Persian inof the Asiatic
fluence^
dominant
type found in
in one a mounted horseman, Greek vase-painting* in the other

;
;
the Sassanian
^Tacitus records an order of the Roman Senate in the year 16 A. D. prohibiting the use of silk robes by men in Rome; and in 409 A.D. when Italy was invaded by the Goths under Alaric, the ransom demanded for the protection of the Eternal City included 4,000 silk
tunics.
- The Alexandrian industry has been interestingly treated by Von Falke (vol. i), and by Meyer-Riefstahl in Art in America (vol. 3, Nos. 5, 6). 3 It will be remembered that Chosroes, the Sassanian ruler, whose regime marked a highly developed art interest in Persia, conquered Alexandria in the year 616 A.D.
* cf.
Von
Falke, vol.
i,
Nos.
and
8.
EARLY WEAVES
bird form, typically Persian, bearing on
its
breast the crescent
of the Orient, while in
its
beak
it
carries the necklace
with three
pendent jewels, the emblem
of the Sassanian queen.

silk
The waralso
in-
ring horsemen of the roundel type of
weave were
worked
in
tapestr\% as
is
shown
is
in
No.
31.
Of
No.
exceeding
terest in this connection
a rare medallion.
53, of corre-
sponding design done
in
needlework.^
With
invaders
the decline of the

fell
Roman
Empire, mediaeval Egypt of
the seventh century

;
under the dominion of the Saracenic

changes that gradu-
and while the Bj^zantine influences lingered, the Arab

its
conquest marked
ally
imprint in the
patterned
stylistic
appeared
in
the
fabrics.
The
tribes
Arabs,
of
who
it
were scarcely other than rude Bedouin

by native
its
the
desert,
adopted the art of the lands of their conquest and developed

talent.
Arabic art
in
northern Africa, however, owes
inspiration rather to the Syrian element of the population
than to the Arabic; for prior to the Arab invasion (about 644) hordes of Syrians, fleeing before the conquering Heraclius
(about 616), had already crossed the borders and settled
in
northern Africa, and

evolved
a
style
it
that
was these artisans who with the Copts was the forerunner of the Hispano-
Moresque.influence,
Thus, with the practical withdrawal of Byzantine the roundel type of pattern, shown in its Egyptian
medallions of the
fifth
form
and
in the tapestry
and sixth centuries

in time
later in
the rare Byzantine silk of the eleventh century
(No. 55)
lent by the
Cooper
Institute
Museum,
the
gave
way
to
striped
silk
effects
represented
by
exquisite
Egypto-
Arabic
and linen weave of highly developed technique, a

transition to the mediaeval types illustrated
style that
marks the
in the textile fabrics of the
Middle Ages.
1 While fine needles of this period no longer exist, the use of the needle is proved by excavations dating from the Predynastic Period Dynasty (1200-1090 B.C.), (3400 B.C.); coarse specimens of the excavated at Lisht, may be seen in the Egyptian collection.
XX
- cf. window photographs of the Syrian church of El-Adra in the Fourteenth Egyptian Room (D. 5).
The
fourth group, Peruvian,
is
illustrated by a rare fabric
lent by the
American Museum of Natural History. The similarity between the "Coptic" work and that of the
(cf.
6o)^ has been referred to by Strzygowski, who claims to have discovered in a "Coptic" fragment of the Kaiser Friedrich Museum a character common in Chinese and Peruvian
Peruvians
art.
ties,
However
this
may
be, primitive designers in
remote
locali-
working along the same
line
and controlled by the same

at similar patterns.
is
technicalities,
might readily arrive
As
has
been pointed out by Chamberlain," creative power

to
not confined
any one
locality,
but seems to flood the world at certain times

in
in great tidal
waves, as for instance
the sixteenth century,
when Miyochin, Japan's

at the
greatest artist in metal,

in
was working
same time with Benvenuto Cellini
Florence and Rome.

of the specimens
The
is
technique of the Peruvian
work
in
many
tapestry,
although a variety of weaves have been found.

in
Crawford,^
edge
writing on the technical side of
this interesting
subject, states that while

is
"our debt
to
Asia for textile knowl-
too obvious to be disputed, the very philology of our

it is
industry forbids,"
marvelous that each problem of weaving

white
technique had been worked out by the natives of Pachacamac

centuries before the
first
man
set
foot on the shores of
Peru.
is
The
only date ascribed to these fabrics by the authorities

is,
"pre-Inca," that
prehistoric.
MUMMY
KHAN.
CLOTH, EGYPTIAN, FROM TARDYNASTY, 745-7 1 8 B.C.

1914.
XXIII
Purchase, Rogers Fund,
Three fragments of plain mummy cloth. Other remarkably fine weaves from Tarkhan, dating from the I-V Dynasties, may be seen In the First Egyptian Room (D. 3).
14.4.92,93,101
1 2
6x83^
in.
Jahrbuch der preuss. Kunstsammlungen 1903, p. 177. The Foundations of the NineHouston Stewart Chamberlain.
I,
teenth Century, vol.

3
p. xliii,
N. Y.
MCMXII.
M. D.
Museum
Crawford. Anthropological Papers of the American of Natural History, vol. XH, part HI, Peruvian Textiles.
C.
EARLY WEAVES
COPTIC
"COPTIC," LATE CLASSICAL

2
CENTURY A. D. TAPESTRY, "COPTIC" (AKHMIM).

I-III
iii
century.
of
Gift of George F. Baker, 1890. Panel from Akhmim, woven in two shades
brown.
Bacchanalian scene: Dionysos supported b}^ leopards; on either side a maenad and a satyr; in the lower corners
dolphins.
An
unusual piece of exceptional
interest.
The
purely
pagan theme, while Greek in character, shows marked Roman influence in the abandon of the dancers. Roman terracottas and glass of the period show many figures of this type. A similar piece is preserved in the Cooper Institute IVIuseum.
cf.
Mever-Riefstahl
in
Art
in
America,
vol.
5,
6.
9x
"COPTIC." EARLY CHRISTIAN
III-VII
3, Nos. 131^ in.
CENTURY
iii-v
3,
TAPESTRY, "COPTIC."
Two
century.
Purchase, Rogers Fund, 1909.

medallions worked in dark blue and purple with a design of interlacing bands in delicate white tracing. From the Fischbach Collection.
Medallions and bands of this monochrome ornament, while characteristic of the Early Roman Period, survived
for several centuries after the introduction of the
poly-
chrome work that developed under the influence weavers of Alexandria.

09.50.1460,1463
5
of the silk
13x13
in.
TAPESTRY. "COPTIC."
iii-v century. Gift of George F. Baker, 1890. A square woven in dark blue and natural linen with
a of
peculiar
fine,
technique,
in
producing
in
the
field
tracery
alternate threads of blue and white.

blue,
The
pattern,
woven
(Aphrodite?) Phrygian cap
has a central medallion with nymphs flanked by horsemen wearing the pointed above and below, other figures.
5x6
in.
TAPESTRY, "COPTIC."
The
;
iii-v century. Purchase, Rogers Fund, 1909. A square woven in brown and natural linen same
;
tech-
nique as No. 5. within the square
design
scarf
is
composed
in
of five circles
in
the central medallion
wearing the
Collection.
floating
or
chlamys;
a horseman the corners,
figures bearing trophies of the chase.
From
the Fischbach
09.50.1769
5y2^5H
F.
iii-iv century. Baker, 1890.
i"-
TAPESTRY, "COPTIC."
Gift of George A square worked
The design is in red on linen warp. composed of a central figure standing on a ground seme with small animals. In alternate corners appear sprays of Parts of the lotus leaves and smaller standing figures.
pattern are accentuated by outline embroidery. An ex'ceptionally interesting piece. While the provenance of this piece is attributed to Akhmim, the design has
marked
the
characteristics of the
workshops of Antinoe, where
motives in their patterns. heart-shaped device of the border is also typical of Antinoe.
Persian
weavers adopted
The
6y2 X
in.
TAPESTRY, "COPTIC."
iv-v century. Gift of George F. Baker, i8go. A square woven in deep violet and linen thread, with
a design of five circles framing a centaur and four beasts that resemble a combined Chinese dragon and Persian hipBaskets of fruit in the intervening spaces. pocamp. This piece illustrates the transition from the monochrome of the late classical to the polychrome type of the early
Christian.
II
X 14
in.
TAPESTRY, "COPTIC."
iv-v century. Gift of George F. Baker, 1890. Fragment of border. Two dainty figures and an animal woven in deep violet and linen thread with touches of
color.
9x16
in.
EARLY WEAVES
10
COPTIC
iv-v
TAPESTRY, "COPTIC."
century.
linen thread
Gift of George F. Baker, 1890. square worked in deep violet and

of
color.
with
the
in.
standing chlamys; one bears a shield. Late

touches
Two
figures
Roman
wearing work.
8x8
11
TAPESTRY, "COPTIC."
Gift of George
F.
iv-v century. Baker, 1890.
Two figures standing between Similar to No. 10. columns that support pointed spandrels. The neck trimming of a tunic illustrated by Von Falke, vol. I, p. 144, and dated seventh century, shows a row of
four figures standing beneath similar arches.
12 X I3><
in.
12
TAPESTRY, "COPTIC."
iv-v century. Purchase, Rogers Fund, 1909. A square woven in purple and natural linen with
touches
of yellow.
Centaurs central medallion with horseman. and beasts in the field. Badly worn. From the Fischbach
Collection.
09.50.1806
13
6>4x8
in.
TAPESTRY, "COPTIC."
Border.
iv-v century. Purchase, Rogers Fund, 1909.
Similar to No. 12.
Figures and animals.
From
in.
the Fischbach Collection.
09.50.181
^Yi X 10
iv-v century. Baker, 1890.
14
TAPESTRY, "COPTIC."
Gift of George
F.
square from Akhmim with a design of figures, animals, birds, fish, and flowers, worked in green, red, yellow, and indigo on linen ground.
6 X
15
63/2
in.
TAPESTRY, "COPTIC."
iv-v century. Rogers Fund, 1909. Purchase, Border woven with deep purple and natural
linen thread
in a graceful scroll pattern inclosing exquisitely
drawn
ani-
mal motives.
From
the
Fischbach Collection.
10
cf.

Forrer.
pi.
I.
Romische und byzantinische Seiden-Tex3 X
tilien,
09.50.1807
16
85^
in.
TAPESTRY, "COPTIC."
iv-v
century.
woven
in
1909.
An
exquisite fragment of beautiful technique,
purple and linen with floral devices in green, red, and yellow. In the center a charming animal motive. The design of interlacing bands, forming corner circles, suggests the mosaics in the palace of Theodoric at Ravenna (Von Falke, vol. I, p. 18). The square is bordered with a band From of scrollwork embroidered in fine white tracery. the Fischbach Collection.
09.50.1399
17
6y2xgyi
in.
LINEN WEAVE, "COPTIC."
v century. Purchase, Rogers Fund, 1909. Fragment of hanging. Linen weave worked in linen and wool loop technique. From the Fischbach Collection.
A variant
the
of this technique, probably an inheritance
from
Moorish weavers who
settled in Spain, appears in the
Gothic velvets of the fifteenth century. 09.50.2683

18
I9X27>4
in.
TAPESTRY, "COPTIC."
Gift of George
F.
v century. Baker, 1890.
Fragment of a large hanging from Akhmim. A bird, with head turned back, perched upon a spray of leaves. similar piece is illustrated by Forrer, Graeber-und Textilfunde,
pi.
XI,
fig. 7.
19 X 24
in.
19
TAPESTRY, "COPTIC."
v century. Gift of George F. Baker, 1890. Fragment of interlacing bands, similar to No.
18.
in.
6x233/2 20
TAPESTRY, "COPTIC."
v century. Gift of George F. Baker, 1890. Fragment of linen hanging with tapestry inserts. At the top a row of medallions with nimbed heads in poly-
TAPESTRY,
IIT
COPTIC
CEXTURY
20
TAPESTRY, "Coptic" V CENTURY
L l""X
riLD-N
EARLY WEAVES
COPTIC
II
chrome. Below, a broad border with horsemen and dogs in an arcaded framing, worked in black. The field of the curtain has scattered motives of fruit baskets, birds, and heads in medallions, in color. silk weave from Alexandria, of similar pattern, showing Samson and the Lion, preserved in the Victoria and Albert Museum, is dated sixth to seventh century A.D.
cf.
Lessing,
pi. pi.
No. 7; Von Falke,
vol. I, pi. 71, p.
54;
in.
Cox, "Lyons,"
VL
24^
X 39
21

tufted
v century. Gift of George F. Baker, 1890. Fragment of hanging in linen with pattern woven
wool-work.
in
design has a central medallion with a cross supported by two peacocks, the emblem of immortality.
of design, a variant of the horn motive Assyrian sculpture placed between two lions appears in the wall-paintings of the catacombs (cf. Giuseppe Wilpert, pi. 50), in the mosaics and textile fabrics of the Middle Ages, and later in the art of the Renaissance.
The
This type
in
found
39x49
22
in.
TAPESTRY, "COPTIC."
v century.
1912.
Linen hanging with tapestry inserts, woven in bright reds, blue, green, and yellow. At the top, a leaf border above two angels bearing a dish of fruit. On the field,
small scattered motives. 12.182.45
45 X 56
in.
23
TAPESTRY, "COPTIC."
v century. Gift of Maurice Nahman, 191 2. Shawl woven in wool with two borders of
in red
grotesque ani-
mals and four small medallions

12. 185.
brown.
37 X 102
in.
24
WOOLEN WEAVE,
VII
"COPTIC" (AKHMIM).
iii-
century. Gift of George F. Baker, 1890. Four fragments with geometric patterns in monochrome. Bands of this weave were used in ornamenting wearing
12
The lozenge pattern framapparel (cf. Nos. 27-28). ing a small central device, found in the tapestry, wool, and silk weaves of Egypt, is similar to that found in the archaic period of Greek vase-painting where the same type of design, doubtless borrowed from the East, appears in
the costumed figures.
Largest, 7^/2 x 9
in.
25

Gift of George
F.
iii-vii
century.
outlined
in
Baker, 1890.
Linen fragments with a lozenge pattern green wool embroidery (?).
8;Mxi7>^
16 X i6>:^
In,
in.-
LATER "COPTIC" AND BYZANTINE

VI-XIII
26
CENTURY
vi-vii
TAPESTRY, "COPTIC."
century.
in
Gift of George F. Baker, Five fragments woven with

on a red rose ground.
1890.
a lozenge pattern
tan
in.
Largest, 7>< x 8>^
27
TAPESTRY TUNIC, "COPTIC."

Gift of Maurice Nahman,
orbiculi.
vi-vii
century.
1912.
Tapestry worked in wool, complete with clavi and The garment is finished with a border of woolen weave showing the lozenge pattern, characteristic of the weaves of Antinoe. With the advent of the Romrin government, the the body, no Egyptian form of burial was abandoned longer swathed in mummy wrappings, was clothed in ordinary garments of the living. Roman tunics came into popular use about the fourth century, the earlier form hav;
ing shorter sleeves than the later. The decorative shoulder bands {clavi) and the medallions {orbiculi) near the hem, are distinctively Roman. There is no trace of this form of ornament found in Greek dress of the period. An early dated example of the tunic (388 A. D.) is shown in a silver shield of the Emperor Theodosius, preserved at
Madrid.
12.185.2
Length, 45
in.
EARLY WEAVES
28
LATER "cOPTIc" AND BYZANTINE

vi-vii
I3
TAPESTRY TUNIC, "COPTIC."
century.
Gift of Maurice Nahman, 1912. Tapestry woven in wool. Similar to No.

12.185.
27.
in.
Length, 45
vi-vii
29
TAPESTRY, "COPTIC."
Gift of George
Fragment
F. of child's tunic
century.
in rose red
Baker, iSgo.
woven
wool with
X 23
in.
clavi of tapestry in polychrome.

123/2
30
TAPESTRY, "COPTIC."
Gift of George
F.
vi-vii
century.
Baker, 1890.
fragments of medallions showing nimbed saints on horseback with attendant angels, on red ground.
silk
Two
This type of work shows the marked influence of the weaves produced at Alexandria in the sixth and
seventh centuries
A.D,
Diameters, 9 and iiYz
in.
,31
TAPESTRY, "COPTIC."
Gift of George
horsemen.
F.
vi-vii
century.
showing two
in.
Baker, 1890.
to
Medallion fragment similar
No.
30,
Diameter, 7
32
TAPESTRY, "COPTIC."
Gift of George
Medallion.
F.
vi-vii
century.
Baker, 1890.
chrome
beasts,
Red ground with design worked in polynimbed saint in the center surrounded by four showing marked Byzantine influence.
a
8>4 X 10
in,
33
TAPESTRY, "COPTIC."
Gift of George
F.
vi-vii
century.
in
in
Baker, 1890.
Circular medallion.
center on a field covered with lozenge pattern
Red ground with small figure worked
polychrome.
9x11
in.
14
34
TAPESTRY, "COPTIC."
Gift of George
Fragment
preuss.
of
vi-vii century. Baker, i8go. medallion. Red ground with confused
F.
figures in polychrome.
Strzygowski, in the Jahrbuch der
of
Kunstsammlungen 1903, p. 177, compares this type Coptic work with the prehistoric Peruvian art.
8 X 10
in.
35
TAPESTRY, "COPTIC."
Gift of George
F.
vi-vii century. Baker, 1890.
Four fragments of ornamental bands in rich coloring, with nimbed saints in medallions, figures and animals in Sleeve ornaments from tunics. bands. Length, 10 in.
36
TAPESTRY, "COPTIC."
Gift of George row
F.
one, a Five fragments of of four figures possibly representing the four apostles. Longest, 21 in.
vi-vii
vi-vii century. Baker, 1890. bands similar to No. 35. In
37
century.
black,
Gift of George F. Baker, 1890. Five fragments woven in red, white,
and green.
Scenes from the Nativity. An Alexandrian silk weave in the Vatican is dated by Von Falke as belonging to the first half of the sixth century, cf. Von Falke, Nos. 53 and 68. similar weave illustrating the story of Joseph and his brethren is preserved at Sens.
2^
38
X 4
in.

Gift of George
F.
vi-vii
century.
Baker, 1890.
Fragment of border; red ground with cross between two birds, a Christian symbol, woven in linen color and
black.
2^
39
X 3>4
in.
SILK WEAVE, "COPTIC"
(AKHMIM).
vi-vii
century. Purchase, Rogers Fund, 1907.

Medallion from a clavus or sleeve ornament.
Brownish
EARLY WEAVES
cream
color.
LATER
"cOPTIc"
AND BYZANTINE
green with design of palmette scrolls and heart forms in

clavus of this design, illustrated by Lessing, bears the signature of the Zacharias workshop. 111. Lessing, vol.
I,
pi. 3,
No.
2.
07-243-I
6x8
in.
40
(AKHMIM).
vi-vii
CENTURY. Purchase, Rogers Fund, 1907.

Medallion similar
111.
Von
to preceding. Falke, No. 59.
07-243-2
41
8x8j/.
in.
(AKHxMIM).
vi-vii
CENTURY. Gift of George F. Baker, 1890. Fragment of medallion with a variant of the tree-oflife motive woven in cream color on greenish brown.
Similar to preceding. 111. Lessing, vol. i, pi.
90-5-4
3,
No.
i.
4x5
in.
42
(AKHMIM).
vi-vii
tan on a red brown ground. The pattern is divided into two narrow panels; the upper panel containing a warrior and a beast, the lower a plant form supported by two birds affrontes. This is one of the earliest examples of a silk weave show-
CENTURY. Gift of George F. Baker, 1890. Fragment of clavus with design in
ing this bird motive.
A
43
similar
band
at Crefeld.
111.
Von
Falke, No. 63. 2 x ioy2 in.

?).
(AKHMIM
tan
vi-vii
CENTURY. Purchase, Rogers Fund, 1909. Fragment of clavus in brown on

medallion and conventionalized 09-225.5
floral
with portrait
border.
5x8K'
in.
44

CENTURY.
(AKHMIM).
vi-vii

Red ground with rhomboid pattern
;
inclosing central
No. 66; 111. Von Falke, medallions with bird forms. Forrer, Rom. u. byz. Seid., pi. Fischbach, pi, 4, No. i
VIII, No. 15.109
45
5-
6x6
in.

century.
(AKHMIM).
vi-vii
Gift of George
F.
Baker, 1890.
fram-
Red ground with rhomboid pattern in yellow ing central heart form. Forrer, Rom. u. byz. Seid., pi. X, No. I. cf.
90.5.5
4>^ X 8>^
in.
46

century.
(AKHMIM).
vi-viii
1907.
set
Tan ground
111.
with design of
i,
geometric figures and

u. byz.
angular arabesques
Lessing, vol.
Seid., pi.
in black outline.
pi.
5,
No. 2; Forrer, Rom.
VIII, No. 07.243.6
6.
53^ x7>4
vi-viii
in-
47
SILK WEAVE, "COPTIC."

century.
1909.
with pattern of small medallions in green, inclosing animal forms and the eight-pointed star motive. 5x7 in09.225.6
Tan ground
48
SILK WEAVE, "COPTIC" (ANTINOE).

CENTURY.
vi-viii
1907.
silk
Two
pattern,
fragments of blue and white

cf.
with medallion
in.,
I
Von
Falke, No. 37.
1x6
X S}i
in.
55
SILK WEAVE, BYZANTINE

XI
CENTURY
Cooper
Lent
bj
the
Museum
Union
EARLY WEAVES
49
LATER "cOPTIc" AND BYZANTINE

vi-viii
SILK WEAVE, "COPTIC."
century.
lines in ecru.
Gift of George F. Baker, 1890. Green ground with pattern of zigzag
l^
50
X I2>4
in.
SILK WEAVE, EGYPTO-ARABIC.

Gift of George
F.
x-xi
century.
Baker, 1890.
3>4 x7>^
in.
Striped fabric in dull pink.
51
SILK WEAVE, EGYPTIAN,

vi-viii
ALEXANDRIAN
?).
century. Gift of George F. Baker, 1890. A Fragment of medallion woven in red and tan. serpentine vine border framing a mounted horseman spearing a beast. The pose of the horse and rider is that shown
in
gems
of the fourth century

cf. also
(cf.
Von
Falke, No. 79).

the
floating
The horseman wears

shoulder scarf,
the long trousers and
Von
Falke, No. 8.
5^
52
X 6
in.
SILK WEAVE, EGYPTO-PERSIAN.

tltry.
vi-viii
cen-
Gift of George F. Baker, 1890. Fragment of medallion woven in

Roundel pattern framing breast the crescent and in
its
blue and dull pink.
a standing bird, bearing
on its beak a jeweled necklace, an
emblem
cf.
of Sassanian royalt}'.
i, pi.
Lessing, vol.
22,
Von
Falke, Nos. 100- loi.
53
5^ EMBROIDERY, "COPTIC" (AKHMIM).

CENTURY. Gift of George
F.
X 8
in.
vi-viii
Baker, 1890.
Medallion with two mounted warriors clad in armor In the foreground an and carrying shields and lances. animal form. The whole bordered with a band of lotus ornament. The design is worked in neutral tints, with details accentuated in black. The work is done in the long and short stitch. Forrer, Rom. u. byz. Seid., pi. XV, No. 6. cf.
7x8
in.
54
TAPESTRY, EGYPTO-ARABIC.
Silk
x-xi
century.
in
191
i.
and linen weave of parallel bands of ornament
Animal forms in medallions highly developed technique. w'oven in red, blue, and yellow.
11.138.1
18x21
in.
55
SILK WEAVE, BYZANTINE, xi century. Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5. Roundel pattern with elephants, griflfins, and hippocamps woven in black and outlined with blue, on a red
ground.
Exhibited
in
the Paterson Historical Exhibition
rare example of mediaeval work inof Textiles, 191 5. The hippocamp as a spired by earlier Sassanian models. motive in textile art is recorded in the rock sculpture of Takibostan (about 600), where it appears in the costume fabric of the sixth of the Sassanian ruler Chosroes II.
found in a Greek or Roman cemetery in Upper Eg}'pt and preserved in the Victoria and Albert Museum, also shows this pattern (cf. Cole, fig. 3), and
to seventh century
there is a similar piece from the tomb of St. Sivard, preserved in the Cathedral at Sens. The elephant and pegasus figures appear in fragments preserved at Berlin and in the
Bargello, Florence.
111.
Badia
Lessing,
Coll.,
pi.
pi.
XVI, No. 49; Von
Falke,
No.
in.
237
61.
12^
56
X 20
BROCADE, SYRO-EGYPTIAN.
Fragment
1908.
xiii
century.
of buff brocade with a design of peacocks in pointed oval fields framed by bands of latticework with small medallions inclosing animal forms.
08.109.1-a
8x11
1300.
in.
57
BROCADE, SYRO-EGYPTIAN. about

tern
1908.
Buff and green with serpentine bands of meander patforming pointed oval fields charged with adorsed The zigzag device in the bands of parrots and griffins.
o o
o <
a: a:
t^
l/~;
TILD
EARLY WEAVES
this pattern appears
PERUVIAN
not only in Asiatic characters of Greek
vase-painting, but as well in Egyptian wall-painting.

stylistic tree
The
form between two animal forms is a variant Another piece of this of the horn or tree-of-life symbol. fabric is preserved in the Cluny Museum. 111. Von Falke, No. 362.
08.109.1-b
10 X 16
in.
PERUVIAN
PREHISTORIC
58
EMBROIDERED TAPESTRY, PERUVIAN,

historic.
pre-
Lent by the American Museum of Natural

tory, 1915.
His-
Shawl-like garment of cotton, embroidered in vicuna Dark ground with regularly distributed figures of wool. the puma god, half cat, half human, in polychrome. Found with a mummy in an ancient grave at Inca, Peru.
40 X 95
in.
59
TAPESTRY PONCHO, PERUVIAN

CAMAC).
prehistoric.
(PACHANatural
Lent by the American Museum History, 1915. Tapestry weave in polychrome.
of
23^8 X4i3^
in.
60
TAPESTRY, PERUVIAN,
prehistoric.
polychrome.
Purchase, Rogers Fund, 1909. Four fragments of tapestry weave

largest of these
is
in
The
of a later period than the others of the geometric type of pattern, and the figures and animal forms
show
marked
similarity to Coptic
(cf.
work
of the sixth to
seventh centuries,
No. 34.)
II.
EUROPEAN TEXTILES
the passing of
the
WITH
fabrics
stylistic
roundel type of pattern
which
characterizes
the
find
Byzantine
in
and
early
mediaeval weaves,
of
we
the Mediterranean
the thirteenth
and fourteenth centuries a marked
change; horsemen and warriors disappear and are sup-
planted by variants of the Assyrian horn motive, a tree between
two rampant
lions or cheetahs,
which
in its
modified form has
developed into a highly conventionalized plant form supported
by birds, gazelles, or
in oval fields
griffins.
These,
in stately pairs, are (cf.
placed
framed by ogival bands
are combined with palmettes in
No. 57) or, again, A an open field (No. 61).

while the figures
is
gradual drawing away from the plastic lines of the earlier

patterns begins to
tain a
make
itself felt;
still
main-
formal dignity, the treatm.ent

freedom.
less
archaic and shows

prevailed
in
greater
This
type
of
pattern
the the
weaves of the Eastern Mediterranean fourteenth century, while at the same time,
section
well
into
in the
wake
of the
Arabs
and
moved westward, patterns of interlacing bands combined with Cufic or Neskhi inscriptions were evolved, which were the basis of the Hispano-Arabic style. In northern Italy,^ in Lucca, and later in Venice - there
as they
stars
1 While Lucca was the center of the weaving industry in Italy in the thirteenth century, the Florentines were weaving silk in the fourth century. The church of St. Paulinas at Trier has in its treasury a bearing a fabric from the shroud of that saint who died in 358
Florentine mark.
- Between from Lucca
13 10
to
and 1340 some twenty families of weavers migrated Venice and there established a silk industry. 20
EUROPEAN TEXTILES
developed
in
21
of
a
distinctly
the
fourteenth
century weaves
different character.
In these the designers seem to have freed

;
themselves from the fetters of tradition
casting aside
all
con-
vention, they revel in the displacement of line and symmetry,
and the old
style,
based on circular forms, gives way.

is
fresh
treasury of form
of motives in
drawn upon,
a vein rich in a
new
;
variety
which the central thought is action the repose marked the earlier patterns is lost in a maze of warring birds and beasts, some in fetters, others springing from windthat
tossed branches.
illustrated
Out
of this confusion emerges another type,
by the exquisite fabric from the Badia Collection
(No. 83) lent by the
Museum

a diagonal
in
Cooper Union. In this we find ment fully developed, a scheme

the perpendicular shows a
scheme of orna-
which a divergence from

feeling.
its
marked Oriental
to
The
source from which this marked change in style drew
inspiration
may
be traced
the
Far East.
The
thirteenth
;
century marked an epoch
in the
development of commerce
the
return of the Crusaders and the subsequent opening up of

trade routes with the East established increased trading
ties in
new
facili-
the Mediterranean, while at the same time the Hanseatic
League, formed about 1255-1260, did
much toward
lines
in
creating
also
commercial activity
remarkable
in
the northern cities.
There was
the
development
along
these
Far East
as well
where Mongol rule extended not only over China, but

over the greater part of Asia.
In the fourteenth century the
looms of China were weaving fabrics for the western market, a fact proved by the authentic record of seven hundred pieces
of stuffs
sented
to the
which an embassy from the Mongolian Khan preSultan, Nasir Eddin (c. 1323), ruler of the
in Eg}'pt.^
Mamelukes
of
of
The
is
extent of the commercial activity
China
in
the Occident
further attested by the presence
many Far Eastern

Europe.-
fabrics of this period in the

earliest
church treasPerugia, a
uries of
1 cf.
The
dated piece
is
at
No. 387, a fragment of Chinese silk fronn an Egyptian tomb. Regensburg counts among its treasures a whole set of chasubles
22
fragment of Chinese gold brocade from the shroud of Pope

Benedict XI,
who
died in that city in 1304.
While this Oriental influence is strongly marked in many of the weaves of northern Italy, it is perhaps most noticeable in the work of Lucca and Venice. Take, for instance, the warring birds and beasts, the bird often of the fonghoang t^pe (No. 77), the imperial phoenix of China, with its talons and
waving tail plumes; the occasional archer with bow and arrow of the Sassanian warriors, familiar
Alexandrian weaves;
or,
the
Persian
in the early in the
again, the Chinese cloud motive

in
vestments of the censing angels
No.
80, all
elements entirely
of the fabrics
in
foreign to European art of the period.
Many
formerly attributed to the looms

the silk industry
of Palermo,
in
where
Sicily
was
late
is,
established
the
twelfth century
by
Roger
II,
have of
been attributed to the workshops of
northern Italy, that
native
work
is
inspired by Chinese models
as above stated, rather than that of
Palermo, the claim being
made
duced
that the type of pattern

in Saracenic Sicily.
far too late to have been pro-
In the fifteenth century
we
find
the abrupt diagonal style
gradually reverting to the formality of the perpendicular, and

the sinuous trunk and pomegranate patterns (cf. No. 124 ff.) marking the evolution of the pure Italian style which emerges triumphant from the conflicting foreign elements of the earlier The luxurious court of the Medici demanded rich period.
fabrics
and
it
was
at this time that the velvet
weaves of north-
ern Italy appeared upon the market.
In these early Genoese
and Venetian velvets the pattern
is
often a delicately lined leaf
form of reversed curves inclosing a central ornament, usually the pomegranate or cone motive (No. 96 ff.), and these large patterns were used alike for interior decoration, vestments, and
costumes.
The
schweig,
fabrics.
beautiful fabrics illustrated in the paintings of the early
in Chinese brocade, while at Perugia, Berne, BraunDanzig, Stralsund, and Brandenburg are preserved vestments of the fourteenth century either entirely or in part of Chinese
and dalmatics
EUROPEAN TEXTILES
Flemish masters, and formerly attributed without doubt imported from
Italy.
23
to native looms,
were
While Ghent and Bruges

is
were centers of the cloth industry, there
no record of the
existence of large silk works; and, inasmuch as the merchant
princes of these cities carried on an extensive trade with Italy
and the Near East,
it
need not be assumed that fabrics such as
are illustrated in the works of the northern painters were the
output of Flemish looms: they are far too sumptuous in color
and texture and too elegant

by a people whose art
is
in design
to
have been produced
characterized by simplicity of line, and

often
pitched
in
whose color scheme
is
minor
key.
The
area of Italian influence was also broadened by political dis-
turbances in the northern provinces, which drove

to other localities;
many
artisans
I
while the successful campaigns of Francis
and the rapid

artists
rise of
Spain to an era of opulence attracted the

to
and scholars of Italy
foreign
courts.
Spain,
long
subject to the
Moorish
In
art of her conquerors, could hardly have
evolved a style so akin to that of Italy without the inspiration

of Italian models.
fact,
the close similarity between
the
pomegranate weaves of these two countries renders accurate

attribution well-nigh impossible, although the occasional lattice
device and the profusion of gold
is
perhaps more indicative of
Spanish than of Italian work.
In the sixteenth and seventeenth centuries, with the develop-
ment
of household
arts,
a subtle
refinement began
to
make
_^
itself felt;
whereas originally no distinction was made between

interior decoration
fabrics
employed for
in
and those intended for

closely
costumes, the same large patterns being used for both, there
now
appeared
portraits,
velvet
weaves of small,
in
arranged motives such as are illustrated
the
works
of
Van
Dyck and Frans
Hals, while the highly developed ogival or
mullion type of pattern was reserved for upholstery.

In France, the native weaving industry during the fourteenth
and
fifteenth
centuries
received
inspiration
from Italian imFlorence
migrants,
refugee
weavers
from
Lucca and
who
plied their craft in scattered settlements in the southern districts;
24
but with the establishment of the

of Louis
Lyons factory during the reign

France an industry that even
Italian fabrics, however,
XI, there developed

all
in
today rivals
foreign competitors.
in the
were
still
popular
French court throughout the reign of
Louis XIII, but with the accession of Louis
XIV,
national
industries sj^stematized under court patronage entered
upon an
and
as
era of prosperity.
costly laces
Costumes fashioned of
daj^
richest brocades
were the order of the
and extravagance knew
no bounds.
Court designers of the highest order, such men
Berain and Le Brun, were employed to draft patterns for the
newly developed "points de France," and the exquisite charm

of
these designs
who produced
fabrics
was a source of inspiration to the weavers, marked by an elegant symmetry and
balance that have never been excelled.

industrial arts continued to flourish
;
Once
taste
in
established,
the
and the weaves of Lyons

the
record
century.
the
ebb and
flow of
French
eighteenth
The
severe
religious fervor of Louis
XIV
during the later years

affairs,
of his reign
withdrew
life.
his attention
from public
and the
in
regime of the royal household was reflected
every
phase of court
Thus
it
is
that the death of this
monarch
marks a new epoch, a reaction
popular mind that left its Wearied with the monotony of religious routine, the court demanded the brilliant life of form.er daj's; and with the advent of the young king the silk weaves, wrought to meet the current demand, show a marked
in the
imprint on the art of the nation.
digression
in the naturalistic floral effects of the early rococo type.
from the dignity of the seventeenth-century patterns Occareplaced
sional
effects
baroque bands, which were soon
by ribbon
style of the
and garlands, but dimly suggest the ornate
Louis
XIV
period.
During
the
first
half of the eighteenth

art; once
century a
new
element appeared
in
European
in
more
the Oriental influence
was apparent
the choice of motive, a
type of pattern that developed subsequent to the arrival of a

visiting
embassy from the East and the establishment of the East
India Company, both potent factors in the trend of popular
EUROPEAN TEXTILES
taste.
25
As
the
century
advanced,
fashion
demanded
lighter
to
fabrics with daintier patterns
and the art of weaving turned

;
that of ceramics for inspiration

terns that
with the Dresden
floral
pat-
now
appear
we
find garlands, bow-knots, birds,
and
garden motives drawn with the exquisite charm peculiar to

the French draughtsman.
But again
in
in the last
style.
quarter of the
century comes a marked divergence of

painter,
David, ^ the court
returning from a sojourn
Italy brought
with him
from the Pompeiian treasures. The court, ever ready to welcome a novelty, at once adopted classic modes and demanded fabrics to correspond. In costume, silks in
fresh
inspiration
striped effects
and Indian muslins became the vogue, while
In
upholstery the classic type of ornament was dominant (cf. No.
234), a style that reached its height in the First Empire and extended its influence far beyond the borders of France.
While
of
principal
industrial
continental
weaving flourished in the smaller hamlets Europe during the eighteenth century, the
interest
commercial
centered
in
Lyons,
although
(cf.
equally beautiful weaves were produced in Venice
Nos.
236, 238).
In England,
also,
during the second quarter of

-
the century, the brocades of Spitalfield
gained great popularity

to
and for a time proved a dangerous
rival
those of France.
close
The end
the
of
this
century,
however,
marked the
of
brilliant era in
industrial arts that has never been surpassed,

in
decadent art of the nineteenth century lacking
every
detail the grace
and charm that disappeared with the destrucat the
tion of the
1
French industries
time of the Revolution.
traces of the classic style are found in art of the Louis period, David, an artist usually associated with the Napoleonic era, did much through his early work, especially his Oath of the Horatii, painted in 1784, toward increasing the vogue for the antique.
While
XV
2 Patterns for these silks designed b\- Anna Maria Garthwaite, are preserved in the library of the Victoria and Albert Museum, London.
26
MEDIAEVAL
X-XV CENTURY
6i
BROCADE, ITALIAN OR SICILIAN,

tury.
xii
cen-
1907.
Design of Buff on green with details in silver thread. palmettes alternating with parrots and gazelles, arranged similar fragment at Diisseldorf is attributed in pairs. to Lucca by Von Falke. cf. Meisterwerke Muhammed, pi. 183; Von Falke, Nos.
277, 278, 279; Errera, No. 38. Exhibited in the Paterson Historical Exhibition of
tiles,
Texin.
1915.
07.243
9/4 X lyVs
xii
62
BROCADE, ITALIAN OR SICILIAN,

tury.
cen-
Lent by Dr. Denman W.

Damask
Ross, 191
5.
pattern in mauve with details brocaded in silver Design of palmettes with parrots and antelopes. thread. Exhibited in the Paterson Historical Exhibition of Textiles,
1 91 5. L.I 520
X 145^
in.
63
BROCATELLE, GERMAN, REGENSBURG

xii-xiii
(?).
century. Purchase, Rogers Fund, 1909. Fragment woven in two shades of tan,
the pattern, pairs
of birds, in
brown. From the Fischbach Collection, cf. Errera, No. 6. i^ X 09.50.990
7 in.
64
BROCATELLE,
GERMAN,
1909.
REGENSBURG.
The
speci-
ABOUT 1300. Purchase, Rogers Fund,
Tan-colored ground with ogival pattern in gold. cone motive alternates with pairs of birds. A similar
f>
rmmW
61
BROCADE, ITALIAN OR SICILIAN

XII
CENTURY
Pu. 'Li:
^"ÔR.
F^;
EUROPEAN" TEXTILES
MEDIAEVAL
27
men
the Fischbach Collection. Specimens of this fabric are preserved in the Victoria and Albert Museum (No. 775), Musee Suermondt at Aix la Chapelle and the Nuremberg Museum.
111.
at Diisseldorf.
From
cf.
Coll. Badia, Errera, No. 13.
pi.
XVII, No.
15;
Von
Falke, 316;
09-50.937
7x7
SERGE,
in.
65
WOOL AND COTTON

(LUCCA).
Xm
ITALIAN
CENTURY.
Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5. Black ground with birds and griffins symmetrically combined with foliated scrolls. L. 1533-20
10 X 141/,
xiii-xiv
in.
66
BROCADE, SICULO-SARACENIC.
tury.
cen-
Lent by the Museum for the Arts of Decoration AT Cooper Union, 1915.
Fragment: black ground with design
The
in gray green. pattern consists of small motives compactly arranged,
urns supported by griffins and birds. 111. Errera, No. 20.
L.I533-I9
67
8x22
in.
BROCADE, ITALIAN, xm
Design banding inclosing an eagle in an eight-pointed star device. Italian w'ork under Arabic influence. 111. Von Falke, No. 273. 4x 10 in. 07.243.3
of geometric
century. Purchase, Rogers Fund, 1907. Fragment woven in dull red and tan (white?).
68
BROCADE, ITALIAN OR SICILIAN.

CENTURY.
xiii-xiv
Lent by the Museum for the Arts of Decor.\TioN AT Cooper Union, 191 5.
Woven in reddish violet and yellow. Design an arrangement of grape leaves and scrolls with set medallions,
28

containing peacocks and eagles, the latter bearing a scroll inscribed with the Italian word Grifone. Originally in the J. Pierpont Morgan Collection,
Stanislas Baron Collection preserved at Diisseldorf.
;
fragment of
this
fabric
is
L.1533.11
113^ X l^Yz
xiii-xiv
in.
69
PRINTED LINEN, RHENISH,

1909.
century.
Fragment of linen with design in black, two pointed roundels inclosing alternate patterns of birds and pseudoFrom the Fischbach Collection. Arabic letters. Fragments of this stuff are preserved in the Museum of Nuremberg, the Victoria and Albert Museum (No. 590), and the Errera Collection (No. 402) at Brussels.
09.50.1164
2x4^^2
xiii-xiv
in.
70

PuRCH.ASE, Rogers Fund, 1909.
century.
Grayish ground, with design printed in gold. Griffins with serpentine necks so interlaced as to form palmette From the Fischbach Colmotives combined with scrolls.
lection.
111.
Coll. Badia, pi. 14,
No. 250.
4 x 7
xiii-xiv
in.
09.50.1163
71

1909.
century.
Blue ground with pattern In silver. Design composed of scrolling bands framing rampant lion, alternating with From the Fischbach rayed disks and serpentine griffins.
Collection.
09.50.1093 72
6 X 141^
xiii-xiv
in.

century.
From
Blue ground with pointed roundel patterns in silver. the Fischbach Collection. 8>4 X 10 in. 09.50.1165
EUROPEAN TEXTILES
73
MEDIAEVAL
xiii-xiv
29

tion AT Cooper Union, 191 5.
century.
Lent by the Museum for the Arts of DecoraWeave in natural linen with roundel pattern with birds. Coll. Badia, No. 245, L.1533.8
74
design
printed
in
blue
9 X II
xiii-xiv
in.

TioN AT Cooper Union, 191 5. Pinkish ground with same design
lection.
century.
Decor.\-
Lent by the Museum for the Arts of

as
No.
70.
Badia Col9 X isyi

in.
L.I533-IO
75
BROCADE, ITALIAN, VENETIAN,

century.
early
xiv
Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5.
Green satin ground brocaded in gold with alternate motives of a phoenix and a lion, the latter emerging from a group of rayed crescents and attacking a doe.
From the Badia Collection exhibited in the Historical Exhibition of Textiles at Paterson, 1915. Specimens of this fabric are preserved in the Victoria and Albert
;
Museum
Paris,
(No. 781),
in
and
in the Musee Nuremberg (No. 515).
des A.rts decoratifs,
A
pi.
pi.
similar piece in
the A'larienkirche at Danzig.

111.
cf.
Hinz, pi. L.1533.2
Errera, No. 55, and Coll. Badia, XLIV, No. 3; Fischbach,
XXIX,
39,
No. 8;
2.
in.
No.
12^x18
first
76
BROCADE, ITALIAN,
half of
xiv century.
1912.
Mauve satin ground with design of flying birds and conventionalized floral sprays in gold and dull pink. This fabric is preserved in vestments at Cologne and Halberstadt.
111.
Von
Falke, No. 388
Fischbach,
pi.
262.
12.55.4
8x12
in.
30
77
BROCADE, ITALIAN (LUCCA),

xiv century.
second half of
Tan satin ground brocaded in gold and touches of blue. Design of castle with warring lion and phoenix. At the From the base a band of Neskhi inscription with rays. Fischbach Collection.
cf.
Von
Falke, No. 450.
09.50.980
Sy2 X
14. in.
78
BROCADE, ITALIAN (LUCCA),

xiv century.
second half of
Purchase, Rogers Fund, 191 2.

Green satin ground brocaded in gold design of symmetrically placed palmettes and griffins with flaming manes. similar fabric in a chasuble at Danzig. 111. Von Falke, No. 433^3 X 195^ in12.55
79
BROCADE, ITALIAN,
Fragment
xiv century.
1909.
The
of light red satin ground brocaded with gold. design shows two recumbent stags beneath a rayed device with branching bands of ornament. From the Fisch-
bach Collection. 111. Dreger, pi. 108; Fischbach, 09.50.1619
pi.
35,
No.
2.
in.
6>4 X 91^
80
BROCADE, ITALIAN,
Mauve
satin
end of xiv century.

1915.
ground brocaded in gold with nimbed angels bearing thuribles and emblems of the passion, the spear and nails; the intervening spaces seme with stars. Similar pieces with other angels bearing a cross are preThe influence served in the Berlin and Lyons museums. of the Orient is shown in the "Tartar cloud" device and
crescents that appear in the robes of the censing angels. Cole describes this fabric as "part of a liturgic vestment
for days of
mourning"
(p.
66).
<^<r:
-Xt^STfe--';-
*l
m:%
80 BROCADE, ITALIAN' END OF XIV CENTURY
85 BROCADE, ITALIAX XIV-XV CENTURY
Lent by H. E. Wetzel
EUROPEAN TEXTILES
III. Coll. Badia, pi. 22, No. 7 Falke, 464; Cox, pi. 47, No. i.
MEDIAEVAL
;
3I
Lessing,
pi.
83
cf.
Von
in.
15.126
81
6j4 X 23
BROCADE, ITALIAN,
tury.
second half of xv cen-
in gold with a symmetrical design of formal leaf motives balanced by pairs of leopards and eagles. In the intervening spaces, rayed
Purchase, Rogers Fund, 1909. Gray violet satin ground brocaded
crescents.
Diisseldorf
lection.
111.
Similar fabrics preserved in the museums of and Nuremberg. From the Fischbach ColFalke, No. 476.
Von
09.50.979
82
10 X I9>2
in.
DAMASK, ITALIAN (LUCCA), Lent by the Museum for the
xiv century. Arts of Decora-
tion AT Cooper Union, 191 5. White silk damask of fine quality. The design consists of rows of large swan-like birds, each with a chain about its neck and a sprig in its beak.
While
the bird resembles those found in early Sassanian
motive to which the chain is attached is evidently inspired by a Chinese model. The formal rose spray appears again in the interesting fabric with eagles, No. 85. From the Badia Collection. Exhibited in the
art, the cloud-like
Paterson Historical Exhibition of Textiles.
L.1533
83
->^
in-
Decorâtion at Cooper Union, 1915. Brocade woven in greenish gray with slanting pattern of slender sprays terminating in palmettes combined with birds originally woven in gold and white. A typical example of Italian work inspired by a Chinese model. The bird motive, the fonghnang or Chinese phoenix, is an imperial emblem. A similar piece in the Victoria and Albert Museum, London. 111. Errera, No. 74; cf. Coll. Badia.
L.1533.3
12 X 22
in.
BROCADE, ITALIAN, xiv-xv century. Lent by the Museum for the Arts of
32
84
BROCADE, ITALIAN,
xiv-xv century.
Purchase, Rogers Fund, 1909. Fragment woven in dull pink damask ground
obliterated),
(pattern
From
of.
with individual lion and peacock motives. the Fischbach Collection.

7/^ X 10
in.
Errera, No. 40.
09.50
85
BROCADE, ITALIAN,
xiv-xv century.
Lent by H. E. Wetzel, 1915. Mauve satin ground brocaded
in
gold,
with a design
of eagles bearing a scroll of pseudo-Arabic letters, alter-
nating with foliated medallions framing a seated animal form. Fabrics of this type are usually referred to as the products of Lucca \ôn Falke mentions that weaves of violet, red, and green satin ground with pattern in gold are typically Venetian. 111. Lessing, pi. 199, No. 3; Fischbach, pi. 85; cf. Von
;
Falke, No. 492.
L.1521
86
8 X 22^/2
in.
GOLD BROCADE,
CENTURY.
ITALIAN,
second half of xv
Gray
satin ground, design in gold of conventional leaves
pi.
and flowers, with dogs attacking birds. III. Badia Coll., pi. VI, No. 21; cf. Fischbach,
55,
in.
No
Von
Falke, 479.
L.1533.22
87
10 X 21
BROCADE, SPANISH
(?).
xiv century.
Purchase, Rogers Fund, 191 5. Blue ground with pattern woven

foliated scrolls.
111.
in gold. in
Lotus disks
stems of
i;
charged with adorsed hares framed

Cole, No. 48;
cf.
ogival
80,
Fischbach,
pi.
No.
Von
in.
Falke, No. 343. 15. 1 26.2
9/i X i6>4
EUROPEAN TEXTILES
88
MEDIAEVAL
xiv century.
1912.
33
DAMASK, SPANISH
(?).
White satin ground with brocaded arabesques, floral motives, and inscribed scrolls; regularly placed formal design and spiders in gold.
Kgm.
Similar piece in Victoria and Albert Crefeld, No. 96.

111.
Museum, No.
194.
49.
Errera, No. 62;
cf.
Lessing,
pi.
12.55.2
9>^ X 12
xiv-xv century.
1909.
in.
89
BROCADE, SPANISH
(?).
Blue ground with pattern woven in gold thread. The design has circular medallions edged with foliation and four masks charged with two griffins drinking at a central The field of the fabric is covered with small fountain.
leafy scrolls.
An interesting piece; while the griffins are distinctly Chinese in character, the fountain and masks are typical European work influenced by the Renaissance motives.
Orient.
Falke, No. 351, who attributes it to Persia; 113-b, who considers it Spanish-Moorish; and Fischbach, pi. 82, No. 2, Italian or Spanish.
111.
Von
Lessing,
pi.
09.50.1028
8 X ili^
in.
90
BROCADE, SPANISH OR ITALIAN,

tury.
xiv
cen-
Lent by the Museum for the Arts of Decoration AT Cooper Union, 1915.
Dark
ized
blue ground with

scrolls
design
in
gold
conventional-
combined with a bird motive, a A variant of the Chinese fonghoang, arranged in pairs. fragment of this fabric is preserved in the Cathedral at
leaves and
Sens.
111.
Cole,
pi.
47;
cf.
Coll. Badia,
No. 44; Errera, No.
58.
L.I533-32
12x15
in.
34
91
DAMASK BROCADE,
SPANISH, xv century. Lent by the Museum for the Arts of Decor.\-
TioN AT Cooper Union, 1915. Blue ground with all-over pattern of leafy scrolls in same color, inclosing arms of the Patala family, originally
woven
111.
in metal.
Badia Coll., pi. 108, No. 6; cf. Lessing, L.I533-25
XXVI,
pi.
198, b; Errera,
No. 56; Fischbach, No. 93.
pi.
175^x18
in.
92
VELVET BROCADE, ITALIAN,

of xv century.
second quarter
191
5.
Crimson satin ground with pattern in cut velvet pile of the same shade. The design shows a diagonal arrangement of branching sprays and conventionalized floral forms combined with a flying bird motive wrought in
silver.
15. 125.5
12^ X24
in.
93
BROCADE, ITALIAN (VENICE), second quarter OF XV CENTURY. Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5. Green satin ground, bold diagonal design of palmette
and
forms in gold with touches of pink. Badia Coll., pi. XX, No. 84; cf. Von Falke, 511 Lyons, pi. IX, No. 2. 12^ X26 in. L.1533.21
floral
111.
94
VELVET BROCADE, ITALIAN (VENICE),
sec-
ond half of XV CENTURY. Lent by the Museum for the Arts of Decoration AT Cooper Union, 19 15.
Green
and leaves
cf.
satin
in velvet
Diagonal design of ground. with details in gold thread.
palmettes
Von
Falke, 510.
L.I533-3I
19x24
in.
r^
.*^
-'
"V.-.
r^ ^
sSii
3r
Z.f''^
93
[,cnt h\
tin-
BROCADE, ITALIAX, VENETIAN

XV'
SECOND QUARTER OF
CENTURY
at
Museum
for the
Arts of Decoration
Cooper Union
EUROPEAN TEXTILES
RENAISSANCE
35
RENAISSANCE XV-XVI CENTURY

95

of xv century.
second quarter
1912.
Cloth of gold with broad serpentine bands alternating with branches of large leaf forms in crimson velvet, and small trumpet blossoms woven in two heights of cut pile. cf. Lessing, pi. 214; Von Falke, No. 510; Errera, No.
129.
12.69.18
19x36
xv century.
1915.
in.
96
VELVET, ITALIAN,
Lent by Mrs. Charles T. Barney,
Two
pieces of crimson velvet with
delicately
traced
patterns of the conventional five-lobed leaf ornament framThe surface texing the foliated pomegranate motive. ture is cut pile, the design in the ground weave of crimson
silk.
cf.
Von
Falke, No. 504.
L.1460.24-25
23^^x28^ 21^ X 30
xv century.
in. in.
97
VELVET, ITALIAN,
Crimson
111.
Lent by the Estate of Theodore M.

velvet similar to
Davis, i9I5-
No. 96.
Errera, No. 177.
L.1474.302
98-100
24x25^
xv century.
1915.
in
in.
VELVET, ITALIAN,
Three
pieces of
1, 22,23

light
red velvet similar
design
to
preceding. L.I 460.2
4>^x5oin.
9^x37
1054 X 39
in.
in.
36
loi
VELVET, ITALIAN,
xv century. Purchase, Rogers Fund, 1907.
Crimson velvet with design similar to No. 96, but with elaborated detail.
07.62.8
75^
X20
in.
102
VELVET, ITALIAN,
xv century. Purchase, Rogers Fund, 1909.

Blue velvet with pomegranate design similar
to
Nos.
in.
96-101.
09.50.1014
103
9/^ X 2354
VELVET, ITALIAN,
From
xv century. Purchase, Rogers Fund, 1909. Pomegranate design with heavy Dark blue velvet.
division lines.
09.50.995
10 X 23
in.
104
VELVET, ITALIAN,
xv century.
Davis, 1915.

Panel of dark, smok}', blue-violet velvet.
design.
.
Pomegranate
L.I 474.303
43x89
in.
105
VELVET, ITALIAN,
Yellow velvet with a No. 96.
15.108
xv century. Purchase, Rogers Fund, 191 5.

delicately traced
pomegranate pat22>^
tern, similar to
X39
in.
106
VELVET, ITALIAN,
xv century.
Davis, 191 5.
in

Blue velvet wrought with gold
granate pattern. L.683.2
an ornate pome-
54x60
xv century.
191 5.
in
in.
107
BROCADE, ITALIAN,
Apricot ground.
Lent by Pratt Institute of Brooklyn,
Pomegranate design framed
ara-
I04
VELVET, ITALIAN
XV CENTURY
Lent
h\
the Estate of
Theodore
M.
Davis
|L0
'J
c.
EUROPEAN TEXTILES
besque bands
green.
in
RENAISSANCE
10V2 XII
37
gold,
with touches of white, blue, and

in.
L.I 53 1. 1
108
BROCADE, ITALIAN,
green, red, and yellow.
111.
xv century.
19 15.
design of
floral

Cream damask ground with
Errera, No. 186.
urns in
L.1531.15
109
Iiy^x20j4
end of xvi century.
1915.
in
in.
DAMASK, ITALIAN,
Green
shades.

ground
with
pomegranate
pattern
darker
in.
L. 1 53 1. 28
16x305^
xvi century.
no VELVET BROCADE, ITALIAN,

of
Tan-colored ground with an elaborate ogival pattern scrolling leaves and floral forms, woven in golden brown. From the Fischbach Collection. 9><x23 in. 09.50.1083
111
BROCADE, PORTION OF AN ORPHREY, ITALIAN (FLORENCE),

xv century. Purchase, Rogers Fund, 1908, The Annunciation, woven in silk and gold
thread.
The
drawing is very fine and suggests the influence of Pollaiuolo. Such designs as this were woven in long strips for This is an orphreys and apparels of church vestments. exceptional piece both in technique and design, one of the best known. 6^4 x8 in. 08.109.27
112
BROCADE, ITALIAN, FLORENTINE,

tury.
xv-xvi cen-

Orphrey: red ground with design Coronation of the Virgin.
14.62.8
in gold.
Subject: the
7>4
x27
in.
38
113
BROCADE,
ITALIAN,
FLORENTINE.
xv-xvi
CENTURY. Purchase, Rogers Fund, 1914. Orphrey woven in dull pink and yellow.
Annunciation.
14.62.9
Subject:
The
in.
X40
114
BROCADE,
ITALIAN.
FLORENTINE.
xv-xvi
century. Purchase, Rogers Fund, 1911. Orphrey woven in pink and gold. Rayed disks bearing the sacred monogram alternating with cherubim.
11.61.4
8 X 46
in.
115
BROCADE,
ITALIAN,
FLORENTINE.
i.
xv-xvi
century. Purchase, Rogers Fund, 191

Dull pink ground with design
Resurrection.
11. 61. 5
in
gold.
Subject:
The
II X 14 in.
116
BROCADE,
ITALIAN,
FLORENTINE.
xv-xvi
CENTURY. Purchase, Rogers Fund, 191 i. Red ground with Apparel from dalmatic.
gold; touches of blue. 11.61.6
Subject:
pattern in
in.
The Assumption.
I3>2 X i6><
xv-xvi century.
1915.
17-122
BROCADES, ITALIAN,
Portions of orphreys woven in shades of red and yellow with the pattern in gold thread. Subjects: The Assumption, the Madonna, and Adoring Angels. Largest, 9 X 18J/2 in. L.1531.20-25
123
SILK
AND LINEN WEAVES, RHENISH

XV-XVI century.
1909.
(CO-
LOGNE).
Fragments of narrow orphreys woven
in silk, linen,
and
miM %
ij;
'm
::^:Jû^~i \ r^-*%."i^
I
;
-'*--^
T'
I08
BROCADE, ITALIAN XV CENTURY
Lent hv Pratt Institute of Brooklyn
EUROPEAN TEXTILES
gold with stylistic trees and bach Collection.
RENAISSANCE
lettering.
39
the Fisch-
From
These fabrics, usually referred to as "Cologne bands," were woven on small hand-looms and used in ornamenting
church vestments.
cf.
Errera, No. 200.
09.50
124

xv century.
second half of
191
5.
Cloth of gold with serpentine trunk and pomegranate pattern in grayish mauve velvet enriched with gold loop
(boucle) technique.
cf.
Von
Falke, No. 528; Cole, No. 66; Errera, Nos.

pi.
138-151; Lyons,
L.I 460.29
31.
24x54
in.
Velvets of this type, which appear in the paintings of Italian, Netherlandish, and Spanish masters of the fifteenth and sixteenth centuries, are doubtless the prodWhile they are sometimes ucts of north Italian looms. attributed to Spain, the prototype of this pattern may be
the
Van Eycks (c. 1 385-1441 which time the merchants of Bruges were importing largely from Italy. These velvets were used not only in ecclesiastical vestments, but as well, Interesting illustrations are found in the in costumes. following works:
traced back to the period of the
cf.
Ghent
altarpiece)
at
Crivelli
Coll.,
(1430-1494). London.
Madonna and
Child.
Benson
St. Eloy Selling a Ring to a Cristus (1444-1470). Betrothed Couple. Cologne.
Coffermans (xvi century).

of Sheba.
Solomon and the Queen

Preaching of John
the
Florence. F. (1475-1550). Madrid.

(c.
Gallegos,
Baptist.
Memling
erine.
1430-1494).
The Marriage
of St. Cath-
Altman Coll. Montagna (1450-1523).
Two
Bishop Saints.
Verona.
40
125

tury.
end of xv cen-

palmettes in rich gold weave.
12.49.5
1912.
Crimson velvet ground with broad ogival bands and

25 X I02>4
in.
126
VELVET BROCADE, ITALIAN OR SPANISH.

xv-xvi century.

Cloth of gold with design
191
in
5.
crimson velvet similar to

233/2
No. 124.
15.46
X 85
in.
127
COPE, SPANISH.
EARLY XVI century.

191
5.
Lent by George Blumenthal,
Cloth of gold with serpentine trunk and pomegranate pattern in crimson velvet pile, enriched with gold loop technique. The hood and orphreys are of sumptuous gold embroider}' in the following subjects: the hood, the Assumption; right orphrey, St. Paul, St. John, St. Andrew; See left orphrey, St. Peter, St. James, St. Bartholomew.
No.
124.
L.I 530.
60 X 121
xvi century.
1914.
in.
128
BROCADE, SPANISH,
Yellow ground with repeating pattern of large pomegranate motive woven in purple and gold loop technique.
14.62.19
45 X 76
in.
129
COPE, SPANISH.
XVI century. Purchase, Rogers Fund, 1914.
Yellow brocade ground with bold trellis and pomegranate design in gold thread. Embroidered orphrey with figures: in the right, St. Peter, St. John, and St. James; on the left, St. Paul, St. Philip, and St. Thomas; on the hood, the Virgin and Child.
cf.
Bulletin
M. M.
A., vol.
X, No.
3, p.
47.
14.134.1
54X
113
in-
125
VELVET BROCADE, ITALIAN
END OF XV CENTURY
EUROPEAN TEXTILES
130
RENAISSANCE
xvi century.
4I

Cloth of
in

woven
Davis, 191 5.
silver ground with pattern in crimson velvet cut and uncut pile. Spiral bands framing central palmettes; details in a small checkered pattern. cf. Errera, No. 279.
L.I 474.306
131
24>^ X
843/2 in.
VELVET, ITALIAN, VENETIAN,

Crimson velvet
in
xvi century.
1915.
The design conventionalized lotus motive with twisted and recurved stems that terminate a crown. Such strips of velvet were worn over one shoulder as a badge of office by a doge or senator of Venice and are
two heights
of cut pile.
in relief consists of a variant of the
to
be found in portraits by Tintoretto and his contem111.
poraries.
Errera, No. 221-a;
cf.
Lessing, pi. 225.
L.I 460. 1
9>4 X 73
in.
132
GOLD BROCADE,
pattern
SPANISH,
xvi century.
1908.
Yellow satin ground with bold roundel pomegranate woven in gold loop technique. 19^/^x24 in. 08.109.15
.
133

Lent by Julian Clarence
Border of Renaissance
ground. L.1522.2
scrolls
xvi century.
Levi, 1915.
woven
in blue,
on a cream
in.
115^x275^
134
BROCATELLE, SPANISH OR ITALIAN.

century.
xvi
Lent by Bashford Dean,

Blue ground.
L.1517.3
191 5.
Design
in
yellow; an ogival framework
of lanceolate leaves inclosing urn of flowers.
13x21
in.
42
135
BROCATELLE, SPANISH OR ITALIAN.

CENTURY.
xvi

Design
in soft
1909.
blue and tan similar to preceding. the Fischbach Collection.
From
09.50.1039
136
BROCATELLE, SPANISH,
Gift of
J.
xvi century.
Pierpont Morgan, 1906.
pattern in two shades of tan. Foliated scrolls combined with eagle device supported by lions rampant ; kneeling angels and two birds affrontes.
White ground with
06.943
137
203^ X 52
xvi
in.
BROCADE, SPANISH,
century.
1915.

ogival
Yellow ground. Floral design in violet with arabesque framework of lanceolate leaves. Medallions inclosL.1517.20
ing crescent and balls at the points of intersection.
22X44>^
xvi century.
In.
138

1909.
Cloth of silver with an ogival pattern From the Fischbach Collection. 09.50.1082.
in
blue-gray.
10x20
in.
139
BROCATELLE, ITALIAN,
Urn
xvi century.
1915-

cot ground. L.1531.27
design in yellow flecked with blue on reddish apri-
131^x20
xvi century.
1915-
in.
140
BROCADE, ITALIAN,
Lent by Pratt Institute of Brooklyn, Urn design in vellow similar to No. 139.
L.1531.26
'
8^x19 in.
D H
'J
'^2
_: a:
^
r
-1
r^
EUROPEAN TEXTILES
141
RENAISSANCE
xvii
43
Crimson
satin
century.
in
1909.
white.
in.
ground with ogival pattern
From
09.50.1303
18 X 30
xvii
142
Crimson
preceding.
satin
century.
in
igog.
white, similar to
ground with pattern
From
og.50.2637
143
165^x24^
in.
BROCATELLE, ITALIAN OR SPANISH,

century.
xvi-xvii
Lent by Bash ford Dean,

Green
satin pattern of
igi5.
formal leaves, urns, and flowers on corded yellowish ground. 30x23 in. L.1517.13
144
BROCATELLE, ITALIAN OR SPANISH,

XVII
xvi-
CENTURY. Purchase, Rogers Fund, igo8.
Two pieces of light red violet pattern on golden ground almost identical with No. 143. in. 08.168.6-7 X 233^ in.
7^x23^
9^
145

tion AT Cooper Union, 191 5. Yellow satin ground pattern woven
;
xvii
century.
Lent by the Museum for the Arts of Decorain
crimson velvet,
diagonal stems with scrolling sprays of tulip forms, cf. Von Falke, 576-577.
L.1533.18
13 X 22>^
in.
146
LAMPAS, ITALIAN(?).
xvii century. Purchase, Rogers Fund, 1915.
Design of grape-bunches, leaves, and diagonal stems in yellow and white, on crimson ground.
15.87.3
135^x20^
in.
44
147
BROCADE, SPANISH,
Crimson
satin
xvii
century.
191
5.

flowers in gold.
ground, serpentine stems
in
silver
and
in.
L.1517.12
148
32x41
xvi-xvii
VELVET, ITALIAN,
century.
i.

tulip design.
1
191
Purple velvet ground, continuous horizontal

1.
scroll
and
in.
142.
24x43
xvi-xvii
149

velvet.
century.
Purchase, Rogers Fund, 1915. Ground mulberry satin, ogival design

Exhibited at the Paterson.
15.71
in
cut and uncut
Historical
Exhibition of Textiles at
20x21^
about
1600.
in.
50-1 5
LIGHT BROCADE, ITALIAN,

1909.
;
Two panels of similar design birds, crowns, and vines^ one blue, one green, woven with silver thread. 08.168.4; og.50.101
152
LIGHT BROCADE, ITALIAN,
xvii
century.
191 5.
Similar design to Nos. 150-151, but bolder and more symmetrical. Woven in blue and silver. Sometimes
called Sicilian.
L.1531
153
birds,
xvii
century.
of
1915.
Green silk ground with design in yellow rampant lion, and floral forms arranged
in ogival
crowned
in alternate
rows
framework.
15. 52.
40 X 156
in.
EUROPEAN TEXTILES
154
RENAISSANCE
45
BROCADE, ITALIAN,
first
half of
191
i.
xvii
century.
Gift of Walter Jennings,
Cope, silk and metal ground with conventional design in gold outlined in red, inclosing the bee device of the Barberini family and the rayed sun. Presented to the church of Santa Maria Maggiore, Rome, by a cardinal of the Barberini family, whose arms it bears, during the pontificate of his uncle, Urban VIII, 1623-1644. ii.ioi 56 X 122 in.
155
GOLD BROCADE,
in red outline.
1
ITALIAN,
191
i.
xvi-xvii
century.
Purchase, Rogers Fund, Gold ground with design of

1. 6 1.
small palmettes and scrolls
40x46
xvii
in.
156
century.
flower

Light tan ground with conventional design in yellow with touches of green.
15-52.5
and
urn
in.
128 X 134
157
VELVET BROCADE, FRENCH,

tury.
early
xvii
cen-
Gift of J. Pierpont Morgan, 1906. Mantle of a court page. Gold ground with set pattern of geometric motives woven in tan velvet of cut pile.
06.941
Length, 32
xvii
in.
158

Purchase, Rogers Fund, 1909. Mauve ground woven in uncut pile
century.
{frise or epingle)
A
159
with close pattern of small scrolls in cut pile {coupe). combination of cut and uncut pile is called cisele. 09.100 44x47^2 in.
WOOL
WEAVE, ITALIAN,
xvi-xvii
century.
conin.
Lent by Pratt Institute of Brooklyn, 191 5. Tan ground with pattern of regularly distributed
ventionalized floral forms in white.
L.1531.10
9^x I2>4
46
1
60
xvi-xvii
century.
1909.
Fragment. Tan ground with balanced pattern of conFrom the Fischventionalized floral forms and ogives. bach Collection.
09.50.1644
161
6}i X 12^4
in-
GOLD BROCADE,
Altar frontal.
cal
ITALIAN, VENETIAN,
191 2.
xvi
century. Purchase, Rogers Fund,
and gold. Design a vertiarrangement of palmettes, strongly reminiscent of an

in red
1
Woven
Ottoman model.
1
2.
36.
405^ X 97^/2
xvi century.
19 12.
in.
162
BROCADE, SPANISH,
Crimson
satin
;
ground balanced design of arabesques, double-headed eagles, and Chinese motives in yellow and
colors.
cf.
Errera, No. 306; Lyons,

2.
pi.
XVI, C;
Fischbach,
pi.
89,
No.
12.55.
20x21
xvi-xvii
in.
163
Silk,
century.
191 5.
wool, and linen. Rose red ground with formal design of birds, crowns, and conventional flowers. 1 83^ X 22>4 in. L. 1 53 1 .30
164
Green
cotton.
silk
xvi-xvii
century.
191
5.

ground with birds and
floral
forms
in ecru
L.1531.8
165
20x25
xvi century.
1909.
in.
Red, yellow, white with metallic thread.
Fine design
EUROPEAN TEXTILES
of
RENAISSANCE
and
urn
47
floral ogives inclosing pomegranate flanked by pairs of cockatoos and falcons. bach Collection.
forms
From
the Fischin.
09.50.927
i8>'4X27^
166
DAMASK, SPANISH OR ITALIAN,

tury.
late xvi cen1915.

Blue satin ground. L. 153 1. 1
167
Lattice and urn design in yellow.
21 X 24
in.
BROCADE, SPANISH,
Blue satin ground.
tion.
cf.
xvi-xvii
century.

Design
designs in ogival framework.
1909.
in
From
blue silk of formal floral the Fischbach Collec-
Errera, No. 281.
09.50.1193
1034x19
xvi-xvii
in.
168
BROCADE, SPANISH,
century.
191
in
5.

Crimson ground, flower and bird design
white and yellow. L.1531.9
grayish
in.
Ogival framing.
28X31JX
xvi-xvii
169
Green
satin
century.
1909.
in
ground, bold arabesque design
yellow.
in.
From
09.50.1017
21 X 34
xvii
170
SILK WEAVE, FRENCH,

Green and
silver fabric
century.
1909.
with a pattern of formal scrolls and birds branching from a central urn motive. From the Fischbach Collection. 09.50.1301 19^ X25 in.
48
171
LAMPAS, SPANISH,
xvi-xvii
century.
design
in.
in
Purchase, Rogers Fund, 1909. Red satin ground, formal floral and arabesque yellow. From the Fischbach Collection.
09.50.1312
21
X27
172
LAMPAS, SPANISH OR ITALIAN,

tury.
late xvi cen1915.
Blue ground with bold device of crowns and branching leaves in tan and low white. 14x24 in. L.1531.12
173
SILK WEAVE, SICILIAN, late xvi century. Lent by Pratt Institute of Brooklyn, 1915Yellow and green
L.1531.14
silk
ground.
Lattice and urn design
in green in raised looped technique.
I9>4
X28
in.
174
DAMASK, ITALIAN OR SPANISH,

tury.
xvi-xvii
cen-

Intertwining
a chasuble.
lattice
1915-
and
floral
motives in blue.
Part of
in.
L.1517.18
175
15x42
WOOL
VELVET, (UTRECHT?). XVI
NETHERLANDISH
century.
1915-
Green ground, design of arabesques and arms of Spain. Cut to two heights of pile. Part of a chasuble.
L.1517.1
9J^ X 86
xvi century.
191 5.
in ogival
in.
176
DAMASK, SPANISH,
Rose satin work, crowns L.1517.10

at intersections.
ground with formal design
framein-
17 X 215/'
EUROPEAN TEXTILES
177
RENAISSANCE
in
49
BROCADE, SPANISH,
rounded by leafy L.1517.25
xvi century.
Lent by Bashford Dean, 191 5. Red ground with blazing sun motive
scrolls.
yellow sur15 X 25
in.
178
WOOL WEAVE,
SPANISH,
xvi-xvii
century.
stags,
Purchase, Rogers Fund, 1909. Dark green ground with design

other animals in white.
of
birds,
and
in.
From
09.50.1307
15 X
26^
179
BROCADE, SPANISH,
xvi-xvii
century.
1915.
Crimson ground with small repeating pattern of highly conventionalized leaf scrolls and stylistic plant form in yellow. 14 X 31 !" L.1517.24
180
BROCADE, SPANISH,
Gift of
xvi
century.
i.
M. Van Gelder,
191
Indigo ground with design of conventionalized plant similar forms in rectangles, formed by lions rampant. piece in the Victoria and Albert Museum (No. 880-
1894).
111.
Errera, No. 360.
ii.22.a
I3>^ X isYi
xvi century.
1913.
in.
181
BROCADE, ITALIAN,
Light 3'ellow damask with pattern of conventionalized floral urns supported by rampant lions. 16 X 20 in. 13.204.19
182
BROCADE, SPANISH,
ing formal floral motive.
xvi century. Rogers Fund, 1909. Purchase, Green satin ground, ogival framework in yellow
inclos-
From
09.50.2118
HJ^
X 21
in.
50
183
DAMASK, SPANISH,
in lighter shade.
late xvi century.

1913.
Crimson ground with design of small angular motives

13.204.66
20 X 21
xvii
in.
184
Green
L.I 53
silk
1. 1
century.
191
5.

ground, small repeating design.
X iYa
in.
185
VELVET BROCADE, ITALIAN OR FRENCH.

century. Purchase, Rogers Fund, 1909. Cream satin ground, small repeating design in purple From the Fischbach Collection. cut and uncut velvet.
XVII
09.50.1322
12^
early
X 22
in.
186

tury.
xvii
cen-
Gift of Leon Hirsch,
191
i.
Yellow ground with design of small motives purple velvet.

11.164
woven
6 x 40
in
in.
187

bands in cut and uncut 09.50.1323
pile.
xvii
century.
of scrolls
Purchase, Rogers Fund, 1909. Mulberry satin ground with set pattern
and
in.
17 X 21
BAROQUE AND ROCOCO

XVII-XVIII
188
CENTURY
LINEN DAMASK, GERMAN OR AUSTRIAN.

xviii
1909.
Blue and white weave showing a walled city, figures, and crowned eagles with inscriptions. 28 X 107 in. 09.50.1472
l8o
BROCADE, SPANISH
XVI
CEXTURY
EUROPEAN TEXTILES
189
xviii
BAROQUE AND ROCOCO
5I
LINEN DAMASK, GERMAN OR AUSTRIAN.

1909.
Blue and white damask pattern of scriptural subjects and inscriptions. 60 X 70 in. eg. 1 3.2
190
LINEN DAMASK, GERMAN,
xviii
century.
1906.
Lent by Miss Margaret Taylor Johnston,
Blue and white damask pattern of the Resurrection and Jerusalem with inscriptions. 33 X 106 in.
191-197
DAMASK, ITALIAN,
xviii
century.
Davis, 1915-

Seven large hangings of green design of floral forms and scrolls. L.1474.477, 483-487, 489
198
silk
damask with bold
COSTUME, FRENCH,
xviii
century.
i.
191
Dress of yellow silk ground brocaded with stripes of corded white and small floral sprays. 11.60.222
199
COSTUME, FRENCH,
Dress of white L.1528.3
silk
xviii
century.
1915sprays.
floral
Lent by Mrs. Archibald G. Thomson,

wîth hand-painted
200
COSTUME, FRENCH,
xviii century. Purchase, Rogers Fund, 1911. Man's coat of blue-gray silk brocaded with
scrolls
and
arabesques in gold and silver. II. 51.2
201
COSTUME, FRENCH,
with small flower pattern
11.51.4
xviii century. Purchase, Rogers Fund, 191 i. Man's coat and waistcoat of mauve corded
in white.
silk
brocaded
52
202
DAMASK, FRENCH,
branching
xvii-xviii century. Purchase, Rogers Fund, 1914. Hanging of jellow satin damask with a design
floral scrolls.
of large
14.62.14
96 X 98
xviii
in.
203
COSTUME, FRENCH,
Dress of gray
L.1528.6,7
silk
century.
191
5.

woven
in stripes
floral sprays in white.
brocaded with small
204
BROCADE, FRENCH,
baroque bands 08.161.4
early xviii century. Purchase, Rogers Fund, 1908. Green satin ground with vertical floral design and
in
gray and polychrome.

41J/2
41^
in.
205-206
BROCATELLE, ITALIAN, VENETIAN,

in green.
xviii
century. Purchase, Rogers Fund, 1914. Hangings. Yellow ground with design
tral
Cenfloral
vase motive with formal baroque scrolls and From the Sagrado Palace, Venice. forms.
14.34
72 X 113
xviii
in.
207
BROCADE, ENGLISH,
From
century.
Convention-
Purchase, Rogers Fund, Gray ground with design in

alized floral forms.
1909.
lighter shade.
09.50.2487
20 X 24
xviii
in.
208
COSTUME, FRENCH,
century.
floral
1911.
sprays with
Dress of yellow silk brocaded with white underspun design. 1 1. 66. 221
209
BROCADE, FRENCH,
Cover edged with
silver
xviii
century.
Levi, 191 5.
lace.
Cream-colored ground
EUROPEAN TEXTILES
BAROQUE AND ROCOCO
53
with block design of landscape motives, combined with bird and animal forms woven in metal thread and neutral
tints.
L.1522.1
47 X 62
xviii
in.
210
BROCADE, ENGLISH,
century.
Purchase, Rogers Fund, Similar to No. 206. From

09.50.2524
211
1909.
igy2 X 24>4
xviii
in.
COSTUME, FRENCH,
Dress of corded cream
II. 51.9
century.
i.

silk
191
brocade with overspun de-
sign of floral spra)'s in colors.
212

Green
in silver
xviii
century.
1908.
velvet ground with vertical design of rose sprays
and
color.
08.109.12
36 X 48
xviii
in.
213
BROCADE, FRENCH,
:
century.
ground
vertical floral
Purchase, Rogers Fund, Cope hood a pinkish mauve
1909.
satin
;
design brocaded in colors with metal thread. Fischbach Collection.
From
X 26>^
the
in.
09.50.2619
i6;?4
214
BROCADE, FRENCH,
From
xvii-xviii
century.
crimson.
in.
1909.
foliate pattern in
Yellowish ground with large the Fischbach Collection. 09.50.2760
26 X 42
215
COSTUME, FRENCH,
caded with
11.51.7
xviii century. Purchase, Rogers Fund, 191 i. Man's waistcoat of cream satin of diaper
floral design in red
pattern, bro-
and gold.
54
2i6
COSTUME, FRENCH,
xviii century. Purchase, Rogers Fund, 1911. Man's coat and waistcoat of cream-colored
velvet
with diaper pattern of minute rose sprays.

11.51.3
217

Mulberry
uncut velvet in openwork.
13.204.12
satin
pile
xvii
century.
1913.
ground with leafy scrolls in cut and Set motives woven of the same shade.
I2>^ X 21
xvii
in.
218-219
DAMASK, ITALIAN,
From
century.
Bold design of

Pair of hangings in green satin damask.
foliated scrolls.
the Lydig Collection.
13.72.2. B,
E;
I3-73-I
62 x 114
xvii-xviii
in.
220

tury.
cen-
191
5.
Gold ground with pattern in crimson cut and uncut Design with central motive derived from palmette pile. framed with foliated scrolls. 30 x 52 in. L. 1 460. 1
221
White ground with bold
ranged floral forms L.1453.7
in crimson.
late
xvii
century.
1915.
pattern of symmetrically ar-
61 x 1191X
xvii-xviii
in.
222

tury.
cen-
Lent by Mrs. Charles T. Barney, 19 15. Gold ground with design in crimson cut and uncut
Balanced design of ornate
scrolls
pile.
and palmettes.
31 X 55>^
in.
L.1460
EUROPEAN TEXTILES
223-224
BAROQUE
AND ROCOCO
55
VELVET BROCADE, ITALIAN, GENOESE.

1907.
LATE
XVII CENTURY. Gift of J. Pierpont Morgan,
Pair of gilt arm-chairs, French, period of Louis XIV, upholstered in red and yellow velvet brocade similar to No. 221.
225
COTTON WEAVE, GERMAN,

xvii
century.
1909.
in gray.
Blue ground, bold conventional design

09.50.924
From
in.
22 X 43>^
xviii
226
BROCADE, FRENCH,
Vertical
century.
1909.
banded design, ground alternately pink and yellow with damask pattern and floral arabesques in silver and green. From the Fischbach Collection. 20^ X 30^ in. 09.50.2651 227
BROCADE, FRENCH,
Salmon pink ground,
15.140
late xvii century.

1915.
Gift of Henry Golden Dearth,

pale colors between serpentine bands.
vertical floral design in silver
and
in.
20>2 X42>4
228
late
5.
xviii
century.
Large
foliated
191
Woven
scrolls.
in dull red
and
tan, originally
central motive of conventionalized floral

15. 125.9
with gilt. form with
26 x 42
xviii
in.
229
BROCADE, ITALIAN (VENICE),

1915-
century.
AllVertical bands, ground alternately silver and gold. over floral design in red and colors. 18 X 40 in. 08.64.3
56
230
BROCADE, FRENCH,
;
early xviii century. Purchase, Rogers Fund, 1909.
Blue satin ground formal flower and urn design in gray, framed in baroque bands. From the Fischbach Collection. 19 X 27 in. 09.50.916
231

tury.
xviii
cen-

Blue
satin
1915.
ground with a confused design of closely placed rococo scrolls and floral motives in pink and silver. L.I 460.27 42^ X 623^ in.
232
BROCADE, FRENCH,
middle of Purchase, Rogers Fund, 1909.
xviii
century.
sprays
in
color.
Square of yellow silk brocaded with From the Fischbach Collection. 09.50
floral
24 x 24
in.
233
WOOL
VELVET, (UTRECHT?). EARLY

Gift of
J.
NETHERLANDISH
xviii
in
century. Pierpont Morgan, 1907.
Arm-chair, eastern French, Liege (?), upholstered brocaded wool velvet, greenish tan in color, bold design.
234-235
LAMPAS, FRENCH,
late
xviii
century.
1909.
Light blue satin ground, design in cream color; foliated scrolls springing from symmetrically placed urns supported by seated figures, amorini, and griffins. 44 X 105 in. 09.194.29
236

tury.
xviii
cen-

of satin
191
5.
Tan ground and touches of green and pink.

15.52.3
damask
richly brocaded in silver
39 X 8o>4
in.
230
BROCADE, FRENCH
XVIII
EARLY
CEXTURV
EUROPEAN TEXTILES
237
BAROQUE AND ROCOCO
57
WOOL WEAVE, FRENCH OR

HALF OF
XVIII
J.
FLEMISH,
first
Gift of
CENTURY. Pierpont Morgan, 1907.
Arm-chair, period of Louis
XV,
upholstered in heavy
wool and cotton
velvet, of bold design in
low white and

the Hoentschel
two shades
Collection.
of blue.
Much
worn.
From
238
BROCADE, ITALIAN
Blue
satin
(?).
191
xviii
5.
century.

floral sprays in
damask ground with rococo ornaments and

gold and color.
15.52.2
415^ X 61
in.
239
BROCADE, FRENCH,
Yellow corded
silver
xviii century. Purchase, Rogers Fund, 1909.

silk ground with bold floral design in with touches of pale color. From the Fischbach
Collection.
09.50.1350
215^ X 215^
xviii century. Pierpont ^Morgan, 1907.
in.
240
BROCATELLE, FRENCH,
Gift of
atelle
J.
Arm-chair, period of Louis XV, upholstered in brocwith a large damask pattern in yellow and tan. From the Hoentschel Collection.
241
BROCADE, FRENCH OR SPANISH,

tury.
xviii
cen-

details.
1907.
Blue satin ground, brocaded

a castle,
Embroidered unicorn, and
in
in the same color with gold thread, individual motives, floral sprays, evenly distributed.
07.62.81
II x 25^/2 in.
242

tury.
xviii
cen-
191 5.
Blue ground of satin damask with rococo design in gold and silver overspun with floral sprays in bright colors. 38 X 51 in. 15.52.4
58
243
BROCADE, FRENCH,
xviii
century.
Levi, 191 5.
in the same The design, a shaped balustrade supporting a floral shade. vase, parrot, and cage, is woven in bright colors.
Blue ground with small overspun motive
L.1522.3
14x28
first
in.
244

of
xviii
half
century. Lent by Mrs. Archibald G. Thomson, 191 5.

Blue ground with baroque design
in
dull
pink and
gold.
L.1453.15
26 X 27
xviii
in.
245

tury.
cen-
Lent by H. Oothout Milliken,
191 5.
Green satin ground alternating with narrow cream stripes, damask pattern, floral design in ecru and silver.
L.1538.1
41 X 42
in.
246
BROCADE, ITALIAN,
Dull pink ground with and colors. L.I 453
xviii
century.
191 5.
vertical floral pattern in gold
38 X 48
xviii
in.
247
BROCADE, ENGLISH
Black satin ground, and polychrome.
13.204.18
(?).
century.
in

floral
and animal design
gray
in.
12 X 145^
<
248
BROCATELLE, FRENCH,
early
xviii
century.
Gift of J. Pierpont Morgan, 1906. Cream ground, formal floral design and
leaf scrolls in
crimson with touches of blue green and yellow. 24 X 39 06.946
in.
EUROPEAN TEXTILES
249
BAROQUE AND ROCOCO
59
BROCADE, FRENCH,
xviii century. Purchase, Rogers Fund, 1909. Cream satin ground, bold floral design in colors.
From
in.
09.50.2508
20 X 20>2
250
BROCADE, ITALIAN,
xviii century. Mrs. Edward Robinson, 191 5. Lent by Hanging of cream ground with serpentine
lanceolate
patin.
leaf
motive
in gold
and delicate
colors.
Underspun
tern in silver. L.I 542.4
44^
xviii century. Pierpont Morgan, 1909.
x 118
251
BROCADE, FRENCH,
Gift of
J.
Stool, upholstered in silk stuff of flower
and
fruit pat-
tern in light colors.
From
the Hoentschel Collection.
252
JARDINIERE VELVET, ITALIAN, GENOESE.

early
century. Lent by the Estate of Theodore M. Davis, 1915.

xviii
ground with a symmetrical design of branchforms and leaves in green and polychrome. Genoa was famous for velvets of this type during the seventeenth and eighteenth centuries. L.1474.299 23 X 38>4 in-
Ecru
satin
ing
floral
253
BROCADE, FRENCH,
xviii century. Purchase, Rogers Fund, 1909. Cream silk ground with overspun design.
Lattice and
flower design in colors.
From

20J/2
09.50.2503
X 225^
in.
254

Gift of
velvet,
tion.
J.
xviii
century.
Arm-chair, period of Louis

boldly
XV,
brocaded.
From
the
upholstered in red silk Hoentschel Collec-
6o
255
CHASUBLE, ITALIAN,
Purchase, Rogers Fund, Red ground with pattern
heads
in ecru.
xvii
century.
conventionalized
1908.
of
wheat
in.
08. 161.
31 X 47
256
BROCADE, FRENCH, xvm
century. Purchase, Rogers Fund, 1913. Cream corded silk ground with overspun
trees.
design in gold
and colors of naturalistic blossoming

13.204.62
423^ X 82
in.
257
xviii century. Purchase, Rogers Fund, 1909. White corded silk ground with overspun design. From the Fischbach Collection. sprays in color.
BROCADE, FRENCH,
Floral
in.
09.50.2526
22 X 24
258
BROCADE, FRENCH,
Fragment
and
red.
;
early
xviii
century.
1915.
bold design of pointed leaves
woven
7j/^
in silver
L.1517.1
X 26>4
in.
259
COSTUME, FRENCH, xvm
century.
191 5.
Dress of white silk brocade, serpentine bands with floral sprays in gold and bright colors. Trimmed with gold lace. L.1528.4, 10
260

191
century.
i.
Waistcoat of gray corded silk with underspun design. Brocaded with large floral pattern in gold and silver.
II. 5 1.6
261

Lent by
V. Everit
century.
Macy,
19 10.
Cope, cream corded

signs of circles
silk
and
floral sprays in gold, silver,
L.631.2
ground with damask pattern. Deand colors. 53 X 116 in.
EUROPEAN TEXTILES
262
BAROQUE AND ROCOCO

xviii
BROCADE, ITALIAN,
century.

color.
1912.
Dull pink ground brocaded in silver and touches of Design of angels playing musical instruments. 12.55.3 15 X i8>^ in.
263
BROCADE, ITALIAN OR SPANISH, xvm

tury.
cen-
Lent by Mrs. Edward Robinson,
1915.
floral
Dull green ground with naturalistic gold, silver, yellow, and other colors.
L.I 542.
pattern
in
59x84
in.
264
BROCADE, FRENCH OR SPANISH, xvm

tury.
cen-

Apricot
satin
1907.
ground, with overspun floral design. Birds, dogs, and flower motive brocaded in gold thread. 07.62.80 II X 19 in.
265
century.
1914.
Dalmatic, yellow corded silk ground with formal floral leaf design in silver, framed in bands of arabesques edged with lace designs.
L.1453.190
38x82
century.
191 4.
in.
266

Chasuble
;
yellow corded silk ground with formal floral leaf design in silver, framed in bands of floral arabesques edged with lace designs. L. 1453.20 41 X loGYz in.
267

sprays in color.
century.
191 5.
floral
Lent by Mrs. Edward Robinson,
Gold ground with overspun pattern and small

L.1542.2
10x35
in-
62
268
BROCADE, FRENCH,
Cope.
colors.
xviii
century.
1910.
Lent by V. Everit Macy,

Cream-colored
silk
of vertical serpentine bands and floral sprays in gold
damask ground with design and
L.631.1
57 X 113 in-
269

Purchase, Rogers Fund, 191 Man's waistcoat of corded blue
brocaded with
11.51.8
century.
i.
silk
floral sprays in bright colors
with white stripes, and silver.
270
COSTUME, FRENCH,
Dress of blue
pattern of floral
silk
xviii
century.
1915stripes,

woven
in
brocaded with a sprays and serpentine lacy bands in poly-
chrome and
L.1528.5
271
silver.
BROCADE, FRENCH
Dark
(?).
xvm century.
1915-
Lent by H. Oothout Milliken,
blue ground with conventionalized floral forms, rather Chinese in character, in metal thread.
L.1538.2
24x26
century.
in.
272

satin, all-over design of floral
Purchase, Rogers Fund, 191 3. White corded silk ground with overspun
13.204.38
design arabesques in gold.
in
20x21
century.
in silver
in.
273

colors.
1909.
Corded gray ground brocaded with flowers
and
in.
From
09.50.2552
20K' X 30
274

Dress of white
silk
century.
1915floral

brocaded with
bouquets
in
EUROPEAN TEXTILES
BAROQUE AND ROCOCO
63
bright colors. This costume appears to have been made in the first half of the nineteenth century from old material.
L.1528.8,9
275
BROCADE, FRENCH,
xviii
century.
191 5.
Dress of yellow satin brocaded in white, with floral sprays in bright colors. This costume appears to have been made in the first half of the nineteenth century from old
material.
L. 1528.2
276
DAMASK, FRENCH,
xviii century. Purchase, Rogers Fund, 1909. White satin ground with damask arabesque pattern. Floral motives in gold, pink, and green. From the Fisch-
bach Collection. 09.50.251
19 X 23
in.
277
COURT COSTUME,
RUSSIAN,
xix century.

Cloth of silver brocaded with large floral and fruit patterns in bright colors and gold, in the style of Louis XV.
II. 50.10
278
CHILD'S COSTUME, ITALIAN,

Gift of
P.
xvii
5.
century.
W. French and
Co., 191
tersecting ogival
1
Purple satin ground, brocaded with form in gold.

5.60. 1 -2
lattice design of in-
295/2x31^
xviii
in.
279
SATIN DA^VIASK, ITALIAN,

century.
1914.
Woven
in
14.62.16
crimson with a bold design of foliated scrolls. 81 X 100 in.
III.
NEAR EASTERN TEXTILES

the Christian era the surpassing exstuffs
THROUGHOUT woven
cellence of the
produced
in those Asiatic
regions termed the
Near
skill
East, has been proverbial

of the Oriental weavers,
among European
peoples.
The
however, long antedates the beginning of the Christian faith

for the Babylonian and Assyrian kings
hung
of
the walls of their
mud-built palaces with woven
stuffs
great splendor,
in
and
dressed themselves, as has already been said,
richly orna-
mented garments.
region so skilled in the use of the loom

art,
could not wholly forget the
no matter what
to the present
political
changes
and invasions of other races time might bring about, and from
the beginning of history
down
day mastery of
of the countries
weaving has remained a permanent possession centering about the Tigris and Euphrates. The first great phase of that eastern weaving
to leave a direct
imprint on the textile art of Europe took place under the Sassanian Empire between the third and sixth centuries of our era,
when
at
Sassanian stuffs were exported in quantities to

to such
Rome,
where they were prized
an extent that the busy looms

to
Alexandria are thought by some to have taken
copying the
Oriental models in order to supply the demand of the luxurious
and decaying Mediterranean
civilization.
Later, with the rise
of Persia as a nation, Iranian stuffs supplied motives

signs to Byzantine weavers, as
is
and de-
stated in
Chapter
I,
while the
actual materials
made
in the
Moslem
64
East during the time of

Romanesque
where such
art in
stuffs
05
distant regions,
Europe penetrated to most were considered almost as precious as the

to us as
sacred relics of which they formed the wrappings.
Many
pieces of these fabrics have been preserved

relic veils,
vestments and
and are included
in the treasures of
great cathedrals such as Vich in Spain and Sens in France, while
others have been taken from the bodies of dead

saints,
priests
and
which
later
generations have not hesitated to unbury.
Some
of these rare
and valuable old Persian
stuffs are included
from Cooper Union, which has other However, the and still finer examples than are shown here. great majority of Near Eastern textiles now displayed were made after the later part of the fifteenth century, a period which
in this exhibition as loans
marks one
of the first divisions of the
Near Eastern
arts into
the various national styles
which were
closely followed out for
the next three hundred years, until the final decay of native
crafts
two generations
ago.
India,
At this time the art of ment is placed first in this made an impression on the
Indian weaving
importance.
which for reasons of arrangehad not yet

only from the
division of the catalogue,
outside world, and
it is
later half of the sixteenth century
through the seventeenth that

itself as of
won
a high place for
international
At
the beginning of this period Persian influence

stuffs
was paramount and Indian

but under the
were not strongly
national,
Moghul
sovereigns the imperial looms at Lahore

re-
began
to
produce rugs and velvets of individual design and
markable workmanship.
of the
In texture, Indian weavings of this
period are superb, and nothing can exceed the soft perfection
two
velvets lent, one by
other by
Mr. Mortimer L.
Schiff.
Mr. George Blumenthal, the They are both made in bor-
dered designs similar to those of rugs and were probably in-
tended either as hangings or as superfine state carpets to be

looked at and not walked upon.
The
exhibition
includes a
number
in India,
of the gold brocades and figured veilings
still
produced
with a quality found only
in a living art jealous of its
traditions.
The
gold
sari,
or
woman's garment,
of nineteenth-
66
century workmanship, lent by
Mr, Robert
W.
de Forest,
is
particularly good example of the type.
Persian weaving, which follows Indian in the arrangement of

the exhibition, was, as has been said, of earlier importance in
its
relation to the western world.
The
older textile designs of
fully developed Persian art
show
a happy combination of Chinese
with ancient Sassanian motives taken chase, worked out with an imaginative quality and a from the
irregularity of pattern
poetic grace which are the peculiar attributes of Persian design.
'
These
so-called
ures, animals, trees,
hunting or garden brocades, where human figand flowers make up the charming pattern,
are represented in the exhibition by a remarkable group,
coming
partly from Cooper

lection of the
Union and
partly from the permanent col-
Museum.
More
conventionally patterned gold
and
silver brocades of the
same period
the sixteenth century the velvets, es-
are also
shown
in considerable
number; while
pecially the cope belonging to the
Museum
and the chasuble
from Pratt
weavers
Institute,
illustrate
the
achievements of Persian
in this technique.
region where Persian influence has always been the vitaliz-
ing force
Syria
is
among
the arts
is
Asia IVIinor, or Anatolia, with which

the time of the Crusaders
it
often grouped.
From
has
been famous
is
as the source of splendid stuffs; the
word damask
materials
derived from Damascus, whence

to
all especially rich
were thought
come, just as the word muslin, from Mosul, in Mesopotamia, grew to mean a particularly iine-woven kind of The fine Asia Minor brocades in which red and gold fabric.
play so prominent a part, differ from contemporary Persian
stuffs in design
and color rather than texture.
They,
like the
"Rhodian" faience of the region, show a varied combination of a few motives, of which the tulip, eglantine, Human figures and hyacinth, and pink are the chief elements.
familiar
animals are not used,
in
obedience to
strict
interpretation of
Islamic law, and such stuffs are often grouped under the name Ottoman, as the most typical and direct productions of Moham-
medan
rule at Constantinople.
The
magnificent velvets of the

region,
67
of design,
which rank among the chefs d'oeuvre
were
exported to Europe in great quantities from the end of the

fifteenth century.
They were
used for garments, vestments, time painted such stuffs
and hangings, and Italian
artists of the
over and over as a most decorative feature of their pictures.
made in North Italy and the whether certain patterns are of Venetian or Anatolian weave is probably unanswerable. The manufacture
Similar materials were probably
as to
question
of these velvets in Asia
Minor
centered at Scutari, although

;
there were other active looms in the region

are oftenest described as being
while gold brocades
made at Broussa and Damascus, although these, too, were woven elsewhere as well. The group of Asia Minor velvets shown in the exhibition is very exceptional
and
comprises
those of
three
collections,
besides
that
of
the
Museum
and the
late
Mrs. Charles T. Barney, Pratt Theodore M. Davis.
Institute,
Another strain of Mohammedan civilization, the history of which is most interesting to follow, began with the invasion of Christian Egypt by the Arabs in the eighth century of our era.
From
the
there the conquerors, amalgamated with the Berbers under

of
name
Moors, passed
to
northwestern Africa, whence they
crossed to Spain and established the civilization
pano-Moresque, which continued until the

the fifteenth century.
fall of
known as HisGranada in
Here
the Prophet's strictures against the
representation of living things were strictly observed, and His-
pano-Moresque
\\'âving
shows the same general geometrical
character found in Cairo
Saracens produced in
lacings
in that which the kindred Moorish bands, stars, and interwere woven with wonderful fineness and are still conSicily.
work and
tinued
in
their
traditional
arrangement
by
North African
tribesmen of today.
art
is
The
influence of such patterns on Spanish
obvious, both in the love of intricate design, found in so

later Spanish wêaving,
much
and
in the
prodigal use of rather
among which red and yellow figure prominently. The exhibition contains a number of early fragments and larger
harsh colors,
specimens of somewhat later Hispano-Moresque weaving, the
68

several
more important being

Union.
very old pieces
from Cooper
The
penetrative force of
Near Eastern
art
is
shown by
the
two Polish
sashes displayed side by side with a very similar
Persian specimen.
The
soft-colored
and luxurious weaves of

Polish carpets, which,
seventeenth-century
Persia and
India were highly valued in
Poland, as
is
shown by
the so-called
though really of Oriental manufacture, were long thought to be Slavonic in origin because of the numbers found in Poland.
Sashes such as the Slav noblemen used for girdles were brought
from the East and

duced
in
later in the eighteenth century
were proin the
Europe, both by imported Oriental

If
workmen and by
native weavers.
many
of these sashes
were not signed
border with the names of the makers, Pascalis or Sluck, they
might be mistaken for the Indo-Persian girdles represented portrait miniatures of Indian princes, specimens of which are
the Alexander Smith Cochran Collection.
in
in
The Museum owns
a dozen or more of these Polish and Russian sashes, but because

of their similarity they are not exhibited at this time.
INDIAN
280
VELVET, INDIAN.
Lent by Mortimer
Hanging
in
1600-1650.
L. Schiff, 19 15.
design of prayer rug.
Gray-brown
red.
field
with green border between two narrow bands of

ventionalized floral sprays in dull colors.
hatndihi
Con-
Medallion with inscription: Subhani Rabbi el Ala bi Praise to my God the Most High and Exalted.
L.1524
281
39x57
1600-1650.
1915.
in.
PRAYER RUG, INDIAN.
Lent by George Blumenthal,
Crimson ground with bordered rug pattern of foliated scrolls and corner quadrants woven in shades of green and
tan.
L.1530.2
61
X96
in.

282
INDIAN
xviii-xix
69
GOLD BROCADE,
Sari.
INDIAN,
century.
Lent by Robert W. de Forest,

Gold ground with design
lattice
field
;
191
5.
and with border of peacocks in The sari medallions between floral bands end borders. is the outer robe worn by Indian women.
in blue, green, red,
silver;
central
L.1535
70 X 139
in.
283
GOLD BROCADE,
INDIAN, xix century. Purchase, Kennedy Fund, 1915.
Jama or full-dress coat. Gold ground with small diaper pattern outlined in red. This fabric is often termed "kincob."
15.95.142
Length, 53^4
xix century.
191
silk
5.
in.
284
BROCADE, INDIAN,
Purchase, Kennedy Fund, Coat. Ground of purple-red smaller motives woven in gold.
15.95. 141
with palmettes and

Length, 51
in.
285
BROCADE, INDIAN,
xvii century. Purchase, Rogers Fund, igo8. Cover with border. Cloth of silver woven
in red
and
in.
blue, spiral tracery with delicate floral forms.
08. log. II
25 X 54
PERSIAN
286
SATIN BROCADE, PERSIA, POSSIBLY ASIA minor. xvi century.

Crimson
groups
of
satin
ground powdered with gold crescents

inclosing
in
three,
three
balls.
The
crescents,
wrought
cf.
in gold, are
charged with a
in blue.
floral variant of the
Chinese cloud motive
Coll. Kel., pi. 28
(i).
08.109.2
10 X
37^
in.
70
287
SILK BROCADE, PERSIAN, xvi century. Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5. Woven in red and white with a figural design illustrating a favorite romance of Persian poets, the Princess Laila and the Poet Majnun, the Romeo and Juliet of eastern
poetry.
The
scene portrays the meeting of the lovers in
the
finds
desert,
for Majnun, him exhausted by the wayside, an episode described
where the Princess, searching

in the
by Hatifi, the Persian poet,
following lines:
"So wasted, worn, and changed with care His mind a void, himself forgot.
The
Even
111.
hapless victim of despair

she, the
True One, knew him

IV, 141
;
not."
Badia
Coll., pi.
cf.
Errera, No. 264;
Marin.
tin,
Figurale persische Stoffe,
pi.
VII.
L.1533.29
I2>4 X 13
288
of Decoration AT Cooper Union, 191 5. Black ground with figural design woven in dull shades Illustration of a verse from the same of yellow and tan.
romance,
reads:
referring
to
BROCADE, PERSIAN, xvi century. Lent by the Museum for the Arts
the
return
of
Laila.
The
verse
"When
the camel driver carries Laila
away from Hai,
who can restrain Majnun from following her?" The lettering on the camel's trappings reads: the upper one, Mashallah, May God bless; the lower, Mashallah Ziyaret: God bless the visit. The drawing is in the style of the Persian miniature painters of the School of Sultan Muhammad, pupil of the master Behzad, who lived in the first half of the sixteenth
century.
L.1533.17
II
x25>4
in.
289
BROCADE, PERSIAN,
xvi century. Rogers Fund, 1908. Purchase, Yellow satin ground with design of figures, animals, birds, cypress trees, and branches of plum blossoms in dull
shades of blue, green, and red, outlined with pink.
308
BROCADE, PERSIAN
XVII
CENTURY
287
SILK BROCADE, PERSIAN XVI CENTURY

Lent by the
Museum
Cooper
Union
OX
-Ons

Exhibited
tiles,
1
PERSIAN
71
in the
Paterson Historical Exhibition of Tex-
91 5.
brocade of this pattern was shown in the Munich Exhibition of Mohammedan Art, in 1910. 111. Muhammedanischer Kunst, pi. 199, and Coll. KeL,
pi. 27.
08.109.3
I4K'
X40
!"
290
BROCADE, PERSIAN,
xvi century. Purchase, Rogers Fund, 1908.
Black satin ground with figure design of turbaned men with game, woven in tan and dull pink. 111. Coll. KeL, pi. 25. 13 X 16 in. 08.109.17 291
BROCADE, PERSIAN,
Fragment
09.225.3
xvi
century.
1909.
of green brocade with figural design in tan.
5>4 x7>4
xvi century.
1909.
in.
292
BROCADE, PERSIAN,
Fragment
of green satin brocade with design of writhing dragons in white, outlined with black, derived from a
Chinese original.
cf.
Von
Falke,
No. 613; Martin, Figurale persische

5
Stoffe, pi.
VI. X
09.225.1
9^
in.
293
BROCADE, PERSIAN,
Fragment
with design 09.225.2
xvi
century.
1909.
border.

in
of figural stuff with
Tan ground
green, red, and blue.
5x7
in.
294
BROCADE, PERSIAN,
xvi century. Purchase, Rogers Fund, 1908. Gold ground with a design in dull tones
of
warring
in.
birds and beasts alternating with parrots
on
floral sprays.
08.109.19
4^4 X 6
72
295
BROCADE, PERSIAN,
xvi century. Purchase, Rogers Fund, 1908. Fragment of figural stuff woven in yellow and
outlined
in
design
black.
Two
figures,
musicians.
tan with In-
scription:
"Abdullah the servant of God."
08.109.18
6x7
in.
296
BROCADE, PERSIAN,
xvi century. Purchase, Rogers Fund, 1909.
figures,
Fragment. Crimson ground with medallion and two one offering a dish of fruit. cf. Martin, Persische Prachtstoffe, Fig. 6. 09.225.4 3^ x 7 in.
297
xvii century. Purchase, Rogers Fund, 1906. Two fragments. Gray satin ground with design of figures and blossoming plum branches. Slave offering
dish of fruit to figure robed in blue. 06.1197. 1-2
BROCADE, PERSIAN,
jl^Yz
in.
298
VELVT.T BROCADE, PERSIAN

tury.
(?).
xv-xvi cen1915.

Front half of a chasuble.
Yellow ground with surface
Floral design in black velvet, the centers thread of gold. The floral motive suggests the of the flowers in silver. influence of a Chinese model. L.1531.1 26J/' X 54 in
299
BROCADE, PERSIAN,
Whitish
silk
xvi century.
1907.
ground with a graceful pattern of individual plant motives wrought in silver and gold, with touches of green and gold silk. 07.62.71 7>2 X 17 in.
300
VELVET, PERSIAN, xvi century. Lent by the Museum for the Arts
tion AT Cooper Union, 1915.
of Decora-
289
BROCADE, PERSIAN
XVI
CENTURY

similar piece in the
Coll. Badia,
PERSIAN
73
Blue ground with floral sprays in tan and white.
A
in.
Museum
cf.
collection.
No. 277.
Lessing, pi. 16, No.
3.
L.1533.5
7x8
xvi century.
1908.
301
BROCADE, PERSIAN,
The Purple ground with device in green and gold. pattern has a central stalk with compactly arranged leaves and buds branching horizontally from either side. Cox, pi. 33, I.
08.109.13
II
X 22
in.
302
VELVET BROCADE, PERSIAN,

1912.
xvi century.
Tan ground
ized plant
with a vertical pattern of conventionalforms in browns and greens, with details in

27 X 45
in.
gold and silver, outlined in black.

12.72.5
303
BROCADE, PERSIAN, POSSIBLY ASIA MINOR.

XVI century.
Purchase, Rogers Fund, 1915. Dark blue satin ground with design
in
gold.
re-
versed arrangement of conventionalized tulip forms and lanceolate leaves which spring from the base of the tulip at an acute angle, dividing the pattern into horizontal bands.
cf.
Coll. Kel., pi. 50,
No.
2.
15. 125.
17/^ X 213^
xvi century.
in.
304
VELVET BROCADE. PERSIAN,

Purchase, Hewitt Fund,
igii.
Cloth of gold with design of formal floral sprays, birds, and butterflies in tan, red, and blue, outlined with indigo and woven in cut pile.
cf.
Von
Falke, No. 611.
11.134.1
13^^x143/2
in.
74
305
FRAGMENT OF RUG, PERSIAN

CENTURY.
(HERAT),
xvi

Design of palmettes
in
Ross, 1915.
Excolors on a tan ground. hibited in the Paterson Historical Exhibition of Textiles,

1915.
L.1524.4
I4>^ X35>^
in.
306
COPE,
VELVET BROCADE, PERSIAN.

1914.
floral
first
quarter of xvii century. Purchase, Rogers Fund,

velvet pile
in indigo.
Cloth of gold with pattern of
woven
in
rich tones of
brown and
touches of blue-green and yellow.
The
sprays in high gray, with pattern outlined
companion piece to this was exhibited in the Munich Exhibition of Mohammedan Art, 1910. Muhamm.ed. Kunst, 111. Sarre and Martin, Meister. cf. Bulletin, M. M. A., vol. IX, 1914, vol. 3, pi. 202.
p. 147.
14.67
Length, 54 m.
307
BROCADE, PERSIAN,
early xvii century. Purchase, Rogers Fund, 191 5. Gold ground with a set pattern of blossoming plant Showing Indian informs, woven in pink and green.
cf.
fluence.
Coll. Kel., pi. 65,
No.
3.
15. 126.4
2254
x54
in.
308
BROCADE, PERSIAN,
The
xvii century. Purchase, Rogers Fund, 1910. Cloth of gold and silver woven with pastel
shades of
silk.
motive of the design is a huntsman taking aim from the branches of a tree at two lions attacking his
10.166
horse.
29x54
xvii
in.
309
BROCADE, PERSIAN,
century.
1909.
Cloth of gold with design of warring birds and beasts
c/2
<
D
5
CO y.
a:
C o

in pastel shades,
PERSIAN
75
with touches of dark blue.
The
phoenix
or fonghoang attacking the fleeing rabbit is a distinctively Chinese motive. From the Fischbach Collection.
09.50.1
1
II
6>4
x9%
in.
310
BROCADE, PERSIAN,
;
xvii century. Purchase, Rogers Fund, 1915. Dark purple ground pattern in gold with touches
of
red
and
blue.
Serpentine
branches
of
tulip
and
rose
sprays.
111.
Cox,
pi. r:,,
No.
2.
cf.
Coll. Kel., pi. 61,
No.
2.
in.
15-126.3
6%
xvii
X ii>4
311
BROCADE, PERSIAN(?).
Cloth of silver with
15. 125.8
century.
5.
191
a set pattern of a conventionalized
leaf form, outlined in blue
and
tan.
12 X
xvii
13^
in.
312
VELVET BROCADE, PERSIAN,
century.
Davis, 1915. Cloth of gold with a set design of butterflies and fivelobed leaf forms having a surface pattern of floral motives in blue, red, and green, woven in cut pile.
Coll. Kel., pi. 97,
No.
2.
L.1474.300
I3}4
X52
in.
313
BROCADE, PERSIAN, xvii century. Gift of W. R. Valentixer, 1909.

Crimson ground with symmetrical arrangement of conventionalized floral sprays in gold with touches of green.
09.101.
1334 X38><
xvii
in.
314
BROCADE, PERSIAN,
century.
1915.
Crimson ground with serpentine floral sprays and small palmettes in gold and blue.
15-87.2
121/2
X25
in.
76
315
BROCADE, PERSIAN,
xvii century. Purchase, Rogers Fund, 1908.
Blue ground with a vertical arrangement of conventionalized floral sprays in gold, with touches of black and pink.
08.109.9
llYz X 18
xvii
in.
316
BROCADE, PERSIAN,
Edward
C.
century.
1891.
Moore Collection, Bequeathed
Fragment with border. Cream-colored ground with typical Herat design of palmettes and leafy scrolls woven
in pastel shades.
91.1.25-a
l3!/2
x 34
in.
317
BROCADE, PERSIAN,
and pairs of
xviii
century.
Purchase, Rogers Fund, Dark blue ground with a

motives,
fish,
1908.
small pattern of set floral
birds.
08.197.4
16 X 22
xviii
in,
318
BROCADE, PERSIAN,
Edward
palm leaves
91. 1.
century.
1891.
set
C.
in

satin
Dark gray
ground with red and gold.
design of individual
103^ X 25
xviii
in.
319
BROCADE, PERSIAN,
Tan ground
century.

red.
1908.
with design in shades of blue-green and Court scene with dancer. 20 X 29 in. 08.173.5
320
BROCADE, PERSIAN,
ing plant forms.
15.70.2
xvii-xvm century. Purchase, Rogers Fund, 191 5. Sash woven in a striped design with border of blossomSee text, also Nos. 383, 384. 23 X 180
in.
ASIA
MINOR
77
ASIA
321
MINOR
xvi
VELVET BROCADE, ASIA MINOR,

tury.
1915.
cenDavis,

;
Crimson velvet ground ogival bands with lanceolate crowns at points of intersection. Central device, tulip form with pointed crown and curled leaves. 111. Von Falke, No. 604; cf. Errera, No. 222; Coll. KeL, pi. 83, No. I. L.1474.291 25 X 66 in.
leaves and
322

century. Gift of
in
early xvi
P.
W. French &
Co., 1912.
Crimson velvet ground.

tan with red veinings.
Set pattern of fanlike device
12.144.1
24 X 24
in.
323

Crimson velvet ground with palmettes leaves and central cone motive in silver.
the Imperial
xvi century.
1915.
of
lanceolate
A
is
similar velvet
from a Sultan's dress, dated about 1560, Treasury at Constantinople. cf. Martin, Oriental Carpets, p. 288. L.1460.31-32
preserved in
51
x62
in.
324

century.
1915.
early xvi
Davis.
Rose red ground with Turkish variant of the Italian pomegranate pattern, woven in silver. Similar to No.
321.
cf.
Brussels,
Falke, vol. 2, No. 604; Errera Collection, No. 222; Coll. Kel, pi, 83. L.1474.290 251^x33/,^ in.
Von
78
325
VELVET BROCADE, ASIA MINOR OR

ian, late xv century. Purchase, Rogers Fund,
1912.
ITAL-
Crimson velvet ground with graceful design of arabesque scrolls and pointed leaves wrought in golu. This
pattern is of Near Eastern origin, but velvets of similar design were made in Venice to compete with the trade of the Levant. cf. Cole, Fig. 74; Cox, pi. 50, No. 2.
12.49.5
25x102^
in.
326

tury.
xvi-xvii cen-
Purchase, Rogers Fund, igo8.

Design of three balls and conThe motive ventionalized tiger stripes in metal thread. of the three balls was very common in Turkey in the The tomb of Selim II in Stamboul is sixteenth century.
Crimson velvet ground.
covered with brocades bearing this design, while on faience tiles in the time of Sultan Ahmed they appear alone or with the tiger stripes. These devices were used only in imperial mosques, as they seem to have been imperial preThere are two panels of such tiles in Wing E, rogatives. Room 13. The ball motive appears much earlier in Chinese silks found in Egyptian tombs while in the beginning of the fifteenth century it was used on the coins of Timur and as a decoration of his great buildings in Samarkand. Perhaps it was after his conquest of the Turks in 1402 that this symbol of imperial power became usual in
;
the Near East. Similar pieces in the Victoria and Albert tion Oriental, No. 356) and in Brussels.
cf.
Museum
(Sec-
Errera, No. 137; Martin, Fig. 326.
08.109.23
24>4x27^
xvii
in.
327

Crimson velvet ground with
colored
tions,
in
century.

satin
Davis, 1915-
fanlike device in creamcharged with sprays of tulips and carnared and green; smaller leaf motives in metal
thread.
325
VKLVHT BROCADE, ASIA MINOR OR ITALIAN LATE XV CENTURY

cf.
ASIA
MINOR
2^y2 X57
79
in.
Von
Falke, 606; Coll. Kel., 93, No. 2.
L.1474.307
328

tury.
xvm
cen-
Davis, 1915.
in
Rose red ground with conventionalized floral sprays red, green, and metal. Bordered field and ends. L.1474.294 26x53
in.
329

191 5.
xvi century.
Crimson velvet ground with design of broad ogival bands in tan, originally metal thread, framing a central palmette of lanceolate leaves and branching tulip sprays.
15-138.1
25x61
in.
a30

xvi century.
1915.
Crimson ground with bold design of large fan-shaped device and lanceolate leaves woven in cloth of silver with
crimson veining.
similar piece in the Errera Collection,

see pi. 12,
No. 273, and
in the
Dresden Museum; L.1460.33,34
No.
i.
48x54
in.
331
BROCADE, ASIA MINOR OR PERSIA,

tury.
xvi cen-

Blue
1908.
with formal arrangement of reversed lanceolate leaves on serpentine stem, in gold outlined with
white.
ground
08.109.4
26x58
xvi century.
191 5.
in.
332
BROCADE, ASIA MINOR,

Crimson
bands of
satin
floral
ground with design of vertical serpentine ornament and branches of palmette and
8o
motives

lanceolate leaves
15. 125.9
wrought
and
in gold
with superimposed
floral
in red, green,
blue.
25^
X 52
in.
J33

Purchase, Rogers Fund, 1915. Red ground with bold design and
conventional floral forms and green and silver, cf. No. 326.
cf.
xvi century.
the
three-ball
palmettes in gold motive, in
Coll. Kel., pi. 87,
No.
2.
15.
114
24 X 56
in.
334
BROCADE, ASIA MINOR
conventionalized tulips and lanceolate leaves wrought in silver and green.
(?). xvi century. Purchase, Rogers Fund, 1912. Green velvet ground with a formal arrangement of
12.49.6
47 >^ X 1035^
in-
335

Ground
xvi century.
1915.
of dull pink satin with a bold design of ogival bands framing a central cone motive surrounded by balls wrought in metal thread with touches of green.
cf.
Cox, pi. 55, No. 2; Lessing, L.1531.3
pi.
318.
24x59
in.
336

CENTURY.
early xvi

Crimson ground with design of formal
1915.
leaf panels in-
closing a fanlike device of conventionalized floral forms woven in gold, with traces of gray velvet ground.
L.I 460.30
337

tury.
xvii
cen-
pattern in creamcolored satin inclosing conventionalized tulip forms.
Purchase, Rogers Fund, 1908. Gray uncut velvet ground with ogival
08.109.22
24x63
in.
^}b
VELVET BROCADE, ASIA MINOR EARLY XVI CEXTLRY

h\'
Lent
Mrs. Charles T. Rarnev

338
ASIA
MINOR
SATIN BROCADE, ASIA MINOR,

1908.
xvi century.
Crimson ground with serpentine stems

leaves and tulips in blue, white, and yellow,
cf.
of
lanceolate
Coll. Kel., pi. 52.
08.109.25
27 X 72
In.
339

Blue-black
tracer}^ In
xvi century.
19 15.
ground of velvet with a delicate scroll red and bold oglval bands with lanceolate leaves
framing central medallion in metal thread. cf. Lessing, pi. 318; Cox, pi. 55, No. 2,
L.I 53
1.
24>^ X 62
xviii
in,
340
COAT
tury.
IN SILK TAPESTRY, SYRIAN,
cen-
Woven
in
Purchase, Rogers Fund, 191 5. In two shades of brown and

dull
silver
with details
blue and pink.
Design of
stripes
and rhombic
In.
pattern.
15-37
Length, 36
341
COAT
tury.
IN SILK TAPESTRY, SYRIAN,

Ross, 191
5.
xviii
cen-
Similar to No. 340, but In brighter colors. Exhibited in the Paterson Historical Exhibition of Textiles, 191 5.
L.I 520.6
Length, 36
In.
342

1915.
in
xvi century.
Tan ground
bands
tiles cf.
with bold design

tulip
metal thread of oglval
and
Interlacing
sprays
framing
central
palmette.
Exhibited at Paterson.
in the Historical
Exhibition of Tex-
Lyons,
pi.
26,
No.
2.
15. 138.
24 X 50
In.
82
343

Gift of
J.
xvii century. Pierpont Morgan, 1906.
Chasuble; red ground, formal design of palmettes and lanceolate leaves in cloth of gold outlined in blue and
white.
06.1210
'2.1V2
X78
in.
344
GOLD BROCADE,
dulating bands
ASIA MINOR,
xvi century.
sprays and un-
Purchase, Rogers Fund, 1912. Man's coat, cloth of gold with floral
in red, blue,
and green.
12.127
53>^x54>^
in.
345
xvi century.
1915-
Crimson velvet wîth large fields of blue in pointed ovals forming a background for a surface pattern of bold
scrolls in
111.
metal thread outlined
in red.
Cox, L'Art decorer les
tissus, pi.
XXVI,
No.
7.
L.1531.6
18x59
in.
346

tury.
xv-xvi cen1915.
of pointed

Crimson velvet ground with ogival pattern
leaves inclosing small central cone device in five-lobed leaf form of blue scrolls. This fabric may possibly be Venetian
work
influenced
leaf
five-lobed
outline
recurrent motive in
fifteenth century.
The conventional by the Orient. framing the central device is a Italian weaves of the middle of the
L.1531.2
25x45
x\'i
in.
347
BROCADE, ASIA MINOR.

Crimson
pointed
satin
century.
1915-
Lent by Pratt Institute of Brooklyn.
ground with a bold ogival pattern of arabesque leaves, framing a central medallion
metal
in
woven
in
green velvet background, the red satin

in a surface pattern in delicate scrolls.
ground appearing

type Brocades of Oriental patterns. cf. Errera, No. 158. L.1531.7
this
ASIA
MINOR
83
may
be
Venetian adaptations of
25x43^
xvii
in.
348

tury.
cen-
Gift of
06.947
J.

60 X 65
xvii
in.
Striped weave, in pink, blue, and cream.
349

tury.
cen-
Purchase, Rogers Fund, 1915. Red velvet ground with design of formal
alternating with tulip and carnation motives.
15. 126.5
cypress trees
205^ X 49
xvi century.
191
5.
in,
350
VELVET, ASIA MINOR,

Green
velvet ground with ogival pattern of interlaced
bands and tulip branches inclosing central cone motive in tan, originally metal thread. L.I 53 1.5 26 X 48 in,
351

Gift of
P.
xvi century.
W. French &
Co., 191 2.
originally
Green velvet ground, design
woven
in silver.
Ogival bands inclosing ball motive, with crescent at intersection framing central palmette motive charged with tulips and carnations. 111. Cox, pi. 30, No. 2; Lyons, pi. XXVI, No. 3.
1
2.
44.2
205^x48
xvi-xvii
in.
352
SILK BROCADE, ASIA MINOR,

191 5.
century.
closed
in.
Striped weave of gold, silver, and red with crescents in colors arranged in groups of three.
15. 125.
6x
16J/2
84
353
VELVET BROCADE, ASIA MINOR.

CENTURY.
xvi-xvii
1915three-ball motive
Crimson velvet ground with the
comcf.
bined with that of the conventionalized tiger stripe, note. No. 326.
15. 125.
10x27
IVIINOR.
xvi century.
1908.
in.
354
BROCADE, ASIA
Cloth of gold with design of pointed ovals in crimson and blue, Cufic inscription, and Chinese flame motive.
08.109.10
14x49
iri-
355
SATIN BROCADE, ASIA MINOR,

Crimson
satin
xvi century.
igo8.
ground with palmettes in cloth of silver bordered with blue, inclosed in a framework of arabesques combined with Chinese cloud device.
Coll. Kel., pi. 36.
cf.
08.109.24
14M X54
xvi century.
in-
356
SILK BROCADE, ASIA MINOR,

Purchase, Rogers Fund, igo8.
Crimson satin ground with ogival banding in silver, overspun with sprays of pomegranates and tulips in red, green, and yellow, inclosing palmettes of floral forms.
cf.
Coll. Kel., pi. 42 (2).
08.109.5
I9x50>4
xvi
19 15.
in.
357

Red
satin
century.
ground. Pattern woven in gold with touches of blue and green; design of leaves springing from pomegranate buds and framing palm.ettes charged with floral
forms.
15. 125.
10%
28^
in.

358
XVI CENTURY.
ASIA
MINOR
85
SATIN BROCADE, ASIA MINOR (BROUSSA).

Green
satin
Ross, 191
5.
ground, with
floral pattern
woven
II
in red,
green, and silver.
L,i520.5
X 16
in.
359

xvi century.
1915.
fields
Cloth of gold with design of pointed oval crimson and green.

15-87.1
in
10x253^
in.
360

Crimson ground with
silver inclosing floral
set pattern
xvi century.
Davis, 1915.
of disks of cloth of
in red
forms and crescents
and green.
(i); 90
in.
End
cf.
borders.
Cox,
pi.
32,
No. 2; Coll.
Kel.,
pis.
89
(2).
L.1474.292
361
26x48
VELVET BROCADE, ASIA MINOR, early xvi CENTURY. Lent by the Estate of Theodore M. Davis, 1915.
Crimson velvet ground with a bold design of large seed
cones,
woven
in
metal thread on .vellow.
L.1474.297
25^x45%
in.
362
BROCADE, ASIA MINOR, xvi century. Lent by the Museum for the Arts of
Decora-
tion at Cooper Union, 1915. Red ground. Ogival framework and inclosed palmette form in silver charged with arabesque and floral vine in
blue.
Crescent forms arranged in groups of three. Badia Coll., pi. XXV, No. 146. L-I533-4 13/^ X25
111.
in.
363

Crimson
satin
xvi-xvii
century.
of
Purchase, Rogers Fund. 191 5.

ground
with
design
serpentine
86

branches with reversed leaves woven lined with white.
15. 125.3
in tan
and blue, out-
14x21
xvi century.
1908.
in.
364

Ogival framework in red inclosing medallions charged with carnations and hyacinths on field of gold. 111. Coll. Kel.. pi. 36, No. I. 24x40 in. 08.109.6
SARACENIC AND HISPANO-MORESQUE

365
BROCADE, SARACENIC, xiv-xv Lent by the Museum for the
century. Arts of Decorasilver.
tion at Cooper Union, 19 15. Blue silk ground with design of crescents in 111. Errera, No. 66; cf. Lessing, pi. 56 (d).
L.I533-I3
6J4XI114
xiii
in.
366
SILK WEAVE, HISPANO-MORESQUE.

tury.
cen-
Striped fabric, with bands of Neskhi inscriptions in gray on red, alternating with bands of dark blue, edged Fragment of the mantle of Dona Leonor de with tan. Castro, second wife of Don Felipe, fifth son of San FerIt was discovered in nando, first archbishop of Seville.
the
tomb
of this Infanta,
which
still
exists at Villarcasar
de Sirga in the province of Palencia, Spain. Exhibited in the Paterson Historical Exhibition of Textiles,
111.
1915. Errera, No. 18;
cf.
Coll. Kel., pi. 21,
No.
i.
L.1533.15
8x16
in.
367
SILK
WEAVE,
HISPANO-MORESQUE.
xiii
CENTURY.
Striped fabric with bands of Neskhi inscription, white
,'a
"
.'..t.,:;;
vAJi fj-j* *
'
.
V)S
SII.K
AXD COTTOX WEAVE. HISI'AXO-MORESQUE XIV^ CEXTURY
Lent
b}-
the
Museum
Cooper Union
NEAR EASTERN
87
on black, alternating with bands of ornament in red. Cut in the form of a cope hood. Interesting as showing the use of pagan stuffs with Koranic inscriptions for the making of vestments in the Christian church. Exhibited in the Historical Exhibition
of Textiles in Paterson, 191 5.
cf.
Von
Falke,
No. 372.
16 x 1934
in-
L.1533.16
368
SILK
AND
COTTON
xiv century.
WEAVE,
HISPANO-
moresque.
Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5. Striped fabric in polychrome with alternate bands of ornament and inscription in Neskhi lettering, a quotation from the Koran.
111.
Errera, No. 76,
L.1533,28
18 x 25>4
in.
369
BROCADE,
tury.
HISPANO-MORESQUE.
xiv
cen-
Lent by the Museum for the Arts of Decoration at Cooper Union, 191 5. Yellow ground with design in red, green, black, and
white.
Pattern of interlaced bands with bands of inscrip-
tion in border.
Patterns of this type

tapestries of the late
may
Roman
be traced back to the Coptic period (cf. Nos. 3, 4).
tiles,
Exhibited in the Paterson Historical Exhibition of Tex1915.
111. Errera, No. 79; cf. Von Falke, No. 371; Lessing, No. 125; Migeon, No. 352.
L.I 533.24
7x42
in.
370
BROCADE, HISPANO-MORESQUE.
Gift of
in
xiv century.
F. A.
Meyer-Riefstahl,
191 5.
Fragment
15-134
of brocade with design of interlacing bands
red and gold, with touches of blue.
3/^ X45^
in.
88
371
BROCADE, HISPANO-MORESQUE.
tury.
xiv-xv cen-

Three fragments
bands
12.55.5-a, b, c
in characteristic
19 12.
of brocade with designs of interlacing
Spanish colorings.
372
BROCADE, HISPANO-MORESQUE. xiii century. Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5. Woven in buff, blue, and gold thread. Design of narrow interlacing bands forming an eight-pointed star pattern. Fragment of robe from the tomb of the infant Don Felipe, fifth son of San Fernando, first archbishop of
Seville.
J.
Pierpont
Lessing,
Morgan
pi.
Coll.,
formerly
in
the
Stanislas
Baron Coll.
111.
124,
No. 3;
cf.
Errera, No. 19.
L.1533.12
373
10 X 12
in.
BROCADE, HISPANO-MORESQUE. xv century. Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5.
pattern woven in yellow with touches has a close pattern of small arabesques in yellow, that form a background to large and small circular devices with red fields.
Red ground with
of green.
The
field
L.I 533.6
lOj/^
X 19
in.
374
BROCADE, HISPANO-:VIORESQUE.
tury.
xiv-xv cen-
Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5. Brocade woven in red and gold with touches of blue; design, a geometric arrangement of arabesques and conventional leaf forms alternating with circles framing a similar
device.
cf.
Coll. Badia,
No. 114.
10 X
I3j/^ in.
L.1533.7
NEAR EASTERN
374
89
CHASUBLE, HISPANO-MORESQUE.
tury.
xv
cen-

Silk brocade; yellow sign in red.
19 15.
ground with geometric band de-
L.I 460.50
30x42
in.
375
SILK WEAVE, HISPANO-MORESQUE.

tury.
xv cen-
Purchase, Rogers Fund, 1912. Banded design, red ground with geometrical
yellow.
pattern in
12.55.6
25
X39
in.
376
SILK
XVI
WEAVE
IN
STYLE BUT OF LATER ORIGIN, MOROCCAN.

century or later.
1909.
THE HISPANO-MORESQUE
Curtain of crimson silk with horizontal bands of geometric ornament in polychrome.
09.160
70x87^^
in.
377
SILK SCARF IN
MOROCCAN.
Edward
C.
STYLE BUT OF LATER ORIGIN, SPANISH OR

XVIII
THE HISPANO-MORESQUE
century.
Moore Collection, Bequeathed 1891. Crimson ground with design in metal thread. An allover geometric pattern with border of arabesque points.
91-1.29
15^
X 29>4
in.
378
DAMASK, HISPANO-MORESQUE. xv century. Lent by the Museum for the Arts of Decoration AT Cooper Union, 1915. Red ground with intertwining arabesque and leaf design in green, white, and yellow. Similar piece at Musee
de Cluny.
111.
Von
Falke, 373;
cf.
pi.
45,
No. 2; Lessing,
pi.
127 (a)
Fischbach, pi. 204; Col. Kel., Errera, No. 102.

;
L.1533.1
12 X isYo
in.
90
379
BROCADE, HISPANO-MORESQUE. xv century. Lent by the Museum for the Arts of Decoration AT Cooper Union, 191 5.
in
blue satin ground, ogival design and arabesques yellow with conventionalized motives in green, white, and red.
cf.
Dark
Von
in the
Kgm.,
Falke, No. 373; Lessing, Berlin.
pi.
131
(a); Pierce
L.1533.14
11^
X I9>4
in.
380
BROCADE, LATER HISPANO-MORESQUE.

century.
xv
Lent by the Museum for the Arts of Decoration at Cooper Union, 1915.
tional
111.
Arabesques in red framing irregular pomegranate tree and two birds

Lessing,
pi.
field in
with convenwhite affronte.

pi.
127,
No. 2;
cf.
Fischbach,
203,
in.
No.
2.
L.1533.23
381
9x23

century.
xiv
Gift of Herman
Van Slochem,
191
i.
Black ground with red arabesques outlined in white, forming heart-shaped shields charged with stylistic pomeSimilar granate plant and two crowned lions rampant. pieces in the museums of Lyons, Berlin, and Hamburg.
111.
Von
Fischbach, pi. 18, No. 3; Cox, pi. 44, No. 3; cf. Falke, No. 374; Errera, No. 103; Lessing, pi. 128.
.
11.23
10 X 17
in.
382

CENTURY.
xv

outlined
in
1915-
in gold and green Design, a palmette, the lion of Castile, and the shield of Granada, bearing a Neskhi insimiscription, interspersed with branching leaf forms. lar piece in the Konigliche Museum, Berlin.
Crimson ground with pattern woven

dark blue.

111.
PERSO-SLAVONIC
pi.
QI
205,
Von
Falke, vol.
2,
No. 370; Fischbach,
No.
1
2.
5-49-
II X II in.
PERSO-SLAVONIC
383
BROCADE, POLISH,
and polychrome.
in gold thread Sashes of similar fabrics are illustrated in Indian miniatures of the seventeenth century.
xviii century. Purchase, Rogers Fund, 191 i. Sash woven in stripes of floral design
Signed
Paschalis.
11-58.7
13 X 103
xviii
in.
384
BROCADE, POLISH,
Sash similar to No. 383. II. 58.17
century.
i.
191
II X III
in.
IV.
FAR EASTERN TEXTILES

great
antiquity
of
THE
first
silk-weaving
in
China has
already been touched upon in the introduction to this

catalogue, but
it
may
be of interest here to state that
the discovery of the art of rearing silkworms, as well as the
invention of the loom, are both traditionally credited
to
the
Empress Hsi-Hng
Christian era.
Shi, wife of
Huang
Ti, the Yellow Emperor,
of the Five Rulers, nearly three thousand years before the
She was
deified
and faithfully worshiped down

in her honor,
to the present day,
an annual ceremony being held
of
which the picking of mulberry

is
leaves, the food of the silk-
worm,
less
a solemn part.
Until the change of rule in China,
than a decade ago, the Emperor, according to Bushell,

in spring as first agriculturist of the country,
plowed a furrow
her
while the Empress oflered mulberry leaves at the altar with
own hands
in
order to encourage sericulture.

is
All Chinese
weaving
Chinese
of importance
textiles
of
silk,
and the three pieces of ancient
included
in
the
pletely the technique of the silk-loom
Chinese craftsmen as early as the

in
show how comwas at the service of the Sung Dynast}^ which reigned
exhibition
is
China from the tenth

no
to the twelfth century of our era.
One
of these pieces, lent by
Cooper Union,
from the
a brocaded satin,
differing in
essential respect
stuffs
produced
in the
same region today, while the other two examples, both belonging to
Mr.
Freer, represent early tapestry-weaving as practised
by the same artist-workmen.

hesitation,
In these two pieces there

difficulties,
is
no
no capitulating to
such as
we
find in the
92
93
contemporary European craftsmen; only a complete control of the technicalities of weaving, as well as knowledge
of
work
of
its
limitations
and
its possibilities,
could produce such speci-
mens
as
of the textile art.
The
of
exhibition includes no examples
of textiles a
made during
rule
the succeeding or
this
Ming
Dynasty, but
the
color,
general
stuffs
time
indicate
develop-
ment
toward
bolder
shapes,
more
gorgeous
and
less refined art,
which we
find characteristic of porcelain
and
painting through the various phases of culture which followed

the exquisite refinements of the
Sung
period.
In the eighteenth
century technical
and the
silks
had again become more than adequate, and velvets shown, dating from that period, illusskill
trate quite as well as the
more familiar porcelains

of as
the artistic
point of view of the brilliant civilization of the time.

vets
The
vel-
material
not
commonly thought
Chinese
are
especially characteristic,
George Blumenthal
screen.
is,
and the splendid example lent by Mr. in its different medium, as successful an
artistic expression as a famille verte jar or a
Coromandel lacquer
the Chinese
in-
Japanese weaving,
like all
it
Japanese
art, reflects
prototypes from which
is
derived.
The
Japanese textiles
cluded in the exhibition date from the eighteenth and nineteenth centuries, and their similarity to Chinese stuffs of the
same period
is
at once apparent.
Brocades of gold and color
woven
in
superbly daring designs have long been popular in
Japan, where they are used for ceremonial hangings and for
costumes
at the
No
dance.
The
tradition of their
manufacture
less cor-
still exists
and the Japanese
textile industry has
been
rupted than some of the other national arts by the incursion of European influence in design.
CHINESE
.385
SILK TAPESTRY, CHINESE,

1277 A.D.).
sung dynasty
191 5.
(960-
Lent by the Smithsonian Institution,

Panel of
fine silk tapestry
with a design of peonies and
94

Other flowers black ground.
woven
in tan and dull bluish green on a Collection of Charles L. Freer.
I5>^x34>4
386
in.
SILK TAPESTRY, CHINESE,

1277 A.D.).
sung dynastv
(960-
Lent by the Smithsonian Institution,
1915.
Panel of exquisitely fine technique with design of tree, peony, and bird in neutral tints. Collection of Charles L.
Freer.
gj/g
X I2>^
in.
387
for the Arts of Decoration at Cooper Union, 1915. Scrolls Blue-green ground with design woven in buff. and lotus medallions with central disk bearing a Chinese
character.
BROCADE, CHINESE, Lent by the Museum
xiv century.
Fabrics of this type, woven in China in the fourteenth century and found in Egyptian tombs, were designed as As stated by Von Falke, gifts to the Mameluke Sultans. the historian Abdul Feda records the arrival in the year 1323 of an embassy from a Mongolian Khan with a gift of seven hundred pieces of stuff, bearing in woven characThe piece in ters the name of the Sultan Nasir Eddin. this collection, of which there exists another fragment in the Errera Collection at Brussels, bears the shou mark for Vestments of Chinese fabrics bearing Arabic longevity. inscriptions and dating from this period are preserved in the Altenkapelle at Regensburg. 111. in Errera, No. 72; cf. fragment in the Kgm., Berlin; Von Falke, No. 332; Fischbach, pi. 261, No. i.
L.1533.30
16 X 26
in.
388
VELVET PANEL, CHINESE,
xviii
century.
blosfloral
Lent by George Blumenthal, 191 5. Yellow ground with leafy scrolls and nelumbium soms woven in green and dull pink. A narrow border between two wider bands of key pattern.
L. 1 530.3
74 X 113
in-
388
VELVET PANEL, CHIXESE

XVIII
CENTURY
Lent by George Blumenthal
iriLo^r?^
'-^'ôx
FAR EASTERN TEXTILESCHINESE 389
95
VELVET HANGING, CHINESE,

tury.
xviii-xix
cen-

Orange-red ground, design in metal thread of archaic dragon scrolls and shou mark framed in three panels by
borders of fret. 09.13.16
60x68
xviii
in.
390
DAMASK, CHINESE,
century.
1909.
Delicately From the Fischbach Collection. The design is of the same general character as the Persian piece illustrated by Von Falke, No.
Buff satin ground with design in same tone. scrolled ogives inclosing central lotus motive.
343-
09.50.960
391
SILK
TAPESTRY
(KO'SSEU), CHINESE,
xviii
century. Purchase, Rogers Fund, 1909. Faded red ground with floral medallions and
shades of blue and cream.
scrolls in
09.13.17
16x96
xviii
in.
392
BROCADE, CHINESE,
Edward
Olive
blue.
century.
1891.
in
C.
silk
ground with widely separated medallions

43/^
xviii
91. 1.48
X64
in.
393
VELVET BROCADE. CHINESE,

Green
satin
century.
1909.
lotus blossom.s
in
ground with design of formal sprays of brown, woven in cut pile. From the
14
'^
Fischbach Collection. 09.50.1106
17
in.
96
JAPANESE
394
GOLD BROCADE,
Edward
Ground
91. 1.44
C.
of
JAPANESE, xviii century. Moore Collection, Bequeathed 1891.

hexagonal pattern with evenly
dis-
small
tributed lotus leaves and figures in gold and polychrome.
20x41
in.
395
BROCADE, JAPANESE,
xviii century. Purchase, Rogers Fund, 1909. Dark blue satin ground, arabesque floral
design
and
in.
birds in gold thread and polychrome.
09.50.2714
24x273^
xviii
396
BROCADE, JAPANESE,
century.
1910.
Tan silk ground with designs of five-clawed imperial dragons and cloud motives in silver thread and polychrome. 10.10 54 X 54 in.
397
BROCADE, JAPANESE,
in
xviii
century.
1909.
Blue satin ground with conventionalized floral forms red, green, white, and tan; scrolling leaf forms and
09.50.2669
butterflies in gold.
398
BROCADE, JAPANESE.
scrolls in
x\iii
century.
1909.
Black ground with formal pattern of peony blooms and From the Fischbach Collection. pink and gold. 16x23^ in. 09.50.962
xviii
399
BROCADE, JAPANESE,
Edward
Dark
C.
century.
1891.
Large floral medallions in gold and blue ground. Pairs of small birds in the tan, red, green, and blue. intervening field space. i8j^ X 19 in. 91. 1. 15
H w u
uT
u
<
ASrc'-i C'-J.
Lucx
JAPANESE
century.
97
400
BROCADE, JAPANESE,
xviii
1909.
Black satin ground. Design in gold, red, white, and green; alternating rows of medallions and floral forms. From the Fischbach Collection. 09-50.2715 15^x31 in.
BIBLIOGRAPHY
Algoud, Henri.
Barcelona,
Le Velours.
1900.
Paris.
Badia, D. Francisco Miquel Y.
Collection de tissus anciens.
Chattraire, Eugene.
Cathedrale de Sens.
Les Tissus anciens du tresor de

Paris, 191
in
1.
la
Cole, Alan
Paris.
S.
Ornament
European
Silks.
London, 1899.
Collection Kelekian.
Cox, Raymond.
Etoffes et tapis d'Orient et de Venise.
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DECEMBER, MCMXV
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THE METROPOLITAN MUSEUM OF ART

THE METROPOLITAN MUSEUM OF ART

THE METROPOLITAN MUSEUM OF ART

Special Exhibition of Textiles

has arranged serves a double purpose

by museums and private collectors; second, of placing before

stimulus to artistic production at a time

transportation or through the closing of the continental

tories which have previously supplied the American market with

a large portion of the

stuffs used in this country.

going the rounds of the shops finds that perhaps

half of the familiar fabrics he

since the complete demoralization of that

region, have of course been unable to

their depleted stocks

from abroad and are obliged

withdraw almost all foreign The French factories which existed

in the vicinity of Lille are

many workmen from

the mills in other parts

of the country have gone to the front, as a result of

practically paralyzed throughout France.

somewhat diminished, and they cannot pretend

the inactive continental mills.

which American manufac-

turers are preparing to take advantage, and a distinct improve-

output of our national looms

one of the better things growing out of the war.

are located, has recently

entertained the First National Convention of Silk

and dealers contributed.

facturers in the finer productions of the past has been constantly

response to this that the

organized the exhibition just opened.

For the past few years the

collection of textiles has

been systematically increased until

has reached a position of

and comparative completeness for study purposes,

and much of the material included

of Textiles in the basement of the

a character not previously show^n publicly in

for the Arts of Decoration at

of the interest of the exhibition

due to the cooperation

through their Directors, represented

one case by the Misses Hewitt,

Wetzel, of Boston, with

beauty and unusual quality.

Dearth has presented the

for the purposes of this exhibition.

rather as garments than as wall hangings.

are also not shown, as their interest to most visitors

than that of the patterned weaves, which have a higher artistic

historic value, intrinsically considered.

In addition to the main collection in the large

Galleries, while one room, E-io,

given over to paintings and photographs of historic portraits,

illustrating the various types of pattern

exceptions, all of the pieces exhibited