Arts and crafts in the Middle Ages : $b a description of mediaeval workmanship in several of the departments of applied art, together with some account of special artisans in the early RenaissanceAddison, Julia de Wolf
History
Arts and crafts in the Middle Ages : $b a description of mediaeval workmanship in several of the departments of applied art, together with some account of special artisans in the early Renaissance
Addison, Julia de Wolf
Arts and crafts movement; Decoration and ornament, Medieval; Decorative arts -- History; Illumination of books and manuscripts
In the Travels of Jean Lagrange, the author says that all carpets
of Smyrna and Caramania are woven by women. As soon as a girl can
hold a shuttle, they stretch cords between two trees, to make a
warp, and then they give her all colours of wools, and leave her
to her own devices. They tell her, "It is for you to make your own
dowry." Then, according to the inborn art instinct of the child, she
begins her carpet. Naturally, traditions and association with others
engaged in the same pursuit assist in the scheme and arrangement;
usually the carpet is not finished until she is old enough to marry.
"Then," continues Lagrange, "two masters, two purchasers, present
themselves; the one carries off a carpet, and the other a wife."
Edward II.. of England owned a tapestry probably of English make,
described as "a green hanging of wool wove with figures of Kings
and Earls upon it." There was a roistering Britisher called John le
Tappistere, who was complained of by certain people near Oxford, as
having seized Master John of Shoreditch, and assaulted and imprisoned
him, confiscating his goods and charging him fifty pounds for ransom.
It is not stated what the gentleman from Shoreditch had done thus
to bring down upon him the wrath of John the weaver!
English weavers had rather the reputation of being fighters: in
1340 one George le Tapicier murdered John le Dextre of Leicester;
while Giles de la Hyde also slew Thomas Tapicier in 1385. Possibly
these rows occurred on account of a practical infringement upon
the manufacturing rights of others as set down in the rules of the
Company. There was a woman in Finch Lane who produced tapestry,
with a cotton back, "after the manner of the works of Arras:" this
was considered a dishonest business, and the work was ordered to
be burnt.
Roger van der Weyden designed a set of tapestries representing
the History of Herkinbald, the stern uncle who, with his own hand,
beheaded his nephew for wronging a young woman. Upon his death-bed,
Herkinbald refused to confess this act as a sin, claiming the murder
to have been justifiable and a positive virtue. Apparently the
Higher Powers were on his side, too, for, when the priest refused
the Eucharist to the impertinent Herkinbald, it is related that
the Host descended by a miracle and entered the lips of the dying
man. A dramatic story, of which van der Weyden made the most, in
designing his wonderfully decorative tapestries. The originals
were lost, but similar copies remain.
As early as 1441 tapestries were executed in Oudenardes; usually
these were composed of green foliage, and known as "verdures." In
time the names "verdure" and "Oudenarde" became interchangeably
associated with this class of tapestry. They represented woodland
and hunting scenes, and were also called "Tapestry verde," and
are alluded to by Chaucer.
Public-domain text, read in full here on John Shaqi.
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