Textile Fabrics: A Descriptive Catalogue of the Collection of Church-vestments, Dresses, Silk Stuffs, Needlework and Tapestries, forming that Section of the MuseumRock, Daniel
History
Textile Fabrics: A Descriptive Catalogue of the Collection of Church-vestments, Dresses, Silk Stuffs, Needlework and Tapestries, forming that Section of the Museum
Rock, Daniel
Art objects -- England -- London -- Catalogs; Textile fabrics
What we said just now about Lettered Silks, p. lix. should be borne
here in mind. With the Saracens, wherever they spread themselves, the
usage was to weave upon their textiles, very often, either the title
of the prince who was to wear them or give them away, or some short
form of prayer or benediction. By Christian eyes, such Arabic words
were looked upon as the true unerring sign that the stuffs that showed
them came from Saracenic looms--the best of those times--or, in other
terms, were the trade-mark of the Moslem. The Christian and Jewish
weavers in many parts of the East, to make their own webs pass as
Saracenic goods, wrought the Paynim trade-mark, as then understood,
upon them. The forgery is clumsy: the letters are poor imitations of
the Arabic character, and the pretended word runs, as it should, first
correctly, or from right to left, then wrong or backward from left to
right, just as if this part of the pattern--and it is nothing more--had
been intended, like every other element in it, to confront itself
by immediate repetition on the self-same line. Our young folks who
sometimes amuse themselves by writing a name on paper, and while the
ink is wet fold the sheet so that the word is shown again as if written
backwards, get such a kind of scroll.
In many Oriental silk textiles the warp is either of hemp, flax, or
cotton; but this is so easily discoverable that it could hardly have
been done for fraud’ sake. There is however a Saracenic trick, learned
from that people, and afterwards practised by the Spaniards of the
South, for imitating a woof of gold. It is rather ingenious, and we
presume unknown among collectors and writers until now.
For the purpose, the finer sort of parchment was sought out, sometimes
as thin as that now rare kind of vellum called, among manuscript
collectors, “uterine.” Such skins were well gilt and then cut into very
narrow shreds, which were afterwards, instead of gold, woven, as the
woof to the silken warp, to show those portions of the pattern which
should be wrought in golden thread. But as these strips of gilded
parchment were flat, they necessarily gave the stuffs in which they
came all the look of being that costly and much used web called by us
in the fifteenth century “tyssewys,” as we have before noticed, p.
xxxi. Specimens of such a fraudulent textile are to be seen here, Nos.
7067, p. 132; 7095, p. 140; 8590, p. 224; 8601, p. 229; 8639, p. 243,
&c.
SECTION VII.--SYMBOLISM.
A metaphor or figurative speech is the utterance to the understanding
through the ear of words which have other and further meanings in
them than their first one. Symbolism is the bringing to our thoughts,
through the eye, some natural object, some human personage, some
art-wrought figure, which is meant to set forth a some one, or a
something else besides itself.
Public-domain text, read in full here on John Shaqi.
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