Embroidery and lace: their manufacture and history from the remotest antiquity to the present dayA handbook for amateurs, collectors and general readers . eaving the MiddleAges we must refer to the charm of their art. If lessstudied in the refinement of its productions than that * Archives de VArt Francais, by A. de Montaiglon. 104 I. EMBROIDERY. of a subsequent and dazzling age, it was neverthelessinspired with truer sentiment and purer taste, as mayhave been inferred from our sketch of embroidery donefrom the twelfth to the sixteenth century. Summary.—Stuffs uponwhich embroidery wasworked in
Embroidery and lace: their manufacture and history from the remotest antiquity to the present dayA handbook for amateurs, collectors and general readers . eaving the MiddleAges we must refer to the charm of their art. If lessstudied in the refinement of its productions than that * Archives de VArt Francais, by A. de Montaiglon. 104 I. EMBROIDERY. of a subsequent and dazzling age, it was neverthelessinspired with truer sentiment and purer taste, as mayhave been inferred from our sketch of embroidery donefrom the twelfth to the sixteenth century. Summary.—Stuffs uponwhich embroidery wasworked in the Middle Ageswere called by variousnames, such as linen cloths,cloth of gold and of silver,baudekin, samit, cendal(often mentioned as Indiancendal), velvet, camoca,and tiraz or silk weavings,etc. Many long disserta-tions have been written bydifferent persons as to thetechnical nature of thestuffs so named; FrancisqueMichel, in his Recherchessur les Etoffes de Soie, hasnearly exhausted the sub-ject,* dealing with it in amasterly manner. Thosewho desire to identify thevarious methods of produc-ing textile fabrics will findDr. Rocks learned books. Fig. 44.—Coloured embroidery,with the cypher of Anne ofBrittany (in the Hochoncollection). in Monsieur Michels and material and guidance for their studies. We ofcourse cannot here propose to do more than discussornamental embroidery; and in this respect we may * See also Textile Fabrics, by the Very Rev. Daniel Rock, THE CRUSADES TO THE SIXTEENTH CENTURY. 105 broadly say that the unaffectedness of design whichmarked the immediately preceding period is less con-spicuous in work of the Middle Ages. One perceivesthat the extension of Oriental and Byzantine influence,aided by the crusades, helped both designer and em-broiderer to step as it were on to a new stage. Hence theirwork is morevaried in execu-tion, stiches arebetter selectedand applied,colouring isricher, and shapesof forms arerendered with lessrestraint; thewhole effec
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