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 The original of this book is in 
 the Cornell University Library. 
 
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 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924052382714 
 
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AN ENCYCLOPiEDIA OF TEXTILES 
 
AN ENCYCLOPAEDIA 
 
 TEXTILES 
 
 FROM THE EARLIEST TIMES 
 
 TO THE BEGINNING 
 
 OF THE 19TH CENTURY 
 
 WITH AN INTRODUCTION 
 BY ERNST FLEMMING 
 
 ERNST WASMUTH LTD. BERLIN 
 
PREFACE 
 
 The development of ornamental weaving from the oldest times to the in* 
 vention of the Jacquard loom at the end of the 18th century was both extremely 
 varied and complicated, and for this reason not easily traced. The employment 
 of a distinctive type of pattern is rarely limited to a particular nation or country. 
 The multifarious relations between peoples, whether maintained by commerce 
 and trade, or even brought about by wars, nearly always lead to an exchange 
 and adoption of patterns or single motifs. Owing to the difficulties and time 
 required to set a loom, new patterns were only slowly evolved. They even 
 remained unchanged for many years till structural alternations in the loom became 
 necessary owing to parts being worn out or to requirements called for by special 
 orders. The rapid succession of new patterns which modern needs demand was 
 formerly impossible. Work produced by mechanical means, such as the loom, 
 always results in absolute regularity and symmetry, and consequently is lacking 
 in individual traits. Now the work of the handicraftsman is always personal 
 in character, and hence has its special charms. 
 
 The vast field covered by textile manufacture, in as far as ornamental patterns 
 are concerned, includes woven, knitted and hosiery fabrics, lace, embroidery, 
 and printed stuffs. 
 
 Woven fabrics are all those which are produced by interlacing at right angles 
 two or more series of flexible materials. 
 
 Knitted and hosiery fabrics, whether made from one or many threads, are 
 held togther by intersecting a series of loops. 
 
 A special method of pattern weaving is that which is produced by weaving 
 coloured threads onto warp threads extending only to the limit of the required 
 patterns instead of being carried from side to side by means of shuttles. This 
 technique, called tapestry weaving, will only be considered to the extent that 
 it forms a base of pattern weaving. Tapestry weaving, as practised for instance 
 in the Gobelins factory, followed a course of its own. 
 
INTRODUCTION 
 
Early Egyptian Loom from Chuum>hotap 
 
Ancient Egypt 
 
 Art had reached to a high degree of achievement in the earliest period of 
 ancient Egyptian history. As early as 4000 B. C. great quantities of textile fabrics 
 were produced. We have obtained considerable information about the methods 
 of weaving from pictures, wall«paintings and reliefs depicting the cultivation 
 and preparation of flax, the spinning of the fibres into threads, as well as the 
 weaving of the threads into stuflFs by men or women on looms with either 
 high or low warps. 
 
 Egyptian garments were made of linen; the finer sorts of byssus fibres, and 
 were white without patterns of any description. When patterned garments are 
 depicted they are only worn by tributary peoples. On the other hand great 
 value was attached to fineness of texture and a multiplicity of folds. Only the 
 cushions and covers of furniture for sitting and couches, as well as tent hang* 
 ings have coloured patterns. 
 
 The brightly coloured decorations on walls and ceilings in the oldest of the 
 tombs seem to be reproductions of patterned textures. We may presume that 
 these sumptuous patterns were painted on the fabric, or were either embroidered 
 or tapestry woven in those cases where the patterns repeated in ordered sequence. 
 But the only means of producing such woven patterns was by the method 
 known as tapestry weaving in which coloured threads were darned into the 
 material. 
 
 Examples of such tapestry fabrics are a number of linen cloths with multi* 
 coloured patterns in the Museum at Cairo. They were found in the tomb of 
 Thoutmosis IV., and date from 1400 B. C. A large cloth is patterned with lotus 
 flowers and papyrus blossoms, and is edged with a border of alternating lotus 
 flowers and buds. It bears the name of King Amenhotes 11. 
 
 The large cloths ornamented with coloured figures and patterned bands, 
 usually spread over the mummy case during the transport on Nile boats, are 
 according to G. Masporo in his «History of Egyptian Art» partly embellished 
 with leather applique work. 
 
 Babylonia and Assyria 
 
 There are no remains of the textiles of the Babylonians and Assyrians who 
 were both famed for their weaving craft during the whole period of antiquity. 
 But the alabaster slabs that covered the walls of the palaces of Nineveh (de* 
 stroyed 606 B. C.) were embellished with coloured bas*reliefs depicting scenes 
 from the life of the kings and their courts on various ceremonial occasions. 
 The figures are clothed in long straight, tightly* fitting robes, partly patterned, 
 and more or less profusely decorated with fringes and bands according to 
 the rank of the wearer. Some of the figures have sleeves with wide bands of 
 
 XI 
 
incised patterns: kings and priests sacrificing, bulls, lions, birds, fabulous beings 
 such as winged horses, cherubims, as well as the sacred tree, palmettes and 
 pomegranates. The patterns on the costumes are in high*relief and represent 
 rosettes seme over the surface. Judging by the excellent reproduction of all 
 details on the reliefs, we may presume that the incised patterns on the bands 
 actually represent woven patterns, and the rosettes embroidery. 
 
 Babylonian carpets, which are mentioned by Pliny as being enormously 
 expensive, were apparently large cloths or hangings patterned with war and 
 hunting scenes, rows of fabulous animals, and similar figures to those of the 
 above*mentioned reliefs. 
 
 Greece 
 
 Formerly our knowledge of weaving in ancient Greece was derived from 
 the garments draping figures on Greek vases, as well as from the very detailed 
 descriptions of the sumptuous patterned fabrics to be found in the works of 
 the early Greek writers. It was only in the fifties of the last century that numerous 
 well-preserved textiles were discovered in the Greek tombs of the Crimean 
 Peninsula near the Yenikale Strait. These tombs dated from the 5 th to the 
 1st century B.C.. and the textile remnants found therein bore witness to the 
 weaving technique of the period. Slight traces of coloured print are still dis* 
 tinguishable on an unpatterned piece of linen fabric; another is ornamented with 
 a coloured tapestry#woven fret border, as well as the wave scroll and bead 
 pattern. Other pieces are embellished with naturalistic ivy and vine leaves, 
 acanthus scrolls, rows of tapestry*woven ducks' and stags' heads. Some large 
 cloths made by joining narrow strips are decorated with scenes from the lives 
 of Hercules and Oedipus. The material is brown or red, and the figures are 
 painted on it in black. Democritus of Ephesus describes very vividly the va* 
 riety of colours of Greek garments in his introduction to a book on the temple 
 of Ephesus. He mentions violet*blue. purple, and saffron coloured under*garments 
 patterned and trimmed with borders. The other garments, he says, were apple* 
 green, purple, and white; sometimes dark violet, light violet, or hyacinth colour; 
 also firesred and sea*green. He also describes shawls, the so*called actae, of 
 which the Persian were said to be the most valuable. They consisted of a closely 
 woven texture seme with gold tinsel. 
 
 The surface pattern is usually based on the square motif, sometimes grouped 
 so as to present trellis* work. Each square contains rosettes, little circles or spots. 
 Very often narrow or wide horizontal bands placed at regular intervals embellish 
 the garments. These bands are ornamented with chariots and steeds, winged 
 horses, dolphins, birds, and other animal designs, and betray unmistakably their 
 Asiatic origin. 
 
 XII 
 
1) Simsonstoff. Alexandrien, 6. bis 7. Jahrh. — 2) Rankenstoff. Alexandrien, 
 6. bis 7. Jahrh. — 3) Hahnenstoff. Persien um 600 — 4) Sassanidischer Jagd- 
 stoff. Persien, 6. bis 7. lahrh. — 5. Elefantenstoff. Persien, S. bis 9. Jahrh. 
 
 1) Red silk, patterned with figures of Samson and the lion. Alexandria, 
 
 6th — 71 h Cent. — 2) Silk fabric. Alexandria, 6th — 7th Cent. — 3) Fabric with 
 
 cock pattern, Persia, ca. 600. — 4 Sassanian fabric, Persia, 6th— 7th Cent. 
 
 5) Fabric with elephant pattern. Persia, 8th — 9th Cent. 
 
Costume undergoes a change in the 5th century. Coloured garments are 
 now only woven by Asiatic peoples. Such costumes as are depicted on Greek 
 vases have lozenges and checks, or zigzag patterns which are particularly con* 
 spicuous on the long trouserlike garment worn by the Persians and Trojans. 
 
 Rome 
 
 Ancient Rome borrowed both costume and pattern to a great extent from 
 Greece, and this applies, indeed, to the totality of her culture. The garments 
 worn before the period of the empire were usually made of wool. The best 
 came from Apulia and Miletus, and were dyed blue, or red, etc. During the 
 last centuries before the Christian era the extravagance of Roman garments was 
 such that the import of coloured fabrics was repeatedly prohibited. But it was 
 not till during the period of the empire that luxury in dress reached its cul* 
 minating point when silk was introduced. It was partly imported to Rome 
 as raw silk, partly as finished fabrics (so#called Seric garments), and was worth 
 its weight in gold. 
 
 XII] 
 
Late Antique Fabrics from Egypt 
 
 The larger remnants of fabrics which have been preserved in considerable 
 quantities seldom date earlier than 400 A.D. Such pieces were discovered as early 
 as the beginning of the 19 th century in Upper Egypt, and although they were 
 placed in the British Museum and in the Louvre, little attention was paid to them. 
 
 Numerous examples have been found in the necropolis of Sakkara to the 
 west of Memphis, and in that of Akhmim, which marks the site of ancient 
 Panopolis, as well as in the ruins of Hadrian's city of Antinoe (founded 122 A. D.), 
 in Fayum, and among the ruins of Bavit. The textiles which were discovered 
 supply us with exact information as to the shape and ornamentation of late an* 
 tique garments. They consist of tunics with long or short sleeves, large cloak* 
 like garments known as togas, shawls and wraps. According to the season they 
 were either of fine linen or a sort of rough linen plush. Among the fabrics 
 were also large covers and curtains patterned with figure designs. The shirt*like 
 garments are only patterned with bands (angusti clavi) which come down over 
 the shoulders and breast, and with narrow borders at the edge of the sleeves. 
 The more ornate examples have roundels or bands (clavi) either tapestry woven 
 or applique work on the shoulders and level with the knees, while the surface 
 above the waist is sem6 with coloured leaves or ornamented with broad patterned 
 bands (tabulae). The lower hem of the garment is edged with a band or 
 rectangular pattern (gammadion). Judging by remarks in the papyri collection 
 at the Berlin Museum pattem^books supplied the craftsmen with designs. 
 
 The figure motifs on the clavi and tabulae may be chiefly traced to the in* 
 fluence of Graeco«Roman traditions; in some cases to ancient Egyptian sources. 
 Sometimes they represent either mythological or Biblical scenes, and bear Coptic 
 or Greek inscriptions. These garments were formerly ascribed to Coptic wea* 
 vers, a Christian sect who were supposed to have sprung from the ancient Egyp* 
 tians. Hence these fabrics are termed Coptic. They may be conveniently divided 
 into two groups. The more ancient specimens (known as Hellenistic) show 
 distinct traces of Greek tradition with their clear*cut patterning in dark blue and 
 violet wool and a few small coloured designs. The more modern specimens, dating 
 from the end of the 7th century (known as Coptic), are distinguished by the variety 
 of their bright colours and very primitive figures depicting Biblical characters. 
 
 Late Antique Woollen Fabrics 
 
 Besides the fabrics with tapestry patterns mentioned above there are examples 
 of such with shuttle*woven patterns. They consist solely of wool. The patterns 
 are repeated octagons filled with birds, animals, or hunting scenes of the period. 
 Between the patterns formed by the octagons are bands formed by the unpatterned 
 
 XIV 
 
ground. This leads one to presume that these fabrics were employed as cushion 
 covers and for upholstery purposes. 
 
 Late Antique Silks 
 
 Till the birth of Christ silk was almost unknown in the Mediterranean coun* 
 tries. The Chinese, who date the commencement of their sericulture as far back 
 as 2689 B.C., were successful in keeping the secret of this art. Silk and silk 
 fabrics did not reach Syria and Egypt via Persia till the last centuries before 
 Christ. A silk*weaving industry was established in the first century after Christ 
 in many places in Asia Minor, Egypt and Greece, all of which were within 
 the confines of the Roman Empire where Greek culture prevailed. Silk*weaving 
 was introduced into Constantinople in the 4th century B.C., at which period 
 it is also found in Italy, 
 
 Although there are small pieces of silk fabrics among the remains of the 
 textiles from the tombs of Antinoe, yet they appear to have distinctive patterns 
 of their own. Some were employed as wraps for reliquiae, and as such found 
 their way to the cathedrals of Sens and Aix^lasChapelle. The patterns are seme, 
 or they consist of grouped lozenges containing squares and rectangles, of circles 
 with stars, crosses, hearts, crescents, palmettes and rosettes, as well as clover 
 and vine leaves. Gradually the scroll motif interspersed with symmetrically 
 placed animals, or human heads (with strange headgear) seen either en profile 
 or en face begins to prevail. The chief animal figures are: lions, panthers, 
 peacocks, dolphins, ducks, and horses, zebras, ibis and ostriches alternating 
 with palmdeaves. In the 7th century A. D. the introduction of patterns with 
 winged horses and ibexes points to Persian influence. 
 
 A small group of textiles with figure designs dates from the 5th century A. D. 
 They depict scenes from the lives of Joseph and Orpheus which are explained 
 by Greek inscriptions. Other pieces show Daniel in the Lions' Den, or sea* 
 nymphs riding on dolphins surrounded by acanthus scrolls. 
 
 Coptic Silks from Akhmim 
 
 Beyond the silk fabrics found at Antinoe, large quantities were discovered 
 in Panopolis. Both their colours and patterns indicate a common place of origin. 
 These fabrics were woven into definite shapes such as clavi and other inser* 
 tions for enrichment of robes and vestments. The names Zachariah and Joseph 
 woven in Greek characters are said to be those of the Coptic weavers. 
 
 Silks from Alexandria 
 
 Alexandria was also renowned for its textile industries and supplied con» 
 siderable quantities of the silks listed in the Liber Pontificalis even after the 
 
 XV 
 
Arab occupation of the 8th and 9th centuries. These textiles are not only 
 similar as to their patterns, but also in their rich and vivid colours. The white, 
 yellow, brown, green, red, light or dark blue patterns, sometimes set in black 
 contours, are on a cherry*coloured ground. The most valuable and best pre* 
 served piece is the fabric removed from the Lateran Capella Sancta Sanctorum 
 to the Vatican Museum. Its patterning consists of roundels framed in bands 
 decorated with floral designs and containing scenes from the Annunciation and 
 the Birth of Christ. 
 
 The floral design on the bands and in the intervals between the roundels 
 is found with but few modifications on all the Alexandrian silks of this period. 
 Some patterns consist of symmetrically placed riders or Amazons in antique 
 costume either hunting or fighting, or quadrigae with charioteers, as well as 
 men on foot fighting with animals. The fabrics with interwoven patterns of 
 horsemen in the South Kensington Museum and in Maestricht, the fabrics with 
 Amazons in Sakkingen, the Dioscuri fabrics in Maestricht, the Samson fabrics 
 in London, as well as the quadrigae fabrics in the Brussels Museum are re* 
 markably fine examples of weaving craft. The roundel pattern was first woven 
 in Alexandria, and it was much later that it recurs in a simpler form in 
 Persian textiles. From Persia it spread to East Asia. 
 
 Sassanian Fabrics 
 
 During the rule of the Sassanians, who reigned in the neo* Persian empire 
 from 250—650 A. D., and who were distinguished for their love of luxury, the 
 arts, especially that of weaving, attained to a high degree of achievement, parti* 
 cularly in Ctesiphon, the capital. Sapor II. brought weavers from Mesopotamia 
 to Susa and other cities as early as the 4th century. When, under Justinian II. 
 silk weaving became a monopoly, and was limited to the imperial gynaecia, many 
 weavers were forced to migrate from Tyre, Berytus and other cities to Persia. 
 Thus the older Sassanian patterns, which were based on early Persian and 
 Assyrian types, were enriched by Graeco* Roman motifs. A favourite pattern 
 is that of princely hunters surrounded by wild animals. Griffins and other 
 monsters are placed symmetrically on either side of the sacred tree in large 
 roundels, squares, or between bands. It was possible to ascertain the origin of 
 these textiles by the fact that they bore the same patterns as did the garments 
 reproduced on the rock»tombs of the Sassanian princes in Tak«i#bostan. 
 
 According to Lessing, the so*called Yezdigerd fabric from St. Ursula in Cologne 
 (named after Yezdigerd II., a grandson of Chosroes II.), which is patterned 
 with kings riding on winged griffins surrounded by lions and ibexes, is cer* 
 tainly of Sassanian origin. Another hunting scene is framed in circle's which 
 again contain smaller ones with single animal designs. The large roundels are 
 
 XVI 
 
- b 
 
 Seidenstoffe aus Byzanz. 1)10. his ll.Jahrh,-2)12.Jahrh,-3)10.Jahrh. 
 4) S. Jahrh. - 5) 10. Jahrh. - 6) 12. Jahrh. 
 
 Silk fabrics from Byzantium. 1) lOtfi— lltli Cent, — 2) 12tli Cent, 3) 10th Cent, 
 
 4) 8th Cent, — 5) 10th Cent, — 6) 12th Cent, 
 
each linked up by small circles, of which those at the sides contain horsemen, 
 and those at the top and bottom eagles and deer. Other fabrics are patterned 
 with groups of animals: lions or ostriches under trees, either side by side or one 
 above the other. Several extant pieces of weaving prove that Perso^Sassanian 
 fabrics must have found their way to China from where Persia imported her 
 raw silk. A later fabric (11th century) with sitting griffins and a frame composed 
 of eight pairs of birds is certainly based on a Persian pattern, but contains so 
 many Chinese elements in its details that it was probably woven in China. 
 Another piece of weaving is undoubtedly based on Sassanian motifs, though 
 it was woven in China in the 7th or 8th century, namely the fabric used as 
 a banner by the Mikado Shomu representing Choroes II. hunting. He is re» 
 cognizable by his peculiar headgear. The figures are set in a roundel composed 
 of small circles. The Chinese origin is proven by the Chinese symbols on the 
 flanks of the horses denoting «mountain» and «luck». This influencing of the 
 Orient by the Occident may be traced till the beginning of the 14th century, 
 when a contrary movement sets in and Chinese motifs are introduced into 
 the west where, however, they are considerably modified. 
 
 XVI] 
 
Medieval Silk Fabrics from the VIII to the 
 
 XIII Centuries 
 
 The Arabian conquests of Persia, Syria, Egypt, North<West Africa, the Island 
 of Cyprus, Rhodes and Sicily began towards the end of the 7th century. Carthage 
 was taken in 629, and by 730 the greater part of Spain was in the hands of 
 the Moors. 
 
 As nomads the Arabs were not possessed of an art of their own. They ins; 
 troduced but few ornamental motifs. Wherever they went they assimilated the 
 ornament of the countries they conquered, and gradually modified it to suit 
 their own conceptions, thus creating a uniform style throughout their empire. 
 During the whole of the 10th and 11th centuries Islamic decorative patterns 
 were completely under the influence of those of Persia, Egypt and Byzantium. 
 Bagdad and Mosul were the main seats of weaving in Asia; Alexandria and 
 Cairo in Egypt; Cordova in Spain, and Palmero in Sicily. 
 
 Medieval silk textures may be grouped under the heading of eastern and 
 western Saracenic fabrics, of which the first include the west Persian and east 
 Iranian fabrics of the 7th to 10th centuries. Western Persian textiles still retained 
 their roundel motifs. The piece of silk in Berlin containing a decorative treat* 
 ment of the elephant belongs to this group, as well as a piece with the same 
 framing and ogival panels containing the lionsstrangler from the Victor sudarium 
 in Sens. Other fabrics contain animals confronting one another in symmetrical 
 arrangement as on the silk patterned with lions in Le Mans, or they are repeated 
 vertically or horizontally, as for instance the duck pattern on a piece of silk 
 at Wolfenbuttel. 
 
 East Iranian fabrics retain a more rigid division of pattern by the employ* 
 ment of roundels containing symmetrically placed animals confronting one another 
 or placed back to back. The coloured piece of weaving with lion patterning 
 in Nancy is considered to be the finest example of this group of fabrics. The 
 fabric with lion patterns on the Columba sudarium in Sens is a coarse imitation 
 of the Nancy design. Griffins are also favoured at this period, for instance on 
 a large patterned fabric, which, in spite of its foliage scrolls treated in the 
 Chinese manner, was woven in Persia about 1000 A. D. The remnant of a 
 magnificent black and white fabric dating from the 12th century from Tabriz, 
 the capital of the Persian province of Azerbaijan, is interwoven with a lengthy 
 inscription. The encircUng frame containing two eagles consists of three rings 
 of which the central one is composed of ondoyant scrolls with conventional 
 flowers. The eagle patterning on the silk fabric found in the grave of Henry VI. 
 (1190—1197) in Palermo represents a similar conventionaUzed motif. 
 
 XVIII 
 
The most conspicuous Irakian and Seljukian fabrics of the 13th century are 
 those patterned with two-headed eagles in roundels. They can be dated by the 
 fact that the eagles are the same as those on the coat of arms of the Ortskid 
 dynasty as represented on silver-plated bronze vessels from Mosul. The two* 
 headed eagle pattern spread from there throughout the East. But a piece of 
 Seljukian brocade in the Lyons Museum dating from the first half of the 13th 
 century has two hons in a roundel. This valuable piece of weaving worked 
 into a chasuble was woven in Iconium (Seljukian Empire), and bears an in* 
 scription on its lower edge which mentions the name of the celebrated Sultan 
 Kay Kubad of Konieh. The silk fabrics from Bagdad were renowned through* 
 out the West where they were known as baldachins and baudekins. In Mosul 
 fabrics were woven of silk and gold and were called Mosul muslins. Tabriz, 
 Ispahan, Nishapur and Susa were also important weaving centres. 
 
 After Egypt was conquered by the Arabs the art of weaving was at first 
 considerably neglected, and it was only in the 11th century that it again revived 
 and assumed distinctive features of its own. The transition from late antique 
 patterning to the Mohammedan arabesque style is best demonstrated by some 
 pieces of fabric in Crefeld and Berlin dating from the 8th century, and having 
 a woven pattern composed of a circle of ornamental scrolls within which is 
 a representation of Eros on a wingedshorse. The regularity of the geometrical 
 patterning in the spaces between the circles betrays Arabic influence. 
 
 Other remarkable fabrics are the surplice of St, Maximus, patterned with 
 chained leopards, in the Church of St. Etienne in Chinon, and the eaglespatterned 
 fabric with an Arabic inscription: «Enduring Strength, Patience and Power», 
 and symmetrically placed animals without framing in the Brussels Museum, 
 Byzantine influence is traceable on some fabrics with roundels or bands containing 
 peacocks spreading their tails. 
 
 Spain 
 
 Spain was already known as an exporter of fabrics during the period of the 
 Roman rule. In the 9th century, under the Caliphs of Cordova, the silks and 
 brocades were considered as most precious. They were exported in great quan* 
 tities till well into the 12 th century. The chief centres of the Spanish weaving 
 industry of this period were Cordova, Almeria, Seville, Murcia and Grenada. 
 
 At first the Moors favoured the Arabic geometrical ornament: the «Moresque». 
 But in the 11th and 12th centuries many of their fabrics are patterned with 
 roundels and animals of the Byzantine type. Later on the roundels disappeared 
 altogether, the animal figures were reduced in size and, indeed, were no longer 
 favoured after the 14th century. But purely ornamental circles held their own, 
 as well as rosettes and ogives containing intersecting bands similar to the motifs 
 
 XIX 
 
occurring in the ornamentations of the Alhambra. Favourite patterns on the 
 bands were small checks, triangles and geometrical interlacements; as well as 
 Moorish inscriptions and Kufic letters. 
 
 Despite the downthrow of Moorish rule, and the conquest of Grenada (1492) 
 silk weaving still continued to be influenced by Moorish art, although Spanish 
 motifs such as coats of arms, etc. were introduced; the patterned fabrics of the 
 Upper Italian looms also exercised a certain amount of influence. 
 
 Sicily from the XI— XIII Centuries 
 
 When the Normans conquered Sicily (1061—1072) that country was possessed 
 of a culture which was pronouncedly Oriental, and also retained it under the 
 Normans. Instead of destroying this culture the Normans adopted it themselves. 
 Weaving in Sicily was considerably encouraged, especially under Roger II. (died 
 1174) who brought skilled Greek weavers from Corinth and Thebes to Palermo 
 in 1146. The place reserved for these weavers was the Palace Workshop known 
 as the Hotel de Tiraz where they worked together with their Saracenic fellow* 
 craftsmen. Close relations were established between Sicily and central Europe 
 by the marriage (1186) of the German Emperor Henry VI. to Constance, the 
 heiress to the Norman crown. In the vestries of the North German churches 
 there are large numbers of silk fabrics that were woven in the Palace Work* 
 shop. The imperial robes of the Emperors of the Holy Roman Empire, which 
 were worn by the German emperors till 1794, and are still in Vienna, were 
 originally made in Palermo (1113—1118) as coronation robes for the Norman 
 kings, and came into the possession of the Hohenstaufens through Henry VI. 
 They are completely ornamented with Latin and Arabic inscriptions. 
 
 In the 12th century the design consists of symmetrically placed animals in 
 circles and other geometrical frames. It was only towards the end of the cen* 
 tury that the framing disappeared. On the other hand bands filled with animals 
 and Arabic inscriptions continued to be favoured. At about this period velvet 
 was woven in considerable quantities. It was very heavy and dense in texture, 
 and partly interwoven with gold thread. 
 
 There are some sumptuous examples of silk fabrics which were doubtlessly 
 woven in Palermo: a fragment of a beautiful red silk and gold damask from 
 the grave of Henry VI. (died 1197) patterned with gazelles, now in the British 
 Museum; the magnificent fabric in Siegburg with two-headed eagles, and, the 
 most beautiful and magnificent of all: the fabrics of the «Chape de roi Robert* 
 in Toulouse ornamented with striding peacocks spreading their tails under which 
 is a panel bearing the inscription «Perfect Beatitude» in Kufic letters. A fabric 
 of another style is a woven piece patterned with birds in the Episcopal Museum 
 in Utrecht, and the great silk cloth from the tomb of Charlemagne at Aix4a* 
 
 XX 
 
l)Seidenstoff. Italien, 14. Jahrh. — 2jSeidenhrokat. It a lien, 14. Jahrh. 
 Seidenstoff. Spanien, 14. his 15. Jahrh. 
 
 1) Silk fabric, Italy, 14th Cent. — 2) Silk brocade, Italy, 14th Cent. 
 3) Silk fabric, Spain, 14th — 15th Cent, 
 
Chapelle. Probably it was presented by Frederick II. as a wrapping for the 
 remains on the completion of the tomb. The so-called «witch» fabric dating 
 from the second half of the 12 th century from Vique cathedral representing 
 fabulous monsters in black and white with yellow outlines on a red ground 
 reflects the Byzantine style. The roundel is no longer found on this fabric. 
 In the second half of the 13 th century silk weaving lost its importance in Sicily. 
 
 Byzantine Woven Silk Fabrics of the 
 VIII-XIII Centuries 
 
 From the 7th century patterns on Byzantine woven fabrics were much in* 
 fluenced by Persian art, because Byzantium was the emporium for Eastern fabrics. 
 Hence weaving, which had decUned in the 6th and 7th centuries, received a 
 new impetus, and the perfection of the fabrics produced was never perhaps 
 equalled again. During this prolific and important period of Byzantine weav* 
 ing (9th — 12th centuries), the animal motif was supreme. One of the few fabrics 
 patterned with human figures and hunting scenes (two horsemen hunting lions) 
 is the so*called «lmperial Fabric» from Mozac. 
 
 With but few exceptions the roundel was at first favoured. A fabric patterned 
 with symmetrically placed wingedshorses and scrolled foliage almost completely 
 encircling the figures is sui generis. The symmetrically placed animals of the 
 Byzantine pattern are either standing, recumbent or striding. When there is 
 only one animal in the roundel, as on the silk wrapping with the elephant* 
 pattern from the tomb of Charlemagne, the adjoining one contains its counterpart. 
 Similar magnificent examples of woven fabrics are the purple silks with eagle 
 designs in Brixen, Berlin, Vique and other spots; the textiles with birds in 
 Hildesheim, Aix«la*Chapelle, Wurzburg and Dresden; and the fabric with hippo* 
 camps in Brussels. Beyond the above examples materials for garments patterned 
 with Biblical scenes and the Legends of Mary were also produced. Celebrated 
 fabrics differing considerably in their pattern from the preceding ones with their 
 roundels are, inter alia, the stuffs found in the tomb of Hanno at Siegburg, 
 as well as the remnants of the great lion patterned fabric in Berlin, Diisseldorf 
 and Crefeld. Both these fabrics are ornamented with huge striding lions with* 
 out framing, and, as their inscriptions show, date from the 10th century. They 
 probably served as wall hangings. Some of the pieces of woven silks without 
 circular framing, or with only incomplete circles, are those known as the 
 «Imperial Fabrics* of the 11th and 12th centuries. They are ornamented with 
 single or two*headed eagles, as on the chasubles in Brixen, in the Arts and 
 Crafts Museum, Berlin, and in St. Peter's, Salzburg. 
 
 A special class of fabrics are those where the patterning is formed by flowing 
 ogival bands enclosing symmetrical floral forms. Such textiles, known as «incised» 
 
 XXI 
 
satins (in which the ornament is in outline only), are the robe of Otho the Great 
 in Merseburg Cathedral, the chasuble of St. Willigis, Archbishop of Mayence 
 (died 1011), and the chasuble of St. Bernard (died 1157) in Xanten. Some 
 fabrics are patterned with small geometrical designs, roundels filled with floral 
 ornament; squares, stars, sextagonals and conventional flowers. 
 
 These sumptuous stuffs were introduced via Amalfi and Venice into Northern 
 Italy, and found their way from there over the Brenner to Northern Europe. 
 After Constantinople had been taken by the Crusaders in 1204 Byzantine weav# 
 ing declined. 
 
 Italian Silk Weaving in the XIII Century 
 
 A silk fabric from the sarcophagus of St. Paulinus (died 358), whose body 
 was taken to Treves before 400, proves that silk weaving was carried on in 
 Italy at a very early date. The fine unicoloured fabric, the only patterns of which 
 are little crosses and rectangles, bears an incomplete inscription sewn onto the 
 
 material: . . orentia of which probably may be interpreted as Florentia 
 
 officina. Greek silk weavers are said to have settled in Rome during the 8th 
 century. Silk weaving is also reported to have been carried on in Lucca in 
 the 9th and 10th centuries. 
 
 The patterning of fabrics in the 12th and 13th centuries in Italy was greatly 
 influenced by Byzantine examples, though it shows many characteristic features 
 of Saracenic weaving borrowed from Sicilian and HispanosMoorish designs. 
 The traditional Saracenic pattern consists of a geometrical design representing 
 a frame of stars and crosses containing a pair of animals. Gradually the framing 
 disappears, the animals are distributed symmetrically over the fabric, and the 
 intervals are filled with ornament, floral forms and interlaced rosettes. 
 
 The diapers mentioned in early church inventories no longer have framed 
 patterns. A bold radiating ogival flower or pomegranate springing from a stalk 
 with branching floral forms is surrounded by boldly sketched eagles, peacocks 
 and parrots, as well as dragons, griffins, gazelles, lions and other quadrupeds 
 placed at the foot of the tree. This design continually recurs till the opening 
 years of the 15th century. There can be no doubt that these fabrics were woven 
 in Lucca. Later on the animal figures are smaller, and the graceful floral designs 
 less severe. The ogival framing merges into open ornamental patterns, and in the 
 second half of the 14th century the diapers are seme with symmetrically placed 
 small animals and enriched by floral ornament. Whilst the traditional Byzantine 
 and Saracenic patterns were still retained, a new phase of design was entered 
 upon by the introduction of Romanesque forms in the 13 th century. Rosettes, 
 stars, heraldic liUes and castles are placed either in square or leaf panels; the 
 single or two-headed eagle is inserted in roundels, squares or octagonal frames. 
 
 XXII 
 
Fabrics with vertical bands containing figures of kings on horseback with falcons 
 date from this period. The brocade fabric in Brunswick is patterned with alter* 
 nating bands, the one containing parrots and lions in roundels, the other elephants 
 and castles, eagles, etc. 
 
 Romanesque Silk Fabrics from Regensburg 
 
 In many places there are a number of remarkable fabrics the patterns of 
 which are based on Byzantine motifs, but differing considerably, in as far as 
 technique is concerned, from Itahan, Greek and Saracenic stuffs. The fine silken 
 or Unen warp threads are replaced by strong double linen ones which form the 
 pattern and vest the fabric with a certain element of coarseness and rigidity; the 
 binding thread is a fine silken or linen one. Many gold weft threads are employed 
 for the figures. The provenance of these textiles is proved by a remarkable 
 example of an altarscloth in Regensburg Cathedral on which the Crucifixion 
 with Mary and John, the patrons of the Church: Peter and Paul, and Bishop 
 Henry are depicted. This altar*cloth is a magnificent example of weaving craft. 
 Regensburg was the seat of woollen weaving at a very early period, and Wolfram 
 von Eschenbach praises the costly cendal fabrics (i. e. silk). There are also some 
 fine specimens of small loom weaving in Regensburg Cathedral which are said 
 to have been woven on the spot. In the Wartburg, near Eisenach, there is a 
 woven fabric in the same technique which depicts the Birth of Christ. Another 
 piece from Regensburg is a large striped stufFin Braunfels with ostriches under palms. 
 Similar as to their technique are some silk textiles mixed with other threads. 
 They are not patterned with complete scenes, but with symmetrically placed 
 motifs akin to those on Graeco#Saracenic fabrics, but differing from these in so 
 far as they bear the conventional occidental floral forms met with in German* 
 Romanesque art. The patterning consists of square panels or roundels composed 
 of bands. The panels contain symmetrically placed pairs of animals or horsemen 
 and princes. In many cases there is no framing. On some fabrics two*headed eagles, 
 leopards, birds, etc,, are placed in small roundels, in which case the intervening 
 spaces are filled with floral forms or geometrical designs. There are remarkable 
 examples of these stuffs in the museums of Berlin and Brunswick, the churches 
 of Halberstadt, Siegburg and Rostock. Complete sets of ecclesiastical vestments 
 woven in a similar manner are in the church of Ambazac, St. Rambert*sur* 
 Loire, Liine Monastery near Liineburg, and elsewhere. It is to be presumed 
 that these fabrics did not all come from Regensburg, but in cases of doubtful 
 provenance they are classed as Regensburg stufifs owing to the general similar* 
 ity of technique. 
 
 A strip of Regensburg stuff, remarkable for its patterning, is only 165 milli* 
 metres wide and 405 long. It has unornamented coloured and gold bands of 
 
 XXIII 
 
various widths, also a broad band with two symmetrical pairs of quadrupeds, 
 and a row of six pigeons next to a miniature tree. Several bands contain 
 meander»like patterns, and one of them four Romanesque rosettes. These orna* 
 mental bands and rosettes correspond exactly with embroidered bands and designs 
 on some ecclesiastical vestments and on an antependium in Goess nunnery. 
 
 xxrv 
 
^MMMMMM 
 
 
 ipi 
 
 
 Spanien, 15. J a h r h. - S e i d e n s t o f f e n, a u r i s c h e n Stils aus Granada 
 Spain, 15th Cent. - Silk fabrics. Moresque style, from Granada, 
 
Silk Weaving in the Late Middle Ages 
 
 The patterns on Medieval silk stuflFs in the 13th, 14th and 15 th centuries 
 are distinguished by their naturalistic forms. The symmetrical and rigid arrange* 
 ment of the designs disappears altogether. The movement of the animal figures 
 is free, and they are represented running, fleeing, or resting in wooded land* 
 scapes, and are sometimes placed near or in castles, on rocks or even in ships. 
 The birds are on the wing, or sitting on trees with gnarled branches. Fish 
 and ducks are swimming in the water or the latter float on crested waves. 
 Intermingled with these motifs are rolled and fluttering ribbons inscribed with 
 sham Arabic inscriptions which formerly led students to class these fabrics as 
 Saracenic, particularly as Sicilian of the 12th and 13th centuries. 
 
 From the end of the 13 th century great quantities of Chinese stuffs came to 
 Europe. The arrangement of Chinese patterning may be classed under two 
 heads. One group has symmetrical designs: the distinctive feature is a large 
 radiating lotus flower, or palmette; the ogival framing is formed by an 
 arrangement of richly embellished spray ornament; in the other group the 
 symmetry of the pattern is eliminated. The large palmette designs are shifted 
 to the left or right and spring obliquely from floral scrolls. Much favoured 
 motifs are the imperial dragon, the heraldic emblem of the emperor; and 
 further the Fonghoang (a peacockslike bird), the heraldic emblem of the empress, 
 and finally the Khilin (a fabulous hart with horse's hoofs and bull's horns). 
 Additional animal designs are small wild animals, birds and fish. It is easy 
 to date these stuffs owing to the fact that similar pieces, together with Islamic 
 copies, have been found in Saracenic tombs in Egypt. Their inscriptions bear 
 the name of the Mameluke Sultan Mohammed Nazir, who reigned from 
 1293-1304. 
 
 A special class of silks are brocades woven in China for export to Islamic 
 countries. They are all patterned with coloured vertical bands divided into 
 panels and bearing Arabic inscriptions, Chinese ornament and animals, as well 
 as being interwoven with the characteristic narrow gilded leather strips. A black 
 and gold fabric without the coloured stripes is embellished with birds bearing 
 Arabic inscriptions on the wings which read: «Honour our Lord the Sultan, 
 the King, the Righteous, the Wise Nazir Eddin» (he lived 1283-1304). 
 
 Now it is evident that these Chinese fabrics with their sumptuous colouring 
 exercised considerable influence, and hence Persian stuflFs of the 14 th and 15 th 
 centuries are pronouncedly influenced by Chinese examples. The large central 
 motif in ogival floral framing is still partly retained, but in addition to this 
 obliquely placed ondoyant floral sprays were favoured. They were interspersed 
 with rows of animals. Another favourite design consists of playing fountains 
 
 XXV 
 
surrounded by birds, griffins and other animals. Persia also adopted the striped 
 patterns from the Chinese. 
 
 Examples of Egyptian 14th century fabrics have been found in the tombs 
 of El Azam and Dronka near Sioot, and are now in the museums of London, 
 Berlin, Crefeld and Dusseldorf. Beyond western Islamic designs there are others 
 based on Chinese patterns, and Arabic inscriptions with Mameluke titles such 
 as «The Sultan, the Victorious Monarch*, and «The Wise and Just». 
 
 After the resconquest of the Spanish peninsula by the Christian kings the 
 Moorish occupation was limited to Grenada. By the 13 th century heraldic 
 patterns begin to be introduced in Spanish silk fabrics, especially the lion of 
 Leon and the castle of Castile, and other charges. Moorish fabrics of the same 
 period are distinguished by the brightness of their colours, as well as by the 
 geometrical band pattern based on the Alhambra style. The pattern chosen 
 for large pieces of stuff was usually the checker or the triangle. 
 
 Italy in the XIV Century 
 
 Chinese influence was widely felt in Italian silk weaving. Imitation went 
 so far as to simply copy Chinese designs, though not always so successfully 
 as to fully express the peculiar character of Chinese figures. Hence Chinese 
 animals are often replaced by those peculiar to Europe. But they are rendered 
 in a freer manner than is the case with the more conventional Chinese animal 
 designs. Distinctive features are the ondoyant sprays from which the large 
 palmettes spring, as well as the floral ogival panels enclosing a bold radiating 
 flower flanked by animals. The banded fabric is also imitated. 
 
 Sprays gradually develop into growing trees, often placed on rocks, or enclosed 
 by a fence. Arabic inscriptions are used as ornament on scrolled ribbons or 
 inserted in cartouche*like panels. Though at the beginning of the Late Gothic 
 period foreign influence had dwindled, nevertheless it greatly enriched Italian 
 weaving and gave it an impetus. 
 
 Between 1300 and 1450 silk weaving and sericulture spread throughout Italy. 
 The chief centres were Lucca, and later on Venice and Genoa. Beyond these 
 centres Messina, Reggio, Cantanzaro, Milan, Florence and other spots established 
 productive loom industries. 
 
 The Lucchese fabrics favour castles with towers and gates in their patterning. 
 This was chiefly due to the influence of chivalry. Other motifs are baldaquins, 
 tents, ships with bellied sails, as well as mottoed ribbons bearing sham Arabic 
 inscriptions. 
 
 The arrangement of the patterns is usually symmetrical, and the leading 
 motif recurs rhythmically. 
 
 In the second half of the 14th century patterns become more elaborate and 
 
 XXVI 
 

 j&m^sd 
 
 Samtstoffe. Italien, 15. und 16. Jahrh. 
 Velvet fabrics. Italy, 15th and 16th Cent. 
 
sumptuous. Symmetry of pattern no longer prevails. The imagination of the 
 artist has full scope in combining the most varied motifs. The predominant 
 note is expressed by the multiplicity of figures and floral designs: stags, harts, 
 and lions sitting or standing on rocks; birds on trees or soaring in and over 
 Chinese clouds through which the sun bursts forth; Hons, hounds, leopards 
 and griffins are encircled by inscribed bands, or joined by initials; herons thrust 
 their bills through bellied sails. Once in a while, amongst all the other designs, 
 there are human heads with flowing hair, with or without trunks. 
 
 The pattern is often enclosed in horizontal bands. On ecclesiastical vestments 
 and other fabrics whole human figures are depicted, especially representations 
 of the Annunciation, or soaring angels bearing sacred vessels. 
 
 Venetian patterns of the 14th century are remarkable for the fact that they 
 replace Chinese animals by European ones. Venice as provenance is established 
 by the reproduction of these patterns in the pictures of Venetian masters, as 
 well as some peculiarities which are specifically Venetian in character, such as 
 a peculiar type of rowlock used on the gondola. 
 
 The foliage consists of plain or notched leaves, typical palmette forms, and 
 clusters of leaves, apples, mistletoe and poppy heads. The sprays develop into 
 thick branches with palmette#like leafage and bunches of fruit. At first the narrow 
 Chinese pattern with the leaves and flowers all bent in one direction is retained. 
 But towards the middle of the 15 th century the same motifs are placed symmetrically. 
 
 The first positive proof that textile patterns were designed by eminent artists 
 is supplied by Venetian fabrics. Among the drawings and sketchsbooks of Antonio 
 Pisano in the Louvre there are many designs for woven fabric patterns. Jacobo 
 Bellini's sketch-book, which is also in the Louvre, likewise contains designs 
 that seem to have been meant for Venetian fabric patterns. 
 
 The coats of arms, charges and crests of the nobility also supplied a great 
 number of pattern motifs. 
 
 The Fifteenth Century Pomegranate Pattern 
 
 In the beginning of the 15th century, the Late Gothic period, a type of 
 pattern was evolved in Italy which still lingered on till well into the 18th 
 century, namely the pomegranate pattern. And though Saracenic fabrics of the 
 14 th century bear similar patterns which may be considered as its precursors, 
 the highly developed form originated in the West. Among the wealthy nobles 
 and citizens velvet became the most popular material. Although velvet or 
 velvet*like fabrics are said to have been woven in antiquity, yet there are no 
 extant examples of an earlier date than the 12th century. In 1247 the velvet 
 weavers of Venice established a guild of their own. Patterned velvets were 
 already woven in the 14th century, but it was only at the beginning of the 
 
 XXVII 
 
15 th century that coloured velvets were produced in Venice. Velvet is a material 
 that requires reticent and formal designs. Later on they were transferred to 
 lighter fabrics such as brocade silk, damasks, etc. Beautiful examples of velvet 
 brocades, both as to technique and design, were woven and have never been 
 equalled since. Three remarkable changes are noticeable in the development 
 of the pattern. The pattern planned on ogival lines was retained, but the central 
 palmette was replaced by the pomegranate motif which, however, either resembles 
 a thistle, a pine#cone, or a pineapple with leaves rather than a pomegranate^ 
 proper. In the latter case it is represented as burst open and showing the seeds. 
 The sprays forming the ogival frame are enriched by small leaves, blossoms 
 and fruit. The ovigals are generally linked up by floral ornament which gradually 
 displaces the central motif and develops into a large cinquefoil rose, and later 
 into a leaf form with seven or nine points similar in outline to the Gothic 
 ogee arch. The central design consists of the apple, cone, or thistle motif sur* 
 rounded by numerous leaves, usually revolute, and small conventional blossoms. 
 The same floral and foliage, arrangement is repeated round the leaf form. What 
 were once narrow sprays become thick broad stems over which again thin 
 leafage and blossom sprays trail. Towards the middle of the 15th century the 
 large rose and leaf forms are grouped close together. The velvets are unicoloured, 
 black, blue, red, or green. The pattern details are raised in the velvet. 
 
 Another group of patterns retains the oblique and undulating leafy bars 
 which were popular in the Trecento and were of Chinese origin. The large 
 leaf motif occurring at given intervals is placed obliquely over the thick un« 
 dulating stems from which again small branches and large formal leaves pro* 
 trude. In the Venetian velvets of the first half of the 15 th century the treatment 
 of the roses, leaves and branches is more formal. By breaking up the continuous 
 construction of the pattern it is now frequently arranged as a seme of floral 
 forms. On the other hand on the large examples of Late Gothic velvet brocades 
 and gold fabrics of the second half of the 15 th century the single pattern ex* 
 tends over the whole width of the stuff. These sumptuous examples of the 
 weaver's art are still extant in great quantities. The great painters of the period 
 represent them in their pictures not only as hangings, but as material used for 
 costumes of both men and women. Probably these velvet fabrics were produced 
 on Venetian looms. The best examples extant are in the Bern Museum, and 
 were taken by the Swiss from Charles the Bold of Burgundy. 
 
 In contradistinction to the pomegranate pattern based on Chinese examples 
 with the foliage and floral decoration all on one side of the stem, a more 
 symmetrical pattern is evolved in which the large rose motif is placed in the 
 middle of the fabric. A small group of velvets contains patterns based on the 
 rosette motif, and can hardly be regarded as belonging to any particular style. 
 
 XXVIII 
 
The modifications of the pomegranate motif did not occur in sequence, but 
 at one and the same time. 
 
 Florentine Early Renaissance in theXVCentury 
 
 From the middle of the 15 th century the Early Renaissance style becomes 
 conspicuous for the patterns of woven fabrics, A type is evolved which bor# 
 rows its motifs from the plastic arts and favours the ogival pattern embellished 
 with symmetrically placed floral forms. The production of these fabrics is mostly 
 limited to Florence. They are usually cloth of gold, patterned with Renaissance 
 foliage, acanthus leaves, palmettes and fleursde*lis, the contours of which are 
 coloured. 
 
 There is also a class of Early Renaissance brocades patterned with panels 
 or vertical bands containing Biblical scenes: the Annunciation, the Nativity, 
 the Resurrection, and the Ascension; also single figures of saints, and the initials 
 of Christ set in a halo. These fabrics were usually cut into strips and used 
 as trimmings for church vestments. 
 
 Some unique examples of silk are those patterned with non-repeating scenes 
 ascribed to designs by Antonio PoUajuolo. The most important piece is the 
 antependium in St. Francesco in Assissi presented by the Pope Sixtus IV. in 
 1475. A much smaller fabric is another antependium in Toledo Cathedral patterned 
 with the cardinal heraldic charges of the archbishop Petro Gonzales de Men* 
 doca (died 1495). A third, the date of which is known by its original owner 
 (King Mathias Corvinus of Hungary, 1458—1490), is a cloth of gold with the 
 king's arms. This fabric is also ascribed to Antonio PoUajuolo. An antepen* 
 dium woven for Ludovico Sforza and patterned with the combined coats of 
 arms of this duke and his duchess was woven on the same loom. 
 
 As the above-mentioned fabrics are dated, it was possible to class a small 
 group of patterns with thick heavy branches, pomegranates and the usual ac* 
 companying conventional foliage as belonging to Florentine Early Renaissance 
 fabrics. 
 
 XXIX 
 
Woven Fabrics of the XVI, XVII, 
 and XVIII Centuries 
 
 Italy in the XVI Century 
 
 ^X^th the pomegranate patterned fabrics of the second half of the 15 th century, 
 and with the great pieces of brocade velvets weaving had reached its highest 
 degree of excellence. 
 
 At the beginning of the 16th century the pomegranate motif still dominated 
 in silk textiles. It is an established fact that stuffs were exported to the East, 
 where they were copied, for instance at Brussa. And, vice versa, Persian and 
 Far Eastern feeling is apparent in Venetian velvets. 
 
 Gradually the pomegranate pattern adapts itself to the requirements of the 
 Renaissance style. In the arrangement of the pattern the ogival panel is much 
 favoured. The pomegranate is followed by vase motifs together with branches 
 of acanthus, blossoms and small apples. Other stuffs have a wellfdistributed 
 pattern of delicately curved or broken sprays in which the rhythmical arrange* 
 ment of the different motifs is retained. Animal designs are completely elimin* 
 ated towards the middle of the 15 th century. 
 
 Though the patterning of fabrics during the Renaissance period retained its 
 distinctive features, the large velvets and silks employed for hangings are 
 patterned with motifs borrowed from architecture, such as trophies, fruit and 
 flower festoons, vases, groups of musical instruments, grotesques and masks. 
 
 After the middle of the 16th century further changes took place in the 
 patterned fabrics owing to the introduction of the Spanish type of dress for 
 which large patterns were not adapted. Hence a distinctive line is now drawn 
 between the patterning of hangings, furniture coverings, and costume. With 
 the latter it was usually small. The panel arrangement is discarded, and the 
 pattern is a seme of floral forms. 
 
 Italy in the XVII and XVIII Centuries 
 
 Among large patterned fabrics the velvets are the most sumptuous at the 
 end of the 16th and during the 17th century. They are called Genoese vel« 
 vets or Velour de Genes, but they were also woven in Venice, Florence, and 
 other towns. With these stuffs the symmetrical arrangement predominates and 
 the repeat of the patterns covers the whole width of the material. Multicoloured 
 patterns are much favoured on velvets. The leafage and floral designs gradually 
 assume a more natural form, but in the case of coloured silks the appearance 
 of the floral design is flat rather than plastic. 
 
 XXX 
 
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In the 18th century the Baroque character of patterning becomes very pro* 
 nounced, together with an increasingly naturalistic treatment of the ornament. 
 Italy had to renounce her supremacy in the production of silken fabrics in 
 favour of France, who henceforth exercised great influence on Itahan woven stuflFs. 
 
 Spain 
 
 By the conquest of Grenada in 1495 Castile obtained possession of the last 
 of the Arab footholds in Spain. Spain attained to the zenith of her power under 
 Charles V. (1519 — 1556). The flourishing Spanish industries not only supplied 
 their own country and the colonies with fine woven fabrics, but also sent goods 
 abroad. Gradually the Arab patterns were discarded in favour of the pome* 
 granate motif; but the Moorish distribution of pattern was retained, as well 
 as some distinctive features. This type of pattern may be dated by Bruncino's 
 portrait of Princess Eleonore of Toledo, the wife of Cosimo I. de Medici. The 
 picture (now in the Uffizi) represents her dressed in a sumptuous robe of state, 
 and was painted soon after 1550. In those provinces which had been Spanish 
 before the final reconquest of the country from the Moors the prevailing 
 pattern in silk fabrics was the pomegranate. During the further course of the 
 16th century a well*distributed ogival framing was formed either by sprays, 
 or knotted ribbons, etc. The Moorish style lingers on till the 17 th century. 
 
 After a short period of splendid activity in weaving during the 16th cen* 
 tury this industry declined under Philip II. and his successors owing to religious 
 intolerance which drove some of the best craftsmen out of the country. 
 
 In the 17th century Spanish weaving lost its importance in the markets 
 of the world. The domestic looms only produced a poor class of material. 
 
 French Silk Fabrics 
 
 It was not till the middle of the 15th century that silk weaving in Avignon, 
 where it had been carried on as far back as the mid»thirteenth century, received 
 a new impetus when looms were set up by Louis XI. in Lyons and Tours 
 (1470). The first weavers were Italians who naturally favoured Italian patterns. 
 This Itahan influence predominated during the whole of the 16th century, and 
 also continued during the first half of the 17th century in the reign of Louis XIII. 
 (1610-1640). 
 
 Amongst the various patterns on French velvets, beyond the time*honoured 
 cornucopia, vases, palm and other leaves, the royal crown and heraldic lilies 
 were popular patterns. After the middle of the 17 th century French predominance 
 in silk weaving was firmly estabhshed under Louis XIV. Lyons became the 
 chief centre. At this period the diflference between textiles employed for men's 
 and women's costumes became very pronounced. Whereas small patterns were 
 
 XXXI 
 
employed for the former, large and rich ones were required for the hooped 
 skirts and long trains of the women. 
 
 It is almost impossible to trace a definite development of pattern during the 
 period in which fashions were so capricious. The high state of perfection to 
 which the lace industry attained was due to Colbert's support; and it was owing 
 to the influence exercised by this branch of textile industry that lace4ike patterns 
 were adopted in silk weaving in the second half of the 17 th century. At first 
 the planning of the lace*like details was purely symmetrical, but afterwards this 
 type of pattern was treated more freely, though this was not the case with 
 patterned velvets. The floral designs, which in the earlier fabrics were severely 
 conventional and later on became more graceful and capricious in outline, were 
 both filled with and surrounded by lace?like details. These floral designs are 
 connected by lace stripes or framed by them. 
 
 Another group of brocades and coloured silk fabrics is patterned with thin, 
 flat or shaded floral sprays placed between Baroque ornamental designs. Daniel 
 Marot was practically the only great Baroque master who designed textile patterns. 
 
 The Regence period (1715—1723) which followed the decease of Louis XIV. 
 did not develop a special type of textile patterning. But under Louis XV. 
 various styles were evolved. Three women were influential in determining the 
 patterns of the period: Queen Mary Leszczynska, Madame de Pompadour and 
 Madame Dubarry. Queen Mary Leszczynska, a Polish princess, favoured fur# 
 like designs, usually vertical undulating fur stripes with graceful floral patterns; 
 Madame de Pompadour, as chief shareholder in the Compagnie des Indes 
 favoured Indian and Chinese stuflFs, the patterns of which were consequently 
 imitated by the French craftsmen. This led to the development of the so«called 
 Chinoiserie with its fantastic architectural features, genre scenes, as well as 
 groups of flowers all in the Chinese style- Madame Dubarry introduced the 
 delicate and graceful flower pattern interwoven with numerous gold and silver 
 threads. Small patterns were preferred for men's garments which were elaborated 
 by embroidery on the edges, cuffs, pocketsflaps and collars. 
 
 The damasks employed for hangings and coverings for furniture were of 
 a very ornate character. Their patterns are a later development of the lace design. 
 The central motif becomes smaller and smaller and is sometimes omitted alto* 
 gether, whereas the side motifs are both large and elaborate. 
 
 Another type of fabrics, the designs of which are ascribed to Jean Revel 
 (the Younger) of Lyons, include in their patterns landscape and architectural 
 motifs. In many cases consoles, balustrades, bowls and baskets are combined 
 with floral and fruit designs. Jean Pillemant (circa 1770) favoured Chinese 
 motifs, grotesque interpretations of Oriental scenes which are certainly more 
 like caricatures than naturalistic representations. 
 
 XXXII 
 
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The floral patterns of Rococo fabrics with vivid naturaUstic colouring and 
 shades are modelled in such a manner as to produce the effect of light and 
 shade which often led to an exaggeration of the broche technique. 
 
 Philipp de la Salle (1723-1803) produced the most sumptuous multicoloured 
 hangings the patterns of which are both free and ornate. Besides nosegays he 
 employs groups of musical instruments, the implements of the gardener's and 
 shepherd's callings, as well as other rustic tools; crumpled silk ribbons, 
 trellised arcades, fur*trimmed draperies, baldaquins, as well as animals and 
 allegorical figures. His chief work was done in the last years of Louis the 
 Fifteenth's reign and under Louis XVI. 
 
 The period of transition from Rococo to the style of Louis XVT. was the 
 most flourishing epoch of French weaving both from the artistic as well as from 
 the point of view of technique. Beyond the production of particularly magnificent 
 textiles where price was no object, from 1760 on attempts were made to 
 produce both lighter and cheaper materials. This was effected by employing a 
 series of various coloured warp threads and thus producing coloured stripes 
 which led to the introduction of striped patterns in the period of Louis Seize. 
 Under Louis XVI. classical elements enter the pattern scheme, silk fabrics 
 used as hangings are decorated with symmetrical patterning suggesting pilasters 
 upon which refined classical motifs such as medallions containing landscapes, 
 cupids or genre pieces framed by laurel and ivy sprays are represented. Other 
 motifs are festoons of flowers and fruit, vases, urns, pairs of turtle doves and 
 other amorous fancies, gardener's implements and similar motifs of this order. 
 The favourite pattern on dress material fabrics, whether silk or coloured 
 velvet employed for men's garments, is a sem6 of floral flowers and sprays 
 or feathers arranged symmetrically in rows, etc. 
 
 The Revolution put an end to these playful patterns, and motifs were solely 
 drawn from classical art. 
 
 The textile industry was practically brought to a stand»still during a number 
 of years. It was not till Napoleon became Consul that there was a revival. 
 His measures succeeded in giving a new impetus to silk weaving. The repeating 
 pattern was re*introduced, and the classical ornament became an insignificant 
 feature. Besides the acanthus motif, palmettes, stars, and meanders additional 
 patterns were introduced such as arms, eagles, as well as the imperial initial 
 «N», usually surrounded by a laurel wreath. 
 
 The hangings were patterned with sham folds. At the time, when there 
 was a perceptible poverty of invention in textile patterning and a simplification 
 of the technique of weaving, Charles Maria Jacquard invented his loom in Lyons 
 (1805). From thence forward mass production set in and the consequence was 
 an enormous cut in prices. 
 
 XXXIII 
 
Woven Fabrics in Germany, the Netherlands, Switzerss 
 land, Poland and Russia 
 
 It was not till very late that silk was woven in Germany. On the other 
 hand flax and wool weaving were practised at a very early date. Already in 
 the early Middle Ages textile industries had developed in Suabia, on the Lower 
 Rhine, and in Julich and Cleve. And hnen and cloth fabrics from Augsburg, 
 Ulm, Cologne, Aix*la*Chapelle, and other weaving centres were largely exported 
 to Italy, England, Spain and Russia. When France almost ruined her textile 
 industry by expelling the Huguenots in 1648, England, Spain and Italy de* 
 pended almost exclusively on Saxon and Silesian linen looms. Huguenot im* 
 migrants introduced the craft of weaving in Berlin, Gottingen, Eisenach and Cassel. 
 
 Whereas remnants of wool fabrics dating from early times are very scarce, 
 linen fabrics have proved to be more durable. The chief examples that have 
 been handed down are strips of linen covers and towels such as were woven 
 in Gerinany and Italy (Perugia) between the 14th and 18th centuries. The patterns 
 on the older damask table«cloths and napkins betray the character of the 17th 
 and 18 th centuries. Favourite motifs were scenes from the Christian legends, 
 as well as historical ones such as those depicted on the so-called «peace» fabrics 
 in connection with the peace treaties of Breslau (1742), of Dresden (1745) and 
 of Hubertusburg 1763). 
 
 Towards the middle of the 18th century a pronounced naturalistic treatment 
 of the floral, fruit garland and basket patterns in linen weaving become evident. 
 
 The 15 th century Cologne bands were renowned beyond the frontiers of 
 Germany. Their provenance is proved by the documents and coats of arms 
 of those who gave orders for these fabrics. The earlier examples were narrow; 
 later on they became broader, especially when they were employed for chasuble 
 crosses, the ground of which was either cloth of gold or heavy silk. Heraldic 
 charges, inscriptions, and later on figures are inserted between severely formal 
 ornament: Gothic foliage, scrolls, roses and blossoming trees. 
 
 A special type of German textiles is represented by the coloured curtains 
 used to close sleeping alcoves in Lower Germany and in the ancient duchies 
 of Schleswig and Holstein. They are called reversible fabrics and were made 
 of linen or wool. The patterns are partly geometrical, partly figures, in the 
 latter case they represent mythological or Biblical scenes. The fleurs semees 
 pattern is borrowed from 17th century damasks. Presumably these patterns 
 chiefly originated in the 18 th century. 
 
 It is not possible to state exactly how far back silk weaving dates in Germany. 
 But the weaving of tapestries and silk stuffs was carried on in Regensburg 
 and elsewhere (partly in rehgious houses) as early as the 12th and 13th centuries. 
 
 XXXIV 
 
In the 14th century silk weavers also settled in Augsburg and Ulm. Docu* 
 ments prove that Italian silk dyers came to Nuremberg in 1537. Cologne 
 is also mentioned as an important silk dyeing centre; and pieces of silk woven 
 there, or in the neighbourhood, in the first half of the 16th century have been 
 preserved. 
 
 In the Netherlands silk weaving is said to have been introduced as early 
 as the I3th century, especially in Flanders: Mechlin, Ghent, Ypres and Bruges. 
 It received a great impetus from Venetian and Florentine weavers who settled 
 there in the 15 th century. A high degree of perfection was attained to in the 
 weaving of velvets, gold brocades and satin during the reign of Charles V. 
 After the Thirty Years' War French refugees exercised considerable influence 
 upon weaving in Amsterdam, Utrecht, Harlem and Naarden whose fabrics 
 attained to considerable renown. But with the general decline of Dutch industries 
 in the first quarter of the 18th century silk weaving lost its importance and 
 was soon surpassed by the growing competition of France, England and the 
 Lower Rhine. 
 
 The beginnings of silk weaving in Switzerland may also be traced back to 
 the middle of the 13th century. After a short period of prosperity during the 
 14th century the industry suffered considerably during the Swiss wars of in# 
 dependence in the 15 th century. And it was only in the second half of the 
 16th century that silk weaving revived. 
 
 After the Thirty Years' War weaving in Germany was only carried on by 
 the weavers and their families in their homes. The sumptuous fabrics of the 
 German courts were naturally woven in France. But a silk weaving industry 
 was established in some places by means of imported raw material. Satin and 
 tafieta weaving flourished in Hamburg in the 17th and beginning of the 18th 
 century where it had been introduced by Dutch Protestants at the end of the 
 16th century. Their method was that employed by the Antwerp craftsmen. 
 
 In Prussia sericulture and silk weaving were fostered by Frederick the Great 
 who did everything in his power to promote this industry. Under his successor 
 sericulture was neglected, and finally ceased altogether in the seventies of the 
 last century. But silk weaving and dyeing were still carried on. In Crefeld 
 in the Rhineland silk weaving was re-established in the middle of the 17 th 
 century by the family of the von der Leyens. 
 
 Under the French Republic the Crefeld silk industry flourished considerably 
 and after the War of Liberation gradually attained to the predominant position in 
 the German silk weaving industry that it still enjoys. Elberfeld and Barmen also 
 became important centres of silk industry, especially for ribbons and trimmings. 
 
 As in other countries the patterning of German silk fabrics was influenced 
 by French models, though, however, they lacked the vitality of conception of 
 
 XXXV 
 
the latter. Nevertheless, some good material was produced, as for instance the 
 hangings in the castles of Charlottenburg, Potsdam, Berlin and Rheinsberg. 
 
 Poland and Russia 
 
 Weaving in Poland was introduced from Persia and Turkey, hence these coun« 
 tries first exercised considerable influence on the patterning. Reliable data are 
 first obtained in the 17th century, according to which a silk manufactory was 
 established in Sluck at the end of the 17 th century where silk belts, sashes and 
 brocade stuffs were woven. There were also weaving establishments in Warsaw 
 and Cracow. The sash was one of the most important items of the Polish 
 national costume. It was richly patterned with longitudinal stripes and trans« 
 verse bands sumptuously embellished with gold and silver thread. 
 
 Some fabrics of the 18th century patterned in the R^gence style have a 
 more refined type of ornamentation. 
 
 Russia played a certain role in silk textile weaving in the Middle Ages when 
 Kiev and Novgorod were trading centres for Byzantine and Oriental silk stuffs. 
 In the 13th century, during the struggle between Genoa and Venice, Russia's 
 position as an agent between the East and the West was of great importance. 
 The victories of Venice on the one hand, and the Mongolian raids on the other 
 caused Russia to lose her profitable position as go«between. 
 
 Peter the Great and his successors Catherine and Paul endeavoured to further 
 the silk industry by planting mulberry trees and introducing silk*worm breeding, 
 but their efforts were doomed to failure owing to the indiffernce of the Russian 
 peasant. However, silk and brocade weaving gradually began to flourish in Jaro* 
 slav, Vladimir, Moscow and a few other cities where French weavers had settled. 
 
 It is not possible to make definite statements about the patterning of the 
 earlier Russian woven fabrics as examples have not been preserved. In the 10th 
 century, with the introduction of Christianity, Byzantine art forms reached Russia. 
 They were at first combined with the prevailing Oriental motifs, and afterwards 
 with those of western Europe. Examples of patterning were also borrowed from 
 the Italian Renaissance. At the present time the Russian silk weaving industry, 
 which is chiefly confined to the production of sashes and shawls, produces 
 nothing of artistic importance. 
 
 XXXVI 
 

 
 O 
 
 j:3 
 
 C 
 C 
 
 <: 
 
 o 
 
 C 
 
 C 
 
 a 
 ■oo 
 
 J3 
 
 ffl 
 
 
 
Oriental Fabrics since 1500 
 
 Oriental textile fabrics begin to show national characteristics again after 1500, 
 although at first they clung closely to Venetian patterns which were afterwards 
 modified to suit Oriental taste. In the 16th and 17th centuries a completely 
 independent style was developed in Persia. It was based on ancient Iranian art, 
 and excellent work was produced in carpet, silken brocade and velvet weaving. 
 Under the Osmans the Ottoman empire was formed by the inclusion of Asia 
 Minor, Syria, Egypt and North Africa with Constantinople as the capital where 
 architecture, ceramics and weaving developed along peculiar lines of their own. 
 As the Ottoman empire rose to the apex of its power textile fabrics became in# 
 creasingly sumptuous. The preference for cut velvets was very marked at this period. 
 
 At first the dominating pattern was based on ogival panels enclosed by 
 curved sprays or broad smooth bands embellished at the edges with little leaves. 
 The central motif contains either arabesques or rich floral arrangements, and 
 sometimes cloud motifs and stars, etc. In the 16th century hyazinths and roses 
 are introduced. Some of the most important examples of 17th century fabrics 
 were the so*called Scutari stuffs. 
 
 In the 17th century Persian fabrics again reached a high degree of excellence, 
 especially in the production of vividly coloured sumptuous velvet brocades. 
 The patterns were similar to those on the carpets of the period, the ogival 
 bands were replaced by ondoyant sprays, and later on developed into a sem^ 
 of floral forms in which the sprays were broken up. Besides purely floral patterns, 
 examples of velvet brocades and silk fabrics with rich figure patterns are extant 
 from the 17 th century. Many of these patterns represent pictorial scenes from 
 the Iranian legends and literature; richly clad beautiful figures of men and 
 women, as well as long*taiIed Chinese birds and dragons are introduced into 
 the decorative landscape. The weaving centres were Kashan, Ispahan and Yezd. 
 Silk fabrics also contain similar patterns, which, however, are often very minute 
 in design. The period of remarkable achievement in the production of splendid 
 textiles declined with the Safidian period, and silk weaving as an art gradually 
 perished. 
 
 Far Eastern Fabrics 
 
 It is but natural that the craft of weaving should attain to a high degree 
 of excellence both as to technique and design in those countries which in ancient 
 times possessed unlimited quantities of the most precious weaving material, 
 namely silk. Mention has been made of the mutual influence existing between 
 China, Persia and other countries by way of India, both as to tradition of de* 
 signs and craftsmanship. Whereas China retained the severely conventional 
 
 XXXVII 
 
pattern till the present, and has maintained her traditions in the design of 
 ornament, flowers and animals; Japan already inclined at an early period towards 
 a more naturalistic treatment of motifs, which, however, are never lacking in 
 a certain conventional element, and are always linear. The technique employed 
 by the Chinese and Japanese in the production of coloured silk stuflFs is that 
 known as broche. On the other hand velvet weaving is unknown in China, and 
 is also rarely met with in Japan where, indeed, it has only recently been introduced. 
 
 XXXVIII 
 
INDEX OF THE PLATES 
 
 PAGE 
 
 Egyptian Silk Fabrics — 4th to 6th Centuries A. D i 
 
 Silk Fabrics from Antinoe — 4th to 6th Centuries A. D 2 
 
 Silk Fabrics from Antinoe — 4th to 6th Centuries A. D 3 
 
 Silk Fabrics from Antinoe — 6th Century. Schloss Museum, Berlin 4 
 
 Silk Fabric from Egypt — 5th to 6th Centuries A. D 5 
 
 Egyptian Wool Fabrics— 5th to 6th Centuries 6 
 
 Egyptian Wool Fabrics — 6th to 7th Centuries 7 
 
 Egypt, 5 th to 7th Centuries — Fiellenistic Tapestry Weaving 8 
 
 Egypt, 5th to 7th Centuries — Hellenistic Tapestry Weaving 9 
 
 Egypt, 3rd to 4th Centuries — Hellenistic Tapestry Weaving 10 
 
 Egypt, 6th to 7th Centuries — Hellenistic Tapestry Weaving 11 
 
 Coptic Silk Fabrics — 6th to 7th Centuries 12 
 
 Coptic Silk Fabrics from Akhmin — 6th to 7th Centuries 13 
 
 Alexandria, istHalf of 6th Centuries — Silk Fabric with the Annunciation in the Vatican 14 
 
 Alexandria, 6th to 7th Centuries — Silk Fabrics in Brussels, Maestricht, and Sackingen . . 15 
 
 Persia, 6th to 7th Centuries — Multicoloured Silk Fabrics. Schloss Museum, Berlin 16 
 Silk Fabrics, i) From Byzantium, Middle of 6th Cent. 2) After Persian Pattern. Syria 
 
 or Byzantium, About 600. Milan 17 
 
 Eastern Roman Empire, 6th to 7th Centuries — Silk Fabric in the Vatican 18 
 
 Syria or Byzantium, About 600 — Silk Fabric. Cologne Cathedral 19 
 
 Persia — Silk Fabrics, i) About 600. Vatican. 2) 9th to loth Centuries. Wolfenbiittel 
 
 Library 20 
 
 Coloured Persian Silk Fabric, 8th to 9th Centuries. Minster of Aix-la-Chapelle . . . . 21 
 
 Eastern Iran, 8th to 9th Centuries — Silk Fabrics in Nancy, Huy, and Sens 22 
 
 Egypt or Syria, i) Silk Damask, 8th Century. 2) Silk Fabric, 12th Century 23 
 
 Orient, Beginning of 13th Century, i) Schloss Museum, Berlin. 2) Lion Patterned 
 
 Fabric in Passau 24 
 
 Baghdad, About 1220 — Fabric with Two-Headed Eagles, Siegburg 25 
 
 Western Islamic, nth Century — Fabric with Birds and Arabic Characters. Brussels 
 
 Museum 26 
 
 Sicily, About 1200 — Fabric Pattern in the Byzantine Style. Sens 27 
 
 Andalusia, nth to 12th Centuries — Silk Fabrics. Schloss Museum, Berlin 28 
 
 i) Bi-Coloured Silk Fabric, Sicily, 12th Century. 2) Multicoloured Silk Cover in a 
 
 Reliquary of Charlemagne. Sicily, About 1200 29 
 
 Sicily, 1 2th Century — Fabric Patterned with Two-Headed Eagles. Schloss Museum, 
 
 Berlin 30 
 
 Sicily, 1 2th Century — Silk Fabrics. Schloss Museum, Berlin 31 
 
 Sicily, 2nd Half of 12th Century — Silk Fabrics, Byzantine Style 32 
 
 Sicily, 1 2th to 13th Centuries — Silk Fabrics 33 
 
 Byzantium, 7th to loth Centuries — Silk Fabrics 34 
 
 Byzantium, 8th Century — Silk Fabrics 35 
 
 Byzantium, loth to nth Centuries — Silk Fabric from the Shrine of Charlemagne in 
 
 the Minster of Aix-la-Chapelle 36 
 
 Byzantium, 8th to loth Centuries — Bi-Coloured Silk Fabrics 37 
 
 XXXIX 
 
PAGE 
 
 Byzantium, nth to 12th Centuries — Imperial Fabrics with Eagles 38 
 
 i) Silk Fabric, Byzantium, 12th Century. 2) Silk Brocade. Sicily, 13th Century .. .. 39 
 
 Byzantium, nth Century — Silk Fabric in the Persian Style. Schloss Museum, Berlin . • 40 
 
 Byzantium, nth Century — Multicoloured Silk Fabric. Schloss Museum, Berlin .. .. 41 
 Byzantium, loth to nth Centuries — Parts of the Lion-Patterned Fabric in Siegburg 
 
 and Berlin 4^ 
 
 Byzantium, 1 2th Century — Silk Fabric after Sassanian Pattern 43 
 
 Italy (Lucca), 1 2th Century — Bi-Coloured Silk Fabric in Marburg 44 
 
 Spain, Moorish Work, 12th Century — Multicoloured Silk Fabric. Victoria and Albert 
 
 Museum 45 
 
 Germany (Regensburg), 13 th Century — Half Silk Brocade. Schloss Museum, Berlin .. 46 
 
 Germany (Regensburg), 13th Century — Romanesque Half Silk Fabric 47 
 
 Germany (Regensburg), 13th Century — Half Silk Brocades and Fabrics 48 
 
 Italy, 13th Century — Patterns of Woven Fabrics under Saracenic influence 49 
 
 Italy, 13th Century — Gold Brocade. Brunswick Museum 5° 
 
 Italy, 13th Century — i) and 2) Romanesque Gold Brocade. 3) and 4) Patterns of 
 
 Woven Material showing Saracenic and Byzantine influence 51 
 
 Spain, 14th to 15 th Centuries — Silk Fabric. Brussels Museum 52 
 
 Scandinavia, About 1500 — Wool Fabric for covering chairs 53 
 
 Spain, 14th Century — Silk Brocade and Silk Fabric. Andalusia, 15th Century .. 54 
 
 Spain, 14th Century — Silk Fabrics, Moorish Style. St. Mary's, Danzig 5$ 
 
 Spain, About 1500 — Silk Fabric, Moorish Style, from Grenada 56 
 
 Italy, 14th Century — Brocades 57 
 
 China, 14th Century — Brocade from a Church Vestment in Regensburg 58 
 
 China or Persia, Chinese influence, 14th Century — Silk Brocade. Schloss Museum, Berlin 59 
 Italy, 14th Century (Chinese influence) — Silk Damasks. Fabrics Collection, Crefeld, 
 
 and Schloss Museum, Berlin 60 
 
 Italy, 14th to 15 th Centuries — i) Brocade Chasuble in Danzig. 2) Silk Brocade. Fabrics 
 
 Collection, Crefeld 61 
 
 Venice, 1st Half of 14th Century — Silk Fabric. Victoria and Albert Museum, London 62 
 
 Venice, 14th Century (Persian influence) — Brocade. Schloss Museum, Berlin 63 
 
 Venice, ist Half of 14th Century — Gold Brocade on black ground. Schloss Museum, 
 
 Berlin 64 
 
 Lucca, 14th Century — Brocade. Germanic Museum, Nuremberg 65 
 
 Lucca, I St Half of 14th Century — Diaper Fabric with Peacocks and Griffins. Minster 
 
 of Aix-la-Chapelle 66 
 
 Lucca, 14th Century — Silk Brocade. Stralsund Museum 67 
 
 Lucca, 2nd Half of 14th Century— i) Chasuble from Brienon in Sens; 2) Silk Fabric 
 
 with Animal Patterns. Schloss Museum, Berlin 68 
 
 Lucca, 2nd Half of 14th Century — i) and 2) Brocade and Damask. Fabrics Collection, 
 
 Diisseldorf. 3) Brocade. Schloss Museum, Berlin. 4) and 5) Brocades. St. Mary's, Danzig 69 
 
 Lucca, 2nd Half of 14th Century — Brocades. St. Mary's, Danzig 70 
 
 Lucca, 2nd Half of 14th Century — Brocade. St. Mary's, Danzig 71 
 
 Lucca, 14th Century— I ) Damask. Fabrics Collection, Crefeld. 2), 3), and 4) Brocades 
 
 in Danzig and Halberstadt 72 
 
 Lucca, 14th Century— i), 3), and 4) Brocades in Danzig and Diisseldorf. 2) Damask in 
 
 Stralsund -. 
 
 Italy (Venice), 14th to 15th Centuries— Bi-Coloured Silk Fabric, Spanish Pattern ... 74 
 i) Venice, Middle of 15th Century— Silk Fabric. 2) Italy, ist Half of 15th Century 
 
 — Silk Brocade -- 
 
 Spain, 15 th Century — Late Gothic Pomegranate Pattern 76 
 
 Venice, ist Half of 15th Century— Silk Fabrics after designs by Jacob Bellini .. .. 77 
 
 Venice, 2nd Quarter of 15 th Century— Gold Brocade. Lyons Museum 78 
 
 Venice— i) Velvet Brocade, End of 15th Century. 2) and 3) Brocades, Middle of 
 
 15 th Century. Diisseldorf Museum 79 
 
 Italy, End of 15th Century— Velvet Brocade. Museo Poldi, Milan 80 
 
 XL 
 
PAGE 
 
 Spain, 15th Century — Silk Brocade from a Chasuble in Brandenburg Cathedral .. .. 81 
 
 Venice, 15th Century — Velvets. Schloss Museum, Berlin 82 
 
 Venice, 15 th Century — Velvet, Chasuble in Brandenburg Cathedral 83 
 
 Venice, 15th Century — Velvet. Schloss Museum, Berlin 84 
 
 Venice, 15th Century — Velvet. Besselievre Collection, Paris 85 
 
 Florence, 15th Century— i) Silk, 2) Velvet Brocade 86 
 
 Italy, 15 th to 1 6th Centuries— Silk Brocades 87 
 
 Florence, 15th to 1 6th Centuries— Bands for Church Vestments 88 
 
 Florence, 1 6th Century— Bands for Church Vestments 89 
 
 Italy, About 1500 — Silk Fabric from a Dalmatic in St. Mary's, Danzig 90 
 
 Italy or Spain, Early i6th Century — Silk Fabric. Schloss Museum, Berlin 91 
 
 Spain, Silk Damasks — i) Beginning, 2) End of i6th Century. Arts and Crafts Museum, 
 
 Dresden 92 
 
 Spain, i6th Century — Silk Damask. Arts and Crafts Museum, Dresden 93 
 
 Italy, Early i6th Century — Velvet Brocade. Arts and Crafls Museum, Dresden .. .. 94 
 
 Spain, About 1550 — Velvet Brocade, Schloss Museum, Berlin 95 
 
 Italy, Early i6th Century — Velvet Fabrics 96 
 
 Venice, i6th Century — Velvet Hangings. Arts and Crafts Museum, Dresden 97 
 
 Italy, Early 1 6th Century — Silk Fabrics (Imitation of Oriental Fabrics). Arts and Crafts 
 
 Museum, Dresden 98 
 
 Italy, 1 6th Century — Damask and Silk Fabrics. Arts and Crafts Museum, Dresden 99 
 
 Spain, Early i6th Century — Silk Brocade. Private Collection, Frankfort-on-the-Main . 100 
 Italy, 1 6th Century — Silk Brocade (Imitation of Oriental Fabrics). Arts and Crafts 
 
 Museum, Dresden loi 
 
 Italy, i6th Century — Cloth of Gold (Imitation of Oriental Fabrics). Arts and Crafts 
 
 Museum, Dresden 102 
 
 Italy, 1 6th Century — Silk Fabric. High School of Weaving, Berlin 103 
 
 i) Italy, First Half of i6th Century — Silk Damask. 2) Middle of i6th Century — 
 
 Brocade. Arts and Crafts Museum, Dresden 104 
 
 Italy, End of 1 6th Century — Silk Damasks roj 
 
 Switzerland, 1 6th Century — Curtain. Woollen Fabric, partly broched with gold. Schloss 
 
 Museum, Berlin 106 
 
 Holland, End of i6th Century — Linen Fabric. Arts and Crafts Museum, Dresden . 107 
 
 Italy, Middle of i6th Century — Silk Brocades. Schloss Museum, Berlin 108 
 
 Italy, End of i6th Century — Silk Damasks 109 
 
 Spain, About 1600 — Silk Brocade and Silk. Schloss Museum, Berlin no 
 
 i) Silk Fabric, Italy, End of i6th Century. 2) Silk Brocade, Spain, About 1600 in 
 
 Spain, 1 6th Century — Silk Brocade. Schloss Museum, Berhn 112 
 
 Spain, End of i6th Century — Silk Velvet. Schloss Museum, Berlin 113 
 
 Genoa, End of i6th Century — Silk Fabric. Arts and Crafts Museum, Dresden .. 114 
 
 Genoa, End of i6th Century — Velvet Borders. Arts and Crafts Museum, Dresden . . . 11 j 
 
 Italy, End of i6th Century — Velvet Fabrics. Arts and Crafts Museum, Dresden . . 116 
 
 Italy, End of i6th Century — Velvet Fabrics. Arts and Crafts Museum, Dresden 117 
 
 Italy, End of i6th Century — Silk Fabric. Arts and Crafts Museum, Dresden 118 
 
 Spain, End of i6th Century — Velvet. Arts and Crafts Museum, Dresden 119 
 
 Italy, 1 6th Century — Velvet. National Museum, Florence 120 
 
 Genoa, End of i6th Century — Velvet Borders. Arts and Crafts Museum, Dresden 121 
 
 Italy, 1 6th Century — Velvets. Schloss Museum, Berlin 122 
 
 Italy, End of i6th Century — Velvets 123 
 
 Italy, Second Half of i6th Century — Velvets and Brocades. Arts and Crafts Museum, 
 
 Dresden 124 
 
 Italy, End of i6th Century — Velvets. Arts and Crafts Museum, Dresden 125 
 
 Italy, End of i6th Century — Silk Damasks 126 
 
 Italy, End of 1 6th Century — Silk Damasks 127 
 
 i) Velvet Border, Italy, End of i6th Century; 2) Silk Fabric, Italy, Beginning of 
 
 17th Century 128 
 
 XLI 
 
PAGE 
 
 Florence, Middle of 17th Century — Silk Damask Hanging 129 
 
 Italy, 17th Century — Velvet and Silk Damask 13° 
 
 Italy, 17th Century — Silk and Silk Brocade 131 
 
 Italy, i6th Century — Velvet and Velvet Border. Schloss Museum, Berlin 132 
 
 Italy, Beginning of 17th Century— Velvet and Velvet Border. National Museum, 
 
 Florence i33 
 
 i) Italy, 17th Century — Velvet. Besselievre Collection, Paris. 2) Venice, 17th Century 
 
 — Velvet Brocade Hanging. Schloss Museum, Berlin 134 
 
 Italy (Genoa), 17th Century— Velvet Hanging. Hamburg, Museum 135 
 
 Italy, 17th Century — Velvets. Schloss Museum, Berlin 136 
 
 Italy, 17th Century — Velvets. Schloss Museum, Berlin 137 
 
 Italy, 17th Century — Silk Velvet. Schloss Museum, Berlin 138 
 
 Italy, 17th Century— Silk Velvet. Schloss Museum, Berlin 139 
 
 Italy, 17th Century — Velvets. Schloss Museum, Berlin 140 
 
 Italy, 17th Century — Velvets. National Museum, Florence 141 
 
 Italy, 17th Century — Velvets. National Museum, Florence 142 
 
 Italy, 17th Century — Velvets. National Museum, Florence 143 
 
 Italy, Middle of 17th Century — Velvet. Arts and Crafts Museum, Dresden 144 
 
 Italy, 17th Century — Silk Hanging. Arts and Crafts Museum, Diisseldorf 14J 
 
 Italy, 17th Century — Silks 14^ 
 
 Italy, 17th Century — Silk and Silk Damask i47 
 
 Genoa, Second Half of 17th Century — Velvet. Schloss Museum, Berlin 148 
 
 Italy (?), 17th Century — Velvet Brocade. Textile Fabrics Collection, Crefeld .. .. 149 
 
 France, End of 17th Century — Wool Plush. Arts and Crafts Museum, Dresden . . . . 150 
 
 Wall Hangings, Silk Damask, 1 7th Century iji 
 
 Germany, Beginning of i8th Century — Hangings (Reversible Fabrics). Schleswig- 
 
 Holstein 152 
 
 Germany, 17th to i8th Centuries — Hangings (Reversible Fabrics). Schleswig-Holstein 153 
 
 Germany, About 1660 — Hangings (Reversible Fabrics), Linen and Wool 154 
 
 Germany, 17th to i8th Centuries — Hangings (Reversible Fabrics). Schleswig-Holstein 155 
 
 Germany, 17th to i8th Centuries — Hangings (Reversible Fabrics). Schleswig-Holstein 156 
 
 Germany, 17th to i8th Centuries — Hangings (Reversible Fabrics). Schleswig-Holstein 157 
 
 Poland, Beginning of 1 8th Century — Silk Sashes "• . 158 
 
 Poland, Beginning of i8th Century — Silk Sashes I59 
 
 Spain (?), Beginning of i8th Century — Bedspreads, woven for the Indian market. 
 
 Victoria and Albert Museum, London 160 
 
 England, Beginning of i8th Century — Linen Spread with Wool Embroidery. Besselievre 
 
 Collection, Paris 161 
 
 France, End of 17th Century — Silk and Linen Fabric. Arts and Crafts Museum, Dresden 162 
 
 France, About 1700 — Silver Brocade. Arts and Crafts Museum, Dresden 163 
 
 Lyons, About 1700 — Silk Damask. Arts and Crafts Museum, Dresden 164 
 
 Lyons, About 1700 — Cloth of Silver. Arts and Crafts Museum, Dresden 165 
 
 Lyons, About 1700 — Silk Damask. Arts and Crafts Museum, Dresden 166 
 
 Lyons, About 1700 — Silk Damask. Arts and Crafts Museum, Dresden 167 
 
 Lyons, About 1700— Half Damask. Arts and Crafts Museum, Dresden 168 
 
 France, after 1700 — Silk Fabric. Textile Fabrics Collection, Crefeld 169 
 
 Half Damask and Silk Damask, First Half of i8th Century — Arts and Crafts Museum, 
 
 Dresden 170 
 
 Damasks (right broche), First Half of i8th Century, from Italy and France. Arts and 
 
 Crafts Museum, Dresden 171 
 
 France, Beginning of 1 8th Century — Velvets. Arts and Crafts Museum, Dresden . . . . 1 72 
 
 France, Beginning of i8th Century — Silk Fabric. National Museum, Florence .. .. 173 
 
 France, Beginning of 1 8th Century — Silk Brocade 174 
 
 Spain (?), Beginning of i8th Century — Silk Brocades. Schloss Museum, Berlin .. .. 175 
 
 Italy, About 1720 — Silk Brocade from Parma, Schloss Museum, Berlin 176 
 
 Italy, Middle of i8th Century — Silk Fabric. Besselievre Collection, Paris 177 
 
 XLII 
 
PAGE 
 
 France, Beginning of i8th Century— Silk Brocades. Schloss Museum, Berlin 178 
 
 Silk Fabrics, First Half of 1 8th Century, France and Italy 179 
 
 France, First Half of 1 8th Century— Silk Brocades. National Museum, Florence .. .. 180 
 
 Italy, Beginning of 1 8th Century— Gold Brocade. Schloss Museum, BerHn 181 
 
 France, First Half of 1 8th Century— Silk Brocade, Coloured 182 
 
 France, Middle of i8th Century— Silks, Coloured. Schloss Museum, BerHn 183 
 
 France, Silk Fabrics, i) First Third of i8th Century. 2) About 1750 184 
 
 Silks. France, Middle of i8th Century. Besselievre Collection, Paris 185 
 
 Germany, Middle of i8th Century— Silk Fabric, Multicoloured. Arts and Crafts 
 
 Museum, Dresden 186 
 
 Germany, Middle of i8th Century— Silk Fabric, Multicoloured. Arts and Crafts 
 
 Museum, Dresden 187 
 
 Italy, Middle of i8th Century— Silk Fabric. National Museum, Florence 188 
 
 Italy, Middle of i8th Century— Silk Fabric. National Museum, Florence 189 
 
 Germany, Middle of i8th Century— Silk Damask. Arts and Crafts Museum, Dresden . . 190 
 
 Germany, Middle of i8th Century— Silk Damask. Arts and Crafts Museum, Dresden . . 191 
 
 France, About 17J0— Silk Fabric, Multicoloured. Arts and Crafts Museum, Dresden .. 192 
 
 France, About 1750 — Silk Fabric 193 
 
 France, Middle of i8th Century— Silk Fabric, Multicoloured. Arts and Crafts Museum, 
 
 Dresden 194 
 
 France, About 1750 — Silk Fabric 195 
 
 France, About 1750 — Silk Fabric, Multicoloured 196 
 
 France, About 1750 — Silk Fabric, Multicoloured 197 
 
 France, Middle of 1 8th Century — Silk Fabric 198 
 
 France, Middle of 1 8th Century — Silk Fabric 199 
 
 France, Silks, Style of Louis XV. Besselievre Collection, Paris 200 
 
 France, Silk Fabrics, Style of Louis XV. Besselievre Collection, Paris, and Arts and 
 
 Crafts Museum, Dresden 201 
 
 France, About 1750 — Silk Fabric, Multicoloured. Arts and Crafts Museum, Dresden . . 202 
 
 France, About 1750 — Silk Fabric, Multicoloured. Arts and Crafts Museum, Dresden .. 203 
 
 France, Middle of i8th Century — Silks. Schloss Museum, Berlin 204 
 
 France, Middle of i8th Century — Silks. Arts and Crafts Museum, Dresden 205 
 
 France, About 17JO — Silk Damask and Silk Fabric. Arts and Crafts Museum, Dresden 206 
 
 France, About 1750 — Half Damask and Silk Damask. Arts and Crafts Museum, Dresden 207 
 
 France, Middle of i8th Century — Silk Fabric 208 
 
 France, About 1750 — Silk Fabric, Multicoloured. Arts and Crafts Museum, Dresden . . 209 
 
 France, Middle of i8th Century — Silk 210 
 
 France, About 1750 — Silk, Multicoloured. Arts and Crafts Museum, Dresden 211 
 
 France, Middle of i8th Century — Silk Brocade. Arts and Crafts Museum, Cologne 212 
 
 France, About 1760 — Coloured Ribbed Silk. Arts and Crafts Museum, Cologne . . 213 
 
 France, About 1770 — Silk Fabrics. Arts and Crafts Museum, Dresden 214 
 
 France, About 1780 — Silks. Arts and Crafts Museum, Dresden 215 
 
 France, About 1770 — Coloured Silk Fabric, After Pillement. Arts and Crafts Museum, 
 
 Dresden 216 
 
 France, About 1770 — Coloured Silk Fabric, After Pillement. Arts and Crafts Museum, 
 
 Dresden 217 
 
 France, About 1770 — Coloured Silks, After Pillement. Arts and Crafts Museum, Dresden 218 
 
 France, Second Half of 1 8th Century — Coloured Silks. Arts and Crafts Museum, Dresden 219 
 
 France, About 1770 — Coloured Silks, After Pillement. Arts and Crafts Museum, Dresden 220 
 
 France, About 1770 — Coloured Silks. Arts and Crafts Museum, Dresden 221 
 
 France, Second Half of i8th Century — Silk Damask. Arts and Crafts Museum, Dresden 222 
 
 France, Second Half of i8th Century — Silk Damasks. Arts and Crafts Museum, Dresden 223 
 France, Second Half of i8th Century — Coloured Silks, Style of Louis XVI. Besselievre 
 
 Collection, Paris 224 
 
 France, Second Half of 1 8th Century — Coloured Silks 225 
 
 Lyons, 1760 to 1770 — Silk Fabric by Ph. de la Salle. Musee historique de Tissus, Lyons 226 
 
 XLIII 
 
PAGE 
 
 France, 1760 to 1770 — Silk Fabric by Ph. de la Salle. Musee historique de Tissus, Lyons 227 
 Lyons, 1760 to 1770 — Coloured Silk Hangings by Ph. de la Salle. Musee historique de 
 
 Tissus, Lyons 228 
 
 France, 1760 to 1770— Coloured Silk Hanging by Ph. de la Salle. Musee historique de 
 
 Tissus, Lyons ^^9 
 
 Lyons, Second Half of 1 8th Century— Coloured Silk Hangings by Ph.de la Salle. Mus6e 
 
 historique de Tissus, Lyons 230 
 
 Lyons, Second Half of i8th Century— Silk Hangings by Ph. de la Salle. Musee 
 
 historique de Tissus, Lyons ^3' 
 
 Lyons, 1760 to 1770 — Silk Hangings by Ph. de la Salle. Musee historique de Tissus, 
 
 Lyons 232 
 
 France, About 1780 — Silk Fabric by Ph. de la Salle, Lyons 233 
 
 France, Second Half of i8th Century. Coloured Silk Hanging by Ph. de la Salle. Mus^e 
 
 historique de Tissus, Lyons 234 
 
 France, Second Half of i8th Century — Silk Fabric 23 j 
 
 Silk Border and Silk Hanging, Second Half of i8th Century. Schloss Museum, Berlin 236 
 
 France, 1780 to 1790 — Silk Hangings. Schloss Museum, Berlin 237 
 
 Striped Silk Fabrics, Style of Louis XVL Arts and Crafts Museum, Cologne 238 
 
 France, Second Half of i8th Century — Silk Fabrics. Arts and Crafts Museum, Cologne 239 
 France, End of i8th Century — Silk Borders. Woven Fabrics and Textiles Collection, 
 
 Crefeld 240 
 
 France, End of i8th Century — Silks. Arts and Crafts Museum, Dresden 241 
 
 France, Second Half of 1 8th Century — Silk Damasks. Arts and Crafts Museum, Dresden 242 
 
 France, End of 1 8th Century — Silk Fabrics 243 
 
 France, End of i8th Century — Coloured Silk Fabrics. Arts and Crafts Museum, Dresden 244 
 France, End of i8th Century, i) and 4) Silks; 2) Silk Damask; 3) Half Silk. Arts and 
 
 Crafts Museum, Dresden 245 
 
 Germany, Second Half of i8th Century — Silk Damask. Arts and Crafts Museum, Dresden 246 
 
 Germany, Second Half of 1 8th Century — Silk Damask. Arts and Crafts Museum, Dresden 247 
 
 Velvet and Silk Fabrics — Second Half of i8th Century. Schloss Museum, Berlin . . 248 
 Patterns, End of 1 8th Century and Beginning of 19th Century. Arts and Crafts Museum, 
 
 Dresden 249 
 
 Holland, Second Half of 1 8th Century — Silk Damask. Arts and Crafts Museum, Dresden 250 
 
 Holland, Second Half of i8th Century — Silk Fabric. Arts and Crafts Museum, Dresden 251 
 
 Italy, Second Half of i8th Century — Silk Fabrics. Schloss Museum, Berlin 252 
 
 Italy, Second Half of i8th Century — Velvets. Schloss Museum, Berlin 253 
 
 Germany, End of i8th Century — Silk Fabric. Arts and Crafts Museum, Dresden . . 254 
 
 Germany, End of i8th Century — Silk Fabric. Arts and Crafts Museum, Dresden . . 25 j 
 
 France, End of i8th Century — Coloured Silk Fabrics. Arts and Crafts Museum, Dresden 256 
 France, End of i8th Century — Silk Fabrics with Velvet. Arts and Crafts Museum, 
 
 Dresden 257 
 
 France, End of i8th Century — Fabrics in the Directory Style 258 
 
 France, End of i8th Century — Fabrics in the Directory Style 259 
 
 France, End of i8th Century — Fabrics in the Directory Style 260 
 
 France, End of 1 8th Century — Silk Fabrik in the Directory Style. Besselievre Collection, 
 
 Paris 261 
 
 Germany, i) Silk Damask, About 1800; 2) Silk Hanging, Abeut 1770 to 1780. Schloss 
 
 Museum, Berlin 262 
 
 France, Beginning of 19th Century — Hangings, Empire Style 263 
 
 France, Beginning of 19th Century — Velvet, Empire Style 264 
 
 France, Beginning of 19th Century — Hangings, Empire Style, by Lemire, Pere & Fils, 
 
 Lyons (after Dumonthier) 265 
 
 France, Beginning of 19th Century — Silk Wall Hangings, Empire Style 266 
 
 France, Beginning of 19th Century — Silk Hangings by C. Pernon, Lyons, and Churd 
 
 & Cie., Lyons 267 
 
 XLIV 
 
PAGE 
 
 France, Beginning of 19th Century — Furniture Fabrics, Empire Style, by Bessardon, 
 
 Bong & Cie., Lyons (after Dumonthier) 268 
 
 France, Beginning of 19th Century — Silk Hangings, Empire Style, by Grand Freres, 
 
 Lyons (after Dumonthier) 269 
 
 Germany, Beginning of 19th Century — Silk Hanging, Empire Style 270 
 
 Berlin, Beginning of 19th Century — Silk Hangings. Schloss Museum, Berlin 271 
 
 Berlin, First Half of 19th Century — Silk Hanging, Broche (Curtain). Schloss Museum, 
 
 Berlin 272 
 
 ORIENTAL FABRICS 
 
 SINCE 1500 
 
 Turkey, Beginning of i6th Century — Velvet Hanging. Schloss Museum, Berlin .. 274 
 Turkey (Brussa), i6th Century — Velvet Brocade. Private Collection, Frankfort-on-the- 
 
 Main 275 
 
 Turkey, i6th Century — Silk Velvet (Scutari Covers). Kelekian Collection, Paris . . 276 
 
 Turkey, i6th Century — Silk Velvet (Scutari Covers). Kelekian Collection, Paris . . . . 277 
 
 Turkey, i6th Century — Velvets. Besselievre Collection, Paris 278 
 
 Turkey, 1 6th and 17th Centuries — Velvets. Schloss Museum, Berlin 279 
 
 Turkey (Brussa), i6th Century — i) Silk; 2) Brocade. Besselievre Collection, Paris . .. 280 
 
 Asia Minor, i6th Century — Silk Fabrics. Kelekian Collection, Paris 281 
 
 Turkey, i6th Century — i) Silk; 2) Velvet. Kelekian Collection, Paris 282 
 
 Turkey, 1 6th Century — Silks. Kelekian Collection, Paris 283 
 
 Turkey, i6th to 17th Centuries — Man's Coat with long sleeves, Brocade. Vienna, 
 
 Private Collection 284 
 
 Persia, 17th Century — Silk. National Museum, Florence 285 
 
 i) Persia, i6th Century — Silk. Kelekian Collection, Paris; 2) Persia, About 1600 — 
 
 Brocade, Moscow Museum 286 
 
 Persia, 17th Century — Silks. National Museum, Florence 287 
 
 Persia, Middle of i6th Century — Velvet Brocades. Figdor Collection, Vienna, and 
 
 Bacri Freres Collection, Paris 288 
 
 Persia, 1 6th to 17th Centuries — Velvet Brocade, Schloss Museum, Berlin 289 
 
 Persia, Beginning of 17th Century — Velvet Brocade. Karlsruhe Museum 290 
 
 Persia, First Half of 17th Century — i) Silk Brocade. Cracow Museum. 2) Velvet 
 
 Brocade. Rosenborg Castle, near Copenhagen 291 
 
 Persia, 17th Century — Velvet Brocade. Rosenborg Castle, near Copenhagen 292 
 
 Persia, 17th Century — i) Velvet Brocade from Rosenborg Castle. 2) Velvet Brocade. 
 
 Private Collection, Frankfort-on-the-Main 293 
 
 Persia, First Half of 17th Century — Velvet. Rosenborg Castle, near Copenhagen . . . 294 
 
 Persia, i6th Century — Velvet. Besselievre Collection, Paris 295 
 
 Persia, i6th Century — Velvet. Besselievre Collection, Paris 296 
 
 Persia, About 1600 — Brocade. Arts and Crafts Museum, Vienna 297 
 
 Persia, 17th Century — Woven Silk Carpet. Schloss Museum, Dresden 298 
 
 Persia, 17th Century — Brocade Hanging patterned Hke a Prayer Rug. Private Col- 
 lection, Constantinople 299 
 
 Persia, 17th Century — Wall Hanging, Silk. Schloss Museum, Dresden 300 
 
 Persia, 17th Century — Silk Wall Hangings Schloss Museum, Dresden 301 
 
 Persia, 17th Century — Woven Silk Carpet. Schloss Museum, Dresden 302 
 
 Persia, 17th Century — Woven Silk Carpet. Schloss Museum, Dresden 303 
 
 Persia, End of i6th Century — Silk Velvet. Kelekian Collection, Paris 304 
 
 Persia, About 1600 — Part of a Brocade Cover. Museum, Moscow 305 
 
 XLV 
 
PAGE 
 
 Persia, 1 6th Century — Silk Fabrics. Kelekian Collection, Paris 306 
 
 Persia, 17th Century — Silk Fabrics. Kelekian Collection, Paris 307 
 
 Persia. European Influence. 17th Century — Brocade. Kelekian Collection, Paris .. 308 
 
 Persia, 17th Century — Silk Brocade. Schloss Museum, Berlin 309 
 
 Persia, 17th Century — Brocade Fabrics. Schloss Museum, Berlin 310 
 
 Persia, 17th Century — Velvets. Bessehevre Collection, Paris 311 
 
 Persia, i6th Century — Velvet Brocades. Bessehevre Collection, Paris 312 
 
 Persia, i6th to 17th Centuries — Velvets. Schloss Museum, Berlin 313 
 
 Turkey — i) and 2) Silk Damask, i6th Century; 3) Velvet Brocade, 17th Century .. 314 
 
 Silk Fabrics, Persia, i6th and 17th Centuries. Bessehevre Collection, Paris 31 j 
 
 Turkey, i6th to 17th Centuries — Velvet Brocade Cover 316 
 
 Turkey, 17th Century — Velvet Carpet (Scutari Cover) 317 
 
 Turkey, 17th Century — Velvet Brocade and Velvet Fabric 318 
 
 Turkey, 17th Century — Velvet Brocade (Scutari Cover) 319 
 
 Persia, i8th Century — Woven Velvet Carpet. Private Collection, Paris 320 
 
 XLVI 
 
THE PLATES 
 

 '-^M 
 
 
 Spatantike Seidenstoffe — 4. bis 6. Jahrhundert n. Chi 
 
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Seidenstoffe aus Antinoe — 6. Jahrhundert. SchloBmuseum, Berlin 
 
Spatantiker Seidenstoff aus Agypten — 5. bis 6. Jahrhundert n. Chr. 
 
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 Agypten, 5. bis 7. Jahrhundert — Hellenistische Wirkereien 
 
Agypten, 5. bis 7. Jahrhundert - Hellenistische Wirkereien 
 
10 
 
 Agypten, 3. bis 4. Jahrhundert — Hellenistische Wollenwirkereien 
 
11 
 
 Agypten, 6. bis 7. Jahrhundert — Spathellenistische Wirkereien 
 
12 
 
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 Koptische Seidenstof fe — 6. bis 7. Jahrhundert 
 
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13 
 
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 Koptische Seidenstoffe aus Achmim — 6. bis 7. Jahrhundert 
 
14 
 
 Alexandria, erste Halfte des 6. Jahrhunderts — Seidenstoff mit der Verkiindigung 
 
 und der Geburt Christi imVatikan 
 
15 
 
 Alexandria, 6. bis 7. Jahrhundert — Seidenstoffe in Brussel, Maastricht und Sackingen 
 
16 
 
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 3 
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 60 
 
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17 
 
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18 
 
 Ostrom, 6. bis 7. Jahrhundert — Seidenstoff im Vatikan 
 
19 
 
 Syrien oder Byzanz um 600 — Seidenstoff. Dom in Koln 
 
20 
 
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 Persien-Seidenstoffe. 1) Um 600, Vatikan. 1) 9. bis 10. Jahrhundert. 
 Bibliothek in Wolfenbuttel 
 
21 
 
 Persischer farbiger Seidenstoff, 8. bis 9. Jahrhundert. Munster in Aachen 
 
22 
 
 
 ) I a 
 
 
 # 
 
 
 
 
 MLJ^'i^ 
 
 Ostiran, 8. bis 9. Jahrhundert — Seidengewebe in Nancy, Huy und Sens 
 
23 
 
 Agypten oder Syrien. 1) Seidendamast — 8. Jahrhundert. 2) Seidenstoff — 12. Jahrhundert 
 
24 
 
 Orient, Anfang des 13.Jahrhunderts — l)Schlofimuseum, Berlin. 2) Lowenstoffin Passau 
 
25 
 
 Bagdad urn 1220 - Doppeladlerstoff in Siegburg 
 
26 
 
 Westislam, 11. Jahrhundert — Vogelstoff mit arabischer Schrift. Museum, Briissel 
 
II 
 
 Sizilien um 1200 — Gewebemuster der byzantinischen Richtung. Sens 
 
28 
 
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 Sizilien, iweite Hal ft e des 12.Jahrh.— Seidengevvebe byzantinischer Richtung in Sens 
 
33 
 
 Sizilien, 12. bis 13. Jahrhundert — Seidenstoffe 
 
34 
 
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 Byzanz, 7. bis 10. Jahrhundert — Seidenstoffe 
 
35 
 
 Byzanz, 8. Jahrhundert — Seidenstoffe 
 
36 
 
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40 
 
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41 
 
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 Byzanz, 12. Jahrhundert — Buntfarbiger Seidenstoff in Gobelintechnik 
 
42 
 
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44 
 
 Italien (Lucca), 12. Jahrhundert — Zweifarbiger Seidenstoff in Marburg 
 
45 
 
 Spanien, maurische Arbeit des 12. Jahrhunderts — Mehrfarbiges Seidengewebe. 
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46 
 
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48 
 
 Deutschland (Regensburg), 13. Jahrhundert — Halbseidenbrokate und *stof£e 
 
49 
 
 Italien, 13. Jahrhundert — Gewebemuster unter sarazenischem EinfluC 
 
50 
 
 Italien, 13. Jahrhundert — Goldbrokat. Museum in Braunschweig 
 
51 
 
 Italien, 13. Jahrhundert — 1 u. 2) Romanische Goldbrokate. 3 u. 4) Gewebemuster 
 unter sarazenischem und byzantinischem EinfluC 
 
52 
 
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 Spanien, 14. bislS.Jahrhundert — Seidenstoff. Museum in Brijssel 
 
53 
 
 Skandinavien um 1500 — Sesselpolster aus Wo lis toff 
 
54 
 
 
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55 
 
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56 
 
 Spanien um 1500 — Seidenstoff maurischen Stils aus Granada 
 
57 
 
 Italien, 14. Jahrhundert — Brokatstoffe 
 
58 
 
 China, 14. Jahrhundert — Brokatstoff von einem MeBgewand in Regensburg 
 
59 
 
 China oderPersienunterchinesischemEinfluC, H.Jahrh.— Seidenbrokat. SchloCmus., Berlin 
 
60 
 
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61 
 
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64 
 
 Venedig.erste Hal ft e desl4. Jahrhunderts — Goldbrokat auf schwarzem Grund. 
 
 SchloCmuseum, Berlin 
 
65 
 
 Lucca, 14. Jahrhundert — Brokatstoff. Germanisches Museum, Niirnberg 
 
66 
 
 Lucca, crste Halfte des 14. Jahrhunderts — Diaspergewebe mit Pfauen und Greifen. 
 
 Aachen, Miinster 
 
67 
 
 Lucca, 14. Jahrhundert — Seidenbrokat. Stralsund, Museu 
 
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Lucca, zweite Halfte des 14. Jahrhunderts — 1) Kasel aus Brienon in Sens. 
 2) Seidenstoff mit Tiermustern. SchloBmuseum, Berlin 
 
69 
 
 
 
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 Lucca, zweite Halfte des 14. Jahrhunderts — 1 u. 2) Brokat und Damast. Gewebesammlung, 
 Diisseldorf. 3) Brokat. SchloCmuseum, Berlin. 4 u. 5) Brokate. Marienkirche, Danzig 
 
70 
 
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71 
 
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72 
 
 
 40 
 
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 51 
 
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 Lucca,14. Jahrhundert— 1) Damast. Gewebesammlung, Crefeld. 2, 3u.4)Brokate 
 
 in Danzig und Halberstadt 
 
73 
 
 
 Lucca, 14. Jahrhundert — l,3u. 4) Brokate in Danzig undDusseldorf. 2) DamastinStralsund 
 
74 
 
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75 
 
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76 
 
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 Spanien oder Italien, 15. Jahrhunderl — Spatgotische Granatapfelmuster 
 
77 
 
 Venedig.erste Halfte deslS.Jahrh. — Seidenstoffe nach Entwiirfen von Jacob Bellini 
 
78 
 
 Venedig, zweites Viertel des 15. Jahrhunderts - Goldbrokat. Museum, Lyon 
 
79 
 
 Venedig, 1) Samtbrokat, Ende des 15. Jahrhunderts. 2 und 3) Brokatstoffe, 
 Mitte des 15. Jahrhunderts. Museum in Diisseldorf 
 
80 
 
 Italien, Ende des IS.Jahrhunderts-Samtbrokat. Museo Poldi, Milano 
 
Spanien, 15. Jahrhundert- Seidenbrokat von einer Kasel im Dom zu Brandenburg 
 
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84 
 
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92 
 
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93 
 
 Spanien, 16. Jahrhundert - Seidendamast. Kunstgewerbemuseum, Dresden 
 
94 
 
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 Kunstgewerbemuseum, Dresden 
 
102 
 
 Italien, 16. Jahrhundert — Goldstoff (Nachbildung eines orientalischen 
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107 
 
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108 
 
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115 
 
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116 
 
 
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117 
 
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118 
 
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135 
 
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137 
 
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 Collection Besselievre, Paris 
 
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 Frankreich, Ende des 17. Jahrh. — Seiden; und Halbseidenstof f. Kunstgewerbemus., Dresden 
 
163 
 
 Frankreich urn 1700 - Silberbrokat. Kunstgewerbemuseum, Dresden 
 
164 
 
 Lyon um 1700 — Seidendamast (Spitzenmuster). Kunstgewerbemuseum, Dresden 
 
165 
 
 Lyon um 1700 — Silberbrokat. Kunstgewerbemuseum, Dresden 
 
166 
 
 Lyon um 1700 — Seidendamast (Spitzenmuster). Kunstgewerbemuseum, Dresden 
 
167 
 
 Lyon um 1700 — Seidendamast. Kunstgewerbemuseum, Dresden 
 
168 
 
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169 
 
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170 
 
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177 
 
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 Italien, Anfang des 18. Jahrhunderts - Goldbrokat. Schlofimuseum, Berlin 
 
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187 
 
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 [talien, Mitte des 18. Jahrhunderts -Seidenstoff. Museo Nazionale, Florenz 
 
190 
 
 Deutschland, Mitte des 18. Jahrh. - Seidendamast. Kunstgewerbemuseum, Dresden 
 
191 
 
 Deutschland, Mitte des 18. Jahrh. — Seidendamast. Kunstgewerbemuseum, Dresden 
 
192 
 
 Frankreich, urn 1750 — Seidenstoff , buntfarbig. Kunstgewerbemuseum, Dresden 
 
193 
 
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194 
 
 Frankreich, Mitte des IS.Jahrh. — Seidenstoff, buntfarbig. Kiinstgewer be museum, Dresden 
 
195 
 
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 Musee historique de Tissus, Lyon 
 
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 Lyon, 1760-1770- Bunte Seidentapeten von Ph. de la Salle. Musee historique deTissus, Lyon 
 
233 
 
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 Musee historique de Tissus, Lyon 
 
235 
 
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236 
 
 Seidenborte und Seidentapete aus der zweiten Halfte des IS.Jahrh. Schlofimuseum, Berlin 
 
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 Frankreich, Ende des IS.Jahrhunderts — Seidenstoffe. Kunstgewerbemuseum, Dresden 
 
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