As we have noted before, a costume cannot be used before its time, so, as much as anything can, the study of its details prevents us from going too far back with its date. When one has reached the point of identifying a Gothic tapestry to where the exact decade is questioned, the century having been ascertained, a careful study of costumes outside the region of tapestries is necessary. This leads one into a department all by itself and means delightful hours in libraries poring over ill.u.s.trated books on costume. It means to learn in what manner our G.o.ds and heroes of fact and fancy habited themselves, how Berengaria wore her head-dress and Jehane de Bourgogne her brocades, and how the eternally various sleeve differed in its fashioning for both men and women.

Head-dresses were of such size and variety that they form a study in themselves, and dates have been fixed by these alone. The turban in its evolution is an interesting study, and makes one wonder if that, too, did not wander north from the Moorish occupancy of Spain and the wave of inspiration which flowed unceasingly from the Orient in the years when Europe created little without inspiration from outside.

A patriarchal bearded man in sacerdotal robes of costly elegance seriously impresses his fellows all through the Gothic tapestries, and his rival is a swaggering, important person, clean-shaven, in full brocaded skirt, fur-bound, whose att.i.tude declares him royal or near it. The first of these is the model nowadays for stage kings, and even a woman's toilet must vaunt itself to get notice beside his gorgeous array. He wears about his waist a jewelled girdle of great splendour, and on his head some impressive matter of either jewels or draping.

His face is usually full-bearded, but even when smooth, youth is not expressed upon him. Youths of the same time are more _debonnaire_, are springing about, clean-faced, clad in short, belted pelisse, showing sprightly legs equally ready to step quickly towards a lovely lady or to a field of battle.

Soldiers--let a woman hesitate to speak of their dress and arms in any tone but that of self-depreciating humility. Suffice it to say that in the early work they wore the armour of the time, whether the scene depicted were an event of history cotemporaneous, or of the time of Moses. Fashions in dress changed with deliberation then, and it is to the arms carried by the men that we must sometimes look for exactness of date.

LETTERING

The presence of letters is often noticed in hangings of the Fourteenth, Fifteenth and early Sixteenth Centuries. It was a fashion eminently satisfactory, a great a.s.sistance to the observer. It helped tell the story, and, as these old pictures had always a story to tell, it was entirely excusable--at least, so it seems to one who has stood confounded before a modern painting without a catalogue or other indication as to the why of certain agitated figures.

The lettering was, in the older Gothic, explicit and unstinted, in double or quadruple lines, in which case it counts as decoration banded across top or bottom. Again, it is as trifling as a word or two affixed to the persons of the play to designate them. This lettering may be French or Latin.

EARLY BACKGROUNDS

Backgrounds of the early Fifteenth Century deal much in conventionalised, flat patterns, but fifty or sixty years later, when figures began to be more crowded, there was but little s.p.a.ce left unoccupied by the partic.i.p.ants in the allegory, and this was filled by the artifices of architecture or herbage that formed the divisions into the various scenes. Later the designing artists decided to let into the picture the light of distant fields and skies, and thus was introduced the suggestion of s.p.a.ce outside the limit of the canvas.

LATER DRAWING

After the Gothic drawing, came the avalanche of the Renaissance. That altered all. The Italian taste took precedence, and from that time on the cartoons of tapestries represent modern art, trailing through its various fashions or modes of the hour. The purest Renaissance is direct from the Italian artist, in tapestry as well as in painting, but it is interesting to see the maladroitness of the Flemish hand when left to draw cartoons for himself after the new manner.

After the Renaissance came exaggeration and lack of sincerity; then the improvement of the Seventeenth Century, notably in France, and after that the dainty fancies of the Eighteenth Century, and here we are dealing with art so modern that it needs no elucidation. The drawing in tapestries is a subject as fascinating as it is inexhaustible, but, however much one may read on it, nothing equals actual a.s.sociation with as many tapestries as are available, for the eye must be trained by vision and not by intellectual process alone.

CHAPTER XIX

IDENTIFICATIONS (_Continued_)

If the amateur can have the fortune to see in the same hour a tapestry of the early Fifteenth Century, and one a hundred years later, and then one about 1550, from Brussels, drawn by an Italian artist, he has before him an exposition of tapestry weaving in its golden age when it sweeps through its greatest periods and phases to marvellous perfection. The earliest example gives acquaintance with that almost fabled time of the Gothic primitives in art; the second shows the highest development of that art under the influence of civilisation, and the third shows the obsession of the new art of the Renaissance.

It is, perhaps, superfluous to say that after the revival of cla.s.sic art the power of producing spontaneous Gothic was lost forever. From that time on, every drawing has had certain characteristics, certain sophistications that the artist cannot escape except in a deliberate copy.

Modern art, we call it. In tapestry it began with a freedom of drawing in figures, and an adoption of cla.s.sic ornament and architecture. In this connexion it is interesting to note the introduction of Greek or Roman detail in the columns that divide the scenes, to see saints gathered by temples of cla.s.sic form instead of Gothic. If Renaissance details appear in a hanging called Gothic, it is easy to see that the piece was woven after Europe was infected with modern art, and this is an a.s.sistance in placing dates; at least, it checks the tendency to slip back too far in antiquity, a tendency of which we in a new country are entirely guilty.

Lest too long a lingering on the subject of design become wearisome, a mention of later designs is made briefly. The simplicity of the early Renaissance, the perfection of the high Renaissance, are both shown in tapestry as well as in paintings, and so, too, is exemplified the inflation that ended in tiresome exuberance.

After the fruit was ripe it fell into decay. After Sixteenth Century perfection, Seventeenth Century designs fell of their own overweight, figures were too exaggerated, draperies billowed out as in a perpetual gale, architecture and landscapes were too important, and tapestries became frankly pictures to attract the attention. To this cla.s.s of design belong all those monstrosities which reflected and distorted the art of Raphael, and which have been intimately a.s.sociated with Scriptural subjects down to our own times.

After Raphael, Rubens. Familiarity with this heroic painter is the key to placing all the magnificent designs similar to the set of _Antony and Cleopatra_ (Metropolitan Museum of Art in New York).

Then came the easily recognisable designs of the French ateliers of the Seventeenth and Eighteenth Centuries. These are so frequently brought before us as to seem almost like products of our own day. The earlier ones seem (as ever) the purer art, the less sensual, appealing to the more impersonal side of man, dealing in battles and in cla.s.sic subjects. Later, the drawings, becoming more directly personal, in the time of Louis XIV portrayed events in the _Life of the King_; in the next reign, slipping into the pleasures of the _Royal Hunts_, from which the descent was easy into depicting nothing higher than the soft loveliness of the fantastic life of the time as led by those of high estate. From Lebrun to Watteau one can trace the gradual seductive decline, where heroic ideal lowers softly in alluring decadence into a mere tickling of the senses. And at this time the productions of great tapestries stopped.

Before leaving the review of drawing or design, it is well to recall that the fleeting fashions of the day usually set the models, not in the manner of treatment which we have been considering broadly, but in the subject of designs. For example, the tendency to religious and morality subjects in the Gothic, the love for Greek G.o.ds and heroes in the Renaissance, the glorification of kings and warriors at all times, and the portrayal of royal pleasures in modern times. The months of the year were woven in innumerable designs and formed an endless theme for artists' ingenuity during and after the Renaissance.

BORDERS

It is but natural that, with the expansion in drawing, the freedom given the pencil, imagination leaped outside the pictured scene and worked fantastically on the border, and it is to the border that we turn for many a mark of identification. The subject being a full one, it has longer consideration in a separate chapter. First there is the simple outlying tape, then the designed border. The early Gothic was but a narrow line of flowers and berries; the later more sophisticated Gothic enlarged and elaborated this same motive without introducing another. The blossoms grew larger, the fruit fuller and the modest cl.u.s.ter of berries was crowded by pears, apples and larger fruit, until a general air of full luxury was given. The design was at first kept neatly within bordering lines of tape, but later, overleaped them with a flaunting leaf or mutinous flower.

Ribbons appeared early, then came fragmentary glimpses of dainty columns which gave nice reasons for the erect upstanding of so heavy a decoration. These all were Gothic, but what came after shows the riotous imagination of the Renaissance. It seemed in that fruitful time, s.p.a.ce itself were not large enough to hold the designs within the artist's brain. Certainly no corner of a tapestry could be left unfilled, and not that alone, but filled with perfect pictures instead of with a simple repeated scheme of decoration. It was in this rich time of production that the borders of tapestries grew to exceeding width, and were divided into squares, each square containing a scene.

These scenes were often of sufficient importance in composition to serve as models for the centre of a tapestry, each one of them, which thought gives a little idea of the fertility of the artists in that untired period.

It was the delight of the great Raphael himself to expend his talent on the border of his cartoons. From this artist others took their cue with varying skill, but with fine effect, and with unlimited interest to us. Those who run have time to remark only the great central picture in a hanging; but, to those who live with it, this added line of exquisite panorama is an unceasing delight for the contemplative hours of solitude. From this rich departure from Gothic simplicity the artists grew into the same fulness of design that ended in decadence.

The border became almost obnoxious in its inflated importance and from voluptuous elegance changed to coa.r.s.e overweight; and by these signs we know the early inspired work from its rank and monstrous aftergrowth in the Eighteenth Century.

A quick glance at the plates showing the work of tapestry's next highwater mark, the hundred years of the Gobelins' best work, ill.u.s.trates the difference between that time and others, and shows also the gradual drop into the border which is merely a woven representation of a gilded wood frame to enclose the woven picture as a painted one would be framed. The plate of _Esther and Ahasuerus_ ill.u.s.trates this sort of border in the unmistakable lines of Louis XV ornament.

POINT OF INTEREST

Allusion has been made to the placing of the point of interest in a tapestry, but this is a matter to be studied by much exercise of the eye. Perhaps the amateur knows already much about it, an unconscious knowledge, and needs only to be directed to his own store of observations. As much as anything this change of design depended on the uses the varying civilisation made of the hangings. So much interest lies in this that I find myself ever p.r.o.ne to recapitulate the very human facts of the past; the lining of rude stone walls and the forming of interior doors, which was the office of the early tapestries, and the loose full draping of the same; then the gradual increase of luxury in the finish of dwellings themselves, until tapestries were a decoration only; and then the minimising of grandeur under Louis XV when everything fell into miniature and tapestries were demanded only in small pieces that could be applied to screens or chairs--a prost.i.tution of art to the royal demand for prettiness.

Keeping these general ideas of the uses of tapestries in mind, it is easy to reason out the course of the point of interest in the design.

The Gothic aim was to make warm and comfortable the austere apartment; the Renaissance sought to produce big decorative pictures to hang in place of frescoes; and the French idea--beginning with that same ideal--fell at last into the production of something that should accompany the other arts in making minutely ornate the home of man.

Therefore, the Gothic artist placed the point of interest high; the artists of the Renaissance followed the rules of modern painting (even to the point of becoming academic); and the last good period of the Gobelins dropped into miniature and decoration.

COLOURS

Colours we have not yet considered, in this chapter of review for identification's sake. They follow the same line, have the same history, and this makes the beauty, the logic and the consistency of our work, the work of tracing to their source the products of other men and other times.

Colours in the early Gothic--of what do they remind one so strongly as of the marvels of old stained gla.s.s, that rich, pure kaleidoscope which has lived so long in the atmosphere of incense ascending from censer and from heart. The same scale, rich and simple, unafraid of unshaded colour, characterise both gla.s.s and tapestry.

The dyeing of colours in those days was a religion, a religion that believed in holding fast to the forefathers' tenets. Red was known to be a goodly colour, and blue an honest one; yellow was to conjure with, and brown to shade; but beyond twelve or perhaps twenty colours, the dyer never ventured. To these he gave the hours of his life, with these he subjugated the white of Kentish wool, and gave it honest and soft into the hand of the artist-weaver who, we must add, should have been thankful for this brief gamut. To say the least, we of to-day are grateful, for to this we owe the effect of cathedral gla.s.s seen in old tapestries like that of _The Sacraments_. The Renaissance having more sophisticated tales to tell, a higher intellectual development to portray, demanded a longer scale of colour, so more were introduced to paint in wool the pictures of the artists. At first we see them pure and true, then muddy, uncertain, until a dull confusion comes, and the hanging is depressing. When, at the last, it came that a tapestry was but a painting in wool, with as many thousand differently united threads as would reproduce the shading of brush-blended paint, the whole thing fell of its own weight, and we of to-day value less the unlimited pains of the elaborate dyer and weaver than we do the simpler work. The reason is plain. Time fades a little even the securest dyes, and that little is just enough to reduce to flat monotones a work in which perhaps sixty thousand tones are set in subtle shading.

HAUTE LISSE

The worker on tapestries, the modern restorer--to whom be much honour--finds a sign of identification in the handling of old tapestries that is scarcely within the province of the amateur, but is worth mentioning. It is the black tracing on the warp with which high-warp weavers a.s.sist their work of copying the artist's cartoon.

Where this is present, the work is of the prized haute lisse or high-warp manufacture, instead of the ba.s.se lisse or low-warp. But the latter is not to be spoken of disparagingly, for in the admirable time of French production about the time of the formation of the Gobelins, low-warp work was almost as well executed as high-warp, and as much valued. Brussels made her fame by haute-lisse, but in France the low-warp was dubbed "_a la facon de Flandres_"; and as Flanders stood for perfection, the weavers did their best to make the low-warp production approach in excellence the famed work of the ateliers to the north, which had formerly so prospered.

To find this black line is to establish the fact that the tapestry was woven on a high-warp loom, if nothing more. But that in itself means, as is explained in the chapter on looms and _modus operandi_, that a superior sort of weaver, an artist-artisan, did the work, and that he had enormous difficulties to overcome in his patient task.

A black outline woven in the fabric is one which artists prior to the Seventeenth Century used to give greater strength to figures. It was the habit thus to trace the entire human form, to lift it clearly from its background, after the "poster" manner of to-day. It is as though a dark pencil had outlined each figure. This practice stopped in later years, and is not seen at all in the softer methods of the Gobelins.

THE WEAVE

The materials of tapestries we know to be invariably wool, silk and metal threads, yet the weaving of these varies with the talent of the craftsman. The manner of the oldest weavers was to produce a fabric not too thick, flexible rather--for was it not meant to hang in folds?--and of an engagingly even surface. It was not too fine, yet had none of the looseness a.s.sociated with the coa.r.s.e, hurried work of later and degenerate times. It was more like the even fabric we a.s.sociate with machine work, yet as unlike that as palpitating flesh is like a graven image. It was the logical production of honest workmen who counted time well spent if spent in taking pains.

This ability, to take detail as a religion, has left us the precious relics of the exquisite period immediately before the Italian artists had their way in Brussels. Notice the weave here. See the pattern of the fabrics worn by the personages of high estate. You could almost pluck it from the tapestry, shake out its folds, measure it flat, by the yard, and find its delicate, intelligent pattern neat and unbroken. Wonderful weaver, magic hands, infinite pains, were those to produce such an effect on our sated modern vision, all with a few threads of silk and wool and gold.