  | PAGE | | INTRODUCTION. | 1 | | CHAPTER I.—STYLE. | | Definition of style—Development of style—Primitive—Archaic—Egyptian—Babylonian—Phoenician influences on early Greek style—Decoration of hangings of the Tabernacle in the wilderness—Aryan ideas—The Code of Manu—Indian art—Celtic style—Greek art in dress and embroideries—Homer’s descriptions of embroideries—Pallas Athene—Shield of Achilles—Roman art—Byzantine art—Art of Central Asia—Its arrival in Europe—Art of China, Japan, and Java—Christian art—Scandinavian art—The Dark Ages—Sicilian textile art—Renaissance—Arabesque—Grotesque—Spanish PlÂteresque—Style of Queen Anne and the Chippendales—Louis XV. style—Classical revival—Young England’s style—Nineteenth century style | 14 | | CHAPTER II.—DESIGN. | | Artist and artisan—Prehistoric design—Naturalistic design—Egyptian immutability—Slow evolution of design—Greek perfection—Necessity of following rules—M. Blanc’s laws of ornamentation—Laws of composition—Repetition—Alternation—Symmetry—Progression—Confusion—Designs for hangings and dress materials—Floral design—Design for carpets—The conventional—First principles | 54 | | CHAPTER III.—PATTERNS. | | Ancestry of patterns—Classification—Their historical value—Primitive patterns—The wave—Tartan—Prehistoric African patterns—The naturalistic—Flowers—Shells—Indian forms of naturalistic patterns—Egyptian—The lotus—Sunflower—Celtic Zoomorphic patterns—The human figure on Greek textiles—Animal forms in Oriental patterns—Symbolical and conventional patterns—The wave patterns—The palm leaf—The cone—Gothic—Arab—Moresque—The Sacred Hom—Egg and tongue—The cross—Swastika—Fylfote—Gammadion—The crenelated pattern—The Ninevite daisy—Emblematic patterns—Bestiaria—Volucraria—Lapidaria—Byzantine patterns—Gothic—Renaissance—The cloud pattern—The fundata—Italian—French patterns—Radiated patterns—The shell—Patterns by repetition—Balcony pattern—Chinese wicker-work—Survival of a pattern—Opus Alexandrinum—Quilting patterns | 82 | | CHAPTER IV.—MATERIALS. | | Raw materials—Revelations of the microscope—Hemp—Jute—Honduras grass—Spartum—Pinna silk—Hair—Leather—Feathers—Asbestos—Coral—Pearls—Beads—Wool—Classical notices of wool—Careful improvement of wool by the ancients—Tanaquil—Homeric woollen carpets—Crimson textile fragments—Scandinavian woollen garments—Qualities of wool—English wool—Goats’ hair—Flax—Lake cities—Byssus—Fine linen of Egypt—The Atrebates—Embroidery on linen—Cotton—Indian origin—Carbasa—Buckram—Cotton fabrics—Gold—Silver—Gold brocades—Jewish—Indian—Chinese—Dress of Darius—Attalus—Attalic textiles—Agrippina’s golden garments—St. Cecilia’s mantle—Roman tombs—Gold wire—Anglo-Saxon tomb—Childeric’s tomb—Proba’s gold thread—Golden wrappings from tombs of Henry I. and Henry III.—Gold embroideries and jewellers’ work of Middle Ages—Spangles—Enamels—Purl—Modern schools of gold embroidery—Silk—Pamphile of Cos—Early specimens of silk stuffs—Chinese silks—The Seres—Mela—Seneca—M. Terrien de la Couperie—Empress Si-ling-chi—Princess of Khotan—Euripides—Lucan—Pliny—Silk in Rome—Ælius Lampridius—Flavius Vopiscus—Tailor’s bill—Justinian’s codex—Imperial monopoly—Paul the Silentiary—Bede—King John’s apparition—Greek and Sicilian manufactories of silk—Distinctive marks of different periods—Lyons—Spain—Italy—Flemish towns—Marco Polo—Satin—Welsh poem, “Lady of the Fountain”—Chaucer—Velvet—Transference of work to new materials | 118 | | CHAPTER V.—COLOUR. | | Harmony and dissonance—Names of tints—Authorities for theories—Art of colouring—Expression of colouring—Purple—Red—Crimson—Blue—Yellow—Pliny—Renouf—Chinese colours—Indian dyes—Persian colours—Dyes of the Gauls—Romans—Scotch—Scales of colour—MM. Charton and Chevreul on tones of colour—Gas colours | 175 | | CHAPTER VI.—STITCHES. | | Stitches—Part I.: The needle—Gammer Gurton’s needle—Art of needlework—Lists of stitches—Part II.: Plain work—The seam—Mrs. Floyer—White embroidery—Nuns’ work—Greek—German —Spanish—Italian white work—Semper’s rules for white work—Part III.: Opus Phrygium—Gold embroideries—Part IV.: Opus pulvinarium—Cushion stitches—Mosaic stitches—Traditional decorations from Chaldea and Assyria—German and Italian pattern-books—Part V.: Opus plumarium—The Plumarii—Feather-work of India—Islands of the Pacific—African work—Mexican and Peruvian—Cluny triptych—Mitre of St. Charles Borromeo—Essay by Denis—Chinese and Japanese feather-stitches—Part VI.: Opus consutum or cut work—Patchwork—Egyptian and Greek examples—Irish cut work—Chaucer—Francis I.’s hangings at Cluny—Lord Beauchamp’s curtains—Spanish examples—Remarks—Art of application—Part VII.: Lace—Opus filatorium—Mrs. Palliser—M. Blanc—Guipure—Sir Gardiner Wilkinson—Netted lace—Homer—Solomon’s Temple—Bobbin laces—Yak—Coloured laces—Venetian sumptuary laws—Golden laces—Point d’AlenÇon—Mr. A. Cole’s lectures—M. Urbani de Gheltof on Venice laces—Lace stitches—Revival of lace school at Burano—English laces—Part VIII.: Tapestry—Opus pectineum—Modes of weaving tapestry—Its great antiquity—Egyptian looms—Albert Castel on tapestries—Homeric picture-weaving—Arachne—A paraphrase by Lord Houghton—Nomenticum—Sidonius Apollinaris—Saracenic weaving—Arras—Brussels—Italian tapestries from Florence, Milan, and Mantua—French tapestries—Cluny Museum collection—Gobelins—Beauvais—English tapestry—Comnenus—Matthew Paris—Early trade with Arras—Coventry tapestries—Chaucer—Tapestry “of verd”—Hatfield tap
|   |
|
