Fred. W. Burgess

Spanish leather—"Cuir boulli" work—Tapestry and upholstery—Leather bottles and drinking vessels—Leather curios—Shoes—Horn work.

That "there is nothing like leather" has been believed by people of all ages, and in many countries the general belief has been put into practice, for many indeed are the uses to which leather has been put. As a lasting material it has been proved to possess excellent qualities. The artist, too, has found that leather is capable of being treated so as to give the effect of delicate carvings, and to serve well many purposes of decoration.

In the East leather was used in patriarchal times, the skins of animals making excellent water bottles. In mediÆval England leather black jacks, cups, and flagons withstood the rough usage of those roisterous times. The collector seeks both useful and ornamental, and finds much to delight among the old leathern objects hid away as being now quite useless or antiquated.

Spanish Leather.

As early as the fifteenth century Cordova, in Spain, was celebrated for its workers in leather, and for the fine ornamental leather vessels produced there. Some of the designs favoured by Spanish craftsmen were gruesome in the extreme. Indeed, many were fashioned for the purpose of creating fear in the use of the vessels so ornamented.

A few years ago a remarkably fine collection of old Spanish leather work was exhibited in London. There were some hideous and grotesque figures, which it was said had been designed for the mental torture of the victims of the Inquisition. Some of the larger specimens were remarkably well executed, especially so some of the wine bottles which imitated very realistically the pose of men and women. Some of the female figures were represented wearing flowing gowns and costumes of the height of fashion—tall and noble women. By way of contrast there were little manikin wine jugs of the most grotesque forms.

The Spaniards made leather upholsteries of remarkable designs; they also ornamented boxes, trunks, and cases for knives and costly trinkets.

"Cuir boulli" Work.

Most of the decorated leather work of that period, examples of which are not very difficult to secure, was made by the cuir boulli process. The leather, after being boiled down to a pulp and salt and alum added, was then moulded to any desired form, the decoration being imparted in the process.

The Victoria and Albert Museum is very rich in fine examples, and a description of some of the typical pieces there may serve as a guide to collectors hopeful of including some objects moulded by this process among their household relics.

The work was carried on at Cordova and other places for a long period, some of the museum examples dating back to the fifteenth century. There are cases for holding what were then rare books and manuscripts, and a remarkable scribe's case with a red cover has loops on either side to which a cord was attached. The scribe was an important personage in commercial and private correspondence in the days when even rudimentary education was by no means general.

In the same collection is a leather box for holding a knife and fork; on the outer case is a medallion, in the centre of which is a representation of the two spies returning from Canaan with a large bunch of grapes. There are also cases which have once held wine bottles, some ornamented in colours; indeed, the stamped, cut, and embossed designs of the cuir boulli work were frequently enriched by the addition of red, yellow, and gold.

There are some specially interesting examples of Italian work, representing a period covering nearly the whole of the Renaissance. In this connection there are pilgrim bottles of yellow glass encased in wonderful leather covers, cut and embossed. There are leather snuff boxes with trellis-work ornament and scroll borders, one very interesting piece being varnished to imitate tortoiseshell. There are also some attractive toilet objects, evidently antique presentation pieces. One is a most elaborately cut and incised comb case, on the exterior of which is the motto or legend: "DE BOEN AMORE." In the same collection there is a fine leather case for a cup or tankard. Such cup cases are not uncommon, many being the receptacles for treasured heirlooms. Perhaps one of the most noted examples of the use of embossed and decorative leather work is the ancient case of stamped leather intricately foliated, a highly decorative work of art in which is enclosed that remarkable goblet of legendary fame known as "The Luck of Eden Hall."

Tapestry and Upholstery.

Stamped and embossed leather work is very conspicuous in domestic upholstery. In very early times the leather work, hung upon the wall in panels, took the place of more modern wall-coverings, and it was truly lasting. Much of the Cordovan leather is still very fresh in appearance, although several centuries old. Some of the panels hanging on the walls at South Kensington look remarkably fresh, and, richly decorated in colours, many of them are very effective. A special branch of this work was that devoted to the decoration of chair backs; stamped leather work for upholstery has been used in this country to a large extent, and some of the large oak chairs are still upholstered in the original ornamental leather produced by boiling the hides by a special process, so that the material could be readily moulded. In more modern times, however, the decoration is effected by embossing and stamping, supplementing such ornament by the use of an immense quantity of small brass nails, which are arranged in geometrical patterns or straight lines, oftentimes names and dates being included in the design.

In this connection also are screens of painted and gilt leather, chiefly of eighteenth-century manufacture. There is a good deal of this leather work to be found in old houses still, and much of it is capable of improvement by properly cleaning and touching up here and there so as to revive the old colours. Here and there hung up as wall decorations may be seen leather-covered boxes which were specially made to hold deeds; in the older examples there is a large circular piece below the narrow box, arranged so that the seal could hang in its proper position from the end of the deed; they were, of course, in common use before the days of safes and other methods of preserving parchments and property deeds. One in the Victoria and Albert Museum is stamped on the exterior with the description of the deed it originally contained, the inscription commencing thus: "THE GRAUNT OF HEN: THE 5 TO THE ABBOT OF RADING."

Chests and Coffers.

Before modern travelling requisites were known and in the days when journeys were few, the leather-covered coffer contained the whole travelling outfit of perhaps some noble lord and his household. There were also large coffers covered with leather used as permanent receptacles of clothing, covered with ornamental embossed leather work, some very decorative. There were smaller coffers, too; possibly they were jewel caskets in their day. There are others which may have been presentation cases, for their decoration is especially elaborate. In making these continental craftsmen seem to have excelled. In the Victoria and Albert Museum there is a curious German casket of wood covered with leather, strongly bound with iron, having three immense hasps from which locks once hung, altogether too massive for the little casket. One would think such precautions were of not much avail against theft, for the box itself could be removed readily! There is another charming little casket, with a circular or dome-shaped top, decorated and banded, a veritable prototype of the tin trunks generally in use a quarter of a century ago. There is also a remarkable piece, a wood box covered over with leather embossed by the cuir boulli process. The chief design takes the form of two armed horsemen, surrounded by grotesque ornament on the top, on the sides being hunting scenes, episodes of the chase. This curious example of the work of seventeenth-century artists in leather measures 16½ in. in length by 12½ in. in width. Another typical piece, of a highly decorative allegorical character, is a rectangular coffret with arched lid, the ornament being in colours and gilt. On the front is a knight and a lady, on the lid two paladins mounted on griffins, two savages with clubs and shields, and two images of the sun, these typifying the story of the delivery of a captured lady by a knight.

Leather Bottles and Drinking Vessels.

Several interesting specialistic collections of leather bottles and drinking vessels have been got together, showing the varied forms of the almost imperishable vessels, so suitable as liquor carriers and drinking cups in olden time. In the Guildhall Museum are several different types of bottles, black jacks, and silver-rimmed cups. Until comparatively recent times many old inns were famous for their leather drinking cups, but as the coaching days came to an end such vessels were gradually dispersed. Now that motor-cars have popularized the road once more, and old inns are again frequented, the collector seeks in vain for what were once quite common. In another noted collection there is a drinking cup or bottle moulded like a negro's head, and there are what are called pilgrim bottles, some of which are of ornamental type. The so-called pots have sometimes lids and loosely fitting covers; the black jacks, however, are chiefly open, ill-shaped vessels. Some of the black jacks were very large, one in the Taunton Museum measuring 19 in. in height. It was originally used in the servants' hall at Montacute House, which is one of the finest old buildings in Somerset. This famous jack was in olden time filled with beer every morning and placed on the servants' breakfast table. Those smaller cups with silver mounts and shields, on which are often engraved crests or initials of their former owners, are of the rarer type, but they are not infrequently found among the relics of an old family. There is a fine collection in the Hull Museum, and in other places where they are found in excellent condition, proving the truth of the rhyme published in Westminster Drollery in the seventeenth century in praise of the black jack, which runs as follows:—

Leather Curios.

Some very fine pieces of leather work have been modelled as curios and ornaments. Some of the most notable are models of old warships and fully rigged galleons made of leather. Leather pictures were made some years ago; a little later leather modelling of baskets of flowers, and the making of picture frames of leather was a popular amusement, some of the ornamental brackets made of leather being specially effective. The surrounds of picture frames made of leather cut to shape, carved and modelled, had a very similar effect to the beautiful carved wood work of an earlier period. Some of the powder flasks of leather which were used a century or two ago are valued curios, as well as the leather cases stamped and embossed so decorative and appropriate to the pistols and knives they were made to contain. Of the finer objects there are small curios like leather snuff boxes and trinket cases.

Of the more utilitarian leather work there is the wearing apparel of former days, the leather clothing of Cromwellian times and the leather boots. In the Victoria and Albert Museum there is a remarkably interesting case of leather shoes showing the evolution in style and appearance. There are some very pointed shoes worn in the fourteenth century, a slightly different shape in the fifteenth, both contrasting with the change in fashion which had come about in the sixteenth century, when the boots were square and some of the shoes very rounded. The Wellington boots of a later period are not yet much valued; there may come a time, however, when they will be regarded as museum curios. Leather gloves date back many centuries, and some of the old specimens with gauntlets and decorative cuffs are interesting antiques, as well as leather wallets, purses, and girdles.

Shoes.

Among sundry Eastern curios quaintly shaped and sometimes beautifully embroidered shoes are met with, such as those which have been brought over to this country from China and Eastern lands. Most of the shoes worn in the East are slipped off easily, and, like Persian and Turkish slippers, are made of red leather beautifully embroidered, silk, satin, and velvet being overlaid and embroidered with silver and sequins. The old practice of compressing the feet of young girls in China is dying out, but some of the curious little shoes which gave such pain to their wearers are seen as museum curios on account of their curious decoration. Indian shoes are met with at times, especially those embroidered with silver thread, and with green and other coloured silks. A curious ceremony is associated with the marriage of a Turkish bride, who wears a pair of clogs carved all over, sometimes with symbolical significance, on her way to her prescribed ceremonial visit to the bath. At one time it was customary for a Jewish bridegroom to present his bride with a shoe at the conclusion of the wedding ceremony, this custom being not far removed from that of throwing an old shoe after a newly married couple for luck.

Horn Work.

Art in horn work was practised more a century ago than it is to-day, the material being then a favourite one for drinking cups and a variety of ornamental work. Old snuff boxes were frequently made of horn impressed or stamped with beautiful designs, such as hunting scenes and mythological figures. Horn can either be cut, moulded, or turned, its natural elasticity making it very durable and difficult to break. Its source of supply is chiefly from the horned cattle, the buffalo and the bison, the horns of these beasts in their natural state frequently being mounted on shields just as in later years the horns of smaller animals, such as the South African varieties of the ibex, springbok, and similar horned sheep and cattle, are brought over to this country and mounted as ornaments. It is said that the old art of impressing or stamping horn and tortoiseshell has long been discarded, and is only retained for stamping buttons. Fancy hair ornaments were frequently so moulded, the horn or tortoiseshell being afterwards decorated with inlaid silver and gold.

Some of the pressed work is extremely beautiful and has every appearance of being done by hand, but much cheaper, of course, as the patterns could be multiplied to any extent after the dies had been cut. Thin plates of horn were formerly used in lanterns, and a similar piece of horn was used as a protector over the ancient alphabet and child's spelling tablet that gave it the name of the horn book. Among household curios are drinking horns elaborately etched, and frequently turned in a lathe. They were popular in the seventeenth and early eighteenth centuries, and the turned patterns then so common were copied by the silversmiths, who made silver tankards and drinking cups on the same models. The cornucopia or horn of abundance figures frequently in sculpture, paintings, and works of art. The horn is one of the early instruments of music (see Chapter XV), and has long been associated with sports. It has sounded the "Tally Ho" of the fox hunt, and played an important part in coaching days. In some old houses veritable horns are found hung in conspicuous places as relics of the past, but the coaching horns just referred to are for the most part of metal.

The Worshipful Company of Horners is still in evidence at City feasts. The work of the craft in olden time, as recorded by the chaplain of the Company in a little book he has prepared, giving the history of the Horners, was practised in the days of King Alfred. At least two hundred and fifty years before the Norman Conquest many of the patens and chalices used in churches were made by horners, and at one time cups, plates, and other vessels made of that useful material were in daily use in English homes.