Though in the fifth century the inhabitants of that country were transported wholesale to Germany by the Vandals, and among them those of the town of Arras, yet, thanks to the monasteries, there was a survival and a revival; the craftsmen grouping themselves round the religious houses. Specimens as models were brought from the East. Aster, Bishop of Amasis (a town in Asiatic Turkey), describes these Oriental hangings in one of his homilies. He says that animals and scenes from the Bible were woven on white grounds.[390]
Sidonius Apollinaris, Bishop of Clermont Ferrand,[391] says that some foreign tapestries are “pictured” with the summits of Ctesiphon and Nephates, “wild beasts running rapidly across void canvas, and also by a miracle of art, the Parthian of wild aspect with his head turned backwards.” This might be a description of a Chinese composition, and probably it is so.[392]
Woven tapestry is also called “Arras,”[393] because that town in the Netherlands was the home and school of the art of picture weaving in the Middle Ages. It has been hitherto excluded from the domain of needlework, because of the different use of the needle employed in it. It has always been woven on a loom, and is, in fact, embroidery combined with the weaving; for the shuttle, or slay, or comb completes each row of stitches. It belongs as much to our art as does tambour work, which is done with a hook instead of a needle. Tapestry weaving is the intelligent craft of a practised hand guided by artistic skill. The forms of the painted design must be copied by a person who can draw; and the colours require as much care in selection, as in painting with oils or water-colours. Such a thing as a purely mechanical exact copy is impossible in any art; and the difficulties are increased a hundredfold when it is a translation into another material, and another form of art. Besides, in this case, the copies are worked from the back, and the picture is reversed. The question is this: Can it be claimed as belonging to the same craft as embroidery? I answer in the affirmative, and I claim it.
“When the Saracens began to weave tapestry we cannot tell; but the workers in woven pictures were called Sarassins, and their craft, the ‘opus Saracenicum.’”[394] The French and Flemish artisans who continued to weave in the old upright frames (haute-lisse) were, whether Christians or not, called “Sarassins.” Probably they came through Spain, possibly from Sicily to Flanders and to France, or else from Byzantium. Viollet-le-Duc says that the “Saracinois” was a term applied to the makers of velvety carpets (tapis veloutés).[395] This is possible.[396] Woven carpets of Oriental type were spreading themselves as articles of luxury through Europe early in the Middle Ages; and the Persian style of design was much the same then, when the first models were brought to Spain, and thence to Arras, as it is now in the carpets we buy just woven in Persia.[397] The oldest specimens known here have been exhibited in the Indian Museum, and may be of the thirteenth and fourteenth centuries. The perishable nature of the material makes us dependent on the sculptured records of all artistic design for our knowledge of carpets and hangings of more than a thousand years ago; and we must confess that we find nothing really resembling a Persian pattern in any classical tomb or sculpture of the Dark Ages.[398]
I have allowed myself to touch upon carpet weaving, as it is germane to tapestry; though it is a branch that soon loses itself and leaves artistic work in the distance. Except the first design, it has become purely mechanical.
After what has been quoted from Ovid’s “Metamorphoses,” and bearing in mind the pictured webs described by Homer, and likewise the evidence of the frescoes in Egypt, and the woman weaving on the Greek fictile vase found at Chiusi, we may be justified in concluding that, like all other arts, that of tapestry existed in very early days, died out, and had to begin afresh, and gradually return to life, during the Middle Ages.
Bishop Gaudry, about 925, possessing a piece of tapestry with an inscription in Greek letters surrounded by lions “parsemé,” was much put about till he obtained something to match it, to hang on the opposite side of his choir at Auxerre.[399] And it is known that the monks of St. Florent, at Saumur, wove tapestries about 985, and continued to do so for two centuries. St. Angelme of Norway,[400] Bishop of Auxerre, who died in 840, caused many tapestries to be executed for his church. At Poitiers this manufactory was so famous in the eleventh century, that foreign kings, princes, and prelates sought to obtain them, “even for Italy.” The rules of their order of the monks of the Abbey of Cluny, dated 1009, were followed by those of St. Wast and of the Abbey of Fleury, and others in France, who all wove wool and silk for tapestries. Le Père Labbé, from whom much of this information is drawn and acknowledged by M. Charton (my authority), says that in 876, at Ponthièvre, in presence of the Emperor Charles the Bold, the hall of the council-chamber was hung with pictured tapestries, and the seats were covered with them.[401]
Pl. 48.
