It is to be feared that in the future, great works of textile decoration will be few and far between. It is only when the State, or the monarch that represents the dignity of the State, protects and fosters these artistic factories, that they can continue to thrive. Without such powerful encouragement, fashion, commercial depression, or a war will stop for a time the orders without which funds fail, discouragement sets in, and ruin quickly follows; and the best workman when unemployed, or forced for some years to wield the sword, loses his practised skill never to be restored. In France, whatever has been the form of government, the old traditions of protection for the Gobelins have been acted up to and maintained. The consequence is that science and art still contribute their efforts in the machinery, the colouring, and the designing of hangings of which the materials[412] and the execution are unrivalled. Probably there will never again be a Tuileries or a Versailles to adorn, but an Hôtel de Ville, especially if it is occasionally destroyed, may give from time to time opportunity for such decorations.
ENGLISH TAPESTRY.
When we consider the antiquity and the excellence of the art of tapestry on the Continent, we cannot pretend that there can be the same general interest in that of our English looms. But to ourselves it naturally assumes the greatest importance; and I have tried to trace the efforts of our ancestors in this direction, by noting every certain sign of English production, in what must have been an imitation of Flemish or Oriental weaving. The few facts here collected may be of service to the future writer of the history of English tapestries.
Comnenus, Prince of Arras, fled before the Romans from Nomenticum to England; and he and his Atrebates settled themselves between Silchester and Sarum, and the Belgæ and Parisi did the same. The Romans found them here when they invaded England. Wherever the Belgic tribes spread themselves, the art of weaving was established. Comnenus probably brought over, and left to his descendants, the inheritance of this craft.
Dr. Rock thinks that pictured tapestry was woven at an early period in the Middle Ages by the monks in England. The earliest proof of this that we possess, is the notice by Matthew Paris (thirteenth century) describing the three reredos for St. Alban’s Abbey; the first, a large one, depicting the finding of the body of the Protomartyr; the others, “The Prodigal Son” and “The Man who fell among Thieves.” All these were executed by the orders of Abbot Geoffrey.[413]
While in London in 1316, Simon, Abbot of Ramsay, bought for the use of his monks, looms, shuttles, and a slay. “Pro weblomes emptes xxd. Et pro staves ad eadem vjd. Item pro iiij Shittles, pro eadem opere vjd. Item j sloy pro textoribus viiid.”[414]
In Edward II.’s time there were hangings woven in England which appear to have been absolutely tapestries. They were much valued abroad, and were called “Salles d’Angleterre.” Charles V. of France (1364) possessed among his articles of costly furniture, “Une salle d’Angleterre vermeille brodée d’azur, et est la bordure a vignettes, et le dedans de Lyons, d’Aigles, et de Lyopars.”[415]
Our trade with Arras must have improved our tapestries. We are told of Edward III. selling his wools to that town, and being therefore called by Philip de Valois, his “Marchant de Laine.” Horace Walpole refers to an act, “De Mysterâ Tapiciarorum,” of the time of Edward III., 1327, “regarding certain malpractices of the craft,” which proves its existence in England at that period.[416]
Mr. French, in his catalogue of the Exhibition in London, 1851, quotes the tapestries of St. Mary’s Hall at Coventry, to prove that there was a manufactory in England, temp. Henry VI. There were certainly individual looms, though we doubt whether it had yet become a national industry, as we have so few specimens remaining. The St. Mary’s tapestries contain portraits of Henry VI., Cardinal Beaufort, &c., and are probably contemporary works. The subject is the marriage of Henry VI.
There is also a piece of tapestry at Bude, in Cornwall, the property of Mr. Maskell, which came from a royal sale. Here the marriage of Henry VII. is depicted, and the style resembles that of the Coventry hangings. The costumes are certainly English, and the original pictures must have been English, though they might have been wrought at Arras, reminding one of the groups of figures and the dresses on the Dunstable Pall (see Plate [78]).