Unless it is supported by the State, such an exceptionally expensive machinery cannot possibly be kept at work. It requires the superintendence of the best artists, and the weavers themselves must needs have the highest technical education to enable them to copy really fine designs. These artistic requirements, besides the extreme tediousness of the work, make it the most expensive of all luxurious decorations—even more costly than embroideries by the hand, covering the same spaces. However, the two styles of hangings never can enter into competition, except in a financial point of view. Tapestries are the best fitted for wall coverings, and embroideries for curtains of all kinds—for beds, for windows, and for portières.
The old hangings are now again having their day, and we are striving to save and restore all that remain to us. We must continue to guard these treasures from the moths, their worst enemies; and science should be invoked to assist us in the preservation of these precious works of art, of which the value is now again understood and appreciated, and which increases with every decade that is added to their antiquity.
Tapestry, as art, has its own peculiar beauties, and one of them is the softening, yet brilliant effect of the alternate lights and shadows of the ridge-like surface; the separation of each stitch and thread also casting minute shadows in the opposite direction, and giving an iridescent effect. It is a mistake to struggle against this inherent quality, instead of seeking to utilize it. The coarser and simpler tapestries of our ancestors are really more beautiful and effective in large spaces—flat in the arrangement of colours, and sharply outlined—than the imitations of paintings of the last two centuries, in which every detail of form and colour is sought to be expressed.[436]
M. Blanc says that tapestries were intended to cover the bare walls, but not to make us forget their existence. The wall being intended for comfort and defence, the mind is solaced with the idea it conveys. It is a mistake, therefore, to substitute a surface picture, so real that it at once does away with this impression of security, while a certain conventional art should amuse the mind with shadowy representations and suggestions.
It is, perhaps, fortunate that the possibilities of tapestry weaving are restricted, and thus its very imperfections become the sources of its best qualities as decoration and comfort. One element of textile weaving, the use of gold, both in the backgrounds and in the draperies, takes it at once out of the region of naturalism, while giving it light and splendour.
The designer for tapestry need not be a great genius. Harmony, repose, grace, and tender colouring are the qualities most valuable to such an artist. Battle-pieces, and other exciting and awful subjects, are only bearable in apartments that are used for state occasions, or for hanging corridors and anterooms. They are painful to live with.
All tapestries are liable to suffer by the double nature of their materials—their woollen surface and linen threads which are affected by both damp and heat crinkling the forms and puckering the faces, and bringing out unexpected expressions and deformities. For this reason the design should be as flat and as simple in its outline and shading as is consistent with beauty.
FOOTNOTES:
[317] Birdwood, “Indian Arts,” p. 283.
[318] “The word in Sanskrit for a needle is suchi, from such, to sew or pierce. This is the same word as the Latin suo, to sew; so probably the common word used by the Aryans in their primeval habitations was su, and they clearly knew how to sew at that remote period. Eve sewed fig-leaves together. Adam sewed also. The Hebrew word is tafar, and clearly meant sewing, not pinning together with thorns. Sewing is the first recorded art of our forefathers.”—Letter from Mr. Robert Cust.