It was first woven in Italy in the thirteenth century, and used for making paper; and in the sixteenth, the plant was grown in the south of Europe. From Italy it was carried into the Low Countries, and only reached England in the seventeenth century,[183] so lately has the great staple of our manufactures first belonged to us.
The fibre of cotton has neither the strength nor the durability of flax or silk, but it is the third in the group of the most universally qualified materials for all purposes of domestic textile art, ranging from carpets and sails, to fine chintzes for dress, and filmy muslins. The cloudy effect of these delicate fabrics is their own peculiar beauty. Muslins for hangings, printed or embroidered, have always been a luxury from India; they were called “carbasa,” and were much esteemed in Rome as a protection against the sun.[184]
But we have much earlier notice of them, as being the curtains described in the Book of Esther, hung with silver rings to the pillars of marble in the banqueting hall at Susa or Shushan: “blue and white muslin” (i.e. carpas,[185] mistranslated “green” in the Authorized Version), “fastened with cords of fine linen and purple.”
The word “carbasina” occurs in a play by Statius, evidently translated from a writer of the new Greek comedy period. It may be inferred, therefore, that the Greeks used cotton 200 B.C.[186] A century before, Nearchus (one of Alexander’s admirals) speaks of the cotton-trees in India as if they were a new discovery. Yates gives us many quotations from Latin classical authors, proving the common use of cotton. Its Latin name was bambacinum, from bombax, hence the Italian bambagio, bambagino, bambasino.
The variety of cotton fabrics in India is very numerous, each having its distinctive beauties and qualities inherited by tradition from early times. They are enumerated and described in Sir G. Birdwood’s “Arts of India.” Almost all of them have been made to carry embroideries—the transparent muslins, [187] as well as the fine cloths, and the stronger and thicker fabrics.[188]
Most old English houses contain some hangings of thickly woven cotton, probably Indian, worked in crewel or worsted, of the time of James I., or a little earlier; and beautiful patterns wrought in silk or thread, on fine cotton linen, reminding one of the arabesques of the Taj Mahal, succeeded those of the Jacobean style.
Transparent muslins were often embroidered in gold and silver, or spangled and embossed with beetles’ wings; and gold, silver, and silk were lavished on Indian cotton grounds, as well as on silken stuffs. Linen was not much embroidered in India, but often printed like chintz.
Buckram, or plush of cotton, was certainly imported from the East to England, from the thirteenth century to the time of Elizabeth. There is at Ashridge, in Hertfordshire, a small jacket of very fine cotton-plush amongst the baby linen prepared by Elizabeth for the expected heir of Philip and Mary, and there are other small dresses of this material of the date of James I. A similar material called fustian is also named by Marco Polo as a cotton fabric; it is supposed to have been made in Egypt by the Arabs. This sort of cotton-plush, variously manipulated, is repeatedly mentioned by Herr Graf’schen in his “Catalogue of Egyptian Textiles from the Fayoum.”
Plano Carpini says the tunics of the Tartars were “bacramo,” or else of baudichin (cloth of gold). Falstaff’s “men in buckram” may be thus explained.[189]
I have already said that cotton is inferior in its qualities to silk and flax, except in the production of transparent muslins. Its peculiarity is its tendency to “crinkle” or crumple in wearing, therefore it does not present a smooth flat surface, except by means of dressing, which unfits it for clinging effects but suits printed patterns. Such stuffs as workhouse sheeting, imitating certain fabrics of the sixteenth century, and which it has been the fashion of late to cover with embroidery, do not repay, by effective beauty, the trouble bestowed upon them.