DOI Page / Citation link:
https://doi.org/10.11588/diglit.62931#0158
LINEN DAMASKS
by those of Florence; yet, having similar characteristics of material
and patterning, it is difficult to differentiate between those of Italy
and Flanders. Probably many of the more sumptuous velvets now
called Florentine were produced at Bruges.
Many of the Flemish towns were actively engaged in the produc-
tion of splendid woollen fabrics, an industry that must have added
considerably to their civic importance and commercial prosperity.
Frequently these patterns, though in wool, do not differ much from
the conventional pomegranates and flowers found on the mixed
fabrics of Italy.
It was, however, in the production of fine linen damasks that
the Flemish weaver achieved the greatest distinction of material and
design ; Ghent, Courtrai, Oudenarde, and Ypres were early associated
with this industry.
In 1400 the weavers of Ghent numbered 40,000, and in Ypres
4000 looms were in active use, but it was in the 16th century that
the finest linen patterned fabrics were produced.
These white linen damasks were famous for their excellent
qualities of material and their distinctive heraldic patterning, and
were produced not only for the Flemish market, but also in response
to a large demand from England.
Plate 75 is an early type of the heraldic pattern, which later
became so pronounced a feature of the Flemish linens ; the boldly
designed arms and supporters of Henry VII. clearly indicate the
appreciation and demand in England for such a tour de force of
Flemish weaving, needing some 5000 warp, and 12,000 weft threads,
to form the pattern.
The Renaissance borders of this example show the wide influence
that the Italian designs of the Flemish tapestries had upon the linen
fabrics of that period.
The heraldry is, however, a distinctive feature of those linen
damasks. On plate 76 are two representative examples ; the shields
of Saint George, and of England and France, together with the
Tudor rose, form good ornamental masses, enhanced by the vigorous
drawing of the dragon and hound supporters, which are reminiscent
of the Sicilian treatment.
These heraldic fabrics are admirable examples of significant
patterning, designed and woven for a specific purpose, and they show
a high degree of technical skill, power, and expression of design, and
commercial and industrial enterprise.
Many linen fabrics were also produced during the 17th and 18th
centuries in Germany, the designs of which consist of figures,
foliage, and architecture woven in red and white, or blue and white.
88
by those of Florence; yet, having similar characteristics of material
and patterning, it is difficult to differentiate between those of Italy
and Flanders. Probably many of the more sumptuous velvets now
called Florentine were produced at Bruges.
Many of the Flemish towns were actively engaged in the produc-
tion of splendid woollen fabrics, an industry that must have added
considerably to their civic importance and commercial prosperity.
Frequently these patterns, though in wool, do not differ much from
the conventional pomegranates and flowers found on the mixed
fabrics of Italy.
It was, however, in the production of fine linen damasks that
the Flemish weaver achieved the greatest distinction of material and
design ; Ghent, Courtrai, Oudenarde, and Ypres were early associated
with this industry.
In 1400 the weavers of Ghent numbered 40,000, and in Ypres
4000 looms were in active use, but it was in the 16th century that
the finest linen patterned fabrics were produced.
These white linen damasks were famous for their excellent
qualities of material and their distinctive heraldic patterning, and
were produced not only for the Flemish market, but also in response
to a large demand from England.
Plate 75 is an early type of the heraldic pattern, which later
became so pronounced a feature of the Flemish linens ; the boldly
designed arms and supporters of Henry VII. clearly indicate the
appreciation and demand in England for such a tour de force of
Flemish weaving, needing some 5000 warp, and 12,000 weft threads,
to form the pattern.
The Renaissance borders of this example show the wide influence
that the Italian designs of the Flemish tapestries had upon the linen
fabrics of that period.
The heraldry is, however, a distinctive feature of those linen
damasks. On plate 76 are two representative examples ; the shields
of Saint George, and of England and France, together with the
Tudor rose, form good ornamental masses, enhanced by the vigorous
drawing of the dragon and hound supporters, which are reminiscent
of the Sicilian treatment.
These heraldic fabrics are admirable examples of significant
patterning, designed and woven for a specific purpose, and they show
a high degree of technical skill, power, and expression of design, and
commercial and industrial enterprise.
Many linen fabrics were also produced during the 17th and 18th
centuries in Germany, the designs of which consist of figures,
foliage, and architecture woven in red and white, or blue and white.
88