DOI Page / Citation link:
https://doi.org/10.11588/diglit.62931#0208
RETROSPECT
The Eastern influence retained much of its vitality and character
in Italian and Flemish fabrics almost up to the 18th century, but in
Lyons it was largely superseded by a more literal or naturalistic
treatment of floral forms.
It is instructive to note the difference in the ideals of realism of
the Eastern and Western craftsmen as expressed in the patterning
of fabrics.
The Persian weaver (plate 29) gives a somewhat realistic
interpretation of figures, mountains, trees, animals, and fishes, yet it
is treated flatly, as pattern. In the Lyons example (frontispiece)
realism is carried further by an attempt at modelling, and there is
an endeavour made by floating the weft loosely, to get various
qualities of textures, even at the cost of durability.
The realism of patterned fabrics was not confined to Lyons but
was carried on contemporaneously at Spitalfields (plates 80-83),
followed a little later by the printers of English chintzes
(plates 99-101).
The weavers of this realistic period were undoubtedly highly
skilled craftsmen, but it is questionable whether the result justified
the expenditure of so much effort, when beauty and sumptuousness
had been obtained by a more intelligent and artistic mode of
enrichment, as shown in the magnificent productions of the Eastern
looms, the significant patterning of the Sicilian silks and the
Flemish linens, or the dignified, yet sumptuous, velvets of Florence.
It is not the purpose of this brief review to carry the story
of Textile Design beyond the commencement of the 19th cen-
tury, and yet it is impossible to close without pointing out that
Decorative Design is a living art, and has always continued to
evolve, even if occasionally on commonplace or bizarre lines.
As in the art of Music, some recent developments seem to be of
a somewhat extreme type, yet these are a proof of vitality, and,
even if objectionable in some ways, are preferable to a slavish
copyism of the historic design of past centuries. The last few years
have seen a fuller realisation of the possibilities of colour in pattern,
though possibly this has been accompanied by the production of work
in which form has been subordinated or even sacrificed to colour,
and the design has not always been well balanced or proportioned.
Nevertheless it is a fact that at the present time much fine and
vigorous work of distinctive and original types is being accom-
plished in England.
114
The Eastern influence retained much of its vitality and character
in Italian and Flemish fabrics almost up to the 18th century, but in
Lyons it was largely superseded by a more literal or naturalistic
treatment of floral forms.
It is instructive to note the difference in the ideals of realism of
the Eastern and Western craftsmen as expressed in the patterning
of fabrics.
The Persian weaver (plate 29) gives a somewhat realistic
interpretation of figures, mountains, trees, animals, and fishes, yet it
is treated flatly, as pattern. In the Lyons example (frontispiece)
realism is carried further by an attempt at modelling, and there is
an endeavour made by floating the weft loosely, to get various
qualities of textures, even at the cost of durability.
The realism of patterned fabrics was not confined to Lyons but
was carried on contemporaneously at Spitalfields (plates 80-83),
followed a little later by the printers of English chintzes
(plates 99-101).
The weavers of this realistic period were undoubtedly highly
skilled craftsmen, but it is questionable whether the result justified
the expenditure of so much effort, when beauty and sumptuousness
had been obtained by a more intelligent and artistic mode of
enrichment, as shown in the magnificent productions of the Eastern
looms, the significant patterning of the Sicilian silks and the
Flemish linens, or the dignified, yet sumptuous, velvets of Florence.
It is not the purpose of this brief review to carry the story
of Textile Design beyond the commencement of the 19th cen-
tury, and yet it is impossible to close without pointing out that
Decorative Design is a living art, and has always continued to
evolve, even if occasionally on commonplace or bizarre lines.
As in the art of Music, some recent developments seem to be of
a somewhat extreme type, yet these are a proof of vitality, and,
even if objectionable in some ways, are preferable to a slavish
copyism of the historic design of past centuries. The last few years
have seen a fuller realisation of the possibilities of colour in pattern,
though possibly this has been accompanied by the production of work
in which form has been subordinated or even sacrificed to colour,
and the design has not always been well balanced or proportioned.
Nevertheless it is a fact that at the present time much fine and
vigorous work of distinctive and original types is being accom-
plished in England.
114