File:Embroidery and lace- their manufacture and history from the remotest antiquity to the present day. A handbook for amateurs, collectors and general readers (1888) (14780066122).jpg

Identifier: embroiderylaceth00lefb (find matches)
Title: Embroidery and lace: their manufacture and history from the remotest antiquity to the present day. A handbook for amateurs, collectors and general readers
Year: 1888 (1880s)
Authors: Lefébure, Ernest, b. 1835 Cole, Alan S. (Alan Summerly), 1846-1934
Subjects: Lace and lace making Embroidery
Publisher: London, H. Grevel
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries

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which they areworked, and necessarily givesit a disagreeable rigidity. Theleast accident almost may breakthe thread holding them, withthe result that they fall off andleave bare spaces in the em-broidery. Any analogy thisbeadwork may have with mosaicinlaying enforces the reserva-tion of anything in the natureof mosaic work to its specialpurpose in connection witharchitecture, and demonstratesalso that the flexible nature of atextile is incompatible with anymodification of a decorativeprocess thoroughly suited toflat, rigid, wall surfaces. From one end of Europe tothe other Italian styles of em-broidery were more or lessimitated. Fig. 46.—Venetian bead em- j j - - j the parisian Corpo-broidery of the twelfth JJ r century (?) (in the Ken- ration of Embroiderers issued a sington Museum). ^.^ ^ „ for the future the colouring in representations of nude figures andfaces should be done in three or four gradations* It certainly recalls the wampum or belts and moccasins of NorthAmericans.
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SIXTEENTH CENTURY TO DEATH OF LOUIS XIV. Ill of carnation dyed silk, and not as formerly with whitesilks. * Artists of distinction were not above making andsupplying designs for embroidery. Vasari relatesthat Perino del Vaga made drawings of eight sub-jects from the life of St. Peter for embroideries upona cope for Pope Paul VIII. Raphael himself paid some attention to designs forembroidery, and in Paris is a specimen worked froma design which he made in compliance with an orderfrom Francis I. It is an oval medallion preserved inthe Cluny Museum (fig. 47). Originally it was partof a set of furniture embroideries done upon a goldenground, which consisted of coverings and hangingsfor a bed, four arm-chairs, eighteen folding-stools, atable-cover, a fire-screen, and a canopy for thecoronation chamber. This chamber was decoratedwith forty subjects, representing episodes in thehistory of the Jews, and set within panels orcartouches, surrounded by many figures. Thesemagnificent embroideries

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