"Stuffs of gold and silver which are made in the same manner as satin.
"Satins woven with gold.
"Satins brocaded with silk and gold or silver flowers.
"Silver serges with double filigree.
"Silver and gold materials, which are made like gorgoran or serge.
"Silver and gold stuffs which are made like taffetas, spring silver with silk flowers.
"Embroidered stuffs.
"Embroidered stuffs called silver serge, or berguilla.
"Lama, cloth of silver, shaded with silver watering.
"Plain silk stuffs woven with silver or gold called restaño.
"Silk stuffs woven with gold or silver called relampagos.
"Serges woven with gold and silver for church vestments.
"Plain filigree serges.
"Velillo of silver.
"Satin woven with gold and silver.
"Brocades of different kinds.
"Church vestments.
"Silver primaveras.
"Serges for church vestments."
("Ord. Ant. de Toledo," Tol. 1858, p. 223).
Until the middle of the 17th century, Larruga tells us in vol. vii. p. 208 of his "Memorias," the silk manufacture of Toledo was one of those most highly esteemed in Spain; from this time it was superseded by the manufactures of Seville, Granada, Valencia, and others. These cheapened their productions; but Toledo insisted on keeping to the old Spanish yard and weight in every kind of stuffs. In 1651 fifty looms belonged to this manufacture, although most of them were established in the suburbs. In this year there was a great decrease in the price of the coin, and the Genoese introduced a large quantity of silk stuffs, so much so that only twenty looms could be kept working at Toledo. After this, in 1663, 2061 looms existed there.
The silk manufacture of Toledo continued to lose its importance in consequence of the vast importations of foreign silks, but the traditions of this industry have never disappeared from the city. Larruga, who enters into this subject at great length in the seventh and eighth volumes of his "Memorias," mentions the silk manufacture of Dn. Miguel Gregorio Molero, "who made from the year 1714, under his direction and that of Christoval de Morales, his father-in-law, a large quantity of silk fabrics of wide and narrow materials of every kind, and stuffs woven with silver and gold." It is an interesting fact that the manufactory of Molero continues to work in the present day, and gold and silver stuffs are made there for ecclesiastical purposes similar in design and manufacture to the early established one of 1714; specimens exist at the South Kensington Museum of the silks made at Toledo by Molero.
Towards the middle of the 18th century the most important centre of artistic silks existed at Talavera, where it was established on a very large scale by King Fernando VI. and supported by the state. It was founded in 1748 under the superintendence of a Frenchman called Jean Roulière, who was educated at Lyon, a great mechanician, who entered the manufactory with a yearly salary of £450, and 4 per cent. of the sale. Fine church vestments were made there, and the richest stuffs woven with silver and gold for decorating apartments and furniture, of which a vast quantity remain in the palaces of Madrid, Aranjuez, the Escorial and La Granja. In 1762 the Spanish government handed over this manufactory to the firm of Uztariz and Company; it remained in their hands until 1780, and at this period it continued to be worked for five years by the state; in 1785 it passed to the superintendence of the Tribunal of Commerce entitled Cinco Gremios Mayores de Madrid. The French invasion of 1808 and general decay of the country contributed towards the extinction of this industry.
In a similar manner to the silk manufactures established at Toledo, silks of all kinds were made at Seville, Granada, Murcia, and other provinces, to a very great extent during the 16th and 17th centuries. This industry continues in the present day, and specimens exist at the South Kensington Museum, made in 1874, which recall the ancient style of these stuffs.
EMBROIDERIES.
It is probable that the history of embroidery in Spain followed the same steps as that of gold and silver stuffs, owing to the great similarity which exists between these industries, as may be seen by the banner called de las Navas, which is composed of both these materials. Ornamentation in the Oriental style must have fallen sooner into disuse than in woven fabrics owing to the fashion of introducing figures in ecclesiastical vestments, which much before the Renaissance period became so general in Europe. The first mention which I find of the existence of this artistic industry appears in the Ordenanzas de Sevilla, 1433; it refers to regulating this industry, and preventing certain frauds, by which we may infer its existence from an earlier period. Similar dispositions appear in one of the Ordinances of Toledo, dated 1496, and as sumptuary laws were continually issued we have constant references to the existence of this industry: [consult "Sempere, Hist. del Lujo," vol. ii. 8vo]. These legal prohibitions did not, however, reach church vestments; after the aggrandizement of the monarchy by the conquest of the New World such enormous sums were spent on these objects, that notwithstanding the ravages of time, wars, disturbances of all kinds, and vandalisms and neglect, the cathedrals of Toledo and Seville, and many other churches, are museums of this style of art.
The art of embroidery was imported by Italians and Germans early in the 16th century, in the same manner as wood carving, metal work, and other industries. The comparative study of embroideries of different kinds which are preserved in churches and museums in other countries confirms this theory; some have been made in the north and others in the south, while their historical origin may be traced to Italy. In Spain itself this comparison may be made, and the Germanic influence is most apparent. At the cathedral of Burgos there is a fine series of ecclesiastical vestments which Bishop Alonso de Cartagena gave to the cathedral on his return from the council of Bâle, 1431-43. Another series of most important specimens is at Toledo, a present to Cardinal Mendoza by the German emperor Frederic in 1489. In both these instances we find that the embroidery is identical with what was made in Spain at this period, until they changed the Gothic for the Italian Renaissance style.
I must mention two splendid altar frontals of foreign workmanship which exist in Spain, one of them is at the chapel of the Disputation of Barcelona; it represents St. George slaying the dragon. This embroidery is in high relief, and is so perfect in every detail that it appears to be chiselled. Another altar frontal of the same style is at the Colegiata of Manresa, Cataluña; on this one the Crucifixion is represented, with eighteen other subjects, taken from the Old and New Testaments. This frontal is signed—Geri Lapi Rachamatore Me fecit in Florentia.
Almost all Spanish towns of importance are distinguished for their embroidery, Toledo, Seville and Valencia are especially so; Ciudad Rodrigo figures as an important centre of this industry during the 16th century. We find the sentence, "obra de Ciudad Rodrigo" applied to embroidery of gold thread, [Acad. de la Historia, MS. C. 122.] Father Siguenza tells us in his "Hist. de la orden de San Jeronimo" that this style of embroidery was exclusively Spanish, and probably the remains of the Moorish influence. The principal localities where embroideries and artistic work of every kind can be studied are the cathedrals of the towns we have mentioned, which were great centres of artistic industries in other times, and the monastery of the Escorial. The collection at the cathedral of Toledo alone is sufficient to illustrate this subject.
About forty sets of splendid vestments exist at this cathedral which are embroidered with the most exquisite taste, belonging to the 15th and 16th centuries. Each set generally includes a chasuble, dalmatic, cope, altar frontal, covers for the gospel stands, and other smaller pieces. The embroideries on the orphreys, which are formed of figures of saints, are as perfect as the miniatures on illuminated MS. The manga, or case which hangs round the processional cross given by Cardinal Ximenez, is one of the most splendid specimens of this collection. As a fine specimen of embroidery on a large scale must be mentioned the dosel or canopy called the tent of Ferdinand and Isabel, also at the cathedral of Toledo, which is interesting as being the same which was used in the reception of the English envoys Thomas Salvaige and Richard Nanfan who were sent in 1488 to Spain to arrange the marriage of Prince Henry with the Infanta Dna. Catalina. The ambassadors describe it in the following manner: "After the tilting was over, the kings returned to the palace, and took the ambassadors with them, and entered a large room: and there they sat under a rich cloth of state of rich crimson velvet, richly embroidered with the arms of Castile and Aragon, and covered with the device of the king, which is a ... (blank in original), and his motto, written at length, which is 'Tanto Monta.'" ("Memorials of King Henry the Seventh," Gairdner, Lon. 1858, p. 348.)
The most remarkable specimen of embroidery which exists in Spain, not so much on account of its artistic merit as for the enormous value of the materials employed, is the mantle of the Virgin del Sagrario at Toledo. It is completely covered with pearls and jewels forming a most effective ornamentation. This embroidery was made in the beginning of the 17th century, during the lifetime of Cardinal Sandoval, who presented it to the church. Sr. Parro in his exhaustive volume of "Toledo en la Mano," [vol. i., p. 574,] describes it in the following manner: "It is made of twelve yards of silver lama, or cloth of silver, which is entirely covered with gold and precious stones. In the centre there is a jewel of amethysts and diamonds. Eight other jewels appear on each side of enamelled gold, emeralds and large rubies; a variety of other jewels are placed at intervals round the mantle, and at the lower part are the arms of Cardinal Sandoval enamelled on gold and studded with sapphires and rubies. The centre of this mantle is covered with flowers and pomegranates embroidered in seed-pearls of different sizes. Round the borders are rows of large pearls. Besides the gems which were employed in this superb work of art, no less than 257 ounces of pearls of different sizes, 300 ounces of gold thread, 160 ounces of small pieces of enamelled gold, and eight ounces of emeralds were used."
A fine altar frontal of a similar kind embroidered in corals may be seen in the same room where this mantle of the Virgin is kept at the cathedral of Toledo.
We find in Madame de Villars' letters, [p. 39, Paris, 1823,] the description of a similar embroidery. Writing in 1680 she says, "Ce que j'ai vu de plus riche, de plus doré, de plus magnifique, est l'appartement de la reine. Il y a entre autres meubles dans sa chambre, une tapisserie, dont ce qu'on y voit de fond, est de perles. Ce ne sont pas des personnages, on ne peut dire que l'or y soit massif, mais il est employé d'une manière et d'une abondance extraordinaires. Il y a quelques fleurs: ce sont des bandes de compartimens; mais il faudrait être plus habile que je ne suis pour représenter les choses, pour vous faire comprendre la beauté que compose le corail employé dans cet ouvrage. Ce n'est point une matière assez précieuse pour en vanter la quantité; mais la couleur et l'or qui paraissent dans cette broderie, sont assurément ce qu'on aurait peine à décrire."
From the period when these embroideries were made until the middle of the 18th century, Spanish embroideries lost much of their artistic character, although the work itself continued equally excellent. During the whole of the 17th century, a style of embroidery became very general in Spain, which appears to have been copied from eastern importations by the Portuguese or the Spanish possessions in America. The specimens most generally met with in Spain are chiefly bed covers, the ground of which is either linen or satin, embroidered in chain stitch, with figures and exotic birds and animals. Their effect is very rich, and the ornamentation is arranged generally in circles. Specimens exist in England of this kind of work; for example, a quilt, said to have been made for an Archbishop of Toledo, lent by Lady Cornelia Guest to the Special Exhibition of Embroidery held at South Kensington in 1873.
At the Mus. Arq., Madrid, is a fine quilt of this kind embroidered with maize-coloured silk on linen, with representations of figures and animals.
Embroideries were made in Spain to cover furniture. Sedan chairs, coffers, &c., were ornamented in this manner. At the Kensington Museum there is an interesting example of a trunk with silver lock, covered with embroidery, which was given towards 1680 by Count Olivares to the nuns at Loeches. Some fine embroidered tapestries belonging to the same collection are at the Museo Arqueleogico, Madrid. A varied collection of ecclesiastical vestments of the kinds described may also be studied at the museum. (V. Nos. 78, 79, 84, 673, 1194, 1195, 1250, &c., in Dr. Rock's Catalogue.)
The sumptuary laws, and especially the Decrees issued by Philip IV. in 1622, prohibited any display or ostentation in costume, and embroideries were confined to ecclesiastical purposes. In the middle of the 18th century embroideries were introduced in the costumes of men and women when French fashions were imported into Spain. Although many of them came from France, they were imitated in Spain to a large extent. A guild of embroiderers was formed in 1779, who submitted their statutes to the Tribunal of Commerce. We find that Madrid was the principal centre of this industry, and that French designs were universally copied, as was the case in the whole of Europe. The splendid curtains and embroidered hangings for apartments which exist at the royal palaces of Madrid, the Escorial and Aranjuez, are admirable specimens of this industry.
The following list of Spanish embroiderers is taken from Cean's "Dic. de Prof de las Bellas Artes;" Martinez, "Hist. del Templo Cat. de Burgos;" Suarez de Figueroa, "Plaza Universal," etc.
TAPESTRIES.
The manufacture of tapestry or carpets was introduced into Spain by the Arabs. The earliest historical information which I have been able to find relating to this industry occurs in Edrisi, an oriental author of the beginning of the 12th century, ["Descrip. de l'Afr. et de l'Esp., trad. de Dozy el Goeje,"] when speaking of Chinchilla in the province of Alicante, he says: "On y fabrique des tapis de laine qu'on ne saurait imiter ailleurs, circonstance qui dépend de la qualité de l'air et des eaux." In mentioning Cuenca, he says: "Les tapis de laine qu'on y fait sont d'excellente qualité," p. 237. Although we find very few descriptive details of this industry, it is undoubtedly the fact that in a wide zone which comprehends from the kingdom of Valencia until that of Granada, carpets have been constantly made; for even in the present day this industry is alive in a number of towns, where not only the old technical proceedings are continued, but also much of the primitive character of the designs and colours. In confirmation of this, I find frequent mention in books and MSS. of the 16th century of carpets of Letur, made in the kingdom of Murcia, Alcaraz, and Baeza.
The first time I find this industry mentioned by Christian authors is in Francisque Michel's work on "Étoffes de Soie," vol. i., p. 292; he says: "A une époque qu'il nous serait difficile de préciser un poète Latin vantait les teintures précieuses à sujets, et les tapis d'Espagne."
"Tunc preciosa suis surgunt aulaea figuris.
"Ac in se raptis ora tenent animis.
"Tunc operosa suis Hispana tapetia villis.
"Hinc rubras, virides inde ferunt species."
At the cathedral of Gerona an extremely interesting tapestry of the 12th century may be seen, which may have been made in the locality.
TAPESTRY AT THE CATHEDRAL OF GERONA; REPRESENTING THE
CREATION, &C.—SPANISH, 11TH CENTURY. To face p. 267.
[Medium amplification]
[Largest amplification]
This tapestry is about 4½ yards wide by 4 yards high. The composition represents the Genesis. In the centre is a geometrical figure formed by two concentric circles. In the lesser circle is a figure of Christ holding an open book, on which appear the words, Sanctus Deus, and on each side Rex fortis, surrounded by the inscription, Dixit quoque Deus, Fiat lux, Et facta est lux. In the larger circle are the words, In principio creavit Deus coelum et terram, mare et omnia quæ in eis sunt, et vidit Deus cuncta quæ egerat et erant valde bona.
The space between the two circles is divided by radiating lines into eight portions, in which are represented the Mystic Dove, the angels of light and darkness: the division of land from water, the creation of sun, moon, and stars, of birds, fishes, and beasts, and of Adam and Eve. In the angles outside the larger circle are the four winds, and the whole is surrounded by a border, imperfect in parts, containing representations of the months, and apparently of certain scriptural incidents, too much defaced to be clearly made out. The accompanying engraving, though imperfect and inaccurate in some of its details, gives a general idea of this work.
Although this tapestry is embroidered with crewels on linen, it appears advisable to include it in the description of Spanish tapestries, owing to its similarity and general aspect to other tapestries. It is easy for students of Spanish works of art of the Middle Ages to fix the period and style to which this example belongs. Several remarkable illuminations exist in Spain representing the Apocalypse which were painted in the X. XI. and XIIth. centuries, which have already been alluded to in other articles of this work. The figures of the tapestry of Gerona are disposed in a precisely similar manner to the miniatures of the 12th century. They are in the same style as the paintings on the ceiling of the chapel of St. Catalina, at St. Isidoro of Leon, which were painted at that period. There can be therefore no doubt that they belong to that period and style. Several MSS. may be mentioned to further illustrate the subject. An excellent specimen is at the cathedral of Gerona, those at the National Library, Museo Arqueologico, and Academia de la Historia, Madrid, Escorial, Bibliotheque Nationale, Paris—and especially the fine MS. at the British Museum (Add. II. 695),—dated A. D. 1109, referred to in the chapter on Arms, page 90. The illuminations of this volume are extremely similar to the design of this tapestry. Plate 83, twelve inches by eight, within a circle, representing Christ holding a book in his hand, may be given as an example.
I do not find any information of a later date which suggests the existence of the manufacture of tapestries in Spain during the Middle Ages. There are constant allusions to the splendid tapestries which were brought from Flanders, many of which are at the Royal palace of Madrid. The earliest mention I find is a memorial printed without date, in which Pedro Gutierrez, tapestry maker of Salamanca, asks Philip II. to protect this industry. He evidently gained his object, for in the documents published by Sr. Cruzada in his "Tapices de Goya," [Madrid, 1870,] it appears that in 1578 Queen Doña Ana appointed him to work in her Camara as tapestry maker to make reposteros[B] and Philip II. in 1582 confirms this appointment. Gutierrez worked at this period, at Salamanca and Madrid. He was succeeded in his charge in 1625 by Antonio Ceron, who established this industry definitively in the Calle de Santa Isabel at Madrid. The fine picture by Velasquez, at the Madrid Gallery, "The Weavers," which represents the interior of the tapestry manufactory, belongs to this time. We find this industry soon fell into decay. In 1694 a Belgian named Juan Metier tried to revive it, but without success; the same thing occurred with Nicolas Hernandez, a tapestry maker of Salamanca, in 1707.
[B] Reposteros is the ancient name given to the hangings which are placed outside the balconies on state occasions in Spain. Several splendid examples of the sixteenth and seventeenth centuries may still be seen at the houses of Spanish grandees, of which those belonging to the Conde de Oñate and Marques de Alcañices at Madrid are the most remarkable for their artistic design.
The tapestry manufactory of Santa Barbara at Madrid was founded soon after; it was the most important of all, and continues to produce excellent work in the present day. It appears that Jacobo Vandergoten of Antwerp was engaged expressly by the king; he began to work in 1720, and continued there until his death in 1724. He was succeeded by his sons, Francisco, Jacobo, Cornelius, and Adrian, who worked in basse lisse looms until 1729, when a Frenchman, Antonio Lenger mounted a haute lisse one.
On the occasion of the temporary removal of the court to Seville, the king established a tapestry manufactory there in 1730; Jacobo Vandergoten was put at the head of it, and the painter, Andres Procaccini, helped him in the direction of the manufactory. It only lasted three years, at the end of which the artists returned with their implements to establish themselves in the old tapestry manufactory of the Calle de Santa Isabel: and continued to work there until 1744, at that time they again joined the works at Santa Barbara.
Three of the brothers Vandergoten were already dead in 1774. Cornelius alone was alive. In the same year the Spanish artists, Antonio Moreno, Domingo Galan, Tomas del Castillo, and Manuel Sanchez were placed at the head of these works, under the superintendence of Sanchez, who continued there until his death in 1786, when he was succeeded by his nephew, Livinio Stuck. This manufactory was much neglected at the end of the last century; it was destroyed by the French in 1808, and was rehabilitated in 1815 under the direction of a son of Stuck. This family continues to work there in the present day. The carpets made at the manufactory of Sta. Barbara are of the highest excellence and artistic order.
Very fine tapestries have been made at this manufactory during the last century, some after original cartoons of excellent painters and others reproductions of ancient Flemish ones belonging to the royal collections. During the years 1721 to 1724 the tapestries representing pastoral subjects after Teniers were woven there, and a series of hunting subjects which still exist at the Pardo and palace of Madrid. The excellent copy of the series of tapestries representing the conquest of Tunis, after cartoons by William Pannemaker were made partly at Seville and partly at Santa Isabel and Santa Barbara. The tapestries representing scenes from the life of Don Quixote, designed by the painter Procaccini, were also made at the looms of Santa Barbara.
Fine carpets in the Turkish style were made there under the superintendence of Cornelius Vandergoten, who excelled in this special industry. Carpets also in the French style of the Gobelin manufactory were made at the same time. The best specimens of carpets and tapestries of the manufactory of Santa Barbara, will be found at the palaces of the Escorial, the Pardo, and Madrid. The series made from cartoons of Teniers and the Spanish painter Goya are extremely interesting. A complete collection of photographs of the foreign and Spanish tapestries at the palace of Madrid will be found in the Art Library of the South Kensington Museum.
LACE.
IT is not easy to give a clear idea of the history of the manufacture of ancient Spanish lace; the principal reason being that this industry was carried out by private persons, who never formed themselves into Guilds or corporations, as was the case during the middle ages and Renaissance period with those who devoted their time to other arts and industries. We find in the Royal Ordinances constant references to weavers, silver and goldsmiths, tailors, etc., but in none do we find the manufacture of lace mentioned. The most important Ordinances relating to Spanish industries are those published at Toledo and Seville in the 15th and 16th centuries, and at Granada in the 16th and 17th centuries, and in none of them do we find lace even alluded to. In the innumerable laws which appeared from the middle ages until the 18th century for the object of reforming costumes and checking their excessive luxury no mention is made of lace; when it is referred to, it is only when puntas or entredoses, edgings or insertions, are mentioned in which gold and silver are introduced. We never find any allusion in contemporary writers to the fine heavy thread lace, sometimes called Point d'Espagne or Point de Venise, the origin of which has been a source of so much doubt to collectors of the present day.
The only thing which we can do therefore at the present, until this subject is more fully investigated, is to assert that lace of different kinds has been made from the very earliest times in Spain, and do our best to classify the different kinds by the differences which we observe in those of other localities.
Father Fr. Marcos Antonio de Campos in his "Microcosmia y Gobierno Universal del Hombre Cristiano," [Barcelona, 1592, p. 225,] says: "I will not be silent and fail to mention the time lost these last years in the manufacture of cadenetas, a work of thread combined with gold and silver; this extravagance and excess reached such a point that 100 and 1000 of ducats were spent in this work, which, besides destroying the eyesight, wasting away the lives, and rendering consumptive the women who worked it, and preventing them from spending their time with more advantage to their souls, a few ounces of thread and years of time, were wasted with so unsatisfactory a result. I ask myself, after this fancy has passed away, will the lady or gentleman find that the chemises that cost them 50 ducats, or the basquiña (petticoats) that cost them 300, are worth half their price, which certainly is the case with other objects in which the material itself is worth more." This quotation is interesting as proving that lace was made during the 16th century. The friar, in following the prevalent fashion of preaching against luxury and extravagance, shows us that this industry must have reached to a great height in order to be an object of censure.
From the 16th century until the end of the 18th we find this manufacture continued in Spain, but that foreign lace of different kinds was likewise imported to a great extent, although we may affirm that black lace especially was made in Spain during the whole period.
We find lace mentioned by ancient Spanish authors under the following names: punta, randa, cadeneta, entredos, red, deshilado, franja, blonda, and encaje, which may be translated as edging, or points, réseuil, chain stitch, insertion, netting, ravelling, fringe, blonde, and lace.
M. H. de Cocheris in his introduction to "Patrons de Broderies," Paris, 1872, says that "gold and silver laces were made at Paris and Lyons." The four books which are reproduced in this volume mention Lyons as being a great centre of this particular branch of industry. Gold and silver lace was, however, also made and copied in Spain during the 17th century. We find in the "Pragmatica y Nueva Orden cerca de los Vestidos y Trajes, asi de Hombres como de Mugeres," [fol. Madrid 1611, p. 5,] "May we be allowed to border or edge the said silken materials with thread lace, which are not to be made of chain stitch, or gold or silver, and when these laces are mentioned we should understand they are exclusively for women's use." We also find in an Ordinance of the time of Philip III., dated 1623, that gold and silver lace was prohibited, and that "simple edgings, and curls, and fraises for women were enjoined for women's use." In the "Fenix de Cataluña, compendio de sus Antiguas Grandezas y Medio para Renovarlas," Barcelona, 1683, by Narciso Feliu, the author states, p. 75, that "edgings of all sorts of gold, silver, silk, thread, and aloe, is made there with greater perfection than in Flanders."
Many interesting details have reached us of the costume of a Spanish lady in the 17th century. We will copy the description given by Madame d'Aunoy in her "Voyage d'Espagne," Lyon 1628. "Under the vertingale of black taffety they wear a dozen or more petticoats, one finer than the other, of rich stuffs trimmed with lace of gold and silver to the girdle. They wear at all times a white garment called sabenqua; it is made of the finest English lace, and four ells in compass. I have seen some worth 500 or 600 crowns, and so great is their vanity, they would rather have one of those lace subenquas than a dozen coarse ones, and either lie in bed till it is washed, or else dress themselves without any, which they frequently enough do." A number of portraits exist in the Spanish galleries, especially by Velasquez and Carreño, in which these extravagant costumes are fully portrayed, but in very few Spanish portraits of the seventeenth century does thread lace of the kind known as Point d'Espagne or de Venise ever appear. Mrs. Palliser, in her interesting "History of Lace," p. 80, quotes a vast number of descriptions of these gold and silver laces. The celebrated bed at Versailles, the interior lacings of the carriages, the costumes of the gentlemen and ladies of court, and wedding dresses, were all trimmed with this silver and gold lace, either made in Spain, or called Point d'Espagne.
We copy again Madame d'Aunoy's description of a Spanish bed. "It is of gold and green damask lined with silver brocade and trimmed with point of Spain. Her sheets were laced round with an English lace half an ell deep. The young Princess of Monteleon bade her maids bring in her wedding clothes. They brought in thirty silver baskets so heavy four women could only carry one basket: the linen and lace were not inferior to the rest." Beckford, in describing the apartment of a Spanish lady, writes: "Her bed was of the richest blue velvet trimmed with point lace." Aarsens de Sommerdyck in his "Voyage d'Espagne," [Paris, 1665,] writes, in describing the costume worn by the men: "Leurs collets ou cravates sont de grandes pointes, qui sans doute coustent beaucoup, bien qu'elles ne paroissent pas belles. La mode en est presque la mesme qu'en France, l'ayant prise de la princesse de Carignan quand elle estoit à Madrid, dont elles les nomment Valonas à la Carignan." In the interesting "Journal du Voyage d'Espagne," Paris, 1669, l'Abbé Bertaut tells us that on the 15th of October, 1659, on the occasion of his embassy to Madrid, the king of Spain sent eight postilions, and forty post-horses, the saddles and bridles of eight of which were covered with gold and silver lace.
Notwithstanding the opinion of so competent an authority as Mrs. Palliser, I doubt the statement, finding no evidence to support it, that thread lace of a very fine or artistic kind was ever made in Spain, or exported as an article of commerce during early times. The lace alb, which is mentioned, to prove this, as existing at Granada, a gift of Ferdinand and Isabel, is of Flemish lace of the 17th century. The chasuble, etc., splendid ecclesiastical vestments embroidered on crimson velvet, were certainly the gift of these kings, and if Cardinal Wiseman officiated in this vestment, it is probable he may have made a mistake and not separated the alb from the chasuble, which certainly may be worth 10,000 crowns. J. Barretti, in his "Journey from London to Genoa, through Portugal and Spain," London, 1770, describing the fine church of Las Salesas, lately built, writes, "The nuns showed me in the sacristy some surplices for the mass priest, that are made of the finest Flanders lace. Each surplice has cost about 1000 doubloons." In "Tassa de los Precios a que se han de vender as Mercaderias," Madrid, 1628, we find that the "puntas or edgings made in Spain are to be sold at the same price as those imported from Paris." Puntas from Flanders are estimated in this tariff at a much higher rate than those which were brought from France; we may calculate they were sold for double the price. The "Ordenaciones" made at Barcelona to settle commercial tariffs state in 1704: "As experience has shown us that most of the edgings or puntas made in this principality are sent out of the country, and we do not find them mentioned in the financial accounts, to the great disadvantage of the community, it is determined—"
We find reference to lace brought from Flanders, Paris, and Lyon, in the first volume of "Apendice a la Educacion Popular," [p. 61.] [Madrid, 1775,] the author mentions the large sums of money which were taken out of the country by the importations of foreign lace, and he adds, [vol. ii., p. 61,] "Lace is employed to a very considerable extent; all the fine qualities come from foreign lands, and the greater varieties of the coarser ones. Spanish matrons, among other branches of their education, are taught to make lace of different kinds, and many respectable people live on this industry." Larruga, in his "Memorias," Madrid, 1788, mentions, vol. ii., p. 149, a manufacture of gold and silver lace which had been set up lately at Madrid; and in the 17th vol., p. 294, in mentioning lace made at La Mancha, "the industry of lace has existed at Almagro from time immemorial. Dn. Manuel Fernandez and Dª Rita Lambert, his wife, natives of Madrid, established in this town in 1766 a manufacture of silk and thread lace." This industry also existed at Granatula, Manzanares, and other villages of La Mancha. At Zamora "lace and blonde were made in private houses. The finest kinds are sold to lace merchants." In Sempere, "Historia del Lujo," [Madrid, 1788, 8vo,] we find that in the Ordinance issued in 1723, the "introduction of every sort of edgings or foreign laces was prohibited, the only kinds allowed were those made in the country."
Cabanillas writes in his "Observaciones sobre la Historia natural del Reino de Valencia," Madrid, 1797, that at Novelda a third part of the inhabitants made lace, "more than 2000 among women and children worked at this industry, and the natives themselves hawked these wares about the country." Swinburne, in his "Travels in Spain in 1775," also says, "The women of the hamlets were busy with their bobbins making lace." Laborde writes that in 1809 the manufacture of blonde was almost entirely confined to Cataluña. Barcelona is in the present day the great centre of this industry in Spain; the black and white blondes which are made chiefly for mantillas are very fine. The white laces made there are in the style of Lille and Buckinghamshire laces, Brussels and Duchesse laces, and Chantilly is also made to a large extent. Gold and silver blondes were revived during the years 1830-40; and it may interest my readers to know that the late Queen Mercedes, in her wedding trousseaux, had a garniture de robe, mantilla included, of gold blonde.
Modern torchon laces are still made at Almagro to a very large extent. Bed linen, even in the poorest houses, is elaborately trimmed with lace or embroidery. Valances for beds of ravellings, point coupé and lace work are still constantly found to decorate beds at weddings in the provinces of Spain.
THE END.
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| These typographical errors were corrected by the etext transcriber: |
|---|
| Guadamecis are made of leather=>Guadameciles are made of leather |
| The French influence of the last century brought the same hions fasfor furniture into Spain=>The French influence of the last century brought the same fashions for furniture into Spain |
| gilt bronze mounting were very much used.=>gilt bronze mountings were very much used. |
| It is of polished iron inlaid with gold, and most exquisite in workmanhip.=>It is of polished iron inlaid with gold, and most exquisite in workmanship. |
| A wooodcut is given opposite.=>A woodcut is given opposite. |
| Round the lid of of one them is a band=>Round the lid of one them is a band |
| there are some which are undoubtedly still made n the locality.=>there are some which are undoubtedly still made in the locality. |
| same collection are at the Museo Arquelogico, Madrid=>same collection are at the Museo Arqueleogico, Madrid |
| the chaper on Arms, page 90=>the chapter on Arms, page 90 |
| Models of the baroque or, as it is called in Spain, Churriguesque=>Models of the baroque or, as it is called in Spain, Churrigueresque |