11 Wilkinson, Manners and Customs of the Ancient Egyptians.
12 Thus Agamemnon in Troilus and Cressida, Act I. Scene iii.:
13 In a painting which represents a sacrifice to Isis, Ant. di Ercolano, ii. 60, a priest is seen fanning the fire upon the altar with a triangular flabellum, such as is still used in Italy. (Smith’s Dictionary of Greek and Roman Antiquities.)
14 Sir George Birdwood, Society of Arts, 1903.
15 George Rawlinson, Five Great Monarchies of the Ancient World.
16 Rawlinson.
17 2 Kings i. 2, 3, 6, 16.
18 Pausanias, Frazer, vol. iii, 558.
19 ‘The fly-whisk in the picture is introduced because flies were held to be creatures of Beel-zebub, the god of flies, and therefore to be driven away.’ (Letter of Mr. W. Holman Hunt to the author.)
20 National Encyclopædia.
21 Layard, Nineveh.
22 Chambers’s Dictionary of Arts and Sciences.
23 See page 109.
24 Dennis, Cities and Cemeteries of Etruria.
25 Revue de l’Art Chrétien, 1883
26 In a wall-painting of a sacrifice, Rome (Vatican), given by George Buss, Der Fächer, a circular fan-tablet is seen.
27 This also is the number lining the shed in which the King of Dahomey holds his Court, the outer ones, white, those in the centre, marking the spot occupied by his Majesty, displaying the brightest hues.
28 C. F. Gordon-Cumming, ‘Pagodas, Aureoles, and Umbrellas,’ English Illustrated Magazine, 1888.
29 In the Ayin Akbari, or Institutes of the Emperor Akbar, by Abdul Fazl, Akbar’s great minister, the following enumeration is given of the ensigns of state ‘which wise monarchs consider as marks of divine favour’:—
The Aurung or throne, the Chuttur or umbrella, the Sayiban or sun-fan, and the Kowkebah or stars in gold and other metals which are hung up in front of the palace; and these four ensigns are used only by kings.
The Alum, the Chuttertowk, and the Tementowk, all varieties of standards of the highest dignity, appropriated solely by the king and his military officers of the highest rank.—Birdwood, Industrial Arts of India.
30 Hon. Wilbraham Egerton, Handbook of Indian Arms.
31 Coomaraswarmy, Mediæval Sinhalese Art.
32 Hindu Theatre.
33 In the painting supposed to represent an Irânian Embassy of Khosru II. of Persia to Pulikêsi II., both flag-fan, long-handled pankhâ, and fly-flap appear.
34 The Tooth relic of Buddha, brought by a Brahman princess from Kālinga in A.D. 313, and since rendered the highest honours.
35 Anderson, B.M. Catalogue, p. 221.
36 In the romance of Amadis of Gaul it will be remembered that Appolidon gathered up the superb purple and gold feathers of the Phœnix which had remained long enough in the island to change its plumage, to make a fan ornamented with a diamond and carbuncle, as a present from Amadis to Oriane on arriving at the island.
37 M. Rondot quotes a passage from a native authority stating that the Chinese general, Tchou-ko-liang, commanded his three army corps holding a fan of white plumes.
38 G. Dumoutier, Les Symboles, les Emblèmes et les Accessoires du culte chez les Annamites, pp. 116-18.
39 H. A. Giles, Strange Stories from a Chinese Studio, p. 64, note 13.
40 The traditional account is here given—some explanation of the absence of definite dates may be found in the hypothesis that there were always folding-fans—that the device of pleating a piece of paper or other material is so simple that it might occur to the youngest child. As a matter of fact, Nature herself invented the folded fan, as she may be said to suggest every invention. The palmetto leaf in its undeveloped shape is pleated and packed as neatly and completely as any folding-fan ever made.
41 This circumstance of the introduction of a new fashion by courtesans finds a curious parallel in Europe. Stow’s Chronicle, Howes’s edit., 1632, says: ‘Womens Maskes, Buskes, Muffes, Fanns, Perewigs, and Bodkins were first devised (sic) and used in Italy by Curtezans, and there received of the best sort for gallant ornaments, and from thence they came to England, about the time of the massacre of Paris.’
42 S. W. Bushell, Chinese Art.
43 Her Imperial Majesty’s collection of fans has for some time been dispersed.
44 Abel Rémusat, Mélanges posthumes d’histoire et de littérature, quoted by G. Ashdown Audsley.
45 H. A. Giles, ‘Chinese Fans,’ Fraser’s Magazine, May 1879.
46 Kaname, the rock which holds the earth together and keeps it quiet, means the rivet of a fan. The great earthquake fish Namazu has the Giant Kashima for keeper, who was charged to subdue the eastern part of the world, and accomplished this feat by running his sword through the earth. In time the sword hardened into stone and was named Kaname (rivet). When Namazu becomes too violent and shakes the earth, Kashima jumps upon him with the rock Kaname.
47 ‘Upon a male child being presented at his birth to the temple of his father’s particular deity, he receives, amongst other gifts, two fans, while a girl receives a cake of pomade, which brings good looks.’
48 Henri L. Joly, Legend in Japanese Art.
49 Josiah Conder, Japanese Costume.
50 Mrs. Salwey, Fans of Japan.
51 Anderson, British Museum Catalogue of Japanese Paintings.
52 Chapter XI. page 285.
53 Beautiful writing is highly prized both in China and Japan. Caligraphy, says Mr. S. W. Bushell (Chinese Art, p. 31), is a branch of the fine arts in China, and the penman who can write elegantly in sweeping lines with a flowing brush is ranked above the artist.
54 In this process of metal inlay, the ground is broken up by means of an engraver’s tool, the pattern formed of silver wire, hammered in.
55 The widow of Atsumori who was killed in the fight here referred to, in 1184, is credited with the invention of the folding-fan, although dates are somewhat confusing. At the temple of Mieido in Kyoto, whither she had retired to hide her grief under the garb of a nun, she cured the abbot of a fever by fanning him with a paper folding-fan over which she muttered incantations: and to this day the priests of the temple are considered special adepts in the manufacture of fans; hence the name Mieido is adopted by many fan shops all over the islands. (Basil Chamberlain, Things Japanese.)
56 The fan was used as crest by many Japanese families. A number of examples are given in Mrs. Salwey’s Fans of Japan.
57 Henri L. Joly, Legend in Japanese Art.
58 Mrs. Salwey, Fans of Japan.
59 Ode from the Manyoshin, translated by Basil Chamberlain.
60 Transactions of the Japan Society, vol. v. Paper by Mrs. Salwey on Pastimes and Amusements of the Japanese.
61 In the Musée Guimet, Paris, is a tea-service, fine in execution, signed ‘Kawamoto Hansouke,’ an artist of the province of Owari, the saucers being shaped like fans. In the same collection is a large plate, fourteen inches in its longest dimension, shaped like a folding-fan.
62 Francis Parkman, La Salle and the Discovery of the Great West.
63 Miss Kingsley refers to their use at Egaja, ‘for the purpose of battling with the evening cloud of sand-flies.’
64 In the liturgy of St. Chrysostom, after the Benedictus—‘Supra sancta ventilet reverenter flabello. Si desit flabellum, velo idem praestat.’ (Divina Missa S. Joan. Chrysostomi, Goar. Rituale Graecorum. p. 76.)
65 Smith, Dictionary of Christian Antiquities.
66 ‘A.D. 1214, Ornamenta Ecclesie Sarum, inventa in Thesauraria. ij. flabella de serico et pergameno.’
67 Dugdale, History of St. Paul’s.
68 ‘Manubrium flabelli argentum deauratum, ex dono Joh. Newton, thesaurarii, cum ymagine Episcopi in fine enamelyd, pond. v. unc.’
69 Registrum Roff. p. 554.
70 Journal of the Archæological Association, vol. xxvi.
71 Archæological Journal, vol. v.
72 Pauli Paciandi de Umbellae Gestatione Commentarius, Romae, 1752, p. lxiii.
74 Memorials of London and London Life in the Thirteenth, Fourteenth, and Fifteenth Centuries, by Henry Thomas Riley.
75 Revue de l’Art Chrétien, 1883. Les Disques crucifères, le Flabellum, et l’umbella.
76 Harl. MSS. 3601, the date 1295-6, edited by J. W. Clark.
77 Un esmouchior de drap d’or, a fleur-de-lys, escartelé des armes de France et de Navarre a un baston d’yvoire et de geste, prisé v Francs d’or.—Du Cange.
78 Viollet-le-Duc.
79 Blondel.
80 Henry F. Holt, Journal of the Archæological Association, vol. xxvi. (1870).
81 Elle donna à la reyne Louise de Lorraine une fois pour ses estreines ung esventail faict de nacre de perles, enrichy de pierreries et grosses perles, si beau et si riche, qu’on disoit estre un chef d’œuvre, et l’estimoit on à plus de quinze cens escus.—Pierre de Bourdeilles, Seigneur de Brantôme, Mémoires des dames illustrées de France.
82 Sir John Cullam, Bart., History of Hawsted.
83 Dr. Birdwood, Report on Old Records in the India Office, 1898.
84 Sir John Francis Davis, F.R.S., The Chinese.
85 Fans of the Ancients, p. 27.
86 A. C. Fox-Davies, Complete Guide to Heraldry.
87 Ibid.
88 Omnium pene Europae, Asiae, Aphricae, atque Americae Gentium habitus. Antwerp, 1581.
89 It is extremely improbable that this fan leaf had ever any connection with the story given above. It probably belongs to the latter years of the seventeenth, or the early years of the eighteenth century.
90 M. Édouard Petit has written an exhaustive monograph on the manufacture of fans, Études, souvenirs et considérations sur la fabrication de l’éventail. Versailles, 1859.
91 Art and Ornament in Dress.
92 Fans of scented wood had, earlier, been introduced into the French Court by Anne of Austria.
93 S. Redgrave, South Kensington Catalogue of Fan Exhibition, 1870.
94 One of the most potent earlier influences on Spanish painting was that of Titian, who, although probably never in Spain, painted a number of pictures for the Escurial.
95 ‘They all love the feasts of bulls, and strive to appear gloriously fine when they see them.’—Memoirs of Lady Fanshawe.
96 Procès Verbaux, April 26, 1762, Jan. 1765. Lady Dilke, French Painters of the Eighteenth Century, p. 12.
97 Walter Thornbury, Legendary Ballads and Songs.
98 Qui estoit un montagne de chaux vive sur laquelle les gouttes d’eau du ciel tumboient à foison et disoient les mots tels en latin:
99 Des éventails et pennaches rompus des carquans brisés et ses pierreries et perles espandues par terre les chaisnes toutes en pieces!
100 Deux Dialogues du nouveau Langage François, 1578.
101 Il étoit d’un vélin aussi délicatement découpé qu’il étoit possible avec la dentelle à l’entour de pareille étoffe.
102 There are instances in which this order is reversed, the leaf having been preserved and mounted on more modern sticks.
103 Ribbons constantly appear on the fans depicted in Bosse’s engravings, either at the side, half-way up the panache, or at the rivet.
104 The well-known story of the portrait of Christina, painted by Michael Dahl, may be given. One day, while the Queen was sitting to him, she asked him what he intended to put in her hand. ‘A fan, please your Majesty.’ ‘A fan!’ exclaimed Christina, starting up with a tremendous oath. ‘A fan!—A lion, man, is fitter for the Queen of Sweden.’
The Order of the Fan was instituted later by Louisa Ulrica, in 1744, for the ladies of the Swedish court, in which the sterner sex was afterwards included.
105 Letter 491, 8 Mai 1676.
106 Le Brun was appointed ‘premier peintre’ in 1662, with twelve thousand francs a year.
109 Paul Mantz, Gazette des Beaux-Arts, vol. XX.
110 Translation by Henry Smith Wright, B.A.
111 ‘Pantins Méchanique,’ a performing figure worked by a string, much in vogue at this period. See Engraved Fans of the Seventeenth and Eighteenth Centuries, part i. page 226.
112 Henri Bouchot, ‘History on Fans’ (Art and Letters, vol. ii.).
113 A congratulatory address on this occasion was offered to the Queen by the market-women of Paris, written by M. de la Harpe on the inside of the fan of the spokeswoman, to which she repeatedly referred without the least embarrassment.—Henry F. Holt, Journal of the Archæological Association, vol. xxvi.
114 See Engraved Fans of the Seventeenth and Eighteenth Centuries, page 227.
115 Menagiana.
116 Pope had, nearly a century earlier, made allusion to the discontinuance of the fashion:
117 Steevens.
118 See Italian fans, p. 109.
119 Agnes Strickland, Lives of the Queens of England. In most of the early engraved portraits of Catherine of Braganza, the Queen is represented with a folding-fan, in each instance closed; in one instance, that of an equestrian portrait, a large fan is depicted.
120 In Campbell’s London Tradesman, 1747, it is recorded that ‘the Italian mounts are much more in request than anything of our own manufacture, and large prices are given for them.’
121 H. M. Baird, The Huguenots and the Revocation of the Edict of Nantes.
122 The Fanmakers’ Company, created by Charter in 1709, for nearly 100 years protected and regulated the trade, until the reduction of protective duties on foreign fans annihilated the English trade. (Notes by Colonel Sewell (Fanmakers’ Company), Schreiber MS., British Museum.)
123 Spectator, No. 296.
124 Tatler, December 29, 1709. Letter No. 113. John Hughes.
125 Spectator, No. 102.
126 E. J. Climenson, Elisabeth Montagu, Queen of the Blue-stockings.
127 The fan of Pope’s epigram was probably Italian. See page 179.
128 ‘Please notice No. 110, which rather points to one of your fans not being by Bartolozzi. Perhaps the “Lady of Quality” was Lady Duncannon.’—Letter by Mr. Lionel Cust to Lady Charlotte Schreiber. Schreiber MSS., British Museum.
129 Schreiber MSS., British Museum. Extracts, p. 100.
130 Journal of the Archæological Association, vol. xxvi., 1870.
131 See Meaume, Recherches sur la vie et les ouvrages de Jacques Callot, vol. ii. p. 287.
132 Art and Letters, Jan. 1888.
133 Honoré de Balzac (Sur Catherine de Médicis).
134 In French salons, about the year 1728, the fashion prevailed of ‘Les Pantins Méchaniques,’ that every one carried and worked by the aid of strings while chatting of one thing and another. Lacroix, XVIII Siècle, France, 1700-87, p. 507.
From 1748 to 1750 it was in high vogue among the beau monde as a diverting plaything for gentlemen and ladies. Wright, Caricature History of the Georges, note, p. 251.
135 The subject of America is returned to later, when in the ‘George Washington’ fan we have in the centre a portrait of Washington, and, ranged on either side, portraits of the succeeding ten presidents of the United States. This, a lithograph, with painted decorations in silver, bearing the inscription, ‘Vagneur-Dupré. No. 530. Lith. de Lemercier.’
136 Several versions of the above subject appear: 1. King seated under canopy, three notables and three ecclesiastics on either side, M. Calonne reading speech, 2. King and his two brothers under canopy, four nobles and four ecclesiastics on either side. 3. A much more elaborate performance, king and two royal princes under canopy; four nobles and six ecclesiastics, M. Calonne, and clerk at table; a courtier on each side of the composition.
137 Dictionnaire des Hommes Marquans, ii. p. 519, quoted by Carlyle.
138 Richard Heath, ‘Politics in Dress,’ Woman’s World, June 1889.
139 In the Musée du Louvre is a remarkable drawing of the great arch, with a vast concourse of people, by Jean Louis Prieur, illustrated in Lady Dilke’s work, French Engravers and Draughtsmen of the Eighteenth Century.
140 Carlyle.
141 Carlyle.
142 Henri Bouchot, History on Fans.
143 See page 164.
144 Richard Heath, ‘Politics in Dress,’ Woman’s World, June 1889.
145 Henri Bouchot.
146 Henri Bouchot.