MODERN AND PRESENT-DAY FANS
[Illustration]
We now gather together the various threads of our subject at the point
where they were left, viz. the close of the Empire. We have found
that during two centuries and a half—from 1600 to 1800, with a little
overlapping at either end—the fan passed through the various stages of
development and decline; that during the latter years of the sixteenth
century both Italy and France, but especially the former, produced
objects which may be legitimately described as fine art; that in
France, if we make allowance for, and accept a different standard of
taste and fashion, the most exquisitely dainty things were produced,
the period of Louis XV. being that of the highest development of the
art, with a steady decline from thence onwards.
During the first three decades of the nineteenth century the fan
languished. The storm and upheaval of the Revolution, the general
unrest caused by the Napoleonic wars, were among the chief contributing
causes, together with the fact that the great families had fled from
France, taking their fans with them. For the first fifteen years
of the century, there is little to record except a difference of
proportion. ‘Towards 1800,’ to quote M. Rondot, ‘the brins were only 6
or 7 centimetres to the gorge; towards 1813 this was increased to 8
centimetres, and to 19 centimetres in 1841.’
[Illustration: Wedding Fan, the gift of Queen Victoria, silk leaf.
H.R.H. Princess Henry of Battenberg.]
‘When the brisés returned into favour in 1804,’ continues this author,
‘the fan-makers employed leather, silver, copper, asses’ skin, and
cardboard. The blades were short, and were made by the cutters who
ornamented them; this was also the case with the fans of horn which
were fashionable towards 1829-30.’
Three examples are given of the earlier years of the century: the
first, from the collection of Miss Moss, formerly belonged to Miss
Charlotte Yonge the authoress, and is worked upon a foundation of net,
with cut and pierced steel decorations. The painted subject in the
centre represents a lady seated in a garden, and a boy with hoop and
dog; the stick of pierced ivory piqué with silver. An Italian example
almost identical with this, with the exception of the painted subject,
appears in the Museo Civico, Venice.
The fan of asses’ skin, from the same collection, is cut to a
perforated pattern, painted in the centre with a subject of birds and
flowers, the outside blades of ivory, the whole piqué with silver.
These _peau d’âne_ fans were used by _élégantes_ at balls, as tablets
upon which the names of partners for the dance were inscribed by means
of a leaden or silver pencil. The colour is a light slaty-grey; their
size averaged from 9 to 10 inches.
The fan which, by the courtesy of Mr. Leopold de Rothschild, we are
enabled to illustrate, is elaborately cut to fine perforations, and
painted with a large medallion in the centre representing a music
lesson, a number of smaller miniatures on the blades, with gilding.
In 1827 the fan was the provocative cause of the conquest of Algeria by
the French. A blow on the head of the French consul from the plumed fan
of Hussein Dey resulted in an apology being demanded and refused, with
the consequent declaration of war.
‘In the course of the year 1828,’ says M. Uzanne, ‘at the time of
representations of a comic opera entitled _Corisandre_, as the heat
was suffocating, the youthful dandies fainting languidly in their
boxes, it occurred to a Paris manufacturer to sell green paper fans
to the men, and the whole theatre was therefore furnished with them.
Fashion adopted this innovation of masculine fans, which received the
name of _Corisandres_, but this originality endured but a short time
in Paris, as also in Venice and the principal cities in Italy, where
men became familiar with the play of the fan;—the beaux abdicated the
sceptre of the woman, and resumed as before their Malacca canes.’
An amusing story is told of a near-sighted French writer, who, on
a sultry summer evening at the Opéra, was much incommoded by the
flip-flapping of the fans of two persons who sat immediately behind
him. Turning to the two delinquents, My dear ladies,’ said he, in
the politest of tones, ‘if you will kindly moderate the use of your
fans you will render me the happiest of men.’ Instead, however, of
the dulcet tones of a lady’s voice, a deep bass smote his ear, and he
found himself confronted with the black-bearded, furious, and reddened
visages of two lieutenants of the Guards. The _amende_ quickly followed.
It was the circumstance of a grand ball given at the Tuileries in 1829
that occasioned the renaissance of the fan. Madame la Duchesse de Berri
was organising a Louis XV. costume quadrille—fans of the period were
required to complete the _tout ensemble_, and none were available.
At length one of the guests recollected an old _parfumeur_ in the
Rue Caumartin, named Vanier, who had collected ancient fans: these
were conveyed to the palace, where, in the quadrille, they created
extraordinary interest—were eagerly purchased, and from this time
onward in the most exclusive circles, in spite of the fickleness of
that jade, Fashion, the fan has retained its hold upon the affections
of the fair.
The earliest result of this revival of taste for old fans was,
perhaps naturally, a general imitation of old models, and lifeless
reproductions of the fans of the Louis Quinze period were made.
[Illustration: Fan of Asses Skin, perforated & painted, silver
paillettes.
Miss Moss.]
[Illustration: Miss Charlotte Yonge’s Fan.
Miss Moss.]
It will readily be perceived that this way did not lead to artistic
salvation—that it served no good purpose to open up the graves of a
dead century and to disturb its poor ghosts. It is true that things
were changing for the worse, but there is a healthiness in the very
act and spirit of change, even though that change should represent a
temporary decline.
This is the epoch of which it will be said that men actually, by some
mysterious means, were deprived of what may for present purposes be
called their sixth sense, when, though their eyelids were unclosed,
they saw not, or only in a perverted manner; it is, nevertheless,
one of the curiosities of this most singular epoch that while the
general level of artistic attainment was so low, its pictured shadows
so dark, the prevailing gloom should be illuminated here and there
by lights more bright and intense than in the two preceding epochs.
In other words, while we fail to trace with any measure of certainty
any single instance, during the seventeenth and eighteenth centuries,
of an artist of the first calibre touching the fan, during the first
half of the century that succeeded, the fan may boast of such names
as Horace Vernet, Ingres, Isabey, and others only a little less
distinguished. These represent the welcome oasis in the dreary desert
of mediocrity—the limpid springs at which from time to time we may
pause for a few moments to refresh ourselves. Of the work of these
famous painters, an ‘Arab dance’ by Horace Vernet is recorded; as also
‘Diana and Endymion,’ the subject treated in the Etruscan style by
Ingres, who constantly in his pictures introduced fans, as witness the
portrait of Madame Devauçay, referred to in an earlier chapter, ‘The
Odalisque,’ and ‘The Harem.’ We have also, later, an ‘Allegory of the
Arts’ by Robert Fleury, a ‘Fête’ by Gérome, and fans by Diaz, Vibert,
Lami, Glaize, and Jacquemart.
‘The revolution of 1848,’ says M. Rondot, in his report on the 1851
Exhibition, ‘would have crushed the French fan industry if it had not
been for the orders for exportation. The production, which in Paris
amounted to the value of three million francs in 1847, was reduced
by half in the disastrous year that followed; of 565 workers of both
sexes 315 were thrown out of employment. At the time of writing’
(1854), continues this author, ‘the industry was in a very flourishing
condition.’ This prosperity has been maintained to the present day,
‘Paris being still the only city where a fan may command the price of a
hundred pounds.’[166]
The number of artists and workers employed in Paris and the Oise, says
M. Duvelleroy in his report on the Paris Exhibition of 1867, is 4000;
the annual value of the production being ten million francs, of which
three-fourths is for the foreign market. ‘Paris et la Chine ont seuls
le monopole du commerce des éventails, mais c’est aujourd’hui, en
Europe, une industrie toute française, pour laquelle le monde entier
est notre tributaire.’[167] The evidence of this exhibition, further
affirms this author, showed that France incontestably held the first
rank.
‘Spain, who for thirty years had tried to organise her industry, has
only arrived at the production of the commoner classes of fans. Italy,
who uses fans greatly, does not make them; Portugal being only the
third in the European market.’ The British record is correspondingly
poor. ‘In the Great Exhibition of 1851,’ says Lady Bristol, ‘there was
not one single fan of British manufacture exhibited,’[168] and so far
as painted fans are concerned, the statement made by Redgrave in his
notes to the Catalogue of the Fan Exhibition at South Kensington in
1870, ‘that there were no English fanmakers living except those who
made cheap and coarse fans, is substantially correct to-day.’[169]
[Illustration: Empire Fan, Ivory brisé, 10” x 5-7/8”.
Mr Leopold de Rothschild. C.V.O.]
[Illustration: Portuguese Fan, painted view, lacquered stick, c.1800.
Mr J.H. Etherington Smith.]
The evidence of the fans themselves bears out these statements. The
instance may be cited of an engraved fan in the Schreiber collection
(No. 69, Mounted Fans) recording Mr. Albert Smith’s ascent of Mont
Blanc in 1851, bearing the imprint of the French firm, ‘Leroux et
Cie., Fan’s Manufactr., 41 rue Notre Dame de Nazereth, Paris.’ This
obviously produced exclusively for the British market.
From Germany comes similar evidence of French pre-eminence; the wedding
fan of the Grand Duchess of Baden, exhibited at Karlsruhe in 1891, is
signed by a French artist, ‘A. Soldé, 1855,’ who produced a number
of fans, and is made by a well-known French maker, Frédéric Meyer of
Paris. This is painted with the subject of a sacrifice at the Altar
of Hymen, and portrait busts of the Grand Duke and Grand Duchess, the
initials F. and L., together with ‘Coblentz, 30 Sept. 1855,’ and is a
typical fan of the mid-nineteenth century.
Of the work of Soldé, a most excellent example, Le Bal d’Amours,
is given, graciously lent by H.R.H. Princess Louise, Duchess of
Argyll. The leaf is signed on both obverse and reverse, ‘A. Soldé,’
and inscribed, ‘Grand Bal donné sous le patronage de Madame.’ The
mother-of-pearl stick finely pierced and carved. This formed part of
the famous collection of Queen Victoria.
In 1859 an event occurred of the most fateful interest for the fan,
M. Alphonse Baude of Sainte-Geneviève (Oise) having invented his
system of cutting and carving the sticks _à jour_ by machinery! Let
us understand clearly what this means to us. Nature, ever bounteous,
provides us gratis, without any patent dues, with an instrument—the
human hand—the most exquisitely delicate and complicated machine known
to us; this instrument is directed by a force—the human mind—still more
subtle, if possible, in the delicacy of its operations. In place of
this, M. Alphonse Baude, in his wisdom, offers us his conglomeration of
wheels, axles, metal bolts, and screws! The intelligent fan-lover will
therefore note this date, and carefully examine any fan sticks made
subsequent to it.
Fans, however, have been made from time to time having reasonable
claims to the possession of artistic qualities. M. Rondot mentions
a fan carved in mother-of-pearl and signed by Camille Roqueplan for
Duvelleroy, that sold for 1000 francs. A Danish sculptor, M. S. G.
Schwartz of Copenhagen, exhibited at Paris in 1867 an ivory fan carved
with reliefs of the Seasons after Thorwaldsen; a most beautiful work.
Another brisé fan, finely pierced and carved, presented by the ladies
of Copenhagen to H.R.H. the Princess of Wales (Queen Alexandra) on
the occasion of her marriage in 1863, gives five circular medallions,
the centre having the initials A. A. surmounted by the crown, the
other four of classical subjects. Underneath, a processional group of
Apollo in his chariot, the Graces and the Muses; above, a border of
Cupids holding wreaths of flowers; the guards richly embossed in gold,
with foliage, flowers, etc., in high relief. The above instances, as
well as others that might be named, are exceptional; there can be no
possibility of doubt that while the leaves of fans, upon occasion, due
to the fact of artists of high calibre having essayed the fan, present
some advance, the work of the stick, during the whole of the nineteenth
century, exhibits a serious falling off from that of the preceding
epochs. This unsatisfactory state of things can only be remedied by a
general advance in public taste, by the creation of a demand for the
higher class fans, and by individual artists of approved skill turning
their attention to this class of work.
During the latter half of the nineteenth century, three prominent
éventaillistes of Paris, MM. Duvelleroy, Alexandre, and Aloys van de
Voorde, have made most strenuous efforts to revive interest in the
higher class of fans, and have exhibited work by such distinguished
painters as Gavarni, Colin, Hamon, Philippe, Rousseau, Karl Müller,
Diaz, Eugène Lami, Glaize, Compte-Calix, Couture, Corot, Wattier,
Soldé, Garnier, Mme de Girardin: and such well-known sculptors as
Jean Feuchère, Klagmann, Jacquemart, Riester, the brothers Fannière,
Eugène Berger, Bastard, Lanoy, Vaillant, and others.
[Illustration: Lace Mount presented by the Earl of Crewe to H.R.H.
Princess Mary on her marriage.
Youghal Co-operative Lace Society.]
[Illustration: An Entomologist painted by J.L. Hamon, stick by G.
Rembert.
The Countess Granville.]
Of the work of Gavarni we have unfortunately no example illustrated;
a fan by him appeared at South Kensington in 1870, exhibited by the
Comtesse de Nadaillac. Of other fans enlivened by his light and
humorous touch, two, says Blondel, have become famous: the first was
commissioned by Duvelleroy for Queen Victoria: the second, estimated
of perhaps greater value, formed part of the Empress Eugénie’s rich
collection. Mirecourt, in his biography of Gavarni, tells the following
anecdote. Upon an occasion of the contents of his fine portfolios being
praised, he cried, ‘_Allons donc!_ in drawing I have never done but one
thing passable; it is a fan for the Empress.’
Gavarni visited this country in 1847, but does not appear to have
recommended himself personally to his hosts. He may be counted
fortunate in the fact of his having, in spite of a certain spirit of
contradiction in his character, impressed the value of his work upon
his fellows during his lifetime. Great men, like angels, but too often
come upon us unawares, and it is only upon their leave-taking, or
after, that we become sensible of the loss of a gracious presence.
The delicate and refined art of Jean Louis Hamon was especially suited
to the fan. For a considerable period he was associated with the Royal
Porcelain works at Sèvres, producing a number of designs of that light
fanciful character with which we are familiar in his paintings. He
continued this style of composition, says M. Walther Fol, but applied
it to the decoration of fans, in which he excelled. ‘In every sovereign
court they were a coveted possession, and if he had desired to supply
all demands he could have produced nothing besides.’ The subjects of
these delicate fancies in almost every instance have reference to love
or marriage. There were Loves who shot arrows transfixing two hearts at
once; there was Love with outspread wings, seated upon the raised end
of a see-saw, while Hymen, crowned with flowers, held him on high by
his weight.
A dress fan made by Alexandre, and painted by Hamon with the subject
of ‘An Entomologist,’ and groups of flowers on either side by a
well-known flower painter, was presented to the Countess Granville by
the foreign commissioners of the Universal Exhibition, Paris, October
26, 1867. The stick is of ivory, carved by C. Rambert with dancing
Cupids and foliage, enriched with ormolu and jewelled turquoise. The
gift was accompanied by a graceful letter from Mr. (afterwards Sir
Henry) Cole, the British Commissioner, referring to the fan as a work
of fine art by ‘two distinguished French painters and one sculptor.’ It
is, however, more valuable as a souvenir of an interesting occasion,
and for the beautiful carving of the stick, than as a representative
example of Hamon’s work.
In 1862, J. L. Hamon journeyed to Rome, where he painted ‘L’Aurore,’
exhibited in Paris in the following year, and purchased by the Empress
Eugénie. He died in 1874 at the early age of fifty-three.
Wattier signed a number of fans, of which an exceedingly rich example,
an elaborate composition of nymphs and Cupids, is in the possession of
the Countess Granville. He was born at Lille in 1800, and died in 1868.
The fan leaf, ‘Le Cerf de St. Hubert,’ by Rosa Bonheur (born 1822,
died 1897), is dated 1896, and is consequently one of the latest
works of this illustrious painter, whose fame has become universal.
The legend of St. Hubert and his Christ vision, an unusual subject
with modern artists, though greatly favoured by the painters of the
Renaissance, engaged the attention of Rosa Bonheur as early as 1868,
when she produced a crayon study, similar in treatment to this fan
leaf, with the stag shown a little more in perspective, illustrated
in _Rosa Bonheur, sa Vie, son Œuvre_, Anna Klumpke, 1908. The stag
of the fan leaf, reversed however, presents many similarities to
the famous picture ‘Le Roi de la Forêt,’ painted in 1878, the same
studies probably being utilised for both works. The leaf is of silk,
the painting in transparent pigment, with very little body colour
introduced. It appeared at the Franco-British Exhibition in 1908, and
is in the possession of M. Georges Caïn, Musée Carnavalet, Paris, by
whose courtesy we are enabled to give the illustration. Another fan,
‘Trois Vachers,’ is referred to in the above-mentioned biography.
[Illustration: Le Cerf de St Hubert, by Rosa Bonheur.
M. Georges Caïn]
Claudius Popelin is an artist of the Napoleon III. epoch, who, in
addition to his work in enamel, produced a number of fans, examples
of which appear in the Musée des Arts Décoratifs, Paris. These are
mostly flowers and objects of natural history, drawn with considerable
skill. He was much befriended by the late Princess Mathilde (cousin
of Napoleon III.) who presented a fan of her own work to the Empress
Eugénie. In the same collection appear two fans by Ch. Chaplin, whose
graceful work in painting is well known here as on the Continent.
In the art library, Victoria and Albert Museum, is a small collection
of designs for fans, acquired from the Paris Exhibition of 1867,
and typical of the work done during the middle of the century; the
fans from these designs being made, in each instance, by Alexandre.
Amongst these is a silk leaf representing the four ages of Infancy,
Youth, Manhood, and Old Age, forming one group in a large cartouche,
occupying three-fourths of the entire space, extremely ably painted,
somewhat recalling the style of the French painter Flandrin; the colour
scheme being a monotone of mauve with gold embellishments, the panel
on a green ground with lightly designed ornaments, signed F. Fossey,
MDCCCLXIII. A group of Watteau figures dancing, cleverly touched on
a light buff silk mount, and a shepherd piping, with shepherdess and
Cupid, a circle of Cupids hovering round a tree, also in the Watteau
style, are examples of the lighter and daintier style of mount affected
by the French artists of this epoch; the last named signed by Madame
Callamatta.
Madame Bisschop, who also has a dainty touch, executed a number of
fans during the sixties and seventies, including the silver-wedding
fan of Mr. and Lady Charlotte Schreiber. This skin mount, now in the
Schreiber collection, British Museum, though it can scarcely lay claim
to the highest qualities, is, nevertheless, charming in idea and
pretty in colour; it represents a sylvan scene on the borders of a lake
upon which are two white swans, a delicate allusion to the bride and
bridegroom. In the centre, underneath a tree, is a Cupid turning over
the pages of a large book, inscribed ‘April 10, 1880, XXV.’ The subject
is enclosed within a cartouche of gold and flowers.
Once again, the Royal Fan, in its hour of need, finds a friend in
royalty, on this occasion the most powerful monarch in Europe, Queen
Victoria. In 1870, the period of perhaps the lowest ebb of the fan’s
fortunes in this country, at the initiative of this royal lady, an
exhibition was organised at the South Kensington Museum (now Victoria
and Albert), when a prize of £400 was offered by Her Majesty, and four
hundred and thirteen examples from the finest collections both here and
abroad were shown.
The great success of this exhibition, and the absorbing interest
displayed in it, naturally led to the organisation of others. Among
the measures adopted by the Worshipful Company of Fanmakers for the
purpose of reviving what was at one time ‘a flourishing industry in
this ancient city,’ a competitive exhibition of fans was held at
Drapers’ Hall in 1878, again under the protecting ægis of royalty
(H.R.H. Princess Louise, now Duchess of Argyll). Twelve hundred and
eighty-four fans, ancient and modern, were exhibited; gold, silver, and
bronze medals, and money prizes amounting in the aggregate to £172 were
awarded, the freedom of the Company being in most instances granted to
the prize-winners.
Eleven years later (1889) this experiment was repeated. In addition
to prizes offered by the Fanmakers’ Company, others were offered by
private individuals and public newspapers, and one hundred and six
works were entered for competition.
[Illustration: Fan mount by Claudius Popelin.
Musée des Arts Décoratifs, Paris.]
The _Queen_ newspaper, the donor of one of the prizes, commenting
on the exhibition, held at Drapers’ Hall during the month of May,
said: ‘Considered as a whole, the exhibition did not come up to our
expectations. The liberal prizes offered ought to have brought forward
finer and more original work in a branch of minor art which is to be
considered as the special province of lady artists,[170] and presents
so many opportunities for fanciful composition and refined taste in
arranging and grouping,’ etc.
In the following year, 1890, the Fanmakers’ Company decided to hold
their third competitive exhibition.
The _Daily Graphic_ of May 17 said: ‘The exhibition of fans organised
last year by the Company of Fanmakers gave so valuable an impetus to
English trade in this direction, that the Company very wisely and
patriotically decided to hold another this season.’
On this occasion no less a sum than £275 was placed at the disposal of
the Company, to be distributed as prizes for fans and fan designs, _the
exclusive work of British subjects_, the number of exhibits reaching
the very respectable total of six hundred.
In 1891 an important exhibition of ancient and modern fans was held
at Karlsruhe, under the patronage of the Grand Duke and Grand Duchess
of Baden, a sumptuous illustrated record of the exhibition being
issued, the text written by Professor Marc Rosenberg. Sixteen prizes
and forty-three diplomas of honour were offered for competition, in
which some of the foremost continental artists took part. Of these the
distinguished Austrian painter Hans Makart claims a leading place, and
may be included in the already long list of artists of the foremost
rank who have given their attention to fan painting. A design in
crayons and water-colour by him appeared at this exhibition, and is
now in the Royal Gallery at Berlin; a charming vision of a procession
of children crowding the whole field of the fan, suggesting the
impossibility of having too many. Professor Eugen
Klimsch of Frankfurt, the winner of one of the prizes, was represented
by ‘The Dance,’ a composition of figures in the style of Watteau, a
number of Cupids occupying the centre of the fan, which was priced
at the high figure of £500. Professor Hermann Götz, director of the
School of Arts and Crafts at Karlsruhe, showed an excellent classical
composition on paper, of the chariot of an orb or planet. Professor
Ferdinand Keller, of Karlsruhe, exhibited an apotheosis of the Emperor
William I., an excellent fan mount of a pretty Cupid on a cloud, with
a medallion portrait of the Empress and a large eagle. This in the
possession of Mr. J. G. Rosenberg, who also owns an extremely able
composition of a dance of bacchantes by Georg Papperitz.
There was also a powerful painting of the _plein air_ school, of a pier
with fishing-boats, ‘Bewegte See, Schwanenhaut,’ by Professor Gustav
Schönleber; and an excellent naturalistic painting on silk of parrots,
paroquets, etc., by Max Seliger of Berlin.
The above by no means exhausts the good things of this important
exhibition, in which was represented practically every phase of modern
art, and amply demonstrated the fact that the Germans, artists and
public alike, are much more alive to the importance of the fan, both as
affording an opportunity for artistic expression, and as an accessory
of costume, than we are in this country.
Upon occasion, the fan has led to unforeseen and undesired
consequences; a story is told of the eccentric King Ludwig of Bavaria,
the gallant and prodigal admirer of the dancer Lola Montés. At one
of the balls of his Court, a fair princess having inadvertently let
her fan fall to the ground, the monarch hastened to pick it up and to
restore it to the hands of the giddy beauty, when his forehead came in
sharp contact with that of another gentleman, no less desirous than
the king of paying homage to the fair. The shock was so great and so
violent that King Ludwig, stunned for the moment, soon afterwards
discovered growing on his forehead that enormous wen, so well known,
and as celebrated as it was unlucky.[171]
[Illustration: Autograph Fan.
Sir Lawrence Alma-Tadema. O.M., R.A.]
[Illustration: Autograph Fan Japanese.
Mr Frank Brangwyn A.R.A.]
Autograph and inscription fans, which have, during the last two or
three decades become popular with the few fortunate ladies who are
happy in the possession of a circle of artistic friends, are but a
revival of an old-world fashion. We have referred, early in this work,
to the custom of poetic inscription which prevailed in China during
the Liang dynasty, and to the love-sick lady Pan, of the Han dynasty,
who adopted this by way of giving expression to her unrequited love.
M. Achille Poussielgue, _Voyage en Chine de M. et Mme Bourboulon_,
says: ‘There are fans of two kinds, open and folding. The former are
made of a sheet of ivory or paper, and are used as autograph albums;
and it is upon the surface of these white fans that a Chinaman begs his
friend to leave a sentence, a drawing, or some characters, by way of
recalling the absent to his memory. These album fans, to which great or
noted men affix their seals, become of great value.’ ‘In the romance,
_Ping-chan-ling yen_, a eunuch attached to the Emperor’s household,
Lieou by name, begs Chân-Tai, the noble daughter of Chân-hien-jin,
to honour him by writing on a fan with her own fair hand. “My sole
desire,” he says, “is to possess a fan ornamented with your verses.”’
Some of these autograph fans from the Negroni collection were sold in
London about 1866, after the Chinese war, and are said to have reached
the extraordinary figure of £900 apiece.
In Japan, also, a charming device for the entertainment of the guests
at artistic social gatherings consisted in each member of the company
making little sketches expressive of some dainty fancy, or historic
incident, on fans. These were passed round, exchanged, and carried away
as souvenirs of a friendly and interesting occasion.
It was a happy inspiration of the late Lady Alma Tadema to revive
the autograph fan in the form of sign manuals of famous artists and
musicians.
The fan consists of twenty-six blades of plain wood on which appear the
signatures of such famous painters as Bastien-Lepage, Joseph Israels,
Du Maurier, Legros, accompanied in most instances by characteristic
sketches; and of such musical executants as Charles Hallé, with, in
several instances, the addition of a few bars of music. The sketches
are dated 1879.
The fan of Mrs. Arthur Lewis is a development of the same idea. This
has nineteen blades, and the space between the rounded edge and the
connecting ribbon is utilised for sketches by Orchardson, Colin Hunter,
Pettie, Millais, Leslie, Alma Tadema, Du Maurier, Phil Morris, Ansdell,
J. C. Hook, Frank Dicksee, Goodall, Herkomer, Fildes, Marks, Boughton,
and Adrian Stokes. The outer blades are ornamented by arabesques
enclosing the monogram of the owner, a laurel wreath, and painter’s
palettes. The dates recorded are 1880-84.
The popularity on the Continent of this form of autograph fan is
evidenced by the fact that three examples were shown at Karlsruhe
in 1891 from the collection of Herr Conrad Dreher of Munich. These
included the work of such well-known German artists as Ernst
Zimmermann, Franz Stuck, Lenbach, Holmberg, Löwith, Diez, Hermann
Kaulbach, and others.
At Karlsruhe, also, was shown an autograph fan belonging to the
Baroness Friederichsy, on which were the signatures of all the
diplomatists who attended the Berlin Congress. Countess Onola possesses
a similar fan, with the autographs of the royal family and the more
distinguished personages of the Berlin Court, including Prince Bismarck
and Count Moltke.
Mrs. Joachim-Gibson has a ‘Wagner’ fan, with printed portrait of the
master, views of the Wagner theatre and of Bayreuth, and, on the
reverse, autographs of famous Wagner singers.
[Illustration: Lace Fan, presented to H.M. Queen Alexandra for use on
Coronation day, 1902, by the Worshipful Company of Fan Makers.
Her Majesty the Queen.]
Among novelties or curiosities in fans is an example shown at the
Vienna Exhibition in 1873, in which each rib was a knife or a fork, or
a spoon, or a comb, or a pair of scissors, etc. Any single piece could
be removed for use without spoiling the _tout ensemble_.
In the exhibition of the Fanmakers’ Company at Drapers’ Hall in 1890,
a ‘butterfly fan’ appeared. Two large gauze wings, speckled and veined
to imitate a gigantic insect, form the fan, the body represented by the
handle; upon pressing a button or spring, the wings are set in motion,
and, by their fluttering, fan the bearer.
Mrs. Kendal, the famous actress, is also credited with a little
surprise, in the shape of a ‘dressing-case fan.’ This is a fan and
entire toilet-case in one, and affords its owner an opportunity
of beautifying herself on occasions when the ordinary means are
unattainable. The sticks are of silver, the leaf of black gauze, with
a black velvet mask, resembling those the Venetians carry at Carnival
time, set in the centre. Behind this mask, which permits the owner to
see everything, may be carried on all the toilet duties for which the
fan contains conveniences. Upon turning back one of the broad outer
sticks, a little mirror is revealed, and underneath the other is a
receptacle for hair-pins, scissors, glove-hook, etc. At the lower end
of the fan is a silver box containing a small powder-puff. This was
advertised some ten or fifteen years ago as manufactured by Messrs. W.
Thornhill and Co.
The employment of the ostrich feather for the folding-fan has been
revived during recent years, following an older custom. Many examples
occurring in old engravings and pictures may be cited; amongst them
the portrait group of the family of Jan Miense Molenaer, by Van Loon,
previously referred to, in which a lady holds a folding-fan of white
ostrich feathers. (See illustration, p. 196.)
In the sixteenth century, and for a long subsequent period, Venice
continued to be the principal emporium for supplying ostrich feathers
to Europe, and in no country were they more extensively used than in
England. At present England is the mart of the world for feathers;
foreign manufacturers, therefore, must perforce come here to make their
selections.
It is this latter circumstance, doubtless, together with the
universal popularity of the feather itself, which has occasioned
their revival—some of the handsomest fans made at present being of
that character. The æsthetic value of these fans, for the most part
depends, no doubt, from considerations of cost, upon the beauty of the
ostrich feather itself, the sticks being generally of plain ivory,
tortoise-shell, horn, or bone—thus justifying the criticism passed upon
one of the prize-winners at a competitive exhibition at Drapers’ Hall,
that it was to the _ostrich_ that the prize ought really to go. Under
no circumstances, however, could these folding-fans hope to vie with
the magnificent rigid fans of the Elizabethan era, the form of these
handles, apparently, offering better opportunities to the designer than
do the radiating sticks of the folding-fan. If we might have feathers
set in handles designed in the sumptuous manner of these early fans,
well and good; if we could have the sticks of the _folding-fans_ more
in keeping with the sumptuous nature of the feather, well also, though
not quite so good; but the ever-present question of cost must always
remain a determining factor.
The feathers of other birds have also been, and are at present,
employed for the purposes of the fan; in this connection the charming
Chinese fan at South Kensington of the feathers of the Argus pheasant
may be cited. (Illustrated facing p. 59.)
[Illustration: Woodcock Feather Fan composed of 6250 feathers supplied
by H.R.H. the Prince of Wales.
H.R.H. the Princess of Wales.]
The system of applied feather-work is referred to on a number of
occasions in this work, several illustrations being given, notably the
Chinese feather screens belonging to Mr. Crewdson, and the Queen Anne
screen of Mr. Messel. The practice was common during the latter half of
the eighteenth century, used both for fans and other purposes, and it
was a favourite pastime with Mrs. Montague, who refers to it in one of
her letters, dated 1785:—‘I am obliged to you for your kind attention
to my feather-work. The neck and breast feathers of the stubble
goose are very useful, and I wish your cook would save those of the
Michaelmas goose for us. Things homely and vulgar are sometimes more
useful than the elegant, and the feathers of the goose may be better
adapted to some occasions than the plumes of the Phœnix.’
Thus Cowper, _On Mrs. Montagu’s Feather Hangings_:
‘The Birds put off their ev’ry hue,
To dress a room for Montagu.’
Fashion has again, during recent years, adopted this system of feather
decoration for fans.
‘The latest craze of Viennese society,’ says the _New York Commercial_,
November 23, 1890, ‘is a passion for fans of mountain-cock feathers.
The last question the young Austrian belle asks her admirer before he
goes on a hunt is, “Won’t you try, please, to bag me a fine fan?” An
ideal fan of this kind must contain only feathers from birds brought
down by the most expert shots, and every feather must be the lone
representative of the giver’s skill; consequently, such a fan may
record the admiration and skill of sixty or seventy hunters. It is
not unusual to have cut in the ribs of the fans a brief account of
the circumstances under which the birds were shot. The German Empress
is said to have expressed a wish last summer for such a fan, and ever
since that time the young bloods of the Austrian Court, who have
already bagged fans for their own women, have been shooting right and
left for the Empress’s sake. The handle of the fan, now being completed
in Vienna, will be set with jewels in the Prussian colours.’
A more unique example of the spoils of sport is the fan which, by
the graciousness of H.R.H. the Princess of Wales, we are enabled to
illustrate here. In this, the blades are of red tortoise-shell, twenty
in number. The feather portion is composed of a series of tiny feathers
from the wing of the woodcock. These, 6520 in number, were supplied
by H.R.H. the Prince of Wales from the wings of 3260 woodcocks, there
being one only of these miniature feathers in each wing of the bird.
Each single feather is fixed with two stitches of thread and worked
upon a linen base, the back being formed of the ordinary feathers from
the breast and wings.
The fan was commenced on the 18th August 1900, and only completed on
the 28th October 1901. The lady who worked it was unable to apply
herself for more than an hour or so at a time, the work being so
excessively fine and tedious.
The manufacture of the fan was entrusted to Mr. Alfred Clark, of 33 New
Bond Street,[172] the work being carried out under his direction, and,
we believe, on a principle of his own.
M. Édouard Moreau signed a number of fans from 1860 onwards,
characterised by a charming delicacy of execution and elaboration
of detail. A representative example is given, which appeared in the
International Exhibition of 1862, and was purchased for the South
Kensington Museum. This, an ivory brisé, is painted with three
medallions of ‘The Tournament,’ ‘Before the Tournament,’ and ‘After the
Tournament.’ The fan was made by Alexandre, and bears very favourable
comparison with the best work of the eighteenth century. (Facing p. 87.)
A fan, also manufactured by Alexandre and painted by Moreau, was
exhibited in 1870 by Madame Maurice Richard (au Ministère des
Beaux-Arts, Paris). The vellum mount has for centre a medallion, with
the initials ‘H. R.’ (Hélène Richard) surmounted by two doves. On
either side are medallions with figures emblematic of Sculpture and
Music, Poetry and Painting, painted _en camaïeu_ on a gold ground by
Moreau. On the reverse, in a medallion, the Genius of the Arts awarding
wreaths to Sculpture, Architecture, Painting, Music, and Poetry. The
ivory stick, carved and pierced in the style of the sixteenth
century, is also painted by Moreau, with medallions of seraphs playing
musical instruments, and supporting emblems of the arts they represent;
the guards bearing the initials ‘H. R.’ in gold.
[Illustration: The Meet. by Charles Detaille.
M. J. Duvelleroy.]
Many fans bearing Moreau’s signature have mounts of lace, the ivory
stick being minutely painted with medallions of figure subjects near
the handle end, usually three subjects enclosed in an ornamental
setting. An excellent example is given from the collection at the
Victoria and Albert Museum. M. Duvelleroy (of Regent Street) also has
a fan arranged on similar lines; another, in the possession of Mr. G.
J. Rosenberg, was exhibited at Karlsruhe in 1891, both the last named
being made by Alexandre.
This leads us to the important subject of lace mounts. The use of this
delicate material for the fan, especially suited by its lightness and
daintiness, has been revived during recent years.
A lace fan having in the centre the word ‘Elena,’ surmounted by a royal
crown, was made at Burano and presented to Queen Elena of Italy on her
marriage in 1896. In Devonshire, also, lace mounts have been made; in
the Paris Exhibition of 1900 appeared a fan with a coat of arms in the
centre, in which Miss Trevelyan adapted an Italian design to the old
Honiton stitches, illustrated by Mrs. Bury Palliser in her work on Lace.
Fans have been, and are, a feature of the Youghal lace industry,
established by the sisterhood of the Presentation Convent, county Cork,
the oldest of the many that have sprung up under the fostering care
of the Irish nuns, and dating back to the dark times of 1847, when
famine decimated the rural population of the south and west of Ireland.
The designs are in each instance furnished by the sisters, who are
qualified under the Board of Education.
The Irish flat needle-point of Youghal, though doubtless derived in
the first instance from foreign sources, may be said to have developed
into a purely native art, capable of well holding its own against any
contemporary foreign work.
Fan leaves have been worked for many highly placed personages; the
example illustrated was presented by the Earl of Crewe to H.R.H.
the Princess Mary on her marriage, and is, perhaps, one of the most
successful in point of design and richness of effect. A wedding gift
to H.R.H. the Princess Maud of Wales has for centre the initial M.
surmounted by a crown.
A beautiful example, of the finest workmanship, was presented to H.M.
Queen Alexandra on the occasion of her first visit to Ireland after
the Coronation, in 1903, and has for centre the Irish harp, with the
appropriate inscription in Celtic half uncials, on a ribbon running
over the whole field of the fan:
‘I cool, I refresh, and I can keep secrets.’
Another fan was presented to H.R.H. the Princess Margaret of Connaught
as a wedding gift, and obtained a prize at an exhibition in Dublin
in 1897. The number of medals awarded by the various international
and other exhibitions testify to the universal appreciation of this
delicate industry, which has for some years past, with the full
consent of the nuns, been formed into a co-operative society, thus
enabling the workers to participate fully in the profits accruing
to the association. The thread is a linen one of various degrees of
fineness, from the strong No. 1 to the almost invisible No. 400, and
though so delicately wrought, it wears better than most other laces,
and can be cleaned repeatedly without suffering injury in texture or
appearance.[173]
[Illustration: Lace Fan, by Alexandre, stick ivory, carved by Brisevin,
& painted by Moreau. Victoria & Albert Museum.]
[Illustration: Lace Fan, worked by Mdme Minne Dausaert, stick ivory,
finely carved with cupids &c.
M. J. Duvelleroy.]
We are enabled, by the gracious permission of Her Majesty, to
illustrate the lace fan presented by the Worshipful Company of
Fan-makers to Queen Alexandra for use on Coronation Day, 1902.
This bears two crossed A’s surmounted by the royal crown. On the
panaches the royal monogram again appears surmounted by the crown.
Lace may be said to be the one single industry remaining comparatively
uninfluenced by the modern art movement, which is professedly a return
to the independent study of natural forms. We say _comparatively_
uninfluenced, since most praiseworthy, and, indeed, successful
attempts have been made both in this country and abroad to profit by
the abundant ornamental suggestion which Nature everywhere offers us.
The beautiful lace fan contributed by M. Duvelleroy suggests almost
infinite possibilities in the treatment of this charming material;
it is designed on a convention essentially modern; it is the art of
to-day, of the present moment, owing practically nothing to the past,
and representing that revolt against tradition, which, for good or for
ill, has come to be one of the most significant features of modern art.
Nor is this the only instance that might be cited. Excellent designs
for lace mounts, based upon natural forms, have from time to time been
made in our schools; in this connection may be mentioned the work of
Miss Lydia Hammett, of the Taunton School of Art, who has produced
charming fan mounts in Brussels and other lace in which bird and plant
life are happily treated, and with a proper and due sense of the
limitations imposed by the material.
Miss L. Oldroyd, also, has worked a number of charming lace mounts,
including one for a fan presented to Queen Victoria by the Worshipful
Company of Fanmakers on the occasion of the diamond jubilee.
On the Continent, among some of the most admirably reticent work,
a treatment more frankly unusual has been adopted, not without
successful results. In the article on ‘Der Moderne Fächer,’ in
the _Kunstgewerbe-blatt_ for September 1904, Frau M. Erler gives
several admirable examples from Vienna and elsewhere, together with
illustrations of her own work, consisting of a happy arrangement
of appliqué embroidery and network or gauze insertion, extremely
effective, and losing none of its value from the fact of its having
been obtained by simple means. We have festoons of flowers embroidered
on a light ground of gauze, with ornamental spaces of network
insertion; we have the mountain-ash arranged symmetrically, the leaves
painted red with embroidered outline; the ‘honesty’ treated as a broad
border, the outline embroidered; the rose treated as an all-over
pattern, the groundwork in artfully alternated lace and net.
At the time of writing, the news of Charles Conder’s death reaches us.
He was a man of singular gifts, a modern of the moderns, whose work,
though doubtless derived from that of a past age, would have been
impossible at any other epoch than our own. What Conder undoubtedly
possessed, and in a very high degree, was that subtle quality which
for lack of a better word we call _style_, a quality not easy of
definition, but readily _felt_. It would be difficult to say what style
_is_, it is far easier to say what it is _not_; it is not for example,
_design_; a man may possess considerable power of design without much
perception of style; it is not a sense of proportion, although this
comes nearer the mark; it is not originality either, since a man may be
very original indeed, and only prove himself ridiculous; it is rather,
a happy blending of these several elements, and some others also.
To this great gift of nature, since this quality in its highest form
cannot be acquired, Conder added practically nothing. It is with a
feeling akin to resentment that we find faculties so exceedingly rare
and so precious, allied to such a lamentable lack of training and art
education. It is indeed possible that, if his life had been prolonged,
these shortcomings would have been supplied, as Burne-Jones taught
himself the human figure after he became famous; but, after all,
criticism is perhaps somewhat ungracious where there is so much that
is admirable, and the utility of speculations as to the ‘might have
beens’ is extremely questionable.
[Illustration: The Red Fan. Conversations Galantes, painted on silk by
Charles Conder.
Mr. John Lane.]
The number of Conder fans existing in various collections must be
considerable. Mr. Lane has a dozen, or possibly more, of which perhaps
the finest is reproduced here. Silk is the material employed, to which
his method is especially suited. They appear to have been mounted
only in very rare instances, and are generally framed for purposes
of decoration. There is no reason why they should not be used—in
fact, there is every reason why they should, since suitability to a
prescribed purpose is one of the very first canons of good art. Mrs.
Lane has a blue fan, mounted, and in use.
The work of Frank Conder is obviously founded on that of Charles, with
which it presents many features in common. Among the several fans by
this artist illustrated in the winter number of the _Studio_, that
representing two young girls holding masks, with Cupids, and in the
background a river and bridge, is perhaps the most individual.
The many admirers of Mr. Brangwyn’s work, and they are legion, will
doubtless welcome the two characteristic examples given of fans by
his hand. In both instances, the colour scheme is a play upon blue,
somewhat similar to, and at the same time, necessarily, vastly
different from, the red fan of Mr. Conder. The motto of Danton the
Republican—‘de l’audace, et encore de l’audace, et toujours de
l’audace,’ ‘to dare, and again to dare, and always and evermore to
dare,’ would seem to be peculiarly fitting to the work of Mr. Brangwyn.
In the hands of a less gifted artist this would probably mean disaster;
in the instance of the original of the coloured illustration, a bold
gouache on silk, the result is one of almost overpowering brilliance.
The half-tone illustration represents a sketch on grey paper, and must
be considered merely as the first idea of a fan, to be materially
modified in the working out.
Mr. Brangwyn has, among his multifarious activities, found time to
produce quite a number of fans and designs for fans, which have found
their way into various hands. In the _Studio_ winter number for 1901-2
appeared a coloured illustration—a rich composition of young girls
gathering roses—also painted on silk. In the article on ‘Der Moderne
Fächer,’ in _Kunstgewerbe-blatt_ for September 1904, by Frau Margaret
Erler of Berlin, previously alluded to, appeared the first sketch for
this _Studio_ fan, vigorously drawn in chalk.
It is impossible at the present stage of a career having in the
natural order of things so much before it, and in the face of such
superabundant energy, to form any definite idea of the ultimate
outcome of Mr. Brangwyn’s art; of his present accomplishment, his
etched work, which ranks amongst the most remarkable produced during
recent periods, seems likely, in the opinion of the present writer, to
earn for him the most enduring fame. If we might conceive etched or
engraved fans becoming again popular in the twentieth, as they were
in the eighteenth century, it might be an interesting speculation as
to how Mr. Brangwyn would treat an etched fan. The material of zinc,
which he so much affects, and in which he has discovered such great
possibilities, would, doubtless, be unsuitable for such a delicate
object; nevertheless, we can imagine some rapid and characteristic
note on copper, the print further enlivened here and there by a touch
of colour, as a suitable thing to be fluttered in the hand of the
fair. Such work would provide, in these days of lack of patronage,
other artists also with a means of augmenting their too often, it is
to be feared, but slender incomes, since there would be an additional
incentive to purchase a print that might be applied to a definite
purpose, or made the occasion of some graceful offering.
Mr. H. Granville Fell, whose Court of Love, a composition in the
shape of a reversed heart, with Cupid enthroned in the centre, was
illustrated in the _Studio_ winter number above referred to, is another
instance of an English present-day artist who has essayed fan painting
or designing.
[Illustration: The Blue Fan, silk, by Frank Brangwyn, A.R.A.
by permission of the Artist.]
Miss Jessie King, whose charmingly original style is admirably suited
to the fan, was also represented in the same publication. The beautiful
fan graciously lent for reproduction by H.R.H. Princess Henry of
Battenberg, the wedding gift of Queen Victoria, is entirely of English
workmanship, designed and painted by a lady student of the Training
School at South Kensington.
‘What style of ornament is most suitable for the fan?’ asks Charles
Blanc, who draws attention to the fact of the pleats breaking up or
distorting the design or picture. Our author suggests as a possible
way out of this difficulty ‘that each pleat or fold should have a
separate subject, or, at least, that the subject be so arranged that
the pleats have relation to each other, as, a Watteau harlequin kissing
his hand to a columbine, a Leander quarrelling with Isabelle, these
being placed on blades that in refolding would reunite the lovers and
reconcile the disputants. But to develop a graceful subject on a series
of projecting and retreating angles, all more or less acute, would be
a waste of labour. Is it not better to use in these cases a different
or a radiating ornament? Is it not better to scatter over a fan a
charmingly discordant arrangement of pictures and colours, or even to
place isolated subjects between the folds, in order that elegant women,
in manipulating their fans, may have twenty opportunities of showing
in each fancy group the artist’s talent, and at the same time, of
displaying some special charm of their own—a pretty hand, a well-turned
arm, or beautiful eyes?’[174]
Our author has drawn attention, in his light and charming way, to a
difficulty which is practically insuperable; there is nothing new in
this suggestion of decorating each pleat with a separate subject, or
of a consecutive series of subjects. Many instances of its application
might be cited; some are given in this work, notably the Italian fan of
mica, in which subdivision is carried to its utmost limit. But we must
not take our author _too_ seriously, and although his suggested fan,
if carried out, would be a most exquisite experience, especially if
drawn with the power of a Gavarni, or designed with the skill of a
Sambourne or a Caran d’Ache, the opportunity afforded to the painter by
the full space of the mount far outweighs any slight disturbance of the
design caused by the pleating; moreover, is it not a fact that silk,
the material most favoured by modern artists, which, when prepared with
rice size and stretched, offers as suitable a material as could be
desired for the free play of the brush, opens out to practically a flat
surface?
George Augustus Sala has referred to the fan painted by Sir Matthew
Digby Wyatt with the subject of the ‘Triumph of Love,’ as marking
the period of the English revival of fan painting, and as a striking
exemplification of the folly of assuming that a great artist derogates
from the dignity of his calling by painting fans. He may stoop, indeed,
says this author felicitously, but it will be to conquer!
Our task is at length completed; we have endeavoured to trace to its
source in the dimmest past the chequered history of this little toy,
once the pride and the glory of kings, and now the plaything of queens.
We trust we have shown that, in the words of Sir George Birdwood, there
is perhaps more in a fan than was dreamt of in Johnson’s matter-of-fact
definition:—‘An instrument used by ladies to move the air and cool
themselves.’
What, then, of the future? May we reasonably look forward in this
twentieth century for a renaissance of the fan; for a re-attainment, if
not of its past spiritual significance, at least of something of its
artistic possibilities?
[Illustration: Sketch Design for Fan,
by Frank Brangwyn, A.R.A.]
[Illustration: A Garland of Children,
by G. Woolliscroft Rhead.]
The future is full of hope; we have turned our backs upon the bad
old nineteenth century, with its manifold outrages upon the æsthetic
sense; the foundations, at any rate, of a living art have begun to be
laid—were begun, as a matter of fact, by this same nineteenth century,
following that strange natural order of the outcome of good from evil
and the apparent inseparability of both; a new Phœnix has arisen out
of the ashes of the old; a new era has come, showing everywhere signs
of a revived artistic life, with plenty of capable heads to invent
and willing hands to carry out. Mesdames, it is with your charming
selves that the issue rests. You have but to utter the word and your
sceptre shall again become a wonder of wreathed beauty and woven grace,
rivalling in its blossoming the golden-flowered sceptres of eld![175]
[Illustration: FROM A CHINESE LACQUERED SCREEN. (Victoria and Albert
Museum.)]
FOOTNOTES:
[1] Gay, _The Fan_.
[2] _Adventures of Harry Richmond_ (the italics are ours).
[3] _Tatler_, No. 52, Aug. 9, 1709.
[4] Goldoni in his _Mémoires_ gives an account of ‘The Fan.’ It was
written and first brought out in Paris, and soon became universally
popular, especially in Venice.—Helen Zimmern, _Masterpieces of Foreign
Authors_.
[5] M. A. Flory, _A Book about Fans_.
[6] Letter of Mrs. Scott, 1761, to her sister-in-law, Mrs.
Robinson.—Dr. Doran, _A Lady of the Last Century_ (Mrs. Elizabeth
Montagu).
[7] In an engraving of an English Noblewoman by Gaspar Rutz, 1581, a
long-handled feather-fan appears.
[8] The fan here referred to was chiefly used inside the Courts as
punkah, to create a little circulation of the air, and to dissipate the
horrible odours for which these places were notorious.
[9] This assertion that the handles of fans were occasionally employed
in the castigation of refractory children is borne out by the droll
story of Sir Thomas More punishing his daughters with a fan of
peacock’s feathers for the offence of running him into debt with the
milliner.
[10] Layard, _Nineveh_.
[11] Wilkinson, _Manners and Customs of the Ancient Egyptians_.
[12] Thus Agamemnon in _Troilus and Cressida_, Act I. Scene iii.:
‘in the wind and tempest of her frown,
Distinction, with a broad and powerful fan,
Puffing at all, winnows the light away;
And what hath mass, or matter, by itself
Lies, rich in virtue, and unmingled.’
[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.
[73] ‘But yet I have them in great reverence
And honour, saving them from filth and ordure
By often brusshyng and moche dylygence.’
[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:
‘Ardorem extincta testantur vivere flamma.’
[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.
[107] ... ‘Courant de belle en belle,
Sous des lambris dorés et Vernis par Martin.’
[108] ‘Les cabinets où Martin
A surpassé l’art de la Chine.’—VOLTAIRE.
[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:
‘The modest fan was lifted up no more,
And virgins smiled at what they blushed before.’
[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.
[147] Of the two hundred engravings deposited in the Bibliothèque
Nationale in this year (1796) a hundred and fourteen were fan-designs
mostly in praise of Napoleon. (Henri Bouchot, _History on Fans_.)
[148] Chaudet was a sculptor who made the first statue of Napoleon in
his military dress, that on the Vendôme Column. Fontaine and Persier
were architects to the Tuileries.
[149] Lord Stanhope, alluding to the medals prematurely struck in
honour of Admiral Vernon’s victories at Portobello and Carthagena,
says: ‘Perhaps the most remarkable of all these _médailles prématurées_
is that struck by Napoleon for his intended conquest of England; his
head on the one side; on the other, Hercules struggling with a monster;
the words “Descente en Angleterre”; and beneath, “Frappé à Londres,
MDCCCIV.”’—_History of England_, chap. xxii.
[150] _Encyclopædia Britannica._
[151] A company obtained a concession ratified 15th April 1877. The
Maritime Canal Company was organised May 1899, and in the following
year a construction company was incorporated. The question whether the
canal would be constructed by this route or on the Panama route was
still undecided in September 1902.—_Encyclopædia Britannica._
[152] ‘Hogarth,’ says Walpole, ‘resembles Butler; but his subjects are
more universal, and amidst all his pleasantry, he observes the true end
of comedy—reformation. There is always a moral to his pictures.’
[153] A synopsis of English History, given on a fan, published 1793
by I. Cock and J. P. Crowder, concludes by saying: ‘We may with
pleasure add that one of the Princes, His Majesty’s 2^d son, the
Duke of York, has lately gained honour for the English Nation by the
eminent distinction of the British Troops under his command before
Valenciennes, in the humanity they joined to their valour. Vive, Vive
le Roi!’
[154] M. Gamble had advertised in the _Craftsman_ during the year 1733
‘The Church of England Fan; being an explanation of the Oxford Almanac
for the year 1733, on which the several characters are curiously done,
in various beautiful colours. Price 2s. Likewise a new Edition of the
“Harlot’s Progress in Fans,” with prints of all the three sorts fit to
Frame. Sold at the Golden Fann in St. Martin’s Court, near Leicester
Fields.’
[155] In Boswell’s _Johnson_ are references to Osborne—to the purchase
of the Harleian Library and the publication of the Catalogue, and to
the personal chastisement which Johnson inflicted on him:—‘It has been
confidently related, with many embellishments, that Johnson one day
knocked Osborne down in his shop, with a folio, and put his foot upon
his neck. The simple truth I had from Johnson himself: “Sir, he was
impertinent to me and I beat him. But it was not in his shop; it was in
my own chamber.”’
In Johnson’s _Life of Pope_, Osborne is thus referred to:—‘Pope was
ignorant enough of his own interest to make another change, and
introduced Osborne contending for the prize among the booksellers.’
(_Dunciad_, ii. p. 167.)
‘Osborne was a man entirely destitute of shame, without sense of any
disgrace but that of poverty.’ (_Johnson’s Works_, viii. p. 302.)
[156] This latter is a device by which the second dimension of the
stick (the gorge) is made to slide up into the shoulder, the mount
being double and loose, so as to allow of passing up and down the
stick. By this means, an ordinary sized fan of 10-3/4 ins. is reduced
to 6-3/4. Mr. Crewdson has an example, with paper mount painted
with figures variously occupied, as a soldier drinking at a tent, a
travelling ‘Punch,’ etc. The stick ivory, carved, painted and gilt.
[157] ‘The Fair was granted by Henry I. to one Rahere, a witty and
pleasant gentleman of his Court, in aid, and for the support of, an
Hospital, Priory, and Church, dedicated to St. Bartholomew, which he
built in repentance of his former profligacy and folly. The succeeding
Priors claimed by certain Charters to have a Fair every year, viz. on
the Eve, Day, and the Morrow of St. Bartholomew.’
[158] The Beau always carried a white beaver hat, assumed after he had
lost many of ordinary colours, as he said, to prevent any person taking
it by mistake, though the uncharitable declared the reason for this
singularity was to attract attention. Nash was fond of fine clothes,
and celebrated the King’s Birthday in 1734 by appearing in gold-laced
clothes, in which, says Chesterfield, ‘he looked so fine that, standing
by chance in the middle of the dancers, he was taken by many at a
distance for a gilt garland. (Lewis Melville, _Bath under Beau Nash_.)
[159] Daughter of George II., who paid her first visit to Bath in 1728.
‘Ye nymphs of Bath, come, aid my lay;
Come strike the trembling string;
Amelia’s name so sweetly flows,
Her face and wondrous goodness shows,
Who can refuse to sing.
‘Her presence, like the sun benign,
Sheds blessing, where she deigns to shine:
And brightens all the place;
But, when the Goddess disappears,
Our drooping heads and eyes in tears
Will witness our distress.’
Quoted by Lewis Melville, _Bath under Beau Nash_.
[160]
‘Poor _Bladud_, he was manger grown; his dad, which zum call vather,
Zet _Bladud_ pig, and pig _Bladud_, and zo they ved together.
Then _Bladud_ did the Pigs invect, who, grumbling, ran away,
And vound whot Waters presently, which made him fresh and gay.
_Bladud_ was not so grote a Vool, but seeing what Pig did doe,
He Beath’d and Wash’t, and Rins’d, and Beath’d, from Noddle down
to Toe.
* * * * *
And then he built this gawdy Toun, and sheer’d his Beard spade-ways,
Which voke accounted then a Grace, though not so nowadays.
Thwo thowsand and vive hundred Years, and Thirty-vive to That,
Zince _Bladud’s_ Zwine did looze their Greaze, which we _Moderns_
call Vat.’
CORYATE, _Crudities_.
[161] Goldsmith, _Life of Nash_.
[162] In memory of the happy restoration to Health of the Prince of
Orange, by drinking the Bath Waters, through the favour of God, and to
the joy of Britain, 1734.
[163] The painted fan alluding to the relations between the Prince of
Wales and Mrs. Fitzherbert is referred to on page 195.
[164] In 1726, when Swift took the town by storm with ‘Gulliver,’ every
lady ‘carried Lilliput about with her,’ and Lilliputian fans became the
vogue.
[165] ‘Mr. A. W. Tuer, in a list of Bartolozzi’s works (page 116),
catalogues eighteen fan-mounts, including the one published by A.
Poggi in 1780, but not the one published by Poggi in 1782. Only four,
so far as he knows, were completed as fans, including the 1780 Poggi.
The coppers on which the engravings were made were of large size, so
as to admit of the after addition of the form of the fan, and its
ornamentation. Some of the plates were afterwards cut down, lettered,
and issued as separate prints.’ (Letter of Mr. Lionel Cust to Lady
Charlotte Schreiber, Schreiber MSS., British Museum.)
[166] Redgrave, _South Kensington Catalogue_, 1870.
[167] Duvelleroy, _Exposition Universelle, Paris, 1867, Rapports du
Jury International_, vol. iv.
[168] _Queen_, Christmas Number, 1890.
[169] E. Barrington Nash, _Catalogue of the Third Competitive
Exhibition of Fans at Drapers’ Hall_, 1890.
[170] There is no reason why either sex should claim a monopoly of fan
painting.
[171] Octave Uzanne, _The Fan_.
[172] These details are most kindly supplied by the Private Secretary,
the Hon. A. Nelson Hood, who also photographed the fan for this work.
[173] The above facts are taken from an article in the _Irish Rosary_
for June 1898.
[174] _Art and Ornament in Dress._
[175] The Etruscan sceptre in the gold ornament room, British Museum,
has the top formed like a flower, the petals of beaten gold, the inner
core a large emerald.
INDEX
ABANICO DI NOVIA, 99.
Abano, Portuguese fire-fan, 12, 13.
‘Abolition of the Slave-Trade,’ 226.
‘Achilles and Deidamia,’ 180.
Actæon fan, 146.
‘Adam and Eve in the Garden of Eden,’ 194.
Addison, _quotation_, 189.
Ælian. Festival of Apollo at Lencos, 24.
Ajanta, cave-temples, 41.
Akbar-Namah, 45.
Akomé ogi, 63, 64.
Albin, St. M. Philippe de, 223.
Alexander VI., Pope, 107.
Alexandra, H.M. Queen, 195, 278, 292, 293.
Alexandre, M., 278, 279, 281, 290, 291.
Alma-Tadema, Lady, 285.
—— Sir L., 202.
Alum, 36, note, 37.
Amaravati tope, 41.
‘Ancient Marriage,’ 180.
Andaman Islands, 85.
Anderson, Dr., _quotation_, 48, note, 68.
André, Eugène, 55.
Angelo, Michael, 115.
Anne, H.R.H. Princess, 180.
—— Queen, screen of, 288.
Antoinette, Marie-, 117, 132, 159, 166, 167, 168, 169, 213, 225.
‘Antony and Cleopatra,’ 198.
Apostolical Constitutions, 87.
Araki, 73.
_Archæological Association, Journal of_, 93, note.
_Archæological Journal_, 93, note.
Arevalo, Cano de, 127, 128.
Arhats, 62.
Aristophanes, 36.
Aristotle, 118.
‘Ascent of Mont Blanc,’ 276.
Assignat-fans, 223, 224, 227.
Assur-bani-pal, 20, 21, 22.
Assyrian plaited hand-fan, 25.
‘Athenian Stuart,’ 185.
Atsumori, 72, note, 73.
Atterbury, Dr., Bishop of Rochester, epigram 187.
Aubery, MS., prodigious fans, _temp._ Henry VIII., 8.
Audsley, G. Ashdown, 57, note.
Augustine, St., 96.
‘Aurora,’ by Guido, 123.
‘Aurora and Zephyr,’ 132.
Autograph and inscription fans, 58, 59, 68, 69, 285.
‘Autumn’ fan, 59.
Baal, 22.
Baalbek, 23.
Baal-Shemeh, 23.
Bacchus, mystical fan of, 11.
—— and Ariadne, fans of, 122, 123, 124.
Baden, Grand Duke Frederick of, 99.
—— Grand Duchess of, wedding fan, 277.
Badini, Charles Francis, 254.
Baird, H. M., _quotation_, 181.
‘Bal d’Amours,’ 277.
‘Bal des Nations,’ 210.
Bald, Charles the, 98.
Ball at the Tuileries, 1829, 274.
Balloon-fan, 214.
Balzac, Guez de, 26, 144, 168.
Bamboo-fan, 50, 55, 62, 74, 75.
Barclay, _Ship of Fools_, 94.
Barnwell, Cambridge, 98.
Bartholomäus, Frau, 136.
Bartolozzi, 193, 268.
Bastard, 278.
Bat Bu’u, 52.
Battoir fan, 163.
Baude, Alphonse, 277.
Beaumarchais, 213, 215.
Beaussier, Countess de, 152.
‘Before and after Marriage,’ 264.
Behrens, W. L., 70.
Bella, Stefano della, 205.
‘Belle Chanteuse,’ 208.
Bellows or fire fans, 10, 11, 12, and note, 13, 80;
Queen Mary, 102.
Benin, 83.
Berger, Eugène, 278.
Berlin Museum, 98, 269.
Berrettini (Pietro da Cortona), 122.
Berri, Madame la Duchesse de, 274.
Bessborough, Lord, 124.
‘Betrothal of Louis XV. and Marie Leczinska,’ 161.
‘Betrothal of Louis XVI. and Marie-Antoinette,’ 132.
Bèze, Théodore de, 207.
Binyon, Laurence, 73.
Birdwood, Miss Ethel, 170.
—— Sir George, 15, note, 21, 24, _quotation_, 35, 36, note, 107, 170,
298.
Bischoffsheim, Mrs., 163.
Bisschop, Madame, 281.
Blanc, Charles, 3, 121, 297.
Blauchard, M., 214.
Blondel:—Greek figures, 29;
Peru and Mexico, 84;
Middle Ages, 94;
flag-fan, 99, 100, 136;
agricultural fêtes, 171;
lorgnettes, 173;
_quotation_, 279.
Boileau, Étienne, 94.
Boissy, Louis de, _quotation_, 9.
Bonheur, Rosa, 280.
Bosse, Abraham, 148, 150, 151, 152, 204, 207.
Boucher, 142.
Bouchot, Henri, 165, note, 207, 225, 227, 228.
Bradford, Countess of, 167.
Brangwyn, Frank, A.R.A., 295, 296.
Brantôme, 101, 102, note, 144, 145, 166.
Brétigny seal of Edward III., 110.
Bridal-fan of Adelaide of Savoy, Duchess of Burgundy, 158.
—— of Marie-Antoinette, 166, 167.
—— of H.R.H. Princess Anne, 190.
Brisé fan, its construction and decoration, 119;
period of, 119;
modern, 278;
exhibitions of, 282, 283.
Bristol, Dowager Marchioness of, 123, 125, 132, 153, 161, 165, 194,
197, 198, 276.
British Guiana, 80.
—— Museum, 48, 50, 51, 58, 61, 62, 63, 72, 76,80, 82, 83, 84, 85, 91,
93, 205, 232.
‘Broken’ Chinese fan, 58.
Bruyère, Madame la, 169.
Bruÿn, A. de, 111, 112, 196, 197.
Buddha, Gautama, 34; Gaya, 34.
Buddhist priests, Siam, 42.
Bulrushes, 50.
Burdett-Coutts, Baroness, 191, 259.
—— W., 56, 117, 125, 247.
Burges, W., 95, note, 96, 97.
Burma, monastic novitiate of, 6; King of, 34.
Burmese regalia, 43.
Burty, Ph., 71.
Bushell, S. W., 21, 56, note, 69, note.
Butler, 87, 89.
Cabinet de Médailles, Paris, 99.
‘Cabriolet’ fan, 164, 226, 227.
Caïn, Georges, 281.
Caligraphic School, Japan, 62.
Caligraphy, 69, note.
Callamatta, Madame, 281.
Callot Jacques, 204, 207.
Cambridge, Augusta, Duchess of, 166.
Camp-fan (jin sen), 73.
Campbell’s _London Tradesman_, 1747, _quotation_, 179.
Canal, Antonio (Canaletto), 125, 191, 258.
Canning, Lady, 133.
‘Capture of the Balearic Islands,’ 129.
Carlos III., King of Spain, 1759, 129, 130.
Carlyle, Thomas, 215, 218.
Carracci, Agostino, 105, 180, 204.
—— Annibale, 122, 123.
Carrand collection, 90.
‘Carrousel at Madrid,’ 129.
Case or cover of a fan, 21, 22.
Ceremonial fan, 82, 89.
‘Cerf de St. Hubert,’ 280.
Chamba, 44.
Chamberlain, Basil, 72, 75.
Chambers, _Dictionary of Arts and Sciences_, 25, note.
Chambrun, Comtesse de, 165.
Chapel-fan, 251.
Chapt, Madame la Baronne de, _Œuvres Philosophiques_, 3.
Chardin, M., 123.
—— _Voyages_, 35.
Charles V., 99.
Charles, Prof., 213.
Charlotte, Queen, management of fan, 7.
Château de Pierre, excavation at the, 108.
Chaudet, 229.
Chaurie, 38, 39.
Chesterfield, Lord, 259, note.
Child, Josiah, 164.
Children’s fans, exhibition of, 125.
Chinese feather-screens, 288.
Chodowiecki, D., 245, 269.
Chrism, consecrations of, 88.
Chrysostom, St., 88, note.
Chūkei, 65.
Church-fan, 193, 248, 249, 250, 251.
Cipriani, 193, 268.
Clark, J. W., 98, note.
Cleopatra, 19.
Climenson, E. J., _quotation_, 190.
Clouet, François, 138.
Cluny, Musée de, 91, 114, 146.
Coburg, H.R.H. Duke of, 198.
Cochin, Nicolas, 205.
Cockade fan, 83, 100.
Code of the fan (Japan), 65.
Cole, Sir Henry, 280.
Colombia, Republic of, bellows fan, 12.
Columbus Christopher, expedition to America, 107.
Compte-Calix, 278.
Conder, Charles, 294, 295.
—— Frank, 295.
—— Josiah, 64, note.
Connaught, H.R.H. Princess Margaret of, 292.
Consort, Prince, 203.
Conversation or speaking fan, 253.
Coomaraswarmy, A. K., 37, note, 43.
Copts, 41.
‘Coquette, La,’ 208, 209.
Corisandres, 274.
Coronation fan of H.M. Queen Alexandra, 293.
—— banquet of George II., 232.
Corot, 278.
Cortona, Pietro da, 122.
Coryat, Thomas, 112.
Cosway, 195.
Court-fan, 63, 64.
‘Court of Love,’ 296.
Courtesans, 53.
‘Courtship and Marriage of the Dauphin,’ 162, 166.
Cousin, Jean, 138.
Couture, 278.
Cover or case of a fan, 21, 22.
Coverley, Sir Roger de, 187.
Cowper, 289.
Coypel, Antoine, 153.
Craven, Dowager Duchess of, 132.
Cray, Madame du, 169.
Crépy, 208.
Crescent-shaped hand-fan, 40.
Crests, fan-, 110.
Crewdson, Wilson, 50, 64, 255, 288.
Cruikshank, 246.
Crusaders, 25, 100.
Cullam, Sir John, Bart., 103, note.
Cumming, C. F. Gordon, 35, note.
‘Cupid’s Hive,’ 125.
Curiosities in fans, 286, 287.
Cust, Lionel, 193, note, 268.
Cyrenians, sacrifices to fly-catching god, 23.
Dagger-fan, 58.
Dahl, Michael, 153.
Dai Tengu, 60, 61.
D’Albuquerque, Alphonso, 107.
D’Alembert, 153.
Dance-fan, 73, 82.
Dancing-fan (mai ogi), 62, 73.
D’Arblay, Madame, _letter_, 7-8, 192.
Date of a fan, important consideration in determining, 149.
Davenant, Sir W., 101.
Davis, Sir John Francis, 107.
Découpé fan, 114, 146, 178.
Delhi, 42.
Derivation of the word _fan_, 10.
Derri, Nubia, Temple of, 15.
‘Descente en Angleterre, 1803,’ 229.
‘Désespoir des Pensionnaires,’ 222.
Desroches, Mlle., 114, 115.
Devauçay, Madame, 174.
Devonshire, Georgiana, Duchess of, 195.
D’Hautefort, Mlle., 105.
Diamonds, in handles, 103.
Diaz, 275, 278.
Dilke, Lady, 139, note.
Disc standards, Assyrian, 25, 37.
Disraeli, Benjamin, _Contarini Fleming_, 4, 135.
Disvāta, 37.
Dobson, Austin, 239.
Doran, Dr., 7, note.
Doré, Madame, 144.
‘Double-entente,’ Chinese, 58.
Double or reversible fan, 120, 121.
Drake, Sir Francis, 103.
Drapers’ Hall Exhibition, 1878, 122.
Drawings of fans by Poggi, 193.
Dreher, Conrad, 286.
‘Droits de l’Homme, Les,’ 221.
Dryden, John, 163.
Duchâtel, Countess, 159.
Duck-foot or Ferrara fan, 107.
‘Duck-Hunting,’ 252, 253.
Dugdale, 92, note.
Dumoutier, G., 52, note.
Duncannon, Lady, 124.
Dutch painted fans, 196;
early use, 197;
painted mounts, 197;
historical and fanciful subjects, 198;
treatment of the mount, 198;
French, Italian, and Chinese influences on the treatment
of the mount, 198;
Flemish, 199;
varnish, 200;
ivory brisé, 200;
horn, 201;
small decorated spangled, 201;
sticks, 202.
‘Dutch Settlements in the East Indies,’ 197.
Duvelleroy, M., 121, 124, 137, 276, 278, 279, 291, 293.
Dyonisia, 11.
Early history of fan, Japan, 60.
East India Company, 176.
Edward III., Brétigny seal of, 110.
Egerton, Hon. Wilbraham, 37, note.
Egyptian fan, plaited hand, 13;
processional 14, 15, 16, 17;
semicircular hand, 13, 14;
square, 19.
Eleanor, Queen, 102.
‘Eleanora d’Este,’ 113.
Elena, Queen of Italy, 291.
Elizabeth, Queen, 102, 178.
Emblem, fan, 17, 18, 39.
Embroidered Dutch fans, 199.
Employment of fans in religious ceremonies, 15, 20, 27, 52, 87-94.
Enamel, 55, 56.
Énault, Louis, 136.
Engraved fans of the seventeenth and eighteenth centuries, French—
Earliest, 204.
Classical, 206.
Topical, 207.
Naval and military, 207.
Separation of America from England, 212.
Capture of Granada, 212.
Louis Seize, 212.
Birth of the Dauphin, 212.
Professor Charles’s balloon, 214.
Beaumarchais’ comedy, _Le Mariage de Figaro_, 216.
Operatic, 216.
The Revolution, 219.
Mirabeau, 223.
Paper-money difficulties, 223, 224, 227.
Abolition of the Slave-Trade, 226.
Cabriolet, 227.
Napoleon Bonaparte, 228, 229.
Russian campaign of 1812, 230.
Nicaragua Canal, 230.
Engraved fans of the seventeenth and eighteenth centuries, English—
Coronation of George II., 232.
_Beggar’s Opera_, 233.
Marriage of the Crown Princess with Prince of Orange, 234.
William Hogarth, 238.
Victories of Admiral Vernon, 240, 241.
The unpopular Prime Minister, 241.
Jacobite Rebellion, 243.
Peace of Aix-la-Chapelle, 244.
Death of the Prince of Wales, 1751, 244.
Taking of Quebec, 244.
Marriage of George IV., 246.
Lord Howe’s victory, 247.
Trial of Warren Hastings, 247.
Popular resorts, 256.
Opera, 262.
Lord Hardwicke’s New Marriage Act of 1753, 267.
Processes of, 270.
Entertainment fans, 256.
‘Entomologist,’ 280.
Eugénie, Empress, 57, 279, 280, 281.
Euripides, _quotation_, 29.
‘Éventail brisé,’ 119.
Excise fan, 234.
Fabri, Alex., 147.
Fair fans, 256, 257.
Fairholt, _quotation_, 178.
Fan and towel or handkerchief beaters, 21.
Fan as decorative motif in design, 76.
Fan as emblem of life, Japan, 20, 60.
Fan-bearer, office of, 16;
privileges of, 19;
Assyrian, 20, 21;
badge of Assyria, 20.
Fan games, 75, 76.
Fan-shops, Paris, 151; London, 187.
Fannière Brothers, 278.
Feast of Lanterns, 46.
Feather-fans, Greek, 29, 30;
Etruscan, 30;
Roman, 30, 87;
India, 40;
China, 46;
wing-shaped, 47, 57;
primitive, 77;
eagle, 82;
Venetian, 99;
France, Charles V., 100;
twelfth to sixteenth centuries, 101;
white and coloured, 102;
France, 144;
English, 176;
modern, 287, 288, 289, 290;
woodcock, 289.
Feather-wands, 84.
Feather-work, 50, 288.
Fell, H. Granville, 296.
Ferrara, or duck’s-foot fan, 107.
‘Fête de l’Agriculture,’ 171.
‘Fête de la Fédération,’ 222.
‘Fête on the Piazzetta,’ 125.
Feuchères, Jean, 278.
Feure, Georges de, 297.
Fielding, Henry, 256.
Figaro fans, 216.
Filigree, 55, 56, 57, 58.
Fitzherbert, Mrs., 195.
Flabelliferæ, 15, 31, 45.
Flabellum, Egyptian, 16;
leek-green, 32;
Christian, 87-97;
early adoption by the Latin Church, 88;
symbolism of, 88;
types of, 89; Tournus, 89, 90;
handle, French twelfth century, 91, 92;
capital, North German, 92;
peacock, 94;
metal, 99;
cockade, 100.
Flagellum, the mystical _vannus_, 11.
Flag-fans: India, 41, 42, 44;
West Africa, 83;
Europe, 97;
Coptic, 98;
Venice, 99.
Flamand, Le, 168.
Fleury, Robert, 275.
Flies, Baal-zebub, lord of the, 22, 23.
_Floire, The_, 101.
Flory, M. A., 7, note.
Fly-hunter (Jupiter Myiodes), 23; Hercules, 23.
Fly-whisk or fly-flap, primitive Egyptian, 14;
Assyrian, 22, 25;
Roman, 28, 31;
Indian, 38, 39, 44, 45, 62;
primitive peoples, 84, 85;
black horse-hair, 86;
Abyssinian, 86;
peacock feathers, 92;
palm leaves, 98.
Fol, Walther, 279.
Folding or pleated fans, 28, 52, 53, 57, 58;
bamboo, 62, 65;
war, 70;
French, 145;
English, 176;
modern, 272.
Forrers, Robert, 98.
Fortune-telling fans, 254, 255, 256.
Fox-Davies, A. C., 110, 111.
Fragonard, 167.
Franklin, Benjamin, 170.
Franks collection, 161, 199.
Freij, Jacobus, 122.
Friederichsy, Baroness, 286.
Fuji san (peerless mountain), 75.
‘Galant, Le,’ 208.
Gamble, M., 233, 234, 237, 248, 255, 264.
Games of the fan, 75, 76.
Garnier, 278.
Gautier, Théophile, 135.
Gavarni, 278, 279.
Gay, 2.
Genlis, Madame de, _Dictionary of Etiquette_, 174.
_Gentleman’s Magazine_, quotation, 182, 183, 186.
‘George Washington,’ 212.
Germanus, 89.
Germo, Leonardo, 123.
Gérôme, 275.
Giant fans, 74.
Gibson, Mrs. Frank W., 132.
Giles, H. A., 52, note, 59, note.
Girardin, Madame de, 278.
Glaize, 275, 278.
Gluck, 216.
Gold Coast, 84.
Gold-handled fans, 102, 103.
Goldoni, _The Fan_, 6, 7, 126, _quotation_.
Goncourt, MM. de, 17 2, _quotation_.
Gore, Sir Humphrey, 180.
Gosson, Stephen, _quotation_, 177.
Götz, Prof. Hermann, 284.
Goupy, 185.
Goya, Francisco, 134.
Granville, Countess, 280.
Grass or rush fans, 77, 79, 83.
Gravelot, 191.
‘Great Lottery of 1714,’ 190.
Greek Church, 94.
Grégoire, 226.
Grétry, 216.
Grignan, Madame de, 154, 159.
Guido, ‘Aurora’ of, 123.
Guimet, Musée, 50, 51, 76, note.
Gumbai Uchiwa, 62.
Gun Sen, 62.
Gypsy fans, 254, 255, 256.
Halberd-shaped fans, 42.
Hall, Bishop, 105.
Hammett, Lydia, 293.
Hamon, Jean Louis, 278, 279, 280.
Han dynasty, sculptures, 21, 26, 49, 58.
Hand-fan: Egyptian plaited, 13;
Assyrian, 25;
primitive, 77, 78, 79;
Egyptian semicircular, 13, 14.
Hand-screen, engraved design for a, by Agostino Carracci, 105;
feather, 105;
straw, 196;
engraved, 204, 217.
Handles at Museums, 14, 30, 105; Gold Coast, 84.
‘Harlot’s Progress,’ 238, 239.
Harpe, M. de la, 168, note.
Harvey, John, 180.
Hastings, Warren, trial of, 247.
Hawaiian Islands, 79, 80, 84.
Heart-shaped fans: Greek, 28, 44; primitive, 78.
Heere, Lucas de, 178.
Hefner-Altenek, 112.
Heine, Madame Charles, 129.
Hennin collection (Bibliothèque Nationale), 165,195.
Hervey Islands, 79.
Hi ogi, 62, 64, 69.
Hide-fans, 77, 80, 83.
Hildebert, St., 88.
Hindu theatre, 39, note.
Hiroshige II., 72.
Hogarth, William, 238.
Hohenlohe-Langenburg, H.S.H. Princess Victor of, 132.
Hokusai, 69. 72.
Holmes, Randle, 94.
Holt, H. F., 101, note, 203.
Hörman, Christopher Fredr., 205.
Horn, 120, 201.
Horniman Museum, 38, 83.
Hotei, 61, 67, 68.
Hsi-Wang-Mu, fan of, 47-49.
Hughes, John, _Tatler_, 189, note.
—— Mr. Talbot, 134.
Humorous fans, 265.
Hunefer, papyrus of, 18.
Hunt, W. Holman, 24, note.
Hussein Dey, 273.
Imperial Museum, Tôkyô, 68.
‘Impracticable,’ 58.
Incrustation, process of, mother of pearl, 119.
India Museum, 38, 39, 44, 51, 86.
Ingres, 275.
Innocent XI., Pope, 232.
Inscription or autograph fans, 58, 59, 68, 69, 285.
Invention of fan: China, 46; Japan, 63.
Inventories: St. Riquer, Amiens, La Sainte Chapelle, Ely, Salisbury,
St. Paul’s, 92;
Exeter, 92;
of pledges, 1303, 95;
Comptesse Mahaut d’Artois, Queen Clémence, Johanne d’Evereux,
Charles V., 100;
Queen Elizabeth, 103.
Isabella, queen of Edward II., 93.
Isabey, 275.
Isis, priest of, 27.
Ivory, 51, 53, 55, 57, 58, 64, 65, 74, 89, 91, 105, 114, 118, 125, 129,
134, 147, 161, 162, 166, 174, 192, 194, 197, 199, 200, 201, 203, 212,
244, 273, 280.
Jacobite Rebellion, 243.
Jacquemart, 275, 278.
Jane of Navarre, 196.
Jeaffreson, _quotation_, 267.
Jewelled fans, 102.
Jews, names of cities of, 22.
Joachim-Gibson, Mrs., 286.
Johnston, Mrs. Bruce-, 124, 166.
Joly, Henry L., 73, note.
Josephs, Marie, 125.
Jubinal, Madame Achille, 99, 122, 174.
‘Judgment of Paris,’ 158, 206.
Juro, 61.
Kaname, or rivet, 60, note.
Kanaoka, 66.
Kanō San Raku, 68.
Kapiolani, Queen, 79.
Kasuga Motomitsu, 66.
—— Takayoski, 68.
Kauffmann, Angelica, 120, 193, 194, 268.
Kells, Book of, 87, 89, 93.
Kendal, Mrs., 287.
Kew Museum, 44.
Khaskhás root, 44.
King, Jessie, 297.
Kingsley, Miss, 84, note.
Klagmann, 278.
Klimsch, Prof. Eugen, 284.
Kôyetsu, 69.
Krishna, 44.
Kunisada, 69.
Kuniyoshi, 71.
Kyoto, 69.
Lace mounts, 291.
Lacquer, 53, 54; gold, 55, 75, 76, 156, 157.
La Farge, Raymond, 144.
Lami, Eugène, 275, 278.
‘La petite bestiole,’ story of, 115.
Lancey, Col. de, 195.
Lancret, 144.
Lane, Mr. and Mrs. John, 295.
Language of the fan, 136, 137, 253.
Lanoy, 278.
La Salle, Le Sieur de, 82, 83.
Layard, Nineveh, 11, note, 22, 25, note.
Le Brun, Charles, 139, 154, note.
Legends of the fan, 72.
Leicester, Earl of, 102.
Lewis, Mrs. Arthur, 286.
Lilliputian fans, 263.
Linas, Charles de, 30, 97, 98.
Lindsay, Lady, 133, 158.
Lithography, 271.
Liturgic fans, 97.
Loire, Nicholas, 204, 206.
Loti, Pierre, 64.
Louise, H.R.H. Princess, Duchess of Argyll, 198, 277, 282.
Love fans, 262;
classes of, 262;
courting fan mounts, 263.
Lovers’ Agency Bureau, 155.
Mahábhárata, 33.
Maintenon, Madame de, 158.
Mai ogi, 62.
Makart, Hans, 283.
Making of a fan, number of persons employed, 121.
Malay Kris, 58.
‘Malbrouk,’ 207, 208, 211, 213.
Mantz, Paul, 143, 160, note.
‘Marat’ fans, 225-226.
Marcel, Gabriel, 131.
Margaret, Queen, 102.
Maria Theresa of Spain, 154, 162, 163.
Marie-Antoinette, 117, 132, 159, 166, 167, 168, 169, 213, 225.
Marquesas, 79.
Marriage fans of Charles II., 180.
‘Marriage of Cupid and Psyche,’ 123.
‘Marriage of Louis XIV. and Maria Theresa,’ 154.
‘Marriage of Napoleon with Marie Louise,’ 229.
Marston, Satires, 101.
Martial, _quotation_, 28, 31.
Martin, Julian, 156.
—— Robert, 156.
—— Simon-Étienne, 156.
—— William, 156.
Mary, H.R.H. Princess, 292.
—— Queen, 102.
Masanobu, 67.
—— Kiato, 69.
Matabei, 73, 85.
Mathilde, Princess, 281.
Meehan, _Famous Houses of Bath_, quotation, 261.
Medallion fan after Cosway, 195.
Medicis, Catherine de’, 144.
Meir, Rabbi Joseph Ben, 24.
Melville, Lewis, _quotation_, 259, 260.
_Menagiana_, quotation, 173.
_Mercure de France_, quotation, 149, 157.
Meredith, George, _Harry Richmond_, 4, 5.
Mésangère, M. de la, 105.
Messel, L. C. R., 71, 105, 114, 115, 153, 175, 187, 202, 288.
Meyer, M., 119, 277.
Mica, 78, 113, 114.
‘Midnight Modern Conversation, 1733,’ 239.
Mignard, Pierre, _Le Romain_, 140.
Ming dynasty, 54.
Mirabeau fans, 223.
Mita ogi, 73.
Modern and present-day fans, 74, 272;
decline of the fan industry and its causes, 272, 276;
conquest of Algeria by the French, 273;
production in 1847 and 1848 compared, 276;
machinery, 277;
brisé, 275;
exhibitions, 282, 283;
autograph and inscription, 285;
revival of ostrich feather, 287;
lace mounts, 291.
Montague, Mrs., 189, 288.
Monza, 95-97.
Moral reflections of a female reformer, 250.
More, Sir Thomas, _anecdote_, 9, note.
Moreau, Édouard, 290.
Morley, Henry, 236, 257.
Morrison collection, 73.
Moschus, 88.
Moss, Miss, 119, 166, 191, 198, 208, 273.
Mother of pearl, 53;
China, 55;
Japan, 74;
Queen Elizabeth, 102;
kinds of, 118.
‘Motion’ fan, 241, 242.
Motonobu, 67.
Mounts, Italian, 122;
subjects of, 123;
Neapolitan, 124;
French, 122, 123;
English, 179;
Dutch, 197.
Mourning-fans, 194, 225, 244.
Mozart, 216.
Müller, Karl, 278.
Murray, C. Fairfax, 238.
Musée de Cluny, 91, 114, 146.
—— de Louvre, 222.
—— des Arts Décoratifs, Paris, 281.
Museo Civico, Venice, 273.
—— Gregorio, Rome, fan handles, 30.
—— Nazionale, Florence, 89.
Nai-To, 71.
Nan-ratan, or nine stone, 43.
Napoleon Bonaparte, 228, 229.
‘Napoleon shows his Troops the Channel,’ 229.
Nardaillac, Comtesse de, 279.
Nash, Beau, 258, 261.
—— E. Barrington, 276.
Nassau fans, 235, 236, 237, 238.
Neapolitan fans, 124.
Necromantic fans, 254, 255, 256.
Negroni collection, 285.
Nemours, Duchess de, 180.
New Nassau fan, 237.
Nigeria, 82, 83.
Nimroud, 20, 25.
Nitôcris, Queen, 19.
‘Nō’ drama, 63.
Nollekins, 185.
North American Indian fans, 14.
Northcliffe, Lady, 122, 123, 134, 165.
Oblong fans, 50.
Oldroyd, Miss L., 293.
Oliver, Peter, 180.
Olympian games, 23.
—— Jupiter, 23.
‘Oncle’ fans, 215.
Onola, Countess, 286.
Opera fans, French, 216, 217;
English, 262.
Operations of the pleating of the fan, 121.
Orange fan, 237.
Order of the fan, Sweden, 153, note.
Origin of the fan, 1-3.
Osborne, Thomas, 8, 252, 253.
—— Miss, 187.
Osiris, 15.
Ostrich, 40; folded, 105.
Ottley, Captain J. E., 122.
Ovid, _quotation_, 32.
Packering, Sir J., 103.
Paciandi, 93, note.
Painted fans of the seventeenth and eighteenth centuries—
ITALIAN.—
Introduction of the folding-fan into Europe, 107;
excavation at the Château de Pierre, 108;
decorative development, 109;
earliest forms, 113;
construction, 116;
character of the sticks, 117;
ornamentation, 117, 118:
brisé fans, 119;
double or reversible, 120, 121;
mounts, 122, 123;
Neapolitan, 124;
children’s fans, 125;
superiority of the workmen, 126.
SPANISH, 127;
Italian influence on art, 128;
alliance of the House of Bourbon, 130;
Treaty of Paris, 130;
classical revival, 131;
character of the stick, 132, 133;
influence of Francisco Goya, 133, 134;
varieties of, 135;
language of, 136, 137.
FRENCH.—
Italian influence on, 138;
influences of Jean Cousin, François Clouet, 138;
Charles le Brun, 139;
Bernini, Borromini, 140;
the Revolution, 143;
introduction of Italian feather-fans, 144;
folded fans, 145;
découpé fans, 146;
importance of the industry, 146;
constitution of a corporate body of fanmakers under Louis XIV., 146;
prices obtained in 1753, 147;
painting and its influence during the reign of Louis XIII., 150;
Paris fan-shops, 151;
introduction of Spanish fashions, 152;
reign of the Grand Monarque, 154;
lacquering, 156, 157, 158;
Vernis Martin, 158;
classical influence, 163;
‘cabriolet’ fans, 164;
relapse of the industry, 165;
Handel and Gluck, 166;
custom of presenting wedding fans, 167;
influence of the Directoire and Empire periods, 170;
straw and spangles, 172;
gauze or net, 172;
lorgnette or opera-glass fan, 172;
reduction in size, 174.
ENGLISH.—
Early use of the folded fan, 176;
plumed fan, 176;
découpé, 178;
gigantic green-shading fans, 179;
influence of the trade with India, 179;
importation of Italian fan mounts, 179;
earliest fans, 180;
marriage fans of Charles II., 180;
charter of incorporation granted by Queen Anne, 181;
fan makers’ petition to Parliament demanding prohibition
of importation of fans from India, China, and the East, 182;
tax upon wooden- and feather-fans, 182;
importation of feather-fans forbidden, 182, 184;
disputes between Fanmakers’ Company and journeymen, 182;
extent of the industry and adverse conditions in the middle
of the eighteenth century, 182;
tea-merchants as dealers in imported fans, 183;
principal enactments regulating importations, 184;
London fan-shops, 187;
large fans, 187;
selection of partners at dancing assemblies, 189;
influence of peace between Austria and France, 190;
spangles, 191;
ivory brisé, 194;
Wedgwood, 194;
Napoleonic wars, 195.
DUTCH.—
Early uses, 197;
mounts, 197;
historical or fanciful subjects, 198;
influence of France, Italy, and China on the treatment
of the mount, 198;
Flemish, 199;
varnish, 200;
ivory brisé, 200;
horn, 201;
small decorated spangled, 201;
sticks, 202.
GERMAN.—
Medallion, 203;
lace or net, 203;
eighteenth century the era of the fan, 203.
Palliser, Mrs. Bury, 291.
Palm fans, 2, 42, 43;
lateral, 43, 78;
natural 77;
Talipot, 78;
Palmyra, 78.
Pankhá, 40, 41, 45, 78.
Papperitz, Georg, 284.
Parchment fens, 87.
Paris, Madame la Comtesse de, 203.
Parkman, Francis, 83, note.
Pasquier, Étienne, 115, 160.
Pattern fans, Etruscan, 30.
Pausanias, 23, 24, note.
‘Peace of Aix-la-Chapelle,’ 190.
Peacock: 30, 31, 39;
Greek, 29, 30;
Roman, 31, 87;
emblem, 39, 44;
India, 40;
quills, 42;
China, 46, 47;
feathers, 51, 87, 89;
Musci-fugium, 93;
plumes of, 101.
Perrot and Chipiez, 22, 24.
Persians, ventilating fan, 25;
fan crest, 27.
Petit, Édouard, 121, note.
Petrie, Prof. W. M. Flinders, 15.
Pheasant, 46; Argus, 54.
Philibert, St., 90.
Philippe le Bel, 196.
Phœnicians, 27.
Phœnix, 51, 56.
Phré, sacred barque of, 15.
‘Piazza of St. Mark, Venice,’ 125.
Pichard, le Sieur, 144.
Pictorial art, 141.
Piis, Augustin de, 2.
Pinchbeck, Jonathan, 235, 236, 237, 238, 243, 258, 259, 263, 264.
Piqué work, 117;
employment of, 119.
Plautus, flabelliferæ, 31.
Pleated fans, _vide_ Folded fans.
Pliny, sacrifices of Cyrenians, 23.
Poggi, 192, 193.
Poigey, Dr., 144.
Pollen, Mrs. Hungerford, 195.
‘Pompadour’ fan, 166.
Pompadour, Marquise de, 122.
Ponsonby, Lady, 124.
Pope, _quotation_, 174, note, 179.
Popelin, Claudius, 281.
Popular resorts, fans of, 256, 258, 259, 260, 261, 262.
Portraits, fans appearing in:
Queen Elizabeth, Anne of Denmark, Princess Elizabeth, wife
of John Pen, Esq., Sebastian del Piombo, 104;
Maria Giuseppa, Archduchess of Austria; Maria Cardina, Queen
of Naples; Queen Maria Cristina di Borbone; Queen Maria Louisa, 129.
Portugal, 100, 107.
Poussiégle, Achille, 285.
Present-day fans, _vide_ Modern fans.
‘Prince of Wales and Mrs. Fitzherbert,’ 195.
Prince of Wales (King Edward VII.), 34.
—— (King George IV.), 195.
Printed fans, 269.
Processional fans, Egyptian, 14, 15, 16, 17;
India, 42.
‘Promenade, the,’ 159.
Propertius, flabella, 31, 32.
Prouille, Monastery of, 91.
Rama, 39.
Rambert, C., 280.
Rameses XII., temple of, 15.
‘Rape of Helen,’ 158.
Raphael, 123.
Ratisbon, 35.
Rawlinson, Sir Henry, 22, note.
‘Reason for the Motion,’ 243.
Redgrave, S., 132, note, 150, 200, 276.
References of the fan in Holy Writ, 10, 11, 22.
Registrum Roff, 92, note.
Reiset, Frédéric, 174.
Rémusat, Abel, 57, note.
Reversible or double fan, 120, 121.
Rheims, 93.
Riant, Madame, 158.
Richelieu, Duc de, 149.
Riegl, Alois, 25.
Riester, 278.
Rikiu ogi, 73.
Riley, Henry Thomas, 95, note.
‘Rinaldo in the Garden of Armida,’ 166, 199.
Robespierre, 226.
Robinson, Sir John, 180.
—— Sarah, 180.
Rodney, Admiral, 245.
Roll-up fans, 74.
Romanelli, F., 122.
Rondot, Natalis, 49, 52, note, 53, 272, 273, 275, 277.
Roqueplan, Camille, 278.
Rosenberg, G. J., 99, 122, 154, 158, 284, 291.
Rothschild, Leopold de, 159, 273.
—— Baroness Meyer de, 192.
—— Baroness Salomon de, 43.
Rouen, 93.
Rousseau, 227.
—— Philippe, 278.
Royal Family, fans of, 245, 246, 247.
Rubens, 197.
Rush or grass fans, 77, 79, 83.
Ruspae, Bishop of, 98.
Rutlinger, J., 104.
Rutz, Gaspar, 8, note.
‘St.Peter’s, Rome,’ 125.
Sala, George Augustus, 2, 190, 298.
Salting collection, 91, 105.
Salwey, Mrs., 65, note, 73, 74, note, 76, note.
Sanchi, Tope, 34.
Sandalwood, 53, 55, 57, 58.
Sandwich Islands, 79.
‘Sans Gêne,’ 172.
Sargent, 215.
Sayiban, or sun-fan, 36, note.
Scaliger, 24.
Scented wood, 128.
Schönleber, Prof. Gustav, 284.
Schools of Japanese painting, 65, 66, 67.
Schreiber collection, British Museum, 6;
‘Aurora’ of Guido, 123;
‘Carrousel at Madrid,’ 129;
Surrender of Minorca, 1782, 133;
‘Grand Monarque,’ 154, 155;
Tea-merchant’s trade card, 183;
Goupy’s fan mount, 185;
Lionel Cust’s letter, 193;
Loire’s ‘Desseins de grands
Éventails,’ 206;
‘Biaggini’s Air Balloon,’ 214;
Figaro fans, 216;
‘Duc d’Orléans as Sponsor,’ 218;
‘Nicaragua Canal,’ 230;
‘Harlot’s Progress,’ 239;
‘Admiral Rodney,’ 245;
Royal visit to Royal Academy, 246;
‘Marriage of Prince of Wales’ (George IV.), 247;
opera fan, 262;
widowhood, 268;
‘Ascent of Mont Blanc,’ 276;
Madame Bisschop’s fan, 281.
Schreiber, Lady Charlotte, 193, 205, 244, 259, 268, 281.
Screens, pear-shaped, 48, 61;
white jade, 50;
hand, 50, 51, 75;
straw hand, 195;
engraved hand, 204, 217;
circular, 50, 51, 53, 61, 69;
cockade, 51;
ceremonial banner, 51, 61;
rigid, 61, 62, 69, 127;
silk, 61;
palm, 75;
large round, 127;
chinese feather, 288;
Queen Anne, 288.
Seliger, Max, 284.
Senefelder, Aloys, 271.
Sen-no Rikiu, 74.
Septvans, Sir Robert de, arms of, 11.
Seraphim, 88.
Sēsata, Cingalese, 37.
Sesshiu school, Japan, 62, 65, 66.
Sévigné, Madame de, 154, 159.
Sewell, Colonel, 183.
Shakespeare, _quotation_, 8, 9, 11, note, 19, 101, 176.
Shaku, 64, 65.
‘Sheba, Queen of,’ fan, 133.
Shunsui, 71.
Silk, 57, 71, 75.
Silver-handled fans, 101, 103.
Skin fans, chicken, 268; asses’, 273.
Smith, _Dictionary of Greek and Roman Antiquities_, 12, note;
_Dictionary of Christian Antiquities_, 88, note.
—— Albert, Ascent of Mont Blanc, 276.
—— W. Harding, 70.
Soldé, A., 277, 288.
Solomon Islands, 79.
Sommerand, Du, 91.
South-Eastern Pacific, 84.
Spanish lady, management of the fan, 4.
Spatula, 80.
Speaking or conversation fan, 253.
Spear-shaped fans, 78.
_Spectator_, 4, 187, 189.
Spiers, R. Phené, 76.
Stanhope, Lord, 229.
Statutes regulating the fan industry, 146.
Steele, _Tatler_, 5-6, 179, 187.
Stiletto, _Italian_, 58.
‘Storming of the Bastille,’ 219, 220, 221.
Stow’s _Chronicle_, 53.
Strange, Sir Robert, 243.
Strickland, Agnes, _quotation_, 179.
Strogonoff collection, 25.
‘Stuart, Athenian,’ 185.
Sudan, Western, 84.
Sim goddess, 74.
‘Surrender of Malta,’ 195.
‘Surrender of Minorca’ 133.
Sutherland, Duke of, 195.
Suye hiro ogi (wide end), 63.
‘Swanne downe,’ 102.
Swift, Dean, 263.
Swinging-fans, 25.
Sydney, Sir Robert, 103.
Tabellæ, Roman, 32, 51.
Tadahira, 65.
Tahiti, 85.
Taira, 69, 72.
Taishin, 74, 75.
Tajima, 8, 69.
Talc, 44.
Tallien, Madame, 171.
Tanagra figures, 29.
Tanjore, 44.
Taoist Genii, 47, 61, 67.
Tasso, Torquato, legendary account of, 113.
_Tatler_, John Hughes, 189.
—— Steele, 5, 6, 179, 187.
Tea ceremony, China, 57;
Japan, 74.
Tea fans, 74.
Terence (_Eunuchus_), _quotation_, 31.
Testament du Louis XVI., 224.
Tête-à-tête fan, 254.
Theodolinda, Queen, 95, 97.
Thiac, M. de, 169.
Thomas, Felix, 24.
Thornbury, Walter, 142.
‘Toilette de Madame la Marquise de Montespan,’ 159.
Tomkinson, M., 56, 75.
Tonga Islands, 85.
Tooth relic of Buddha, 43, note.
Topical fans, 206.
Topographical fans, 191.
Tortoise-shell, 53, 54, 57, 58, 74, 119. 132.
Tournus, 89, 96, 97.
Trevelyan, Sir W. C., Bart, 85.
Trèves, Gospel of, 93.
‘Trial of Warren Hastings,’ 247.
‘Trips to Gretna,’ 267.
‘Triumph of Alexander’ (after Le Brun), 123.
‘Triumph of Amphitrite,’ 180.
‘Triumph of Bacchus,’ by A. Carracci, 180.
‘Triumph of Mordecai,’ 123.
Tsunenori, 65.
Tsunetaka, 66.
Turtle-shell, 50.
Ukiyoyé school, 66.
Ulféda, 97.
Ulrica, Louisa, 153.
Umbrella, importance and significance of, in the East, 33-36;
in Bacchic processions, 36;
in early Persian reliefs, 35;
form-connection between fan and umbrella 36;
Cingalese, 36.
Uses of the fan, 3-9, 60.
Uzanne, M., 2, 27, 273, 285.
Vaillant, 278.
Valmiki, 39.
Vandyke, 197.
Van Loon, 197.
Vannus, 10, 11.
Varnish, 156, 157.
Vasco da Gama, expeditions of, 107.
Vatican, 93.
Vecellio, 107, 109, 113, 127, 147, 196.
Velasquez, 128.
‘Ventosus,’ 187.
‘Venus and Adonis,’ 123.
Vernet, Carl, 227.
Vernet, Horace, 275.
‘Vernis Martin,’ 125, 168, 161, 200.
Vernon, Admiral, 240, 241.
Vibert, 275.
Victoria and Albert Museum, 47, 74, 83,91, 112, 196, 281, 282.
Victoria, Queen, 159, 198, 202, 203, 277, 279, 282, 283.
Viollet-le-Duc, M., 108.
Virgil, mystical fan of Bacchus, 11;
_Eclogues_, 91.
Voisin, M., 161.
Voltaire, 156;
_quotation_, 157.
Voorde, Aloys van de, 278.
Vouet, Simon, 139.
Waddell, Dr., 34.
Wagner fans, 286.
Wales, H.R.H. Princess of, 166, 289, 290.
—— H.R.H. Princess Maude of, 292.
Walker, Robert, 155, 181.
Walker sale, 1882, 163, 168, 180, 190, 191, 193, 195, 199, 244, 259.
Wallace collection, 125.
Walpole, Horace, _quotation_, 164, 215, 241.
—— Sir Robert, 233.
War caused by a fan, 273.
War fans, 70, 71, 72.
Water fans, 62, 74.
Watteau, 141, 144, 159.
Wattier, 278, 280.
Wedding fans, 132, 133, 277.
West, M., 193.
West Africa, 83.
West, Benjamin, 123.
_Westminster Journal_, quotation, 182.
Whyte, Rowland, 103.
Wide end (Suye hiro ogi), 63.
Widowhood fans, 267.
Wilkinson, Sir J. Gardner, 11, note.
William IV., 166.
Wilson, G., 265, 266.
Windsor Castle collection, 159.
Winnowing-fan, 10, 11, 13.
Wolfe, General, 244.
Woodcock feather-fan, 289.
Wooden-fans, China, 52.
Wright, Henry Smith, 164.
Wyatt collection, 53, 54;
Chinese fan, 55;
filigree and enamel, 56;
stick of Italian folding-fan, 117;
brisé fan, 119;
minuet fan, 120;
Venus and Adonis, 123;
Neapolitan fan, 124;
Queen of Sheba, 133;
marriage of the Dauphin with Marie-Antoinette, 167;
paper mount, 190;
mourning-fan, 194;
Cosway’s medallion fan, 195;
Dutch mounts, 198, 199;
Dutch ivory brisé fan, 200;
skin fan, 268;
French painted medallion, 269.
Wyatt, Sir M. Digby, 140, 298.
Yak, 32.
Yamato-Tosa school, 76.
Yonge, Charlotte, fan of, 273.
Yoshitsune, 72.
Zimmern, Helen, 8, note.
Zucharo, F., 104.
[Illustration]
EDINBURGH
T. and A. CONSTABLE
Printers to His Majesty
MCMX
End of Project Gutenberg's History of the Fan, by George Woolliscroft Rhead