the 18th century, Spanish embroideries lost much of their artistic
character, although the work itself continued equally excellent. During
the whole of the 17th century, a style of embroidery became very general
in Spain, which appears to have been copied from eastern importations by
the Portuguese or the Spanish possessions in America. The specimens most
generally met with in Spain are chiefly bed covers, the ground of which
is either linen or satin, embroidered in chain stitch, with figures and
exotic birds and animals. Their effect is very rich, and the
ornamentation is arranged generally in circles. Specimens exist in
England of this kind of work; for example, a quilt, said to have been
made for an Archbishop of Toledo, lent by Lady Cornelia Guest to the
Special Exhibition of Embroidery held at South Kensington in 1873.
At the Mus. Arq., Madrid, is a fine quilt of this kind embroidered with
maize-coloured silk on linen, with representations of figures and
animals.
Embroideries were made in Spain to cover furniture. Sedan chairs,
coffers, &c., were ornamented in this manner. At the Kensington Museum
there is an interesting example of a trunk with silver lock, covered
with embroidery, which was given towards 1680 by Count Olivares to the
nuns at Loeches. Some fine embroidered tapestries belonging to the same
collection are at the Museo Arqueleogico, Madrid. A varied collection of
ecclesiastical vestments of the kinds described may also be studied at
the museum. (V. Nos. 78, 79, 84, 673, 1194, 1195, 1250, &c., in Dr.
Rock's Catalogue.)
The sumptuary laws, and especially the Decrees issued by Philip IV. in
1622, prohibited any display or ostentation in costume, and embroideries
were confined to ecclesiastical purposes. In the middle of the 18th
century embroideries were introduced in the costumes of men and women
when French fashions were imported into Spain. Although many of them
came from France, they were imitated in Spain to a large extent. A guild
of embroiderers was formed in 1779, who submitted their statutes to the
Tribunal of Commerce. We find that Madrid was the principal centre of
this industry, and that French designs were universally copied, as was
the case in the whole of Europe. The splendid curtains and embroidered
hangings for apartments which exist at the royal palaces of Madrid, the
Escorial and Aranjuez, are admirable specimens of this industry.
The following list of Spanish embroiderers is taken from Cean's "Dic. de
Prof de las Bellas Artes;" Martinez, "Hist. del Templo Cat. de Burgos;"
Suarez de Figueroa, "Plaza Universal," etc.
Years in which
they worked. Artists. Residence.
1603. Alcala, Fr. Fernando de Escorial.
1526. Alonso, Esteban Toledo.
1688 to } Arroyo, Diego de Burgos.
1715. }
1594. Aspe, Simeon de Burgos.
1646. Ansin, Francisco de Burgos.
1500. Barcelona, Fr. Rafael de Escorial.
1599. Berrio, Francisco de Burgos.
1452. Bilbao, Juan Burgos.
1514. Burgos, Pedro Toledo.
1574 to } Camiña, Alonso Burgos.
1580. }
1580 to } Camiña, Miguel, a son of Alonso Burgos.
1593. }
1580. Castillo, Juan del Madrid.
1571. Cordova, Fr. Francisco Escorial.
1616. Corral, Felipe de Toledo.
1514. Covarrubias, Marcos de Toledo.
1422. Fernandez, Garcia Burgos.
1422. Fernandez, Pedro Burgos.
1645. Garcia de Jalon, Juan Burgos.
1500. Gil, Francisco Madrid.
1688. Gomez, Juan Sevilla.
1514. Hernandez, Alonso Toledo.
1630. Landa, Alonso de Burgos.
1625. Martinez de Manurga, Sebastian Burgos.
1521. Monte, Cornieles de Burgos.
1576. Montserrate, Fr. Lorenzo scorial.
1580 to } Ochandiano, Andrès Burgos.
1593. }
1595. Ortiz de Zarate, Pedro Burgos.
1565. Palenzuela, Francisco de Burgos.
1591. Palenzuela, Jeronimo Burgos.
1500. Perez, Gabriel Madrid.
1580. Perez, Juan Madrid.
1514. Rica, Hernando de la Toledo.
1500. Rosales Toledo.
1500. Rosicler, Luís de Madrid.
1514. Ruiz, Martin Toledo.
1716 to } Ruiz, Antonio Burgos.
1734. }
1585. Rutinez, Diego Escorial.
1563. Salas, Juan de Granada.
1718. Santos Martires, Fr. Esteban de los { Cardeña
{ Burgos.
1561. Sarabia Burgos.
1514. Talavera, Juan de Toledo.
1500. Toledo, Fr. Juan de Escorial.
1752. Transmontana, Fr. F. Javier de Burgos.
1684. Valle, Antonio del Burgos.
1500. Vega, Felicis de Madrid.
1563. Villegas, Nicolas de Granada.
1502. Xaques, el Maestro Toledo.
TAPESTRIES.
The manufacture of tapestry or carpets was introduced into Spain by the
Arabs. The earliest historical information which I have been able to
find relating to this industry occurs in Edrisi, an oriental author of
the beginning of the 12th century, ["Descrip. de l'Afr. et de l'Esp.,
trad. de Dozy el Goeje,"] when speaking of Chinchilla in the province of
Alicante, he says: "On y fabrique des tapis de laine qu'on ne saurait
imiter ailleurs, circonstance qui dépend de la qualité de l'air et des
eaux." In mentioning Cuenca, he says: "Les tapis de laine qu'on y fait
sont d'excellente qualité," p. 237. Although we find very few
descriptive details of this industry, it is undoubtedly the fact that in
a wide zone which comprehends from the kingdom of Valencia until that of
Granada, carpets have been constantly made; for even in the present day
this industry is alive in a number of towns, where not only the old
technical proceedings are continued, but also much of the primitive
character of the designs and colours. In confirmation of this, I find
frequent mention in books and MSS. of the 16th century of carpets of
Letur, made in the kingdom of Murcia, Alcaraz, and Baeza.
The first time I find this industry mentioned by Christian authors is in
Francisque Michel's work on "Étoffes de Soie," vol. i., p. 292; he says:
"A une époque qu'il nous serait difficile de préciser un poète Latin
vantait les teintures précieuses à sujets, et les tapis d'Espagne."
"Tunc preciosa suis surgunt aulaea figuris.
"Ac in se raptis ora tenent animis.
"Tunc operosa suis _Hispana tapetia_ villis.
"Hinc rubras, virides inde ferunt species."
At the cathedral of Gerona an extremely interesting tapestry of the 12th
century may be seen, which may have been made in the locality.
[Illustration: TAPESTRY AT THE CATHEDRAL OF GERONA; REPRESENTING THE
CREATION, &C.--SPANISH, 11TH CENTURY. _To face p. 267._]
This tapestry is about 4-1/2 yards wide by 4 yards high. The composition
represents the Genesis. In the centre is a geometrical figure formed by
two concentric circles. In the lesser circle is a figure of Christ
holding an open book, on which appear the words, _Sanctus Deus_, and on
each side _Rex fortis_, surrounded by the inscription, _Dixit quoque
Deus, Fiat lux, Et facta est lux._ In the larger circle are the words,
_In principio creavit Deus coelum et terram, mare et omnia quæ in eis
sunt, et vidit Deus cuncta quæ egerat et erant valde bona._
The space between the two circles is divided by radiating lines into
eight portions, in which are represented the Mystic Dove, the angels of
light and darkness: the division of land from water, the creation of
sun, moon, and stars, of birds, fishes, and beasts, and of Adam and Eve.
In the angles outside the larger circle are the four winds, and the
whole is surrounded by a border, imperfect in parts, containing
representations of the months, and apparently of certain scriptural
incidents, too much defaced to be clearly made out. The accompanying
engraving, though imperfect and inaccurate in some of its details, gives
a general idea of this work.
Although this tapestry is embroidered with crewels on linen, it appears
advisable to include it in the description of Spanish tapestries, owing
to its similarity and general aspect to other tapestries. It is easy for
students of Spanish works of art of the Middle Ages to fix the period
and style to which this example belongs. Several remarkable
illuminations exist in Spain representing the Apocalypse which were
painted in the X. XI. and XIIth. centuries, which have already been
alluded to in other articles of this work. The figures of the tapestry
of Gerona are disposed in a precisely similar manner to the miniatures
of the 12th century. They are in the same style as the paintings on the
ceiling of the chapel of St. Catalina, at St. Isidoro of Leon, which
were painted at that period. There can be therefore no doubt that they
belong to that period and style. Several MSS. may be mentioned to
further illustrate the subject. An excellent specimen is at the
cathedral of Gerona, those at the National Library, Museo Arqueologico,
and Academia de la Historia, Madrid, Escorial, Bibliotheque Nationale,
Paris--and especially the fine MS. at the British Museum (Add. II.
695),--dated A. D. 1109, referred to in the chapter on Arms, page 90.
The illuminations of this volume are extremely similar to the design of
this tapestry. Plate 83, twelve inches by eight, within a circle,
representing Christ holding a book in his hand, may be given as an
example.
I do not find any information of a later date which suggests the
existence of the manufacture of tapestries in Spain during the Middle
Ages. There are constant allusions to the splendid tapestries which were
brought from Flanders, many of which are at the Royal palace of Madrid.
The earliest mention I find is a memorial printed without date, in which
Pedro Gutierrez, tapestry maker of Salamanca, asks Philip II. to protect
this industry. He evidently gained his object, for in the documents
published by S^{r}. Cruzada in his "Tapices de Goya," [Madrid, 1870,] it
appears that in 1578 Queen Doña Ana appointed him to work in her Camara
as tapestry maker to make _reposteros_[B] and Philip II. in 1582
confirms this appointment. Gutierrez worked at this period, at Salamanca
and Madrid. He was succeeded in his charge in 1625 by Antonio Ceron, who
established this industry definitively in the Calle de Santa Isabel at
Madrid. The fine picture by Velasquez, at the Madrid Gallery, "The
Weavers," which represents the interior of the tapestry manufactory,
belongs to this time. We find this industry soon fell into decay. In
1694 a Belgian named Juan Metier tried to revive it, but without
success; the same thing occurred with Nicolas Hernandez, a tapestry
maker of Salamanca, in 1707.
[B] Reposteros is the ancient name given to the hangings which are
placed outside the balconies on state occasions in Spain. Several
splendid examples of the sixteenth and seventeenth centuries may still
be seen at the houses of Spanish grandees, of which those belonging to
the Conde de Oñate and Marques de Alcañices at Madrid are the most
remarkable for their artistic design.
The tapestry manufactory of Santa Barbara at Madrid was founded soon
after; it was the most important of all, and continues to produce
excellent work in the present day. It appears that Jacobo Vandergoten of
Antwerp was engaged expressly by the king; he began to work in 1720, and
continued there until his death in 1724. He was succeeded by his sons,
Francisco, Jacobo, Cornelius, and Adrian, who worked in _basse lisse_
looms until 1729, when a Frenchman, Antonio Lenger mounted a _haute
lisse_ one.
On the occasion of the temporary removal of the court to Seville, the
king established a tapestry manufactory there in 1730; Jacobo
Vandergoten was put at the head of it, and the painter, Andres
Procaccini, helped him in the direction of the manufactory. It only
lasted three years, at the end of which the artists returned with their
implements to establish themselves in the old tapestry manufactory of
the Calle de Santa Isabel: and continued to work there until 1744, at
that time they again joined the works at Santa Barbara.
Three of the brothers Vandergoten were already dead in 1774. Cornelius
alone was alive. In the same year the Spanish artists, Antonio Moreno,
Domingo Galan, Tomas del Castillo, and Manuel Sanchez were placed at the
head of these works, under the superintendence of Sanchez, who continued
there until his death in 1786, when he was succeeded by his nephew,
Livinio Stuck. This manufactory was much neglected at the end of the
last century; it was destroyed by the French in 1808, and was
rehabilitated in 1815 under the direction of a son of Stuck. This family
continues to work there in the present day. The carpets made at the
manufactory of S^{ta.} Barbara are of the highest excellence and
artistic order.
Very fine tapestries have been made at this manufactory during the last
century, some after original cartoons of excellent painters and others
reproductions of ancient Flemish ones belonging to the royal
collections. During the years 1721 to 1724 the tapestries representing
pastoral subjects after Teniers were woven there, and a series of
hunting subjects which still exist at the Pardo and palace of Madrid.
The excellent copy of the series of tapestries representing the conquest
of Tunis, after cartoons by William Pannemaker were made partly at
Seville and partly at Santa Isabel and Santa Barbara. The tapestries
representing scenes from the life of Don Quixote, designed by the
painter Procaccini, were also made at the looms of Santa Barbara.
Fine carpets in the Turkish style were made there under the
superintendence of Cornelius Vandergoten, who excelled in this special
industry. Carpets also in the French style of the Gobelin manufactory
were made at the same time. The best specimens of carpets and tapestries
of the manufactory of Santa Barbara, will be found at the palaces of the
Escorial, the Pardo, and Madrid. The series made from cartoons of
Teniers and the Spanish painter Goya are extremely interesting. A
complete collection of photographs of the foreign and Spanish tapestries
at the palace of Madrid will be found in the Art Library of the South
Kensington Museum.
LACE.
It is not easy to give a clear idea of the history of the manufacture of
ancient Spanish lace; the principal reason being that this industry was
carried out by private persons, who never formed themselves into Guilds
or corporations, as was the case during the middle ages and Renaissance
period with those who devoted their time to other arts and industries.
We find in the Royal Ordinances constant references to weavers, silver
and goldsmiths, tailors, etc., but in none do we find the manufacture of
lace mentioned. The most important Ordinances relating to Spanish
industries are those published at Toledo and Seville in the 15th and
16th centuries, and at Granada in the 16th and 17th centuries, and in
none of them do we find lace even alluded to. In the innumerable laws
which appeared from the middle ages until the 18th century for the
object of reforming costumes and checking their excessive luxury no
mention is made of lace; when it is referred to, it is only when
_puntas_ or _entredoses_, edgings or insertions, are mentioned in which
gold and silver are introduced. We never find any allusion in
contemporary writers to the fine heavy thread lace, sometimes called
Point d'Espagne or Point de Venise, the origin of which has been a
source of so much doubt to collectors of the present day.
The only thing which we can do therefore at the present, until this
subject is more fully investigated, is to assert that lace of different
kinds has been made from the very earliest times in Spain, and do our
best to classify the different kinds by the differences which we observe
in those of other localities.
Father Fr. Marcos Antonio de Campos in his "Microcosmia y Gobierno
Universal del Hombre Cristiano," [Barcelona, 1592, p. 225,] says: "I
will not be silent and fail to mention the time lost these last years in
the manufacture of _cadenetas_, a work of thread combined with gold and
silver; this extravagance and excess reached such a point that 100 and
1000 of ducats were spent in this work, which, besides destroying the
eyesight, wasting away the lives, and rendering consumptive the women
who worked it, and preventing them from spending their time with more
advantage to their souls, a few ounces of thread and years of time, were
wasted with so unsatisfactory a result. I ask myself, after this fancy
has passed away, will the lady or gentleman find that the chemises that
cost them 50 ducats, or the _basquiña_ (petticoats) that cost them 300,
are worth half their price, which certainly is the case with other
objects in which the material itself is worth more." This quotation is
interesting as proving that lace was made during the 16th century. The
friar, in following the prevalent fashion of preaching against luxury
and extravagance, shows us that this industry must have reached to a
great height in order to be an object of censure.
From the 16th century until the end of the 18th we find this manufacture
continued in Spain, but that foreign lace of different kinds was
likewise imported to a great extent, although we may affirm that black
lace especially was made in Spain during the whole period.
We find lace mentioned by ancient Spanish authors under the following
names: _punta_, _randa_, _cadeneta_, _entredos_, _red_, _deshilado_,
_franja_, _blonda_, and _encaje_, which may be translated as edging, or
points, réseuil, chain stitch, insertion, netting, ravelling, fringe,
blonde, and lace.
M. H. de Cocheris in his introduction to "Patrons de Broderies," Paris,
1872, says that "gold and silver laces were made at Paris and Lyons."
The four books which are reproduced in this volume mention Lyons as
being a great centre of this particular branch of industry. Gold and
silver lace was, however, also made and copied in Spain during the 17th
century. We find in the "Pragmatica y Nueva Orden cerca de los Vestidos
y Trajes, asi de Hombres como de Mugeres," [fol. Madrid 1611, p. 5,]
"May we be allowed to border or edge the said silken materials with
thread lace, which are not to be made of chain stitch, or gold or
silver, and when these laces are mentioned we should understand they are
exclusively for women's use." We also find in an Ordinance of the time
of Philip III., dated 1623, that gold and silver lace was prohibited,
and that "simple edgings, and curls, and fraises for women were enjoined
for women's use." In the "Fenix de Cataluña, compendio de sus Antiguas
Grandezas y Medio para Renovarlas," Barcelona, 1683, by Narciso Feliu,
the author states, p. 75, that "edgings of all sorts of gold, silver,
silk, thread, and aloe, is made there with greater perfection than in
Flanders."
Many interesting details have reached us of the costume of a Spanish
lady in the 17th century. We will copy the description given by Madame
d'Aunoy in her "Voyage d'Espagne," Lyon 1628. "Under the vertingale of
black taffety they wear a dozen or more petticoats, one finer than the
other, of rich stuffs trimmed with lace of gold and silver to the
girdle. They wear at all times a white garment called sabenqua; it is
made of the finest English lace, and four ells in compass. I have seen
some worth 500 or 600 crowns, and so great is their vanity, they would
rather have one of those lace subenquas than a dozen coarse ones, and
either lie in bed till it is washed, or else dress themselves without
any, which they frequently enough do." A number of portraits exist in
the Spanish galleries, especially by Velasquez and Carreño, in which
these extravagant costumes are fully portrayed, but in very few Spanish
portraits of the seventeenth century does thread lace of the kind known
as Point d'Espagne or de Venise ever appear. Mrs. Palliser, in her
interesting "History of Lace," p. 80, quotes a vast number of
descriptions of these gold and silver laces. The celebrated bed at
Versailles, the interior lacings of the carriages, the costumes of the
gentlemen and ladies of court, and wedding dresses, were all trimmed
with this silver and gold lace, either made in Spain, or called Point
d'Espagne.
We copy again Madame d'Aunoy's description of a Spanish bed. "It is of
gold and green damask lined with silver brocade and trimmed with point
of Spain. Her sheets were laced round with an English lace half an ell
deep. The young Princess of Monteleon bade her maids bring in her
wedding clothes. They brought in thirty silver baskets so heavy four
women could only carry one basket: the linen and lace were not inferior
to the rest." Beckford, in describing the apartment of a Spanish lady,
writes: "Her bed was of the richest blue velvet trimmed with point
lace." Aarsens de Sommerdyck in his "Voyage d'Espagne," [Paris, 1665,]
writes, in describing the costume worn by the men: "Leurs collets ou
cravates sont de grandes pointes, qui sans doute coustent beaucoup, bien
qu'elles ne paroissent pas belles. La mode en est presque la mesme qu'en
France, l'ayant prise de la princesse de Carignan quand elle estoit à
Madrid, dont elles les nomment Valonas à la Carignan." In the
interesting "Journal du Voyage d'Espagne," Paris, 1669, l'Abbé Bertaut
tells us that on the 15th of October, 1659, on the occasion of his
embassy to Madrid, the king of Spain sent eight postilions, and forty
post-horses, the saddles and bridles of eight of which were covered with
gold and silver lace.
Notwithstanding the opinion of so competent an authority as Mrs.
Palliser, I doubt the statement, finding no evidence to support it, that
thread lace of a very fine or artistic kind was ever made in Spain, or
exported as an article of commerce during early times. The lace alb,
which is mentioned, to prove this, as existing at Granada, a gift of
Ferdinand and Isabel, is of Flemish lace of the 17th century. The
chasuble, etc., splendid ecclesiastical vestments embroidered on crimson
velvet, were certainly the gift of these kings, and if Cardinal Wiseman
officiated in this vestment, it is probable he may have made a mistake
and not separated the alb from the chasuble, which certainly may be
worth 10,000 crowns. J. Barretti, in his "Journey from London to Genoa,
through Portugal and Spain," London, 1770, describing the fine church of
Las Salesas, lately built, writes, "The nuns showed me in the sacristy
some surplices for the mass priest, that are made of the finest Flanders
lace. Each surplice has cost about 1000 doubloons." In "Tassa de los
Precios a que se han de vender as Mercaderias," Madrid, 1628, we find
that the "puntas or edgings made in Spain are to be sold at the same
price as those imported from Paris." Puntas from Flanders are estimated
in this tariff at a much higher rate than those which were brought from
France; we may calculate they were sold for double the price. The
"Ordenaciones" made at Barcelona to settle commercial tariffs state in
1704: "As experience has shown us that most of the edgings or puntas
made in this principality are sent out of the country, and we do not
find them mentioned in the financial accounts, to the great disadvantage
of the community, it is determined--"
We find reference to lace brought from Flanders, Paris, and Lyon, in the
first volume of "Apendice a la Educacion Popular," [p. 61.] [Madrid,
1775,] the author mentions the large sums of money which were taken out
of the country by the importations of foreign lace, and he adds, [vol.
ii., p. 61,] "Lace is employed to a very considerable extent; all the
fine qualities come from foreign lands, and the greater varieties of the
coarser ones. Spanish matrons, among other branches of their education,
are taught to make lace of different kinds, and many respectable people
live on this industry." Larruga, in his "Memorias," Madrid, 1788,
mentions, vol. ii., p. 149, a manufacture of gold and silver lace which
had been set up lately at Madrid; and in the 17th vol., p. 294, in
mentioning lace made at La Mancha, "the industry of lace has existed at
Almagro from time immemorial. D^{n}. Manuel Fernandez and Dª Rita
Lambert, his wife, natives of Madrid, established in this town in 1766
a manufacture of silk and thread lace." This industry also existed at
Granatula, Manzanares, and other villages of La Mancha. At Zamora "lace
and blonde were made in private houses. The finest kinds are sold to
lace merchants." In Sempere, "Historia del Lujo," [Madrid, 1788, 8vo,]
we find that in the Ordinance issued in 1723, the "introduction of every
sort of edgings or foreign laces was prohibited, the only kinds allowed
were those made in the country."