At the beginning of the fourteenth century a silk called “Acca” is occasionally mentioned: and, from the description, it must have been a cloth of gold shot with coloured silk, figured with animals: William de Clinton, earl of Huntingdon, gave to St. Alban’s monastery2 a whole vestment of cloth of gold shot with sky-blue and called cloth of Acca. It would look as if this stuff took its name from having been brought to us through the port of Acre: and Macri, in his valuable Hierolexicon, says that the name of the ancient Ptolemais in Syria was so written.
What in one age and at a particular place happened to be well made and therefore was eagerly sought for, at a later period and in another place was better wrought3 and at a lower price. Time, indeed, changed the name of the market, but did not alter in any great degree either the quality of the material or the style of the design wrought upon it. Throughout the kingdom of the Byzantine Greeks the loom4 had to change its gearing very little. The Saracenic loom, whether in Asia, Africa, or Spain, was always Arabic, though Persia could not forget her old traditions about the “hom” or tree of life, and cheetahs5, and birds of71 various sorts. With regard to the whole of Asia, its many peoples from the earliest ages knew how not only to weave cloth of gold but to figure it with birds and beasts. In later times, Marco Polo in the thirteenth century found exactly the same kinds of textile known in the days of Darius still everywhere, from the shores of the Mediterranean6 to the far east. What he says of Bagdad he repeats in fewer words about many other cities. In finding their way to England these fabrics7 received, if not in all at least in most instances, the names of the seaports9 in the Mediterranean where they had been shipped.
For beautifully wrought and figured silk, one of the few terms that still outlive the medi?val period is Damask.
China, no doubt, was the first country to ornament10 its silken webs with a pattern. India, Persia, and Syria, then Byzantine Greece, followed, but at long intervals11 between, in China’s footsteps. Stuffs so figured brought with them to the west the name “diaspron” or diaper, bestowed12 upon them at Constantinople. But about the twelfth century the city of Damascus, even then long celebrated13 for its looms14, so far outstripped15 all other places for beauty of design that her silken textiles were in demand everywhere; and thus, as often happens, traders fastened the name of Damascen or Damask upon every silken fabric8 richly wrought and curiously16 designed, no matter whether it came or not from Damascus. At last, samit, having long been the epithet17 betokening18 all that was rich and good in silk, was forgotten, and diaper, from being the very word significant of pattern, became a secondary term descriptive of merely a part in the elaborate design on damask.
Baudekin, that sort of costly19 cloth of gold spoken of so much during so many years in English literature, took (as was said before) its famous name from Bagdad. Many specimens21 of baudekin in the South Kensington collection furnish proofs of the ancient weavers’ dexterity22 in their management of the loom, and especially of the artists’ taste in setting out their intricate and72 beautiful designs. An identification between very many samples there brought together of ancient textiles in silk and the descriptions of similar stuffs given us in those valuable records, our old church inventories23, might be carried on if necessary to a very lengthened24 extent.
Dorneck was the name given to an inferior kind of damask wrought of silk, wool, linen25 thread and gold, in Flanders. This was manufactured towards the end of the fifteenth century mostly at Tournay; which city in Flemish was often called Dorneck—a word variously spelt as Darnec, Darnak, Darnick, and sometimes even Darness.
The guild26 of the blessed Virgin27 at Boston had a care cloth of “silke dornex” and church furniture. The “care cloth” was a sort of canopy28 held over the bride and bridegroom as they knelt for the nuptial29 blessing30, according to the Salisbury rite31, at the marriage mass. At Exeter dorneck was used in chasubles for orphreys. A specimen20 of dorneck may be seen, no. 7058. It is several times mentioned in the York fabric rolls.
Buckram, so called from Bokkara where it was originally made, in the middle ages was much esteemed32 for being costly and very fine; and consequently fit for use in church vestments and for secular33 personal wear. “Panus Tartaricus” or Tartary cloth is often spoken of. John Grandison, bishop34 of Exeter in 1327, gave to his cathedral flags of white and red buckram; and among the five very rich veils for covering the moveable lectern in that church three were lined with blue “bokeram.” As late as the beginning of the sixteenth century this stuff was held good enough for lining35 to a black velvet36 gown for a queen, Elizabeth of York. The coarse thick fabric which now goes by the name is very different from the older production known as “bokeram.”
Burdalisaunder, Bordalisaunder, Bourde de Elisandre, with other varieties in spelling, is a term often to be met with in old wills and church inventories. In the year 1327 Exeter had a chasuble of Bourde de Elisandre of divers37 colours: and from the73 Yorkshire wills we find that sometimes it was wide enough for half a piece to form the adornment38 of a high altar.
“Bord” in Arabic means a striped cloth; and we know, both from travellers and the importation of the textile itself, that many tribes in north and eastern Africa weave stuffs for personal wear of a pattern consisting of white and black longitudinal stripes. St. Augustin, living in north Africa near the modern Algiers, speaks of a stuff for clothing called “burda” in the end of the fourth and beginning of the fifth century. It is not impossible that the curtains for the tabernacle as well as the girdles for Aaron and his sons, of fine linen and violet and purple and scarlet39 twice dyed, were wrought with this very pattern, so that in the “burd Alisaunder” we behold40 the oldest known design for any textile. This stuff in the middle ages was a silken web in different coloured stripes, and specimens also may be found at South Kensington. Though made in many places round the Mediterranean this silk took its name, at least in England, from Alexandria.
Fustian41, of which we still have two forms in velveteen and corduroy, was originally wove at Fustat on the Nile, with a warp42 of linen thread and a woof of thick cotton, so twilled and cut that it showed on one side a thick but low pile; and the web thus managed took its name of Fustian from that Egyptian city. At what period it was invented we do not rightly know, but we are well aware it must have been brought very early to this country; for our countryman St. Stephen Harding, when a Cistercian abbot and an old man about the year 1114, forbade chasubles in his church to be made of anything but fustian or plain linen. The austerity of his rule reached even the ornaments43 of the church. From such a prohibition44 we are not to draw as a conclusion that fustian was at the time a mean material; quite the contrary, although not splendid it was a seemly textile. Years afterwards, in the fourteenth century, Chaucer tells us of his knight:—
Of fustian he wered a gepon.
74 In the fifteenth century Naples had a repute for weaving fustians; and our English churchwardens, not being learned in geography or spelling, made some odd mistakes in their accounts about this as about some other continental45 stuffs: “Fuschan in appules” for fustian from Naples is droll46; yet droller still is “mustyrd devells,” for a cloth made in France at a town called Mustrevilliers.
Muslin, as it is now throughout the world so from the earliest antiquity47, has been everywhere in Asia in favourite use both as an article of dress and as furniture. Its cloud-like thinness and its lightness were not the only charms belonging to this stuff: it was esteemed equally as much for the taste with which stripes of gold had been woven in its warp. As we learn from the travels of Marco Polo, the further all wayfarers48 in Asia wandered among eastern nations the higher they found the point of excellence49 which had been reached in weaving silk and gold into splendid fabrics. The silkworm lived and thrived there and the cotton plant also was in its home, its birth-place, in those regions.
Like many cities of central Asia, Mosul had earned for itself a reputation of old for the beauty of its gold-wrought silken textiles. Cotton grew all around in plenty; the inhabitants, especially the women, were gifted with such quick feeling of finger that they could spin thread from this cotton of more than hair-like fineness. Cotton with them took the place of silk in the loom; and gold was not forgotten in the weaving. Their work, not only because it was so much cheaper but from its own peculiar50 beauty and comeliness51, won for itself a high place in common estimation: and the name of the town where it was wrought in such perfection was given to it as its distinctive52 name. Hence, whether wove with or without gold, we call this cotton web muslin, from the Asiatic city of Mosul.
Cloth of Areste is another term for woven stuffs, to be found in our old English deeds and inventories. The first time we meet it is in an order given, 1244, by Henry the third for finding75 two cloths of Areste with which two copes were to be made for royal chapels53. Again it comes a few years later at St. Paul’s, which cathedral A. D. 1295 had, besides a dalmatic and tunicle of this silk “white silk of Areste diapered,” as many as thirty and more hangings of the same texture54.
From the description of these pieces we gather that this so-called cloth of Areste must have been both beautiful and rich, being for the most part cloth of gold figured elaborately; some with lions and double-headed eagles, others, for example, with the death and burial of our Lord.
We are not disposed to agree with the suggestion that this cloth was a kind of arras. Arras had not won for itself a reputation for its tapestry55 before the fourteenth century. Tapestry itself is too thick and heavy for use in vestments; yet this cloth of Areste was light enough for tunicles, and when worn out was sometimes condemned56 at St. Paul’s to be put aside for lining other ritual garments. Among the three meanings for the medi?val “Aresta” one is any kind of covering. It seems, therefore, probable that these cloths of Areste took their name not from the place where they had been woven, but from the use to which they were generally put; namely, for hangings about churches. Moreover, tapestry or Arras work, being thick and heavy, could never have been employed for such light use as that of apparels nor would it have been diapered like silk, yet we find “Areste” to have been so fashioned and so used.
Silks also were distinguished57 through their colours and shades of colours: and the men who drew up the medi?val inventories seem to have been gifted with a keen eye for varieties of shades and tints59. For instance, a chasuble at St. Paul’s is set down, late in the thirteenth century, as made of samit dyed in a purple somewhat bordering on a blood-red tone. Tarsus colour is often mentioned: and it was, probably, some shade of purple. The people of Tarsus no doubt got from their murex, a shell-fish of the class mollusca and purpurifera family to be found on their coast,76 their dyeing matter; and when we remember what changes are wrought in the animal itself by the food it eats, and what strong effects are made by slight variations in climate, even atmosphere, upon materials for colouring in the moment of application, we may easily understand how the difference arose between the two tints of purple.
“Cloth of Tarsus” itself was of a rare and costly kind, of fine goats’ hair and silk. The tint58 was some shade of royal purple. Chaucer tells us that
The great Emetrius, the king of Inde,
Covered with cloth of gold diapred wele,
Came riding like the god of armes Mars.
Couched with perles, etc.
Other cities besides Tarsus gave their names to various shades of purple; according as they were dyed at Antioch, Alexandria, or Naples. Each place had a particular shade which distinguished it from the others. It is not now possible to ascertain61 what were the exact distinctions of tint. Sky-blue was a colour everywhere in church use for certain festivals throughout England. In the early inventories the name for that tint is “Indicus,” “Indus,” reminding us of our present indigo62. In later lists it is called “Blodius,” not sanguinary but blue. Murrey, or a reddish brown, is also often specified63.
Silks woven of two colours, so that one of them showed itself unmixed and quite distinct on one side, and the second appeared equally clear on the other—a thing sometimes now looked upon as a wonder in modern weaving—might occasionally be met with here at the medi?val period: Exeter cathedral had, in 1327, a silk cloth “of red colour inside and yellow outside.” At York, in 1543, there was “a vestment of changeable silke,” “besides one of changeable taffety for Good Friday.”
Marble silk had a weft of several colours so woven as to make77 the whole web look like marble, stained with a variety of tints. There were many such vestments in old St. Paul’s. During full three centuries this marble silk found great favour among us; for Henry Machyn, in his curious diary, tells us how “the old qwyne of Schottes rod thrught London,” and how “then cam the lord tresorer with a C. gret horsse and ther cotes of marbull,” etc., to meet her the 6th of November, 1551.
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1
tars
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| 焦油，沥青，柏油( tar的名词复数 ) | |
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monastery
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| n.修道院，僧院，寺院 | |
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wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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loom
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| n.织布机，织机；v.隐现，(危险、忧虑等)迫近 | |
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cheetahs
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| n.（奔跑极快的）非洲猎豹( cheetah的名词复数 ) | |
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Mediterranean
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| adj.地中海的；地中海沿岸的 | |
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7
fabrics
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| 织物( fabric的名词复数 )； 布； 构造； （建筑物的）结构（如墙、地面、屋顶）：质地 | |
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fabric
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| n.织物，织品，布；构造，结构，组织 | |
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seaports
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| n.海港( seaport的名词复数 ) | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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12
bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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looms
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| n.织布机( loom的名词复数 )v.隐约出现，阴森地逼近( loom的第三人称单数 )；隐约出现，阴森地逼近 | |
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15
outstripped
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| v.做得比…更好，（在赛跑等中）超过( outstrip的过去式和过去分词 ) | |
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16
curiously
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| adv.有求知欲地；好问地；奇特地 | |
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epithet
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| n.（用于褒贬人物等的）表述形容词，修饰语 | |
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betokening
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| v.预示，表示( betoken的现在分词 ) | |
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costly
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| adj.昂贵的，价值高的，豪华的 | |
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specimen
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| n.样本，标本 | |
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specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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22
dexterity
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| n.(手的)灵巧，灵活 | |
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inventories
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| n.总结( inventory的名词复数 )；细账；存货清单（或财产目录）的编制 | |
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24
lengthened
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| （时间或空间）延长，伸长( lengthen的过去式和过去分词 ) | |
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linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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guild
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| n.行会，同业公会，协会 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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canopy
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| n.天篷，遮篷 | |
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nuptial
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| adj.婚姻的，婚礼的 | |
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blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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rite
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| n.典礼，惯例，习俗 | |
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esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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secular
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| n.牧师，凡人；adj.世俗的，现世的，不朽的 | |
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bishop
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| n.主教，（国际象棋）象 | |
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lining
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| n.衬里，衬料 | |
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velvet
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| n.丝绒，天鹅绒；adj.丝绒制的，柔软的 | |
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divers
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| adj.不同的；种种的 | |
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adornment
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| n.装饰；装饰品 | |
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scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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behold
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| v.看，注视，看到 | |
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fustian
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| n.浮夸的；厚粗棉布 | |
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warp
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| vt.弄歪，使翘曲，使不正常，歪曲，使有偏见 | |
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43
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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44
prohibition
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| n.禁止；禁令，禁律 | |
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45
continental
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| adj.大陆的，大陆性的，欧洲大陆的 | |
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46
droll
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| adj.古怪的，好笑的 | |
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47
antiquity
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| n.古老；高龄；古物，古迹 | |
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48
wayfarers
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| n.旅人，（尤指）徒步旅行者( wayfarer的名词复数 ) | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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50
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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51
comeliness
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| n. 清秀, 美丽, 合宜 | |
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52
distinctive
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| adj.特别的，有特色的，与众不同的 | |
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53
chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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54
texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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55
tapestry
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| n.挂毯，丰富多采的画面 | |
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condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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distinguished
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| adj.卓越的，杰出的，著名的 | |
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tint
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| n.淡色，浅色；染发剂；vt.着以淡淡的颜色 | |
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tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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stele
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| n.石碑，石柱 | |
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ascertain
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| vt.发现，确定，查明，弄清 | |
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indigo
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| n.靛青，靛蓝 | |
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specified
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| adj.特定的 | |
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