Identifier: decorativetextil00hunt (find matches)
Title: Decorative textiles; an illustrated book on coverings for furniture, walls and floors, including damasks, brocades and velvets, tapestries, laces, embroideries, chintzes, cretones, drapery and furniture trimmings, wall papers, carpets and rugs, tooled and illuminated leathers
Year: 1918 (1910s)
Authors: Hunter, George Leland, 1867-1927
Subjects: Textile fabrics Textile design Lace and lace making Embroidery Wallpaper Leatherwork Interior decoration Tapestry
Publisher: Philadelphia, London, J. B. Lippincott Company Grand Rapids, The Dean-Hicks Company
Contributing Library: Wellesley College Library
Digitizing Sponsor: Wellesley College Library

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uit-able for Late Gothic and Early Renaissance frames, being flat indrawing and having the ground covered with tiny leaves and flowers(whence their name, mille-fleiu- or thousand-flower tapestries). Very difterent are these Gothic verdures from those that weredeveloped in the latter part of the seventeenth century, and flourishedthrough the eighteenth, like the coverings illustrated on Plate II.The latter are distinctly paint style, relying for their principal effectsupon contrasts of light and shade, with line and colour both weak. Examples of verdure tapestries executed in England at theMortlake works near London in the last half of the seventeenthcentury, are the coverings of the Charles II sofa, chair and stool ofPlate VI which are to be seen in the Victoria and Albert Museumat South Kensington. It will be noticed that the details of theseEnglish seventeenth century weaves are lai-ger in scale than are thedetails in the Gothic mille-fleurs, and the eighteenth century verdures. 317
Text Appearing After Image:
Plate XII—SCREEN PANELLED WITH ANCIENT BRUSSELS RENAISSANCE TAPESTRY 318 TAPESTRY FURNITURE COVERINGS AMERICAN INNOVATIONS With the tapestries frciin American looms, ilkistrated on PlatesIV and XIV, I am especially pleased. The_\- take their inspirationfrom Old English needlework, hut in such a way as to produce thecharm of innovation ratlier than the suggestion of imitation. With-out losing the fascinating character of tapestry texture, they haveintroduced variety and special interest into it l)y the addition of someof the ((ualities found in ancient needlework. From the texture pointof view, they are delightful, and constitute an important addition totajiestry technique. From the commercial point of view they are asuccess, selling for a little over half the cost of modern needleworkof the same fineness, and heing nuicli more durable. Especially do Iadmire the chair seat on Plate IV. An especial interest attaches to the coverings on the ChineseChippendale sofa of Plate XI^, because

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