Early Christian Weavings From Egypt

8/12/2019 Early Christian Weavings From Egypt

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Early Christian Weavings from Egypt

Author(s): Maurice S. DimandReviewed work(s):Source: The Metropolitan Museum of Art Bulletin, Vol. 20, No. 2 (Feb., 1925), pp. 55-58Published by: The Metropolitan Museum of ArtStable URL: http://www.jstor.org/stable/3254543.

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BULLETIN OF THE METROPOLITANMUSEUM OF ARTULLETIN OF THE METROPOLITANMUSEUM OF ARTthree panels beneath the figure frame anAmerican ship surmounted by the wordsCommercial Union, supported on eitherside by the American Eagle and the BritishLion. Both this and the Glasgow panelare dark brown (black?) prints on glazedcotton.The provenance of certain of the Wash-ington prints such as were used in housefurnishing is still to be determined. Al-though one was designed by Henry Gar-

three panels beneath the figure frame anAmerican ship surmounted by the wordsCommercial Union, supported on eitherside by the American Eagle and the BritishLion. Both this and the Glasgow panelare dark brown (black?) prints on glazedcotton.The provenance of certain of the Wash-ington prints such as were used in housefurnishing is still to be determined. Al-though one was designed by Henry Gar-

Q . .:_ .FIG. I. WOVEN

III-IV CEN

Q . .:_ .FIG. I. WOVEN

III-IV CENdiner of Wandsworth, Surrey, on the otherhand it has been established that otherswere made in France; for the officersof Lafayette's staff sent back from Francesufficient printed cotton of Washingtondesign to furnish the guest chamberof a southern house where they had beenentertained during Lafayette's sojourn inAmerica. In France, however, no recordsthus far available have produced any evi-dence that Washington chintzes wereprinted at Jouy or any of the other textileprinting centers.

This group of Washington prints hasbeen placed with the other printed fabricsin the Textile Study Room, where they arefreely available. FRANCESMORRIS.

diner of Wandsworth, Surrey, on the otherhand it has been established that otherswere made in France; for the officersof Lafayette's staff sent back from Francesufficient printed cotton of Washingtondesign to furnish the guest chamberof a southern house where they had beenentertained during Lafayette's sojourn inAmerica. In France, however, no recordsthus far available have produced any evi-dence that Washington chintzes wereprinted at Jouy or any of the other textileprinting centers.

This group of Washington prints hasbeen placed with the other printed fabricsin the Textile Study Room, where they arefreely available. FRANCESMORRIS.

EARLY CHRISTIAN WEAVINGSFROM EGYPTThe Metropolitan Museum of Art pos-

sesses a group of woolen stuffs which illus-trate the progress of the art of weaving inthe late Roman and the early Christianperiods. The majority of textiles found inEgypt are tapestry woven. In this methodof decorating stuffs the woolen weft threadsare introduced with a needle only as far..4

. .

PANEL, EGYPTTURY A. D.

as the pattern requires. The linen back-ground and the ornament are woven atthe same time on a simple loom. Thegroup of textiles considered here is entirelydifferent in technique from the tapestryweavings. Both the background and thepattern are wovenwith a shuttle.The woolen band of fig. 2 is decoratedby an open lozenge diaper, a very commonornament in Coptic textiles, formed ofrectangles with zigzag lines in undyed woolon a dark blue ground. The corners of thelozenges show stars in blue on a green, red,or yellow ground, and crosses in yellow,green, and white. The lozenges are filledwith palmette crosses in undyed wool. Themethod of weaving applied here is a verysimple one. For the background, repre-imple one. For the background,repre-

EARLY CHRISTIAN WEAVINGSFROM EGYPTThe Metropolitan Museum of Art pos-

sesses a group of woolen stuffs which illus-trate the progress of the art of weaving inthe late Roman and the early Christianperiods. The majority of textiles found inEgypt are tapestry woven. In this methodof decorating stuffs the woolen weft threadsare introduced with a needle only as far..4

. .

PANEL, EGYPTTURY A. D.

as the pattern requires. The linen back-ground and the ornament are woven atthe same time on a simple loom. Thegroup of textiles considered here is entirelydifferent in technique from the tapestryweavings. Both the background and thepattern are wovenwith a shuttle.The woolen band of fig. 2 is decoratedby an open lozenge diaper, a very commonornament in Coptic textiles, formed ofrectangles with zigzag lines in undyed woolon a dark blue ground. The corners of thelozenges show stars in blue on a green, red,or yellow ground, and crosses in yellow,green, and white. The lozenges are filledwith palmette crosses in undyed wool. Themethod of weaving applied here is a verysimple one. For the background, repre-imple one. For the background,repre-

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BULLETIN OF THE METROPOLITAN MUSEUM OF ARTsenting a plain weave, only one harness wasused; the pattern woven with a shuttlerequired a second harness. The weftthreads when not used for the pattern lie

FIG. 2. WOVEN BAND, EGYPTV CENTURY A. D.

loose on the back without being inter-woven. After every weft of the backgroundthere follows one of the pattern. Thisform of weaving was applied only to narrowbands or panels. The pattern' of theseweavings shows angular outlines and isrepeated over the surface, in contrast to thetapestry weavings which, like paintings,allow free compositions by using manyneedles with threads in various colors. The

FIG. 3. WOVEN PANEL, EGYPTIV-V CENTURY A. D.tapestry weaver was more or less an artist.He could pass the needles in every directionas the painter does his brush. The weav-ing method of the pattern in fig. 2 was notof great practical use because of manythreads passing loose at the back of thefabric. For larger cloths another method

was applied, showing a great improvementin the weaving art and in the constructionof the loom.Fig. i shows a portion of a woolen cloth

sewed on a linen ground with a fringe ofloops at two ends. It served probably asa pillow-cover. The design consists of ameander ornament with lines runninghorizontally and vertically. In interven-ing spaces are rosettes within circles, andsquare dots. The pattern is in purple onan undyed woolen ground. This form ofthe meander is different from the meandersin the Coptic tapestries, which were derivedfrom Greek or ancient Egyptian art. ItAJ---I1 -I1 . jII ca

d'FIG. 4. DIAGRAM OF THE

DRAW-LOOM WEAVINGSresembles more closely the Chinese formsof a meander than the Western. Thewoolen fragment in fig. 3 has a conventionaldesign of rectangles repeated over the sur-face, and is filled with angular outlinedleaves attached to corners of smaller rec-tangles. The pattern appears in brownon a pale tan ground. The back of eachof these two textiles shows the samepattern as the front, only reversed incolors. In these two textiles we find twoweaves covering each other (fig. 4 ab, cd).Another characteristic feature of thesestuffs is two groups of warp threads (fig.4B). The weft threads pass over threewarps of which two (1, 2) are lying betweenthe two weaves and the third is bindingthese weaves together. In patterned fab-rics where a change of color is necessary thewefts pass over or under only two warps(fig. 4B, 4). The wefts which first were atthe front of the weave (a) are now at theback, and vice versa. The binding warps

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BULLETIN OF THE METROPOLITAN MUSEUM OF ART(3), are always single while the surfacewarps (fig. 4B, 1, 2) are sometimes doubleas in textiles of figs. i and 3, in order to givethe fabric a stronger texture. These tex-tiles have been woven on a draw loom withthree healds or harness frames to controlthe groups of warps.Besides the geometrical pattern woven inthis method we find also figure scenes illus-trating hunting or patterns of small birdsrepeated all over the surface.1 Woolenweaves with biblical scenes and saints are

in the band resemble some of the ivorymonuments of the fifth and sixth centuriesA. D., which are now regarded as productsof Syrian art. A characteristic feature ofthese early representations is the wickerchair in which the Virgin is sitting.2 Ourband has all the characteristics of the earlyChristian period and can be dated to thefifth or sixth century. The band is wovenin red wool and undyed silk thread. Themethod of weaving represents a variationof the method described above. The front

FIG. 5. FRAGMENTS OF A WOVEN BAND, EGYPT OR SYRIAV-VI CENTURY A. D.very rare. The Metropolitan Museumpossesses a very important woven band,preserved in five fragments (fig. 5). Thisband was probably used as a border of agarment which may have belonged to aCoptic priest. The scenes represent theAnnunciation (i), the Nativity (2), Bath-ing (3), and the Adoration of the Shepherds(4, 5). The background is filled withplants indicating the landscape. Scenesfrom the life of our Lord were very popularin the early Christian art of East and West.Both tapestry weavings and silks weredecorated with Christian representations.Syria and Alexandria in Egypt were thegreatest centers of the industrial arts inthe early Christian period. The figures

'Falke, Kunstgeschichteer Seidenweberei, ,figs. 29-31.

shows the wefts going over three and underone warp; the back shows the wefts passingover and under only one warp.3 The pat-tern warps are visible in the illustration inplaces where the linen wefts have wornaway.The draw-loom method was as great aninvention in antiquity as is the Jacquardloom, built on the principles of the ancientdraw looms, in modern times. NeitherEgypt nor Rome knew this method beforethe first century B. C. Textiles woven inthis way are mentioned by Pliny as a prod-uct of Alexandria and called polymita.

2Wulff, Altchristliche und ByzantinischeKunst, I, figs. 121, 125, 185. Venturi, Storiadell' Arte Italiana, I, fig. 296.3Flanagan, The Origin of the Draw Loom(Burlington Mag., vol. XXXV, p. 168, fig. 2).57



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BULLETIN OF THE METROPOLITANMUSEUM OF ARTULLETIN OF THE METROPOLITANMUSEUM OF ARTThe new discoveries in Central Asia4give usevidence that this draw-loom method wasknown in China long before that time.China has for many centuries, beginningfrom about the first century B. C., suppliedall the western world with silk and silkweavings, thus introducing new methodsand designs to the provinces of the Roman

4Andrews,Ancient Chinese Figured Silks(BurlingtonMag.,vol. XXXVII).

The new discoveries in Central Asia4give usevidence that this draw-loom method wasknown in China long before that time.China has for many centuries, beginningfrom about the first century B. C., suppliedall the western world with silk and silkweavings, thus introducing new methodsand designs to the provinces of the Roman

4Andrews,Ancient Chinese Figured Silks(BurlingtonMag.,vol. XXXVII).

Empire. The fact that silk in the firstcenturies of the Christian era was veryexpensive explains why in the beginningwool was applied to draw-loom weavings.The earliest silks from Egypt belong to thefifth or sixth century A. D., while thewoolen weavings can be traced back to thethird and fourth centuries.5MAURICE S. DIMAND.

5Guimet, Les Portraits d'Antinoe, pi. III.

Empire. The fact that silk in the firstcenturies of the Christian era was veryexpensive explains why in the beginningwool was applied to draw-loom weavings.The earliest silks from Egypt belong to thefifth or sixth century A. D., while thewoolen weavings can be traced back to thethird and fourth centuries.5MAURICE S. DIMAND.

5Guimet, Les Portraits d'Antinoe, pi. III.

ACCESSIONSAND NOTESCCESSIONSAND NOTESSTAFF APPOINTMENTS. Charles O. Cor-nelius, Assistant Curator in the Depart-ment of Decorative Arts, has been ap-pointed AssociateCurator,AmericanArt.Preston Remington and Dr. MauriceS.Dimand have been appointed AssistantCuratorsn the Departmentof DecorativeArts. Charles Niver, Assistant in thisDepartment,has resignedon accountof illhealth.A NEW LOAN OF DEGAS BRONZES. Thegroupof bronzescastbyA. A. Hebrardromthe originalwax modelsby Degas, whichhave been shownfor sometime in GalleryA 21 as an anonymous oan,has now beenwithdrawnand generously replacedby anewgroupof no less interest. Theoriginalmodelswere madeby Degasforpurposesofstudy and show his method of work. Alargenumberof thesestudies n clayorwaxwere foundin the artist'spossessionat thetime of his death. The best preservedofthese-about seventy in number-werecast in bronze and first exhibitedat Parisin 1920. The bronzes which the Museumis privileged o exhibitformpart of Set A.J. B.MODERN SCULPTURES. Temporarily ex-hibited in Gallery B 39 is a gift recentlyreceivedfrom Mr. and Mrs. Stephen C.Millett, a bronzeof monumentalpropor-

tions representingHerakles drawing hisbow againstthe StymphalianBirds. Thisvigorouswork,a first proofin bronze,is amasterpiece f the modernFrench culptor,Bourdelle. A replicain reducedsize, ac-

STAFF APPOINTMENTS. Charles O. Cor-nelius, Assistant Curator in the Depart-ment of Decorative Arts, has been ap-pointed AssociateCurator,AmericanArt.Preston Remington and Dr. MauriceS.Dimand have been appointed AssistantCuratorsn the Departmentof DecorativeArts. Charles Niver, Assistant in thisDepartment,has resignedon accountof illhealth.A NEW LOAN OF DEGAS BRONZES. Thegroupof bronzescastbyA. A. Hebrardromthe originalwax modelsby Degas, whichhave been shownfor sometime in GalleryA 21 as an anonymous oan,has now beenwithdrawnand generously replacedby anewgroupof no less interest. Theoriginalmodelswere madeby Degasforpurposesofstudy and show his method of work. Alargenumberof thesestudies n clayorwaxwere foundin the artist'spossessionat thetime of his death. The best preservedofthese-about seventy in number-werecast in bronze and first exhibitedat Parisin 1920. The bronzes which the Museumis privileged o exhibitformpart of Set A.J. B.MODERN SCULPTURES. Temporarily ex-hibited in Gallery B 39 is a gift recentlyreceivedfrom Mr. and Mrs. Stephen C.Millett, a bronzeof monumentalpropor-

tions representingHerakles drawing hisbow againstthe StymphalianBirds. Thisvigorouswork,a first proofin bronze,is amasterpiece f the modernFrench culptor,Bourdelle. A replicain reducedsize, ac-

quired by the Museum in 1923, is describedin the BULLETINfor April of that year.A distinguished work in marble by theAmerican sculptor, Arthur Lee, a torso of awoman entitled Volupte, has been presentedanonymously to the Museum, and is ex-hibited this month in the Room of RecentAccessions. J. B.TRANSPORTATIONFOR CRIPPLED CHIL-

DREN. As a part of its educational activi-ties, the Museum for the last few years hasbeen able to give four story-hours yearly forthe helpless crippled children who are underthe care of Dr. Adela J. Smith, AssistantDirector of Physical Training in the publicschool system of New York. Owing to thefact that these children are for the mostpart unable to walk, automobiles for theirtransportation are provided by the Mu-seum. This has been made .possible bygifts of money from a few persons who havehad this work at heart. Such a gift hasjust been received, of which gratefulacknowledgment is here made.With the thought that there may beothers who would want to help in thebringing of this occasional happiness intothe monotonous lives of these little un-fortunates, the Museum has decided toannounce that it will gladly receive ad-ditional gifts of money to be used towardthe defraying of the cost of the automo-biles, which amounts to about $425 yearly.

BENIAMINOBENVENUTOBUFANO. Ben-iamino Benvenuto Bufano, whose ChineseFriends in glazed terracotta was given to

quired by the Museum in 1923, is describedin the BULLETINfor April of that year.A distinguished work in marble by theAmerican sculptor, Arthur Lee, a torso of awoman entitled Volupte, has been presentedanonymously to the Museum, and is ex-hibited this month in the Room of RecentAccessions. J. B.TRANSPORTATIONFOR CRIPPLED CHIL-

DREN. As a part of its educational activi-ties, the Museum for the last few years hasbeen able to give four story-hours yearly forthe helpless crippled children who are underthe care of Dr. Adela J. Smith, AssistantDirector of Physical Training in the publicschool system of New York. Owing to thefact that these children are for the mostpart unable to walk, automobiles for theirtransportation are provided by the Mu-seum. This has been made .possible bygifts of money from a few persons who havehad this work at heart. Such a gift hasjust been received, of which gratefulacknowledgment is here made.With the thought that there may beothers who would want to help in thebringing of this occasional happiness intothe monotonous lives of these little un-fortunates, the Museum has decided toannounce that it will gladly receive ad-ditional gifts of money to be used towardthe defraying of the cost of the automo-biles, which amounts to about $425 yearly.

BENIAMINOBENVENUTOBUFANO. Ben-iamino Benvenuto Bufano, whose ChineseFriends in glazed terracotta was given to588


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