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⤠ NOTES ⤟
[1] R. Campbell, ‘The London Tradesman’, 1747 (p 153-4): “[Embroidery] is chiefly perform’d by Women”. archive.org/details/TheLondon...
[2] Lanto Synge, ‘Art of Embroidery: History of Style and Technique’, 2001 (p 176). “Designs were supplied by pattern drawers, a recognised profession, who in turn derived their subjects from pattern books and published sources.” archive.org/details/artofembr...
[3] Ernest Lefébure, ‘Embroidery and lace: their manufacture and history from the remotest antiquity to the present day. A handbook for amateurs, collectors and general readers’, 1888 (p149). “Many sent their clothes to be embroidered in China... We owe to the Chinese by whom many embroideries most precise in regularity have been made for fanciful dandies.” archive.org/details/embroider... Lanto Synge, ‘Art of Embroidery: History of Style and Technique’, 2001. “Indian needlework was for a considerable period linked in design and technique with Western embroidery and Mughal embroidery ranks with some of the finest in the world.” (28). “Other aristocrats were so eager to be dressed in the fashionable Indian and Chinese taste that they sent garments to the east to be embroidered there.” (165) “Chinese embroidery of exquisite fineness, fascinated early travelers and successive merchants. It was inevitable that Europeans would try and acquire it… and ultimately would attempt to imitate it.” (305). “Amongst a variety of textiles, [Indian] needlework was supplied commercially from the subcontinent from the 17th c onwards.” (310). archive.org/details/artofembr...
[4] Synge, ‘Art of Embroidery’: “At the outset of the century, however, Parliament attempted to curb the importation of all materials ‘of China, Persia, or the East Indies’ as these threatened the prosperity of the english silk industry. In 1720 foreign coloured embroidery was prohibited, and even cotton goods were specified in the following year. These restrictions were relaxed in 1736, but in 1749 metal thread embroidery, lace and fringes were forbidden on the grounds of national economy.” (172)
[5a] Rozsika Parker, ‘The Subversive Stitch: Embroidery and the Making of the Feminine’, 2019 (p5). “The professional branch of embroidery…was, from the end of the 17th c to the end of the 19th c, largely in the hands of working-class women, or disadvantaged middle-class women.”
[5b] The UK Broderer’s Guild, which still exists today: broderers.co.uk/history-brode.... Also: Melinda Watt, ‘English Embroidery of the Late Tudor and Stuart Eras’. www.metmuseum.org/toah/hd/bro.... “Male professional embroiderers were members of the Worshipful Company of Broderers, chartered during Elizabeth I’s reign in 1561. Though guild membership was restricted to men, it is clear from surviving documents that women played an important role in embroidery workshops and as professionals in related textile trades, such as the production of ribbons and trimmings.”
[6] Charles Germain de Saint-Aubin’, L’Art du brodeur’ www.gutenberg.org/cache/epub/....
[7] Sorry, there’s no note here. We’ve just got the footnote timings a bit mixed up but have split [5] into ‘a’ and ‘b’ to sort it. I can't believe you made it to the end! Look at you appreciating a footnote list. Honestly, same. We should fill the comments with 👖 (or 🩲 if you're British) just to confuse everyone.
5 июл 2024
