R T T H 7 !F 14 H Jl L; Ljy 4l - Forgotten Books

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BY G. WOO L L ISCROFT RHEADR.E. ; HON. LOND. ; AUTHOR OF ‘THE PR INC I PLESOF DESIGN ’

;‘A HANDBOOK OF ETCH ING ’

;‘THE TREAT

MENT OF DRAPERY IN ART ’;‘ ST U D I ES IN P LANT FORM ’

‘ CHAT S ON CO STUME,’ ET C. ; JO INT AUTHOR OF

‘ STAFFORD SH I RE POTS AND POTTERS ’‘ BR ITI SH POTTERY MARK S ’

L O N DO N

KEGAN PAU L , TRENCH, TRUBNER CO . L TD.

DRY DEN HOU SE,GERRARD STREET , w.

Edinburgh : T. and A . CONSTABLE, Printers to His Majesty

DEDICATED

(BY GRACIOUS PERMISSION )

HER ROY AL H IGHNESS THE PR INCESS OF WA L ES

PU BL I SHERS’

NOTE

HE majority of the blocks i n th is work were

T made direct from the actual Pans by Messrs .

JOHN SWA IN AND SONS , to whom the Publ ishers are

indebted for the Skil l and i ngenu ity with which they

have overcome the many Special difficu lt ies incidental

not only to the subjects themselves , but to the condit ions

under which many of those in private houses had to

be reproduced .

The Colou r P lates are printed by Messrs . EDMUND

EVANS .

The b lock of the Fan Mount by ROSA BONHEUR

was made by Mr. F. JENK INS i n Paris .

The block of the Japanese Fan Mount , Tke Tama

gawa River , is by the GROU T ENGRAVING COMPANY .

The l ithograph of B acchus and A riadne is by

Messrs . MARTIN,HOOD AND LARKIN .

P R E F A C E

IT i s , perhaps , a l i ttle s ingular that up to the present

no work making any pretens ion to completeness has

appeared in Engl ish deal ing with that l i ttle instrument

so i ntimately associated with both civi l and rel igious

l ife of the past,the Fan . Even o n the Continent the

l i teratu re of the Fan is exceedingly scanty. M . Blondel ’s

work , Hz'

stoz’

re a’es Eventaz

’

ls, publ i shed in 1 875 , is but sparsely i l lus

trated,and is mainly based upon the researches of M . Natalis Rondo t,

whose Rafiport sur [es objets de Parure was undertaken at the instance

of the French Government in 1 854. An Engl ish translat ion ofM . Octave

U zanne’

s bri l l iant sketch appeared in 1 884, and is uni l lustrated except

by fancifu l border designs ; whi le Lady Charlotte Schre iber’s stately

tomes and Mrs . Salwey’s c s of japan deal on ly with more or less

i solated port ions of the subject . These,together . with Der Father ,

by Georg Bu ss,appearing in 1 904, o ne or two i l lustrated catalogues

and a few desultory magazine articles,form the sum- total of the Fan’s

l i terature . This paucity of book material,and the general absence of

information amongst individuals , is at once an advantage and a dis

advantage . I have in deal ing with this subject such benefits as the

b reaking'

of new ground gives ; I have at the same time to contend with

the d ifficulty of col lecting informat ion from sources so scattered , and i n

many instances so obscu re .

To the works . above mentioned,which indeed have been most helpful ,

i t is on ly just ice to add the admirable article on ‘ L es D isques cruciferes,le Flabel lum ,

et l’

U mbella,

’ in L a Revue de Z‘A rt Chre‘tz'

en ,by M . Charles

de Linas ; the sparkl ing and entertain ing ‘ H istory on Fans ’ by Henri

Bouchot in A rt and L etters for 1 883 ; an exce l lent article on Chinese

Pans by H . A . Gi les i n Fraser’

s Magaz ine for May 1 879 ; artic les i n6 ix

P R E F A C E

IT i s , perhaps , a l ittle s ingular that up to the present

no work making any pretens ion to completeness has

appeared in Engl ish deal ing with that l i ttle instrument

so i nt imately associated with both civi l and rel igious

l i fe of the past, the Fan . Even o n the Continent thel iterature of the Fan is exceedingly scanty . M . Blondel ’s

work,Hz

’

stoz'

re a’es Eveutaz

'

ls , publ ished in 1 875 , i s but sparsely i l lus

trated,and i s mai nly based upon the researches of M . Natalis Rondot,

whose Rapport sur tes objets a’e Parure was undertaken at the instance

of the French Government in 1 854. An Engl ish translat ion ofM . Octave

U z anne’

s bri l l iant sketch appeared in 1 884, and is unil lustrated except

by fanci ful border designs ; while Lady Charlotte Schreiber’s stately

tomes and Mrs . Salwey’s Fans of japan deal only with more or less

isolated portions of the subject . These,together . with Der Father ,

by Georg Buss,appearing i n 1 904, one or two i l lustrated catalogues

and a few desultory magazine articles,form the sum- total of the Fan’s

l iterature . This paucity of book material,and the general absence of

i nformat ion amongst ind ividuals,i s at once an advantage and a dis

advantage. I have in deal i ng with th is subject such benefits as the

breaking'

of new ground gives ; I have at the same t ime to contend with

the difliculty of col lecting informat ion from sources so scattered , and i n

many instances so obscure .

To the works above mentioned,which indeed have been most helpful ,

it i s only justice to add the admirab le article on ‘ Les D isques cruciféres ,

le Flabel lum,et l

’

U mbella,

’ i n L a Revue de l'A rt Chre’

tz'

eu, by M. Charles

de Linas ; the Sparkl ing and entertain ing ‘ H istory on Fans ’ by Henri

Bouchot in A rt and L etters for 1 883 ; an excel lent art icle on Chinese

Fans by H . A . Gi les i n Fraser’

s M agaz ine for May 1 879 ; articles i n6 ix

H I STORY OF THE FAN

various publ icat ions by MM . Paul Mantz and Charles Blane ; all theseI have free ly used

,and gladly acknowledge my indebtedness .

But , s ince i t is scarcely poss ible, i n a subject covering such an extendedarea, to avoid inaccuracies of some sort

,I must endeavour to forestal l any

possible criticism by saying that no pains have been spared to render the

book as free from errors as may be. AS to the l ine i l lustrat ions, they

must be cons idered mere ly diagrammat ic,and not in any sense real istic

representations of the various objects .

I welcome this opportun ity of making what is an unusual ly long l ist

of acknowledgments of help received . Fi rstly , to my Publ ishers for thei r

enterprise,the admirable manner in which the book is produced , and for

their uniform courtesy. Second ly,to the many owners of fans, these

inc luding the mos t exalted personages , who have so generously responded

to my invi tation to lend their fragile treasures .

My thanks are also due to the officials of the various Museums , thoseof the Print Room of the British

,and the Nat ional Art Library, Victoria

and Albert Museums ; to S ir C . Purdon C larke , and his

son , Mr. S tanley C larke of the India Museum ; Dr. Peter Jessen of the

Kunstgewerbe Museum,Berl in ; Professor Paz aurek, Stuttgart ; Dr. Hans

W. S inger ; to Sir George Birdwood , who has kindly readthe

i

three chapters on ancient fans ; to Professor W. M . Fl inders Petrie,

Mr. W . Holman Hunt, O .M . ,S ir L. Alma-Tadema

,

O.M.,R.A . ; the Rev. J . Foster, the C lerk of the Worshipfu l

Company of Fanmakers ; the Librarian at Welbeck Mr.Wilson Crewdson ;Mr. W. Harding Smith ; Mr. W. L. Behrens ; Mr. R. Phene Spiers ;Mr. G. F. C lausen ; Mr. J . Ettl inger ; Mons . J . Duvelleroy ; Mr. H .

Granvi l le Fel l ; Mr. Frank Brangwyn , Mr. Talbot Hughes ; Mr.

Frank Falkner, for help in various ways ; and last, though by no meansleast , to Mrs. E . P. Medley, for most valuable assistance i n translat ion .

LONDON , 1 909. G. WOOL L I SCROFT RHEAD .

C O N T E N T S

PREFACE

L IST OF ILLUSTRAT IONS

C H A P T E R I

THE ORI G I N AN D USES OF THE FAN

C H A P T E R I I

FANS OF THE ANC IENTS

C H A P T E R I I I

OF THE FAR EAST

C H A P T E R I V

FANS OF PRIMIT IVE PEOPLES

C H A P T E R V

THE FLABELLUM AN D EARLY FEATHER-FAN

C H A P T E R V I

PA INTED FAN S OF THE SEVENTEENTH AN D E I GHTEENTHCENTURIES ( ITAL IAN AN D SPAN ISH )

C H A P T E R V I I

PA INTED FANS OF THE SEVENTEENTH AN D E I GHTEENTHCENTURIES ( FRENCH )


C H A P T E R V I I IPAGE

PA INTED FANS OF THE SEVENTEENTH AN D E I GHTEENTHCENTURIES (ENGL ISH , DUTCH ,

FLEM ISH,AN D GERMAN )

C H A P T E R I X

ENGRAVED FANS OF THE SEVENTEENTH AND E IGHTEENTHCENTUR IES. PART I .

C H A P T E R X

ENGRAVED FANS OF THE SEVENTEENTH AND E IGHTEENTHCENTURIES. PART I I .

C H A P T E R X I

MODERN AN D PRESENT- DAY FANS

I NDEX

PEACOCK-FEA'

I‘

HER FAN.

(From a Japanese Painting. British Museum.)

xii

ILLU STRATIONS IN COLOU R

I . RINALDO IN THE GARDEN OF ARM IDA. LOU IS X V. H.R.H. THE PRINCESS orWALES Frontfspfece

To FACE PAGE2 . A CONCERT . DUTCH . H.R.H. PRINCESS LOU I SE, DucHEss or ARGYLL 1

LA DANSE,AFTER LANCRET. DR . L Aw ADAM

SEA NYMPHS . ITALIAN . MR. W. BURDETT-COUTTS, M.P.

THE RAPE OF HELEN.

‘ VERN I S MARTIN .’ LADY LINDSAYm

an

-{s

ue

CH INESE FAN. FIL IGREE AND ENAMEL . MR . M. TOMK INSON

7. CH INESE FAN . RED LACQUER. M I SS Moss8. HOTEI AND THE CHILDREN . By KANo

-SHo-YEI , 1 59 1 . MR . WILSON CREWDSON .

9. THE TAMAGAWA RIVER. By KANO SAN RAKU. MR. WILSON CREWDSONI o. CUT VELLUM FAN. MR. L. C . R . MESSELI I . FAN MOUNT. BACCHUS AND ARIADNE. MRS . BRUCE-JOHNSTON Be tween pages 1 2 2

1 2 . PIAZZA OF ST. MARK. MR. W. BURDETT-COUTTS, M.P .

I 3. SPANISH FAN PAINTED IN THE CH INESE TASTE. LADY LINDSAYI 4. PASTORELLE. SPAN ISH. H.S.H. PRINCESS V ICTOR or HOHENLOHE-LANGENBURG1 5. BULL FIGHTS. SPAN ISH. LADY NORTHCL I FFE1 6. PASTORELLE. LOU I S X V. WYATT COLLECTION

,V ICTORIA AND ALBERT MUSEUM

1 7. MOMENS MUS ICALS. ‘ VERN Is MARTIN.’ M R. LEOPOLD DE ROTHSCH ILD, C .V.O.

1 8. THE RAPE OF HELEN.

‘VERN I S MARTIN .

’ LADY NORTHCL I FFE1 9. DIDO AND E NEAS. MRS. B ISCHOFFSHEIM . Facing reverse of same Fan between

pages 1 6 2 and 1 63

20 .

‘ CABRIOLET ’ FAN. LADY NORTHCL I FFE 1 64

2 1

2 2.

23.

WEDD ING FAN. H.R.H. PRINCESS HENRY or BATTENBERG25.

26.

39

4c .

4 1 .

42.

43


TO FACE PAGE

D IRECTOIRE AND EMPIRE FANS. M ISS ETHEL TRAVERS B iRDwoon, ANDMR. L. C. R. MESS EL, FACING ‘ SANs GENE ’ AND EMPIRE FANS Between pages 1 70 and 1 71

TELEMACHUS AND CALYPSO. THE DOWAGER MARCH IONESS or BRI STOLWEDD ING FAN. DIRECTOI RE. MR. L. C. R. MESSEL

LE CERF DE ST. HUBERT. BY ROSA BONHEUR. M. GEORGES CA INTHE RED FAN . CoNvERSATIONs GALANTES. BY CHARLES CONDER. MR. JOHN LANETHE BLUE FAN. BY FRANK BRANGWY N, A.R.A.

ILLU STRATIONS IN HALF-TONE

LE BAL D’AMOURS . H.R.H. PRINCESS LOU I SE, DucHEss or ARGYLLHOMMAGES OFFERED TO MADAME DE POMPADOUR . MRS . BRUCE-JOHNSTONEGYPTIAN FAN HANDLES. BR ITISH MUS EUMTERRA-COTTA STATUETTES.AN EASTERN POTENTATE TAK ING TEA. MRS. HUNGERFORD POLLENINDIAN FLY-WH ISKS AND PEACOCK EMBLEM OF ROYALTY. I ND IA MUSEUMLARGE HAND-FAN or SANDALWOOD. MRS. Huxcm ro

'

ap Pou w

FLAG AND PALM-LEAF FANS. I ND IA MUSEUMCH INESE FAN. FILIGREE AND ENAMEL. VI CTOR IA AND ALBERT MUSEUMHAND- SCREEN , FRONT AND REVERSE. MR. WILSON CREWDSONLACQUERED FAN. LADY NORTHCLI FFECARVED IVORY FAN WITH THE NAME ANGELA. MR. W. BURDETT-COU '

I TS, M.P.

CHINESE FAN WITH IVORY M IN IATURES. MR. W. BURDETT M.P.

CH INESE FEATHER- FAN (ARGUS PHEASANT) WITH CASE. V ICTORIA ANDALBERT MUSEUM

NETSU KI (DAI TENGU) . MR. W. L. BEHRENSCAMP-FAN OF EAGLE FEATHERS. MR. L. C . R. MESSELDAGGER-FAN . MR. W. L. BEHRENSSU Y E H IRO OGI (WIDE END) OPEN AND CLOSED. MR. W. HARDING SM ITHAKOME OGI (COURT-FAN). MR. WILSON cnw osou

WAR FAN (GU N SEN). MR. W. HARD ING SM ITH

xiv

1 76

1 88

273

280

3 94

296

ILLU STRATIONS IN HALF-TONE

TO FACE PAGE

44. FOUR WAR FANS (GUMBAI U CHIWA). MR. L. C. R. MESSEL, MR. W. HARDINGSM ITH

,MR. W. L. BEHRENS

45. WAR FANS (GUN SEN ). MR. L. C . R. MESSEL AND MR. W. HARD ING SM ITH

46 . MODERN JAPANESE FANS. IVORY W ITH G ILT LACQUER AND PA INTED FAN S IGNED‘ KU N IHISA.

’ MR. M. TOMKI NSON

47. THREE CHUKEI . MR L. C. R . MESSEL

48. PALM -LEAF AND H IDE FANS. BRITISH MUSEUM

49. PALM FANS, COCKADE INSCRIPTION FAN, FL Y -WH ISKS (TAH ITI ), AND

NORTH AMERICAN INDIAN FAN . BR ITI SH MUSEUMTHE TOURNAMENT. BY A. MOREAU. V I CTOR IA AND ALBERT MUSEUM

5 1 . FLABELLUM OF TOURNUS. MUSEO NAZ IONALE, FLORENCE Facing each other

52 . DETA ILS between pages go and 9 1

53. IVORY FAN AND FLABELLA HANDLES. BR ITISH MUSEUM AND V ICTORIA ANDALBERT MUSEUM

54. FAN OF QUEEN THEODOL INDA. CATHEDRAL or MONZA

55. COPTIC FLAG-FANS. KON IGL . MusEUM, BERLIN

56 . QUEEN ANNE FEATHER -SCREEN. MR . L. C. R. MESSEL

57. DECOU PE FAN . MU SEE DE CLUNY

58. FAN OF M ICA. MR. L. C . R. MESSEL

59. VENUS AND ADONIS . BY LEONARDO GERMO. WYATT COLLECTION, V ICTORIA ANDALBERT MUSEUM

60 . AN EMBARCATION . MRS. HAM ILTON SMYTHECUPID’S H IVE . THE DOWAGER MARCH IONESS or BRISTOL

6 1 . THE TRIUMPH OF BACCHUS . LADY NORTHCL I FFEBACCHUS AND ARIADNE. LADY NORTHCL I FFE

6 2 . THE MARRIAGE OF CUPID AND PSYCHE. MR. FRANK FALKNER63. A SACRIFICE . MRS. BRUCE- JOHNSTON .

Facing the Co lour Plate ofBacchus and Ariadne Betwee n pages 1 2 2 and 1 2364. RINALDO IN THE GARDEN OF ARM IDA. M I SS Moss 1 29

CAPTURE OF THE BALEARIC ISLANDS . MR . L. C. R . MESSEL 1 29

65. BETROTHAL OF LOU IS X VI . W ITH MARIE -ANTOINETTE . MRS . FRANK W.

G I BSON (EUGEN I E JOACH IM)66 . SPANGLED FAN. SPAN I SH. MR. TALBOT HUGHESFETE DE L ’

AGRICU L TU RE,1 798. MR . L . C. R . MESSEL

X V

71 .

72 .

73~

74

88.

WEDDING FAN. THE COUNTESS or BRADPORD


TO PAC8

LA DANSE, AND PASTORELLE. DUCHESS or PORTLANDPASTORELLE, AFTER LANCRET. H.R .H. PR INCESS LOU I SE

,DUCHESS or ARGYLL

ACT/EON FAN . MU SBE DE CLUNYCEPHALUS AND AURORA. MRS . B ISCHOFFSHEIMVERN I S MARTIN . MRS. F. R. PALMERA PASTORELLE, W ITH TWO PORTRAIT MEDALLIONS. WYATT COLLECTION ,VI CTOR IA AND ALBERT MUSEUMTHE PARTING OF HELEN AND ANDROMACHE. THE DOWAGER MARCH IONESSOF BRISTOI.BATTOIR FAN. THE DOWAGER MARCH IONESS o r BRISTOLFETE CHAMPETRE .

‘ VERN I S MARTIN .

’ WYATT COLLECTION,V ICTORIA AND ALBERT

MUSEUMBELSHAZZAR’S FEAST. METROPOL ITAN MUSEUM , NEW YORKBU ILDING OF THE PLACE LOU IS X V. THE DOWAGER MARCH IONESS OF BRISTOLDIDO AND fENEAS. REVERSE. MRS. B I SCHOFFSHEIM. Facing the Co lour Plate of

same Fan Between pages 1 6 2 and 1 63‘ CABRIOLET ’ FAN. THE DOWAGER MARCHIONEss or BRI STOL Facing each othe r

be tween pages 1 64and 1 65

Facing each othe r be tween pages 1 66 and 1 67LADY LINDSAYSTICK OF MARIE—ANTOINETTE FAN .

‘

MU SEE DU LOUVRESANS GENE AND EMP IRE FANS. MR. L . C. R. MESSEL. Facing Colour Plate of

Directoire and Sans Géne Fans Between pages 1 70 and 1 71‘ LORGNETTE ’ FANS. MR. L. C. R. MESSEL 1 73

SPANGLED GAUZE FANS. MR . L. C. R. MESSEL 1 75

A LONDON FAN SHOP. MR. L. C. R. MESSEL 1 78

THE SURRENDER OF MALTA. MRS. HUNGERFORD POLLEN 1 78

FETES ON THE OCCASION OF THE MARRIAGE OF THE DAUPH IN . WYATTCOLLECTION

,V ICTORIA AND ALBERT MUSEUM

ENGLISH FAN. THE VISIT. COLLECTION or BARONESS MEYER DE ROTHSCH ILDENGLISH FAN WITH MEDALLIONS AFTER COSWAY . WYATT COLLECTION

,

V ICTOR IA AND ALBERT MUSEUMIVORY EMPIRE FAN. LADY NORTHCLI F FESPANGLED FAN WITH PAINTED MEDALLIONS. MRS. FRANK W. G I BSON

xvi

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1 1 2 . THE HARLOT'S PROGRESS. MR. C. FA IRFAX MURRAY1 1 3. VISIT OF GEORGE I I I . TO THE ROYAL ACADEMY. MR . F. PERI CAL .

1 1 4. MR. THOMAS OSBORNE’S DUCK-HUNTING. SCHREI BER COLLECTION , BRITISHMUSEUM

1 1 5. THE TRIAL OF WARREN HASTINGS. MR. W. BURDETT-COUTTS, M.P.

THE PARADES OF BATH. MR. W. BU RDETr-COUTTS,M .P.

1 1 6 . A TRIP TO GRETNA . SCHREI BER COLLECTION, BRITI SH MUSEUM‘ BARTOLOZZ I ' FAN. MRS. FRANE W. G I BSON (EUGEN I E JOACH IM )

1 1 7. M ISS CHARLOTTE YONGE’S FAN . M I SS MOSSFAN OF ASSES’ SK IN. M I SS MOSS

1 1 8. PAINTED IVORY BRISE FAN . MR. o pom m; Rom scmm , C.V.O.

PORTUGUESE FAN. MR. J . H. ETHERI NGTON-SM ITH1 1 9. LACE MOUNT. YOUGHAL Co-OPERATIVE LACE SOC I ETYAN ENTOMOLOGIST. COUNTES S GRANVI LLE

1 20. COCKS AND HENS. CLAUD IUS POPEL IN . MU SEE DES ARTS DECORATIFS, PARI S1 2 1 . AUTOGRAPH FAN. SI R LAWRENCE ALMA -TADEMA , O.M., R.A.

JAP ANESE. MR . FRANK BRAN CWYN , A.R .A.

1 2 2 . LACE FAN PRESENTED TO QUEEN ALEX ANDRA FOR USE AT CORONATION. HER MAJ ESTY THE QUEEN

1 2 3. FEATHER-FAN. H.R .H. Tm; Pamesss or WALES1 24. THE MEET. BY CHAR LES DETA ILLE. M. J , DU Y EL L EROY1 25. LACE FAN . BY ALEX ANDRE. V I CTOR IA AND ALBERT MUSEUM To face each othe r

1 26 . LACE FAN. M. J . DU VEL L EROY I between pages 292 and 2941 27. DESIGN FOR FAN. BY FRANK Bnm cwm , A.R.A. 293

A GARLAND OF CH ILDREN . BY G. WOOL L ISCROFT RHEAD 298

ILLU STRAT IONS IN L INE

Feather-fan,Nimroud

Peacock- feather FanHead- pieceInitial—Boy with FanT ea-fan

PAGEix In itial—Vulture with Emb lem of Protect ionxi i F i re-fan , Colomb iaxii i Portuguese Abano1 Plaited Hand-fan, Egypt ian9 Hand -fan , Egypt ian

xvii i

ILLU STRAT IONS

Hand-fan, EgyptianFly-whisk, Egypt ianCeremon ial Fans—from Rosellini

Invest iture of the Office of Fan-bearerUmb re lla or Canopy ofChariot ofRameses I I I .In itial—Assyrian Fly-whiskAssyrian and Pers ian Fly-WhisksCovers of Fly-whisksTai l -piecea—from an Assyrian rel iefIn itial—Greek Girl with FanGreek FansGreek Girl with FanTai l- piece—Girl with FanIn itial—from printed Cotton Hanging, IndiaC ingalese SesataFly-whisk—from an illuminat ion

from a painting on talc, MadrasEmblem of RoyaltyRoyal StandardsHand-fan ,

Plaited-Grass Fant fin

Talapat Fan and Pankhas

Burmese Fan OfGoldPortion of Emb roidered Musl in (Chamba,

N ineteen th Century)Fly-whisk used by JainsCircular Fan , L ike the MoonFan of Hsi Wang Mu (Japanese Paint ing,British Museum)

Fan of M ing Dynasty (Paint ing, Brit ishMuseum)

Wh ite PlumedFan ofHsi Wang Mu

Two Pear- shaped ScreensInit ial—JapaneseFeather-fan

,Japanese Paint ing

Hand- screen,Fly-whisk , U pper N ile

PAGE1 4

1 4

I S

1 6

I 7

1 9

2 0

2 1

2 1

IN L INE

Plaited Fans, South Pacific IslandsPlaited Fans, Hawai ianVar ious Fans, Samoa

B ritish GuianaEcuador and Pe ruSouth - Eastern Pacific

Flag-fan, West AfricaFly-whisk, Andaman Islands

Tah it iMatab e leEast African

Angel with Flabe llumP rocessional FlabellumCopt ic Flabel lumFlabellum, from Greek Psalter

from GoarMonza

Flag-fan, from Vat ican (a glass vase)Banner-fan, from ivory diptichGhost-fan , Malay Arch ipelagoFan of Ferrara, or Duck’s—foot,Fragments of Fan from Chateau de P ierreSmall R igid Fans, 1 590Feather—fan , M ilanD iagram of parts of Folding-fanR igid Screen of Bologna, 1 590

Fan of R i ce -straw, F i fteenth CenturyD imensions of Fans, 1 550- 1 780

Japanese L ady’s Court-fanL ong-handled Feather-fanOstrich - feather Folding-fan, AmsterdamFlag-fan, T itianIvory Fan, Madras , N ineteen th CenturyPlaited FanH ide-fan , from Ben inQueen Kapiolani’s FanFrom a Chinese Screen , V ictoria and Albert

Museum


Servant of Zephyrus ’—serving further to temper those beams which are

the source of all l ife , and l ight , and mus ic , for are not all the learned agreed

with the late Mr. George Augustus Sala,that i f a thorn was the first needle,

doubtless a palm leaf was the first fan ?

Beneath this shade the weary peasant lies ,P lucks the b road leaf, and b ids the bree z es rise.

The poets, however, who lay claim rather to inspirat ion than to the dry

bones of mere learning, supply us with many fancifu l suggest ions as to the

fan’s origin—a Spanish story (du ly told o n a printed fan) has i t that the

first fan was a wing which Cupid tore from the back of Zephyrus for the

pu rpose of fanning Psyche as she lay a- sleeping on her bed of roses.

A quai nt,though somewhat inconsequent , conceit is that of the French

eighteenth- centu ry poet, August in de Piis, quoted by M. U zanne i n his

work on the fan ,i n which Cupid , at an inopportune moment, surprises the

Graces , who were as much embarrassed as the god was del ighted—to hide

their confus ion , with the hand that was unemployed , they endeavoured to

cover up both eyes by spreading the fingers.

And soon Dan Cupidwas aware

That though they ve iled their eyes, b etweenThe fingers Ofthat Trio fairH imse lf was very clearly seen

On which his lit tle curly headDeeply to meditate began,

Till from the ir fair hands thus outspreadHe took his first hint fo r the Fan .

’

Whether we accept this explanat ion or not , andwhatever circumstances

attended the origin of the fan,i t is abundantly clear that Cupid had a hand

in it . Has not Gay told how the master Cupid traced out the l ines,

conceived the shape, converted his arrows into st icks, and from the i r

Gay, TIre Fan .

2

THE OR IG I N AND U SES OF THE FAN

barbed points , softened by love’s flame, forged the pin ? Is not the fan one

Of the chief weapons in the armoury of the Love-God? I s it not the

rampart from behind which the fiercest fire of love’s arti l lery is directed ?

Nay, i s it not in very truth the sceptre of the Love-God? D id not the

Greeks early recognise this fact by placing the plumed fan i n the hands

of Eros himsel f? The fan is at once the creation ofAmor and the ch ief

ensign of his sovereignty !

And its uses ?

Madame la Baronne de Chapt , i n the first volume of her G am es

discovers a hundred such —‘ I t i s so charming, so con

venient , so su ited to give countenance to a young girl,and to extricate her

from embarrassment,that i t cannot be too much exalted we see i t straying

over cheeks, bosoms , hands , with an elegance which everywhere provokes

admirat ion .

Love uses a fan as an infant does a toy—makes it assume all sorts of

shapes ; breaks i t even , lets i t fal l a thousand times to the ground .

‘ Is it a matter ofi ndi fference, this fal len fan ? Such a fal l is the resu l t

of reflection , of carefu l calculation , i ntended as a test of the ardour and

celerity of aspiring su itors—And the successfu l suitor, the favoured swai n ?

I S it not he who discovers the greatest celerity i n returning the fan to its

charming owner, and, in doing so,imprints a secret but chaste kiss upon

the fair hand that takes it , and i s rewarded by a look ten thousand times

more eloquent than speech ? ’

And if, peradventure , by the spel l of some magician , th is l i ttle

i nstrument cou ld itself be endowed with Speech ! Aha ! ma chere madame ,what tales cou ld it not unfold from the recesses of i ts flu ted leaves , what

whispers ! what confidences l what assignations l what z'

nirz'

gzzes !

Pou r une Espagnole ,’ writes Charles Blanc

,

‘ toutes les i ntrigues de

l’amour, tous les manoeuvres de la galanterie, sont cachées dans les pl is de

son éventa‘i l . Les audaces furti fs du regard , leS aventures de la parole , les


aveux risqués , les demi-mots proférés du bout des levres, tout ce la est

diss imu lé par l'

éventail, qui a Pair d’

interdire cc qu’i l permet de faire , et

d'

intercepter cc qu ’i l envoie .

’

D i srael i (Confarz’

m’

Fleming), i n s imilar strain , with no less e loquence ,

says : ‘A Spanish lady with her fan might shame the tactics of a troop of

horse. Now she unfolds it with the s low pomp and conscious elegance

of the bird of Juno ; now she flutters i t with all the languor of a l istless

beauty,now with all the l ive l iness of a vivacious one . Now in the midst

of a very tornado she closes i t with a whirr, which makes you start.

Magical i nstrument ! i n this land it speaks a particular language , and

gal lantry requires no other mode to express its most subtle conceits, or

its most unreasonable demands, than this del icate mach ine .’

Women ,’ says the witty Sfectafor , are armed with Fans as

'

men with

Swords—and sometimes do more execut ion with them . There is an

i nfinite variety of motions to be made use of in the fl utter of a Fan .

There is the angry Flu tter, the modest Flutter , the timorous Flutter, the

confused Flutter, the merry Flutter, and the amorous Flutter. Not to be

tedious , there is scarce any emotion in the mind which does not produce a

su itab le agitat ion in the Fan ; i nsomuch that i f I only see the Fan of a

discipl ined Lady I know very wel l whether she laughs,frowns, or blushes.

I have seen a Fan so very angry,that i t would have been dangerous for

the absent lover who provoked it to have come within the wind Of it

and at other times so very languishing,that I have been glad for the

Lady’s sake the lover was at a sufficient distance from it. I need not add

that a Fan is e ither a Prude or Coquette according to the nature of the

person who hears i t .’

Mr. George Meredith,too

,wou ld appear to have studied its motions ‘

‘ Lady Denewdney’

s fan took to beat ing time meditat ively. Two or three

times she kept i t elevated , and i n vain : the flow Of their interchanging

speech was uninterrupted . At las t my father bowed to her from a distance .4


minds are constructed by the waving of that l i tt le I nstrument , and our

thoughts appear i n Composure or Agitat ion according to the Motion of it .

You may observe when Wi l l Peregrine comes into the side Box , Miss

Gatty flutters her Fan as a Fly does its Wings round a Candle ; while

her elder S ister,who is as much in Love with him as she is, i s as grave

as a Vestal at his Entrance,and the consequence is accordingly. He

watches hal f the Play for a Glance from her S ister, while Gatty is overlooked

and neglected . I wish you hearti ly as much Success i n the Management

of it as I have had ; Take i t, good Girl , and use it without Mercy ;for the Re ign of Beauty never lasted fu l l Three Years , but i t ended

in Marriage , or Condemnat ion to Virgin ity.

’ 1

I f the fan i s eflicacious as a weapon ofoffence in Love’s s ieges , i t i s

no less effective as a shield agai nst Love’s darts. On a pai nted Spanish

fan i n the S chreiber Collection in the Brit i sh Museum are represented

three fai r nymphs in a wooded landscape, one of whom is rece iving on

her fan an arrow discharged by the Love-God, who is accompanied by

my lady Venus i n her car. On a scrol l is the i nscription , ‘ l’

utilité des

éventai ls,

’ ‘ la util idad de los abanicos.

’

This use of the fan as Shield is adopted also by the s/iialazmg, or

monastic novitiate of Bu rma,who emp loys h is large palm - fan , both

as a shelter from the fierceness of the sun’s rays , and as a screen from

the s ight ofwomankind,moving

,i n the latter instance , his fan from right

to left as occas ion requ i res, i.e. whenever a woman happens to pass.

A story, the sou rce of which is not given ,2 i s told of Goldoni , who ,being one evening the guest of a Venetian lady, was compl imented by

her upon the product ions ofhis genius.

Why,my lady

,

’

he repl ied, any i/zing provides a subject for a comedy.

’

1 Taller , NO. 52 , Aug. 9, 1 709.

2 Goldon i in his Mémoires gives an account of ‘The Fan.

’I t was written and first b rought out in

Paris, and soon became un iversally popular, especially in Ven ice—Helen Z immern , Masterpieces ofForeign

6

THE OR IG IN AND U SES OF THE FAN

‘ Anything ? ’ repl ied the lady.

Anything,’ emphatical ly repl ied the dramat ist .

‘ Even this .fan ?’ i nsisted the Beauty.

‘ I shal l be indebted to you for l i fe,

’ exclaimed Goldoni,struck with

a happy thought. ‘ Y ou have suggested to me my best comedy ; i n a

week you wil l read it .’ 1

Many and manifold are the uses ofthe fan . What device, for example ,cou ld better d isplay the beauty Of a rounded arm ,

or the ivory whiteness Of

taper fingers ? Such an i nstrument provides gracefu l and Often much

needed employment to those same del icate fingers ; i t suppl ies that

necessary sense of completeness to the foul ensemble of the picture .

And the comedy actress,des i ring some trifle to emphas ise a movement

,

to give point and expression to some particu lar action—what more effective

i nstrument than a fan,the use of which

,on the stage

, has almost been

elevated into a fine art !

Pray, ladies, copy Ab ingtonObserve the breeding in her airThere ’

s no thing ofthe actress there !Assume her fashion ifyou can

And catch the graces ofher fan.

’

This at once recal ls the saying of Northcote, who , al though reluctantly

compe l led to admit Queen Charlotte’s excess ive plainness , an elegant and

no t a vu lgar p lainness—she had a beautifu l ly shaped arm,andwas fond of

exhibiting it—exclaimed , ‘ She had a fan i n her hand . L ord l how she

held that fan l2

Madame D’

Arblay, i n one Of her most del ightful letters , records a

conversation between herself and Mr. Fairly (Col. Stephen D igby), who

upon the occas ion of a vis i t to her, ‘ finding she entered into nothing,1 M. A. Flory, A B ook about Fans.2 L etter of Mrs. Scott, 1 76 1 , to her sister- in- law, Mrs. Rob inson.

—D r. Doran, A L ady of flu L ari

Century (Mrs. El izabeth Montagu ).


took up a fan which lay on the table and began playing off various

imitat ive airs wi th it,exclaiming

,How thoroughly useless a toy i ’

NO,

"I said,

“on the contrary , taken as an ornament, i t was the most

usefu l ofany belonging to ful l dress occupying the hands , giving the eyes

someth ing to look at, and taking away stiffness and formal i ty from the

figure and deportment.

Men have no fans , cried he , “and how do they do ?

Worse,quoth I plumply.

But the real use of the fan ,cried he

,

“ i f there is any, is i t not—to

h ide a part icular blush that ought not to appear ?

Oh no,i t would rather make it the sooner noticed .

Not at all ; i t may be done under pretence ofabsence—rubbing the

check or nose—putt ing it up accidental ly to the eye—in a thousand

ways .

The uses of the Fan ? They are legion l—They record for us publ ic

events,mil itary

,pol it ical , civi l ; they tel l us our fortunes ; i nstruct us i n

Botany, i n Herald ry , i n tricks with cards ; they propound conundrums ;take us to the theatre, to bu l l-fights , to church , to the first bal loon ascentand to Mr. Thomas Osborne’s Duck- hunting !

In Shakespeare’s day no lady thought of sti rring abroad without this

accompaniment,the care of the toy devolving upon the gent leman usher

Pe ter, take my fan andgo befo re.

’

Romeo and/ idiot.

From the Aubrey MS . ,1 678, we learn that

‘ the gent lemen (temp.

Henry VII I .) had prodigious fans, as i s to be seen in Old pictures,‘

l ike that i nstrument which is used to drive feathers, and i n it a handle

at least hal f a yard long ; with these the daughters were oftentimes

1 In an engraving of an Engl ish Nob lewoman by Gaspar Rutz , 1 58 1 , a long- handled featherfan appears.

8

THE OR IGIN AND U SES OF THE FAN

corrected (S i r Edward Coke, Lord Chief- Justice , rode the circuit with

such a fan ; S i r Will iam Dugdale told me he was an eye-witness of

it ;1 the Earl of Manchester also used such a fan) ; but fathers and

mothers Slasht the ir daughters in the time of their besom discipl ine when

they were perfect women .

’ 2

Hotspur’s exclamat ion , 1 Henry I V. ,I I . i i i . , fu rther serves to show

that th is instrument could , upon occas ion , he used as an offens ive weapon‘ Z ounds ! an I were now by this rascal, I could b rain him with his lady’s fan.

’

The strength hidden in such an apparently harmless toy is thus

recognised equal ly by both sterner and gentler sex : the hint contai ned in

the quai nt and charming conce it addressed to the fan of his mistress by

Lou is de Boissy, author of L e B abillard, will not be lost upon lovers

Dev iens le protecteur de ma vive tendresse ,

Bel éven tail ! je te remets mes dro its ;E t Si que lque rival avait la hardiesseD

'

appro che r de trop pres du se in de ma maitresse ,Bel éventail : donne- lui sur les do igts ! ’

l The fan here referred to was chiefly used inside the Cou rts as punkah, to create a l ittle ci rculat ionof the air, and to dissipate the horrib le odours for which these places were notorious.

2 This asse rt ion that the handles of fans were occasionally employed in the cast igat ion of refractorychildren is borne out by the droll story of Sir Thomas More pun ishing his daughters with a fan of peacock’sfeathers for the offence of runn ing him into deb t with the mi ll iner.

TEA FAN.

C H A P T E R I I


EGYPT

THE word fan , or van , i s derivedfrom the Lat in oarmus, the Roman

instrument for winnowing grai n .

This winnowing - fan , held sacred

by all the peoples of the ancient

world,together with the fire- fan

(bel lows), also a sacred instrument ,and used by the priestesses of Is is to fan the flame Of the ir altars

these must be accounted amongst the earl iest Of the ancient and prol ific

fan- family. To the first named are several references i n Holy Writ .

I saiah , xxx . 24, speaks of the oxen and young asses that shal l eat c lean

provender which hath been winnowed with the Shovel and with the fan .

Jeremiah , xv. 6-7, lamenting the backs l iding Of Jerusalem , exclaims , ‘ I

am weary with repenting ; and I will fan them with a fan i n the

gates of the land ’

; and agai n in l i . 2 ,‘ Send unto Babylon farmers

that shal l fan her, and shal l empty her land.

’

I n Matt. i i i . 1 2 , and Luke i i i . 1 7, John the Baptist , announcingthe coming of ‘

one mightier than I ’ He shal l baptize you with the

Ho ly Ghost and with fire : whose fan i s in his hand , and he wi l l

throughly purge his floor, and wi l l gather the wheat into his garner.’

Both these instruments appear on a has—rel ief from a tomb at

Sakkarah,of the twelfth Pharaonic dynasty

,circa B .C . 2366 - 2266 , s ixteen

1 0


hundred years before Isaiah wrote. I n this some Shepherds are roast ing

trussed and spitted ducks over fires which are being kept al ive by the

plaited , wedge- shaped hand- fan ; the winnowing- fan appearing in thesame picture.

Servius , i n commenting on Virgil’s mystical fan of Bacchus,

(‘mystica vannus Iacchi,

’

Georg. i . 1 66) affirms that the sacred rites

Of Bacchus pertained to the purificat ion Of souls ; i n Assyria, also, i t

was i ntroduced in the ceremonies connected with the worsh ip of Bacchus

and became a sacred emblem .

1 This instrument , carried at the D ionys ia

or festivals i n honour of Bacchus, was cal led L ichnon (Aixvov), and

was so essent ial to the solemnities of this god, that they could not be

duly ce lebrated without it. SO also Os iris,when judge ofAmenti , holds

in his crossed hands the crook and flagel lum ,the myst ical vannus

‘whose fan i s in his hand ,’ 2 each of these i nstances having reference to

the generat ive principle,and the improvement of the world by t i l lage.

The passage in Jeremiah xi i i . 24, ‘ Therefore wil l I scatter them as the

stubble that passeth away by the wind of the wi lderness ,’ suggested the

proud motto of the Kentish family of Septvans (Setvans)‘ Dissipabo inimicos Regis mei u t paleam.

’

‘The enemies ofmy king will I disperse like chaff.

On the brass of S i r Robert de Septvans , 1 306 , Chartham , Kent , the

knight’s Shield and aillettes upon the Shou lders are charged with the

winnowing- fans from which he takes his name, and smal l fans are

embroidered upon his surcoat. I n the Lansdowne MSS . 855 E.M. , the

arms are thus given : ‘ S i r robt de sevens dazur e ilj vans dor.’

L ayard, [WWW/l Wilkinson, M anners and Customs of Ilze Ancient Egyptians.

3 Thus Agamemnon in Troilus and Cressida, Act 1 . Scene iii‘ in the wind and tempest of her frown,

D istinction , with a b road and powerfu l fan ,Puffing at all, winnows the l ight away ;And what hath mass, or matter, by itselfL ies, rich in V i rtue, and unmingled.

’

I I


The Greeks named p‘

mfs the large flat instrument which was used

to fan the fire : the diminut ive fimiSIOv was appl ied to objects of S imilar

form in ord inary use amongst both sexes for the pu rpose of fanning as

wel l as to drive away the fl ies. Indeed the use of the fan as bel lows

appears to have been practical ly universal , and

to have dated from a very ear ly period of the

world’s history.The employment of these instruments , as

well as the forms which they assumed , i s con

tinued even to the present day i n the Republ icof Colombia, where fans are emp loyed as much by men as by women

,

the kitchen of every hut and house throughout the country is provided

with a fan i n l ieu of bel lows,rectangular in form ,

albeit broader at the

outside than at the short handle, and about 1 2 inches by 9 inches i n

size . These are formed Of the young ins ide leaf of the cabbage- palm ,the

handle and back being the rib of the leaf,the fan portion being the

fronds of the leaf plaited.

The Portuguese fire- fans (Abano) made inthe south of Portugal , and i n un iversal use

i n that country , are round in Shape,coarsely

plai ted in straw or rush , and fixed in a rough

wooden hand le.

These, representing the two simplest elemental

forms , are the primeval fans which have come

down to us from the remotest periods of history ,have endured through the centuries, and

,l ike the

fans in use in India at present , identical as a

matter Of fact with these in form , are as modern as they are ancient.1 In a painting which represen ts a sacrifice to Is is, Ant. diErcolano, i i. 60, a priest is seen farm ing the

fire upon the altar with a t riangu lar flabellum, such as is st il l used in Italy. (Smith’s Die/former qfGreekand Roman

I 2


suggested i n the representat ion,and Obviously used by the lady hersel f

rather than by attendants .

The handles of these fans were of ivory,

ofwood painted , o r of sandalwood , which latter ,when warmed by the fingers , exhaled a del icious

perfume .

A few fan- handles exist in the various publ ic

museums ; two occur in the Brit ish Museum ,

together with a portion of a handle inscribed with

the name of Nebseni, i nspector of the goldsmiths

ofAmen , e ighteenth dynasty, i l lustrated opposite.

primitive fly—whisk, of the type seen on the Assyrian monuments ,

appears i n the Louvre , under Egypt , but undated and undescribed ;

i t i s formed of grassy reeds Of a buff ochre colour, bent

backwards at the handle, and rudely tied with the same

substance, the length being about 2 feet 6 inches .

The standard , banner, and process ional fans are usual ly

formed Of the feathers of the larger birds,fixed i n a long

wooden handle , the feathers , as wel l as the handle,being

pai nted or dyed in bri l l iant colours. These, as will be seen

by a reference to the examp les from Rosellini, are des igned

with the consummate sense Of proportion distingu ishing

all Egyptian work. In bOth the examples given,the tips

of the feathers are surmounted by a tuft Of smal l fluffy

feathers , th is being a device common to many countries, and i s seen

in the North American Indian fan i l lustrated,page 82 .

Many of these standard and process ional fans,doubtless

,were formed

of some material stretched upon a semicircular frame,the fan decorated in

various ways . They were in attendance on the king wherever he went ;they were also used as standards i n war, the king

’

s chariot beingI4


always accompanied by at least two. The fact that they were dedicated to

the service of the gods is evidenced by a stele in the museum at Boulak,

on which is represented Os iris enthroned with a flabellifer behind ,waving the long- handled fan . The radiate fans, writes Professor Fl inders

Petrie , were used as sunshades, appearing in hieroglyphs as the

determinat ion ofK/zaib,i.e. Shadow.

CEREMON IAL FANS(From Rosellini.)

I n the temple of Rameses x 1 1 . , B .C. 1 1 35, a tablet represents the

departure of the Khonsu from Thebes to the land of Bakhatana.

A standard fan of ostrich feathers of the I ndian mare/la ! type is fixed in

the bow of the boat bearing the god in his ark, and a semicircular

standard fan i n the stern ; both be i ng incl ined so as to meet above,and overshadow the ark.

1 I n the temple of Derri i n Nubia, the

sacred barque Of the god Phré is solemnly borne by twelve priests , the

king accompanying in mi l itary costume ; a flabellifer waves the long

handled fan .

1 Sir George Birdwood, Society of Arts, 1 903.

1 5


Numerous representations of these long - handled,semic ircu lar

,

s tandard fans occu r on the monuments . At Thebes (Rhamessium) is

CEREMON IAL FANS(From l lini.)

figured a reception of the mil itary chiefs and

foreign envoys by Rameses 1 1 1 . Two servitors

behind the king carry these fans , and two fan

bearers wave the ostrich - feather emblem .

At Medinet Abu,the same king is seated in

hi s chariot with three servitors waving the long

handled , semicircular fans .

The tal l , S ingle ostrich plume was probably in

the first instance a fly—whisk . I t was the principal

ensign of the oflice of fan- bearer, which was one

of great d ist inction , and one of the highest in the

gift of the monarch , none but royal princes or

scions of the first nobi l ity bei ng permitted to hold

it. The ceremony of investiture took p lace in the

presence of the king seated upon his throne, and

was usual ly performed after a victory,and granted

for some distinguished service in the field . Two

priests i nvest the holder with the robe, chain , and

other insignia of his oflice, the fortunate recipient

of the honour rais ing aloft the flabellum and

crook,thus expressing hisfide l ity to his king and mas ter. This was

the usual formula of investiture of high Office ; its resemblance to the

bibl ical account of Joseph’s advancement wil l at once be apparent.

‘And Pharaoh took 06 his ring from his hand and put it upon Joseph’shand, and arrayed him in ves tures of fine linen, and put a go ld chain abou t his

neck.

’

Upon the field of battle the fan-bearers either attended the monarch

on foot or took command of a divis ion with the rank of general . During1 6


The highest S ignificance of the fan emblem is when it is grasped by

the talons of the sacred vu lture , guardian and protectress of the monarchs .

This figure occurs repeatedly on the monuments ; at Medinet Abu ,

Rameses - Méiamoun is seen subdu ing an army of Asiat ics , the vu l tu re

waving the fan emblem over the head of the king.

I n the temple of Beit Oually i n Nubia, Rameses I I . , helmeted , i s

striding over a fal len barbarian the vulture of protection hovers around the

head of the hero. On the same monument Rameses seizes by the hai r a

barbarian with broken bow,the vu l ture agai n in attendance . Upon the

completion of the victory, four fan- bearers , each with crook and flabellum,

offer the spoi ls of conquest to the king.

On a bas- re l ief at Thebes , S et i 1 . is seen in h is war- chariot sub

duing the barbarians, also accompanied by the vu lture .

At Philae,Ptolemy Philometor appears with a group of vanquished

As iat ics , the vulture once more in attendance.

I n the papyrus ofHunefer (Book of the Dead) a winged U tchat , with

Eye of Horus, waves the fan emblem over the head ofOs iris.

I n the papyrus of Anhai , over the S tandard of the West,which

crowns the Solar Mount and supports the hawk Ré -Harmachis , two

winged Hori appear as the protecting principle.

This symbol of the vulture forms a motif for surface decorat ion

on the cei l ing of the hypostyle hal l of the Rhamessium. Above the great

be l l capital , the vu lture , grasping in each talon a fan emblem , is treated

as a repeated ornamental pattern ; i t also appears as decorat ion of the

umbrella or canopy of the chariot of Rameses I I I . (Sesostris).

We are thus enabled to real ise the great part played by the fanal ike in the mil i tary, civi l , and re l igious l i fe Of Egypt. As an i nstrument

in the hands of private persons , o r even of s laves i n attendance on

individual s, i t i s less i n evidence on the monuments , al though we maynatural ly assume that i n a cl imate such as Egypt this instrument would

1 8


be i n constant requis it ion . We strai n the eye of imagination to the very

earl iest period of the history of th is mystic land,and see in fancy the

Queen of Menes the Thinite, surrounded by s laves only a l ittle less fai r

than hersel f, waving the fan of square form actual ly appearing on a

cyl inder in the Louvre ; we see, also in fancy, the famed and beautifu l

Queen N itOcris , the handsomest woman of her time,builder of the third

Pyramid , recl in ing upon her couch , the air being rendered less oppress ive

by the waving of the soft feather fan with which the monuments have

made us famil iar. Lastly, have we no t Shakespeare’s glowing picture of

the farming Of the voluptuous ‘Serpent of Old N i le,

’

C leopatra ?

‘Fo r her owne person ,

I t begger’

d all description : She did lye

In her Pavillion , C lo th of Go ld, of t issue ,O

’

er- picturing that Venus , where we see

The fancie out- worke nature ; on each S ide he rS tood pre t ty- D impled boyes, like smiling Cupids,With divers- colour

’

d fannes whose winde did seem

TO glowe the delicate cheekes which they did coo le ,And what they undid, did.

’

UMBRELLA OR CANOPY OFTHE CHAR IOT OF RAMESES"I.I 9


FANS OF THE ANC IENTS—Continued

AS SYRIA

THE employment of the fan i n the re l igious ceremonies

of Assyria has al ready been hinted at . There can be

no poss ibi l i ty of doubt that the ceremonies and customs,both sacred and secular, connected with the fan , were

common to all the countries of the East , these be ing

the offspring of similar conditions and necess i t ies .

Thu s we have in Assyrian sculpture frequent representa

t ions of the fly-whisk. On a has- rel ief from Nimroud

King Sennacherib is standing in his chariot superintend

ing the moving of a colossal figure at the bui ld ing Of his

palace at Kouyunjik, two attendants behind the chariot

bearing an umbrel la and fly-whisk ; o n another rel ief we

see Assu r- bani - pal standing, bow and arrow in hand ,pouring ou t a l ibation over four dead l ions before an altar, his umbrel la

bearer and fly- flapper being in attendance. We are also introduced to the

garden.

or palm- grove OfAssur—bani- pal’s palace , where i n the king is being

entertai ned by his queen at a banquet ; the queen holding in her left hand

what is evidently a smal l fan and of the Shape and general appearance of the

pleated fan , but probably rigid .

The royal fan- bearers were two in number, i nvariably eunuchs , their

usual place being behind the monarch . The long- tassel led scarf appears to

be the badge of the Office, which was one of great dignity. I ts holder was

privi leged to leave his station behind the throne and hand his master the

sacred cup, the royal scent- bottle,or handkerchief

,which latter article

20


invariably appears i n the left hand . The usage of th i s office seems to have

been very similar to that of Egypt ; i n the absence of the vizier, or i n

subordinat ion to him ,he introduced captives to

the king,reading out their names from a scrol l

or tablet i n his left hand .

1

The matter Of the ‘ handkerch ief opens up

an important quest ion. S ir George Birdwood,i n

a masterly address before the Society Of Arts on

the subject of ancient fans,says : ‘ On a “ marble

i n the British Museum , from Kouyunjik (near

Mossu l , i.e. N ineveh), representing Sennacherib,B .C . 68 1 -705 , enthroned before Lachish , two attend

ants stand behind the throne each waving in

h is right hand, over the monarch 5 head, a innrehal

(fly-whisk) of undoubted peacocks' feathers, and

each bearing in his left hand what I identifyASSYRIA PERSM

as the cover of the mnrchal. I t is absurd totake i t to be a pocket- handkerchief.’

On the other hand, Mr. S . W. Bushel l

,

i n h is Handbooh of Chinese A rt,refers to the

fan and towel- hearers i n the Chinese scu lpturesof the Han dynasty ; these , al though somewhat

d iffering in Shape from those of the Assyrian

rel iefs , evidently served a s imilar purpose .

I t is an extremely difficu l t point to de

termine ; i n the re l iefs of Assur- bani-pal at

Susiana, of Sennacherib at Kouyunjik, and

others,two flabelliferm walk behind the king’s

chariot bearing in their right hands the fly-whisks , their left hands not1 George Raw l inson, Five Great Manure/rte: ofthe Ancient World.

2 I


being seen . S tanding in the umbrel la- covered chariot , immediately

beh ind the king and charioteer, a figure bears a smal ler handkerchief or

cover in his right hand , but no evidence of a fly-whisk . The left hand

in th is instance also does not appear i n the rel ief. In a representation

ofAssu r- bani- pal i n the Louvre (Layard , Monuments , Series I I. Plate

the king holds in his right hand a smal l fan ; an attendant behind holds

the cover or handkerchief in his right hand , but no fly-whisk. These

objects are i n most instances fringed , and i n some cases embroidered

with a narrow border.Assyrian fly-whisks were usual ly of feathers , set i n a short handle of

ivory , wood , or other material , carved or otherwise ornamented . There were

two kinds,a smal ler one which was a kind of brush , made ofhorse- hai r or

vegetable fibre,and a larger one of feathers ; the short brush fan belongs to

the earl ier period,the long feathered form to the later. 1

The two forms,however

,appear at the same t ime. In the has- rel ief of

the banquet above referred to,attendants bear d ishes of fruits and meats

,

each being provided with the smal l fly-whisk,evidently for the purpose of

driving away insects from the royal d ishes .

The ceremonies and usages connected with the fly-whisk open up a

vast field ofi nqu i ry, far too involved to be adequately deal t with here ; some

few aspects may, however, be touched upon .

Baal - zebub, Beel - zebub , Beel- z ebut, Bel- zebub, the Phil ist ine god of

Ekron , whom the Jews represented as Prince of Devi ls,was l iteral ly Lord

Fly, o r Lord of the Fl ies . When Ahaz iah was S ick he sent to consul t theLord Fly’s oracle .2

The word Baa l s imply means owner,master

,or lord. In Phoenicia and

Carthage itwas the custom ofkings and great men to unite their names with

that of their god , as Hannibal , ‘ grace of Baal,

’ Hasdrubal,

‘ help of Baal .’

Amongst the Jews also many names of cities were compounded with Baal1 Rawl inson. 2 Kings 1 . 2 , 3, 6 , 1 6 .

2 2


as Baal-Gad, Baal - Hammon , Baal-Thamar. I n the‘authorised vers ion ’ the

name i s Baal- zebub, afterwards changed to Beel - zebub ; the original con

ception is , however, one ofgreat d ifficu l ty and obscurity , unless , i ndeed , we

may directly connect the worship of Baal with that of the sun . Josephus

declares that the Assyrians erected the first statue ofMars, and worshipped

him as a God, cal l i ng him Baal . We read in the book of Kings how

Josiah destroyed t he al tars which had been reared by Manasseh , and ‘

put

down the idolatrous priests , them also that burned incense unto Baal ,to the sun and to the moon , and to the planets , and to all the host of

heaven ’

; these instances suggest ing that Baal and the sun were two separate

de ities . On the other hand,Baal -Hammon is represented on a Gartha

gin ian monument with a crown of rays . Baalbek was cal led by the Greeks

Hel iopol is (sun- city) and at Baal- Shemeh (house of the sun) there was a

temple to Baal .

I f, therefore , we may regard Baal and the sun as synonymous , the

matter is at once s impl ified,s ince the sun is the bringer of fl ies

,and is in

actual fact Lord of the Fl ies .

Accord ing to Pl iny, the Cyrenians Offered sacrifices to the fly—catching

godAchor, because the fl ies bred pesti lence , and this author remarks that no

sooner is the sacrifice offered,than the fl ies perish.

The Greeks had their Jupiter Myiodes, or fly- hunter, to whom a hull

was sacrificed in order to propitiate h im in driving away the fl ies which

infested the O lympic Games . There was al so a Hercules Myiodes , the

origin ofwhose worship Pausanias declares to have been the fol lowing

Hercules , being molested by swarms Of fl ies while he was about to offer

sacrifice to O lympian Jupiter in the temple,offered a vict im to that god

under the name OfMyagron ,upon which all the fl ies flew away beyond the

river Alpheus . Pausanias further refers to the festival of Athena at

Aliphera in Arcadia, which was opened with a sacrifice andprayer to the Fly

catcher,and states that after the sacrifice, the fl ies gave no further trouble.

23


XElian (Nat . A n ,xi . 8) affirms that at the fest ival ofApollo in the

island ofLeucas, an ox was sacrificed ; the fl ies , glutted with the blood , gave

no further trouble. The same author states that the fl ies'

of Pisa (O lympia)were more virtuous

,because they did their duty, not for a cons iderat ion , but

out of pure regard for the god .

1

Scal iger derives the name of Beel - zebub , the false god , from Baal im

Z ebabim, which signifies lord of sacrifices. This deity was worshipped

during the t ime Of our Saviour, who is accused by the Pharisees of cast ing

out devils by Beel - zebub,the prince of the devils . So Holman Hunt, i n h is

pictureof the finding of the Saviour in the Temple, with fine perception ,places a fly-whisk in the hand of a child .

2 A child is here propounding to

his e lders a purer and loftier system of ethics than had heretofore been

dreamed of ; a chi ld , l ikewise, banishes the servants of Bel ial .

With the Jewish writers of the Middle Ages the worship of Baal

frequently s ignified the practis ing of the rites of the Christian rel igion ;thus Rabbi Joseph Ben Meir i n his Chronicles states that C lovis forsook

his God andworshipped Baal , and that a high place was bu i l t at Paris for

Baal D ionysius , i.e. the Cathedral of St. Denis.3

The Assyrians employed the tal l standard and sceptral fans in a

precisely s imilar way to the Egyptians . In the restorat ion of the palace

of Sargon (Khorsabad), compiled by Fel ix Thomas , given by Perrot and

Chipiez, History of A rt in Chala’a a ana

’ A ssyria, vol. i i . p. 24, two

enormous frond standards are placed at the entrance to the Harem

Cou rt , these bei ng circu lar, formed of palm fronds in bronze gilt. ‘ In

I ndia, as i n Japan ,’ to quote again S i r George Birdwood

,

‘ the standard

is often blazoned with some totemist ic , symbol ical , or herald ic device, and

i t was probably so blazoned in Assyria,for from Assyria the practice

1 Pausan ias, Fraz er, vol. i i i. 558.

3 The fly- whisk in the picture is introduced because fl ies were held to be creatures of Beel-zebub , thegod of fl ies, and therefore to be driven away.’ (L etter ofMr. W. Ho lman Hunt to the author.)

3 National Encyclope dia.

24


A variant of this device for ventilat ing rooms is recorded in Chineseannals . Under the Han dynasty

,B .C . 205

- A .D . 25 , a skilfu l workmanat Ch’ang—and named Ting Huan—made a fan of seven large whee lsI O feet i n d iameter

,the whole turned by a s ingle man .

The luxurious C uez de Balzac,i n the twentieth letter, written from

Rome in 1 62 1 , to the Cardinal de la Vil lette, with his customary extrava

gant hyperbole,describes his method of guarding against the heat during

the broi l ing month of Ju ly Four servants constantly fan my apartments ;t/tey wind enough to make a tempestuous sea

’

FROM A BAS-REL IEF'. (Nimroud)

26


FANS OF THE ANC I ENTS—Continued

GREECE AND ROME

IN Greece , as in Egypt, the fan had a sacredas wel l as a secu lar use . M . U z anne refers

to the fan of feathers which those discreet

and i rreproachable ladies,the Vestals , made

use of to fan the flame of their sacrifices,

and, rather rogu ish ly, se izes the idea of fan

ning the flame to suggest that of inward

flames kind led by the arrows of the l ittle

god Cupid , i n p lace of the chaste ardours ofthe sacred mysteries . The fans of the priests

of Is is, when Is is was a Grecian divin i ty, were formed of the wings ofa bird , attached to the end of a long wand , and thus made to resemble

the caduceus of Mercury.

The Greeks received the fan from Egypt and Assyria through the

Phoenicians , who were the traders between the east and the west . I n the

sarcophagus of Amanthus (Cyprio - Phoenician), representing a train of

horsemen , footmen , and chariots, the horses’ heads are adorned with a

pleated fan crest, s imi lar to that which was used by the Pers ians ; the

figure in the fi rst biga carries a parasol . Thus Perrot and Chipiez in

thei r descript ion of th is monument : ‘The parasol which shades the head

of the great person in the first biga i s the symbol ofAsiatic royal ty : the

fan - shaped plume which rises above the heads of all the chariot horses,

i s an ornament that one sees in the same pos it ion in Assyria and Lycia,when the scu lptor des ires to represent horses magnificently caparisoned .

’

27


This remarkable examp le is of the highest interest as showing that

the p leated form—in this instance,doubtless , rigid , and fixed to a short

handle , also seen in both Egyptian and Assyrian monuments—has been

emp loyed from a very remote period .

1

The earl iest Greek fans were, doubtless , branches of the myrtle ,acacia, the triple leaves of the Oriental plantain , and also the leaves of the

lotus , which latter, together with the myrtle , were consecrated to Venus ,were symbols of the dolce far m

'

eii ie,and therefore pecu l iarly appropriate

to this i nstrument of reposefu l ease . The myrtle bough was al so used

by the Romans,as we learn from Martial , i i i . 82 , Serving at the same

time as fan and fly- flap

Et aestuanti tenue ventilar frigusSupina prasino concubina flabello ;

Fugatque muscas myrtea puer virga.

The single leaf or heart- shaped fan occurs constantly in Greek terracottas ; a number of examples are to be seen in the British and other

Museums . I n the Victoria and Albert Museum is a charming l ittle1 See page 1 09.

28


winged Amor, draped , tripping gai ly along, hiding his face behind a fan

of th is shape. Blondel refers to a female figure in the Louvre,seated at

a feast , holdinga leaf-fan ; also in a fresco at Pompei i a figure is seen

holding a fan which this author mistakes for that ofa different shape,but

which i s real ly a perspective view of the p lantai n- leaf. We see the

triform leaf - fan i n the hands of a Tanagra figure i n the col lect ion

of Louis Fould, i l lustrated in the Gaz ette a’es B eazzx—A rts for 1 860 ;

this , as wel l as a number of Tanagra figures , evidently representing

priestesses ofVenus . I t is impossib le to determine with any degree of

accuracy the material and construct ion of these fans : i n some instances

they are evidently stretched on a frame,and adorned with ornament either

painted or embroidered ; occasional ly , also , the decorat ive moti f is that

of the natural vei n ing of the leaf ; the handles being usual ly very short ,i n many cases scarcely vis ible. The sl ight vestiges of colou r remain ing

on these statuettes must in no i nstance be taken as suggesting the

colou ring of the original fans . The business of the Tanagra scu lptor was

to make a statuette and not a portrai t of any part icular fan ; the co louring

of the fan of the statuette would therefore be determined by the general

colour scheme ofwhich it formed a part .

The circu lar fan ofpeacocks’ feathers appears as early as the fifth century

B .C . , and even at th i s date had already been used in Asia Minor.

References to the feather- fan are of constant occurrence in the writings

ofGreek authors . A slave i n the Orestes ofEuripides exclaims : ‘ After the

Phrygian fashion I chanced with the close circle offeathers to be fanning the

gale, that sported in the ringlets ofHelen .

’

I nstances of the feather- fan are common on Greek vases,—on the

Campanian Hydra (F. Brit ish Museum , the shape i n this i nstance

being that of the reversed heart. I n the fourth vase room , on an oil- flask,

with Aphrodite seated in the lap of Adonis, a figure appears ho lding a very

large fan ,but similar in shape to the first ment ioned ; and on the Apu l ian

29


Hydra, F. 352 , a fan appears which is evident ly a conventional representa

t ion of the peacock feather- fan . The long- handled fan was also adopted

by the Greeks , these being waved by servants or attendants , as i n Egypt .

The Etruscans , amongst whom the luxury of the fan is early seen , and

who transmitted it later to the Romans,used the peacock feathers, of

d ifferent lengths, i n a semicircle

such a fan appears on a large

vase in the Louvre .

On an Etruscan crater, re

presenting Heracles strangl ing the

serpents , surrounded by the greater

gods,a fan of p lai n feathers is held

in the hand of one of the attend

ants . On a sarcophagus at Vu lci ,found in the winter of 1 845- 6

,a

female figure appears waving a

large fan, fimfs, identical i n shape

with - fans used in India at the

present day. In the Grotta del

Sole e del la Luna (tomb of the

Sun and Moon) at Vu lci , discovered in 1 830, one of the ceil ings has a

FROM AN APUL IAN HY DRA. (British Museum.)

s ingular fan- pattern , given 1 1 1 Mon . laea'

. b est ,i . tav . xl i . , the counterpart

ofwhich is found in two tombs at Cervetri, whence we may conclude it

was no uncommon decorat ion in Etruscan houses . 1

I n the Museo Gregorio,Rome

,are half- a- dozen handles of fans , with

holes for threads or wire, to t ie in feathers or leaves .‘ The fashion of the fan ,

’

says M . de Linas,2 ‘

was probably introduced

into Italy in the s ixth century We learn from D ionys ius ofHalicar

nassus,that Aristodemus , tyrant of Cumx ,

and ally of Porsenna, corrupted

Denn is, Cities and Cemeteries ofE truria .

2 Revue de I’Art Clxrttiefl s I S33

30


the‘

youths of this town by making them effeminate buffoons , accompanied

by fol lowers who carried the flabellum and umbrella.

’

The fan , al though perhaps in less constant use by the Romans, was

sti l l an artic le ofvery general employment. I n the E anac/zas of Terence

we are introduced to a pretty scene in which the fan plays an important part.

Chaerea is relat ing to Antipho his good fortune with the fai r Thais

CHAEREA . While I was revo lv ing these things in my mind, the v irgin meanwhilewas called away to bathe ; she goes, bathes , and returns, after which they laidher on a couch I stand waiting to see if they had any orders for me . At las t ,one came up and sa id Here , Do rus, take this fan , and, while we are bathingfan her thus. When we have done you may bathe too , if you have a mind.

I take it very demurely.AN'

rrm o . I cou ld have then wished to see that impudent face of thine , and the

awkward figure so great a booby must make ho lding a fan .

CHAEREA. Scarce had she done speaking, when in a moment they all hurried out

of the room, and ran to the bath in a no isy manner, as is usual when mastersare absent . Meantime , the virgin falls asleep. I steal a private glance thus,

with the corner ofmy eye , through the fan at the same time look round everywhere , to see if the coast was qu ite clear

The Romans employed the fly- flap (mascariam) formed of peacocks’

feathers , which was often provided with a long handle , so that the fan could

be waved by a servant (fl aoelli er), who protected his mistress from the

insects during s leep .

Plautus , Trinummas , 1 1 . i., refers to these fl abiltiferae, but in this

instance the term is obviously appl ied to female fan- bearers .

Propertius,1 1 . xxiv. 1 1 , speaks of flabel/a of the tai l feathers of the

peacock.

The peacock fly- flap is also referred to by Martial , xiv. 67

What , from thy food, repels profaning fl ies,S trutted, a go rgeous train ,

with Gemmy eyes .

’

Lambere quae turpes prohibe t tua prandia muscas.

Alitis eximiae cauda superba fu it.’

3 1


The same author, 1 1 1 . lxxi i . 1 0- 1 1 , says of Zoi lus that when overcome by the

heat , a pleasant coolness is wafted about him with a leek- green flabellum .

The Romans also adopted the tai l of the yak, but th is last , whichappears to have been imported from India, was not so common ly used as

the tabel lae, a species of fan of square or ci rcu lar shape , formed of precious

wood or very finely cut ivory,referred to by Ovid in the third book of

his A mores .

‘Wou ldst thou,

’ he exclaims, ‘ have an agreeable zephyr to

refresh thy face ? This tablet agitated by my hand wil l give you this

pleasure .

’ Those also were the fans the young Roman exqu is ites

carried when accompanying thei r mistresses along the Via Sacra, fanning

them gal lantly, representat ions of which appear on vases in the Louvre .

1

Propert ius , also, in the fourth book of his Elegies , represents Hercules

as seated at the feet of Omphale,fan i n hand.

1 In a wal l - painting of a sacrifice, Rome (Vat ican), given by George Buss, D er a circularfan- tab let is seen.

FROM AN ETRUSCAN VASE. (British Museum.)

32


fly-flaps and white umbre l las , the latter having each a hundred ribs of

pu re gold , the donors thereby ensuring for themselves a place in

Paradise.

In the same epic, the poet represents the sacred Karna, i n the midst

of the acclamat ions of victory, seated majestical ly upon his throne,beneath the emblems of the umbre l la, the fan ,

and the fly- flap ; these

being regarded as the most solemn symbols of state throughout the

East .

Thus , the t itle of the King of Burmah is ‘ Lord of the twenty- fou r

umbrel las ,’ thi s be ing the number always borne before the Emperor of

China upon every state occasion,and accompanying him even to the

hunting-field.

l

The connection between this umbrel la- reverence and primitive tree

worship is abundantly establ ished,both having thei r origin in cl imat ic

conditions . On the Sanchi Tope is figured the sacred flowering Sal

tree (beneath which Gautama Buddha died at Kasia) , surmounted by

two Chhatras , these , together with the tree, being adorned with garlands .Again , on the Great Tope at Buddha Gaya

,B .C . 250, erected in front of

the sacred B0 tree (Ficus religiosa) , beneath which Gautama attai ned

to the Buddhahood,are umbrel las hung with garlands. Also in a

Thibetan picture of the death of Gautama given in Dr. Waddel l’s

B uddhism of Thibet,we see a garlanded and festooned umbrella i n

the centre over Buddha, with attendants waving fly- flaps, and on the righta large standard fan .

So deeply rooted , i ndeed , is the reverence for the umbre l la, and so

completely in the minds of the popu lace are these objects identified with

regal power, that, upon the occas ion of the visit of the Prince of Wales

(King Edward v 1 1 .) to Ind ia, i t was deemed necessary for his Royal

1 This also is the number lin ing the shed in which the K ing of Dahomey holds his Court, the outerones, white, those in the centre, marking the spot occupied by his Majesty , displaying the b rightest hues.

34

FANS OF THE FAR EAST

H ighness to appear beneath a golden umbrel la on an elephant in order

that his sovereign dignity might be demonstrated .

In the manuscript of N ieder Muenster of Rat isbon,now in the

l ibrary at Mun ich , we find a curious blend ing of the tree and umbrel la

form,introduced as accessories i n representations of the four evangel i sts ,

doubtless merely intended as conventional floral forms , but evidently the

work of some monk ish i l luminator who had become influenced by

Oriental mythology.

In Ratisbon , also , i s an i l luminat ion of Christ bearing the cross , to

one arm of which is attached a hal f- closed umbrel la,reproduced in

Curiosité'

s Myste‘rieuses. Le pommeau

,

’ says the chronicler, ‘

est orné

de cc que les Romai ns nomment Ombrel l i no (pet it dai s en parasol). S’i l

s’

agissait acoup sur de cc baldaquin (qui est le propre de certains digu i

taires) nous pourrions rappeler que cc mot figurait deja dans l’

étiquette

imperiale avant Constantin .

’1

On Att ic and other Greek vases of the third and fourth century B .C .,

to quote S ir George B irdwood , i t is often very difficult to d istinguish the

fan from the umbrel la.

‘Where it is dist inctly an umbrel la, i t is e ither

ofthe peaked Assyrian form , or of the dome (‘ rondel ’ of Valentijin , etc

and ‘arundels

’ of Fryer) topped I nd ian form (chhatra) ; and when it is

dist inctly a fan ,i t is usual ly of the I ndian type , determined by the fan

palm frond and the peacock feather,and rare ly of the Egyptian type

determined by the date- palm and the ostrich feather.’

I n the early Pers ian bas- rel iefs,says Chardin in his Voyages, the kings

of Pers ia are frequently represented in the act ofmounting on horseback

surrounded by beau t ifu l s laves ; the ‘duty of one being that of holding an

umbrel la over the head of the monarch . This , not only for the purpose of

protecting the sovereign from the rays of the sun , but also to demonstrate

his absolute right of l i fe and death over both prisoners and subjects .

1 C. F. Gordon -Cumming, ‘ Pagodas, Aureoles, and Umb rellas,’ English I llustrated Magaz ine, 1 888.

35


Umbrel las ‘ formed an important feature in the Greek Bacch ic pro

cess ions . Aristophanes refers to white umbrel las and baskets , s ign ifying

pomp and joy,as being intended to recal l to men the acts of Ceres and

Proserpine,and constant ly borne by virgins at all rel igious ceremonials .

In a miniature in the Royal Library at Paris, of S ivaj i on the march ,a sayiban or sun- fan is seen , having an arrangement of drapery in form

of a cu rtai n or valance .l Here we discover a point of contact between

the fan and the umbre l la, al though it is probable that in this i nstance its

use as a shade- giving instrument had not developed .

A much closer form- connection,however , between fan and umbre l la

is seen in the s imp le leaf section of the Palmyra palm , cut leve l at the

top, used by the nat ives i n most parts of I ndia . This assumes exact ly

the shape of the pleated fan , the pleat ing formed by Nature’

s deft hands .

The large C ingalese umbrel la used by headsmen and at weddings is

of the same shape, made of the young leaves of the tal ipot palm ,often

richly decorated~with plaited patterns i n various colou rs,and with mica

inlay. Of s imilar form , also, is the sacred process ional parasol of the

I ndian Mussulmans (Shia sect) and the H i ndus .

The fan , therefore , must be considered as part of a continuous de

velopment from the umbrella symbol of might and power, employed

equal ly i n the Eas t as i n the West , and the infinitude of mil itary and

process ional fan- l ike s tandards and sceptral fans , to the hand-fan and

fly—whisk.

We discover a direct aflinity between the h issing of the wind

1 In the Ayin Akbari, or Inst itu tes of the Empe ror Akbar, by Abdu l Faz l, Akbar’s great m in ister,the following enumerat ion is given of the ensigns of state ‘ which wise monarchs consider as marks ofdivine favour ’

The Au rung or throne, the Chuttur or umb rella, the Sayiban or sun -fan, and the Kowkebah or starsin gold and other metals which are hung up in front of the palace ; and these fou r ensigns are used

only by k ings.The Alum, the Chuttertowk, and the Tementowk, all variet ies of standards of the highest dign ity,

appropriated sole ly by the k ing and his mil itary office rs of the highest rank—Birdwood, I ndustrial Arts

36


through the open metal mouth and s i lken bag of the Roman Dragon

standard , and the beat ing of the wings of the Norse Raven , used for a

s imilar purpose ; between the Assyrian disc standards with the divine archer

standing on the sacred bul l, and the cruciferal discs emp loyed at a more

recent date i n Christian Chu rch ceremonial

between the chauri waved over the head of

Krishna, and the wafting of divine influence

by the angel ic attendants upon the Saviour

in early Chri st ian missal- paint ing.

The alums or allums used in the

Moharram procession i n I ndia are analogous

to the standards used by the Greeks and

Romans , and those figu red on the gates of

the Sanchi Tope,consisting no t only of

flags and banners,but ofall sorts of devices

in metal , raised on the top of a long s taff

and carried to battle. 1

The C i ngalese Sesata, a ceremonial fan

for royal and rel igious use , or for attendance

upon great personages,cons ists of an em

broidered cloth d isc, o r tal ipot leaf, decorated

with images ofthe sun , moon , etc. , with mica

and other materials introduced , mounted on

a lacquered staff. Tenants of the first rank

attend the Disvata (lord ch ief) on journeys ,C INGALESE Si sArA

(Made ofthe leaf ofthe talipo t palm, enriched withplates of mica , the hand le lacq uered wood ;state umbrel la, and Sesata .

2 A smal ler length , includinghandle, 7fee t.)

convey his orders , carrying the great banner ,

disc- fan,the d isc covered with crimson velvet , the handle abou t fifteen

inches long, of carved ivory , richly inlaid , occurs i n the Louvre.

1 Hon. Wi lb raham Egerton, Handbook of I ndian Arms. 3 Coomaraswarmy, Medieval Sinhalese Art.

37


The royal standard , banner, or ensign , employed in India, composed of

peacocks' feathers , is i l lustrated in a MS . copy of the Akbar-Namah (c.

theform being ci rcular,and also that of a somewhat elongated semicircle .

The fly- flap, chowr, chowrie

,chourie , chan t ie, is next i n dignity to

the umbrel la, andwas i n the first instance devoted to the service of the

gods . On a bas- rel ief of the pagoda of Elephanta, described

by the Oriental ist L anglés i n his History of Hindostan ,a

servant is seen behind Brahma and I ndra hold ing in each hand

chauries or fly-whisks . In the India Museum is a charm ing

l ittle chaurie with s i lver handle and ribbons of s i lver gauze

tipped with red si lk,used by Jains to drive away insects from

their idol without destroying them .

Chauries are formed of various materials—of ivory, the

strips of which are somet imes cut to incredible fineness for

such a substance ; i n these cases the handles are formed of

the same material,richly carved—of the bushy tai l of the

H imalayan yak, both black and white, the handles

either of metal , ivory , or wood—o i sandalwood ,also cut into the finest poss ible strips , the handles

richly carved ; the waving of these chauries

emitting a fine fragrance—of the stripped qu i l ls

of the larger bi rds, more general ly the peacock

ofhorse- hair and the various grasses . The handles

were often formed of the horns of various

animals ; an example occurs in the Horniman

Museum ,i n which instance i t i s the antelope.

The chaurie from the tai l of the yak was i n

ancient I ndia fixed upon a gold or ornamented e -wmsx

(From a painting on ta lc. Madras.shaft between the ears of the war- horse

,l ike the N'm m ‘m m w

plume of the war- horse of chival ry ; the banner or banneret, with the38


device of the chief, rose at the back of the car.

‘ The waving chaurie

on the steed’s broad brow points backwards,motionless as a picture ."

This, i t wil l be seen , is i n strict conformity to the usage of the

ancient Egyptians , who employed the tal l fan emblem in a precisely

simi lar way ; these proud plumes serving a double pu rpose—an orna

mental , and, i n the case of Egypt , even an herald ic purpose, and also the

purely uti l itarian one of afford ing the animal some rel ief from fly pests.

The peacock has ever been regarded as a sacred bird , both by the

peoples of the East and the West . The Greek fable of Argus the

hundred - eyed,the s leepless guardian of Io , serves to connect the idea of

extreme vigi lance with that of true kingship , i.e. the universal prese rver

and father of the people. The peacock therefore presented a double sig

nificance to the minds of the H i ndu peoples ; i t expressed the vigilance

of kingship toge ther with its magnificence . The peacock feather emblem

of royalty is the sign or ins ignia of the king’s high office, and the

principal evidence of his sovereignty : wherever a king appears

he i s accompan ied by an attendant bearing th is emblem ,

which appears i n all pictorial or other representat ions of

royalty.

I t was, doubtless , i n the first i nstance a fly- flap,

and i s

either composed entirely of feathers , o r, i t consists of a bunchof feathers enclosed two- th i rds of the d i stance in a si lver

cas ing, usual ly ornamented with an imbricated pattern ; the

handle al so of s i lver. Several examples of thi s object appear

in the I ndia Museum, and numberless representations occur EMBL EM o ,

ROY AL TYm sculptu re

,il lum ination

,embroidery, etc. (Fromm illumination of

a Court reception bythe King ofOudh. )The poet Valmiki tel ls of the sumptuous sceptre , studded

with jewels,prepared for the sacrifices to Rama—a magnificent fan with

a radiant garland resembl ing the fu l l moon in the clear night sky.

1 [ finda Theatre.

39


The word punkha, or pankha,from pankh, a feather, a bird , is a

generic term appl ied in India to all fans,pankhi meaning a smal l fan .

This derivat ion serves as an i ndication of the early use of the plumed fanin India

,which divides honours with the palm - leaf fan i n point of

antiqu ity, and doubtless also as suggesting a s imilari ty between the

beat ing of a bird’s wings and the movement of the fan .

The earl iest plumed fans probab ly cons isted of a pai r of complete

wings set shou lder to shou lder,resembl ing the caduceus of Mercu ry ,

which was regarded as a symbol of happiness, peace, and concord,the

wings expressing dil igence.

Feather- fans assume all manner of shapes , as the large round banner

fans al ready referred to ; the fami l iar crescent- l ike form with a short

handle set horizontal ly at its base ;and the various hand- screens , these

either composed enti re ly of pea

cocks’ feathers, the breast and

neck feathers forming a pattern

in the centre, with a border of

tai l feathers ; or, the centre formed

of plaited pith and cane of variousnou n sm s nm ns colours, beetles

’ wings, etc.

,with

(From a MS. copy of the Akbar-Namah .sma m m m i the border again of feathers ; the

handles be ing of cane or wood ,or of wood covered with cane strippings o r other material .

I n Pers ia and Arabia, from the first centuries of our era, fans were

made of ostrich feathers , many being ornamented with that form of in

scription which is such a leading feature of the decorative art of these

countries.

The crescent- shaped hand- fan also dates from a very early period.

I n its primitive form,i t i s seen in the painted decorat ion of the Bud

40


both instances they are invariably plaited , the material being stripped

palm,bamboo

,ivory

,peacock qu il ls, etc. The rigid variety is often placed

loose in the handle,to al low of i ts being swung round and round l ike

a pol iceman’s rattle. See i l lustrat ion oppos i te.

The hatchet or halberd shape is a development of the flag form ,and

varies from the simple blade to that of a highly ornamental shape. The

material i s s i lk,velvet

,cloth or other t issue

,often richly embroidered

ILLUM

A

with gold and s i lver thread , spangles ,beetles’ wings

,etc. , with a fringe

of either s i lver t insel or peacocks’

feathers ; the handles being ofwood,

cane, or s i lver. These are at present

largely made at Delhi .

Occasional ly the fan is entirely

formed of threaded glass beads of

various colours forming a pattern

upon a wire framework, with a fringe

of t insel , the handle also overlaid

with beads .

The primit ive palm- fan occurs onthe oldest H indostani bas- rel iefs

,and

is described by the poets . This

primeval fan stil l forms part of the

att ire of certain Buddhist priests i n

S iam , and from it they take the ir

name of ‘Talapoins ’ ; the fan’

s name

being ‘talapat,

’

or‘ palm—tree—leaf ’ i n

the S iamese language.

This form (the reversed heart) i s common to both the smal ler hand- fans

and the larger ceremon ial and process ional fans . The natural palm- leaf42


i s employed , trimmed to the required shape, and used either plain , or

painted in bri l l iant colours , or forming a base for a covering of em

broidery,feathers or stuffs, as i n the example from Moorshedabad

(i l lustrated), which i s of velvet , embroidered with si lver.

The lateral form , i n which the leaf is

set sidewise on the stem , fol lows the same

principle of decorat ive development. I t is

used plain , painted , i n laid with talc as i n

the example i l lustrated , i s embroidered with

si lk,spangles, beetles

’ wings , etc. ; i t also

suppl ies the shape or decorat ive motif for

fans of a different material , as i n the i nstance‘

of the four long - handled fans , forming

portion of the Burmese regal ia, obtai ned from

Mandalay in 1 885, examples of a barbaric

splendour only to be found i n the gorgeous

East. These are ofgold , jewel led with rubies

and the nan- ratan ’

or nine stone,the handles

overlaid with gold and also jewelled .

Amongst fans formed ofthe more precious

material s i s a disc- shaped fan of gold , set

with cabochon sapphires , an offering dedicated

by Kirt i Sri to the ‘ Tooth relic.

’ l Figured

in Media foal Sinhalese A rt, A. K. Coom

mm OF

araswarmy.

(Forming portion ofthe Burmese Regalia.India Museum. )

I n the col lect ion ofthe Baroness Salomon

de Rothsch i ld at Paris is a fan of jade, richly

studded with jewel s .

1 The Tooth re l i c of Buddha, b rought by a Brahman princess from Kal inga in A.D. 3 1 3, and since

rendered the highest honours.43


Fans are also made of the sweet- scented Khaskhas root (A ndropogon

muricatus), and as these are general ly used after being wetted , they impart

to the air a cool fragrance ; they are often highly ornamented with gold

and s i lver spangles , gold thread , t insel , beetles’ wings , etc . , and occasional ly

provided with ivory handles . A pretty example occu rs at Kew, where

there is an exce l lent col lection of fans made of the various vegetable sub

stances . Fans of tal c,decorated with exqu is ite i l luminat ion , were made

at Tanjore during the e ighteenth century . Specimens occur in the India

Museum , South Kensi ngton .

PORTION OF AN EMBROIDERED MUSL IN NAPK IN. (Chamba. Nineteen th century.)

Representations of the fan are of constant occu rrence i n I ndian

work, both i l luminat ion , embroidery , sculpture , and other material . On a

cu rious ly primitive embro idered napkin from Chamba, we are i ntroduced

to the worship of a H i ndu de ity—a king and queen are kneel ing under a

palm - tree , the god Ganesh in the distance with flag- fan ; an attendant

bears the peacock feather emblem of royal ty, a second attendant waves

a large heart- shaped fan . On a smal l mat or pad of enamel led leather

(Hyderabad , n ineteenth century), we see a whims ical combination of

Krishna and his damsels forming the s imi l itude of an elephant,the

umbrel la, pankha, and two fly-flappers be ing in evidence.44


FANS OF TH E FAR EAST—Continued

CH INA

CH INESE authorit ies are at variance concern ing the invention of the fan , which has been attributed to the

Emperor Hs ien Yuan , B .C . 2697; to the Emperor Shun ,2255 , and to the first ruler of the Chou dynasty ,

B .C. 1 1 22 .

According to a Chinese legend , i t had i ts originat the Feast of Lanterns , where , on an occasion when

the heat became particularly oppressive,the beaut iful

daughter ofa mandarin took off her mask,and agitated

it so as to fan the air into a gentle breeze ; the rest of

the fair revel lers were so much struck with the grace of

the motion that they one and all let fal l their masks

and fol lowed the example of the mandarin’s daughter.

The earl iest fans were of the dyed feathers of various

bi rds , and those of the peacock . We have an account

of a present of two fans of feathers of ‘tsio rouge

,

’

offered to the Emperor Tchao-wang of the Chou dynasty , R C. 1 052 , by

the King of Thou- s ieou, and i t i s affirmed i n the ‘Tchéou- l i ’ that one

of the chariots of the empress carried a feather- fan for the purpose of

keeping the whee ls free from dust.

The poet Thou- fou , i n the ‘ Song of Autumn ,’ refers to fans of

pheasants’ feathers as i n royal use. The Emperor Kao -Tsong, of the

Chang dynasty, 1 323- 1 266 B .C.

,having heard the cry of the pheasant

,

an omen of good luck, resolved thenceforth to use only fans composed

of the tai l feathers of th is bi rd .

46

FAN S OF THE FAR EAST

These have cont inued in th e service of royal ty to a late period .

A wing- shaped example, set lateral ly i n a red lacquered handle,appearing

in the hand ofan attendant,i n a fine painted rol l , by Ch

’ i n

Yi ng of the M ing dynasty,i l lustrating the occupat ions of

Court ladies , the larger feathers numbering seven, this

being the sacred number compo sing the fan ,which i s the

attribute of Chung- Ii Ch’uan , one of the eight Taoist

Immortals , the seven broad feathers corresponding to the

constel lat ion of seven stars on the left of the moon (Great

Bear), the seat in the Taoist heavens of thei r supreme deity,Shang Ti

,round whom all the other star gods circulate in

homage. This fan i s i l lustrated on the large lacquered

screen at the Victoria and Albert

Museum ,representing the Taoist Geni i 1 ?

nworshipping the god of Longevity, and mfi‘ish Mm mJ

constantly figures in pictorial and other representa

t ions.S imilar fans with several rows of pointed feathers

appear in pai nted and decorat ive work ; a curious

example being seen in a large drawing from Tonk i n

(Louvre). The outer row of feathers, white and pale

blue ; the second , yel low ; the th ird , those of the pea

cock ; the body of the fan , green , red , white , and

blue.I n the lacquered screen above referred to, a large

fan of this character i s waved over the head of one of

the devotees rid ing aloft on a cloud , wending his

HS ! w as a n way towards the mountai n paradise , the home of the(From a Japanese pfinting.

British Museum.) God.

The feather-fan i s one of the ch ief attributes of H s i Wang Mu, the

47


famed Queen of the Geni i (Royal Mother of the West), whose dwel l ing

was a mountai n palace in Central As ia, where she held Court with her

fai ry legions and received the great Taoist Ri shis and certain favou red

mortals , and whose amours with the Han Emperor Wu Ti have given

much occupat ion for both author and artist.1

Her fan i s borne by one of her four handmaidens , who, l ike the

Deva Kings of Mount Sumeru ,are several ly related to the fou r points

of the compass . I t assumes various shapes , as that of a wing, i n the

pain ting by a pupil of

Itcho no. of the Japanese

popular school , British

Museum ,1 722 a bunch

of long pointed plumes

set i n a bamboo handle,i n the pai nting (Chinese

School of Japan , Brit ish

Museum ,i n which

a young girl in deer- skin ,warn ; PLUMED FAN or 1 1 5 1 WANG MU standing beneath the

(From a painting ofthe Chinese Schoo l ofJapan. British Museum.)

sacred peach- tree of the

Immortal s,offers the fruit to the goddess who

,with her attendant bearing

the fan , appears upon a cloud above the waves .

The queen is also represented with the large pear- shaped screen , as

i n the painting of the same school,Briti sh Museum ,

1 022 , the screen

decorated with the sun ,moon

,and clouds. I n the pai nting previous ly

referred to (No . the goddess herself holds a smal ler pear- shaped

screen . Each of the ’fore-mentioned paint ings are Japanese, but the

fan forms are,unquestionably, taken from older Chinese originals .

The earl iest i l lustrat ions,however

, of th is personage and her fan ,

1 Ande rson, Catalogue, p. 2 2 1 .

48


This same au thor refers to four screens ofwhite jade (regarded by

the Chinese as the most precious of precious stones), the handles of an

odoriferous amber, that were offered by the Emperor Chun-Hi of the

Southern Sung dynasty, 1 1 74- 1 1 90,to his Empress . At th is t ime the

screens were ornamented with incrustat ion and i nscription , which was

much esteemed , and th is au thor quotes a curious passage from the A nnals

of the Thsi to the effect that Wang- sun -

pen ,of Kin- l ing , represented in the

space ofa few i nches a perspective view of rivers,mountains , val leys , and

plains,stretch ing over a thousand miles of land . These screen pictures are

referred to in the [( u yu‘

t’

oupu ,an i l lustrated catalogue of ancient jade

,i n

one hundred books, compi led in 1 1 76 by an imperial commission headed

by Lung Ta-Yuan , Pres ident ofthe Board ofR ites .

The smal l hand- screens assume a variety of forms—circu lar,pear

shaped , heart- shaped , etc.,and are made of various materials , as—( I ) The

natu ral palm leaf, seen in the Chinese paint ing, Brit ish Museum, 37.

(2) The palm leaf cut to various shapes,with a bamboo handle running

up the midd le,as in the Japanese examp le given on page 6 1 . (3) Ofbamboo ;

from Chinese records we learn that o n the fifth day of the fifth month of the

year corresponding to our 2 1 9, the Emperor presented to the members of

the Imperial Academy a fan ofbamboo,carved and painted blue . There i s

al so a record of an existing fan of oblong form,made of bamboo leaf

,

ornamented with bu lrushes,an i nscription on the field of the fan . This

dates from the s ixth centu ry A .D . (4) Of the turtle shel l the two port ions

held together with metal plates,with a wooden or other handle, examples

of which occur in the Musée Guimet, Paris . (5) Of si lk stretched upon a

frame,with painted or other decorat ion

,as i n the two charming examples

i l lustrated from the col lection of Mr. W. Crewdson . Both front and reverse

are given the latter decorated in that system offeather-work much affected

by the Chinese, and i n which they display great ski l l . The feathers are

usual ly the turquoise tinted p lumes of the kingfisher : i n the present50


i nstance - the design is alternated by an imbrication of peacocks' feathers.

The handles are of carved ivory.

There are also the cockade screens,usual ly of ivory or sandal

wood .

Representat ions of the earl ier large ceremonial banner screens appear

on a carved pedestal of a Buddhist image,Northern Wei dynasty

,A.D.

524 ; these are oval i n form ,and are seen in both sculptured and pai nted

representations down to recent t imes .

In the Musée Guimet in Paris is a large fan of red lacquer framework

(reversed heart shape) enclos ing a series ofmetal ribs through which the

wind plays ; i n the centre are pai nted dragons .

Among the painted representations i n the I ndia Museum,of objects

from the Summer Palace at Pekin , i s a ci rcu lar screen , l ike the moon ,’

borne by the guard of an imperial concubine . See i l lustrat ion , p . 46 .

A favourite device for the decorat ion of these larger screens is that of

the fabled Phoen ix , the H0 bird of the Japanese. This is seen in the paint

ing of the Chinese school of Japan , British Museum,822 , i n which one

of the two attendants on a Chinese Emperor carries a long oval screen

bordered with peacocks’ feathers,and ornamented with two Phoenixes . 1

We therefore perceive that the ceremon ies and customs relating to the

fan, no less than the various forms which this i nstrument assumed , were

pract ical ly identical with the ancient peoples of the East andWest —the

same order of development , having its origin in the natural suggest ion

afforded by the wings of birds and of the broader leaved plants ; the fans

of the Han dynasty rel iefs , thei r exact counterpart being found in Egypt

and Assyria ; the rigid hand- screens corresponding to those tabel lae

which the Romans derived from the Greeks , who in turn received them1 In the romance of A rnadis of Gaul it wi l l be remembered that Appolidon gathered up the superb

purp le and gold feathers of the Phoen ix which had remained long enough in the island to change its plumage,to make a fan ornamented with a diamond and carbuncle, as a present from Amadis to Oriane on arriving atthe island.

5 1


from the peoples of As ia M inor, and which , doubtless , had their‘

origin i n

the more remote East ; the employment of the fan in both re l igious and

civi l ceremonial and i n war.

1

Among the Bat Bu’

u (eight precious things) carried at the end of staves

by the inhabitants of Annam in thei r ceremonial process ions , is a fan (Quat)symbol is ing the gracefu l perfection of the form of woman , and the l ight

breeze that tempers the heat of the summer sun .

2 These Bat Bu’

u are

made in three ways

1 . Of carved wood lacquered and gilt.

2 . Of t in or pewter.

3. In the form oftransparencies to be l ighted from within.

A huge wooden fan i s carried as part of the ins ign ia ofa mandarin'sprocession s

The invention of the folding- fan is general ly credited to the ingenious

l i ttle inhabitants of the land of the rising sun ; i ts date, however, as wel l

as its precise character,i s imposs ible to determine with anything ap

proaching to accuracy. Tradit ion says that i t was designed by an artist

who l ived in the re ign of the Emperor Jen -ji, about 670 A .D . , and was

formed upon the principle of the construction of a bat’s wing, th is be ing

in conformity with the general usage of Japanese designers , who derived

the i r artist ic motifs from natural constructive forms . The date of its intro

duction into China is al so a matter of cons iderable uncertai nty : we have

a reference to i t in a Chinese work of the date 960, to the effect that the

ts i n- theon- chen,or folding-fan

, was introduced by Tchang—ping—hai, and

was supposed to be offered as a tribute by the barbarians of the south

east, who came , holding in the ir hands the pleated fan , which occas ioned

much laughter and rid icu le. Al l Chinese authors agree , however, that1 M. Kondot quotes a passage from a native authority stating that the Ch inese general , Tchou-ko—l iang

,

commanded his three army corps holding a fan of white plumes.2 G. Dumoutier, L es Symboles, les Emblémes et les Accessoires da eulte ehez les Annamites, pp. 1 1 6- 1 8.

9 H . A. Gi les, Strange Storiesfrom a Chinese Studio, p. 64, note 1 3.

52


example only of these fans is given ; that bearing the word ‘Angela ’

fitt ing name of the gentle lady whose memory is revered wherever the

Engl ish language is spoken .

Tortoise- shel l is carved with the same consummate skil l as ivory, and

on the same principle of de l icate piercing and ribbing. Two such fans

occur in the Wyatt col lection,profusely decorated in re l ief with figu res of

horsemen,buildings

,boats

,and flowers. The material , which is softened

both by warm water and dry heat , is obtai ned from the loggerhead turtle

of the Malay Archipelago and Indian Ocean,and imported to Canton , a

centre both for tortoise- shel l and ivory workers . An extremely effectiveand picturesque fan is that i n the same col lection , formed of the feathers

of the Argus pheasant,cut short to the fan shape , the st icks of carved

tortoise- she ll . In this the colours of the feathers harmonise extremely wel l

with the trans lucent red brown of the tortoise- shel l .

This material i s also lacquered,one of the earl iest and most prized

of the Chinese arts,and the technique of which is fu l ly described in the

l( o hu yao lun ,a learned work on antiqu it ies publ ished in the reign of

Hung Wu , the founder of the Ming dynasty, 1 387. This substance i s

obtained from the lac- tree (Rhus vernicifera), cu lt ivated for the purpose

throughou t Central and Southern China. The tree exudes a res i nous

sap that becomes black upon its exposure to the air,the sap be ing

extracted from the tree at night,du ring the summer months , and dried ,

ground , and strained through hempen cloth to an evenly flowing l iquid,

which is appl ied by the brush .

Gold p lays an important part both in the composition ofthe lacquer

itself, to which i t imparts a richness and pel lucid ity which is extreme ly

beauti ful , and also in its subsequent decorat ion . The fan and case of

Canton lacquer in the Wyatt co l lection are richly decorated with panels

ofbu i ld i ngs and gardens , on a diapered background , overlaid with flowers,

butterfl ies , and other devices, and are excel lent examples of Chinese gold54

FAN S OF THE FAR EAST

lacquer, an art which , al though originat ing i n China,has been somewhat

neglected , and has,at a later period , been brought by the Japanese to a

greater perfection than the Ch inese have at any t ime attained .

Sandalwood is largely employed fo r fans, on account of i ts l ight

ness, the ease with which i t i s worked , and also its fine aroma. The tree

is indigenous to India, and i s imported by the Chinese, who employ it for

a variety of purposes , i ncluding the perfumed joss- sticks which are com

mon throughout the East . These fans are worked on the same principle

of flat piercing as those of ivory. They are also carved in rel ief,but can

scarcely be said to rival the last- named substance with i ts del icate variety

of translucent softness . The large fan at South Kensington is a good

example .

Mother ofpearl i s a favourite material for fan- sticks on account of its

beauti ful play of iridescent co lour . A number of fans of Chinese work

mansh ip,both of mother of pearl and ivory , have found their way to

Europe and have been remounted . Such a fan is that i n the Wyatt col

lection with a subject finely painted on ch icken skin by Eugene André.

Bamboo has al ready been referred to as i n early use. I t is ex

tensively employed for the cheaper fans on account of its durabi l ity as

wel l as cheapness . The number of ribs vary from sixteen to thirty- six ;the former may be regarded as the standard number.

The art of fi l igree i s practised by the Chinese with the most consum

mate ski l l ; it i s occas ional ly in gold , but more often in s i lver gil t, the

gild ing being employed for the double pu rpose of preventing tarnishing

and for decorat ive effect. F i l igree work is often enriched by means of

in lay, either enamel , o r the turquoise feathers of the kingfisher, which

latter, however, are merely gummed on the surface of the metal , and, as

a consequence, are wanting in durabil ity.

Enamell ing has been pract ised in western As ia from a very early

period , i.e. previous to the Christ ian era,and is bel ieved to have reached

55


China about the thirteenth centu ry. There are two kinds,both accom

plished by the process known as incrustat ion—Cloisonne,i n which the

pattern is raised on the su rface of the metal by soldering on to it metal

or wire strips of copper,si lver

,or gold

,thus forming a series of cel ls or

cloisons ; and champlevé, i n which the cel l-wal ls enclos i ng the pattern are

either model led and cast , or cut and hollowed out of the metal itself by

means of graving tools : i n both , the pattern is fi l led in with enamel .Of the colours , there are two well- contrasted shades of blue—a dark

t int made from cobal t and resembl ing the lapis - lazu l i tone,and a l ight

sky b lue or turquoise ; several greens made from copper, a dark coral red ,a fine yel low

,black , and white.

Chinese enamels are usual ly fired in the open courtyard , protected

only by a primitive cover of i ron network, the charcoal fire being regu

lated by a number of men standing round with large fans i n their hands.

1

Of the interesting fans in which the combined arts of fi l igree and

enamel are employed we give a charming example from the Wyatt col lection

at South Kensington . I n this , the effective co lour scheme is that of the

two blues and gold the des ign be ing a conventional rendering of a Phoenix

and fol iage . I n the colour plate given of the fan i n the col lection of Mr.

M . Tomkinson ,the leaf has a large cartouche in the centre representing

a Chinese garden , with the hostess welcoming a visitor who has arrived

on horseback , the servant bringing tea. On ei ther side are smal l medal

l ions of a sun- dial and '

a broken co lumn , evidently introduced to the

order of a Eu ropean patron .

Of the familiar class of fans having large compos it ions of figures

of which the heads are of appl ied ivory,painted , the costumes of s i lk

applique, the sticks of ivory e laborately carved , the example i l lustrated

from the col lection of Mr. Burdett- Coutts belonged to a mandarin of

the first rank . A beautiful example was formerly in the possess ion of

1 S. W. Bushel l, Chinese A r t.

56


The Chinese have exhausted every species of i ngenu ity in the con

struction of fans ofan outre' character. The ‘ broken fan ,

’

a curious trick,

i s to all i ntents and purposes a s imple folding-fan ,and opened from left

to right presents no feature uncommon . On being opened to the reverse,the whole fan appears to fal l to pieces

,each bone, with the part attached ,

being separated from the other as though the connecting strings were

broken : the principle is extremely simple,but the effect is surpris ing.

A fan which has been styled the ‘ impracticable,’ i s of ci rcular form ,

the radiants of ivory, tortoise- shel l , sandalwood , or metal fi l igree, perforated to such a degree as to render i t useless as a means of disturbing

the air. These are elaborately carved with figures,scroll-work, and other

designs, or with birds, flowers,etc., i n si lver gi lt fi l igree.

The ‘ double- entente ’ fan,opened in the ordinary manner, exhibi ts

some harmless motif such as a flower,bird

, or landscape ; opened the

reverse way, i t d iscloses a ribald sketch that wou ld entai l severe penalt ieson i ts maker i f discovered. The Peking variety shows two such pictu res

which are no t seen when the fan i s opened , but are disclosed by turning

back the two end ribs of the fan .

The ‘ dagger- fan’ is an invention of the Japanese, its importation

into China being strictly forbidden. I n its outward appearance it i s

sufficiently harmless , being apparently an ordinary lacquered fold ing-fan

in real ity it is a sheath containing a deadly blade, short and sharp ,resembl ing a smal l Malay kris (see i l lustrat ion facing page These

dagger or sti letto fans are by no means confined to the East ; i n the

British Museum is a print of an I tal ian st iletto concealed in a case

made in imitation of a fan ; the panaches of ivory, engraved with

Ital ian arabesques.

Inscription fans are common,and exhibit an endless variety of

devices . Some are l i terary tours de force, the most famous being that

associated with the Emperor Chien Wen, of the Liang dynasty, A .D. 550,

58


and said to be the composit ion of the monarch himsel f. This consists

of a couplet of eight characters written in the eight corners of an

octagon fan. On beginning at any one of the eight characters and

reading round the way of the sun,i t forms a couplet of perfect sense

and rhythm .

A story is told of a favourite of the Emperor Ch’eng Ti of the Han

dynasty, B .C. 32 , whose name was Pan ,and who fo r some time had been

a confidante of hi s Majesty and the Queen of the Imperial Seragl io .

Having persuaded herself that something more than an ordinary attach

ment of the hour existed between hersel f and the ‘

Son of Heaven,

’

finding her influence on the wane and being unable to conceal any longer

her mortification,grief

,and despai r, she forwarded to the Emperor a

circular screen-fan,upon which were inscribed the fol lowing l i nes express

ing the contrast between the summer of her reciprocated love and

the autumn of her desert ion

0 fair white silk, fresh from the weaver’s loom ,

C lear as the frost, bright as the winter snow

See , friendship fashions out of thee a fan

Round as the round moon shines in heaven above ;

A t home , abroad, a close companion thou ;S t irring at every move the grateful gale ,And yet I fear, ah me ! that autumn chillsCoo ling the dying summer

’

s torrid rage ,Will see thee laid neglected on the shelf,All thought of bygone days, bygone like them.

’ 1

From this period,i n China, a deserted wife has been cal led an

autumn fan .

1 H. A. Giles, ‘Chinese Fans,’-Frase/ s Magaz ine, May 1 879.

59


FANS OF THE FAR EAST—Continued

JAPAN

THE fan is regarded by the Japanese as an emblem of l i fe ,that widens and expands as the sticks radiate from the

rivet or starting- point,and for this reason i s selected

for the new- year’s gift. 1 I t enters into almost every

affai r of the l ife of the people,from Emperor to peasant ;

friends greet each other with a wave of the fan ; i t is

one of the gifts which the bride takes with her to

her husband’s house ; i t is presented to the youth on

the atta inment of his majority ; 2 i t is used by jugglers

in feats of ski l l , by the umpires of wrestl ing matchesas signal , by singers to modulate thei r voices ; the

condemned man marches to the scaflold fan i n hand

the executioner does no t rel inquish his fan during the

performance of his duty.

The early history of the fan i n the country ofDai N ippon is substan

tially the same as i n all the countries of the far and nearer East , and

presents us with ' the same order of development , the earl iest be i ng formed

ofthe primitive palm leaf, or of feathers . We have, i n the story of The

Tengus ’

a descript ion of the Dai or Master Tengu , who wears a long

1 Kaname, the rock which holds the earth together and keeps it quiet, means the rivet of a fan. The

great earthquake fish Namaz u has the Giant Kashima for keepe r, who was charged to subdue the eastern partof the world, and accomp l ished this feet by runn ing his sword through the earth. In t ime the swordhardened into stone and was named Kaname ( rivet). When Namazu becomes too violent and shakesthe earth, Kashima jumps upon him with the rock Kaname.

‘U pon a male chi ld be ing presented at his b irth to the temple of his father’s part icular de ity, herece ives, amongst othe r gifts, two fans, while a gir l receives a cake of pomade, whi ch brings goodlooks.

’

60


fan , a kind of combinat ion of fan and fly-whip. A s imilar fan appears in

a pai nting of the Caligraphic school , British Museum ,1 6 1 7. This fan

is of Chinese origin , and i s constantly represented i n the art of that

country.

Fly-whips were also used . Of the representat ions ofthe sixteen Arhats

(Buddhist d ivinities) given in the‘ Butsu z é dz u - i

,

’ three hold fly-whips

(futsujin) i n thei r hands . This i nstrument is also seen in the right hand of

Vimalakirrti, an I ndian priest , i n the paint ing on s i lk attributed to

Shingetsu ,Sesshiu school , fifteenth centu ry

,British Museum col lection .

The fly-whip o r chasse-mouche was also used by generals whi le on

horseback , th is being made of strips of tough paper suspended from a

lacquered handle mounted with bronze.

A l ist of the more important varieties of Japanese fans,together with

the dates oftheir introduction , as given by nat ive authorit ies , will probablybe of service .

Rigid fans or hand- screens,introduced from China, end of s ixth

century A .D.

Folding- fans (bamboo), i nvented by the Japanese, 668-671 A .D.

Gumbai U chiwa,flat i ron battle- fans , eleventh century.

Gun Sen , folding iron battle- fans , twelfth century.

H i ogi , court- fans , eleventh century.

Mai ogi, dancing- fans,beginning of seventeenth century .

Rikiu ogi, tea- fans ,

Water- fans for kitchen use,eighteenth century .

The invention of the folding-fan has al ready been referred to. I tsearl iest form is the Komori (bat), so named from the supposition ofthe wingof this animal suggesting the principle of i ts construction . I t is formedof fifteen bamboo sticks having a sl ight t e- divergence springing from

the handle end , so that when held closed in the hand as i t is by court iers

while fulfi l l ing the office of fan- bearing, i t st i l l appears Open . It is stated62


that this spread- out form was adopted as court- fan on account ofthe misuse

ofthe dagger- fan. The mount is of paper, which may be painted with anydesign in any colour except the unlucky green and l ight purple.

One of the many traditions of its i nvention may be given . I t is

attributed to a fan-maker of the Tenji period , 668- 672 , whose name is

forgotten , l iving at Tamba near Kyoto . He was married to a shrew,and

on a certain n ight a bat having found its way i nto the sleepi ng- room,the

woman reviled her husband for not getting up to throw the vampire out .

The animal coming in contact with the lamp,scorched its wings and fel l to

the floor. As the man picked it up,the opening of the creature’s wings

suggested to him the principle of a folding-fan that might be carried in

one’s sleeve.1

The Snye hiro ogi (wide end) has a similar d ivergence to the foregoing,with the addit ion of a sl ight cu rve or rounding of the outward sticks. I t

was used for the dances in the No drama ; the number of sticks varying

from fifteen to twenty-five. This al so dates from the seventh century.The example i l lustrated i s decorated with a series of crests of various

famil ies on a gold ground . I n a drawing by Bun- chin , nineteenth century,British Museum ,

89 1 , of Performers i n the No’Theatre, i s represented a

beautiful fan of a peacock with outspread tai l and branches of bamboo,

i n gold,blue

,and green . This fan i s of the ordinary shape .

The Akome ogi i s the earl ier court-fan ,and dates from the invention of

the folding- fan i n the seventh century. I t consists of th irty- eight blades of

wood painted wh ite, decorated with cherry, pine , plum , or chrysanthemum ,

on a ground of gold and s i lver powder, ‘among the mist.’ The fan i s

ornamented at the corners with an arrangement ofartificial flowers in s i lk,

with twelve long streamers ofdifferent coloured si lks the rivet is formed of

either a bi rd or butterfly. This type of fan was i n use by the court ladies

unti l 1 868.

Henri L . Joly, L egend in japanese Ar t.

63


By the courtesy of Mr. W. Crewdson we are enabled to reproduce one

ofthese rare fans , bearing the following inscription

The deco rations at the end ofthis Akome- ogi show that it was used by a courtlady. At K ioto , the Mikado ’

s Palace had Lemon trees at the right -hand side ofthe

entrance and Cherry trees at the left ; hence these ornaments composed ofCherryflowers and Pine kno ts.

’

The description which Pierre Loti has given us of these fans is

so charming that we cannot refrai n from quoting it .

They wave with constant mo tion , o r carry shut , their court -fans , on the pleatedsilk ofwhich are de licately painteddreamy fancies, ofine xpressib le charm, picturingthe reflection in the water ofcloud forms, ofmoons wintry pale , the flight of b irds,o r showers of peach b lossom wafted by the wind in April mists . At each angle of

the mount is tied an enormous tasse l with shades of chenille, the ends ofwhich trailalong the ground, brushing the fine sand at each movement ofthe fan .

’

The Hi-ogi court- fans are made of the H i wood (Chamd cyparis

obtusa), th is being a soft l ight velvety wood of a beautiful golden

brown,having the additional advantage of immunity from the attacks

of wood- eating insects . The brins are twenty-five i n number,fastened

with a metal rivet , and threaded through with s i lk strings having

very long ends , looped at the top corner of t he outer ribs to form a

rosette or other floral device. These fans were first introduced with the

simple ornament of the owner's crest afterwards they were painted with

great elaborat ion and del i cacy.

At court ceremonial the Emperor and nobles often bear the Hi- ogii nstead of the Shaku , which i s a short staff or sceptre made of wood

(yew) or ivory, general ly held vertical i n the right hand against the lower

part of the chest , to give the body a more dignified bearing ; when the

fan is ,borne, i t is general ly carried closed , and he ld i n the same manner

as the Shaku.1

Before the age of fifteen a fan of common wood is carried , pai nted1 Josiah Conder, japanese Costume.

64


The leading schools of Japanese painting are the Buddhist , Yamato

Tosa . Chinese , Sesshiu Kano , Matahei (popu lar), Korin , Shijo (natu ral

istic), and U kiyo ; each of these has we l l -marked characterist ics preserved

even to the present day.

The art of Japan was to a great extent founded upon , and is i n

certain directions a deve lopment of, that of the o lder civi l isat ion of China.

The earl iest art ist,therefore, recorded in Japanese annals , is a Chinese

,

Nanriu by name,of royal descent

,who came to Japan abou t the end of

the fifth centu ry ; but of this master, and of his immediate successors , there

are no known examples.

I t was i n the succeeding century, upon the introduct ion ofBuddhism

into Japan,that we find the first establishment of a school of Japanese

art,i n it iated by the Chinese and Coreans , and dedicated to the mural

decorat ion of Buddhist ic temp les .

From the s ixth to the n inth centuries,the h istory of Japanese painting

is more or less c louded in doubt , and the first great art ist who emergesfrom the general obscurity is Kanaoka (ninth century) , al though the few

examp les extant which are attributed to this painter are doubted by thebest experts .

The Yamato-Tosa school , though the direct outcome of the study

of Chinese methods , was essential ly Japanese and natural ist ic in character,

and was founded by Kasuga Mo tomitsu i n the latter part of the tenthcentu ry.

In the thi rteenth century Tsunetaka, son of Kasuga Mitsunaga,

assumed the name of Tosa and gave to the Yamato school the name ithas s ince retained .

An important movement set in at the beginning of the fifteenth

centu ry, no less than a Chinese renaissance . For centuries Chinesei nfluence had been waning, and the national style of Yamato and Tosa hadhe ld the fie ld .


Sesshiu ,the remarkable painter who founded the school bearing his

name,was of the noble family of Ota, and was born in 1 440. At the

age of twelve or th irteen he was i ntended for the Chu rch and placed

under the instruction of the abbot of the temple of Hofukuji. Sesshiu’

s

sympath ies , however, were all i n the d irection of the fine arts , he neglected

re l igious training,and a story i s told of him—one of those extraordinary

legends famil iar i n Chinese and Japanese annal s—that upon one occas ion ,when bound to a pil lar as punishment for some misconduct , he begu i led

the weary hours of wait ing by drawing rats upon the floor,using his

toes for penci l and his tears for ink (I), the representat ion being so l ife- l ike

as to alarm his janitor. Some vers ions of the story affirm that , upon the

approach of the priest , the rats scampered away.

At the age of forty he visi ted China, the fountain- head , but was

surprised to find that he had more to teach than to learn .

The fan of Hotei and the ch ildren , probably by Kano Sho-

yei, 1 59 1 ,

may be accepted as one of the finest examples ofa painted fan of the Kanoschool , the last of the three branches of the fifteenth- century revival of

Chinese teaching. The school was founded by Masanobu,a painter of

landscape, born c. 1 423 and died 1 520, it s actual head,however

,being

Motonobu , his son , born 1 476 .

Hotei (Master Linen- sack) , the god of prosperity, was a Chinese

priest of the tenth century,famous for his fatness and his love ofchi ldren .

He could sleep in the snow, never washed himself, and had the power of

i nfal l ibly predicting future events . The legends attached to his name are

very s imilar to those narrated of many Taoist Ri sh is,but his claim to

a posit ion as D ivini ty appears to be due to the view enunciated in the

B utsu-Z o‘

dz u - i and other works,that he was an i ncarnat ion ofMiroku

Bosatsu Maitreya, the Messiah of the Buddhists , i n which capacity hi s

image has long been worshipped in Chinese temples . He is usual ly

represented with a fan of the pear- shaped gourd type, and carries a cloth

67


bag as a trap for l ittle boys and girls , who are enticed inside to see the

wonderfu l th ings i t i s supposed to contain , and then imprisoned unti l

they can beg thei r way out . These ‘ Precious Things ’ i nclude the Lucky

Rai n Coat , the Sacred Key, the Inexhaustible Purse , etc.l

I nnumerable pictures of Hote i by Japanese artists are i n existence ,some dat ing from the fifteenth century .

The charmingly poetic view ofthe Tamagawa R iver , with the tea- plant

in blossom,and flying cuckoo (Hoto-Togisu), is probably by Kano San

Raku,1 633. Both these fans are accompanied by a Japanese certificate

of au thentici ty.

Autograph , motto , and inscript ion fans are referred to in another part of

th is work .

2 The practice of i nscribing sacred texts upon fans , obtained

during the latter part ofthe e leventh and beginning of the twe lfth centu ry ,the period ‘ when the Buddhist rel igion was openly professed by the

weal thy and warmly supported by the luxurious.

’ Fragments of Buddhist

sutras written on fans and fan leaves exist at the temples at Yamato , Osaka ,the Imperial Museum Tokyo, and elsewhere . These are copied from the‘ Lotus of the True L aw,

’ or other Mahayana texts of a l ike nature. The

fans,though differing somewhat in s ize , are all al ike in paper, pigments, and

style of pain ting,and evidently had a common origin ; they are overlaid

with gold- leaf and dusted with fine sand ; upon this a th in wash ofred

o r black pigment i s appl ied . The sacred text is written in ink , over a

painting,usual ly a figure

—subject and bearing no reference to the text ;the faces s ketched in a curious convention known as Hikimé Kagihana

(eye with a l ine,the nose with a key), i n which the eye is represented

by a straight l ine and the nose with a somewhat acute angle. Thisconvention has been traced to Kasuga Takayoshi (beginning of the

twe lfth century) , who painted a number of picture rol ls i l lustrat ing the

tales of the Geni i .1 Anderson, British Museum Catalogue ofjapanese Paintings. 1 Chapte r xx. page 285.

68


Battle o r war- fans are of two kinds—the flat , rigid screen (uchiwa)which is the earl iest

,and the folding (ogi). In both , iron i s the material of

which i t is mainly composed . The first named is sometimes formed com

pletely of metal (iron and brass), is of considerable weight , and is used by

officers both for direction,offence and defence , i.e. as baton , weapon ,

and shield .

This sometimes assumes a circu lar form,and is occasional ly inlaid with

the more prec ious metals ; more often , however, i t resembles the pear

or gourd- shaped screen . In the centre example i l lustrated , belonging to

Mr. W. Harding Smith,the handle is of lacquered wood , the ornaments

at its extremities , together wi th the rim of the fan blade, of bronze gilt ; i t

bears an inscription o n the obverse i n Japanese , and on the reverse in

Chinese , as fol lows

Japanese script .Kisei ai sho z aru jun - kwanno hashi naki -ga gotoshi.

’

Wrong and right (or odd and even) happen fo r ever,impart ially, l ike the revo lving ball.’

poss ibly, be rendered by the fol lowing

Defeat and victory succeed each o therby a turn ofFortune ’

s wheel. ’

Chinese script .Sono toki-ko to kaze no gotokuSono shizuka- nuru ko to hayashi no go toshi.

’

I ts sharpness is as the wind, its softness

as the grave. ’

The fan i n the possession of Mr. W. L . Behrens is ornamented with

two dragons i n low re l ief,the motto ‘ Tenka tai hei

’

(internat ional peace).In the folding batt le-fan , the stick is ofwrought iron

,the branches

70


varying from ten to fou rteen in number ; i n many mil itary fans, the

stick is of bamboo,pai nted black , the guards of i ron , often arrow- shaped

,

and rich ly inlaid wi th si lver. 1

The decoration ofthe mount , of thick paper, consists of the sun , moon ,or north star, usual ly i n red , but also in gold , on a black or colou red ground .

An unusual example,i l lustrated

,has a gold sun on the one s ide

,and a

si lver crescent moon and nine golden planets on the reverse ; the ground

being l ight,the guards ofyel low bronze, seutoku .

’

The fine fan i n the possess ion of Mr. L. C . R. Messel has on the

obverse a golden sun with two flying birds , and on the reverse a s ilver sun

with similar bi rds .

The sun motif i s occas ional ly abandoned i n favour of a figure- subject .

M. Ph. Burty exhibited at Liverpool i n 1 877 a fan that belonged to a

commander- in- ch ief the leaf, ofstout buff paper covered with si lk t issue, is

painted in india ink with the Seven Sages in the Forest of Bamboru .

The brins are ofplai n whalebone,the panaches ofoxidised i ron

,elaborately

inlaid with scrol l-work and crests i n si lver, the latter be i ng of the powerful

family ofNai-To. Another fan from the same col lection belonged al so toan officer of high rank. T he brins are of bronze gi lt

,the panaches of

pol ished iron , shaped l ike sl ips of bamboo , and chased with l ions and

flowers . On the ins ide of one panache is an i nscription in inlaid gold,

stat ing that the ironwork was made by U . Da- Kane- S igne ; the leaf ofgl istening paper.

The most characteristic war- fans are, however, those having the simple

red sun , with no superfluous decorat ion , the in itial pu rpose of these instruments being that ofa signal . They constantly appear i n representat ions ofbattle- scenes, the general on his war- horse in the heat of battle brandishing

in his right hand the fan,the symbol of his authority and command .

In

In th is process of metal inlay, the ground is b roken up by means of an engraver’s too l, the pattern

formed of s i lve r wire, hammered in.

71


Hokusai s pai nting of Tamétomo and the Demons ’

(British Museum , No.

the hero is grasping a huge bow in his right hand , and waving the

folding batt le- fan i n hi s left.

In a print by Kuniyoshi (c. 1 820) of the batt le of Kawanakajima

between U yesugi Kenshin andTakeda Shingen (fifteenth centu ry) , a sword

cut is parried by the war- fan.

I n a representation of the same battle by Y oshitora, a dismounted

general i s d i rect ing with a war- fan an attack by spearmen .

In the colou r print by H iroshige 1 1 . ofY o shitsune and Benkei , the war

fan also appears .

In the print by Shunsui ofAtsumori and Kumagai , the hero , mounted ,i s plunging into the sea fol lowed closely by his adversary Kumagai , also

mounted , brandish ing the war- fan as a signal and chal lenge. 1 Two ofthe

many stories or l egends relat ing to the war- fan may be given .—The first

refers to Nasu no Yoichi,an archer, whose c lan took the fan as the i r crest ,2

i n al lus ion to his performance at the battle of Yashima i n 1 1 85.

‘When

the Taira were driven from Kyoto by the M inamoto in 1 1 82,the Empress

N i no Ama flew with the chi ld- emperor Antoku ,to the shrine of I tsukum

isha, where thirty pink fans , bearing the des ign ofthe sun disc (H i no Maru)were kept. The head- priest gave one to Antoku,

saying that i t contained in

the red disc the Kami ofthe dead Emperor Takakura ( 1 1 69- 1 andwould

cause arrows to recoi l upon the enemy. The fan was accordingly attachedto a mast of the Tai ra ship

, on which a court lady is always depicted , and a

chal lenge sent to Mi namoto no Y o shitsune, which was accepted by one of

his archers , Nasu no Yoichi , who on horseback rode in the waves , and with1 The widow of Atsumori who was ki l led in the fight here referred to , in 1 1 84, is credited with the

invention of the folding-fan, although dates are somewhat confusing. At the temple of Mieido in Kyoto,whither she had ret i red to h ide her grief under the garb of a nun, she cu red the ab b ot of a fever by fann inghim with a paper fo lding-fan over which she muttered incantat ions : and to th is day the priests of the templeare considered special adepts in the manufacture of fans ; hence the name Mieido is adopted by many fanshops all ove r the islands. (Basil Chamberlain, 271 ings japanese.)

1 The fan was used as crest bymany Japanese fam i l ies. A number of examples are given in Mrs. Salwey’sFans ofjapan .

72


memorating the curing of the Emperor Murakami , 947-

967A .D.,of a disease

against which the phys icians were powerless . The Emperor recovered after

drinking an offering of tea made to the Goddess Kwanyin . The code,that

formerly was of a gorgeous description , was modified later by Sen - no Rikiu,

from whom the fan set apart as cake tray or saucer derives its name. The

Rikiu fan is of the s implest poss ib le construct ion , having on ly three st icks ,the decorat ion also be ing of a s imple character. I t is used for handing

round l ittle cakes,and for no other purpose , fanning being strictly tabooed

during such a dignified proceeding.

l

The giant closing fans (Mi ta ogi) were used in the process ions at Ise in

honour of the Sun Goddess, the traditional originator of the Japanese

dynasty. These were six or seven feet long, five men being appointed to

carry one of this huge magnitude .

Water- fans (M izu uchiwa), for kitchen use , date from the e ighteenth

century. These are of bamboo spl it into segments , covered with stou t

paper,and varn ished or l ightly lacquered so as to al low of the fan being

dipped in water, thus securing extra coolness by evaporation . They are

often decorated with figu res and other subjects,the varn ish subsequently

appl ied being of a rich warm brown .

Rol l - up fans (Maki uchiwa) '

are circu lar,the paper st i ffened with

th in strips of bamboo ; the hand le is of bamboo cut through with a s l i t

to al low the circu lar fan , which is set on a pivot,to have free play

When open , the strips of the bamboo foundat ion are horizontal , thus

securing rigidity ; when not in use, the posi tion of the strips may bereversed , and the disc rol led round the stick and tied .

Of modern fans, those of ivory and tortoise- she l l,carved or decorated

with lacquer and i n lay, are, for the most part , made for exportat ion , and

are often of extreme beauty. The excel lent example in the Victoria and

A lbert Museum is decorated with circu lar medal l ions in gold lacquer of1 Mrs. Salwey, Fans ofjapan .

74


various shades,portions being carved in rel ief. I t is finely inlaid i n

places with mother of pearl ; s igned by Taish in (a pupi l of Z esshin), and

dated 1 884. An example,equal ly fine

,i s given from the col lection of

Mr. M . Tomkinson . This is decorated with a view of Fuj i san,or

Fuj i- no- yama (“peerless mountain) ; those born with in i ts watch are con

sidered most happy and fortunate beings .

‘ Great Fupyama, tow ring to the sky !

A treasure art thou giv’

n to mo rtal man ,

A god-pro tector watching o

’

er JapanOn thee fo r ever le t me feast mine eye .

Of the cheaper hand - screens exported in large quantit ies to Europe,the s implest form is that of a dried palm leaf cut to the required shape ,and bound round the edge

,the s tem forming the handle. The most

common variety is made by spl itt ing bamboo into thi n strips that are

spread out radial ly,fastened with thin cord

,and covered with paper ; these

are decorated with designs d isplaying high qual it ies of arrangement

and graphic skil l , and are printed in that process of chromoxylography

which , i f not actual ly invented by the Japanese , has been carried by themto i ts highest point of excellence . A more elaborate hand- screen i s also

exported , the covering of s i lk,pai nted .

I t wi l l be readily understood,that the fan ,

entering as i t does so

closely into the dai ly l i fe of the Japanese,should also form the subject

of many games. Two characterist ic instances may be cited . The ‘ fan

and cup ’ game was particu larly favoured by court nobles and lad ies .

A company met by the river,each member launch ing on the water a fan

prepared with varn ish or lacquer to ensure buoyancy and to preventabsorption of moisture . The game cons isted in the compos it ion of a

verse or couplet of poetry during the t ime the fans were at the mercyof wind and wave , and before they regai ned terra—firma. Tea- cups were

1 Ode from the M anyoshin, translated by Bas il Chamberlain.

75


also used,this last being i l lustrated in a Chinese makimono by Hwei- chi

Ku-Yuen , British Museum,276 .

In the ogi otoshi or fan target game , a target cal led‘ cho,

’ made some

what in the form of a butterfly , is placed on a low table or pedestal on the

floor. A fan is thrown from a given distance with a sudden and pecu l iar

turn of the wrist,caus ing it to reverse itse l f in its passage through the

air and strike the target with the rivet end. This game i s played by

two people facing the target at oppos ite ends . Bel ls are attached to the

outer edge of the ‘ cho,that sound when a successful h it has been

accomplished .

1

No notice,however brief, of the fans of Japan wou ld be complete

without some reference to the constant employment of the fan form as a

decorat ive motif i n Japanese design , one of the many evidences of the

important place the fan holds in the affections of the people . Lacqueredtea- trays assume the shape of the fan ; inkstands take the form of a

closed fan ,the ink-we l l at the rivet end

,the body of the fan forming a

case for pens ; 2 while i n diapered patterns, borders , and other decorat ion ,both flat and i n rel ief, the fan motif i s constantly made use of. The

interest ing series of fan- shaped panels i l lustrat ive of Japanese h istory,by

an unknown artist of the Yamato Tosa school , seventeenth century,

Brit ish Museum , 305-

324, are exce l lent instances of the use of the fan

form in flat decoration , these be ing probably removed from an o ld screen .

Three kakémonos i n the col lect ion of Mr. R. Phené Spiers are each finely

painted with four fu l l- sized fans , decorated with various l i l ies , drawn with

that consummate ski l l and knowledge of plant form which wou ld appearto be the pecul iar heritage of the sons of Dai N ippon .

1 fl ansaetions of the japan Society , vol. v. Paper by Mrs. Salwey on Pastimes and Amusementsof the Japanese .

2 In the Musée Gu imot, Paris, is a tea-se rvice, fine in execution, s igned ‘ Kawamoto Hansouke,’an artist of the province of Owari, the saucers b e ing shaped l ike fans. In the same collect ion is a

large plate, fourteen inches in its longest dimension , shaped l ike a fo lding-fan.

76


It wil l readily be perce ived that the earl iest and s implest forms are

those suppl ied ready to hand by Natu re hersel f, viz. palm- leaf fans .These may be divided into two great classes . In the one , the leaf is set

symmetrical ly on the stem ; i n the other, it is fixed lateral ly ; i n both instances

the natural stem forms the hand le. An excel lent example of the first

named is the large fan made from the leaf of the P ritchardia pacifica ,

used only by the great chiefs of the F ij i I slands . I n this the leaf i s cut to

the shape of a reversed heart , bound round the border by a wisp,the

ends of the fronds being arranged in tufts at intervals round the edge

of the fan ,forming an agreeable contrast to the s imple radiat ing l ines

of the leaf.

In the second class of palm-fan,one s ide of the leaf is e i ther cut

away or bent lateral ly,the large leaves ofthe Palmyra or Tal ipot palms

being used,cut short

,the edges worked round with an appl ied border

of thin strips of the leaf. This form appears to be ubiqu itous ;i t is common , not only to primitive peoples , but also to the more

civil ised countries of the East. I n I ndia i t appears both in the

form of the smal ler hand- fans and the larger pankhas , often richly

decorated in co lour, with inserted plaques of mica , or other ornamental

device.

The art of plai ting with rush , straw,grass , cane , roots , and other

flexible materials is one of the very earl iest practised by man ; we find it in

constant use amongst savage tribes , who employ the process for mats,

baskets , various coverings for the person , and other articles of personal and

domest ic use ; both the technical ski l l and the aesthet ic effect be i ng often of

a very high order. I t wi l l at once be perceived that th is process is especial ly

suited to the fan, which demands , above all things , l ightness of construction

the plaited fan is therefore the most usual form in that vast group of

islands known as Polynesia, as well as i n most other countries situatedwithin the equatorial be lt.

78

FANS OF PR IM I T IVE PEOPLES

The principle of plaiting is to commence from the st ick o r handle,which general ly extends two- thirds of the d istance along the b lade or leaf

of the fan. The st ick is general ly of wood,occasional ly of ivory

,and i n

some instances both substances are employed , the handle often e laborately

carved .

The most u sual shape is that of a spear cut crosswise and shortened

the ordinary principle of form - development is fol lowed,from extreme

attenuat ion lengthwise, to extreme width and shortness,the form of the

lower border varying from an acute angle to a semicircle,the top varying

from straight l ine to arched or curved .

The plaiting is of varying degrees of fineness according to the

character of the leaf, straw, cane, or fibre employed . The pattern ing also

varies , occasional ly straw of a different colour (black o r brown) beingintroduced .

This type of fan is found i n the Marquesas Islands (South Pacific),the Hervey (Cook) Is lands , Solomon Islands , Samoa, and the Hawai ian o rSandwich Islands . A large plaited broad rush - fan appears i n the Horn iman Museum , made and presented by Queen Kapiolani of the Hawai ian

Islands (i l lustrated p . a s imilarly formed fan appears i n the samecollection from Tahiti .

I n some examples from Samoa i n the British Museum collection,the

79


shapes are sl ightly more varied , remarkably so in one instance in which the

top border assumes a pointed or zigzag pattern . The kite shape also

is found in various forms. (Page 8 1 , Nos . 1 , 2 ,

In the Hawai ian group a spatu la shape appears , th is also being

HAWA I IAN ISLANDS

developed to its utmost l imit of breadth or width , the handles of plaited

hai r,i n two colours, forming a pattern .

In Brit ish Gu iana a curious fan (warri warri) is used, formed of strips

of the I ta palm ,having no stem

,but s imply a rol led edge

,e ither single

or double (crosswise), forming a finish to the leaf or blade,and affording

a grip for the hand. The s ize of these fans varies from six to fifteen inches .

A development of the above form is used as bel lows by the natives of

Ecuador and Peru ; the double handle sl ightly longer, the forms varied

to leaf and sh ield shape. In India,also

,the two- handled bel lows-fan

is used , made of strips of the leaf- stal k of the Tucuma palm .

In the British Museum is a curious l ittle fan having only a loop

for handle, formed of plai ted reed (I turite) of two colours,brown and

black . (Page 8 1 , No .

I n the hide- fans common on the western border of Africa,the

form approaches that of a circu lar screen, set on a wooden handle . I n

these the ornamentat ion is either formed of the natural markings of the

hide , or an‘appl ique ’

of leather, painted white, and cut to various

perforated patterns , so as to show a bright vermil ion feather stuff in the

perforat ions ; the three colours , the brown or black of the hide,the

80


white leather, and the vermil ion perforations forming a very effect ive con

trast. Examples from N igeria appear in the British Museum col lection .

A smal ler fan ofgoatskin i s in the Horniman Museum . These hide- fans

form part of the fantastic death- dance costumes of O ld Calabar.

Feathers, although constan tly employed as ornaments to the person,

are less commonly used for fans than might general ly be supposed,

especial ly i n countries where bi rd l i fe is abundant .

Amongst the Blackfoot nat ion of North American Indians,eagles’

feathers were used as a standard of valou r at the advent of the white

man, and the capture of eagles was regarded as a sacred ceremony. In the

Brit ish Museum is a fan of these eagles’ feathers , with a handle covered

with coarse l inen of a printed pattern ; to the tip of each feather is aflixed

a smal l pink fluffy feather, thus forming a pink border to the top of the

fan , the border being repeated at the top of the handle. This was pro

cured from ‘ Little Ears,’

a Blood Ind ian . A s imilar fan,minus the

handle, appears in the same collection ; i n this instance the tips of the

feathers are ornamented with l ittle tai ls made of hai r, varied at the lower

ends by white fur. In consequence of a dream that appeared to a

Blood chief named Bears’ Lodge,a dance was institu ted in which these

fans were waved , and whistles made of eagles’ bones were carried and

used . (I l lustrated oppos ite.)Ceremonial fans were emp loyed by the Indians of the Great West ;

we have'

an account of the vis i t of a Taensas chief on the banks of the

Lower Mississ ippi to Le S ieu r de L a Sal le in 1 682 :‘ The Chief conde

scended to vis it L a Sal le at his camp ; a favour which he wou ld by no

means have granted , had the vis itors been Indians . A master of cere

monies and six attendants preceded him,to clear the path and prepare

the place of meeting. When all was ready,he was seen advancing

clothed in a white robe, and preceded by two men bearing white fans ,whi le a th i rd displayed a disc of burnished copper

,doubtless to represent

82

FANS OF PR IM I T IVE PEOPLES

the Sun , his ancestor, or, as others wil l have it, his elder brother.’ 1 I t is

safe to assume that these fans were of feathers , and the incident i s an

evidence that the use of the fan i n high ceremonial was universal , and

common to both EaSt and West .

There sti l l remai ns the cockade form of fan , found amongst

the West African tribes ; an example appearing in the British Museum

collection , of paper,with primitive painted ornaments in black , red , and

yellow, alternated with inscription ; the fan measuring some twenty

inches in diameter.

A most interest ing example of hide appears in the Horniman Museum ,

taken from the king’s palace at Benin in 1 897. This , doubtless , fromits s ize and the cumbrous nature of its material , as wel l as the foregoing

example, was waved by the attendants of some

highly placed personage,probably the king.

The square or oblong flag-fan i s made by

the natives of the N iger sett lements of West

Africa. An example in the Victoria and AlbertMuseum is of plaited grass with strips of the

natural shades of brown and yel low,and

‘ others

stained red and black ; the handle is covered

with reddish- brown leather,fringed along the s ide

of the leaf, the fan edged with the same material .The appearance of similar decorative motifs

i n countries widely separate opens up an ln

teresting field of speculation . Some explanat ion,

however, of the fact of the cockade (though in

i tsel f, together with the flag form , a simple device)appearing among the West African tribes

,may

be found in the fact that the nat ives of the interior of West Africa were1 Francis Parkman, L a Salle and the D iscovery of the Great M st

83


long exposed to the i nfluence of the Mohammedan culture of the Western

Sudan the races were to some extent intermingled , and a close commercial

relat ionship has been maintained during a long period .

Fly - Whisks are obvious ly art icles of necessity throughout the

countries of the Torrid Zone .

l These are formed either of feathers , of

vegetable fibre , of the hair of the larger animals , of hempen string, or

other materials .

These instruments occas ional ly acqu i re a sacred s ignificance ; Blondel

affirms that they were common in Peru and Mexico before the Spanish

conquest , and, together with the fan ,were used also as a symbol of

au thori ty, the handles being adorned with the precious stone ‘theoatz

ehuaquetz alli.’

A species of fly-whisk,formed of dried grass

,is used as a war

fet ish by the nat ives of the Gold Coast ; in some instances an i ron

bel l is attached , carried and rung by the magician in front of the

warriors . St icks and also fan handles bound with feathers are used as

propitiatory oflerings to the gods by the nat ives of the South- Eastern

Pacific . (Page 8 1 , Nos . 9 ,

I n the Hawai ian Is lands feather wands (Kahil i) are carried as a symbol

of rank these appear to have been original ly fly—whisks, and are formed ofthe ta i l feathers of various birds. Six examples are i ncluded in the

British Museum co l lection , the handles formed of ivory al ternated with

horn , the extremity of the handle being formed of the bone of an

enemy.

A long fly-whisk from Hawaii appears in the same col lection , formed

of the neck feathers of the cock , of varying colours , white, orange, and

brown,with black tip ; the handle of wood , bound round with b lack and

buff cane .

1 Miss Kingsley re fers to the ir use at Egaja,‘ for the purpose of battl ing with the evening c loud of

sand- flies.’

84


A s imilar fly-whisk of black horse- hai r is i n the same collection ; the

handle of steel wire,bound round a double

leather thong,the extremity forming a loop

ornamented by blue glass beads. These are

used by the e lders (Elmoru) of the East

African Protectorate.

Black horse- hai r forms the material of

fly-whisks used by the natives of the Upper

N i le. I n the example i l lustrated the hai r

i s set i n an open- shaped piece of leather,

with a long bone handle.

In Abyssinia, also, fly-whisks formed

of the tai l s of the smal ler animal s are

employed . An examp le occu rs in the India

Museum , the hair dyed red and yellow, the

handle of s i lver parcel- gilt .

Probably the mos t curious of all fans and fan- l ike objects in use

among primitive peoples is the so - cal led Ghost Fan of South Ce lebes

(Malay Archipe lago). This mysteriou s object cons ists of a triangu lar

arrangement at the end ofa st ick; of fine spun red stuff embe l l ished with

a bordering of gold tinsel , together with spangles or hanging ornaments

along its lower edge. Around the st ick i s t ightly twisted a piece of paper,

probably contain ing an incantation. An example occurs in the Ethnological

Museum ,Berl in

,referred to and i l lustrated in Der Fa

'

cher , Georg Buss.

(See p.

C H A P T E R .V

THE FLABELLUM AND EARLY FEATHER - FAN

THE Christian Church was quick to perceive the u t i l ity

of the fan as an i n strument of rel igious ceremonial ,imparting to this object a mysterious importance, a

sacerdotal d ist inction , preserving and shielding it

from common use ; i t has even been claimed that

this appropriat ion was i nstituted by the Apostles

themselves , Bishop Suarez attempting to substantiate

this by an appeal to an apocryphal l iturgy attributed

to St. James .

The earl iest recognised notice,however, of the

flabellum as a l i turgical ornament is i n the Apostol ical

Const itut ions, which direct that after the oblat ion ,before and du ring the prayer of consecrat ion

, two

deacons are to stand, one on either side of the al tar

,

hold ing a fan made of th in membrane (parchment) , or

of peacocks’ feathers , o r of fine l inen , and qu ietly drive away the fl ies

and other smal l insects, that they may not stick against the vessels ;this use of the flabellum being derived

, not from the ritual of the

synagogue of the Jews, but from that of the Pagan temples . Butler

(A ncient Coptic Churches ofEgypt) quotes a similar rubric from the l itu rgyof St. C lement . The same author refers also to flabella waved by the

deacons i n the Syrian Jacobite,and probably also in the Coptic, ri te for

the ordinat ion of a priest at laying o n of hands—they appeared at solemn87


festival s and at regular celebrat ions ofmass . 1 On Good Friday, also , they

were used at the consecrat ions ofChrism—seven deacons holding flabella,wal king on either s ide ofthe holy o ilwhen carried in process ion .

Many evidences of i ts early adoption by the Latin Chu rch are extant.Moschus (Prat . Spiritua le, 1 50) cites an occurrence showing its employment

SILVER PROCESS IONALFLABELLUM(From Bu t ler.)

i n the time of Pope Agapetus , A .D. 535, i n which a

deacon,who had falsely accused his bishop, was re

moved from the al tar when he was holding the fan

i n the presence of the Pope, because he hindered the

descent of the Holy Spiri t on the gifts . This same

au thor (Prat . Spirituale, i n narrat ing how some

shepherd boys near Apamea were imitating the

celebration ofthe Eucharist in child ish sport, is careful

to mention that two of the chi ldren stood on either

s ide of the celebrant, vibrat ing thei r handkerchiefs l ike

fans,

2 thus showing that the use of the flabellum was

general even at this early period . I n a letter of

S t.Hildebert, Archbishop ofTours , c. 1 098, accompany

ing the present of a flabellum made to a friend,i ts

use and myst ic import are explai ned—the fl ies,

representing the temptat ions of the devi l, are to be

driven away by the Cathol ic faith.

Gradual ly the waving of the flabellum acquired

a deeper symbol ic mean ing—it was held to s ign ify

the wafting of d ivine i nfluence upon the ceremony,

the movements to and fro symbo l ising the qu ivering

of the wings of the Seraphim ; hence we find repre

I n the l iturgy of St. Chrysostom, afte r the Benedictus Supra sancta ventilet reverenter flabello .

Si desit flabellum , ve lo idem praestat.’

(D ivina A lissa S. jean. Chry sostomi, Goar . Rituale Graecorw n.

p1 Smith, Dictiona ry of Christian An tiquities.

88


This remarkable examp le, which may be taken as a characteristic type , is

formed of a strip of vel lum folded d la cocarde , painted on both sides with

figures of S t . Phil ibert and other saints divided by conventional trees.

The outer borders cons ist of a continuous scrol l of Romanesque ornament

interspersed with figu res of an imals . Lat i n hexameters and pentameters

are i nscribed on the three concentric borders of the fan, as fol lows

bk FL AMINIS HOC DONUM, REGNATOR SUMME POL ORUM,

OBLATUM PURO PECTORE SUME L IBENS.

VIRGO PARENS X PI VOTO CEL EBRARIS EODEM,

HIC GOLEEIS PARITER , TU FI L IBERTE SACER.

SUNT DUO QUA E MODICUM CONFERT ESTATE FLABELLUM ;

INFESTAS ABIGIT MUSCA S ET MITIGAT A E STUS ,ET SINE DAT TEDIO GUSTARE MUNUS C IBORUM.

PROPTEREA CAL IDUM QU I VULT TRAN SIRE P ER ANNUM ,

ET TUTUS CUPIT AB ATRIS EX ISTERE MU SCIS ,OMNI SE STUDEAT AESTATE MUNIRE FLABELLO.

HOC DECU S EX IMIUM PU L CHRO MODERAMINE C ESTUM,

CONDECET IN SACRO SEMPER ADE SSE LOCO ;NAMQUE SUO VOL U CRES INFESTAS FLAMINE PEL L IT,

ET STRICTIM MOTUS L ONGIUS IRE FACIT.HOC QUOQUE FLABELLUM TRANQUILLAS EX CITAT AURA S ,E STUS DUM SEVIT VENTUM FACIT ATQUE SERENUM,

FUGAT ET OB SCENAS IMPORTU NASQU E VOL U CRES.

The hand le is formed of fou r cyl inders of white bone, two being

ornamented with semi- natural ist ic vine fol iage running spiral ly round the

stem, the two lower fluted . These cyl inders are united by nodes or

pommels, t inted green ; on themiddle node the inscription MICHE L M

on the upper p1 4 1 0 1 1 1 21 . ME SCAB FECIT IN HONORE MARIAE . The stem is

surmounted by a capital with four figures of saints , whose names appearon the node immediately beneath : s MARIA s AGN s FI L IB s PET.

On the capital rests the guard or box which receives the flabellum when

closed ; the four s ides are ofelaborate ly carved white bone with green- t inted

borders ; the front and back panels, betraying evidence of a different hand ,90


as fol lows : J anuary, a two- headed Janus looking in Oppos ite di rections ;February , a figure seated before a fire ; March

,cutt ing trees with a hatchet ;

April , gathering blossoms ; May, an equestrian figure with hawk ; June , a

mower with s ickle and hooked st ick ; July, a mower with scythe ; August ,a reaper with s ickle ; September, thrashing wheat ; October, sowing corn ;November, ki l l ing a pig ; December, pou ring wine i nto a cask.

The figures are separated from each other by trees, and the three bands

by rings ornamented with fol iage and zigzag patterns with semi- rosettes,and at top and bottom are rings with hal f- defaced inscriptions.

There is also in the same col lection a capita l of morse ivory for the

hand le of a flabellum ,North German , twel fth century.

These instruments figure repeatedly in inventories of church and

abbey property. Butler quotes from one at S t . Riquier, near Abbeville , i n

83 1 ,‘a s i lver fan for chas ing fl ies from the sacrifice. ’ At Amiens , i n 1 250,

there existed a fan for a s imi lar purpose,

‘

flabellum factum de serico et auro

ad repellendas muscas et immunda.

’ I n 1 363 L a Sainte Chapel le possessed‘

duo flabella vulgariter nuncupata muscalia,ornata perl is ’

; i n 1 376 ,‘ ij

flabella, Gal l ice esmouchoirs , ornata de perl is .

’

In the sacrist rol ls of E ly,

‘ I tem,j flabello empt . ad Aurifabrum, 7d.

I tem , i n pari flabellorum pro le Colpeyt empt . 6d.

’

A Sal isbury inventory mentions two fans of ve l lum or other material . 1

The Chapel of St . Faith in the crypt of old St . Paul’s possessed , in 1 298 , a

muscatorium or fly-whip of peacocks’ feathers ? There is record ofa gift to

York M inster, between the years 1 393 and 1 41 3, of a si lver- gilt handle

for a flabellum.

3 In 1 346 , Hamo, Bishop of Rochester, presented to the

cathedral ‘unum flabellum de serico cum virga eburnea.

"I n the i nventoryof the Chapel of West Exeter, Abbey ofBury S t . Edmunds , ‘ i . muscifugium

1 A.D. 1 2 1 4, Ornamenta Ecclesie Samm,inventa in Thesauraria. ij. flabclla de serico et pergameno.’

1 Dugdale , History ofSt. Paul’s.

1 Manub rium flabelliargentum deauratum, ex dono Joh . Newton , thesauraru, cum ymagine Episcopi in

fine enamelyd, pond. v. unc .

’4 Registram Ref. p. 554.

92

THE FLABELLUM EARLY FEATHER-FAN

de pecock.

’ 1 I n the enumerat ion of the valuable effects of the deceased

Queen Isabel la, daughter of Phi l ippe le Bel , and consort of Edward

the following entry appears : De Capel la, Duo flagel la pro muscis fugandis .

’2

I n England the flabellum was i n use even in remote parishes . In the

churchwarden’s accounts at Walderswick, Su ffolk, i n 1 493, i s an entry of

IVd. for ‘

a bessume of pekoks fethers.

’

Although the flabellum i s very rarely represented in i l luminated MSS .,

in the Book ofKel ls we find miniatures of angels waving these instruments ;i n the Gospe l of Treves (eighth century) is a conjoined evangel istic , symbol ic

figure holding a smal l flabellum i n one hand and a eucharist ic lance i n the

other. I n a H iberno—Saxon MS . of the e ighth centu ry a figure of St .

Matthew is seen holding in h is hand a flabellum . I n the publ ic l ibrary at

Rouen are two representat ions of the use of th is instrument ; i n the one , a

thirteenth- century missal,formerly belonging to the abbey of Jumieges ,

the fan is held by the deacon in front of the al tar at which the priest

officiates ; i n the other, i t is waved over

the head of the priest as he e levates

the wafer : th is i n a pontifical of the

church of Rheims , th irteenth century .

A psal ter i n Greek , British Museum ,

additional MSS . gives a miniature

of an ange l waving a large flabellum

over the head of David who is asleep ;another i nstance occurs in a th i rteenth

century Service- Book in the Barberin i

Library,given by Paciandi.3

ALTER. E"h M

Representatlons In printed books FROM A GREEK PS ( nus useum

are sti l l more rare. I n Barclay’s 5 t of Fools Qf the World, 1 509 ,

1 journal of the Archaeological Associa tion, vol. xxvi. 1 Arrha o/ogicalj ournal, vol. v.

3 P auli Paeiandide Umhellae Gestatione Commen tarius, Romae, 1 752 , p. lxi ii.

93


we find , however, a woodcut i l lustrat ion ofa spectacled bibl iophi le wearingcap and bel ls , seated among his books

,holding in his hand a flabellum

of feathers , sayingAttamen in magno per me servantur ho no rePulueris e t cariem, plumatis tergo flabellis.

’ 1

the wordflabellis being here appl ied to the ordinary hand- brush or duster.

By the end of the s ixteenth centu ry the flabellum had fal len into

complete disuse, its original purpose having been

long abandoned or forgotten , although as late as 1 688

Rand le Ho lmes,A cademy of A rmory , refers to ‘ the

flap o r farm to drive away fl ies from the chal ice . ’

I ts sole reminiscence in the west i s in the large

flabella of peacocks’ feathers carried at solemn fest ivals

in process ion before the Pope. In the Greek Church ,the fan i s st i l l del ivered to the deacon at ordinat ion

as the symbol ofhis sacred oflice.

From the period of the final break up of the Roman

Empire to that of the C rusades the general use of the

fan was discontinued in Europe,and was probably only

adopted by highly p laced personages ; du ring these early

periods, however, i t was st il l the rel igious fly- flap o r

flabellum, d’

emouchoir,and B londe l infers from the

circumstance . of Et ienne Boileau not referring to i t in

his L ivre des Mestiers that even at th is time it

m ore so“no longer served any domest ic pu rpose except in very

rare instances .

The earl iest Engl ish reference to the fan appears to be the fol lowing

In the thirtieth year ofKing Edward precept was given to N icholas1 But yet I have them in great reverenceAnd honour, sav ing them from fi lth and ordureBy often brusshyngandmoche dylygence.

’

94


Mr. Burges has pointed out that the form of the letters of the i nscript ion,

which are Roman with sl ight Rust ic variat ions , as also the purp le dye,

are sufficient ly s imi lar to contemporary manuscripts of S t . August ine of

the end of the s ixth centu ry.

THE MONZA FLABELLUM. De tails.

The case which accompanies the fan is constructed on the same

principle as the hand le of the Tournus flabellum,although less elongated .

I t is ofwood,covered with s i lver, the wooden part probably modern , made

to the original shape,with the old silver used agai n . The length of the

case with handle is 1 54 i nches , the d iameter of the leaf 1 0 inches .96


The s ide flap was original ly fastened to the fan ,and drawn round

unti l i t formed a complete circle , as i n the instance of the Tou rnu s

flabellum .

With respect to the identity of the original owner ofthis fan ,although

the claim which has been made for its associat ion with Queen

Theodolinda cannot be substantiated , i ts identificat ion with any well

defined personage is equal ly difficult . Who was U lfeda ? Mr. Burges

states with reference to this name that i t is by no means the most legible

part of the i nscription—that he has been able to d iscover no one so

named who l ived during this period .

M . de Linas points out that the name U lféda is a variant ofthe Saxon

Elpheid, which the marvel lous Cloisonne fibu la, exhumed , as i s said , from

a Carlovingian sepu‘ lchre at Wittis l ingen (Bavaria), gives under the softened

form of U feila.

This Monza fan i s no t mentioned i n an i nventory of the treasury in

1 275 ; i n that of 1 353 the following, however, occurs

‘ I tem,fabe lla, seu orata una argenti facta ad modum un ius maz e cum manica

ligni ligata in argento .

’

M . de Linas infers from the fact of the extremity of the handles being

provided with a ring,that i t was not a l iturgic fan ,

and certainly this

circumstance , together with the smal lness of its s ize , would appear to be

a sufficient evidence of i ts secu lar use ; i n any event , and whatever its

original use , this fan , together with that of Tournus, must be accountedamong the most precious re l ics preserved to us from that d im and dark,but extremely fascinat ing period .

The rigid flag- fan, which appears to have been in i ntermittent use

i n Europe from the early centu ries of our era,consists of an oblong

paral lelogram with a handle fitted to one of its longer s ides . These were

made either of plaited straw of various co lou rs, of l inen painted and

97


embroidered , of parchment or ve l lum , o r of s i lk , woven or embroidered ,often with lozenge- shaped diapering.

The earl iest examples remain ing to us are Coptic or Saracen ic. M.

Robert Forrer in his Reallex ihon figures two which were obtai ned from

the cemetery ofAkhmin,the Greek Panopol is , presumably belonging to the

fourth- s ixth century. Of these , one i s finely plaited of brown , red , and

black straw, with a representation of four hearts encircl ing a cross , the

other of a reticu lated d iapered pattern with a border of l i nen . A s imi larflag

- fan ofplai ted straw appears in the Berl in Museum : th is example , also,i s probably Coptic.

M. Charles de Linas,quoting from the l ife of St . Fulgentius , s ixth

century, affirms that the B ishop of Ruspa, whilst he was a monk and even

an abbot,occupied his leisu re hours i n copying Holy Writ

or i n plai t ing ‘ fly- flaps

’

of palm leaves . This same author 1

figures a flag- fan from an engraved glass vase , exhumed from

the catacombs , and now preserved in the l ibrary of the Vat ican ,representing the Virgin Mother seated with the infant Saviour

on her lap, a deacon beh ind agitating a rectangular flabellum

fixed in a lateral handle. The zigzag ornamentation indicates

that th is , also, was formed of plaited straw.

I n the Observances ofthe August inian Priory at Barnwel l ,Cambridge , ‘The Fraterer ought to provide mats and rushes

to strew the Frater and the al leys of the C loister at the Frater

door, and frequently to renew them ; in summer to throw

flowers, mint , and fennel into the air to make a sweet odour, and to providefans .’ ‘Muscatoria i n estate providore .

’2

The most remarkable example,however

,of th is banner form is on

a diptich of ivory offered by Charles the Bald to the abbey ofSaint

Revue de l’Art Chrétien , 1 883. L es D isques crucif

‘

eres, le Flabe llum, et l’

umbella.

1 Harl. MSS. 360 1 , the date 1 295-6 , edited by J . W. Clark.98


Europe by the return ing C rusaders . They never, apparently , obtained any

great vogue except in I taly ; they continued , however, i n intermittent use

unti l the c lose of the s ixteenth century , when , together with feather, tuft,and cockade fans

,they gradual ly gave place to the modern fo ld ing- fan

which had by this t ime made its appearance in Portugal from the Far

East .

From the fourteenth century onwards , the history of the fan becomes

more clear, and Blonde l quotes a number of French inventories i n which thefan figures

—that of the Comptesse Mahau t d’

Artois an émouchoir

with s i lver hand le ; of Queen C lémence an émouchoir of s i lk brocade ;and also in the wi l l or testament of Queen Johanne of Evreux a

jewelled émouchoi r cost ing five golden francs . 1

The cockade form, a la cocarde , has been in use during all periods

subsequent to its first introduction from the East i n the early centu ries ofour era. We have al ready referred at some length to the cockade flabella at

Tournus and Monza. In an i nventory of Charles v. of France,1 380, we read

of un esmouchouer rond , qui se pioye , en yvoire , aux armes de France et deNavarre , a um manche d'

ybenus .

’ 2

During the fourteenth century, the long- handled flabellum was also inuse

, waved by attendants as at Thebes and Rome. I n the inventory above

quoted (Charles v.) occurs—‘Trois bann ieres, ou esmouchoers, de cuir

ouvré , dont les deux ont les manches d’argent dorez.’ ‘ Deux bannieres de

France, pour esmoucher le Roy. quand il est a Table, semées de fleurs de

lys brodées de perles .

’ 3

The feather- fan ,also, was i n use during thi s re ign

,as we learn from

a cu rious entry in a letter of the Queen—al luding to a criminal prosecution against some manu facturer of spurious coin Le suppl iant trouva

1 U n esmouchior de drap d'or, a fleur-de-lys, escartele’ des armes de France et de Navarre a un bastond’

yvo ire et de geste , prisé v Francs d’or.—Du Gauge.

1 Vio lle t- le-Duc . 9 B londe l .I OO


d’

aventure un esventour de plumes , duquel il esceuta lo feu—ou l’

on faiso it

la ditte fausse monnoye.

’ 1

The feather and tuft fans in use from the twelfth to the sixteenth

centuries and later were formed of the plumes of the peacock , the ostrich ,and the paroquet , dyed various colours : the number of the feathers varied

from three to twenty or more, andwere arranged so as to imbricate the plumes

in the gradation of thei r natural growth . These were set i n handles of

carved ivory and the more precious metals , general ly s i lver, and were often

richly jewelled , and suspended from the girdle by a slender chai n . Of thei r

cost we have a hint in Marston’s sat iresHow can she keepe a laz ie serving-man

And buy a hoode and silver-handled fanWith fortic pound?’

S i lver was probab ly the material of the handle of Mistress Bridget’s fanin the theft ofwhich Falstaff and his Ancient were impl icated .

FALSTAFF. And when Mistress BridgetLost the handle ofher fan, I took ’

t uponMine honour thou hadst it no t.

PISTOL. Didst thou no t share ? hadst thou no t fifteen pence ?

References to the s i lver- handled fan occur commonly in old plays

She hath a fan with a sho rt s i lver handle,About the length ofa barber's syringe .

’

The Floire, 1 6 1 o.All your plate , Vasco , is the silver handle of

Y our o ld prisoner’s fan.

’

L ove and Honour , SirW. Davenan t , 1 649.

‘ Ano ther heHer silver handled fan would gladly b e.

’

In Marston, Scourge of Villainie , lib. 1 1 1 . sat . 8.

The above references are to fans of the ordinary sort ; the cost of the

more precious fans of history was considerable. Brantome (c. 1 590) refers1 Hen ry F. Holt, journal of the Archaeological Association , vol. xxvi.

I O I


to the fan of Queen E leanor with its mirror all ornamented with precious

stones ofgreat value, and also to the new-year’s gift of Queen Margaret to

Queen Lou ise of Lorrai ne—a jewelled fan ofmother ofpearl of such beautyand richness that i t was valued at more than fifteen hundred crowns , 1 a sumequal to a thousand pounds of our present money.

The employment of the fan as fire- screen is indicated by the new- year’s

gift to Queen Mary of England in 1 556 , when she received ‘seven fannes to

kepe the beate of the fyer, of strawe , the one of white s ilke.’

Queen E l izabeth’s partial ity for fans i s h istoric, and i t i s upon record

that she regarded a fan as a suitable gift for a queen .

Leicester’s new- year’s gift in 1 574 is recorded :‘A fan ofwhite feathers

set in a handle of gold,garnished on one s ide with two very fai r emeralds ,

and fu l ly garn ished with diamonds and rubies ; the other s ide garn ished

with rubies and diamonds , and on each side a white bear [his cognisance!and two pearls hanging, a l ion ramping with a white muzzled bear at

his foot.’

Among the new-year’s gifts, 1 588

-

9‘ By the Countess of Bath , a fanne ofSwanne downe, with a maze of

gilene velvet , ymbrodered with seed pearles and a very smal l chayne of

si lver gilte, and i n the middest a border on both s ides of seed pearles ,sparks of rubyes and emerods, and thereon a monster ofgold , the head

and breast mother of pearles .‘ By a Gentleman unknown

,a fanne of sundry collored fethers , with

a handle of aggets garn ished with si lver gi lte.’

In 1 589,‘

a fanne of ffethers, white and redd , the handle of golde ,inameledwith a halfe moone ofmother of perles , within that a halfe moon

garn ished with sparks of dyamonds, and a fewe scede perles on th’ one side,1 Elle donna a la reyne L ouise de L orraine une fois pour ses estreines ung esventail faict de nacre de

perles, enrichy de pie rreries et grosses perles, si beau et si riche, qu’on disoit estre un chef d’oeuvre, etl’estimoit on a plus de quinz e cens escus. —P ierre de Bourde i lles, Se igneur de Brantome, Mémoires dc:dame: t

'

llustrécs de France.

1 02


The feather- fan appears i n the fol lowing portraits ofQueen E l izabeth ,painted and engraved

Jesus Col lege : white feather- fan with jewelled hand le.

The Newcome picture,now in the National Portrai t Gal lery : part

of a feather-fan ,the portrai t being three- quarter length .

Welbeck : a smal l feather- fan hanging from gird le .

The engraving by Johann Rutlinger : a large feather- fan ,the handle of

e laborate design set with jewel s . Also pictures at Cobham ; Woburn

Abbey ; Charlecote Park ; Christ Church , Oxford ; Penshu rst ; Powerscourt,and other places.

The folding-fan was not introduced into this country unti l the latter

part of the queen’s reign ; in the fol lowing pictures i t appears

Jesus College,half length , 1 590 .

The D itchley portrait , whole length , 1 592 ; fan attached to the girdleand held in right hand .

Bodle ian Library,portrait attributed to F. Zucharo .

To enumerate the different portrai ts,painted and engraved , i n which

the feather- fan appears,would be an impossible task ; sufficient has been

said to indicate the various forms these art icles assumed . Reference may,however, be made to the feather - fan appearing in Renold Elstracke

’

s

engraving ofAnne of Denmark (queen of James this cons ist ing of

three large ostrich plumes set i n a jewel led handle . To the same engraver’s

portrait of the Princess E l izabeth,daughter of King James , a similar

feather-fan . Also on a monumental brass , i l lustrated in Lipscomb’

s

vol . i i i . 29 1 , the wife of John Pen , Esqu i re , 1 641 ,

appears W ith an ostrich feather-fan hung from her girdle. I n a portraitattributed to Sebastian del Piombo at Frankfurt i s an extremely ornatefeather- fan with a s i lver handle.

We also obtain an excel lent idea ofthe form these feather- fans assumed

in Italy i n the fifteenth century from the engraved des ign for a hand- screen1 04

THE FLABELLUM EARLY FEATHER- FAN

by Agost ino Carracci (i l lustrated facing p . This cons ists of an

admirably designed cartouche enclosing a subject of a satyr and nymphs

bathing ; above is a bust of D iana enclosed in a second cartouche, at the

top of which is a head and wings of a Cupid ; the whole is surmounted by

a tuft of ostrich feathers . On the same plate are three other medal l ions ,Neptune andM inerva, a head of Mars

,and the Graces, these latter either

intended as alternat ive subjects or for introduction at the back of the fan .

The engraving is s igned ‘Agust . Caraz z a I nv. e fe.

’

The feather- fan was used by both sexes, as we learn from Bishop Hal l ,describing a fashionable gal lant :

‘When a plum’

d fan may shade thy c/zaléea’ face ,

And lawny strips thy naked bosom grace .

’

An ostrich- plume folded fan i s given in a miniature of Mademoisel le

D’Hautefort i n the cabinet of M . de la Mésangere . This cons ists of ten

sticks each with a s ingle feather attached,dyed al ternat ively ye l low and

blue.

Feather- fans continued in general use unti l the t ime of Vandyck and

later, and are i n evidence in several portraits by this master ; i ndeed the use

of the tuft and feather- fan has never been completely abandoned , the art icle

having remained in intermittent use even to the present day.

None of these ancient feather- fans exist in thei r complete form ,

from the perishable nature of the ostrich plume, which , i n the lapse

of time, crumbles to fragments , and from th is circumstance the remark

able feather hand- screen in the possess ion ofMr. Messel i s of the highest

interest .

A few handles,however

,are to be found in the various col lections , both

public and private . A pretty ivory handle of a s ixteenth- centu ry Ital ian

feather-fan is i n the Salt ing col lect ion , at present at South Kensington .

This is del icately carved with two hal f- length female figures issu i ng

from acanthus- leaved ornament, and holding a festoon of drapery , a

0 1 05


mask of Cupid above. Near the handle end are two winged terminal

monsters .

The head of an ivory- fan handle,also Ital ian of the same period

, is in

the South Kensington col lection : th is has a female terminal (head restored)and two dolphins forming the top

,two masks on either s ide , with other

terminals and cornucopia .

GHOST FAN. Malay Arc hipe lago(Ethno logica l Museum, Berlin.)

1 06


This introduction of the folding- fan into Europe marks the beginn ing

of a new era of the fan ’s history , as , although both Chinese and Japanese

fans possess qual it ies which are abso lute ly individual and unique , yet i t

must be confessed that the fan ,i n the hands of European artists , its early

Oriental i nfluence notwithstanding,u ltimately developed a character and

style qu ite its own,and reflecting the artist ic conditions of its epoch and

surroundings .

There are, however, considerable grounds for suppos ing that some form

of the folding- fan,as we now know it

,existed in Eu rope at a period con

siderably anterior to the Portuguese expedition to the East . Viollet- le-Duc,Dz

’

ctz’

onnaz’

re Raz’

sonne’

o’u M ooz

'

lz'

er Frangaz'

s,makes a remarkable statement

in connection with some thinmetal fragments which were unearthed during

some excavation at the Chateau de Pierre . These fragments, says th is dis

tinguished author,which are very characterist ic of a fan constructed l ike

those of our own times,shou ld be anterior to the s iege of 1 422 ,

as they were

found in the carbonised débris belonging to that epoch . They are composed

of an al loyed metal,onz

’

ore et argent . The piece 8 represents one of the

outside flats , andwas fixed to a guard of wood or very thin metal , to whichwas glued the stuff, or ve l lum the piece A one of the branch pieces or brins .

M. Viollet- le-Duc infers from the fact of the pieces not being pierced at the

hand le end, bu t finished with a cross , that the branches were tied with a

s i lken cord , which would also be attached to the waist belt ; he points out

the great antiqu ity of the flabellum (doubtless meaning the cockade form) ,and concludes by saying

,

‘ I t is’

difficult to al low that the fan ,which is

mere ly a derivat ion of it (qui n’

en est qn’

nn was not in use unti l thes ixteenth century, as several writers have contended .

’

M. Viollet- le- Duc’s meaning as to the probable construction of this fanis not so clearly stated as might poss ibly be des i red . We take i t that these

pieces were but the ornaments of a folding- fan formed of ivory, wood , or

other material on the modern principle—that the large piece B formed the1 08

PA INTED FANS ( I TAL IAN AND SPAN I SH )

shou lder, to be completed by another piece forming the guard proper. How

ever th is may be , and whether these pieces real ly formed part of a folding

fan or not,th is author

,i n the concluding portion of his note ,

has expressed a truth which it is not poss ible to gainsay,viz . that the principle of the folding-fan al ready existed , i n

the form of the cockade, and that i t is only necessary to

divide the cockade in two parts , and to protect the ends with

some firm substance, to arrive at the folded fan as we now

know it. I ndeed this was done—fans were carried towardsthe close of the sixteenth century which consisted of a

segment of a cockade,inserted in a long handle s imilar

to that of the plumed fan,thus uniting the characteristics

of both plumed and folded fan. Vecel l io , Haoz'

tz'

ant z'

okz'

et moderns’

a’z’

tntto z'

l mona’o,1 590, figu res these smal l

fans, of which two i l lustrations are given . We are thus

presented with a decorat ive development which i s gradual,

reasonable, and complete, a development qu ite conceivably

independent of any importa

t ion from the East , and.

of

itself bridging over the gapthat otherwise would have

existed between two appar

ently oppos i ng types .

Any speculat ions as to

how th is fan ofM . Viollet- le

Duc came to exist wou ld thereSMALL R IG ID FAN S. (From Vecel lio.)

fore be idle ; the type was no new one. We have al ready referred to the

pleated fan crest,seen on the heads of horses in Phoen ician and Pers ian

monuments . 1 A s imilar fan crest appears on the horse’s head in the1 Fans of tlze Ancients, p. 27.

1 09


Bretigny sea l of Edward engraved in consequence of the Treaty of

Bretigny, 1 360, by which this monarch renounced the t itle of King of

France . This appeared agai n i n the seal with the altered legend in which

he resumed the title—the period of its use, 1 372-

77. This same seal with

fan crest was used successively by Richard Henry IV . (first seal) , and

Henry VI . (si lver seal), the legend on ly a ltered .

A sti l l more remarkable example is the large displayed fan crest (the

earl iest authent icated instance of a regu lar crest), 1 i n the centre of which

i s a l ion passant , on the top of the flat helmet of Coeur de Lion (second

seal , 1 1 97 used after his return from captivity, and qu i te poss ibly ,therefore, borrowed from the East.

The fan - p lume or panache‘

appears al so on the flat- topped helmet of

Alexander King of Scots (second seal) ; the horse also bearing thefan- plume .

These fan crests are also seen on the seal of Richard F itz-Alan ,Earl of Arunde l ; of Humphrey de Bohun , Earl of Hereford , 1 30 1 ; and

of Edward of Carnarvon,Prince ofWales , 1 305 ; and on the effigy of

S i r Geoffrey de L uttrel, e. 1 340, showing a fan upon which the entireL uttrel arms are depicted . A large fan crest

,having l ittle tufts of

feathers at each divis ion of the fold, appears on the arms of the family

of Schaler, Bas le another is to be found on the common

seal of the C i ty of London (dated charged withthe cross of the city arms. ‘ I n course of t ime this fan ,i n the case of L ondon

,as i n so many instances , has

through ignorance been converted or developed into a

wing, but the “ rays ” of the fan i n this i nstance are

FEATHER “ (mm preserved in the “ rays of the dragon’s wing (charged

with a cross) which the crest is now supposed to b e.

’ z

With respect to the origin of these fan crests, we must go back ,1 A. C. Fox-Davies. Complete Guide to Heraldry. 1 513

I IO


Bruyn , 1 i n which also appears a long- handled fan of seven feathers carried

by a Turkish lady.

In an earl ier work by the same engraver, [mfiemz no Sacem’otzz

ornatus,1 579, a bishop holds in his left hand the feather fan , i n his right

a crozier.

In the art l ibrary, Victoria and Albert Museum , are several designs

for feather- fans and handles,by an unknown artist, but certain ly Ital ian ,

drawn vigorously with a pen and washed with bistre. In the same col

lection is a design in penci l for the panache of a folding- fan, i n the

Ital ian manner, displaying great knowledge of Renaissance design .

At the commencement of the seventeenth century, and i ndeed earl ier,smal l screens were the fashion , painted either with love scenes , i nscribed

with su i tab le verses , or views of Ital ian towns , with a short description ,and were sold for a sum equ ivalent to an Engl ish groat.

The Engl ish traveller,Thomas Coryat, i n h is Crndz

’

tz'

es

writes : ‘ These fans both men and women of the country [Italy! do carryto cool themselves withal in the t ime of heat

,by the often fanning of

their faces . Most of them are very elegant and pretty things,for whereas

the fan cons isteth of a pai nted piece of paper and a l ittle wooden handle,

the paper, which is fastened at the top,is on both sides most curiously

adorned with excel lent pictures.

’ These,probably

,are the fans referred

to above as seen in Vecel l io and the work of other engravers . Many were

apparently rigid , and probably formed of ivory or s imi lar hard substance ;the size would be about six inches . They were by no means con

fined to Italy, but became the vogue in Spai n,France

,and other

countries .

A long fan , carried by a noble Neapol i tan lady, is given by Hefner

Altenek, i n hi s work on costume. This is apparently rigid,since no s ign

of pleat ing is apparent in the representat ion,which is

,however

,smal l .

1 Omnz'

mn pone E uropae, Asz’

ae, Ap/m'

eae,atone Amerieae Gentium kah /us. Antwerp, 1 58 1 .

I I 2

PA INTED FANS (I TAL IAN AND SPAN I SH )

The colour is blue with decorat io ns of gold,the figure taken from a

picture in an album in the possess ion of this author,1 596- 1 6 1 1 .

Doubtless one of the earl iest forms of the folded fan i n I taly was the

so- cal led ‘ duck’s foot ,’ used by the ladies of Fe rrara ; the leaf, which

opened to a quarter of a circle,was formed of alternate strips of vel lum

and mica, with del icately pai nted ornaments . The stick was of ivory

and consisted of e ight narrow blades. Blondel wou ld seem to infer that

this type of fan originated in France, and cites a contemporary portrai t

of‘un personnage du Bal sous Henri A fan

,evidently the ‘ duck’s

foot ,’ with a pattern agreeing with the system of mica or other insert ion ,

appears i n an engraved portrait of Louise de Lorraine,queen ofHenri 1 1 1 .

This form of fan i s , however, probably I tal ian in its origin ; i t i s

figured by Vecel l io , i n the hands of a lady of Ferrara ; i t is al so seen in

the earl ier engraved work of de Bruyn , above referred to .

Legendary accounts of the woes of the unfortunate Torquato Tasso,who had dared to ‘ l i ft h is love ’ to a princess of the house of Este , have

afforded many themes for the imaginat ion of subsequent writers from

Byron and Goethe downwards . The story of the fan of E leonora d’

Este ,

which was of the form above described , surmounted with rubies , is a

pretty one, and may be given for what i t i s worth .

On a day when reading to the princess his Gem salemme, i n which

the episode of O l indo and Sofronia i n the second canto was i ntended as

portraying Tasso’s own si tuat ion with regard to her, his enraptured

l istener,won by the charm of the moment

, was on the point of yielding,when

,by a supreme effort , she recal led herself to her sense of du ty, hesi

tated for a moment,grasped her fan ,

kissed it, flung it at the poet’s feet—and fled .

This associat ion of vel lum and mica appears to have been pretty

general for the leaves of the folding- fans upon their first introduction in

the middle of the s ixteenth century. There were two different systems :P 1 1 3


in the one , the decorat ion consisted of paint ing on the plai n surface of

the mica or vel lum,or both

,as i n the fan of Ferrara, or the Actaeon fan ,

described on page 1 46 ; and i n the other, the leaf is cut to such a degree

of elaborat ion as almost to rival the finest lace , as i n the charming fan

i n the Musée de C luny, i l lustrated .

The system of mica insert ion was developed unti l fans were made

entirely of th is material , with pai nted arabesque decorat ion similar i n

character to that of the Actaeon fan at C luny , i l lustrated page 1 46 . An

extremely interesting examp le is i l lustrated from the col lection of Mr.

L. C . R. Messel . In th is , the s tick is of p lain ivory , perforated on the

panaches,the blades numbering thi rteen . The leaf is divided into three

rows of twenty-five pane ls each , decorated with a medley of arabesques

of chi ldren,animals, birds , and flowers , the panels separated by narrow

borders in blue and b lack.

Of découpé fans,no finer example could be given than that from

the Musée de C luny, the stick of which is composed of ten blades of

bone , the two outer ones extending the who le length of the leaf, the rest

to a l ittle less than half-way across . The leaf, which occupies exactly

three- fou rths of the whole length,i s of paper cut to an extremely refined

geometrical pattern of circles and lozenges , with smal l,and even minutepieces of mica inserted at i ntervals

,imparting a richness and variety to

the fan without destroying its l ightness and elegance.

This type of fan appears constantly in the portraits,both pai nted

and engraved , of the latter hal f of the s ixteenth century. I t reached

England , apparently , about 1 590, or a l itt le earl ier , and is seen in the

portraits of Queen E l izabeth painted about th is date .

This art of elaborate perforat ion (découpé) i s essential ly Ital ian in

its origin , andwas evident ly practised to a considerable extent during the

period we have been considering . I n the fan which has become associated

with Mademoisel le Desroches , the u tmost degree of e laboration is attained ,1 1 4


The ec lectic princip le , deve loped to its highest attainable point by

Raphae l, Michae l Angelo , Leonardo , was carried on by a crowd of men

working on s imilar l ines , but possessing far less knowledge and power,and what was vital truth in the work of the master was reduced to mere

affectat ion in the hands of the fol lower.

During the c los ing years of the century, I tal ian art , i t i s true ,rece ived some sort of impetus as a resul t of the labours of the Carracci ,but the revival was short- l ived , and i t remained to Guido, Guercino,Albani

,Maratta,

to continue the declension during the seventeenth , to

be fol lowed by Tiepolo and Canaletto in the eighteenth centuries .

I t wou ld serve no good purpose to quarrel with the pai nted folding

fan on account of its i nabi l ity to rise to the high ideals of the quattro

and cinque- cento. I t belonged to a less spacious age, and i f i t descended

to banal ity, i t was because the t imes had become banal : i t was ent i rely in

tune with its su rroundings.

I t wil l be convenient,at th is juncture, to describe in detai l the

various elements compos ing this fan- type which has eas i ly distanced all

others in the affections of the fai r—a triumph so absolute and complete,

that to n inety- nine women out of every hundred the idea of a fan is an

instrument which may be folded .

“

The folding-fan,then

,is made

up of two principal parts—the st ick

(la montnre) B B and the leaf or

mount (la feui'

lle) A . The former

n cons ists of a number of b lades

(brins) C C C C,which have varied

at different periods,and are folded

between two guards (panae/zes) D .

The guard is made up of three dimens ions : the handle-end (la file) I ,through which passes the pin (rz

'

onre) E—this is often jewel led ; the1 1 6


shoulder (gorge) I ! , reaching to the lower edge of the mount ; and the

guard proper [I !

The st ick of the richer pai nted fans i s composed of either ivory ,mother of pearl , tortoise- shel l , or bone : often carved with great minute

ness,elaborat ion

,and skil l

,and further enriched by gild ing and i nlay,

painted miniatures , enamels , and precious stones ; that of the less elaborate

fan i s of wood of various kinds—ebony,rosewood , bamboo , etc . I t is

also carved , gilt , i n laid , or lacquered in different ways .

The character of I tal ian st icks is that of s impl icity and reticence ,even to plai nness

,th is being more i n keeping with the general ly

grave character of the mounts . I n a number of i nstances the brins

present a perfectly flat , plai n surface of ivory , rel ieved only by a l i ttle

carving on the panaches . This i s ornamented in various ways , the most

characteristic method being that of gold and s i lver piqué. The work is

done by means of a dri l l,the metal pressed into the spaces .

One of these I tal ian fans of the end of the seventeenth century, with

plai n white st ick,i s i n the Wyatt collect ion , the skin mount painted with

the S torming of Jerusalem, and the miraculous curing of Godfrey de

Boui l lon’s wound,the guards piqué with silver.

The beautiful I tal ian fan,with sea- nymphs upon a sandy shore, once

belonging to the unfortunate Marie-Antoinette, and now i n the possess ion

of Mr. Burdett- Coutts,is an example of the best qual ity of piqué work .

The stick i s of horn of a l ight transparent golden hue . The panaches

bear the crown and fleur—de- lys of France , and appear to be of somewhat

later date than the brins and feu i l le,which may be put about 1 760. The

fan was acquired in Paris during the troublous t imes of the Revolution

by the father of the late Rev. J .E

.Edwards ofTrentham ,

and exhibited

by the last named at South Kensington in 1 870 . Upon the death of

Mr. Edwards in 1 885 i t was purchased by the late Baroness Burdett

Coutts.1 1 7

H ISTORY OF THE FAN

Another method of ornamentat ion i s that of del icate piercing, the

surface of the st ick remain ing flat and withou t carving. These pierced

ivory sticks are occasional ly al ternated with those of another material , as

l ight golden tortoise- shel l , horn and, i n an instance in the Wyatt col

lection,with a mount of classmal landscape and Pompeian ornament ,

pierced cedar.The Ital ians , as also the Greeks , discovered early the resou rces offered

to the artist by the material of ivory. Ariosto in his sixth elegy makes a

charming reference to i t in addressing his mistress

‘ As when ivo ry o r marb le wrought by the hand of the artist becomes

unchangeab le , so my heart , more infle x ib le than these , though it may fear the

hand of the assassin , is incapab le of receiving the image of any new love to remove

thine which is engraven upon it .’

The richest st icks are either those in which the piercing is associated

with carved panels or cartouches of figures,ornament , etc. , with the

ribbed backgrounds familiar to us i n Chinese workmanship , or those of

which the whole surface is treated in the most de l icate rel ief, exhibiting

the most consummate ski l l of handl ing. This is occas ional ly fu rther

enriched by gild ing,si lvering

,and pai nting ; i n some instances , these

several processes are associated , with the addit ion of mother-ofpearl and

tortoise- shel l inlay.

Mother- ofpearl is treated in precisely the same way as ivory , i.e.

flat- pierced ; pierced and carved ; _ pierced, carved , and engraved ; with , i nsome i nstances , the addition of painting

,and occas ional ly t inse l and

s i lvering or gilding.

The various kinds ofmother-ofpearl used in the manufacture of fansare as follows —The Burgan o r Burgandine pearl obtained from Japan ;the white pearl , ‘ poulette

,

’ from Madagascar ; a black mother-ofpearl from

the East . The shel ls being relat ively smal l,i t becomes necessary to

piece them together by a system of spl icing. This is done so ski lful ly1 1 8


above. The cartouche is gilt and the figures painted ; the lower portion

of the fan i s pai nted and gilt with flowers i n the Chinese taste. The

guards are carved , painted , and gi lt ; the connect ing ribbon of green

si lk ornamented with a pattern in go ld .

This system was practised later, with the addition of carving in low

rel ief, the ornament having developed a rococo character.

Horn is treated in the same process of flat piercing : this was ex

tensively practised during the whole of the e ighteenth century , and many‘ minuet ’ fans were made . A beauti ful Ital ian example ofthese ‘ minuet ’

fans i s in the Wyatt col lection, decorated with s i lver spangles , with a

white s i lk connect ing ribbon .

Double o r revers ible fans open both ways—either from left to right

or the reverse . These were i n vogue during the latter years of the

eighteenth century,and were made of various materials , but usual ly ivory ,

with painted ornaments. The most interest ing were, however, those

of sandalwood,with three printed medal l ions on either s ide of the fan ,

giving twelve subjects . The device , although surprising at fi rst s ight ,is real ly s imple

,and cons ists of printing each blade with portions of

two diflerent subjects i n the centre , one set of halves be ing exposed , the

other covered by the blade next fol lowing.

These fans were common to most of the Western countries of

Europe, a large number being made in England with subjects after

Angel ica Kauffmann and others .

The materials employed - for the mount are chicken skin (so cal led ,but real ly kid subjected to a part icular treatment), asses’ skin , vel lum,

parchment , s i lk of various kinds,sat in

,lace

,and paper.

The leaf or mount is sometimes s ingle, but more often double. Those

of the richer fans are painted ei ther in transparent colour or i n gouache

(body colour) ; the latter, however, must not be appl ied too thickly on

account of its l iabil i ty to crack.

1 20


When the leaf is ready for mounting, t.e. after the pai nting is

finished,i t i s pleated in a mould consisting of two pieces of th ick ,

strong paper or cardboard , special ly prepared with a coating of an oily

nature ; the leaf being placed between , and the mou ld closed and

pressed . The brins are then introduced between the folds , and fixed by

means of glue. This mould was i nvented about 1 760, and the manu

facture of it has remained s i nce that date in the French family of Petit.1

‘ This operat ion of pleating,’ says M . Duvelleroy (Rapports a

’n jury

I nternational, Exposition U nz’

oerselle,1 867, vol .

‘ very simple at

present,was formerly very compl icated ; i t was necessary for the even

taillistes to exercise the most scrupu lous exactitude ; now the mould

dispenses with this care.’

Nothing that woman uses in the great art of pleas ing can, however,

be cons idered simple ; do you doubt th is fact ? asks Charles Blanc,

speaking of the modern col lect ive mercanti le system ,rather than that of

the art ist,who begins his work and carries i t to completion with his own

hands . ‘ No less than fifteen or twenty persons are employed in the

making of a fan,which passes through three series of operat ions

I St, the work of the st ick

,i n which are employed the cutter

,the carver

,

the pol isher, the gi lder, the inlayer, the riveter, and sometimes the jewel

setter, who inserts the precious stones ; 2nd, the leaf, which requires the

designer, pai nter, o r printer as the case may be ; 3rd, the work altogether,

employing the gluer, and i n the case of spangled or embroidered fans,the

embroiderer or sempstress , and the folder or pleater.’ F inal ly, as i n

fitting, the last finishing touches—the tassel s,tufts

,and marabouts are

added by the deft hand of a woman,and to quote again Charles Blane

,

‘when this formidable weapon of coquetry is completed,i t is enclosed in

a case , l ike a wel l- tempered blade in i ts sheath .

’ 2

1 M. Edouard Pet it has written an exhaust ive monograph on the manufacture of fans, Etudes,souvenirs et eonsz

'

dérattons sur la faorz'

eatlon de l’

éoentaz‘

l. Versai lles, 1 859.

2 Art and Ornament in D ress.

9


The most distinctive I tal ian mounts are those i n which the whole

field is occupied by subjects,usual ly from classic mythology. These are

either direct repl icas or rearrangements of the works of the later I tal ian

masters—Giul io Romano, the Carracci , Gu ido, Guercino, as wel l as those

French artists who either worked in I taly, or whose works found their

way to that country, as Poussin , who spent the greater part of his l ife in

Rome,Le Brun

, and others . I n these the ch ief interest centres in the

mount,which is usual ly deep, and general ly of skin , but occasionally of

paper. The painting is in pure water- colour and also in gouache . In

many instances these leaves have never been mounted ; i n others , the

mount has been removed from the stick, and framed as a pictu re. None

can with any measure of certainty be traced to a master- hand,al though a

fan appeared at the exhibition held i n Drapers’ Hal l which is

declared to be by Pietro da Cortona (Berrettin i), 1 596 - 1 667, and said tohave belonged to the Marqu ise de Pompadour.

One of the earl iest of these fan-mounts i s i n the possess ion ofMr.

J . G. Rosenberg of Karlsruhe ; the subject Orpheus and Iphigenia,the

date about 1 670 . In the Jubinal col lection i s a Rape of the Sabines,an

original design by F. Romanel l i,who was employed by Louis X IV . on

the frescoes in the Bibl iotheque Maz arine.

Bacchus and Ariadne was a favou rite subject—Gu ido’s well- known

compos i tion in the Accademia di Luca, at Rome,being often pressed into

the service . The large engraving of Jacobus Freij was issued in 1 727, and

it is probable that the majority'

of mounts decorated with this subject

were produced after the pub l icat ion of the engraving. The vers ion

i l lustrated is from the col lection of Lady Northcl i ffe ; a skin mount , with

sl ight d ifferences i n the arrangement, was exhibited at South Kensington

in 1 870 by Captain J . E . Ottley ; a third is in the cabinet of an Americancol lector.

The famous compos i tion by Annibale Carracci in the Farnese Palace1 22


also appears on a number of mounts ; a portion of this pictu re forms the

subject of the centre medal l ion of Lady Northcliffe’s fan (i l lustrated).

The st i l l more popu lar ‘Aurora ’ of Gu ido suppl ied the subject of

many mounts,i ncluding one i n the Schreiber col lect ion , British Museum .

Fans painted with Raphael’s wel l - known compos it ion of the Marriage

ofCupid and Psyche ,’ in the Vil la Farnesina at Rome, appear i n many

col lections, the landscape being added ; the example i l lustrated is a typical

one ; the stick, however, i s modern .

The fan in the Wyatt col lection with the subject ofVenus andAdonis ,by Leonardo Germo of Rome

,i s i nterest ing from the fact that i t is an

example of an artist,who

, apparently, signed a number of fans , and al so

from the circumstance that i t formerly belonged to Benjamin West . The

mount is kid , the stick tortoise- shel l,engraved

,s i lvered

,and gilt .

A fan with the subject of the Triumph of Mordecai,signed ‘Germo ,

’

was exhibited at South Kens ington in 1 870 by M . Chard in ofParis .

Another example in the possession of Lady Northcl iffe has an al le

gorical subject by Germo, on skin,the st ick of ivory finely carved , the

guards mother- of- pearl .

Somewhat akin to the mounts above described are those elaborate

compositions finely drawn in India ink,with pen or brush , on skin mounts ,

usual ly vel lum . These, from the absence ofcolou r, were used as mourning

fans , the sticks invariably of ivory,piqué

, or carved ; they are included in

most col lect ions that make any pretension to completeness. Lady Bristol

possesses one with the subject of Bacchus and Ariadne after Carracci ; but

by far the most splendid example ofthis class offan appeared in the Wal ker

sal e in 1 882 . This is a crowded composition of the Triumph ofA lexander

(after Le Brun), i n which the conqueror i s seated in a chariot drawn by

elephants ; on the reverse the death ofActaeon . The stick and guards

mother- of- pearl , carved with Cupids and ornaments, pai nted in panels with

episodes in the l ife ofAlexander. Finely variegated gilding.

1 23


These fans are characteristical ly Ital ian , certainly I tal ian in the i r

origin . Their production , however , was by no means confined to Italy.

M . Duvelleroy has a Dutch example with ivory st ick carved afour , the

mount vel lum,the subject on the obverse representing an embarkat ion

with numerous figures, on the reverse a dance of peasants with musicians .

(I l lustration facing p .

Neapol itan fans divide themselves into two dist inct classes or groups- the first having a figure subject en cartons/w i n the centre , usual ly

taken from classic mythology , the field be ing occupied by that form of

arabesque (grotteschi), so usual i n Pompeian wal l decorat ion .

This class of mount dates from the re- discovery and unearthing of

Pompei i i n 1 748,‘

and its production was continued unti l the end of the

century and later. Two exce l lent examples are given from the collection of

Mrs . Bruce Johnston,formerly in the possess ion of Lord Bessborough.

The one with the subject of Bacchus andAriadne , from a fresco at Pompei i ,bought i n Naples by Lady Duncannon ; the other of a sacrificial subject ,also from a Pompeian fresco

,obtained in the same city (i n the eighteenth

century) by Lady Ponsonby.

Many of these mounts have, i n l ieu of a s ingle central subject , several

miniatures en cartouche,associated with arabesques s imilar i n character to

those above referred to. A good example appears i n the Wyatt col lection at

South Kensington .

In the second type ofNeapol itan mounts,the field i s s imilarly divided

into panels , usual ly one superior and two inferior,representing views

,

general ly the bay of Naples with Vesuvius i n the d istance, forming the

centre panel,and Vesuvius i n eruption

,and a class ic ru in on either

s ide. These , with other Ital ian views , as the Colosseum in Rome , form a

very large class ; the panels being associated with arabesque o r other

ornaments.

Ano ther important class ofI tal ian mounts gives a view of some famous1 24


We have abundant written testimony to the superiority of the I tal ian

workmen during the seventeenth century, and to the extent of the I tal ian

export trade in fans during this period and even later. We have also

the evidence of the fans themselves ; we shal l see,too, how the Pari s

éventaillistes first learned thei r craft from the I tal ian workmen who

migrated northward . At the beginning of the eighteenth century, however,a complete change had taken place i n the conditions of fan product ion ,this period witness ing the rise of the French export trade , and the middle

ofthe century its highest development,at which latter period Paris suppl ied

not only Italy but Spai n, and to some extent England also. Of this we

have more than a hint from the pen of one of the most distinguished

I tal ians of the latter hal f of the century.The fan ofGoldoni

’

s comedy was one of the ordinary sort, ‘ not worth

perhaps five paol i .’ The concluding l ines of the play make i t clear thata considerable t rade in the cheaper French fans was done in I taly at this

period and, by inference , that Paris fans had the best reputat ion ,

unless indeed we are to suppose that this was a compl iment paid byGoldoni to the country of his adoption

,from which

,too

,he enjoyed a

pensionCANDIDA (to SUSANNA ). I t is from Paris, this fan ?SUS ANNA. Y es, from Paris ; I guarantee it .GELTRUDE . Come , I invite you all to supper, and we will drink to thisfan which did all the harm and brought all the good.


PA INTED FANS OF TH E SEVENTEENTH AND E IGHTEENTH

CENTUR IES—Continued

SPAN ISH

THE Spaniards,says Henri Estienne, carried towards

1 440 large round screens garni shed with plumes, and

i n the s ixteenth century folded fans, eventaz'

ls plz'

sse‘s,

enriched with gold and attached to the waist by a

gold cord. O f these latter, many, doubtless , were im

ported from Italy ; few, probably, were of nat ive work

manship . A very smal l pleated fan appears i n the

hand of a Spanish lady, i l lustrated in Vecel l io, 1 590.

m m SCREEN The rigid flag- fan employed in I taly at th is period(Carried by the married ladies

! Bo logn a was also used in Spain , together With the various

plumed fans , some in the shape of a peacock’s tai l ; others formed of

the feathers of the ostrich,pheasant , parrot, and I ndian raven . During

the seventeenth century and later, a large export trade in unpai nted

pleated fans was done in Paris to Madrid and other Spanish cities,

where they were decorated by nat ive artists ; many were exported com

plete , the authenticity of many so- cal led Spanish fans must always there

fore remai n a more or less doubtfu l quest ion . The well- known storyof Cano de Arevalo

,given i n Quilliet

’

s Dz'

etz'

onnaz'

re a’es pein tres

espagnols, sufficiently test ifies to the extent of the Paris export tradeand the popularity of French fans during this period. This painter

,

who was a capable miniaturist,

finding h imself impoverished after a

period of extravagance and diss ipat ion , secluded himsel f for a whole

winter, produced a number of fans , and passed them off as newly

imported French ones. The trick proved completely successful , for upon1 27

H I STORY OF THE . FAN

its discovery,he was no t only hai led as a master, but was subsequently

appointed abanz'

gnero (fanmaker) to the queen . Cano was born at

Valdemoro in 1 656 , and was assass inated in a bu l l-fight at Madrid i n

1 696 . From the same source (Quilliet) we learn that Cano also ‘essayed

water- colour painting on a larger scale, but only succeeded with fans ,’

which are sti l l esteemed , the few that are preserved.

This success of Cano must necessarily have given a considerable

impetus to the native production of fans, largely used from the fifteenth

century onwards by men as wel l as women .

I n brief, the story of Spanish paint ing during the whole of the

s ixteenth century is that of a general migrat ion of Spanish artists to

I taly for pu rposes of study,with a consequent strong Ital ian influence ; and

an immigrat ion of I tal ian artists to Spain , chiefly at the invitation of

Charles v. The seventeenth century witnessed the rise and fu l l develop

ment of a purely nat ive school of pai nting,headed by Velasquez and

Muri l lo, who, however, can scarcely be said to have exercised any influence

upon the fan , since they were painters pure and simple , t.e. their works

were distinguished by the qual it ies of the painter rather than those of

the designer ; and, especial ly in the case ofVelasquez , their subjects were

unsuitable to the fan .

We do not usual ly look to the last- named painter for elaborationofdetail . The folding-fan i n the hands of the Spanish lady by Velasquez ,‘ L a Femme a I

’Eventail,

’

at Hertford House, wou ld appear to be of

leather, judging from the colou r and texture, with appl ied ornaments at

regular intervals . This is probably of the scented variety, feau a’e

senteur, made both in I taly and Spain at th is period .

1 We haveal ready referred to the portrai t of the l ittle Infanta Margaretha-Theresia

by Velasquez in the Vienna Gal lery,i n which a closed folding-fan is

represented .

1 Fans of scented wood had, earlie r, been introduced into the French Court by Anne of Austria.

1 28


fan design,represents the sham-fight and s iege of Gaeta i n 1 734 on the

occas ion referred to above ; a canopy bears the arms of Spain , and on

e ither s ide a trophy with the arms of Medicis and Farnese ; the subject

inscribed in Spanish : ‘F°° L a Vega H ispa‘ B ilbilitanus I n"e Del ineavi t

Roma,

’

and ‘ M inado Por Leonardo Egiarmon Flamenco.’ Both these

fan designs are vigorous ly drawn with pen in bistre and worked with

India ink,the style betraying a strong late Ital ian influence .

One of the first acts of Charles, upon his access ion to the throne, was

to enter into a treaty with Lou is xv . known as the‘ Pacte de fami l le

,

’ by

which these two kings of the house of Bourbon united themse lves into an

offensive and defens ive al l iance. By the terms of this treaty, s igned 1 sth

August 1 76 1 , Spai n was obliged to take part i n the war in which Franceand England were then engaged

,France h0ping to avai l herself of the mari

time power of Spain,and to prevent Portugal from declaring common cause

with England . I ts on ly efi’ect,however

,was to infl ict upon her al ly a series

of disasters similar to her own,Spain los ing Cuba, Mani l la

,and the

Phil ippine I slands , and France Martinique, besides being final ly expel led

from Canada, thus complet ing the work begun by Wolfe at Quebec sometwo years previously

The sequel to these events was the Treaty of Paris i n 1 763, the prel iminaries of peace being signed at Fontainebleau on the 3rd November of theprevious year.

By the terms of this instrument,Canada

,the islands of Minorca,

Grenada and the Grenadines , S t . Vincent , Dominica and Tobago were ceded

to Britain , while to France were restored Belleisle on the French coast , the

islands ofS t . Pierre andM iquelon near Newfoundland,Mart in ique

,Guada

loupe, Marigalante, Des i rade , and S t . Lucia i n the West Indies . Havannahwas restored to Spain , the Spaniards i n return ceding Florida to the Engl ish ,and agreeing al so to make peace with Portugal .

I n L a Revue Hz'

spanlgne, tome vi i i ., appeared an art icle by M. Gabriel1 30


Marcel,reprinted in pamphlet form under the title of ‘ U n Eventai l

H istorique du dix—huitieme s iecle, Paris , describing and i l lustrating

a remarkable fan i n the cabinet of a Pari sian amateur whose name is not

given,commemorat ing the event above referred to .

The stick is ivory,carved with an agreeable pel l -mel l ofcartouches, gi lt ;

the centre being occupied by a conversation galante of four figures i n the

costume of the Watteau period .

I n the centre of the skin leaf, finely pai nted i n gouache , i s a stone

table carved in high rel ief with figures of Cupids , near which are the Kings

ofFrance and Spain,each accompanied by a female figure representing the

respective countries,and bearing a shield of arms ; above, a figure of Peace

crowned with ol ive leaves appears from the clouds and directs the ceremony.

In the middle distance is a tribune on which are seated three female figures,

with a cornucopia of abundance,and the arms ofFrance andSpain ; above

is a figure of Fame with a trumpet.

In the more immediate foreground are the Kings of England and

Portugal , thei r identity being determined by the blazoning of the sh ields

which accompany them . Court official s, together with their ladies, complete

the composition .

The reverse, which is less interest ing, and probably by another hand,

represents an architectu ral structu re with,again

,the arms of France

,and

above, those of France and Spai n entwined .

Although it is poss ible that the fan may be ofSpanish manufactu re , i t i s

more probably French , s ince i t bears all the characteristics of French work

of the period of Louis Qu i nze. I t was probab ly made either for a royal

princess , or for the wife of some prominent official who took part in the

negotiations of the treaty.

The classical revival of the middle of the eighteenth century was no t

without its effect on Spain ; fans being painted in this country also with

subjects from the Greek mythology. At the exhibition at Sou th Kensington1 3 1


in 1 870, the Dowager-Countess ofC raven exhibited a large Spanish dressfan, the mount rich ly painted on ve l lum ,

with a centre subject of Aurora and

Zephyr, the floral ornaments embossed in go ld and spangled ; the stick

carved ivory and mother-ofpearl , with figures in gold rel ief variegated andspangled , jewelled stud .

l

Towards the middle of the eighteenth century onwards, a class offan

was made in which the st ick,usual ly of tortoise- shell , but al so of ivory and

other material, was elaborately pierced and carved , occasional ly i n the most

ornate fashion,the brins numberi ng from eight to ten , the guards wide ,

both be ing heavily incrusted with gold and s i lver. The mounts of these

fans were always narrow,measuring about three- sevenths of the length of

the stick. This class of fan,examples ofwhich appear i n most col lections ,

by general consent has . been associated with Spain , although , doubtless , i t

was produced in other countries also.

One of the earl iest of these fans,as wel l as one of the finest , i s that i n

the possess ion of Lady Bristol,described and i l lustrated in the succeeding

chapter,page 1 63. This, from the skil l d isplayed in i ts finely designed

stick , and the style of its del icately pai nted leaf, i s more probably French

than Spanish . I nterest ing examples of this class offan are given from the

col lect ions ofH.R.H. the Princess Victor of Hohenlohe—Brandenburg and

Mrs . Frank W. Gibson . In the first- named instance the stick is tortoise

shel l,with gold incrustations of figures of Roman warriors, mus ic ians

in the costume of the pe riod of the fan (6 . Cupids , and other orna

ments : the leaf a pretty pastoral ; the work , although probably Span ish ,showing a strong French influence.

Mrs. Gibson’s fan be longed to her grandmother, who was a Spaniard

the leaf, probab ly, represents the betrothal of Lou is X VI . andMarie Antoinette,

Lou is being but sixteen at the time of his marriage in 1 770 . The Austrian

Court was closely al l ied to that of Spai n ; and this subject , therefore,

S. Redgrave , South Kensington Catalogue of Fan Exhibition , 1 870.

1 32


in 1 870, the Dowager-Countess of Craven exhibited a large Spanish dressfan , the mount rich ly pai nted on ve l lum,

with a centre subject ofAurora and

Zephyr, the floral ornaments embossed in gold and spangled ; the st ick

carved ivory andmother-ofpearl,with figures in gold rel ief variegated and

spangled , jewel led stud .

1

Towards the middle of the eighteenth centu ry onwards, a class offan

was made in which the st ick,usual ly of tortoise- shel l , but al so of ivory and

other material, was elaborately pierced and carved , occas ional ly i n the most

ornate fashion,the brins numbering from eight to ten

,the guards wide,

both be ing heavi ly incrusted with gold and si lver. The mounts of these

fans were always narrow,measuring about three- sevenths of the length of

the stick. This class of fan ,

’

examples ofwhich appear i n most col lections ,by general consent has . been associated with Spai n , although , doubtless , i t

was produced in other countries also.

One of the earl iest of these fans,as wel l as one of the finest , i s that in

the possess ion of Lady Bristol,described and i l lustrated in the succeeding

chapter, page 1 63. This, from the ski l l d isplayed in its finely designed


would natural ly appeal to the Spaniards . A wedding fan occurs i n

the col lect ion of Lady Lindsay, having for its centre medal l ion a lady’s

dress ing- room,with Cupid holdinga mirror ; o n the s ides are a Cupid l ighting

his torch from an altar, and a Cupid with bow and arrows . The stick of

tortoise- shel l,finely s i lvered and gi lt .

A remarkable fan i n this same col lect ion was brought from Madrid

by Lady Canning, who accompanied S i r Stratford Cann ing to Spain on

a special mission from Queen Victoria, andwas given to Lady Lindsay i n

1 878. The st ick is of ivory,finely and elaborately carved ; the mount,

skin,painted in the Chinese taste ; i l lustrated facing p . 1 27.

The character ofSpanish work of the stick , which , with a few i solated

exceptions,never reached a high level of attainment, material ly deteriorated

towards the close ofthe century. A fan appears i n the Schreiber col lection,

with ivory st ick,i ndifferently carved and gilt , the s i l k leaf having for i ts

subject a large medal l ion of the su rrender ofM inorca i n 1 782 , with the

Engl ish army evacuat ing the island , and the Span ish flag waving over the

fort ofS . Phelippe ; the sides decorated with vases of flowers embroidered,

pai nted , and spangled ; the subject i nscribed in Spanish along the topborder of the fan .

Of the treatment of the stick,two interesting examples in the Wyatt

collect ion may be referred to—the one , belonging to the early part of thecentury, i n which painted trel l i s-work in blue and brown is introduced as a

background to fine ly pierced and carved cartouches of figures and other

subjects, the ornament being enriched with gold ; the other with a paper

mount representing the visi t of the Queen of Sheba to Solomon (probablya church-fan), the mother- of- pearl sticks engraved with three figure sub

jects en cartouche, with elaborate scrol l-work the leading features of the

ornament, together with port ions of the figures,being emphas ised with

th in l ines ofgold, having an extremely pleasant effect ; c. 1 750.

Spanish paint ing in the latte r halfofthe eighteenth century experiencedI 3S


some revival i n the person ofFrancisco Goya,one of the most extraordinary

personal it ies who ever wielded a brush,and whose greatness is on ly just

beginning to be adequately recognised,chiefly

,however

,on account of his

etchings , ofwhich he produced a number. 1

I f we may conceive Goya as ever touching the fan,the example il

lustrated,from the col lection of Lady Northcl iffe

,is just such a one as he

might have painted. At any rate this may be considered as a typical

Spanish fan . The si lk leaf has i n the centre a mounted picador, with s ix

medal l ions of bu l l-fights ; above the picador are two Cupids holding a

sh ield ofarms , with thirteen other shields along the upper border, bearing

the arms ofBiscaria,Cordova

,Majorca, Valencia, Arragonia, Leon , Castillia,

Navarra,Toledo

,Gallicia

,Andalusia, Murcia, and Catalonia. The shields,

together with the medal l ions,are bordered with embroidered spangles ; the

ivory st ick and guards finely pierced and in laid with gold and si lver.

The charming spangled fan i n the possession of Mr. Talbot Hughes

may al so be accepted as of undoubted Spanish workmanship . I n this ,the leaf is of white s i lk

,painted with a female figure in a garden

,

arranging flowers from a basket . The head is an appl ied miniature on

ivory,a device much affected by the Chinese ; the necklace , seed pearls

applique ; the dress completely of spangles . The leaf is enriched with a

border of gold and s i lver sequ ins of various forms,some being set with

crystal s. The stick ivory,colou red

,gilt

,and decorated a la faillette.

The date about 1 800 .

I t has been shown,beyond any possibi l ity of doubt , that du ring the

seventeenth centu ry French exportat ion of this dai nty article to Spain was

considerab le, French fans enjoying the best reputation in that country, as

wel l as in I taly,and that this pre- eminence was mai ntained during the

succeeding century, the period of the highest development of the fan

One of the most potent earl ier influences on Span ish paint ing was that of T itian, who, althoughprobab ly never in Spain, painted a number of pictures for the Escu rial .

1 34


The fan i s in the hands ofevery one, from the merest baby to the big

toreador, who employs i t as a means of exciting the ire of his bovine

adversary. I t serves as convenient screen for the dark- eyed beauty, who,seated in the balcony i n the stil l evening, l istens eagerly to the impassioned

serenade beneath .

At the theatre,says Blondel , nothing is more curious than the mani

pulation of these instruments,playing with the express ive grace which

is a si lent fl irtat ion. Before the play begins , or during the intervals ,every one talks in the midst of a confused noise resembl ing the buzzing

ofan immense swarm of fl ies . The curtai n rises—all resume thei r places ;the conversat ion ceases ; the fans , everywhere waving in varied movement ,gradual ly, one by one

,tone down into regularity of t ime ; they flutter i n

captivat ing cadence,suggesting in appearance a crowd of variegated

butterfl ies , and charming the ear with their de l ightful ‘ frou- frou .

’

I t is this play of the fan (manejo a’el abani

'

co) i n which fair dames

and demoisel les have become such adepts,that i t has been necessary to

coin a word to express this charming art. Thus , ‘aban icar ’ means the

play of the fan , while ‘ ojear ’ s ignifies the language of the eyes . These

two manoeuvres , remarks M. Lou is Enault shrewdly, are closely al l ied ,and one alone suffices for a man’s destruct ion .

The fan , i ndeed , has its own particular language , more eloquent than

that offlowers—the Spanish novia (lady- love) communicates her thoughts

by code to her now’

o (sweetheart), as—engaged couples in Spain being

never al lowed alone—woman’s ready wit has devised this means of pri

vate conversation .

The instructions are set forth in fifty different directions in a l i ttle

booklet publ ished in German by Fran Bartholomaus,from the original

Spanish of Fenel la. A few examples wi l l probably suffice as an i ndica

cat ion of the method


1 . Y ou have won my love . Place the shut fan near the heart.

2 . When may I be al lowed to see you ? The shut fan resting upon the right eye.

3. At what hour ? The number of the st icks of the fan ln

dicate the hour.

4. I long always to be near thee . Touch the unfo lded fan in the act of

waving.

5. Do no t be so imprudent. Threaten with the shut fan.

6 . Why do you misunderstand me ? Gaz e pensively at the unfo lded fan.

7. Y ou may kiss me . Press the half- opened fan to the lips.

8. Forgive me , I pray you. C lasp the hands under the open fan.

9. Do no t betray our secret. Cover the left ear with the open fan.

1 0. I promise to marry you. Shut the full- opened fan very slowly.

And so on , through the whole gamut of the language of love .

A shorter code has been publ i shed in Engl ish (du ly copyrighted) by

M. J . Duvelleroy. This , al though the principle is the same,differs

material ly in the detai ls ; thus, ‘ I love you’ i n Span ish i s to h ide the

eyes behind the opened fan ; i n English , to draw the fan across the cheek.

‘ I hate you ,

’ i n the former instance,i s to rai se the shut fan to the

shou lder i n the right hand ; i n the latter, to draw the fan through the

hand : either code being sufficiently expressive and acqui red with

tolerable ease.

I S7

C H A P T E R V I I

PA INTED FANS o r THE SEVENTEENTH AND E IGHTEENTH

CENTUR IES (FRENCH )

THE so- cal led Renaissance of the arts of France in

the s ixteenth century was the outcome of an i ncreased

knowledge of, and famil iarity with , I tal ian ideals of

l i fe , and the splendours of a more refined civi l isation ;i t represented the as similat ion of the nat ional spirit

,

the union of French netteté d’

exécution’ with the more

sober learning of I tal ian tradition . The beginn ings of

th is I tal ian influence are to be discovered earl ier,i n

the vis i t of Jean Foucquet to I taly i n 1 440- 1 445 ; this

event be ing the signal for a general migration of I tal ian

artists northward

For the purposes of the fan , however, we are con

cerned on ly with the history of French art from the

period when , i n 1 530, at the invitation ofFrangoisFAN OF R ICE STRAWmom , pm ,h_0mm MS,

L e Rosso and Primaticcio repaired to Paris for theM ’Nm m mbm ’M )

pu rpose of decorat ing the palace at Fontainebleau .

At th is period architecture was creat ing Chenonceau and Chambord .

Sculpture, i n the hands of Cel l in i and Jean Goujon , was providing the

decorat ive detai l s for the chateau then being buil t by Phil ibert de l’Orme

for D iana de Poitiers .

I n the sister art of Painting, Jean Cousin and Frangois C louet , to

gether with Primaticcio, who continued working unti l 1 570 ,were the

dominant influences.


Pierre Mignard (Le Romain), the l i felong rival of Le Brun , pos

sessed something of the grand manner, derived from his study of the

Carracci and Domenichino . In 1 664 he was the head of the Academy of

S t. Luke,and i n 1 690, upon the death of Le Brun , he was appointed

D i rector of the Academy of Painting, a post which he fi l led unti l h i s

death in 1 695.

We have said that during the sixteenth century, Ital ian influences on

French art were paramount—these influences being entirely healthy and

regenerat ive. Throughout the succeeding century the dominant influence

was st i l l I tal ian , but its effect was as deleterious as i t had been formerly

beneficent .

By 1 700 the decorat ive arts were wel l on the downward path .

Bernin i had been dead twenty years,but h is influence

,together with

that of Borromini , was sti l l a l iving thing, and was sti l l worki ng irre

parable mischief. S i r M . D igby Wyatt, i n a powerfu l article written for

Owen Jones’s Grammar of Ornament , referring to Borromini , says‘ From his fervid imaginat ion and rare facil i ty as a draughtsman and

designer, he soon obtai ned ample employment ; and i n his capricious

vagaries , every tendency to extravagance that Bern in i’s style possessed

Borromini contrived to caricature. Unti l his death , i n 1 667, he continued

sedu lously occupied in subverting all known principles of order and

symmetry, not only to his own enrichment, but to the admirat ion of the

leaders of the fashion of the day. The anomal ies he introduced into

des ign , the disproportionate mouldings, broken , contrasted , and re- entering

cu rves , became the mode of the day , and all Europe was speedily

busy in devising s imi lar enormities. I n France the fever raged speedi ly,and the popu lar style

,i n place of the quaint but picturesque forms to

be seen in the engravings of Du Cerceau ,1 576 , substitu ted the more

elaborate but less agreeable ones to be found in Marot , 1 727, and

Mariette,1 726 -7. Despite th is debasing influence ,

’ continues our

1 40

PA INTED FANS (FRENCH )

author, ‘many of the French arti sts of the t ime , both of Louis X IV . and

xv.,i n the midst of their extravagances , made many beauti ful ornamental

designs,showing in them a sense of capricious beauty of l ine rarely

surpassed .

’

This,although written at the period of perhaps the very lowest ebb

of the decorat ive arts , the mid-Victorian era, pretty wel l sums up the

matter, and i s a fair est imate of the decorat ive tendencies that obtai ned

at the beginn ing of the eighteenth centu ry . The genera l character of the

fan , therefore, necessari ly partook of this debas ing i nfluence, and reflected

the ornamental vulgarit ies and fash ionable inanities of the time . Thus

we have,i n mou lded ornament, a profusion of those extravagant shel l

l ike cartouches which have become identified with the periods ofLouis xv.

and X VI . ; curly structures elaborately perforated , beginning and end ing

at will , observing no reasonable or well -defined law,but expressing only

the caprice of the artist. These either formed the starting- point for the

l ighter ornaments , o r were associated with natural i st ic swags and festoonsof fruit and flowers , masks , ribbons, etc.

With the dawn of the eighteenth centu ry,French pictorial art enters

upon that era offetes galantes , conversations galantes, and amusements

champétres, which , whatever its shortcomings , was pure ly French and nat ive

to the soi l . The pern icious influence of the I tal ian decadence is about

to be shaken off. Watteau was s ixteen years old , and just commencing

those labours which resulted i n the pract ical regenerat ion of French

paint ing. He may be said to dominate the art of the eighteenth century

as completely as Le Brun had overshadowed the century which preceded .

He sums up in himself that spirit of the joyousness of l ife , that careless ,impulsive frivol ity which i s the note of the age .

H is immediate fol lowers,Lancret

,Pater, and i n some sense De Troy

,

carried on the tradition , but with a more pronounced convention : the

shimmer and sheen of s ilk and sat i n draperies are pai nted accord ing to

1 41


a recipe,the general treatment of the subjects reveal s a less del icate

fancy, and a less tender sympathy.

Boucher,friend and servant of L a Pompadour, ‘with her fan that

breaks through halberds, ’ 1 has been styled , with more or less semblance to

truth , the Anacreon of painters. H i s convention is of an entirely different

order to that of Watteau and his school ; but i f his method and style is

more artificial , i t i s because l i fe and manners have become less sincere,and because he is true to his be l ief that ‘ Nature wanted harmony and

seduction ’

; he yields nothing to his predecessors in artist ic power, he is

completely master of his technique, and understands exactly the measure

of his gifts . I n h is pupi l Fragonard , we have in real i ty the true heir and

successor ofWatteau—the same supple touch , the same al luring grace, the

same captivat ing invention and suggest iveness which always summons us

to an enchanted land of love , and mus ic, and dal l iance .

I t was an exceedingly gay, l ight- hearted , and pleasant t ime—ln pai nting

at any rate. Strephon sat at the feet of Phyl l is , warbl ing soft nothings

to the accompaniment of the lute. Dan Cupid , who was everywhere in

evidence, took it for granted that his presence was always a propos , and

never troubled his curly head as to whether h is decorat ive surroundings

were in the n icest poss ible taste. The fan necessarily reflected this eccen

tricity and extravagance—i ndeed it took its natural place in the general

decorat ive scheme ; the ‘ dainty rogues ’ of the s ideboard and mantel- shelf

were in complete harmony with the stil l more dai nty rogues of the fan

the shepherdess in her flowered skirt rubbed shou lders , o r attempted to

do so, with the fine lady in crinol ine.

The fun waxed faster and more furious ; the t imes grew madder and

sti l l more mad ; the exuberance of the rococo became more and more

pronounced , unti l no inanity remained untried , no extravagant banal ity

overlooked . Then came the i nevitable reaction. The latter hal f of the

1 Walter Thornbury, L egendary Ballads and Songs.1 42


painters,almost in every instance obscure , were doubtless some young

artists who had sti l l thei r position to make , and the s ignature ofCahaigue

i s recorded with the date 1 766 . I n the Louvre are two fan leaves signed

by Raymond L a Farge, c. 1 680. An ivory brisé fan , with the subject of

Blindman’

s Buff,s igned ‘Tiquet Fecit , appeared in the Walker sale

i n 1 882 . Le S ieur Pichard , also,i s mentioned in an almanac of 1 773,

as being very well known as a fan painter ; Mme. Doré, at the same

date,painted on s ilk and gauze : both the last- named worked for the

éventaillistes.—But the greater names

,which have become il lustrious in

the annals of French art,Watteau

,Boucher

,Fragonard ; is i t poss ible

to claim these al so for the fan —A fan bearing the ineffably gracious

touch of a Fragonard , what a possession ! Lancret pai nted a picture i n

the form of a fan , representing two figures in a wooded landscape. M.

Pau l Mantz, referring to the fan i n the col lection of Dr. Poigey of

Paris, decorated with l ight s imple ornament andmedal l ion heads of a youth

and two young girls , says : ‘ The del icacy of refined rose t int , the sureness

of touch,the free manipu lat ion of the gouache

,show a master - hand ; of

a certainty, i f Boucher ever painted a fan,it is this one.

’

Balzac (Cousin Pons) refers to a‘ gem of a fan

’ found at a second

hand dealer’s , enclosed in a l ittle box ofWest India wood, signed by

and formerly the property of L a Pompadour. The old

musician turns towards his cous i n with a courtly bow, offers her the fan

of the favourite , saying : ‘ I t is time for that which has served Vice to

be in the hands of Virtue ; a hundred years wil l be required to work

such a miracle . Be su re that no princess can have anyth ing comparable

with th is chef d’

oeuvre, for it is unhappily in human nature to do more

for a Pompadour than for a virtuous Queen .

’

We learn from Brantome that Catherine de’ Medicis , who made

her first publ ic entry into Paris as queen in 1 549, introduced into the

French court the Ital ian feather- fans,i n general use in I taly at that

I44


period ; these being made and sold by the perfumers who came in the

queen’s retinue. I n a hal f- length engraved portrai t i n the Briti sh Museum ,

the queen bears a plumed fan with an elaborately ornamented handle

garn ished with pearls ; in another portrait , a plumed fan with a mirror

in the centre. Brantome records that, upon the untimely death of

the king,her husband

, Catherine caused to be put round her device

broken fans,with the feathers fal l ing to pieces and the mirror

cracked ; 2 this i n token of having abandoned worldly frivol i t ies . I n a

smal l oval engraved portrai t i n the British Museum col lection,th is

broken fan motif is i ntroduced as forming a diapered border ; the fans

al ternated with twisted cords and scythes .

I t is not unti l the reign of Henry that we find the first authentic

evidence of the use of l’éventail pl issé ; fans were then much in fashion ,and, says Henri Estienne, ‘were held so much in esteem ,

that,now the

winter is come, the ladies cannot give them up,'but having used them

in summer to cool themselves agai nst the heat of the sun , they make

them serve in winter agai nst the heat of the fire.

’8

Pierre de l’Estoile , in his I sle des Hermaphrodites , 1 588 , givesus a detai led account of the fan used by this effeminate monarch ,evidently some form of cockade , ‘ expanding and fold ing merely by a

turn of the fingers .’ I t was sufficiently large to be used al so as a

parasol , and served therefore the double purpose of cool ing the air, and

preserving the del icate complexion of the king.

The material was vel lum,cut as del icately as possible , with lace

around of simi lar stuff.‘ ‘ I could see in the other chambers ,’ continues

1 Qui estoit un montagne de chaux vive sur laquel le les gouttes d’eau du C ie l tumboient a foisonet disoient les mots tels en latin

Ardorem extincta testantur vivere hamma.

’

2 Des éven tai ls et pennaches rompus des carquans b risés et ses pie rreries et perles espandues par te rreles chaisnes toutes en p ieces !

3 Deux D ialogues du nouveau L angage Frangois, 1 578.

4 I l étoit d’un vél in aussi dél icatement découpé qu’i l étoit possib le avec la dentel le a l’entour de

parei lle étofi‘e .

T I45


this author,

‘ fans of the same material , or of taffetas , with borders of

gold and s i lver lace .

’

This art of elaborate cutt ing, i n vel lum , paper, and other material ,was , as a matter of fact, a favourite past ime of the period ; it is said to

have been indu lged in by the king himself, and i t may be taken that th is

method of découpe', or découpe’ i n association with other forms of

ornamentat ion, was employed in a large number of the fans of this

epoch , both of the cockade and semicircu lar form .

Of this latter type,now beginning to be the vogue , the Actaeon

fan i n the Musée de C luny is one of the earl iest known examples . The

leaf is of parchment , cut i n a series of sl i ts through which the ten

sticks, shaped to an ornamental profi le, are inserted . The ve l lum around

the s t icks i s painted to the shape of arrows ; the spaces between are cut

away, to al low of the insertion of strips ofmica, upon which are painted

devices representing Actaeon , his hounds , a stag, a swan , etc. The general

character of the ornamentat ion is that of the earl ier French Renaissance ;the date, c. 1 580 .

The fan industry in France had become of such importance under

Henry Iv. , that i t was necessary to regu late i t by statute ; certain

concessions were therefore granted in December 1 594 to the several bodies

of craftsmen engaged in the art of fan-making. These were confirmed ,and fresh regu lations added

,towards 1 664.

On a petition presented to Lou is X IV . i n 1 673 by the master fan

makers to the number of sixty,they were constituted a corporate body

by the edict of March 23rd of that year, and thei r privi leges further

strengthened by edicts of December 1 676 and January and February 1 678 .

These ordained that the company shou ld be ru led by four jurors , two of

whom were re- nominated every year in September in an assembly at which

every master cou ld ass ist i rrespectively. No one cou ld be a master

without having served four years’ apprenticeship and having produced1 46


Ferrara,decorated with mica i nsert ion , were also of this shape. At th is

same period , fans were also made of a sl ightly extended width , the Actaeon

fan ofC luny being an example .

1 550- 1 6 20 1 620- 1 650

1 660- 1 700 1 680- 1 740

1 7204 760

The width was gradual ly extended during the first hal f of the seven

teenth century, until , at the Close of the reign of Louis XII I it had attained

almost a ful l semicircle , the engraved fans of Abraham Bosse be ing

authentic instances.

During the reign of the Grand Monarque the mount is deep , the

shoulder, as a consequence , low ; the fan,after a sl ight reduct ion , again

opening out to a fu l l semicircle. The blades,which in the first hal f of the

seventeenth century varied in France from fou r to eighteen , had increased1 48


by the end of the century to twenty- four or twenty- six , the number

agai n fal l ing to between eighteen to twenty- one by the middle of the

succeeding century . During the reign of Louis xv . the width of the fan

was lessened , being reduced to one- th ird of a circle, the shou lder being

raised about 1 720, thus leaving less space for the mount , the blades number

ing eighteen to twenty- two .

I n the succeeding reign (Lou is X VI .) the fan once agai n unfolded i tse l f

to a fu l l semicircle ; the blades were either straight and narrow,the incrusta

t ions of a correspondingly reticent character, or very broad,showing no

space between , the decorat ions extremely ornate ; thei r number in either

instance varying from twelve to s ixteen or eighteen .

The above scale of proport ion i s , however, by no means absolute ; we

have fans with high shoulders , and correspondingly shal low mounts during

the period of Louis X IV . we al so have, during the same period , fans which

open out only to the third of a Ci rcle .

The siz e of the folding- fan has also been subject to many variat ions .

From the period ofits i ntroduction it i ncreased under Louis x 1 v. , fluctuated

to the middle of the eighteenth century,and gradual ly lessened i‘ts propor

t ions to the period of the Revolution and Fi rst Empire .

I n 1 729 the Due de Richel ieu writes Smal l fans have quite gone out ,and the newest are bigger than ever. Ladies are now never without them

,

summer or winter.’ From the Mercure de France, October 1 730 , we learn

that Many fans are ofa very considerable price and excessively large , so that

some l ittle folks are not quite twice the height of their own fans , a circum

stance which ought to fi l l with a due sense of respect the l ight and

playfu l caval iers .

’ This continued during the hoop period or second

blossoming of the whalebone pett icoat , when the fan , no t to be outdone,

assumed simi lar vast proport ions,and agai n dwindled to such an extent

that i t acquired the name of ‘ imperceptible .’

Another important considerat ion in determin ing the date of a fan i sI49


in the fact that the sticks , being of a more enduring substance than the

mount , have often been remounted with paintings of a later date ; 1 the

carefu l col lector will , therefore , i n selecting a specimen , cons ider the fan

in all its various characteristics—the style of the painting, and the

general character of i ts ornamentation .

Mr. S . Redgrave , i n his catalogue of the fans exhibited at South

Kensi ngton in 1 870,refers to the difliculty in ass igning fans to the country

to which their manufacture might be most correctly attribu ted : Workmen

of one country have been tempted to another ; Chinese carvers brought to

Europe ; parts offans i n which a part icular country has excel led have been

imported to another,and used with its nat ive manufacture. I n all cases

,

novel taste, approved by fashion,has never fai led to become the object of

universal imi tation .

’

The art of paint ing during the re ign of Louis x 1 1 1 . began to play a

more important part i n the decorat ion of fans ; the subject , i n the few

examples exist ing of this epoch,being usual ly enclosed in a florid

cartouche with festoons of fruit,

flowers, amorin i,etc. , as i n the three

engraved examples by Abraham Bosse , who was working in Paris at th is

period . Indeed it is extremely probable that the publ icat ion of these fans

strongly influenced the character of the decorat ion of fan mounts ; i t is

more than poss ible that Bosse h imsel f painted fans,s ince he was painter

as well as engraver, al though his pictures are extremely rare . The label ,‘ Eventails de Bosse ,

’

appearing on the box handed by the merchant to

the lady in the engraving ‘L a Galerie du Palai s

,

’

may qu ite conce ivably

refer to painted as wel l as engraved fans .

L a Galerie du Palais , bes ides forming the subject of Bosse’s engraving,suppl ied Cornei l le with the motifof one of his comedies produced i n 1 634.

‘ L a Galerie ’

was s ituated in the midst of the city,bes ide the Palais de

1 There are instances in which this order is revegsed, the leaf having been preserved and mountedon more modern sti cks.

1 50


Change z viste votre maleur

E t sans me crére caioleur

Aimab le Phylis que j’

ado re

Cro iez , qu’

au feu qui vous deuo re

U n hofiie vous servit me illeur

Qu’

n éventail.’

Authenticated examp les of Lou is XII I . fans are exceedingly rare. I n

the Jub inal col lect ion at Paris is a superb fan painted on skin , representing

the king p laying b l ind- man’s buff with the four quarters of the globe .

This is designed upon the same principle as the three engraved fans of

Bosse above referred to , i.e. the subject enclosed in a large and elaborate

cartouche, fi l l ing the whole field of the fan , a system of decorat ion which

las ted wel l into the reign of Lou is X IV.

The Countess de Beaussier exhibited at South Kensington , i n 1 870, a

mount of ve l lum painted with a large medal l ion or cartouche in the centre ,of lords and ladies of the court of France joining in a dance in a park,the border enriched with coloured ornament in the style of the period .

During the earl ier part of the re ign of Louis XII I Anne of Austria,his queen , i ntroduced many Spanish fashions into France , amongs t them

be ing fans .

I t is recorded of this princess that , during a conference with Richel ieu ,some kittens amused themselves with the ribbons of her fan which had

been left on a table i n the antechamber ; from this circumstance the ribbons

acquired the name of Badins (playfu l). 1

I t was from a similar l ight incident that , later, at the time of the

unpopularity of Mazarin , the fan became a means of expressing pol itical

intrigue . S traw was adopted as the ral lying s ign of the Frondeurs , who ,after the victory in Paris, wore it i n thei r hats and button- holes .

1 R ibbons constantly appear on the fans depicted in Bosse’s engravings, either at the side , half-wayup the panache, or at the rivet.

PA INTED FANS (FRENCH )‘ I f without straw a man was seen ,

S trike him down ! was the general scream ,

Fo r’

tis but a dog of a Maz arine .

’

A great crowd was applauding the k i ng and princess in the great

al lée, and crying out against Mazarin . Mademoi sel le had appeared holding

a fan as she walked , to which was attached a bouquet of straw bound with

blueribbon .

Straw also formed part of the decorat ion of fans , both at this period

and later. The pattern of leaves , flowers, fru its , or convent ional ornament ,was cut i n various colou red straws and applied. The handsome fan i n

the possess ion of Lady Bristol , with the subject ofHector andAndromache,after Antoine Coypel, belonging, however, to a later period

, is decorated

at the s ides with coloured straw-work . This material was even employed

in the decorat ion of the st ick in the form of in lay upon ivory and other

substance ; an example occu rs in the col lection of Mr. L . C . R. Messel . ‘

This also of a much later period .

D’

Alembert , i n h is Reflexions et A necdotes sur la Reine de Suede,

recounts how the irascible,

fierce,and rai l ing daughter of Gustavus

Adolphus found herself at the court of Louis X IV . , when the fashion of

fans was general ( 1 656 Consulted by a fai r Frenchwoman as to

whether she should ply her fan even du ring the winds of winter, Christi na

repl ied that the lady might fan herself o r not , as she pleased ; ei ther wayshe would be a straw blown about by the wind. Upon this , the cou rt

dames , nettled at the rude reply of the haughty mistress ofMonaldeschi,

one and all armed themselves with fans , and waved them furiously when

ever the queen was present,by way of exhibiting a wholesome French

contempt for northern barbarism .

1

1 The wel l- known story of the portrait of Christ ina, painted by M ichae l Dahl, may be given. One

day, while the Queen was s itt ing to him, she asked him what he intended to put in her hand. ‘A fan,

please you r Majesty.’ ‘A fan !’

exclaimed Christ ina, starting up with a t remendous oath. ‘A fan l—Al ion , man , is fitter for the Queen of Sweden.

’

The Order of the Fan was inst ituted later by L ouisa U lrica, in 1 744, for the ladies of the Swedishcourt, in which the ste rner sex was afte rwards included.

U I SS


This ci rcumstance led to the adoption of fans of a richer and more

ornate description . Fashion hastened to make the toy worthy of figu ring in

grand adornment ; the ordinary wood of the stick was replaced by other

supports of a more precious material , with incrustat ions of gold , s ilver,enamel , and jewels . More capable artists were employed for the execut ion

of the mounts ; the éventaillistes learnt from the Ital ians to derive their

inspiration from the great masters of their school . The decoration of

the fan- leaves , therefore, acquired someth ing of the suavity,graciousness ,

and court l iness associated with the work ofthe painters ofthe Grand S iecle.

I t was, doubtless , some such fan,some enchanting reminiscence of

the dainty ‘ pu tti ’ of Pouss in , that Madame de Sevigne sent to her

daughter, Madame de Grignan . The Cheval ier de Buous brings you a

fan,which I think very pretty : they are not l i ttle loves upon it

,for

without doubt they are l ittle Chimney- sweeps,the most charming l ittle

sweeps in the world .

’ 1

Two fans are known of the beginning of the reign of the Grand

Monarque. One, of which on ly the feu i l le is preserved , i s i n the possess ion

of Mr. J . G. Rosenberg, of Karlsruhe, the other in the Schre iber col lection ,British Museum . The former is painted in gouache on swan skin , and

represents the s igning of the marriage contract between Lou is X IV . and

Maria Theresa,which event took place at S t . Jean de Luz on the Spanish

frontier in 1 660. The king and queen are seated before a table in the

centre, the courtiers standing in a semici rcle, the men in the i r fur

trimmed robes , the ladies all bearing fans ; an official i n the foreground

is reading aloud the marriage contract . The pattern of the carpet is seized

upon as a decorat ive motif, and forms a diapered groundwork to the

compos it ion after the manner of the earl ier miniaturists . This truly

magnificent mount betrays no evidence of the Ital ian influence ; no

suggest ion of‘ le premier peintre du Roi

,

’2 but entirely reminiscent1 L e tter 49 1 , 8Mai 1 676.

2 L e Brun was appointed ‘premier peintre’in 1 66 2, with twelve thousand francs a year.1 54


with tablets inscribed , ‘ Congé Pour U m Amant Constant : Congé Pour

U n Fidel le ’ ; ‘

Congé pour L a Bel le I ris .’ In front of the table a Cilpid

i s seated on a large crimson cushion , holding a scrol l inscribed , ‘ Le

D i recteur Du Bureau D’

amour.’ Two figures are kneel ing a t the end

of the table,the one holding a purse, the other a scrol l inscribed ,

‘ Contract

De Const itution De Rente .’ I n the foreground on either s ide are couples

who have married for money—a young man holding a purse i s accom

panied by an elderly woman , and an old man who supports himself on

a crutch,accompanied by a young woman , i s carrying a box label led

‘ B ijouteri’

; i n both instances a Cupid fol lows them with a rod for punish

ment . Around the island are moored ships with banners inscribed , ‘Vous

qui cherchez D’

un Amoureux Desir,’ etc.

The fan leaf has been pasted on an oval panel and repainted to com

plete the shape.

The fine varnish , celebrated in the verse of Voltai re, l which has

become associated with the name of Martin , was not , properly speaking,a new invention

,but rather a fresh appl icat ion of an old method .

Attempts had been made during the reign of Lou is X IV . to imitate the

lacquers of Japan,and the process was first appl ied to fu rn itu re . I n an

i nventory of the effects of Mol iere we read of a‘ smal l cabinet with

Chinese varnish ,’

and of ‘ two dice- boxes of wood,varn ished after the

Chinese fashion .

’ This was the period when the artistic products of

the Eas t were so much exercising the minds of European craftsmen ,as a consequence of the opening up of China and Japan to westerntraders .

The four brothers Martin,Wil l iam

,S imon -Et ienne , Jul ien , and

Robert , coach- painters , sons of a tai lor of the Faubourg Saint-Antoine, i napplying themselves to the task of imitating the processes of Oriental

1 ‘ Courant de belle en be l le,Sous des lamb ris dorés e t Vern is par Mart in.

’

1 56


lacquer, by a fortunate accident developed a method admirably su ited to

the decorat ion of fans , which , i n spite of many attempts to imitate , has

never s ince been rival led .

Two concess ions were obtained—those of November 27, 1 730 , and

February 1 8 , 1 744, permitting the elder Martin , for the space of twenty

years,to execute all sorts of works i n rel ief after the manner of the

Chinese and Japanese.

An advertisement i n L e M ercure, which appeared during the year

1 724, recommends to the curious the fine productions i n Chinese and

Japanese varn ish , of th is ‘ excel lent and unique craftsman who imitates

and often surpasses his models .

’ 1 I n 1 732 a fresh announcement is

made in the same journal to the effect that ‘ Le S ieu r Marti n “the elder,who may be said to have considerably e nriched the beaux—arts i n Europe

by imitat ing and even surpass ing in many respects the beauti ful varn ishes

and rel iefs of China and Japan , gives notice to the publ ic that he under

takes pane ls,friezes, cei l ings , carriages , etc. , i n splendid varn i shings .

’

This varn ish,with i ts bri l l iant translucency, and its remarkable im

munity from cracking,was appl ied over pai nting done in the ord inary

o il method,the pai nt ing being necessari ly th in

,almost to transparency

,

the material of the fan usual ly ivory. The decorat ion cons ists of either

a s ingle subject covering the whole field of the fan,or a system of one,

three, or many cartouch es , occas ional ly as many as twenty miniatures,

enclosed in an ornamental sett ing,made up of a curious mixture of

Chinese diapered patterns , semi - natural ist ic semi - Persian ornament,

I tal ian arabesques , and French ornament of the character with which we

are famil iar in Rouen ware .

The guards are i n most instances decorated with miniatures,usual ly

two superior and two i nferior,divided by ornamental borders or

1 ‘ L es cab inets oh Mart inA surpasse’ l’art de la Chine.

’ —VOLTA 1 RE.

I 57


arabesques . On the handle end of the fan ,i.e. the smal ler semicircle,

are ei ther one, three, or more miniatures , often imitat ion Chinese subjects

these , i n some instances, are i n self- colour, as pink, red, or blue. The

gi ld ing is both in leaf and painted , usual ly worked over with a pattern

in red or brown .

The figure- pai nt ing is in no instance by a master- hand , i.e. by an

artist of the first cal ibre , but by ski l led workmen , or artificers , deriving

their inspi rat ion from outs ide sou rces .

The subjects with which these fans were decorated embrace every

class . Thus we have representat ions of ancient h istory,both sacred and

profane , subjects which recorded important current events, subjects fanciful

of almost every description .

That of the ‘ Rape ofHelen ’ occurs often ; the fine fan in the posses

s ion ofMr. J . G. Rosenberg of Karlsruhe has this subject for its principal

medal l ion , the style recal l ing Le Brun , with sixteen smal ler subjects from

class ic mythology, these divided by a gold band . Also in the beautifu l

example in the possess ion of Lady Lindsay this same subject i s treated ,though in a very different manner. (I l lustrated facing p .

I n the cabinet of Madame R iant is the ‘ Judgment of Paris ,’

the subject en cartouche,with smal ler cartouches in the Chinese

taste.

Probably one of the earliest of these ‘Vernis Mart in ’ fans (ivory brisé

fans had been painted earl ier,during the latter part of the sevententh cen

tury) i s the bridal- fan of the Duchess of Burgundy, Adelaide of Savoy,mother of Lou is X V .

‘ The subject represents the fetes at Versai l les on the

occasion of the marriage of the grandson of Louis X IV. i n 1 709. On the

obverse the bride appears seated upon a dai s with attendants bearing floral

offerings . I n the centre the king dances a minuet with Madame de

Maintenon , ‘ma tante,

’

as the dauphin endearingly cal led her. Other

dancing figures,musicians

,etc., complete the compos i tion , which i s en

1 58


Upon the death of the elder Martin i n 1 749 , his widow associated

hersel f with her brother- ih - law,Ju l ien Martin

,who was acquai nted with

the secrets of this varnish and method . The s tudio at the entrance to

the Faubourg Saint-Denis, therefore , did not cease to prosper, and pro

duction went on unti l 1 758. This at least we learn of the engraver

Pasqu ier, and i t seems to us that the most successfu l varn ishes are the

earl iest in date—those which appear to have been produced 1 720

The foregoing quotat ion refers to Mart in’s product ions general ly,

but is equal ly appl icable to the fan , and i t is probable that although a

few isolated examples of these del icate objects may have been produced

during the latter years of the reign of Lou is X IV . ,product ion did not

become very general unti l later in the l i fetime of Martin the elder,who

subsequently received the t itle of ‘Vernisseur du roi .’

The question as to whether the brothers Martin themselves painted

their fans,or to what extent they were indebted to ou ts ide assistance,

opens up an i nterest ing field of inqu i ry. The order of their production,

also,presents considerable difficulties . In some cases , as that ofthe bridal

fan of the Duke ofBurgundy, the event itsel f determines the date ; i n the

majority of i nstances , however, the subject affords no clue, and any con

elusions formed are necessarily more o r less speculat ive and problemat ical .

The natural order of decorat ive development is from s impl icity to complexity

in both arrangement and detai l ; i t is therefore reasonable to assume that

the earl ier examples’

are those displaying a certai n severity and reticence

of style and method , a nd a simple arrangement of e i ther one or but few

subjects , and that the later fans are those exhibit ing a profus ion of

medal l ions of various s izes,divided by gold bands. The variety in the

style, manner, and handl ing, of the subjects depicted on these fans, to say

nothing of the number extant , of itself disposes of the theory that they

were all the work of the brothers , but in any case they must be cred ited

1 Pau l Mantz , Gaz ette des B eaux-Arts, vol. xx.1 60


with the original conception of a style and method of decorat ion which,

al though i t wil l scarcely bear searching analys is i f judged from the stand

point of strict decorat ive principles, i s fresh , piquant , and unique .

To return to pleated fans . I n the Franks col lection appeared an

example with the leaf of paper finely pai nted in gouache, with the betrothal

of Louis X V . with Marie L ecz inska, and on the reverse a pastoral scene .

The brins and panaches are of white pearl , richly ornamented with

carved medal l ions of figures,portrai ts , heraldry , and scrol l-work in

different coloured gold foi ls . This fan belonged to Marie,queen of

Louis X V .

The bridal - fan of Marie L ecz inska has a ski n mount,the subject

represent ing the king and his bride elect,attended by Cardinal Fleury

in lay habit , bringing offerings of flowers to the altar of Hymen ; a dog

(emblem of fidel ity) s its beside the king. In the foreground on e ithers ide are groups i n rural character ; on the reverse , which is of paper

,is

a pastorel le i n which the royal couple again appear. The brins and

panaches are of mother- of- pearl,richly carved with a centre medal l ion

representing the queen as Venus descending from her chariot,receiv

i ng the homage of Mars . Cupids , herald ic devices , fleurs de ~ lys , and

a smal l medal l ion of Louis X IV . complete the design,which i s enriched

with variegated gild ing.

The symbol ical marriage of Loui s X V . with Marie L ecz inska onMount Olympus is depicted on a fine mount of vel lum in the possess ion ofM . Voisin , with portrai ts of the king and princess surrounded by Gen i i ;figures of Jupiter, Juno, and Apol lo en cartouche

,musicians

,etc. , in rose

camai‘

eu , surrounded by the arms of France and Poland ; the reverse , a

figure subject i n blue camai‘eu on si lver ground . S t ick,

‘Vernis Martin ’

on ivory ; guards, i ncrustat ions of mother- of- pearl .The fan i n the collection ofthe Dowager-March ioness ofBristol refers

to the improvements made in Paris during the reign of Louis X V . ; i tx 1 6 1


shows in the distance the fine square (Place de Lou i s xv.) which adjoined

the Palace of the Tu ileries , with the bronze equestrian statue of the

king on a pedestal supported by four statues represent ing S trength ,Peace , Prudence , andJustice . The group , destroyed during the Revolution ,gave occas ion to the fol lowing epigram

‘ 0 la be lle S tatue ! O le beau piédesta l !L es vertus sont apied, le vice est acheval

The king,attended byMi nerva, who holds her aegis over h is head , i s giving

directions as to the bu i ld ing to a kneel ing figure whose cloak and shield are

ornamented with the fleurs de lys of France . A seated winged genius is

ho lding a large open book , Cupids are playing mus ical i nstruments and

support ing a trophy of arms and a medal l ion portrait of Louis X IV .

The square wil l remai n for ever memorable as the scene of the execut ion of

Lou is X VI . I t was renamed Place de la Revolution .

The stick is of ivory,carved with al legorica l subjects

,variegated gold

enrichments , the imbricated ornament painted blue, the guards inlaid with

mother- of- pearl ; on the reverse a tent , with soldiers drinking and,smok

ing at a table. Jewel led pin .

Of the fans referring to the courtship and marriage ofthe dauphin (son

of Louis X V.) we have the royal courtships in two medal l ions on either

s ide of the sun in full splendour (emblem of the king) , decorated with

spangles ; the mount of skin , the st ick ivory , carved in open work withappropriate figures .

I n the centre cartouche of another fan ,similar in treatment and

evidently by the same hand,the dauphin and dauphine bring floral

offerings to Hymen,the field of the fan being occupied by two smal ler

medal l ions ofCupids,miniatures of the royal pai r , and marriage emblems

at i ntervals, the cartouches connected by spangles ; the st ick ivory , carved

in open work with figures emblemat ic of the marriage .

The marriage of the dauphin with Maria Theresa of Spain o r his1 62


second wife,Princess Maria Josephe de Saxe , is recorded on a magnificent

mount representing the interior of a chapel , with the bride and bridegroom

on a raised dai s , a card inal performing the ceremony. These three fans

appeared in the Walker sale of 1 882 .

The Battoir fan (i l lustrated facing p . 1 54) would appear to refer to thi s

Spanish marriage ; i t i s certain ly a marriage fan . The feu i l l e of paper i s

decorated with eight variously shaped medal l i ons . I n the centre the bride,

who bears a su fficient resemblance to the engraved portraits ofMaria Theresa,

i s taking tea ; al so a heart- shaped composition with two figures kneel ing at

the al tar of Love , Father Time in the d istance ; a lover offering a bouquet

to a lady, etc . The admirably des igned st ick and guards are of ivory,

carved and gilt , decorated with emblemat ic figures,amorin i

,trophies of

musical i nstruments, etc . , bearing the fleurs de lys ofFrance and the arms

of Spain .

The magnificent fan i n the possess ion ofMrs . Bischoffsheim reflects

the general i nterest taken in the class ics du ri ng the earl ier part of the

e ighteenth centu ry. Dryden ’s Engl ish translat ion of Virgi l was given

to the world i n 1 697, and the Lat i n edit ion of P . Masvicius,L eovardiae

,

1 71 7, contained the commentaries of Servius,Philargyrius , and Pierius.

The fan belongs to the earl ier years of the re ign of Lou is xv . ,and

i l lustrates the story u nfolded in the first book of the fi neid. On the

reverse the storm raised by XEolus at the bidding of Juno , a rock in the

foreground being inscribed ‘ Naufrage d’Enée ’

: and the meeting ofVenus

and XEneas . On the obverse the banquet '

‘ Embro idered coverle tsAre laid, and gorgeous purple ; and the boardsGroan with the mass ive silver.’

The love- god , in the guise of the boy Ascanius , is presented to D ido

He—after he has c lasped fEneas’ neckIn fond emb race , and so has satisfied

1 63


The doating love ofhis pre tended sire

Turns to the Queen . Her eyes and all her sou lShe fi xes on him ; yea, and in her lap

At t imes she fondles him—unhappy D idoNo t knowing how great a god is nestling there ! ’ 1

The so- cal led ‘ Cabriolet ’ fan,introduced during the reign of Lou is xv.

,

represents a new and i nteresting development . I n this the mount is

divided into two parts,superior and i nferior, the latter be ing hal f-way up

the st ick, the former in its usual p lace at the top ; the intervening space

impart ing a l ightness and richness to the fan not obtai nable by other

means , the mount sti l l affording a sufficiency of space for decorat ion on a

less extended scale. This usual ly cons ists of Parisian scenes—persons

driving in cabriolets, or promenading, either painted or engraved as the

case may be , s ince both processes were adopted .

The cabriolet, introduced by Jos iah Chi ld in 1 755 , was a l ight two

wheeled carriage which obtained great popularity in Paris. Horace

Walpole , writing to his friend Mann in the same year, says‘ All we hear from France is , that a new madcap reigns there , as strong as that

of Pant ins was.

1 This is la fu reur de cabr iolets, Anglice one - ho rse chairs, a mode

introduced by Mr. Child. Everything is to b e en cabriolet ; the men paint them on

the ir waistcoats, have them emb ro idered fo r clo cks to their sto ckings , and the women ,

who have gone all the winter without anything on the ir heads, are now muffled up in

great caps , with round sides , in the fo rm of, and scarce less than ,the whee ls of

chaises.’

Two varieties of these rare fans appear i n d ifferent col lections ; a

larger and richer fan measuring some twenty inches and opening out to

a l i ttle more than a thi rd of a circle,the sticks numbering twenty- one,

i ncluding the panaches ; another about an i nch smal ler,with less carving

on the sticks , and made at a later date.

1 Translat ion by Henry Smith Wright, B A.

2 ‘ Pan t ins Méchanique, ’ a performing figure worked by a string , much in vogue at this pe riod. See

E ngravedFans ofthe Seven teenth andE ighteenth Cen turies, part i . page 2 26 .

1 64


The fine example i l lustrated from the col lection of Lady Bristol

has n ine cabriolets , two on the larger and three on the smal ler paper

mounts , two on the brins , and two on the panaches . The upper portion

of the ivory st ick is carved with three series of three figures enclosed in

an ornamental sett ing,and one on each panache , with ‘ goldfish ’ i n lay.

The lower portion has two large cartouches of figure subjects also with‘goldfish ’ i nlay

, and a smal ler one pai nted,the whole of the st ick

elaborately painted and gi lt. A similar fan is i n the possess ion of the

Comtesse de Chambrun,Paris , and was exhibited at South Kens i ngton

i n 1 870 .

Two examples of the smal ler variety are given from the col lections

of Lady Northcl iffe and Lady Bristol , s imilar in general character, but

presenting s l ight differences in detai l . On each of these fans only one

cabriolet appears , painted decorat ion taking the place of the rich carving

and gilding on the stick of the larger fan .

Towards the end of the reign of Louis xv. the fan i ndustry suffered

a temporary relapse : the fashion for the cheaper printed fans , and al so

for the importat ions from the East , spread even to the aristocrats . We read

of a fash ionable jeweller at thi s period undertaking to supply to L aPompadour a dozen fans di rect from Nankin for the insignificant sum

of seventy- two l ivres . An interesting design for a fan in the Hennin

col lection (Bibl iotheque Nat ionale) i s probably intended as an effort torevive interest in the more expensive fans , 1 and i s inscribed

,

‘ Combat

du terrible torreau représenté par des enfants en presence de Sa Majesté

Louis xv . , roi de France et de Navarre.’ This was a spectacle devised

for the king’s amusement in 1 760 . I n an enclosure, a bull -fight, i n

which the actors are ch i ldren , i s taking place before a large concourse of

spectators, i ncluding the king and queen ; on the left are trumpeters and

other figures, on the right is a figure holding three hounds in leash.

1 Henri Bouchot, ‘ H istory on Fans ’

(Art and L etters, vol.

1 65


L a Pompadour is glorified on a skin mount in the col lection ofMrs.

Bruce Johnston ; the subject being ‘ hommages ’ offered by Church,S tate

,

Literature, Art and Mus ic at the al tar of madame, who appears as Venus

seated on a raised throne in the centre ofthe compos i t ion , her car and doves

in the background . A Cupid strikes at her bosom with his arrow, others

dance to the music of a mandol ine, while another,crowned with a lau rel

wreath , rides on the back of the French Eagle. This was probably

painted by one of the numerous artists emp loyed by madame , and

never mounted . (I l lustrated facing p .

The story of Rinaldo and Armida suppl ied the subject of many

fans produced du ring the century. Handel’s opera Rinaldo’

was first

produced in London , February 24, 1 71 1 . I t was staged in the most

sumptuous manner, the gardens of Armida being fi l led with l ive birds , a

piece of stage real ism hardly to be surpassed even in these days : i t had,however, l ittle vogue on the Continent. Gluck’s A rmide, which appeared

in 1 777, fared better, the composer being then in the height of his

popu larity, and, moreover, under the powerful protection of his former

pupil,Marie-Antoinette

,who

, upon the success of Orphe'

e,granted him

a pens ion of s ix thousand francs , and a l ike sum for every fresh work

he shou ld produce on the French stage.The charming fan

,here i l lustrated , by the gracious permiss ion of

H.R.H. the Princess ofWales,i s anterior to the date of the production

of Gluck’s opera,and is one of the best of the numerous versions of

the subject . I t was given by King Will iam IV . to Augusta, Duchess of

Cambridge, and left by her to her granddaughter, Victoria Mary , Princess

ofWales . (Frontispiece .)

In Miss Moss’s fan,also i l lustrated

,the st ick is of ivory carved afour ,

and painted with a cartouche i n the centre, of Neptune, Venus, and Cupid .

The fetes given on the occasion of the marriage of the young

dauphin , afterwards Louis X V I . , with Marie-Antoinette, are recorded1 66


on a fan in the Wyatt col lection,i n the centre of which are shown the

i l luminat ions with fireworks , a scrol l i nscribed , ‘Vive la France , l’

empire ,et tous leu rs allies a jamais ’

; above is inscribed , ‘ Feu d’

artifice de Mr.

L’

ambassadeur Exécuté le 1 0 Ju i n 1 770 par le Sr. Torre Artificier du

Roi.’ On the left is a street scene with a band of music ians and spectators ;

on the right, fou r figures viewing the i l luminations . A cartouche on the

right i s i nscribed , ‘Fétes Publ iques a l’occasion du mariage de Mr. le

Dauphin .

’

The mount is of paper,the st ick and guards ivory , pierced

gilt,and i n laid with mother- of- pearl . (I l lustrated facing p .

An al legory of this marriage appears as the subject of a fan that

formed part of an important col lection of a deceased Paris ian lady,Madame X .

,sold at the Hotel Drouot , Apri l 1 897. I n this the st ick is

mother- of- pearl,

. carved with rel iefs,gilt

,and the arms of France and

Austria. The leaf i s i n gouache on skin , with medal l ions of the royal

pai r, al ternated with others emblematic of the F i ne Arts.

Another bridal-fan of Marie-Antoinette has on the obverse an al le

gorical composition , i n which the dauphine , enthroned upon a cloud,i s

about to sign the marriage contract which Cupid lays before her,

while Hymen hovers above : on the left , the Graces weave garlands of

roses ; on the right , Midas and D iscordia are banished to the regions of

obscu rity.

On the reverse , Lou is and his young bride appear walking in a

wood , guided by Cupid , bl i nd , and bearing a torch . . Both these subjects

have been attributed to Fragonard ; they are , however, most certain ly

by two different hands . The st ick i s mother- of- pearl , carved a’

four ,

with figures of the royal Couple,cupids

,and other appropriate emblems .

The custom of presenting fans on the occasion of a wedding was

universal , and surely no more acceptable offering than a fan cou ld be

made to a bride. The fine fan ,i l lustrated by the kindness of the

Countess of Bradford , is typical of a whole class of fans produced during1 67


the latter years of the re ign of Lou is X VI .,having si lk mounts , with

pai nted medal l ions,usual ly one superior, and the other inferior ; the

borders and intervening spaces decorated with spangles of gold , s ilver ,and colours ; the sticks ei ther broad and ornate as i n the example given

,

or narrow ; the ornamentation being of a more reticent character.

The principal medal l ion figures the prospective bride and bridegroom

nursing a figure of Love. On the extremely ornate mother- of- pearl stick,

lavish ly gilt i n dead and burnished gold of two colours , the happy

pai r again appear Clasping hands before the al tar of Hymen,with an

accompaniment of Cupids ; on the two inferior cartouches are dancing

figures with wreaths,spangl ing being appl ied here as on the leaf. The

fan appeared at the recent exhibition of Fai r Women at the GraftonGal leries , where it attracted much attention .

On the occas ion of the birth of the dauphin , (Louis XVII .) i n 1 785 ,

eleven years after the marriage, the royal pai r renew thei r vows at the

altar of Hymen . This on a fan from the unfortunate queen’s collection ,which , together with the last mentioned , appeared at the Walker sale

i n 1 882 ; the mount skin , the stick mother- of- pearl , carved in open with

portraits of the queen and the young dauphin .

The fan (brisé) presented by the town of D ieppe to Marie-Antoinette ,in celebration of the same event

,

1 is declared by Balzac to be the hand

somest of all historical fans . I t i s of ivory open work , carved by the

famous worker L e Flamand,eu logised by Bernardin de Saint- Pierre . The

subject, from the design for Vien , premier pe intre to Lou is X VI . , is anepisode in the l i fe of Alexander the Great. Porus , an Indian prince, on

the eastern bank of the'Hydaspes , refused to submit to Alexander, but ,

defeated and taken prisoner, he was brought into the presence of the con1 A congratulatory address on this occasion was offered to the Queen by the market-women of Par is ,

written by M. de la Harpe on the inside of the fan of the spokeswoman, to which she repeatedlyreferred without the least embarrassment. —Henry F. Holt, journal of the Archa ological Association ,

voL xv


The re ign of Spartan s impl icity of dress commenced early, and was

brought about by several causes , the first be ing the vis it to Paris of

the American depu t ies , headed by Benjamin Frankl in , 1 776-

78 . Thus

Count de Segur in his Memoirs ’

:‘ I t was as i f the sages of Greece and

Rome had sudden ly appeared ; the ir antique s imp l ici ty of dress , thei r firmand plai n demeanou r, their free and direct language , formed a contras t to

the frivo l i ty, effeminacy, and servi le refinements of the French . The tide

of fashion and nobi l i ty ran after these republ icans,and ladies

,lords , and

men of letters all worshipped them .

’

Among other contributory causes was the pub l icat ion ofSaint- Pierre’

s

nove l , Paul et Virginie, in which the heroine is described as being atti red

in a s imp le robe of white musl in,with plai n straw hat , a picture which

instantly captivated the Paris iennes . Moreover, the classic revival which

set i n abou t the middle of the centu ry had gathered force, so that

by the commencement of the Revo lution the t ime had become ripe for a

complete change . While the ladies were att i red a la Grec, the gent le

men cropped their hai r a la Romain .

The fan fol lowed the prevai l ing order of things , and affected sim

plicity. During the period of the D i rectoi re,and the Empire which

succeeded , the pai nted mounts gradual ly disappeared , their place be ing

taken by those of s i lk of various colours , ornamented with spangles and

s imilar devices .

The mount of Mi ss Ethel Birdwood’

s fan,an excel lent example of

the simple type,is most certain ly French , obtained in France by the

grandparents of S i r George,who were expe l led Huguenots, and sent out

by them to Canton to be mounted . The st ick is admirably in keeping

with the ret icent character of the mount,and exhibits no trace of the

characterist ic Oriental vice of excess in ornamental detai l .

It was inevitab le that a system of decorat ion so easy of app l icat ion,

and at the same time so effect ive as spangl ing, shou ld have an extended1 70


of straw for the various articles of costume , fol lowing an older fashion .

‘There is nothing but straw in the impoverished dresses of the lad ies,’

exclaim MM . de Goncourt in thei r Socie‘te’ Frangaise pendan t le

Directoire, echoing a cu rious vaudevi l le of the period , ‘mob caps of straw,

bonnets of straw,fans of straw, and spangles—nothing is made without

spangles .

’

‘ Paillette aux bonne ts,

Aux toque ts ,Aux petits co rse ts !

Paille tteAux fins bandeau x ,Aux grands chapeau x !

Paille t teAux no irs co lliers ,Aux b lancs sou liers !

Paille ttePaillette aux rubans ,

Aux turbans,

On ne vo it rien sans

Paille tte .

’

In the ‘

Sans Géne ’

fan,with figure of an opera dancer

,the dress of

the lady is pink gauze. The material of the leaf (green s i lk) i s cut away,leaving the dress semi- transparent i n those parts which are not overlaidwith spangles.

During the Empire period and later,this system of the introduction

of gauze or net was carried further,fans being treated with a broad

border of net, and various app l ied decorat ions i n go ld , s i lver, and spangles,these be ing the precursors of the fans made entirely of gauze or net

,

decorated in a s imilar manner, and i n vogue during the first quarter of

the nineteenth century.

Lorgnette or opera-glass fans are evidence of a fashion that obtai ned1 72


during the seventeenth and agai n during the latter hal f of the e ighteenth

centuries . M. Blondel quotes from Menagiana as fol lows‘The fans a four carried by the women , when they go to Porte

Saint- Bernard to take the air on the bank. of the river, are cal led

lorgnettes .

A paper cal led Necessaire,for 1 759, refers to thi s means of sat isfying

pardonable cu riosity without wounding modesty. A smal l opera or spy

glass was set in the chief sticks of the fan ,either at the top of the panache

,

probably the earl iest form, or at the rivet . I n the former case the whole

of the blades were perforated,the fan when opened showing a series

of circular perforat ions round its upper border. The advantage of such an

arrangement wi l l be obvious ; a fai r reve l ler might see withou t being seen ,and the tel l- tale blush be hid . For more d istant objects the opera-glass was

cal led into requ is i t ion,the fan used ei ther open or closed .

Pour cacher la pudeur d’usageContre un b eau front Ie papier sertEt les brins forment un passagePar l

’

oail voyage it couvert.’ 1

The material was either ivory, horn , or occas ional ly , i n the case of the

semicircular folding- fans, gauze , decorated with Spangles or embroidered

work .

The brisés were made to the semicircular shape , and also to that of

the ful l ci rcle or cockade . I n the latter instance the long handle was

provided with circular loops,by which the fan might be held in the same

manner as a pai r of scissors .The blades assume various shapes , as that of Love

’

s arrow, the bat’

s

wing, an umbrel la, a snake

,a viol in

,and

,when made of horn , were usual ly

decorated with piqué.’

1 Menagiana.

I7S


A curious and uncommon lorgnette- fan of the period of Lou is X IV . ,i n

the possess ion of Madame J ubinal, is entirely of ivory ‘ découpé a jour,

’

with appl iqués i n gelat ine im itat ing mica,forming a transparency through

which rogu ish eyes may see and at the same t ime be protected as witha curtain . A semicircular lorgnette- fan

, of fine des ign , is seen in the hands

of Madame Devaugay, i n the portrait by Ingres, collect ion of M . FrédéricReiset , pai nted 1 806 .

These i nterest ing fans remained in vogue during the first quarterof the nineteenth century and later.

The last stage of the fan during this foo l ish,frivolous , fascinat ing

eighteenth centu ry was that of a gradual dwindl ing into nothingness .

Madame de Genl is,i n her Dictionary of E tiquette remarks

When women were t imid and blushed , they were accustomed to carry large

fans to hide their blushes, serving at once as screen and ve i l now that they

blush no longer, and are i nt imidated by nothing, they do not choose to hide

their faces,and therefore carry but microscopic fans (er/entails im

perceptiblesfi1

Blondel states that ‘ this smal l degree of fashion continued under the

Fi rst Empire,when fans

,st i l l very smal l

,were for the most part brisés or

garnished with taffalas ; a few ,however, were embe l l i shed with steel pearls ,

l ike the jewels of Pet i t Dunkerque .

’

We have seen how,during the period of the bal loon pett icoat , the fan ,

l ike the frog in the fable,anxious to outdo his big ne ighbour the ox , swelled

-and swe l led—and swel led . The consequences were less disastrous i n the

case of the fan , which is nothing if not cons istent . The smal l imps of the

fan tribe carried by those tru ly miracu lous creatu res the Mervei l leuses,whose costume was reduced to such exceed ingly scanty proportions that

1 Pope had, nearly a century earl ier, made al lusion to the discont inuance of the fashionThe modest fan was l i ftedup no more,And virgins smiled at what they b lushed before.

’

1 74

C H A P T E R V I I I

PA INTED FANS OF THE SEVENTEENTH AND E IGHTEENTH

CENTUR IES. ENGL ISH , DUTCH , FLEM ISH , AND GERMAN .

LONG-HANDLED FEATHER-FAN

(Used in the Marie Stuart dance.)

THE history of the folded fan i n England may,broadly speaking, be said to date from the establ ish

ment of the East India Company in 1 600 ; th is

event marking the commencement of that Oriental

trade which assumed such vast proportions du ring

the succeeding century. Iso lated examples of the

p leated fan had,however, found the i r way into this

country earl ier,these either brought by individual

traders from the East, or imported from the Con

tinent of Europe. We have al ready referred to the

remarkable instance of the pleated fan appearing

on the great seal of England,forming the crest

of Coeur de Lion ; a conclus ive proof that th is

form of fan was at any rate known , i f not i n

occas ional use,in this country during the Middle

Ages.

The plumed fan,nevertheless

,held its own for a cons iderable period

,

although i t is extremely unl ikely that it was much in vogue before the

reign of Henry V I I I .,when we are informed that ‘ even young gentlemen

carried fans of feathers in their hands , which in wars our ancestors wore on

thei r heads .

’ 1 Shakespeare refers to ‘ those remnants of fool and feather1 Steevens.

1 76

PA INTED FANS (ENGL ISH )

that they have got from France.’ So, also, Stephen Gosson , Pleasant

a josfor upstart Gentlewomen , 1 596

Were faunes and flappes of feathers fond

To flit away the flisking fl ies ,As tail ofmare that hangs on groundWhen heat ofSummer do th arise ,

The wit of women we might praiseFor finding out so great an ease .

But , see ing they are still in hand,In house , in fie ld, in church, in stree t ,

In summer, w inter, water, land,In co ld, in beate, in dry, in weet,

I judge they are for wives such too lesAs bables are fo r playes fo r fooles.

’

The author ofQuips for an upstart Courtier , 1 620 ,drawing a com

parison between the degeneracy of his t ime and the purer manners ofan

earl ier period,says : Then our young courtiers s trove to exceed one another

in vertue and i n bravery ; they rode no t with fannes to ward thei r faces

from the wind .

’

In Hal l’s Satires , 1 598, describing the dand ies of his day‘ Tir

’

d with pinn'

d cuffs, and fans, and part le t stryps.

’

I n the play of L ingna , or The Combat of the Tongne and the Five

Senses for Superiority , 1 6 1 7, the fol lowing directions are given for the

character of Phantastes at the head of the second scene ofAct 1 1 .

‘A swart complexion’

d fe llow , bu t quieke - ey’

d, in a white Satten doub le t of o nefashion , green Ve lvet hose ofanother ; a phantasticall hat w ith a plume offethers ofseveral ! co lours, a little short Taffata cloake , a paire of Buskins cut , drawne o ut withsundry co loured Ribands with Scarfes hung about him after all fashions, and of all

co lours. Rings , J ewe ls , a Fanne, and in every place odde complements.’

I n the woodcut headings to the Roxburghe B allads (c. both

feather and folding- fans are shown ; the frequent i l lustrat ion of these

instruments testi fying to the popularity of the fan at this epoch . Thez 1 77


first appearance of the modern fan, says Fairholt, may be seen in a

print of the early part of the seventeenth century. The long handle is

st i l l retained , and the fan,al though arranged in folds , does not appear

to be capable of being folded . The fans here referred to are those seen

in the prints by Vecel l io and earl ier engravers , smal l i n s ize, referred to

and i l lustrated i n a previous chapter. 1

It is not unti l the last decade of the sixteenth century that the

folded fan appears i n pai nted portraits , one of the earl iest be ing that ofQueen E l izabeth at Jesus College in which the Queen holds a

découpé fan of the character of that i l lustrated from C luny , facing

page 1 09, having s im ilar pointed edging.

The edges of these fans were occasional ly varied to a semi

circu lar form,a cu riously interesting example appearing in a portrai t

of E l izabeth , Lady Wentworth , by Lucas de Heere , i n which the leaf,probably of vel lum or parchment , i s e laborately découpé ; the edges

resembling a cheese—cutter in shape , the blades , apparently of ivory ,numbering seven .

The patterning often rival led the finest lace , of which i t was obvi

ously an imitat ion , lace also being used for fan mounts at th is period ,usual ly costly Flanders or Valenciennes. I n the series of prints by

Hollar of the Four S easons , 1 641 , the ve i led lady representing ‘ Summer ’

holds in her right hand an opened lace fan, the quaint legend at the foot

of the plate running as follows

‘ In Sumer when wee walke to take the ayre ,Wee thus are vayl

’

d to keep our faces faire ,And lest our beautie should be so iled with sweate

Wee with our ayrie fannes depell the b eate.

’

The marriage of Charles 1 1 . with Catherine of Braganza i n 1 662 is

another landmark in the history of the fan i n this country. The Queen1 See Ital ian fans, p. 1 09.

1 78


Two fine examples ofearly fans with subjects from class ic mythology

appeared at the Walker sale ; the first having a skin mount pai nted with

the Triumph ofAmphitrite, i n which the daughter ofNereus is seated in

a shel l drawn by dolph ins,with attendant nymphs and tritons , a figure of

Cupid , bl indfolded , hoveri ng above ; this in al lus ion to Neptune having

sent the Dolphin to intercede for him,and to bring his innamorata from

the foo t of Mount Atlas. The stick is rosewood,i n laid with rays of

mother-ofpearl . The second,from the col lection of the Duchesse de

Nemours , represent ing the marriage ofNeptune and Amphitrite, the sub

ject covering the whole field of a deep mount ; the st ick , mother- of- pearl ,carved with a pastoral scene and smal ler panels ofwarriors.

Among the earl iest Engl ish fans existing in private col lections is a

mount of the time of Charles the original stick of which is said

to have been of gold,jewelled . The pai nt ing, a copy of the ‘Triumph of

Bacchus ,’ by A. Carracci , is attributed (probably erroneously) to Peter Ol iver.

The fan was given by the Princess Anne (afterwards Queen) to her god

daughter,Sarah Robinson , daughter of S i r John Robinson , Master of the

Tower, and widow of the eldest son of S i r Humphrey Gore, on her

marriage, i n 1 696 , with John Harvey, Esq ., of Ickwellbury, Beds. I t is

an example ofa large class offan mounts produced at th is period , which

were reproduct ions of the works of the greater I tal ian masters , many of

which were, doubtless, copied by Ital ian arti sts, and either exported to

England,or acqui red in Italy by vis i tors to that country.

Two interesting marriage fans ofthe period ofCharles both painted

by the same hand , appeared at the Walker sale i n 1 882 ; the one,‘An

Ancient Marriage,’ with the bridegroom presenting ring

,the bride wearing

a floral Chaplet and attended by maidens with d istaff and flowers ; the st ick

of ivory , carved with emb lemat ic figu res,mother- of- pearl inlay, and si lver

pique. The subject of the other (Achi lles and Deidamia) referring to the

taking ofTroy ; on the reverse a view of the park at St . C loud ; the st ick,1 80

PA INTED FANS (ENGL I SH )

mother- of-pearl , carved with subjects emblemat ic of marriage . These,

doubtless , were made by the French fan-makers who had become domiciled

in England , and probably, as Mr. Robert Walker suggests,for important

court personages .

I t was upon the revocat ion of the Edict of Nantes,1 685, that the

French Huguenots being obl iged , through the persecut ion of their com

patriots,to quit thei r own country , sought refuge in England as wel l as

other countries , where they were received with open arms. Amongst these

were a number of éventaillistes , who establ ished an i ndustry , having

brought with them , not only the money they had been able to save, but

what was sti l l more valuable,thei r skil l as workers

,their habitual

d i l igence and thrift . ‘ The countries whither they went were enriched by

the arts and trades wh ich the French refugees introduced , and sti l l more by

the examples ofi ndustry , probity, and sincere piety which they exhibited in

thei r own persons.’ 1

I n 1 709 , upon the ‘ humble petition of the Ffanmakers that exercise

the Art and M istery of Ffanmaking i n London and Westminster and

Twenty Mi les round ,’

a Charter of incorporat ion was granted by Queen

Anne,provid ing that ‘

all Ffanmakers within the prescribed area, and all

persons who have served , or shal l hereafter serve , as Apprentices to the said

Art andMistery by the space ofseven years , andwho hereafter, from time to

t ime,shal l be Admitted into

, or made free of the Society, shal l be one Body

Corporate and Pol it ick in Deed and i n Name, with a common seal , with

power to hold lands , and power to sue and defend t he same. Power to

make bye- laws touch ing the good estate, Rule, and Government of the

Society,and for the Reformat ion of such abuses and decei ts as shal l be

found to be committed by them either in uttering or making bad and

deceitfu l ! works , as al so in thei r several Offices , funct ions , Mi steries , and

business touching the said Trade,

’ etc .

1 H. M. Baird, The Huguenots and the Revocation of the Edict of Nantes.

1 8 1


During the latter hal f of the seventeenth and the first hal f of the

eighteenth centuries the impo rtat ion of fans into this country from India,China, and the East was considerable

,and, together with the I tal ian

importat ion , al ready al luded to,threatened to ruin the home industry.

The fanmakers addressed themselves to Parl iament,and demanded its prob i

b ition ,with the resul t that a tax offorty shi ll ings a dozen was imposed upon

allwooden and feather- fans,and for a t ime the importation of all painted

fans was prohibited . In 1 750 there appear to have been d isputes between

the Fanmakers' Company and jou rneymen fanmakers on account of non

payment of quarterage. Two interes t ing items of i n format ion appear in

the Gentleman ’

s Magaz ine for October and December 1 870 as fol lows

‘ On the a8th ult. was try’

d a cause between the Company of Fanmakers,

incorporated by Charter for the Cit ies of London, Westminster, and twenty milesround, pla intiffs, and one Wagstaffe , defendan t , for quarterage due to them, who was

o rdered to pay it with costs.

’

‘ On the 28th ult. was a tryal in the Court of Requests, Westminster, betweenthe Company of Fanmakers, plaintiffs, and some fan - painters, defendants

,for

non -payment of quarterage , which was determined for the defendants, it appearingthat they were no t legal members of the said Company.’

The two fol lowing items will serve to show the extent of the fan

i ndustry in the middle of the eighteenth century,and the adverse condit ions

under which i t laboured .

‘ A writer in the Westminster journal for February 23, 1 75 1 (quoted

by the Gentleman’

s Magaz ine for the same year), proposes a tax upon plain

and printed fan mounts . Pai nted ones not coloured to pass free as before.A sixpenny stamp to be affixed in the midst ofa plai n or printed paper

fan mount , and a shil l ing stamp on a leather one. This may produce

a revenue of ten , twenty, o r th i rty thousand pounds per annum , encou rage

a very ingenious branch of business , and only hu rt about half- a- dozen

paultry plate printers , who are enriching themselves and starving of

hundreds .

’


L ace fo r Shoes , white But tons fo r Shirts, S ilk and Ferrit Laces, Masks and

Necklaces.‘ N .B .

—Any Merchant may be furnished with all kinds ofMilenary Wares at

Cheap Rates.’

Also we find Honour Chassereau , Fan Maker and S tat ioner, Fan

and Crown , Long Acre , London , ‘ sel l ing all sorts of Stat ionery Wares ,Wholesale, Retai l , and for Exportation .

’

The principal enactments for the regulat ion of the import trade in

fans and material s of the fan are here enumerated

By the 1 l th Geo . 1 . cap. 7, calpins for fans are rated in the Custom

House books at 75 . 6d. a dozen , and the duty paid on importat ion 1 5 . 5d.

and giths a dozen .

I f made of leather, and the leather be the most valuable part , for

every 205 . of real value upon oath , the duty is 63 .

By the 1 2 th Charles 1 1 . cap. 4, fans for women or children , of French

make, are rated in the Custom House books at £2 per dozen , and the

duty £1 , 55 . per dozen . B ut if these fans are painted, they are

prohibited to be imported,and are seiz able as painted wares . The

laws regulat ing the importat ion of embroidery are sti l l more stringent.

By the Acts Richard 1 1 1 . cap. 1 0, 3rd Edward W . cap. 3, 1 9th Henry VI I .

cap. 2 1 , 5th E l izabeth , cap. 7, 1 3th and 1 4th Charles 1 1 . cap. 1 3, 4th and

sthWill iam and Mary, cap. 1 0, oth and 1 0th Will iam 1 1 1 . cap. 9 , 1 1 th and

1 2th Wi l l iam 1 1 1 . cap. 1 1 , embroidery imported i s forfeited , the importer

l iable to£1 00, and the seller to£50 .

The various materials , as gold and si lver thread, or wire, lace fringe,

work made of copper, brass, or any other inferior metal , imported , to be

forfeited and burnt , and£1 00 paid by the importer of every parcel soimported . This under 4th Edward 1 0th Anne , cap. 26 , 1 5th George 1 1 .

cap. 20, and 22nd George 1 1 .

By the 6 th Anne , cap. 1 9, S i lks wrought or mixed with gold , s i lver,1 84


or other materials , c landest i nely imported , are forfeited , with£200 for everyimporter, and£1 00 by the receiver, sel ler

, or concealer.

I t therefore appears that either mounts , or fans that are painted , areseizable ; and that all fans or mounts embel l ished with gold or s ilver areprohibi ted under very severe penalt ies , particularly under 4th Edward

and 1 sth and 2 2nd George 1 1 . Fu rther,paper fan-mounts could not be

imported without paying a duty of 55 per cent. ; the duty on plai n fans

be i ng 271 per cent . , or,i f imported as toys , 37 per cent.

I n a table of fees taken by packers and water- s ide porters for sh ipping

and landing the goods or merchandise of strangers,second charter of

Charles 1 660,

‘Fo r a load of fans,one shi l l ing.

’

The vogue of fans became general during the first half ofthe eighteenth

century, when fan- pai nt ing was a most lucrat ive profession . The scu lptor

Nol lekens te l l s us that when his wife was a girl , her father’s int imate

friend Goupy (a wel l - known water- colour draughtsman who died i n

London in 1 763) was cons idered the most eminent of the fan- painters , and

that fan- painting was then so fash ionable that the family of‘Athenian

S tuart ’ (so cal led on account of his exquisi te studies of Athens) placed

h im as a pupi l to Goupy , conceiving that by so doing they had made

h is fortune ; and we learn from other sources that Stuart original ly gained

h is l ivel ihood by pai nting fans.

A fan-mount in the Schre iber col lection is painted with three medal l ions

of Roman views,The Arch of Constantine , The Arch ofTitus , and The

Forum , the field of the fan decorated with del icate classical grotesques

and border, s igned ‘ Jose Goupy, 1 738, N .A.

’ The views are ski lful ly

drawn in pen l ine wi th wash,i n the style of the water- colour draughtsmen

ofthi s period , i.e. a low- toned scheme of colour, a good deal of i nd ia i nk

be ing used . This signed example i s of the greatest value in determin ing

the character ofGoupy’

s work, and i t i s extremely probable that he was

responsible for a good many mounts general ly cons idered as I tal ian . I t was

2 A 1 85


from C oupy,too

,that S tuart original ly derived his i nterest i n class ic archi

tectural remains , and, doubtless al so, much ofhis ski l l i n depicting them .

Fans had,i ndeed

,at this period become an i ndispensable adjunct to

a lady’s toilet, a temporary loss of this i nstrument , upon occas ion ,caus ing much perturbat ion of spirit. An amus ing story of such a cata

strophe is told in The Gentleman’

s Magaz ine for Apri l 1 736 :

What whims , what trifles, light as air,Govern the passions ofthe fair,And the ir dear, thoughtless b osoms tear !

Madame had come to grace the bal l with her charming presence, her

powdered admirers crowding about her,while

,

Some dance , some sip the ir tea,Some chat the pleasing hours away ,And all is innocently gay ,

when , all on a sudden , Her Ladysh ip confounds the company by appearing

in furious mood,with a voice l ike thunder, every one demanding the matter.

Then the charming Cel ia, moral is i ng, said

What pity ’

tis (in great affairsWhen prudence tempers all her cares)This lady shou ld our mirth destroy ,A vixen, fo r so meer a toy

Oh how I b lush to hear and see

A nymph (who ,all the wo rld agree ,

Has acted well three parts in life ,The maid, the widow, and the wife ) ,Once mistress ofso firm a mind,Who wise ly, decently resign

’

d,

W ithout a tear, her go od oldman,

Roar like O thello—fo r a fan.

Strange ! that this engine , wont to proveThe surest instrument oflove ,Shou ld give to its illustrious dame ,

While o thers free z e , so fierce a flame !1 86


Flavia, the leas t and lightest toyCan with re lentless art employThis Fan , in meaner hands, wou ld proveAn engine of small force in love ;Y et she , with gracefu l air and mien ,

No t to be to ld, o r sagely seen,

D irects its wanton mo tions so ,

That it wounds mo re than Cupid’

s bow ;

Gives co o lness to the matchless dame ,To ev

’

ry o ther breast a flame .

’

‘ The whole turn of this ,’ exclaims our commentator, ‘ depends upon the

smal lness and s l ightness of the Instrument—the least and l ightest toy ?

Fans now in vogue are both monstrously large and monstrously strong.

To say that a fan ofeight or n ine inches long,which

,when extended in a

semi - ci rcle cou ld not admit a string of more than fou rteen or fifteen,

wounds more than Cupid’

s B ow, is somewhat extraordinary , but to ascribe

the same exce l lence to one ofour modern ventilators,whose D iagonal l ine,

when it is fu l l spread,i s longer than one of the Bowstrings of ourHoxton

Archers,is ascribing noth ing miraculous to i t from the fai r Hand that may

happen to use i t.’

Our good Ventosus had witnessed an increase from 3 Quarters of a

Foot ’ to even 2 Foot within this week past ’ ; he looks forward to a sti l l

greater improvement when the fan would extend to the same d istance as the

fashionable Hoop. This would introduce ‘ somewhat of uniformity in a

Lady’s Dress,and the age would be agreeably engaged at either meeting o r

fol lowing a fair Toast , with both her sai ls Spread , i n observing the harmony

between the Curve at T01 5 and the Curve at B ottom,

’

etc . Our i ngen ious

friend discovers other uses for such an i nstrument a lady might mount it

horizontal ly,to skreen hersel f and Fami ly agai nst all the Inclemencies of

the weather.’

Again,at the Playhouse , a good - natured lady may

‘ have i t in her

power to ob l ige a whole S ide Box by a s ingle Puff, and prevent the1 88


Beaux , as wel l as the Belles,from fainting away at an extraordinary

Pathos .

’

The possibi l i t ies of such an i n strument have,apparently

, no l imit—‘

a Blast or two from this mach ine would be sufficient to whiff away to

a convenient D istance all troublesome and worthless Danglers , who mayattempt to besiege its fortunate possessor.’

Nay, besides private benefits , one of a nat ional nature occurs to

the mind of our imaginat ive friend such fans,properly drawn

up on the Shore, might blow bach the next French invasion,or at least

keep off the Enemies’ Fleet ti l l our own had Time to come up .

’

Our author might indeed , with strict adherence to truth , have included

the beaux as well as the bel les in this fanciful defence,with a proport ionate

i ncrease in the probabil ity of victory. Amongst the effects referred to i n

the inventory of a beau, who was carried off dead upon the taking away of

his snuff- box,and remai ned unburied , his goods being taken into execution

to defray the Charge of his funeral The strong- box of the deceased ,wherein were found five bil let- doux

,a Bath sh i l l ing, a crooked S ixpence,

a si l k garter, a lock of hai r , and three brohen fans .

’ 1

I n the postscript to Addison’s letter on the subject of his ‘Fan

Academy ‘ I teach young gentlemen the whole art of gal lanting a fan .

N .B . I have reserved l ittle plai n fans , made for th is use, to avoid

expense.

At the dancing assembl ies i n London , Bath , and el sewhere, i t was

customary for the gentlemen to Select their partners by the bal lot of fans ,which were placed i n a hat , the owner of the fan drawn becoming the

partner of the gentleman who drew it . Mrs. Montagu , i n one of her

letters,refers to thi s custom .

‘ I n the afternoon I went to Lord Oxford’s

bal l at Marylebone . I t was very agreeable ; and the partners were chosen

1 Tatler, December 29, 1 709. L etter No. 1 1 3. John Hughes.1 1 Spectator , No . 1 0 2 .

1 89


by thei r fans , but with a l ittle sufercherie.

’ A lady’s fan was almost

as well known as her face, and i t was not difficul t , with a l i ttle contrivance,

to know which to draw. The same lady,writing from Bath in January

1 740, says : ‘ Last night I took to the more youthful divers ion of dancing,

and am nothing but a fan (which my partner tore) the worse for i t ; ourbeaux here may make a rent in a woman’s fan ,

but they wi l l never make

a hole in her heart .’ 1

The popu lari ty of the union of the ‘ Orange Tree with the Engl ish

Rose ’

is abundant ly testified by the number of pai nted fans issued of thissubject . A painted bridal-fan of the Princess Anne

,daughter ofGeorge

married to the Prince of Orange in 1 733, appeared at the Walker sale

i n 1 882,and sold for£26 . In this the Princess is seated , attended by

the Loves and Graces.

The prel iminaries of peace between Austria and France in 1 748

provide a subject for a fan appearing at th is same sale. The scene

represents a tented field . Maria Theresa, Queen of Hungary , joins hands

with la France,the rival banners inscribed—‘Vive Louis xv., and Vive la

Reine d’Hungrie’

; the Engl ish banner of St . George in front ; at the

back the victory of Admiral Hawke. This probably executed for an

Engl i sh part isan on the occasion of the Peace ofAix- la—Chape l le.

A characteristic fan i n the Wyatt col lection , of the early part of the

century, has a paper mount painted with merry-making scenes, persons

dancing, drinking , musicians , etc. ; the ivory stick carved afour , painted

with birds and flowers ; the guards , mother- of- pearl , carved and painted .

Mr. George Augustus Sala,i n his entertain ing preface to the fan

exhibition held at Drapers’ Hal l i n 1 878, refers to a remarkably curious

fan exhibited some twenty years earl ier, at a congress of the Archaeological

I nstitute held at Worcester. This, evidently an Engl ish production , i s

a gouache on vellum,representing either the Great Lottery of 1 71 4, o r

E. J. Climenson, E lizabeth Montagu, Queen of the B lue-stockings.

1 90


emphasised the leading l ines of the design . A characteristic fan of this

period , 1 750- 1 780 ,

has either one o r three medal l ions or cartouches , of

pastoral or other subjects, with gracefu l figures remin iscent ofGai nsborough ,

Hoppner, and other masters ofthe Engl ish school . These figure medal l ions

were usual ly supplemented by smal ler ones ofmusical or other trophies ,dainty flowers

,festoons

,and borders

,the mount being usual ly s i lk .

The sticks of these fans were narrow, the number varying from

fou rteen to S ixteen , including the panaches , the latter del icately carved

it four. The material was general ly ivory,but occasional ly mother

ofpearl . The brins were perfectly straight and flat in the shoulder

portion , but invariab ly richly decorated with embossed gold and si lver

work, this often taking the form of a cartouche extending over six or

e ight of the sticks , spangles al so being free ly used.

I t would be difficult to discover a more perfect example of this

class of fan , so pecul iarly Engl ish in type, than the one exhibited at

South Kensington in 1 870 by the Baroness Meyer de Rothschi ld . I n

this the centre medal l ion represents a lady carrying a lap- dog

,vis iting a

friend who i s seated at an embroidery frame ; on the inferior panels, a girl

playing with a dove , and a boy with a bird- cage and a tethered bird . The

mount is s i lk , with spangled borderings , the stick ivory, finely carved itfour ,decorated in variegated gold ; jewelled stud . (I l lustrated facing p .

A number offans were pai nted by Poggi , who was publ ishing engraved

fans at this period , and whose fans enjoyed a high reputat ion . We find

the fol lowing entry in Madame D’

Arblay’

s Journal for March 1 78 1

‘Tuesday.—I passed the whole day at Sir Joshua Reynolds’

s w ith Miss Palmer,who , in the mo rn ing, took me to see some beaut iful fans painted by Poggi, fromdesigns of Sir Joshua, Ange lica, West , and Cipriani, on leather. They are, indeed,mo re de lightful than can wel l be imagined ; one was bespoke by the Duchess of

Devonshire , for a present to some woman of rank in France , that was to cost£303

In the catalogue of drawings , etc.,the propertyof Mr. Poggi , sold by

1 92


(page The painted variety gave such subjects as‘The Meet ing of

Isaac and Rebecca,

’ ‘ Judith with the Head of Holofernes ,’ ‘ The Marriage

at Cana,

’ Solomon and the Queen of Sheba.

’ An early example appeared

at the Walker sale i n 1 882 , having a deep mount painted with the subject

ofAdam and Eve in the Garden of Eden ; the st ick ivory, with the si lver

piqué ornament so popu lar during the reigns of Charles Queen Anne,

and George I .

Mourning- fans are eas i ly recognisable from the i r general ly sombre

appearance . I n these, the character of the subject is apparently a matter

of smal l consequence so long as the general colour scheme is that of

a funeral card, viz . black

,white

,and si lver. In the Wyatt co l lection is an

example ofabout 1 750 pai nted in black with a pastoral scene, the st ick and

guards ivory, painted in black in imitat ion of the Chinese .

The extraordinary popu larity of Wedgwood’s jasper ware was not

without its i nfluence on the fan . The example in the possess ion of Lady

Bristol has a richly carved ivory stick with medal l ion subjects of D iana

hunting, etc. , with amori ni,terminal figures

,and fauns

,i n imitation of

blue and black jasper, the pane ls s i lver piqué . The mount is of s i lk, with

centre panel in the style of Ange l ica Kauffmann,the border and ornaments

in gold and s i lver spangles,with pai nted Wedgwood medal l ions again

introduced . (I llustrated facing p .

I t i s not difficu l t to fix its date. Wedgwood had perfected his jasper

proces s by 1 777, and i t may be taken that the fan was produced betweenthis year and 1 780.

The pai nted ivory brisé fans of the latter part of the eighteenth centuryare typical ly Engl ish , though derived from an I tal ian sou rce. They are

quite easy of identification,being invariably del icately pierced with a fret

work pattern , painted with medall ions usual ly o ne superior and two inferior,and gi lt , the gold being usual ly appl ied with the brush ; the fan openingout to the th ird of a ci rcle .

1 94


An extremely interest ing example i s decorated with three medal l ions,

the centre representing a sleeping nymph with Cupids . This formerly

belonged to Georgiana, Duchess of Devonshire,and was presented to

Queen Alexandra when Princess ofWales by the Duke of Su therland in

remembrance of his mother.

The marriage relat ions of the Prince ofWales (afterwards George IV.)

with Mrs . F itzherbert formed the subject of an ivory fan, exquis itely cut

i n fretwork , with three pai nted cartouches by Richard Co sway, the centre

representing the Prince and lady with Rel igion descending in a chariot

pointing with pleading looks to a figure of Hymen,who hovers above ; i n

the two other cartouches the pai r are figured in the characters of F idel i ty

and Constancy. This fan was exhibited at South Kensington in 1 870 ;

it appeared at the Walker sale in 1 882,when it was sold for eighteen

guineas . I n 1 889 i t was i n the possess ion of Colonel de Lancey, and i s

now i n the Hennin col lection,Bibl iotheque Nat ionale, Paris.

The fan i n the Wyatt col lection,elaborately pierced

,painted

,and gilt

,

has three medal l ions finely pai nted in the style ofCo sway, with two smal l

medal l ions of heads on the guards . The connecting ribbon is green , the

general colour effect be ing extremely good . The fan opens out to a th i rd of

a ci rcle,the length of the blades 1 0 i nches . (I l lustrated facing p.

The leaf-fan belonging to Mrs . Hungerford Pol len , of the taking of

Malta,refers to the surrender of the island to the Brit ish by General

Vaubois , the act being signed and concluded on the sth September 1 800.

The subject is on a large cartouche, occupying three- fourths of the leaf,the background representing a streamer of lace .

Du ring the period of the Napoleonic wars , a number of French

prisoners were instal led in England at Norman Cross near Peterborough ,Porchester Castle

,and Edinburgh Castle , and during thei r confinement

introduced the process of straw marquetry , which had been practi sed on

the Continent s ince the time of Henry and poss ibly earl ier. Boxes ,1 95


trays,decorat ive pictures , nick- h acks , and hand - screens were made .

Towards the end of the eighteenth century straw plait ing became vastly

fashionable, and straw was adopted for hats , ribbons , plumes , girdles , and

tassels. The fan was no t behindhand , but fol lowed the prevai l ing taste.

Several of these objects appear in the Victoria and Albert Museum ,

amongst them being two hand- screens with plaited views .

The fashion lasted wel l into the ni neteenth century, when an extens ive

manufacture was also carried on in India (Bengal) for exportat ion to Europe .

This chiefly cons i sted of hand- screens of the pear- shaped gourd type , rush

being the material employed .

THE people of the Netherlands have been

famous , from the M iddle Ages onwards, for

the Splendour of thei r costumes . We have

an account of Jane of Navarre, wife of

Phil ippe le Bel , who , upon the occas ion of

a vis it to Bruges in 1 30 1 , was so much

struck by the pomp and magnificence d is

played by the inhabitants , part icularly theOSTRICHFEATHER FOLD ING-FAN

(From the portrait grou p by Van Loon“ N ew s ladies

,that she exclaimed , ‘What do I

see l I thought I alone was Queen,but here I find them by whole

hundreds .’

The fact that fans were largely used i n the Low Countries during the

sixteenth and seventeenth centuries i s evidenced by the frequency of their

appearance in pai nted and engraved representat ion . I n the ‘ Omnium pene

Europee,Asia ,

Aphricae, atque American Gentium habitus,

’ engraved

by A. de Bru '

yn , and publ ished at Antwerp in 1 58 1 , nine years anterior to

the earl iest edition ofVecell io,the long- hand led plumed fan appears i n the

hands of a Belgian lady ; the shorter- handled tuft- fan is also carried byI 96


Of subject fans , historical or fancifu l , that i l lustrated from the col lection

of Miss Moss (Antony and C leopatra) is amongst the most charming in

its quaint naivete', and is almost certainly Dutch . The Queen is about to

dissolve the pearl,which she exhibits to the astoni shed Antony and the

servi ng-woman beside her. Cooks in the foreground prepare the dishes,while servitors carry them to the table. An old- fashioned chimney- corner

i s seen on the left, with fire- dogs and po t hanging. Music i s provided by

harpsichord,lute, and fiddle . The costume is ofa nondescript character,

Antony wearing an extraordinary plumed helmet,the Queen in ermined

cloak,both having diadems. The mount , of skin , i s part icu larly pleasant

in colour qual ity, and probably belongs to the last years of the seventeenth

century. The stick and guards of a later date. A sti l l finer example,

s imilar i n the character of the paint ing,though of a somewhat later date ,

i s the fan i l lustrated by gracious permiss ion ofH.R.H. Princess Lou ise,Duchess ofArgyll , facing page I th is was the gift of the Duke ofCoburg

to Princess Victoria (afterwards Queen) i n 1 836 , from the col lection offans

at Gotha. These two fan leaves, as also Lady Bristol’s

, may be accepted as

original product ions , i.e. the work of art ists possessing some inventive

power, rather than , as in the case of so many fan leaves, mere transcripts of

wel l- known pictures .

An extremely interesting type of mount has a large vignette,usual ly

of two figures , occupying the centre, or the whole field of the fan . I n

these fans the st icks are of carved ivory,often strongly reminiscent of

Chinese design, or having costume figures ofthe character with which we are

famil iar in early woodcuts. Two examples in the Wyatt collection re

present pastoral groups , extremely good in style,the colour scheme being

most effect ive.

I n the treatment of the mount the Dutch invariably fol lowed the

practice of I taly and France. Many were painted in the Chinese taste,some in imitation of the finer fans of China. The st icks of these were

I 98

PA INTED FAN S (DUTCH )

usual ly of pierced ivory. An excel lent example in the Wyatt col lection

shows in the centre compartment the garden of a Chinese house,with

seated figures and visitors arriving. A panel on the right represents an

astronomer making observat ions, and on the left i s a fight between men

in boats on a river. A capital effect is obtai ned in this fan by means of

l i ne work in gold , th i s being particularly effect ive over the blue water

i n the boat scene:

The fan i l lustrated facing page 1 98 is i nterest ing from the cut-work of

the mount,an imitat ion of the cut-work Ital ian fans of the seventeenth

century ; i n th is instance, the pattern is produced by means of stamping ,done before the leaf is painted . The stick and guards are extremely

effective,and are of ivory, pierced , carved , painted and gi lt .

Flemish fans are often decorated with subjects from Scripture h istory ;as Jacob and Rachel

,Abraham entertai n ing the three.Angels , scenes from

the l ives of E l ijah,Ruth , and Boaz ; these evidently for use at church . A

fine example of the end of the seventeenth century appeared at the Walker

sale i n 1 882 , and passed into the Franks col lection . This is a crowded

composition ofthe passage of the I srael i tes through the Red Sea ; the stick

of plai n ivory , the guards carved with figures of Bel lona.

The subject ofRinaldo in the Garden ofArmida also occurs on a fan

i n the Wyatt col lection,the mount ch icken skin

,the style and colouring

that ofthe later Roman school ofpaint ing. The st ick and guards of ivory,carved with scrol l -work and figures

,the date about 1 700 .

Embroidery was al so employed . An unusual example, the method

scarcely to be commended on account of the weight , is also in the Wyatt

col lection , with a natural ist ic landscape and figu res , the embroidered

work covering the whole field of the fan ,and consequently rendering it

heavy both in a ppearance and actual weight. The st ick and guards are

tortoise- Shel l,pierced and embossed with gold , probably ofa later date than

the mount , which may be put at c. 1 650 .

1 99

H ISTORY OF THE FAN

The method of painting upon ivory , with a subsequent covering of

varn ish,i f indeed i t was not anticipated by the Dutch , was practised in

Hol land concurrently with the brothers Mart in i n France . I t was an i nstance

in which a new departure or fresh invention occu rred s imultaneously in

several p laces,but whether the Dutch , I tal ians , or French were the first in

the fie ld with this method of decorat ion , i t is certain that the varnish was

perfected by Martin .

The ivory brisé fans of the Dutch were , l ike the French , smal l i n s ize ,and at the end of the seventeenth centu ry, says Redgrave, were frequently

impo rted into Paris and decorated in ‘Vernis Martin .

’ I n a most effective

type of fan,the plain cream white of the ivory forms part of the decorat ive

scheme ; three medal l ions , o ne large and two smal l , of landscapes with

figures i n the foreground , form the sole decorat ions ; the ivory background ,the green connect ing ribbon

, and the prevai l ing blues and greens of the

panels,constitute a most pleasant harmony. These fans u sual ly open

out to a l ittle more than a quarter of a ci rcle. An example appears

in the Wyatt col lection .

In another type,the plai n ivory sticks are painted in the Chinese

taste,the fans s l ightly larger than those previous ly referred to. In some ,

purely Chinese motifs are employed ; in others , a semi- natural ist ic

arrangement of flowers and festoons is associated with the Martin type of

decorat ion on the guards and lower semicircle of the fan .

In an extremely interest ing fan i n the Wyatt col lection , this principle

i s carried further by the introduction of three medal l ions of s ingle figures

a man with a cask of wine on his back, holding a lantern and goblet , and

two female figures of flower and fruit- sel lers ; the guards and lower

semici rcle i n the Chinese taste, the blades connected by a green ribbon .

Perhaps the prettiest and most characterist ic of the Du tch ivory fans

are those in which the blades are cut i n fine open work, and a border of fromI}, to 2 inches , del icately pain ted with flowers , fruit, birds , and butterfl ies.

200


Dutch sticks often present qual it ies which are remarkable and unusual ,the curious example owned by Mr. Messe l being a case in point. This ,by a device at once simple , i ngen ious , and effective , is made to resemble,when closed

,a Chinese pagoda, and i s probably an imitation of a Chinese

original . The leaf is of smal l i nterest , bei ng poorly painted in the Chinese

taste ; the costumes of the figures are , however, of app l ied straw ofvarious

colou rs.

The practice of carving the edges of the closed stick with figures , heads,or ornament

,though not confined to the Dutch , was employed by them to

perhaps a greater extent than in other countries . The curious example

in the possession of S i r L. Alma-Tadema, showing a wel l- carved head at

the handle, presents i nterest at e i ther front , s ide , or back view of the closed

fan . The leaf also of th is fan,no less than the stick, presents points of

exceptional i nterest,and represents two figures of a botanist and lady

seated in a garden laid out with fountains, etc. , a vi l la i n the distance , and

possibly refers to Linnaeus, and either the vi lla of Harmanby, abou t a

league from Upsala,which he used as a summer res idence and converted

into a l i ttle university,his pupils fol lowing him thither

,or the Queen’s

gardens at U l riksdal,near Stockholm

,arranged by the i l lustrious botanist .

The great traditional school of German design has never affected the

fan , nor is i t desirable that i t shou ld ; though a plumed fan, or, for that

matter, a folding one, designed by a Diirer wou ld indeed be a precious

possess ion .

German fans present no characteri stics pecul iar to the Teutonic race ;the type is French , tinctured perhaps by a certain heaviness of effect , lacking

the l ight , dainty touch of the French . A few,however, reach a high level

of exce l lence, and compare favourably with the best French workmanship ,notably an early example

,i l lustrated

,which appeared at the Exhibition at

South Kensi ngton in 1 870,given to H.M. Queen Victoria by H.R.H. the

Prince Consort , from the collection of fans at Gotha. I n this the mount is202

PA INTED FANS (GERMAN )

vellum painted with a pastorel le , the s tick of ivory , carved with a series

ofminiature figures under canopies, co loured , and gilt. The guards are

extremely cu rious,be i ng cyl indrical i n shape, the lower segment fluted

,

the shoulder carved with arabesques, and surmounted by smal l heads .

Another fine example (i l lustrated facing p . from the collection

ofH.R .H. the Princess Lou i se , Duchess of Argyl l , was al so the gift of

the Prince Consort to Queen Victoria, and i s decorated with a series of

medal l ions of dancing figures,etc .

A type of fan , apparently pecul iar to Germany, common during the

eighteenth centu ry,has pai nted subjects cut out and laid on lace o r net

,a

kind of painting applique, the effect extremely good . An example deco

rated with pastoral groups was exhibited at Sou th Kens i ngton by H.R .H.

Madame la Comtesse de Paris ; the st ick ivory , carved it four , with figures

laid on gold - foi l ; the fol iage , etc. , coloured . This was bought in Dresden

abou t 1 860. A fan s imi lar i n character, the date about 1 765 , was exh ibited

at Karlsruhe in 1 890 .

‘ I f the fans of the eighteenth century,

’says Mr. H . F. Holt , l ‘ yielded

in grace and elegance to those of the sixteenth , they certai nly (upon

occas ion) exceeded them in richness and magnificence, the materials used

being often costly Flanders lace,the handles splendidly ornamented and

i n laid with jewels. As the cl imax,however

,of costly magnificence,

’

con

tinues thi s writer,

‘ I wi l l conclude with a description of the fan of the

Duchess ofYork, who ,

shortly after her arrival i n England , displayed a

pleated fan entirely of diamonds , with an ivory st ick pierced and set with

d iamonds in a mosaic pattern ; the ou ts ide ones were set with a s i ngle row

of diamonds,whilst very large bri l l iants fastened the fan at the bottom .

’

The eighteenth century was i ndeed , par excellence, the era of the

fan , which was to be seen in the hands of every woman , from princess

to peasant .1journal of the Archaological Association, vol. xxvi., 1 870.

203

CHAPTE R I X

ENGRAVED FANS OF THE SEVENTEENTH AND

E IGHTEENTH CENTUR IES . PART I

THE practice of engraving fans, begun tentat ively in

I taly by Agost ino Carracci i n the latter hal f of the

s ixteenth centu ry,and i n France by Cal lot somewhat

later,did not become general unti l the close of the

century that fol lowed , al though two names—those of

Abraham Bosse and N icholas Loire—stand out pro

minently during th is interval .

The engraving of Carracci referred to in an early

chapter of this work,and i l lustrated oppos ite

,must be

regarded as merely a des ign for a fan ,serving no other

purpose apparently, in its engraved form , than as a record of a

type of fan now practical ly obsolete , and ofwhich no examples in

their complete or original state remain to us .

The earl iest engraved fans take the form of the hand- screens

in general use i n I taly and elsewhere at th is period . Of these,the

engraving known as‘ l

’

éventail de Cal lot,’ much sought after by

iconophil ists , was produced in the year 1 6 1 9, and is one of the

most esteemed plates of the master. The subject is a fete or carn ival

on the Arno , given at Florence on the 25th of Ju ly of that year by the

Corporat ions of Weavers and Dyers , the whole subject being enclosed

in a Characterist ic cartouche , on the lower portion of which the name‘

Jacomo Cal lot fec.’

appears .

204


logical subjects—the first being the bi rth of Adonis , Venus and Adonis ,and the death of Adonis ; the second—the Judgment of Paris , a Cupid

drawing his bow,and a Cupid with a crown ; the third—the four ages :

of gold,si lver

,bronze

,and i ron .

No examples of these engravings appear in the British Museum

col lection . A print of the Judgment of Pari s is in the Bibl iotheque

Nationale,but permiss ion to reproduce it could not be obtained .

The title- page of N icholas Loire’s work , Desseins de grands Eventails ,

appears i n the Schreiber col lection , together with six engravings from the

work . This t itle- page , by far the most characterist ic design of the series,

takes the form of a folding- fan,fu l l s ize. I ts subject is an arabesque

,

composed of a drol l with cap and bel ls playing a gu itar, and two fantastic

dancing figures on an ornamental festooned platform supported by the

wings of female terminal s ; cornucopia, amorini , vases and flowers serve

to complete the composit ion . I t is inscribed : D ivers Desseins de grands

Eventails, Ecrans , et autres Ornamens , I nventés et Graves par N icholas

Loire, A Paris chez Jombert riie Dauphin , No . and s igned ‘ Loire

fecit .’

The designs , which measure eight inches , are evidently intended to

form the central subjects of fans,to be completed and colou red by hand .

They include ‘ The Judgment of Paris,

’ enclosed in a cartouche with

Cupids , fru i t , etc. ; an eastern goddess,seated under a canopy

,the

drapery ofwhich is sustai ned by two serving-men ; Isaac and Rebekah ;The finding ofMoses ; Venus ; and Eu ropa.

The topical fan , having reference to royal and distinguished personages,or recording publ ic events , was entirely the product of the eighteenth

centu ry. I t was , broad ly speaking, born with the century, and died with

it . During th is period , the engraved fan became a purveyor of history,

a kind of running commentary on the affai rs of the hour. I t was the

fan of the people—the poor relat ion of the more aristocratic pai nted fan.

206

ENGRAVED FANS

‘ I ll drawn , roughly modelled , and often vi le ly bedaubed,

’

says Henri

Bouchot in h is entertai n ing H istory on Fans,

’ 1 ‘ its genesi s is not hard

to determine ; i ts fathers were Cal lot andAbraham Bosse, and i ts mothers

the coquettes of the grand siecle .

’ We shal l , therefore , l ightly, though

perhaps somewhat too swiftly,traverse the fascinat ing period above indi

cated, with this sprightly annotator for gu ide,which finds amusement i n

Malbrouk’

and hi s mock burial , fol lows S tanislaus into his enforced retire

ment in Alsace,al ternately sympath ises with and mocks at the woes ofthe

unfortunate Louis and his family,with apparent careless nonchalance

records the chief scenes of the reign of terror,celebrates the amazing

triumphs , and witnesses the ultimate defeat of Napoleon .

Naval and mil i tary events,for reasons which wil l be sufficiently

obvious, play a comparat ively unimportant part i n French fan decorat ion .

‘Malbrouk’

(Marlborough) i s , however, lampooned in three scenes from

the popular song of‘Malbrouk,

’ said to have been composed on the n ight

after the battle of Malplaquet,September 1 1 , 1 709 , and a plagiarism

ofa Huguenot song on the death ofthe Duc de Gu ise ,2 written by Theodore

de Beze and publ ished by the Abbe de la Place i n his col lection of

fragments,the first verse ofwhich runs as followS '

Qui veut ou'

i'r chanson ? (bis)

C’

est du Grand Due de Guise ;Et bon bon bon b on ,

Di dan di dan don .

C’

est do Grand duc de Gu iseQui est mort et enterre.

’

‘Malbrouk’ provided the subject of several fans , the most popular

versions giving three vignettes. I n the centre hi s tomb inscribed ‘

Ci Git

Malbrouk,

’ guarded by four soldiers. Below are portions of the thi rteenth

and fourteenth verses

1 Art and L etters, Jan . 1 888.

1 1 Honoré de Balzac (Sur Catherine de Medicis).207


‘ A l’entour de sa tombe

Romarin l’on planta.

’

Sur la plus hau te brancheL e rossigno l chanta.

’

On the left , his departu re, Madame taking an affectionate leave ; below

Malbrouk s’

en va- t - en guerre.

’

On the right, the tower, Madame with telescope,page bringing news

ofMalbrouk’

s death ; below, a portion of fourth verse :

Madame asa tour monte

Si haut qu’e lle peut monter.’

On the back of the fan are n ineteen verses of the song with music,and the refrai n : ‘Mi ron , ton- ton- ton-miron .

’

An example appears i n M iss Moss’s col lection , with the reverse only

engraved , the obverse pai nted in gouache o n skin,the st ick ivory, pierced

and carved.

Several versions of the engraved fan are extant—one with similar

arrangements to that above described,and the H istoi re de Malb rouk in

th irty- one/verses on the back. A second has

,for centre, Malbrouk

’

s body

carried by soldiers ; on the left, Madame on tower, page bringing news ,both in tears ; on the right the tomb

,ten verses from the second part

of the song, fi l l ing the field of the fan . On a th ird, i n the centre,Malbrouk taking leave ; on the left

,page bringing news of his death ;

onthe right , the tomb ; on the reverse , the verses of the song, with music,and the refrain

Miron ton- ton - ton -mirontaine.

’

The fan of ‘ L a Coquette,

’ with those of ‘ la Belle Chanteuse ’

and

‘

le Galant ,’

and portraits of Bahet the flower- girl (a popu lar character of

the period) , were issued by the dealer C repy and sold by the score to the

frequenters of the theatre.208


A pictorial rebus (referring to‘ l

'

éventail a game board ,

a harlequ in,and a bi l let- doux (N

’

oubliez pas le porteur) complete the

composit ion ; the who le be ing an i nstance of the Parisian’s i nsat iab le

love of badinage . Printed in Paris i n 1 734.

In L e bal des N ations , the several countries are figured as pretty

women at a costume bal l ; this represent ing the fan’

s comment on the

declarat ion of war with the Emperor Charles V I . Each of the actors of

the piece del ivers a song, the words of which are printed round the top

of the fan . L a France sings

‘

Je suis certaineDe b ien cab rio ler,Rien ne me gene ,Je veu x me signaler.Je connais mes appasSur tout j

’

aurai lo pas ,

D'

un b eau boque t parée ,Que Charles detacha

De sa livrée.

’

L a France is fol lowed by L ’

Espagne, L a Sardaigne, L’

Italie , L’

Alle

magne,L a Saxe

, L a Russie, L a Pologne , L a Turqu ie , L a Hollande

and L’

Angleterre . The air, (le Bel Age), printed on the fan .

Events fai led to bear out the fan’s predictions . The news of the

defeat of Stanislaus was carefu l ly concealed from Queen Marie, the king

caus ing a special copy of the Gaz ette to be printed announcing her

father’s successes .

The queen , however, remained in ignorance but a short while ; the

fan , the popu lar newspaper of the period , very speedi ly announced‘ Capture of Dantz ic by the Russians , unconditional surrender.

’ The

picture— Stanislaus escaping through a gateway with his band of

mounted fol lowers .

‘Malb rouk’ crops up agai n towards the middle of the century ; the

2 1 0

ENGRAVED FANS

fol ly of ‘ Pantins ’ 1 and Bilboquets had been superseded by le ‘ fureur

de to b e i n turn driven away by ‘Malb rouk.

’ ‘ Une Fol ie

chasse l ’autre ’ exhibits ‘Malbrouk’ ful ly equ ipped with sword and

buckler,i ssu ing from a tent held open by a fool in cap and motley,

driving away figures of a woman playing bilboquet,a dancing abbé with

Pantin , a cabaret- keeper, and a man with flag and lantern .

To the air of ‘ Chacun a son Tou r,’ the fan sings '

U n rien suffit pour nous séduireL a nouvauté par son attraitNous enflame jusqu

’

au delireNous fait en rire on Q. tout faitEt chez no tre nat ion vo lageMalbrouk est le H éros du jour.

Chacun it son TourC

’

est notre usageChacun a son tour.

Au B ilboquet Pantin succede

Pantin fuit devant RamponeauI’

Elégant Ramponeau ne cede

Que pour faire place A Jano tL a Fo lie qui nous guide a tout ageAmene Malbo urg en ce jour.

Chacun a‘

son tour, etc.

’

We have also a sat i re on the separat ion ofAmerica from England ,who is represented as a cow

,with America i n the act of sawing off i ts

horns ; Hol land mi lking it ; Spai n wai t ing to receive the mi lk. A l ion

representing England has lost its right paw. To the left ‘ Jacques Rosbi f ’

and a companion in despai ring att itudes,with the deed of separat ion and

a bale of goods label led ‘ TEE .

’ The whole scene i s being witnessed

1 In French salons, about the year 1 728, the fashion prevai led of ‘ L es Pantins Méchaniques,’ thateve ry one carried and worked by the aid of strings while chatting of one thing and another. L acroix, X VI I IStilele, France, 1 700-87, p. 507.

From 1 748 to 1 750 it was in high vogue among the beau monde as a diverting plaything for gentlemenand ladies. Wright, Caricature History of the Georges, note, p. 25 1 .

2 1 1


by a group of figures representing the Powers of Europe , with a paper

inscribed ‘ Epoque fatale. 4 Ju i l let , 1 776 , le 1 3 Mar. On the

reverse the ‘ Expl icat ion de l’embleme ’

as

1 . L a Vache le Lion sont le symbo le de l’Angle terre .

’

2 . L a Corne qu’

on a sc iée ‘

a la Vache , la Patte qu ’

o n a coupée au Lion, 81la tranquillité de ces An imau x dés ignent la fo ib lesse l

’

épuisement

actue ls de la Nat ion , ’ e tc .

’

The capture of Granada by the French fleet under the Comte

d'

Estaing,i n 1 799, is commemorated , the fan i l lustrat ing the sea-fight

between French and Engl ish ships.

The fortunes of the i l l- fated Louis Seize and his beau ti fu l consort

are followed to the final tragedy of 1 793 with its momentous conse

quences. We have seen how the good citizens of D ieppe ce lebrated the

joyfu l occasion of the bi rth of the dauphin by the gift to the queen

mother of a precious fan of carved ivory. On the more humble printed

fan ,Immortal ity, amid a great concourse of people, with fireworks and

i l luminat ions in the background,presents the royal infant on a cushion ,

to kneel ing,admiring

, and devoted France, who offers a basket of hearts .

The inscription , ‘ Le Dauphin présenté par l’

immortalité,la France sais ie

d’

admiration offre pou r hommage a son Prince chéri les coeurs unis et

respectueux de ses fideles sujets.’

Agai n the fan s ings the birth of the dauphin ; in this the royal

in fant, i n leading- strings , advances to meet the king, his father, who i s

standing near. Above , a geniu s floats in the air, with a wreath and two

shields of arms bearing fleurs - de- lys and two dolphins . On either s ideare verses entitled ‘

Chanson sur la Naissance du Dauphin . Ai r,de la

Pantoufle .

’

1 The subject of America is returned to later, when in the ‘ George Washington ’ fan we havein the centre a portrait of Wash ington, and, ranged on e ither side, portraits of the succeeding tenpresidents of the U n ited States. This, a l ithograph, with painted decorat ions in si lver, bearing the

insc ription, ‘Vagneur-Dupre. No. 530 . L ith. de L emercier.’

2 1 2


demon, or a visi tant from Mars.’ The machine , which had no occupant ,

King Lou is having objected to a man risking his neck, only escaped

destruct ion by the interference of the parish priest . Here, surely, was

an opportunity for the fan,by which

, as a matter of fact , i t was no t slow

in profiting. Bal loon- fans became at once the mode , and ‘ L a Mode ’

appropriated the bal loon ; hats ‘au bal lon ,

’ everyth ing—dresses , ribbons ,even hai r

,

‘au bal lon .

’

On December I st of the same year, MM.

”

Charles and Robert made

the i r ascent i n the gardens of the Tuileries. We therefore have a fan

representing the departure of ‘ les deux intrépides,’ with a group of spec

tators,

among whom are two members of the Royal House, ‘ des

seigneurs quantité.

’ On the reverse,two l ines ofmusic and five stanzas

of verse, ofwhich the first runs as fol lows

De l’

aerostatique spherefrangois admirez la splandeur

voyez sa fo rme circu lairecoup seé par un Equateurensélevant e lle présentele signe qui nous attendritc’

est la maiso n interessante (bis)des gemeaux quelle nous ravit .’

There was an echo in England. An i llustrat ion of the event forms

the centre subject of a fan i n the Schreiber col lection. On the left,Biaggini

’

s A i r Bal loon is about to ascend ; and on the right , The Fal l of

ye Bal loon , the confused mass being viewed with curios ity by three rustics .

In the fol lowing March, M. Blanchard made his ascent in hi s

bal loon with four rudders ; the event du ly recorded on a fan inscribed‘

L a Phisico Mécanique Ou le Vaisseau Volant de Mr. Blanchard.

’

The song of fou r s tanzas,

‘ Oh parbleu voici du plaisant. Vive la

Phisique ,’ etc.

2 I4

ENGRAVED FANS

There were pai nted as wel l as engraved bal loon- fans—with a centre

medal l ion of two fai r damsels viewing ‘

sa forme circu lai re,

’

a smal ler

medal l ion of a bal loon o n either S ide , the field of the fan i n the gl itter

of stars,spangles

,and dotted ornaments .

Thus Carlyle, with his characterist ic double entente , philosophis ing

on these events : ‘ Beau t i fu l i nvention ; mounting heavenward , so beauti

fu l ly,—so unguidably l Emblem ofmuch

,and of our Age of Hope i tsel f ;

which shal l mount , specifically- l ight

,majest ical ly i n thi s same manner ;

and hover,—tumbl ing whither Fate wi l l . Well if i t do no t,

- Pilatre- l ike,

explode ; and demount all the more tragical ly l—So , rid ing on windbags,wil l men scale the Empyrean .

’

The comments of the Paris ian wits were of a different order to the

caust ic sati re of Carlyle : i n the engraving by Sargent, which appeared in

all the glory of printed colour,a learned but absent-minded physicist

,

i nstead of i nflating his s i lken globes,i nflates himself I with the result

that he d i sappeared through the window.

‘Mon pauvre oncle,

’ exclaims

a young man who exhibits the extreme of grief and despai r. A fan leaf

a l’

oncle’

appears i n the Bibl iotheque Nat ionale, having been removed

from a mount . Wright, Caricature History of the Georges , note, p . 545,

says : ‘ The ascents in France duri ng the year 1 784 were very numerous ,and excited interest even in England .

’

Horace Walpole, writing from London on May 7 of the fol lowing

year, says : ‘ Of conversat ion , the chief topic i s air- bal loons ; a French

girl , daughter of a dancer, has made a voyage into the clouds , and was

i n danger of fal l ing to earth,and being ship wreched. Three more

bal loons sai l to-day ; i n short , we shal l have a prodigious navy in the air,

and then what s ignifies having lost the empire of the ocean ? ’

Beaumarchais’ comedy,L e Mariage de Figaro , upon its production

in Paris i n 1 784, immediately became the rage , and enjoyed its successful

run of a‘ hundred nights .’ I ts s tory suppl ied the ‘ book ’

for Mozart’s2 1 5


opera, which had been ‘Commanded ’ by the Emperor (Joseph of

Germany. This work , first produced in Vienna at the time when I tal ian

oppos it ion to Ge rman opera as represented by Gluck and Mozart waxed

fiercest , fai led , be ing so indifl'

erently performed under the direction of

Sal ieri , the head of the oppos i ng faction . At Prague, however, where it

was subsequently given , and which was ou ts ide the influence of Sal ieri,

i t was completely successful,a ci rcumstance which afforded Mozart so

much sat isfaction that he declared that he would write an opera for the

good people of Prague , and thereupon produced Don Giovanni !

While the I tal ian oppos it ion to Mozart’s mus ic was so pronounced,

the feel ing of antagonism was by no means reciprocated by the great

Salzburg composer, who wrote a number of variations to ai rs by Sarti,

Pais iel lo, and Sal ieri . The beautifu l series of variat ions on the air ‘Mio

Caro Adone ’ from Sal ieri ’s opera, L a fiera ai Venez ia , was composed

in 1 773, the opera appearing in Vienna a year previously.

Two Figaro fans appear in the Schre iber col lection,British Museum ,

the one with a s ingle medal l ion in the centre , with scene from the play,and fou r stanzas of verse commencing ‘ Jadis on voioit Thalie ,

’ etc the

other with a centre medal l ion and two smal ler ones,and thirteen stanzas

of verse commencing ‘ Coeurs sens ibles,coeu rs fidelles

,

’ etc., with mus ic .

I nscribed at the top Vaudevi l le du Mariage de F igaro .

’ Beaumarchai s

col laborated with Sal ieri i n the opera of Tarare , first produced in Paris

in 1 787. He claimed to have led the way to the Revolut ion by this

piece,which formed the subject of several fans .

Three scenes from Gretry’s opera of Richard, Coeur de L ion , first

produced in 1 784, and performed the fol lowing year before the king and

queen at Fontai nebleau , appear o n a fan,the costumes being ofthe period of

the production of the opera,the ladies wearing the hooped petticoat, with

long streamers from their heads . On the reverse,two songs commencing

‘

Que le Su l tan Saladin ,’

and L a Danse n’est pas cc que j’

aime .

’ The song2 1 6


prince que la France admire’

ate his frugal meal ofbread and cheese . With

his natural bonhomie he proposed himself as godfather, and on ly at the

signing of the register he d isclosed his ident ity by exhibiting his ‘ cordon

bleu .

’

A fan i n the Schreiber col lection shows the interior of a parish church ,

with the prince standing as sponsor. The inscription , ‘ Couplets dédiés a

S .A .S . Monseigneu r le Duc d’o rleans .

’

Adm irons son nob le courage ,Son Joque t se trouve en danger,Ce Héros se jette a la nage ,R ien ne lui paroit étranger.

E xaltons le Prince fait hommeCélébrons ses nob les vertus

Et qu’

en tous lieu x on le renome

Comme on a renofiié T itus.fin.

’

The assembly of notables is duly recorded . We see majesty en

throned with a royal prince on either s ide ; Mons ieur de Calonne reads

his speech , a clerk seated at the table. Inscribed at the top of the fan ,

L’

Assemblée des Notables commencée le 2 2 Février On the reverse,the king’s orat ion , with the extract from that of Mons ieur Calonne , together

with a song entitled ‘ Ronde J oieuse a l’

Occasion de l’

Assemblée des

Notables .’ 1

Carlyle thus refers to the popular comments upon this event The

gaping populace gapes over Wood- cuts or Copper- cuts where,for example

,

a Rust ic is represented convoking the Poultry of his barnyard , with this

1 Seve ral versions of the ab ove sub ject appear : 1 . King seated under canopy, three notab les and

three eccles ias t ics on e ither s ide, M. Calonne reading speech . 2 . King and his two b rothers under canopy,four nob les and four ecclesiast ics on e ither side . 3. A much more elaborate performance, k ing and two

royal princes under canopy ; four nob les and six ecclesiast ics, M. Calonne, and clerk at tab le ; a court ier oneach side of the compos ition.

2 1 8

ENGRAVED FANS

open ing address : Dear animal s , I have assembled you to advise me what

sauce I shal l dress you with to which a Cock responding,

“We don’t want

to be eaten , is checked by “ Y ou wander from the point (Vous vous écartez

de la question). Laughter and logic ; bal lad - singer,pamphleteer ; epigram

and caricature : what wind of publ ic opinion i s th is—as i f the Cave of the

Winds were bursting loose l’

O f the events which immediately preceded and culminated i n that of

the 1 4th July , the fan says l ittle, except i n reference to that dread disease‘ consumption of the purse .’ The people have thei r S tates- General—the

king is represented as leaning upon a bust of Necker,and hold ing a cor

nucopia from which issues gold ; i nscribed above,L

’

Heureuse Union des

trois Etats Généraux sous le bon plais i r de Lou i s Auguste X VI . par les

soins de Mr. Necker en

On another fan (bri sé) the three orders of clergé,noblesse , and Tiers

Etat appear represented by s ingle figu res i n medal l ions .

Of two fans having reference to the enforcement of publ ic contribu

t ions by Necker,one figures Louis and the dauphin standing before an

open box, with a Necker,who has developed wings

,opening the box and

abstracting a bag of money : other matters,less significant , appear. On

the other fan is figured a lady and gentleman i n a carriage driving

through a wood,with a parce l under the carriage inscribed Contribut ions ;

an officer with a woman riding on the oppos i te s ide of the fan ,the two

meeting at the junction of the two roads .

And so we reach the lu rid I4 Ju i l let . To describe th is s iege of the

Bast i l le passes the talent of mortal s ; how much more that of the frai l

fan l—Of the actual storming,therefore

,not a word ; we are given instead

a view of the fortress with the whi te flag float ing from the tu rret.

M. de L aunay’

s house is i n flames,he himsel f is led between Jamé and

the clock-maker, Hemert , under arrest. Another fan gives us a view of

the Basti l le with the drawbridge down,De Launay wringing his hands ,

2 1 9


bemoaning his fate, led prisoner. On the right of the fan are sold iers

headed by El ie with the paper of capitu lat ion on the end of his sword ,two Inval ides imploring mercy.

A th ird fan shows,i n a large medal l ion , a V iew of the battlements ,

with an unfortunate soldier being flung from the height , as De Launay

himself had been threatened . I n the foreground De Launay dragged in

custody. The fan (brisé) strung with a tricolour ribbon .

I n a fourth fan the Basti l le i s relegated to the distance , a company

of soldiers drawn up at i ts gates . I n the foreground Liberty is seated

with cap i n one hand, and i n the other a scrol l label led Epoque de la

Liberté.’ Above , a winged figure blowing a trumpet, on the drapery of

which i s inscribed ‘ Prise a la Basti le le 1 4 Juilet i n the right

hand a cockade : the subject forming a medal l ion mounted in the centre

of an ivory fan cut i n fretwork and decorated with trophies , etc. , i n

gold and colour. An example of this fan was sold at the Walker sale

i n 1 882 .

‘ Souvenir de la Basti l le ’ gives a View of the bu i ld ing with

neighbouring street . ‘ Imp et Fabrique d’

Eventails Rabiet . J . Ganne

Sucer 63 Boul"Ménilmontant , Paris . Degovrnay, Editeu r. 28 Rue

Mazarine, Paris.’ On the back—fleurs de lys and Vive le Roy, 1 789.

A s ixth shows the conquerors issu ing from the drawbridge , De Launay

and ‘ Le l ieutenant ’ i n great d istress ; on the reverse the fan s ings‘L

’Epoque de la Liberté’

‘ V ive Vive la liberté,C

’

est le cri de toute la France ,L e Parisien est en galte,Il va combattre , en assurance

L e bonheur désiré longtemsNe se vo it plus en équilibre ,Tous les coeurs se trbuvent contens,

Vive le ro i d’

un peuple libre.

2 20


wagon on which is i nscribed , ‘

J’

ai perdu mes bénéfices,R ien n

’

égale ma

dou leu r. A monk,also smoking

,i s rid ing on the horse and flourishing a

flag i nscribed , ‘ Guidon .

’ ‘Mess ieurs of the C lergy, you have to be

shaved ; i f you wriggle too much , you will get cut .

’ 1

I n the ‘ Désespoi r des Pensionnai res,’

we are introduced to a group

of figures who are bewai l ing their loss ; a messenger in cockaded hat is

del ivering the not ices.

Cockades , i ndeed , were at th is period ‘ de rigueur ’—the ladies wore

them in front of their head- dresses—wore gauze bonnets trimmed on

either s ide with them ,a great bow of tricoloured streamers at the back .

S tripes everywhere—stripes and cockades, cockades and stripes—stripes

o n the dresses , s l ippers, and even the huge muffs of the women ; stripes

on the waistcoats, stockings,and gloves of the men . The patriotic

Frenchmen and Frenchwomen of 1 789 were the very incarnation of the

tricolour ; i t was the symbol of the gospe l of the Revolut ion,Blue of

Liberty, White of Equal i ty,Red of Fraternity.

2

The Fete de la Federation,1 790, is commemorated o n a fan giving in

the centre a View of the al tar i n the Champ de Mars,with Lafayette

waving the tricolou r, the fan incribed ‘ Le Serment fai t sur l’Autel de la

Patrie le 1 4 Juil let 1 790, la voix de Mr. la Fayette , Major de la Confedera

t ion s’est fai t entendre au Champ de Mars . On either side are busts of

King Louis and Lafayette,i nscribed ‘ Lou is X V I .

,Roi des Frangais né a

Versai l les le 23 Aoust‘M . De L a Fayette Corn . Gene. de la Garde

Nat . Paris ienne.’

On another fan the altar, with surrounding booths , arches , etc.,and

groups of soldiers dancing. On either side eight verses of a poem ,com

mencing,

‘Voila la Fete de la Fédérat ion ,’ etc. , to the air ‘ Vive Henri 1 v .

’s

1 D ictionnaire des Hommes Marquans, 1 1 . p. 5 1 9, quoted by Carlyle.

2 R ichard Heath, ‘ Politics in Dress, ’ Woman’s World, June 1 889.

3 In the Musée du L ouvre is a remarkab le drawing of the great arch, with a vast concourse of people, byJean L ou is P rieur, illustratedin L ady D ilke’s work,FrenchEngravers andD raughtsmen oftheE ighteenthCentury .

222

ENGRAVED FANS

The ‘ Day of Poignards ’

(February 28 , 1 79 1 ) approaches , and friends

of Royal ty (les Cheval iers de poignard) ral ly round the son of s ixty kings .

We all know the issue : Cheval iers retreated with greater expedition

than they came—flung ignominiously downstai rs into the darknessof the Tui leries garden , accelerated by ignominious shovings from the

sentries—‘ spurnings a fosteriori, not to be named .

’ 1 Our veraciou s

chronicler the fan provides us with a representat ion of the scene . The

i nscription,

‘Arestation e Désarmement de gens au suspects Ch‘“ des

thuileries le 28 Fer1 79 1 2. I O

” du soi r,’ with six verses ofa revolutionary

song, enti tled, ‘ L a Soiree des Poignards ,’ the refrai n

Quo i l’hab it b leu vous fait peurValeureu x Aristo crates,Quo i l’hab it b leu vous fait peurBrave ci-devant Seigneur.’

The event of the 2nd of Apri l could not pass without the fan’s

comment ; we therefore have a medal l ion profi le portrai t of M i rabeau,

i nscribed,

‘ Honoré Gabriel Riquetti, C“ de M irabeau . Mort le 2 Avri l

1 79 1 3

A second M i rabeau fan,i n the possess ion of M . Phil ippe de Sai nt

A lbin,has i n the centre a portrai t bust , above wh ich is i nscribed

,

‘ Honoré Gabriel Riquetti Mirabeau ,

’

and ‘

J e combattrai les factieux de

tous les partis ’ ; on either s ide of the portrai t two medal l ions , the

subjects including Mi rabeau as tribune, and the great orator on his

deathbed .

Assignat- fans,1 79 1 , refer to the difliculties with respect to paper

money, the woes of the holders of rentes,when paper-money was not

worth one- tenth of i ts face value, and draw a contrast between the D ives

of the past and the financier of the present . On the obverse , a medley of

ass ignats of 1 79 1 - 2 ; on the reverse , the two Jean s, the one i n ragged1 Carlyle .


clothing and poor surroundings , weeping over his assignats, crying, ‘ Ils

sont tombés ,’

and

‘ Vous etes Etonnés , je m’

en apperqois BienQu

’

avec do papier je ne possede R ien ’

;

the other, ‘ Jean qui Ri t,’

the specu lator, who exchanges one lou is d ’or

for l ivres i n ass ignats,i s seated at a table with a large coffer and

numerous bags fi l led with gold . He points to his brother ‘ Jean qui

Pleure ’ and says, ‘ I l se désole,’

and‘A de certaines gens , je ne me suis

point fié. Ce Résultat pour moi , vaut mieux que du papier.’

On several assignat- fans the money card , the seven of diamonds,is

introduced,its significance being sufficiently obvious .

And royal ty in its gi lded saloon , what has become of i t ? How fares

i t with the poor Lou is and his devoted family ? That fl ight from the Rue

de l’Echelle i n the darkness of the night of the 20th June 1 79 1 , when the

lady shaded in broad gypsy- hat, tapped , from sheer playfu lness , with her

badine l ight l ittle magic rod such as the Beaut i fu l then wore—the

whee l of Lafayette’s carriage as i t rol led past ’ ; this goes unrecorded,as

also the i ncident in the vi l lage of Sainte-Menehou ld , when Post-master

Drouet recognises a famil iar face in the lady with the s louched gypsy- hat

and the Grosse—Tete ’ i n round hat and peruke. Qu ick,S ieur Gu i l laume

,

C lerk of the D i rectoire, bring me a new Assignat l Drouet compares the

Paper-money Picture with the Gross Head in round hat there : by Day and

Night l you might say this one was an attempted engraving of the other.’ 1

And so event succeeds event—over the final tragedy of the 2 1 st

January 1 793, no less than over the more piteous scene of October 1 6,

the fan discreetly draws a veil .

Several fans have for their subject the Testament du Louis X VI .,and

give medal l ion portraits of the king and various members of his family,with the symbol of immortal ity ; the inscription , ‘ Testament De Louis

1 Carlyle.


Marat and L epelletier ; the inscription , Marat,’

-‘ Liberté Unité ,

’ ‘ Peletier.’

U lt imately the event itself figu red as the principal subject of a fan,

Charlotte being represented as carrying a dagger in one hand and a fan

i n the other.

The debate on the 4th February 1 794 on the abol ition of the slave

trade forms the subject of a fan (i l lustrated). Three years previously,Gregoire and Robespierre had passed an act whereby coloured persons

born of free parents were placed on an equal ity with whites . The

fan-makers,ever ready to seize upon a popu lar i ncident, promptly issued

a fan with five figures,representing ‘ France

,

’ ‘Mercu ry,’ ‘The Colonies ,

’

‘ England,

’

and the ‘ United S tates,

’ hold ing scrol ls with inscriptions

in Engl ish,herald ic devices on either s ide. L a France, with shield

bearing staff of Unity and cap of Liberty,i s saying, ‘We find true

happiness but by making others happy. Mercury, holding fetters, says ,‘ Don’t go to deceive me no r bel ieve you wil l escape. I extend my

power over Sea and Land,and my vengeance wi l l find you even at the

end ofthe World .

’ ‘ The Colonies ,’ dressed after the fashion ofMarmontel

’

s

I ncas , exclaims , ‘Charming hope of Liberty, come and comfort my

agitated heart .’ England,crowned

,with a leopard crouching at her feet ,

and holding ‘ The Colonies ’ by the hand,says , ‘ She offers me Guineas .’

The United States is represented by a black woman, plumed , with a

sheath of arrows over her shoulder ; the inscription , ‘ I ndependence and

trade all over the globe .’ The etching is signed ‘Martin .

’

Cabrio lets had appeared much earl ier,and had continued in favour.

These formed the subject of printed as wel l as pai nted fans. 1 From

Cabriolets i t is but a step to Incroyables, who had their incredible cabriolets

as well as their racehorses with sl im legs and tai ls cropped almost to

the root, the fan-makers i ndulging the publ ic in thei r new- found Anglo

mania. I n these curious prints, a number of which were produced by

1 See page 1 64.

226

ENGRAVED FAN S

Carl Vernet , everything is incredible—the wheels of the ‘ cabs ’ i ncredibly

thin , the seats incred ibly high , the figures of both sexes incredibly tal l and

attenuated .

‘ Cabriolets,’

says Mercier, ‘

are made l ighter every day to

give increased speed in the race for wealth . There are now three

th ings to admire in a fashionable “cab - the s i lver body

,the wheels

, and

the horse ; the whole thing, i ncluding the owner and his groom ,ought

no t to weigh more than a good- sized portmanteau.

’

Incred ibi l i ty became the order of the day. The fashionables , who

abhorred the Revolu tion , adopted an i ncred ible method of demonstrat ing

their sentiments ; hai r was cut incredibly short beh ind , as i t had been

cut for the vict ims of the scaffold during the reign of terror. Fu rther

to recal l the scene , they let i t fal l as at the moment of execution over

their eyes,this being the style a la victime. A balle des victimes was

given by its votaries , to which no woman was admitted who had not

had a relat ive guil lotined .

1

Once agai n ass ignat- fans made thei r appearance : upon the death

of the Republ ic and the bi rth of the D i rectoire , when the pendu lum of

publ ic opin ion was once more swinging in the di rection of Royal ism ,

the assignats being arranged so that the king’s head appeared in the

centre of the fan . These , with defiant glances , were fluttered under the

noses of the pol ice by the fa ir aristocrats of the Palai s Egal i té.2

Then came the period of the worship of Nature and the triumph of

Rous seau , with the cry of ‘ Long l ive the author ofEmile, L e Contrat

Social, L a N ouvelle He’

loise ! Jean- Jacques being glorified in a triumphal

car drawn by two bullocks garlanded with roses .3

During the temporary lul l by which every storm is fol lowed , the

preternatural ly high-waisted ladies banished ennui by devotion to the Love

God ; and we have many ‘Ruses de l

’

A mour ,’ ‘ Triom

jbhes de l’

A mour,

1 R ichard Heath, ‘ Pol it ics in Dress,’ Woman’s World, June 1 889.

‘1 Henri Bouchot. 3 Henri Bouchot.227


etc . Cagl iostro had some years previously departed pour ‘l’

I sle a’e Malthe.

’

Marat , Danton , Robespierre , had been several ly removed from the sceneof thei r activities : the fan-makers were at the point of despai r at theabsence of a new sensat ion , when—enter le petit Caporal /I /

Among the myriad fans recording the mu lti farious activities of th isamazing personal ity, 1 we have a representation

’

ofWurmser surrendering

his sword to the young general,a smal l medal l ion on e ither side of the

battle , and a view of the city : the inscription , ‘ A Buonaparte Vienen .

’

The border, formed of the word ‘ Buonaparte ’ i n large capitals surrounded

by rays of l ight, these al ternated by laurel wreaths ; the fan excel lently

engraved by Bertaux.

At the psychological moment of Bonaparte’s appearance at the banquet

given in his honou r at the ‘ Sal le d'

audience, 1 0 Dec. his ‘ star,’

i n the shape of the planet Venus,appeared in the heavens at midday.

Here i ndeed was an opportunity for the fan-makers , who promptly produced

a fan of an astrologer with telescope, surrounded by an excited crowd , who

declared the appearance to be a comet . This , says Henri Bouchot , gave

the s ignal to the Agréables who dressed themselves and their hairh la comete , a l

’

e’

toile, and showered stars in all directions .

We al so have a reference to the proposals of peace to the al l ied

powers by Napoleon on his elevat ion as F i rst Consul in 1 799. Bonaparte

i s here crowned by Fame and Peace ; points to a map of Europe held

by a figure of the French Republ ic , who also bears the tricolour inscribed ,‘ Nouvel les Républ iques

,Regne des Arts , Al l iance avec les Frangais .

’

From a pedestal the French cock utters its clarion note. To the left,

Victory inscribes on a monument the names of Napoleon’s generals .

Above in a glory the legend, ‘ Paix Glorieuse An v1 .’

On another fan referring to the same event , Napoleon i s discovered

1 Ofthe two hundred engravings deposited in the Bib l iotheque Nat ionale in this year ( 1 796) a hundredand fou rteen were fan-designs mostly in praise of Napoleon. (Henri Bouchot, History on Fans.)

228


Of fans referring to the Russian campaign of 1 8 1 2 two appear in the

Schreiber collection . I n the one, Napoleon i s seen on horseback, attended

by a general , surveying his army, the troops salut ing ; i n the other, the

journey to Paris i n a sledge drawn by three horses at ful l gal lop , Napoleon ,wrapped up i n furs , looking back on the wounded and dead lying in the

snow. Both fans inscribed , ‘Aventuras de Bonaparte en Rusia en

In the subject of the N icaragua Canal the fan assumes the role of

prophet , and with this we must bring to a close this brief carn ival ofa

centu ry. On the 1 2 Vendémiai re of the year X 1 1 . , one Martin la Bastide

deposi ted in the Bibl iotheque Nat ionale two prints of a fan setting forth his

scheme for uniting two oceans through the lake of N icaragua. He had

al ready made the suggestion twelve years previously in Laborde’s Histoire

abre'

gee de la mer du Sud.

He was no t, however, the first to demonstrate the feasibi l ity of cutting

a canal at N i caragua ; a s imilar proposal had been made by the Portuguese

navigator,Antonio Galvi o

,as early as 1 550, and i n the fol lowing year the

Spanish historian,Gomara, submitted a memorial to Phil ip urging in

forcible terms that the work be undertaken forthwith .

‘ The project was ,nevertheless

,opposed by the Spanish Government , who concluded that a

monopoly of communication with their possess ions i n the New World was

ofgreater importance than a passage by sea to Cathay.' 1

Two fans referring to th is subject appear i n the Schreiber collection ; i n

the one , the map of Central America on the front , and of North America

on the reverse , a portion missing : and in the other, the composition

complete . The fan is adorned with , on the left , a group of al legorical

figures of the four Regions of the world l isten ing to Mercu ry, the god of

commerce, who points out the course of the proposed canal on the right, a

reference to L a Bastide’s appeal to the King of Spain , who is here l isten ing

to the voice of France urging him to complete the canal ; and an elaborate1 Encyclope dia B ritannica.

230

ENGRAVED FANS

border of ships , tritons , etc.,with a summary of L a Bastide’s investi

gations . Alas for vai n hopes , and the futi l i ty of human endeavou r, the

best laid schemes are often doomed to disappointment , and i t was not

unti l nearly a century had elapsed that the canal,which L a Bast ide foresaw,

though as through a glass darkly, had any prospect ofreal isat ion .

1

1 A company ob tained a concession rat ified 1 sth Apri l 1 877. The Marit ime Canal Company wasorgan ised May 1 899, and in the following year a construct ion company was incorporated. The quest ionwhether the canal wou ld be constructed by this route or on the Panama route was sti l l undecided inSeptember 1 90 2 .

—Eng'elopadia B ritannica.

IVORY FAN. (Madras. Nineteenth Century.)

23 1

C HAPTER X

ENGRAVED FANS OF THE SEVENTEENTH AND E IGHTEENTH

CENTUR IES. PART 1 1 .

IN England the fan’s comments on the public

events of the eighteenth and the latter years

ofthe preceding century begin with a sat irica l

al lusion to the intrigues of European diplo

macy concern ing the affai rs of Poland . Ten

female figu res representing France, Spain ,Sardinia

,Empire , Saxony, Russia, Poland ,

Britannia,Holland , and Prussia are seated

round a table,the first seven playing piquet ; an empty chai r, label led

‘ I pray to God for peace,’ i s reserved for the Pope (I nnocent who i s

seen on the left protesting that he does not understand the game. A

figure in civi l ian dress in the foreground is holding a scrol l which i s

lettered , "Tis not the interest of the nat ion to play without advantage. I ntime Commerce might pay the cards .

’ On the extreme right is the

Sultan of Turkey on horseback, exclaiming , ‘ I f you don

’t leave off, I’l l

tear the cards ,’ with the Shah of Pers ia on foot , saying, ‘ Seigneur Jack,

Persia shal l make you change your note.’ The date is between 1 679 and

1 689 , the period of the pontificate of Pope Innocent XI .

The coronat ion banquet ofGeorge I I. i n Westminster Hal l , on October

1 1 , 1 727, is recorded in an extremely primitive etching. The king and

queen are enthroned on a dais in the centre of the fan ; i n the background

are gal le ries of spectators,and i n front the champion of England throws

232


Monster as described in Fog’s journal, May the sth, curiously de lineated, Be ing a

Memo rial for Po sterity. In this most agreeab le fan is represented‘ I . A Picture ofCardinal Wo lsey (the first E xcise Master of England) done

from an o riginal Painting.I I . A View of his Feats on o ne Hand, and those of his Successor on the

o ther.

I I I . An English Lawyer with two honest Briefs.

IV. The famous Monster-Monger, Ferdinando Ferdinandi, drawn to the

Life.V. The Death of the E xcise Monster.

V I . A modern Inquisition with an Assemb ly ofMerry Spectato rs (as V intners ,Tobacconist, etc. ) ofFerdinando

’

s Lamentation over his departed Beast.‘ Now !

’

Tis in the Power ofevery British FairTo turn E xcises ofall kinds to Air.

So ld by M. Gamb le at the Go lden Fan in St. Martin’

s Court near LeicesterF ie lds. Price 25 . 6d.

’

On August 25 of the same year, M. Gamble agai n advertises the fan

and adds‘ This is the Fan ment ioned in the L ondon Magaz ine ; it will be very usefu l at all

meetings for nominat ing Members of Parl iament , no t only for coo ling the H eats whichmay arise , but to show the natu re ofan arb itrary Mo nster.

Now is the Time when every Brit ish FairMay turn E xcises ofall kinds to air.

‘ There is now pub lished the third Editio n with additions.

’

The marriage ofthe C rown Princess with the Prince ofOrange i n 1 734

was the occasion ofmuch rejoicing, and the nuptial s were celebrated with

the greatest magnificence,the prince receiving with h is bride the sum of

as portion . In an address to His Majesty from the loyal and

dut ifu l ci t izens of London,the greatest glory

,the brightest triumphs,

the most d istinguished prosperi ty are presaged from another al l iance

with that truly i l lustrious house,the house of Nassau ; ‘ from whence234

ENGRAVED FANS

so many heroes have sprung,the scou rges of tyrants and the asserters

of l iberty.

’

The fan joins i n the general congratu latory chorus ; a view of the

marriage ceremony in the French Chapel ofS t . James’s Palace is given the

King and Queen , with the royal family, are seated in boxes at the back.

There was an al legorical vers ion ofthis event , i n which the contracting

parties appear in class ic costume , with a bishop and other persons in the

background in the costume ofthe period . I n front Hymen l ights his torch

from that ofCupid . I n other parts ofthe composi tion are seen An infant

embracing a lamb,a pel ican i n her piety

,an i nfant Hercules ki l l i ng serpents ,

etc. The whole surrounded by an orange border.

Several variations ofth is are extant , one omitting the orange- trees , with

a border printed from another plate.

The fol lowing advertisement appeared in the Craftsman for Ju ly 7,

‘

just P ublished

‘ By JONATHAN PINCHBECK , Fanmaker, at the Fan and Crown in New Round

Court in the Strand ; and so ld by him, and at the Fan - shops of London andWestminster.

The Nassau Fan or Love and Beau ty Triumphant Being an Encomium on the

Nupt ial Ceremony which w ill shortly be consummated be tween his H ighness the

Prince ofOrange and the Princess Royal of England ; adorned with the Pictures ofthose illustrious Personages, attended by Hymen, Fame , Minerva, Cupids, e tc.

Together with a Copy of Verses and o ther Decorations su itab le to the o ccasion .

‘N .B .—Beware ofCo unterfe its the true original Nassau Fans having the name

(Pinchbeck) prefix’

d to the mount .’

On August 1 8th th i s advert isement is repeated , with the additional

statement that ‘ there are a few neatly printed on l eather for the cu rious,

’

and a note to the fol lowing effect A spurious edit ion ofthe Nassau Fan

has been lately offer’

d to the publ ick,i n Prejudice to the Original Nassau

Fan ; but as all Persons that have seen both are fu l ly satisfy’

d that it bears235


no comparison with the former ,’t is no wonder that the Des ign to lessen the

original i n the esteem of the Publ ick, proves as fruitless as the Attempt is

unfai r and ungenerous ’ th is evidently referring to the fol lowing, which had

appeared in the Craftsman a week earl ier, August 1 1

This day is P ublished

‘ The New Nassau Fan , humb ly dedicated to her Royal Highness PRINCESS

By her H ighness’s most humb leand devo ted servant ,

RICHARD H Y LTON.

‘ In this fan is represented the Po rtraitures of his H ighness William, Prince of

Orange and Nassau , e tc., and her Royal H ighness Princess Anne (done from the

o riginal Painting of Van Dyke and Hysing), in an Orb it , supported by Cupids,ado rn

’

d with o ther emb lematical Ornamen ts, dispo sed in a curious and beau tifulManner.

To be hadofthe aforesaid Richard Hylton, at the Go lden Fan in Great GeorgeS t , Hanover Square .

’

On September I st this advertisement is repeated,with the addition of

the following couplet‘ Just Heaven does Anne andNassaujoyn,

To glad great Geo rge and Caro line.

’

And the fol lowing reply to Pinchbeck’s advertisements of7th July and 1 8th

August‘ N .B .

- This is to inform that ingen ious Gentleman (who calls himse lf) theProprieto r ofa Nassau Fan, that he has b een guilty ofa very gross Erro r, and hasprejudiced himse lf by informing the Pub lick that he knows no Difference b etweena Fan which is made like the Fro ntispiece of a Halfpenny Ballad, and o ne that ’sdone in a curious Manner by one of the best Hands in England.

’

This sal ly cal ls forth the following rejoinder from Pinchbeck,who

, on

September 1 sth, repeats his former advertisement, with this footnote‘M E .

—I wou ld no t have the splenetick Autho r of(as he calls it) the loyal NassauFan imagine that I think him capab le either ofdo ing, or saying, any Thing Worthy of

No tice , tho’

for once I condescend to info rm him that the Pub l ick are sufficient ly236


Below is a ribbon inscribed,

‘Ad Altiora Speramus ,’ with a Cupid

holding a royal crown and star. A scrol l,at the extremities of which are

two medal s of George 1 1 . and Wil l iam the S i lent , Prince of Orange , is

inscribed :‘ Bri ttons now y‘ Po ems sing,Love and Beauty Garlands b ring ;H eavens Ann and Nassau joyuTo glad George and Caro line .

’

I n addition are figures of Peace with ol ive branch and dove, and

Liberty holding cap on a staff, together with a Bible inscribed ‘ B . Sacra,’

a l ion at her feet.

The fan is freely etched,coloured by hand , and mounted on plain

wavy wooden st icks .

Pinchbeck continued to advertise his fan unti l April 20, 1 734,

when , presumably , popular interest i n the affai r waned .

In 1 730-

33 , Hogarth produced his ‘ Harlot’s Progress ’ (commenced at

the time ofhis marriage), i ts various scenes being promptly pirated by thefan-makers . Mr. F. G. Stephens , in his Catalogue ofPolitical and Personal

Satires, British Museum , vol . i i i. part 1 , page 28 , refers to fans printed

with copies from ‘A Harlot’s Progress,’ three des igns being on each side of

the fan,u sual ly printed in red ink. These fans , says N ichols

,Hogarth

’

s

biographer, were customari ly given to the maid - servants i n Hogarth’

s

fami ly,doubtless as moral lessons .

1 M. Gamb le had advertised them

during the year 1 733 i n the Craftsman andDaily journal. In a footnote

to his advertisement ofthe Church ofEngland fan we have the fol lowing

N .B . For those that are Curious, a small number are work’

d off on fine Paper,fit to Frame. Likewise a new Edition of the Harlo t’s Progress in Fans , o r singly toFrame .

’—Daily journal, Jan. 24, 1 733.

By the kindness ofMr. C . Fairfax Murray we are enabled to i l lustrate1 ‘Hogarth, ’ says Walpole, ‘ resemb les Butler ; but his sub jects are more un iversal, and amidst all

his pleasant ry, he observes the t rue end of comedy—reformat ion. There is always a moral to his

pictures.’

238

ENGRAVED FANS

an excel lent example ofone of these very rare fan leaves , inscribed in ink

(probably by the col lector Baker), ‘Given to me by Mrs. Hogarth ,

I n the centre i s the quack doctor,printed i n a greeni sh yel low , the two

s ide scenes of‘ Bridewel l ’ and the ‘ Funeral ’ i n a rich red, the fan being

engraved in pure l ine . The scenes are i nscribed respect ively In a high

Sal ivation ’

;‘ I n Bridewe l l beati ng of Hemp ’

; and the‘ Funeral ’ ; with

su itable explanatory verses .

Other fans were i ssued , these probably by another publ isher, giving the

various scenes grouped together,the figures sl ightly rearranged to su i t

the space,i ndifferently etched in outl ine

,and printed in red on skin . F ive

leaves appear i n the Schreiber col lection the first gives the whole compos i

t ion ; the second , the same, with several scenes omitted ; the th ird , with

further omiss ions the fourth,with the central subject only, ofthe arrival of

‘Mary Hackabout i n London,

’ partial ly coloured by hand ; the fifth , a

spo i led , i ndistinct print, covered with a Chinese landscape printed in black,the evident intention being to uti l i se the skin mount .

The print of the M idn ight Modern Conversat ion , 1 733, copied by sal t

glazed potters of the period, and appearing on snuff- boxes and punch

bowls , for the latter ofwhich i t was eminently sui table, was used al so for a

fan mount .

I n th is print, to quote Mr. Aust in Dobson , a party of eleven , whose

degrees of intoxicat ion are admirably d ifferentiated , have finished some two

dozen bottles of claret ; and at four in the morning are commencing a

capacious bowl of punch,presided over by a rosy- gil led parson—the

Fortem validumque combibo nem

L aetantem super amphora repleta

of the Westminster Lat in ist,Vincent Bourne ; but in real l ife identified

both with the famous ‘ O rator ’ Henley,and the Rev. Cornel ius Ford , a

dissolute cous in of Dr. Johnson .

239


In the Daily journal for May 24, 1 733 , we have the fol lowing

advert isementThis Day is P ublished,

‘ A Beaut iful Mount for a Fan , call’

d the M idnight Modern Conversation , curiouslyperformed from that incomparab le De sign of that celeb rated Art ist the ingenious Mr.

Hogarth ; to which is prefi xed, fo r the Entertainment of the Ladies, a Description of

each particular Pe rson that Gent leman hath introduced in that N ight Scene . So ld at

Mr. Chinavax'

s great Toyshop against Suffo lk- stree t , Charing Cross ; Mr. B eard’sagainst St. Dunstan

’

s Church, Fleet S treet ; Mrs. Cambal in St . Martin’

s Court ; and byB. Dickinson at Inigo Jones’ H ead against E x e ter Change in the S trand, at whichPlace they may be hadWho lesale at reasonab le Rates.’

No print of this fan-mount is avai lable for reproduction .

The victory of Admiral Vernon in his good ship the B urford at

Portobel lo, on the 22nd November 1 739, though not a particu larly

significant feat even with six ships of the l i ne , was immensely popular

with the masses . I t was a famil iar subject with the potters , especial ly

the S taffordshire potter Astbury,who commemorated it on tea- pots,

mugs,and the Portobe l lo bowl .

The fan is not very interesting as a des ign , the s ix ships appearing

to overpower the fortress,which was an old one. F ive stanzas of verse

appear,expressing the determinat ion to avenge the wrongs of Britons, to

support her injured trade, etc.

Hark, the Brit ish Cannon thunders ,

See , my Lads, six Ships appear ;Every Briton act ing Wonders ,

S trikes the Southern World with fear.

Porto Bello , fam’

d in Story,Now at last subm its to fate ;Vernon’

s courage gains us G lory,And his Mercy proves us great.’

The etching is signed ‘ F. Chassereau ,Apri l y8 2 2

,

240


hand of the fan . I n ‘ nigger ’ parlance they at once propound ques

and supply the answers , thus‘Who b e dat de Box do sit on ?

’

Tis John, the H ero of No rth Britain ,

Who o u t of Place does Placemen spit on .

Do odle , e tc.

Who ’

s dat behind ? ’

Tis D icky Cobby ,Who first wou’d have hang

’

d and then try’

d Bobby.Ah, was no t that a pret ty Jobb - e .

Doodle , e tc.

So , s irs , me have shown you all de Hero ’

s ,

Who put you together by the Ear-Os ,

And frighten you so with groundless Fear- OS.

Doodle , etc.

’

Thomas Wright (Caricature History of the Georges) thus refers to the

prints : S everal editions of “ The Motion were publ ished,and one, i n the

col lection of Mr. Bu rke, is fitted for a fan . Another, very neatly drawn and

etched on a fol io plate , and dated February lgth, contains great variations ,and wants much of the pointed meaning of the genu ine print . They here

appear to be driving into a river. Pu lteney and Sandys are omitted ; two

prelates hold on to the straps behind the coach,which seems i n imminent

danger of fal l ing ; yet Carteret cries out to his driver,“ John , i f you drive

so fast,you ’l l overset us all, by G—d.

On the 2nd ofMarch the Patriots retal iated with a caricature entitled‘The Reason ,

’ i n which we have another carriage with the portly form of

S i r Robert Walpole as coachmanWho be dat de box do sit on

Dat’

s de driver ofG B

Whom all the Patrio ts do spit o n.

’

In this print , the foppish and efl'

eminate Lord Hervey, wel l known by

Pope’s sarcastic t itle of Lord Fanny,

’

is rid ing,fan i n hand , on a wooden

242

ENGRAVED FANS

horse,drawn by two men , one ofwhom cries, S i t fast , Fanny ; we are su re

to win .

’

Dat pa inted butterfly so prim-a,

On wooden Pegasus so trim - a,

Is some thing— no thing—'

tis a whim-a.

’

The fan-makers were not s low in fol lowing up with a fan . On Apri l 25,the fol lowing adverti sement appeared in the Craftsman

This day is pub lished, by J . Pinchbeck at the Fan and Crown in New Round

Court, in the Strand.

The Reason for the Motion. A Satire , whereon are the Portraits ofdivers Nob lePersonages. To which is anne xed, E xplanatory Verses, which will serve as a Key

to the Who le .

Where may be had, All sorts of Fans and Fan -Mounts. The newest fashion ,

and su ited to the nicest Taste . Who lesale or Retail.‘M E.

—Gentlemen and Ladies may have any Device done in a curious Manner,according to their own D irection.

There is a Spurious Sort about the Town , which has not the Verses,andbut part

ofthe F igures.

’

The Jacobite rebel l ion of 1 745 was commemorated by a fan leaf

engraved by S ir Robert Strange, intended for the sympath isers with the

Pretender. The moment for the rebel l ion was wel l chosen—the king was i n

Hanover,the Duke of Cumberland had fought and lost Fontenoy in Apri l

ofthe same year,andwas st i l l engaged i n Flanders . The fan shows the

Prince in armour,with Cameron ofLochie l as Mars

,and Flora Macdonald

as Bellona.

I n the fan represent ing the apotheosis of the Young Pretender, the

Prince,supported by Mars and Bel lona,

is claiming the inheritance of the

Engl ish crown a figure ofFame bears the lau rel wreath , at his s ide is an

altar blazing with devoted hearts,and above are Venus and Cupid seated on

a cloud . On the left,Britannia smiles through her tears as a dove

approaches bearing the palm branch , emblem of Peace . On the right,

Jupiter with h is thunder scatters the Hanoverian fact ion into obscurity, and243


Rapine andMurder are prostrated . An example , carefu l ly coloured , appeared

in the Walker sale in 1 882 ,and passed into the possession of Lady Charlotte

Schre iber for the sum of£7. The stick is ivory , carved with subjects

and fretwork .

The peace of Aix- la- Chapel le,s igned October 7, 1 748, was celebrated in

the fol lowing Apri l by a grand disp lay of fireworks in the Green Park ,Oppos i te to His Majesty’s l ibrary. A fan fai rly well engraved

,the design

wel l disposed,shows a view of the temporary bui lding erected for this

purpose,which consi sted of a

‘ magnificent Doric temple,

’ with two

extended wings terminated by pavi l ions, the whole being one hundred

and fourteen feet h igh and four hundred and ten feet long. The exhibit ion

began about n ine o’clock in the evening, andwas i ntroduced by ‘a grand

overture ofwarl ike instruments composed by Mr. Handel .’ About eleven

o’clock the whole bui lding was i l luminated , i n which state i t continued ti l l

be tween two and three in the morning ; His Majesty and the royal family

retiring about twelve .

The untimely death of the Prince ofWales i n 1 75 1 threw London into

mourn ing, the fan fol lowing suit with a portrait bust of Frederick on a

cenotaph , with mourning figures of Art,Science

,and Britann ia, a figure of

Hope with an ancho r occupying the foreground . The fan here, true to

i ts antecedents,discovers more loyal ty than did some of the rhymesters

of the period,one ofwhom produced an epi taph of which the fol lowing

is a portion‘ Since us on ly Fred,

Who was alive and is dead,

There ’

s no more to be said.

’

Wolfe’s victory in 1 759 , commemorated in Bow statuettes and Stafford

shire busts and jugs,suppl ied the fanmakers al so with a subject for i l lus

tration : i n a l ife ofWolfe i t is mentioned that fans were printed of the

taking ofQuebec.244


Another fan gives a large Royal Arms surmounted by the crowned l ion ,with the rose and thistle and the initials G . R. i n medal l ions on either s ide ,united by festoons of flowers with doves ; the royal motto, ‘ D ieu et mon

Droit,

’ on a scrol l below ; the fan i nscr ibed , ‘Vive Le Roy.

’ Publ ished by

T. Balster , March 1 9, 1 789 .

A Representat ion of a Royal Concert at Buckingham House is a copy

of an engraving by Barlow after a drawing by Cruikshank .

‘Publish

’

d as

the Act directs , October 1 6 , 1 78 1 , by J . Preston at his Mus ic Warehouse,

No. 97, near Beaufort Bui ldings, S trand.’ I n the subject occupying the

centre of the fan , the king appears seated at the right - hand corner. At the

sides,a canone and canzonet by G iordani , together with a French and

Venetian canzonet , with mus i c .

In 1 788 the royal family honoured the exhibition of the Royal

Academy with a visit ; th is event being commemorated on two fans

varying cons iderably in the number and disposition of the figures,and in

the arrangement of the background . The fan leaf in the Schreiber col

lect ion i s des igned by P. Ramberg, P. Mart ini,Scu lpt . Pub Cl March 6 ,

1 789 ,by A. Poggi , St. George

’s Row,Hyde Park

,

’ th i s being from

Mart ini’s original plate,also publ ished by Poggi

,cu t down to the shape

of a fan .

The fan leaf at present i n the co l lection at South Kens ington is

printed on vel lum and t inted,and i s accompanied by an engraved key

to the different personages depicted on the fan .

The marriage of the Prince of Wales (afterwards George IV .) to

Princess Carol ine of Brunswick, i n 1 795 , provides the occas ion for a fan ,

with two oval medal l ion portraits i n stipple of ‘ The I l lustrious Pai r,’ on

e ither s ide of a large Prince of Wales’s feathers . Publish’

d Jan"1 , 1 795,by J . Read , 1 33 Pal l Mal l .’ The same plate was printed in colou rs and

publ ished on the same date. The ‘ Royal Pai r ’ agai n appear i n the

form of medal l ion portraits,with the Royal Arms of Great Britai n and

246

ENGRAVED FANS

Brunswick. St i l l another fan commemorat ive of th is event shows bust

portrai ts of the prince and princess i n the midst of a medley of prints,

riddles,etc . , with a frieze of caricature busts of various personages .

‘ Publ ished at Sudlow’

s Fan Warehouse, 1 9 1 Strand .

’

‘ The Prince ofWales ’ (Schreiber col lect ion of unmounted fan leaves ,No. 1 1 ) i s a quite charming fan leaf. The medal l ion portrai t is printed in

a warm brown , the field of the fan painted in blue of a pleasant qual ity,

the ornaments painted in s i lver and Chinese white . This is a scheme of

colour adopted on many fans of the period ; the four colours forming

an extreme ly effective harmony.

The popularity of Lord Howe’s victory over the French on the

‘ glorious first of June ,’

1 794, is evinced by the frequency with which i t

was commemorated on Engl ish pottery in the shape of statuettes,

medal l ions,mugs

,jugs , etc . On the fan al so we have the subject of a

seated Britann ia bearing a medal l ion portrai t of the admiral ; the union

jack, l ion , cornucopia, and a figure of Fame completing the composit ion .

The fan inscribed , ‘ Lord Howe’s decis ive victory over the Grand French

fleet , June 1 , This publ ished by B . Coker, Fleet Street,

August 1 9, 1 794. An example occurs in the col lection of Mr. Burdett

Coutts .

A ‘ view of the trial ofWarren Hastings,Esq. , at Westminster Hal l

’

i n 1 778 , i s given in the centre of a fan having oval medal l ions at the

s ides with references to the numbers on the engraving, as follows

‘ A. Honbl"House of Commons. B . Fore ign Min isters. C . Duke of New

castle’s Gallery. D . Councell for the Prosecution. E . Councell for the Prisoner.

F. Dukes, &c. &c. G. Peeresses. H . Board of Works. 1 . The Throne .

K . Recess for His Majesty. L. Recess for the Royal Family . M. Judges.

N . Lord H igh Chance l lor. O. Vicounts and Barons. P. Warren Hastings, Esq . ,

Prisoner. Q. Committee of the House ofCommons .

‘ Publish’

d as the Act directs by Cock Co ., No . 36 Snow H ill. Sept“ 2 2“

247


Church- fans appeared in the early part of the century.

1 These

were des igned for the purpose of incu lcat ing the spirit of true piety

during the hours of divine worsh ip . Comments were made in the publ ic

journals on the unsuitable character of fan mounts used in church, and

also on the general behaviour ofpersons ofboth sexes. These cu lminated

in an amusing satire which appeared in the form of a letter from Vetustus,

in the Gentleman ’

s Magaz ine for May 1 753. In this the writer expresses

some surprise that ‘ i n the cou rse of the controversy now on foot con

cerning the expedience of a revis ion of our l iturgy, no mention has been

made of some ceremonies i ntroduced by certai n pol ite persons of both

sexes,who , i f they may not be styled the pillars, have undoubted right

to be cal led the ornaments of the Church of England. That of the snuff

box may be al lowed to obviate some part of the object ion to the lengtn

of the service, s ince i t precludes the drowsy members of the congregat ion

from any subterfuge in that excuse of Horace

Operi longo fas est obrepere somnum.

The writer des ires also ‘ to do a piece of just ice to the ladies who have

lately contrived to improve the service of the Church , though by so

incons iderable an implement as a fan mount ; for, reflecting that some

of the grosser sex may probably come to church ch iefly on account of

these fai r beings,and that the devotion of these thei r brethren might cool

by having the immediate object of i t withdrawn from thei r view, during

the tedious interval s of prayer, they have been so charitable as to

supply them with some edifying subjects of contemplation , depicted on

the very cloud which intercepts the b eatific vis ion .

’

As an i nstance of the taste and discret ion of these fai r votaries , a

1 M . Gamb le had adve rt ised in the Craftsman du ring the year 1 733 ‘The Church of England Fan ;be ing an explanation of the Oxford Almanac for the year 1 733, on which the several characters are cur iouslydone, in various beaut i ful colours. Pr ice 2s. L ikewise a new Edit ion of the “ Harlot’s Progress in Fans,with prints of all the three sorts fit to Frame. Sold at the Golden Farm in St. Martin’s Court, nearL e icester F ields.’

248

H I STORY OF‘

THE FAN

which closes with an elevated sentiment couched in the fol lowing

coupletHow beauteo us is the Church, which makes clean l innenAs decent to repent in , as to sin

This bone of contention,apparently , lasted during a cons iderab le period .

I n the L ady’

s M agaz ine for March 1 776 , a‘ Female Reformer ’

addresses to the fai r sex some ‘moral reflectio ns ’ on ladies’ fans , and draws

attention to the loose, almost indecent , mounts ladies have to the i r fans

at the present day, giving too much reason to suppose that a coarse,

i ndel icate,and immodest picture is not so offensive to the view of the fai r

as prudence,virtue

, and chasti ty cou ld wish .

‘ Not many Sundays ago ,

I was seated in a dissenting place ofworship in the next pew to two young

ladies , who appeared suitably attentive and devout ; but , happening to cast

my eyes on the fan mount of the youngest of the two , as she stood up

in prayer time,I was real ly ashamed to see nalzea

’Cnpz

'

a’s,and women

almost , so, represented as s leeping under trees,while dancing shepherds

and piping fawns compleated the shamefu l groupe. What a pity it is

that any lady shou ld seem to countenance immodesty or indecency in the

least degree , especial ly in the house of God ! Would it not have been

much better for ladies to have no fans at all,than to have such mounts

to them ,as

, on beholding, tend only to inflame the pass ions , and promote

the loosest ideas ? ’

Evidently this protest bore good fru it,as

,three months later, a

church- fan of chaste des ign appeared . This gives,i n the centre

,a diagram

of a good woman’s heart,divided

,as a phreno logical diagram divides the

brain , i nto the several virtues o r attributes, as Charity, Humil ity, Chastity

and Honour, Virtue and Truth,etc . etc. Above the heart appears a

drapery inscribed , ‘ The Address of a Scripture Looking- glass to every

Woman —this consi st ing of the fo l lowing texts : Proverbs xxx i . 30 ;

1 Peter i i i . 3 ; 1 Timothy iv. 8. At the two extremities of the fan are

250

ENGRAVED FANS

scrol ls with ‘a description of a good woman

,

’

and a poem entitled ‘The

Wish —this latter being a prayer and suppl i cat ion to the Almighty to

Be the guardian ofthe v irtuous fair,B less them w ith all things that they tru ly need,And in Religion’

s paths the ir footsteps lead.

’

The whole design enclosed in a scrol l with a rose and honeysuckle

fi l l ing the intervening spaces . Printed , as the Act d irects , for J . French ,No . 1 7 Holborn H i l l .

In May 1 796‘ the new church - fan

’

appears,

a much more pre

tentions design,engraved in st ipple

,and

‘ publ ished with the Approbat ion

of the Lord Bishop of London .

’ The Ten Commandments are given in

the centre , with the Lord’s Prayer and the Creed on either s ide ; these are

alternated with medal l ions of angels,above which are prayers for the king's

majesty and the royal family. At the extreme top of the fan i s a figure

of the Holy Spiri t with three cherubs,the whole being enclosed within

an e laborate border formed of royal crowns and Prince of Wales’s

feathers .

Mi ndfu l of the protest of the ‘ Female Reformer ’ i n the L ady’

s

Magaz ine, al though perhaps somewhat belated (i t wil l be remembered

that the naked Cupids and ladies almost 50 ’ were observed in a dissenting

place of worsh ip), the ‘

enapeZ- fan’

appears , i n July of th is same year,1 796 , having in the centre a large medal l ion of the resurrection of a pious

family, after a picture by the Rev . W . Peters, i nscribed ,‘Glory to God

i n the H ighest,

’

and on either s ide smal ler medal l ions representing‘ S t . Ceci l ia ’

and ‘ The Infant Samuel at Prayer.’ The fan i s further

inscribed with a morning and even ing prayer and two hymns The

Example ofChrist,

’

and‘ On Retirement and Meditation .

’

A number of fans were from time to t ime issued with subjects from

Scripture history,doubtless for chu rch use, as

‘The Birth of Esau and

Jacob ,’ i n which we have an i l lustrat ion of Rebekah in bed , attended by

25 1


female servants ; ‘Moses striking the Rock,’

Published by M . Gamble,

according to the late A ct , 1 740 ;‘ Paul Preaching at Athens ,

’ etc. These ,however

,are extremely weak productions , exhibiting none of that sense

of character distingu ishing similar subjects treated by the Staffordshire

potter of this and a later period.

Mr. Thomas Osborne’s Duck-Hunting records an event in the

history ofa bookseller ofGray’s I nn Gate, Holborn , at his country- house

at Hampstead in 1 754. A certain Captain Pratten , who had obtai ned

some notoriety through his very part icu lar attent ions to the wife of Mr.

Scarlett, an Optician ofSoho, whose Microscope for viewing opake objects

i s sti l l i n use,’ but who

,apparently, did not possess any microscope or

optic glass through which he might view events which were sufficiently

transparent to every one but himself, had proposed to Mr. Osborne

that by way of house-warming he should ingrat iate h imself with

the famil ies of Hampstead, ‘ then a Watering- place and very gay,’ by

giving a publ ic breakfast for the ladies and a duck- hunting for the

gentlemen.

On the morning of the lo th of September of the year in question the

company assembled,the broad panniered petticoats of the ladies making

a very brave array, and, the breakfast and duck- hunting proving so

successfu l , our waggish Captain , who had i nstal led himsel f master of the

ceremonies,mindful

,doubtless

,of his own private and part icular duck

hunting,persuaded the vai n and s imple booksel ler to prolong the entertain

ment,first by a cold collation and other d iversions , and final ly by a dance

,

i n which the ‘ younger part of the company tripped on the l ight fantastic

to e t il l bedtime.’

As a souvenir of the event,the gal lant and resourcefu l Captain further

persuaded Mr. Osbo rne to have a fan engraved and presented to each

of the lady visitors.

This is engraved on both sides ; on the obverse, the duck- hunting,252


I t is a nob le , useful, great design ,

May the projector’

s gen ius ever shine !The fair one now need never b e alone !A hardship some t imes on the sex is thrownFo r female no tions are ofthat e x tentImpo ssib le, one I thought should give ’

em vent.New schemes ofdress , intrigue andplay,Want new e xpressions every dayAnd doub ly b lest ! must be that mortal man ,

Who may converse with Sylvia and her Fan.

’

The Original Fanology, or Ladies’

Conversation fan ,

’

was invented by

Charles Francis Badin i,and publ ished as the Act d irects by Wm . Cock ,

42 Pal l Mal l,Aug. 7, 1 797.

The telegraph ofCupid in this fan,Though yo u shou ldfind, suspect no wrong ;

’

Tis bu t a simple and diverting planFo r Ladies to chit - chat and ho ld the tongue .

’

A fanology fan , of different design but with the same direct ions, in

vented by Badini, was publ ished five months earl ier (March 1 8) by Robert

C larke, Fanmaker, No . 26 S trand,London .

The new conversat ion or tete- a- tete fan gives as a centre medal l ion

Venus robbing Cupid of his Bow,with inscribed compartments on both

sides , having reference to the Answer and Quest ion of the Lady to the

Gentleman .

The language of the fan has already been referred to in an earl ier

chapter, portions of the code being given . See Spanish fans ,page 1 37

Gypsy, fortune- tel l ing and necromantic fans form a large class , andwere

common during the latter part of the eighteenth century. As early, how

ever, as Aug. 3 , 1 734, a necromantic fan was advertised in the Craftsman as

fol lows254

ENGRAVED FANS

By Eo , Meo , Areo .

On Monday last was pub lishedThe Necromantick Fan ; or, Magick Glass.Be ing a new - inventedMachine Fan ,

that by a

s light Touch unseen a Lady in the Fan changes herDressing-Glass according to the fo llowing I nv itations

I f any one himse lfwou ld see ,

Pray send the Gentleman to meFor in my Magick Glass I showThe Pedant, Poe t , Cit , or Beau ;L ikewise a Statesman wisely dul l,Whose plodding Head’

s with Treaties fu l l.Etc.

Made and so ld by EDWARD VAUGHAN ,

Fanmaker, at the Go lden Fan near the Chape l inRussel Court, Drury Lane.

’

A necromantic fan was i ssued by Gamble ; ‘ Dear Doctor consult the

Stars,

’ represent ing an old necromancer being consulted by ladies .

Gypsy ’ fans are i nvariably arranged according to a regu lar principle .

A medal l ion in the centre , of a Gypsy tel l ing fortunes, the d ifferent cards ,together with their s ignificance, arranged in four rows over the general field

ofthe fan , and at the top, or on the reverse, the explanat ion , or directions for

tel l ing fortunes . The ‘Gypsy Fan ’ conforms to this rule so far as the

medal l ion is concerned : in l ieu , however, ofthe cards with their explanat ion

we have a series of floral festoons borders , etc . , pai nted by hand . The fan‘ made by C larke and Co . ,

at thei r Warehouse,the

.

King’s Arms, near

Charing Cross , S trand , London . I nventors of the much esteemed sl id ing

Pocket Fan .

’ 1

The ‘ Oracle ’

has in the centre a wheel of fortune with two winged

1 This latter is a device by which the second dimension of the stick (the gorge) is made to sl ide up intothe shoulder, the mount b e ing doub le and loose, so as to al low of passing up and down the stick. By thismeans, an ordinary siz edfan of mgins. is reduced to Mr. Crewdson has an example, with paper mountpainted with figures variously occupied, as a so ldier drink ing at a tent, a trave ll ing Punch, ’ etc. The st ickivory, carved, painted and gi lt.


children on clouds,one of whom holds a scrol l inscribed ‘ Oracle .

’ On the

s ides of the fan the names of the ten greater gods and goddesses , i n ten

columns,the names disposed di fferently in each . On the lower part of the

fan the ‘ Exp l icat ion ’ of the Oracle, and ‘examp les ,

’ together with the ques

t ions , as Whether one i s to get R iches ; Whether one wi l l be successful

i n Love ; What sort of a Husband shal l I have’

; etc. etc. On the reverse

are heads of the gods and goddesses with thei r attributes , with ten columns

of i nscriptions , each contai n ing ten answers to questions .

Pub . accord . to Act, Jany. 1 , 1 800, by Ino. Cock, I . P. Crowder Co . ,

No. 2 1 Wood Street, Cheapside, London .

The ‘Whee l of Fortune,by which may be known most things that

can be requ i red,

’ presents us with a variat ion of the foregoing. The

whee l occupies the centre of the fan ,with four female heads representing

—1 . Bath Gypsy. 2 . Norwood Gypsy. 3. Cors ican Gypsy. 4. York Gypsy.On the one s ide of the fan

,Phisiognomy,

’ with directions how to read it

on the other, ‘ Peri lous Days , ’ with a prognosticat ion of the date and

manner of death of Napo leon, viz .

,by suffocat ion or drowning, at the latter

end of 1 8 1 0 or beginning of 1 8 1 2 . J . Fleetwood , Sc., 48 Fetter Lane.

An interest ing class of fans i s that i l lustrat ing popu lar and fashion

able resorts,entertainments

,etc .

,as Bartholomew Fai r, Bath , Ranelagh ,

Vauxhal l Gardens,the Crescent at Buxton , etc.

Henry Morley, i n h is interesting M emoirs of B artholomew Fair , has

given us an amus ing description of the fan sold in that annual saturnal ia,

where Henry Fie lding once had an i nterest .

Here are dro lls, hornpipe -dancing, and showing of postures ;Plum- porridge , b lack pudding, and open ing of oystersThe tap

-house guests swearing, and gallery fo lks squalling,With salt - bo xes so lus , and mou th- pieces bawl ing ;Pimps , pick- po cke ts

, stro llers, fat landladies , sailors,Bawds, baileys , j ilts, jo ckies , thieves, tumb lers, and taylo rs.

256


Harper’s Booth , was not presented at that famous establ ishment unti l

1 732}

A vers ion of the wel l - known print , after Canaletto, of the Rotunda,garden

,and bu i ldings at Ranelagh is given on a fan i n the Schreiber

col lection,engraved by N. Parr, 1 75 1 .

A view of the C rescent at Buxton also appears enclosed in an oval

medal l ion,with the inscription , ‘

Crescent , Buxton .

’

The fol lowing advert isements relat ive to these subjects appeared in

the Craftsman '

‘ June 1 5, 1 734.

‘ Just Pub lished. By Jonathan Pinchbeck , Fan Maker, etc.

(accurately de lineated on a Fan Mount)‘ The Humours of New Tunbridge We lls ; b eing a Draught of the House ,

Gardens, We ll,Walks, e tc. , with the different A irs , Gestures, and Behav iour of

the Company, and all o ther rural Entertainments of the Place. Taken from the

Life : by an eminent Hand.

’

‘ Ju ly 2. 1 737.This day is P ublished

‘ The new Vau x Hall Fan ; or the rural Harmony and delightfu l Pleasures of

Vaux - Hall Gardens ; with the different Air, A ltitude , and Decorum of the Companythat frequent that beaut ifu l place ; done to its utmost Beauty and Perfection .

‘Whereon is shewn the Walks , the Orchestra, the grand Pavillion , and the

Organ, which far e xce ls any Thing of the kind yet offer’

d to the Pub lick.So ld at Pinchbeck’s Fan Warehouse , etc.

‘Where may be had, The Dumb Oracle ; and the Royal Repository , or Merlin’

s

Cave ; and all sorts of Fans of the newest Fashion , who lesale or retail.’

In the interesting fan,giving, with in a large cartouche

,a view of the

Parades,and O ld Assembly Rooms at Bath , 1 737, Beau Nash appears

1 ‘The Fair was granted by Henry 1 . to one Rahere, a witty and pleasant gentleman of his Court, inaid, and for the support of, an Hospita l, P riory, and Church, dedicated to St. Bartholomew, which hebu i lt in repentance of his former profligacy and folly. The succeeding Priors claimed by certainCharters to have a Fai r every year, viz . on the Eve, Day, and the Morrow of St. Bartholomew.

’

258

ENGRAVED FANS

in the foreground i n l i lac coat,with a white hat under hi s arm ,

1address

ing a bevy of fashionable ladies ; at the s ides are floral and diapered

ornaments in the Chinese taste.

The example i l lustrated , which is coloured with extreme care , was

acquired by the Baroness Burdett- Coutts at the Walker sale i n 1 882 .

This i s the mount referred to by Pinchbeck in his advertisement of

‘ June 3, 1 738.

‘ This day is Pub lished on a Fan Mount (Fit for the Second Mourning or in

co lours) An accurate and l ively Pro spect of the ce lebrated Grove at Bath, whereonthe rural Pleasures and e xact Decorum of the company are curiously represented,with some cursory Observations on the Behaviour of Sundry Persons, part icu larlythe famous B . N .

‘ Likewise the rural Harmony and del ightfu l Pleasures of Vau x - Hal l Gardens.

Also the Royal Repo sitory , o r Merlin’

s Cave ; b e ing an e xact Emb lem of that

beautifu l S tructure erected by the late Queen in the Royal Gardens at Richmond.

So ldwho lesale or retai l at Pinchbeck’s Fan Warehouse , etc. , by Mr. Crowbrow,

at the India H ouse on the Walks : and at Mr. Dalassol’

s and Mr. Weakstead’

s

Shops in the Grove at Bath.

’

Two fans were publ ished in June 1 757 by G. Speren ,giving a view

of the interior of the Pump- Room at Bath,and the Orange Grove , with

obel isk, garden , and bu i ld ings.

Lady Charlotte Schreiber quotes the fol lowing adverti sement whichappeared in the Craftsman during this year

‘ This day is publish’

d, by J onathan P inchbeck , Fan -maker, at the Fan and

Crown in New Road-Co urt in the Strand, and so ld by him Who lesale and Retail.‘The Bath Medley ; Be ing an accurate and curious Draught of the Pump

Room at Bath, and most of the known Company who frequent it, adorn’

d with

1 The Bean always carried a white b eave r hat, assumed after he had lost many of ordinary colours,as he said, to prevent any person tak ing it by mistake, though the uncharitab le declared the reason forthis singularity was to attract attent ion. Nash was fond of fine clothes, and ce leb rated the King’sBirthday in 1 734 by appearing in gold- laced clothes, in which , says Chesterfield, ‘he looked so fine that ,standing by chance in the m iddle of the dancers, he was taken by many at a distance for a gi lt garland.

(L ewis Melville, B ath under B eau Nash.)

259


the Po rtraitures of her Royal H ighness the Princess Ame lia land o ther illustrious

personages who honour’d the Place with their Presence the last Season ; whereinthe Topicks ofD isco urse and Conversat ions of Companies are impartial ly consider’dthe ir differen t Behav iours, Airs , Att itudes , e tc. , judiciously represented ; the Fopperyof the Beans hinted at , and the Intrigues of the famous B N and others fullye xploded. Taken from the Life , and fine ly delineated in above fifty H ieroglyphicalfigures.

‘N .B .- A spurious pyratical Copy of this Fan is lately publish

’

d, which is no t

l ike the Place it shou ld represent, and may easily be discover’d from the Originalby its hav ing Pillars to support the Musick Gallery, and in the Middle is wroteThe Bath Medley.’

The first Pump- Room was opened in 1 706 , with all the éclat of a

publ ic procession , and a musical fete , at which was sung a song special ly

composed in honour of King Bladud, the father of Lear, and mythical

founder of Bath,recounting the story of his glorious deeds, and his

soaring ambition,which

,Icarus- l ike

,final ly overreached itsel f.2

1 Daughter of George who paid her first visit to Bath in 1 728.

‘ Y e nymphs of Bath , come, aid my lay ;

Come strike the tremb l ing string ;Ame l ia’s name so sweetly flows,Her face and wondrous goodness shows,Who can refuse to sing.

‘Her presence, like the sun b en ign ,Sheds b lessing, where she de igns to shineAnd b rightens all the place ;

But , when the Goddess disappea rs,Our drooping heads and eyes in tearsW il l witness our distress.’

Quoted by L ewis Me lville, B ath under B eau Nash.

3 ‘ Poor B ladud, he was manger grown ; his dad, which z um cal l vather,Zet B ladud pig, and pig B ladud, and 20 they ved together.Then B ladud did the P igs invect, who, grumb ling, ran away,And vound whot Waters presently, which made him fresh and gay.

B ladud was not so grote a Vool, but seeing what P ig did doe,He Beath’d and Wash’t, and Rins’d, and Beath

’d, from Noddle down to Toe.

And then he built this gawdy Tenn, and sheer’d his Beard spade-ways,

Which voke accounted then a Grace, though not so nowadays.Thwo thowsand and vive hundred Y ears, and Thirty- vive to That,Z ince B ladud’s Zwine did looze the i r Greaz e, which we Modem s cal l Vat.’

Coun t s , Crudr'

hks.

260


print entitled ‘ Vue de l’Extérieur de la Rotonde. Maison Jardins,etc., a Ranelagh .

‘Canaleti, delin.

’ N . Parr, sculpt.’ Publ ished accord

ing to Act of Parliament . December 2 ,Opera fans give plans of the boxes at the Opera, with names of the

occupants . An example i n the Schreiber col lection is inscribed : ‘ New

Opera Fan for 1 797. W. Cock. Publish’

d as the Act D i rects for the

Proprietor, by Permiss ion of the Manager of the Opera House, 42 Pal l Mal l .’

The fol lowing advertisement appeared in the Times of January 1,

1 788 :‘ THE O PERA F ANS.

To the subscribers and frequenters ofthe K ing’s Theatre .

Last Saturday were pub lished according to A ct of P arliament. The Delivery,however, was put off until the re - opening of the Opera H ouse ne xt week, for the

purpo se of presenting them in the best state of improvement .‘These fans are calcu lated to present at o ne view bo th the number of bo xes

including the addit ional ones, names of subscribers, e tc. , and have been carefu llycompared with the plan of the House or kept at the office , andw ill be so ld on ly bythe proprie tor, Mrs. H . M ., No . 8 1 Haymarket , where she will receive with respectfu lgrat itude any commands from the ladies and wait on them if required.

’

A fan publ ished on the same date,January 1

,1 788, by C larke and Co . ,

appears i n the Schreiber co l lection , and gives the plan ofthe King’s Theatre

for 1 788 ; the centre box bears the names of the Duke and Duchess of

Cumberland and that of the Duke ofYork ; the Prince ofWales and Mrs.

F itzherbert being in box s ixty- three on the right . 1

Fans i l lustrative ofthe ‘ tender pass ion ’ natural ly form a large class,and

may be divided into the fol lowing groups

1 . Sat irical andAmus ing.

2 . Pas toral,Social

,and Fancy.

3. Subjects from C lass ic Mythology, as The Marriage of Cupid and

Psyche,’ ‘ The Theft of Cupid’s Bow

,

’ The Offering ofLove ,’

etc.

1 The painted fan alluding to the re lations between the Prince ofWales andMrs. F itzherbert is referredto on page 1 95.

262

ENGRAVED FANS

Maps of the affect ions were common both i n th is country and o n the

Continent , and are i nvariab ly des igned on the principle of the Ital ian fan ,

‘ I l Paese del Matrimon io,

’ referred to page 269 .

The fol lowing advertisement appeared i n the Craftsman for January

1 3,

‘ Daniel Chandler, Fan maker in the Strand over against Sou thampton St who

invented and so ld the Lilliput ian Fans , 1 and Variety ofother pleasant Fans, is now

providedwith a Parce l offashionab le Fan s, neat ly mounted, repre sent ing the map of

Tender, which may affo rd Entertainment bo th for Ladies and Gentlemen who are

Tenderly inclined, and disposed to be agreeab ly merry.‘ These fans and Mounts are likewise so ld b y Michae l Burnet, Fan maker, at

the Hand and Fan, over against Friday St. in Cheaps ide .

’

On the same date , Saturday, January 1 3 ,1 732

-

3, Pinchbeck announcesthe ‘

Cou rting Fan Mounts .’

‘ An Emb leme of the Four different Stages of l ife fine ly de lineated in seven

hieroglyphical F igures. Be ing a live ly representat ion ofthe Address ofyoung Lovers ,the Raptures of a new-married couple ; the recipro cal Harmony ofAntient weddedcompan ions ; and the abject, wre tched state of an Old Maid. I llustrated with a

Paraphrase , on each cut , which serves as a Key to the who le.

M E —A t the abovesaid Place may b e had all sorts ofFans and Fan -mounts of

the newest Fashion , and at the lowest prices, who lesale or retail.’

On Apri l 20, 1 734, Pinchbeck advert ises

The OldMan’

s Fo lly.—ln this Fan is represented an o ldMiser, who at the age

of Fourscore had the Vanity to court a young lady of Twenty ; she despises hisAddresses, and Cupid shoo ts Thunder at his Head in this D ilemma, Bacchus inv iteshim to a Banquet at the Nectarius Grove whilst the Eye ofHeaven shines propit iouson the Raptures of a youthfu l couple .

Where may be had‘ The abject , wre tched state ofan Old Maid, and divers o ther curious Fans ; the

Designs taken from the b est Masters.

’

1 In 1 726, when Swift took the town by storm with ‘ Gu l l iver,’ eve ry lady ‘ carried L i lliput ab out withher,

’and L i ll iput ian fans became the vogue.

263


These two fans had been announced earl ier by Pinchbeck on Jan . 1 sth

of the same year, as fol lows

‘ Just Pub lished The Amours ofan Old Batchellor, or the Downfall of SirLimberham likewise the four difi'erent S tages of L ife o r the abject , wretched Stateofan Old Maid. To each ofthese Fans are prefix

’

d, Verses suitab le to the Occasion,which explain the Design.

’

M. Gamble, on August 1 1 , 1 739, advertises‘A new Fan, where in is delineated a Damse l bewailing the Loss ofher Lover, who

is represented as cas t away in a Storm.

Where may also be had, a Fan lately publish’

d entitledThe Sailor’s Wedding,b eing made to the glorious and immortal Majesty ofQueen E lizabeth.

’

‘ Before and after Marriage ’ gives express ion to an idea which also

suppl ied a favourite motif for Engl ish and especial ly Staffordshire pottery.

On a cream ware jug, with i l lustrat ions of cou rtship and matrimony,we

have the fol lowing couplets express ive ofthe two contrasting conditions

In courtship S trephon carefu l hands his lassOver a stile a childwith ease might pass.’

But wedded, Strephon now neglects his dame ,Tumb le o r no t, to him ’

tis all the same.

’

The fan leaf,publ ished in Paris

,but also issued in England , i l lustrates

two scenes, i n the former ofwhich Cupid smiles approvingly in the latter,Cupid in the background is overwhe lmed with grief at th is instance of

Strephon’s i ndifference ; above are i nscriptions i n French and Spanish

L a Complaisance de l’Amant ou Hu i t jours avant,’

and L’

indifférence du

Mari ou Hui t jours apres .’ The fan etched from drawings by Will iam

Will iams , a name which suggests an Engl ish origin of the idea.

A s imilar contras t i s drawn in two fans publ ished by J . Read,Feb . 20 ,

and Nov. 1 , 1 795 , 1 33 Pal l Mal l ‘ The Good Swain gives three oval medal

l ions of ‘ The Morn ing ofYouth,

’ Mid-Day ofLife,

’

and Chearful Evening264


These fans are engraved in mixed l ine and stipple,the name ‘G.

Wilson,

appearing on the first ment ioned , with ‘ London , publ ished

May 25, 1 795, by I . Read , No . 1 33 Pal l Mal l .’ On the latter, ‘ Published as the Act directs by G . Wilson , 1 4 Feb . 1 795 , 1 08 S t. Marti n’s

Lane .’

Other fans having reference to the affections , and i ssued by the same

publ isher,are :

‘The Progress of Love ’ i n the five stages of ‘ Cupid

Rel ieved ’

;‘Amantha Rewarded '

;‘ Pastime ofLove ’ ; ‘Al tar of Hymen ’

;

‘Connubial Bl iss ’ ; ‘ The Lady’s Adviser, Physician , and Moral ist , or

,

Hal f- an- Hour’s Entertainment at the Expense ofNobody l and The Quiz

C lub - the latter giving twelve circu lar medal l ions of ridiculous characters

round the border of the fan, with suitable descriptions underneath

‘Tliis young Spark is perfec tly a man of Taste—dresses like a gentlemanswears like a Nabob , and believes the Ladies think him a clever fellow.

’

‘This Man (wonderful man he shou ld be called) is a learned Ass. Speaksgramat ically nice , looks very so lemn, and e xpects y"Ladies to understand his

consequence, happy are they who win his smiles.’

‘ A fit Man for a clo set—give this gent leman ret irement , he requ ires to bear

Compy with none but invissibles—Gods, Goddesses, Genii, Fauns, Sylphs, Naiads,Dryads, y

° like.

’

‘An unfit Man to be alone—one that his associates have nicknamed Bob

Drowsy, he can find no amusement but in his tongue, if he is left half an houralone he falls asleep.’

I n an oval medal l ion in the centre i s the fol lowing

‘THE Qurz CLUB.

‘ Dedicated to all Beans in Christendom.

‘ By S . A Professor of Physiognomy and Correction of the Heart .‘ Dear Madam, ask your loving QuizI f here he ’

Spies his own Dear Phiz ;266

ENGRAVED FANS

And ifmark’

d out some fault he find,

Like one o r two which warp his mind,Bid the defaulter hence amend

And b e the Se xes hono ur’d friend.

‘ Publish’

d by Ashton Co ., No. 28 Little Britain ,May 1 st, 1 797, Enter

’

d

S tationers’ Hall.’

Trips to Gretna were among the earl iest resu lts of the abol it ion of

Fleet marriages by Lord Hardwicke’s New Marriage Act of 1 753, one

of the most famous of these clandestine marriages being that of R ichard

Lovell Edgeworth ten years later. The fan i l lustrates, i n s ix scenes , the

progress of a love match from the fi rst meet ing,to a marriage at Gretna,

and final forgiveness by the bride’s father The F i rs t Impress ion ,’

Mutual

Declaration ,’ ‘ The Refusal ,

’ ‘ The Fl ight,

’ ‘The Journey’s End,

’ ‘ The

Reconci l iation .

’

This subject also formed a favourite motif for the Staffordsh ire potter

of the period , who produced a number of groups characterised by that

quai nt humour which appears to be nat ive to him . I t wil l be observed

that in the fan ,as i n the pottery figure groups

,the popular idea of the

‘ blacksmith ’ is perpetuated . This popular notion,however, i s thus

dispos ed ofby J eaffreson ,the h istorian ofmatrimony (B rides and B ridals)

‘ There is no evidence that any one of the Gretna Green marriages was

solemnised in a smithy, or that any one of the famou s Gretna Green

couplers ’ ever fol lowed the smith’s cal l ing. One ofthese so—cal led parsons

had been a common soldier, another a tobacconist , a th ird a pedlar, and

all of them drunkards and cheats,but no one of them ever shod a horse

or wrought an iron bolt.’

The state ofwidowhood also suppl ies the motif of a number of fans ,the subject usual ly taking the form of a woman in class ical costume ,mourn ing over an al tar, urn , or tomb ; the central figure- subject general ly

engraved in stipple , the landscape completed by hand . Several examples267


are in the Schreiber col lection , the most successfu l being that s igned

F. Burney, del . ; H . Meyer, sculpt .’

I n the third group,subjects from class ic mythology, the prevai l i ng

method or decorative scheme i s that of an engraved medal l ion , large or

smal l,occupying the centre of the fan , to be enclosed in , or i ncorporated

with , an ornamental setting painted by hand ; the character and treatment

of the subject representing that pretty, sentimental quas i- classicism which

set in about the middle of the century,and which we associate with the

names of C ipriani , Angel ica Kauffmann , and the engraver Bartolozzi . A

characteristic example is the des ign by G. B . C ipriani, R .A ., of Orpheusand Eu rydice emerging from Hades , the i r way being l ighted by the torch

ofCupid . The medal l ion is engraved in stipple,the field of the fan being

completed by ornaments in black,grey, pale blue , and s i lver.

A variation of this decorative scheme has three medal l ions witharabesque ornamentat ion also engraved

,the fan usual ly being sold un

coloured but occas ional ly tinted ; an example being ‘The Power of Love ’

a Cupid riding on the back of a l ion , engraved by Bartolozzi from theantique gem by Protarchos at Florence , with two smal ler medal l ions of

Cupids . ‘ Publish’

d as the Act di rects, March 1

,1 780 ,

by A . Poggi .’ 1

An interest ing fan i n the Wyatt col lection is printed on chicken

skin , with an almanac in Spanish,decorated with the s igns of the Zodiac

in circles, and borders of fruit , flowers,etc. , coloured and gilt. The stick

and guards of pierced and carved ivory,pai nted .

A class of fan popu lar both in France and England , during the

middle and latter hal f of the e ighteenth century , has a medal l ion subject

o r series of subjects superimposed upon a streamer of lace ; th is last1 ‘Mr. A. W. Tuer, in a l ist of Bartoloz z i’s works (page catalogues e ighteen fan-mounts, including

the one pub l ished by A. Poggi in but not the one pub l ished by Poggi in 1 782 . On ly four, so far as

he knows, were completed as fans, including the 1 780 Poggi. The coppers on which the engravings weremade were of large size , so as to admit of the after addit ion of the form of the fan, and its ornamentat ion.

Some of the plates were afterwards cut down, lettered, and issued as separate prints.’ (L etter of Mr. L ione lCust to L ady Charlotte Schre iber, Schre ibe r MSS.,

British Museum.)

268


paese del matrimonio ,’

and Venite , s ignorine, Ciascana del le vostre madri

fatto prima di vo i questo viaggio . L a mia barca é della pi 1 ‘1 leggiere ,se non vi condurre a buon porto non mi pagherete .’ On either side are

maps of two imaginary countries—Terra del cel ibato and Paes i del

matrimon io , with pictorial representat ions of the various places . The

former apparently is the country of tranqui ll i ty ; on i t are figu red the

Tempio del la pace, the Fontana del la quiete , the C i tta del l

'

independenza,

the Paradiso terrestre.The country ofmatrimony is approached by the Golfo del Rimprovero

which l ies between the Capo del la diss imulazione and the Rupe del la

ge losia. I n this country are d iscovered the C itta d’i sagiosa ; the Tempio

del la discordia,shown as fal l ing to pieces with a volcano hard by ; the

montagna del l’ i nfedel ta, from which springs a stream emptying itself i nto

the Lago del l ind ifferenza. On the farther side of this country of unrest

l ies the Golfo del la luna di miele.

Of the processes of engraved fans,the most usual i s that of

etching, often finished (sweetened is the technical term) by means of the

graver or burin . Pure l ine- engraving is frequently employed,although

most l ine- engravers make use of the etched l ine as a foundation for sub

sequent work wi th the burin . Etching is occas ional ly supplemented by

stipple- engraving and the free use of the roulette. Many fans are pai nted

in a brownish black i nk with the flesh- t ints in red ; in others several

colours are introduced , thus anticipat ing the modern process of coloured

etching. This latter is practically a system of painting upon the plate in

colours , and can scarcely be considered as a legitimate process , although

the result in modern coloured etch ing i s often interesting, and i n some

instances even admirable . Aquat int was also employed , especial ly du ring

the earl ier years of the nineteenth century, on a number of fan leaves

i l lustrating the Pen insular War. Many of these were produced in

London by Behrmann and Collman , for the Spanish market, with270

ENGRAVED FANS

inscriptions in Spanish . Portraits of the Duke ofWell ington were also

popular.

After the i ntroduction of l i thography many fans were produced by

means of th is process , i nvented by Aloys Senefelder ofMunich about 1 798 ;all l i thographed fans must therefore be of a subsequent date to this .

This process was employed as a groundwork fo r subsequent pai nt ing,often carried to a high pitch of finish

,so much so , that i t i s difficult for

any but a practical eye to detect the l ithographic foundat ion . Examples

of these fans , which include a great variety of subjects , appear i n most

col lections.

Lithography has been employed during the whole of the n ineteenth

century fo r the decorat ion of fans, and is largely in use at the present

t ime .

DOUBLE HIDE FAN(Taken from the King's Palace at Benin , r897. Horniman Museum, Forest Hil l .)

271

C H A P T E R X I

MODERN AND PRESENT-DAY FANS

WE now gather together the various threads of

our subject at the point where they were left ,viz. the close of the Empire. We have

found that during two centuries and a hal f

from 1 600 to 1 800 ,with a l i ttle overlapping at

e ither end—the fan passed through the various

stages of development and decl ine ; that during

the latter years of the sixteenth centu ry both

Italy and France,but especial ly the former

,

produced objects which may be legit imately

described as fine art ; that in France, if we

make al lowance for,

and accept a different

standard of taste and fash ion , the most ex

quisitely dainty things were produced , the

period of Lou is xv. being that of the highest development of the art,

with a steady decl ine from thence onwards .

During the first three decades of the nineteenth century the fan

languished . The storm and upheaval of the Revolut ion,the general

unrest caused by the Napoleonic wars , were among the chief contributing

causes , together with the fact that the great families had fled from

France , taki ng their fans with them . For the first fifteen years of the

centu ry, there i s l ittle to record except a difference ofproport ion .

‘ Towards

to quote M. Rondot,

‘ the brins were only 6 or 7 centimetres to the272


suffocat ing, the you thful dandies fainting languidly in their boxes , i t

occu rred to a Paris manufacturer to sel l green paper fans to the men , and

the whole theatre was therefore furnished with them . Fashion adopted

this i nnovat ion ofmascu l i ne fans , which received the name of Corisandres ,but this original ity endured but a short time in Paris , as also in Venice

and the principal cities i n I taly,where men became famil iar with the play

of the fan ;—the beaux abdicated the sceptre of the woman , and resumed

as before thei r Malacca canes .’

An amusing s tory is told of a near- s ighted French writer, who , on

a sultry summer evening at the Opéra, was much incommoded by the

fl ip-flapping of the fans of two persons who sat immediately beh ind him .

Turning to the two del inquents,

‘My dear ladies,’ said he

,i n the pol itest

of tones , ‘ i f you wil l k indly moderate“

the use of your fans you wil l render

me the happiest of men .

’ Instead,however, of the du lcet tones of a

lady’s voice, a deep bass smote his ear, and he found himself confronted

with the black- bearded , furious, and reddened visages of two l ieutenants

of the Guards . The amende quickly fol lowed .

I t was the circumstance of a grand bal l given at the Tuileries i n 1 829that occasioned the renai ssance of the fan. Madame la Duchesse de

Berri was organis i ng a Louis xv. costume quadri l le—fans of the period

were requ ired to complete the tont ensemble,and none were avai lable. At

length one ofthe guests recol lected an oldpaiy‘amear i n the Rue Caumartin ,

named Vanier, who had col lected ancient fans these were conveyed to the

palace , where , i n the quadril le, they created extraordinary interest—wereeagerly purchased , and from thi s time onward i n the most exclus ive circles ,i n spite of the fickleness of that jade , Fashion, the fan has retained its

hold upon the affections of the fai r.

The earl iest result of this revival of taste for old fans was, perhaps

natural ly, a general imitat ion of old models,and l ifeless reproductions of

the fans of the Louis Quinze period were made .274

MODERN AND PRESENT -DAY FAN S

I t wi l l readily be perceived that this way did not lead to artisticsalvat ion- that i t served no good pu rpose to open up the graves of a

dead century and to d isturb its poor ghosts . I t is true that th ings were

changing for the worse , but there is a heal th iness in the very act and spiritof change, even though that change should represent a temporary decl ine.This i s the epoch of which it wi l l be said that men actual ly, by

some mysterious means , were deprived ofwhat may for present purposes

be cal led thei r s ixth sense , when , though thei r eyel ids were unclosed , they

saw no t , or only in a perverted manner ; i t i s , nevertheless , one of the

curios it ies of th is most s ingular epoch that whi le the general level ofart i stic attai nment was so low

,its pictured shadows so dark

,the prevai l ing

gloom should be i l luminated here and there by l ights more bright and

i ntense than i n the two preceding epochs . I n other words, while we fai l

to trace with any measu re of certainty any single instance , during the

seventeenth and eighteenth centuries,of an art ist of the first cal ibre

touching the fan, du ring the fi rst half of the century that succeeded,

the fan may boast of such names as Horace Vernet, Ingres, Isabey, and

others only a l ittle less d istinguished . These represent the welcome oasi s

i n the dreary desert of mediocrity—the l impid springs at which from

time to t ime we may pause for a few moments to refresh ourselves . O f

the work of these famous pai nters , an‘Arab dance ’ by Horace Vernet

is recorded ; as al so ‘ D iana and Endymion ,’ the subject treated in the

Etruscan style by Ingres,who constantly in h is pictures introduced fans,

as witness the portrait of Madame Devaugay, referred to i n an earl ier

chapter, ‘The Odal isque,

’

and ‘ The Harem .

’ We have also, later, an

‘Al legory of the Arts ’ by Robert Fleu ry,a Féte

’ by Gerome, and fans

by D iaz , Vibert, Lami , Glaize, and Jacquemart.‘ The revolution of says M. Rondo t , in his report on the 1 85 1

Exhibition,

‘ would have crushed the French fan i ndustry i f i t had not been

for the orders for exportat ion. The production , which in Paris amounted275


to the value of three mil l ion francs in 1 847, was reduced by hal f in the

disastrous year that fol lowed ; of 565 workers of both sexes 3 1 5 were

thrown out of employment. At the time ofwriting ’ continues th is

author,

‘ the industry was in a very flourishing condition .

’ This prosperity

has been maintai ned to the present day,‘ Paris being sti l l the only city

where a fan may command the price of a hundred pounds .

’ 1

The number of artists and workers employed in Paris and the O ise ,says M . Duvelleroy in his report on the Paris Exhib ition of 1 867, i s

4000 ; the annual value of the production being ten mil l ion francs , of

which three- fourths is for the foreign market . ‘ Paris et la Chine ont

seuls le monopole du commerce des éventai ls , mais c’est aujourd’hui , en

Europe,une industrie toute francaise, pour laquel le le monde entier est

notre tributaire .’2 The evidence of th is exhibition , further affirms thi s

author, showed that France incontestably held the first rank .

‘ Spai n , who for thirty years had tried to organise her industry , has

only arrived at the production of the commoner classes of fans . I taly,

who uses fans greatly, does not make them ; Portugal being only the

third in the European market.’ The British record is correspondingly

poor. ‘ In the Great Exhibition of says Lady Bristol,

‘ there wasnot one single fan of British manufacture exhibited

,

’ 3and so far as painted

fans are concerned , the s tatement made by Redgrave in his notes to theCatalogue of the Fan Exhibition at Sou th Kensington in 1 870 ,

‘ that there

were no Engl ish fanmakers l iving except those who made cheap and

coarse fans , is substantial ly correct to -day.

’ 4

The evidence of the fans themselves bears out these statements. The

instance may be cited of an engraved fan i n the Schreiber collection

(NO. 69, Mounted Fans) recording Mr. Albert Smith’s ascent of Mont

1 Redgrave, South Kensington Catalogue, 1 870.

2 Duvelleroy, E xposition Universelle, Paris, 1 867, Rapport? dajury I nternational, vol. iv.

3 Queen, Christmas Number, 1 890.

E. Barrington Nash, Catalogue at t/re Third CompetitiveExhibition ofFans at D rapers’Hall, 1 890.

276


claims to the possession of artist ic qual i ties. M . Rondo t mentions a fan

carved in mother- of- pearl and signed by Cami l le Roqueplan for Duvelleroy,that sold for 1 000 francs . A Danish scu lptor, M . S . G. Schwartz of

Copenhagen,exhibited at Paris in 1 867 an ivory fan carved with rel iefs of

the Seasons after Thorwaldsen ; a most beautifu l work.

Another brisé fan,fine ly pierced and carved

,presented by the ladies

ofCopenhagen to H.R.H. the Princess ofWales (Queen Alexandra) on

the occas ion of her marriage in 1 863, gives five circu lar medal l ions , the

centre having the init ials A. A . surmounted by the crown,the other four

of classical subjects. Underneath , a process ional group ofApol lo in his

chariot, the Graces and the Muses ; above, a border of Cupids holding

wreaths of flowers ; the guards richly embossed in gold , with fol iage ,flowers

,etc., in high rel ief. The above instances

, as wel l as others that

might be named , are exceptional ; there can be no possibi l i ty of doubt

that while the leaves of fans, upon occasion , due to the fact of artists of

high cal ibre having essayed the fan ,present some advance, the work of

the stick,during the whole of the nineteenth century, exhibits a serious

fal l ing off from that of the preced ing epochs. This unsat i sfactory state

of th ings can only be remedied by a general advance in publ ic taste , by

the creation of a demand for the higher class fans , and by ind ividual

artists of approved ski l l turn ing thei r attent ion to this class ofwork.

During the latter half of the nineteenth century, three prominent even

taillistes of Paris , MM. Duvelleroy, Al exandre, and Aloys van de Voorde,have made most strenuous efforts to revive interest in the higher class of

fans,

and have exhibited work by such di stinguished pai nters as

Gavarni, Col in , Hamon , Phil ippe , Rousseau , Karl Mul ler, D iaz , Eugene

Lami , Glaize, Compte-Cal ix, Couture, Corot , Wattier, Soldé, Garnier, M“

de Gi rardin : and such wel l- known sculptors as Jean Feuchere, Klagmann ,

Jacquemart , Riester, the brothers Panniere , Eugene Berger, Bastard , Lanoy,Vai l lant

, and others .278

MODERN AND PRESENT -DAY FANS

Of the work ofGavarni we have unfortunately no example i l lustrated

a fan by h im appeared at South Kensington i n 1 870, exhibited by the

Comtesse de Nadai l lac. Of other fans enl ivened by his l ight and

humorous touch, two , says Blonde l , have become famous : the first was

commissioned by Duvelleroy for Queen Victoria : the second , est imated of

perhaps greater value , formed part ofthe Empress Eugénie’

s rich col lection .

M irecourt , i n h is biography ofCavarmi , tell s the fol lowing anecdote. Upon

an occas ion of the contents of his fine portfol ios being prai sed , he cried ,‘

A llons donc / i n drawing I have never done but one th ing passable i t i s a

fan for the Empress .’

Gavarni visited th is country in 1 847, but does no t appear to have

recommended himsel f personal ly to his hosts . He may be counted

fortunate i n the fact of his having, i n spite of a certai n spiri t of contra

d iction in his character, impressed the value of his work upon his fel lows

during his l i fetime . Great men , l ike angels , but too often come upon us

unawares, and i t i s only upon thei r leave- taking, or after, that we become

sensible of the loss of a gracious presence .

The del icate and refined art of Jean Louis Hamon was especial lysuited to the fan. For a considerable period he was associated with the

Royal Porcelain works at Sevres, producing a number of designs of that

l ight fanciful character with which we are famil iar i n h i s paintings . He

continued this style of composi tion , says M . Wal ther Fol, but appl ied i t

to the decorat ion of fans , i n which he excel led .

‘ I n every sovereign court

they were a coveted possession , and i f he had desi red to supply all demands

he could have produced nothing besides .

’ The subjects of these del icate

fancies i n almost every i nstance have reference to love or marriage . There

were Loves who shot arrows transfixing two hearts at once there was Love

with outspread wings , seated upon the raised end of a see- saw,while

Hymen,crowned with flowers , held h im on high by his weight .

A dress fan made by Alexandre, and pai nted by Hamon with the

279


subject of An Entomologist ,’and groups offlowers on either s ide by a well

known flower painter, was presented to the Countess Granville by the

foreign commissioners of the Un iversal Exhibition , Paris , October 26 , 1 867.

The stick is of ivory,carved by C . Rambert with dancing Cupids and fol iage ,

enriched with ormolu and jewel led tu rquoise. The gift was accompanied

by a gracefu l letter from Mr. (afterwards S i r Henry) Cole , the British

Commissioner,referring to the fan as a work of fine art by ‘

two distin

guished French pai nters and one scu lptor.’ I t is , however, more valuableas a souvenir of an i nterest ing occas ion

,and for the beautifu l carving of

the st ick, than as a representat ive example ofHamon’s work.

In 1 862 , J . L. Hamon jou rneyed to Rome, where he painted L’

Aurore,’

exhibited in Pari s in the fo l lowing year,and purchased by the Empress

Eugenie. He d ied in 1 874 at the early age of fifty- three.

Watt ier signed a number offans,ofwhich an exceedingly rich example ,

an elaborate composition of nymphs and Cupids , is i n the possession of

the Countess Granvi lle. He was born at Lil le in 1 800, and died in1 868.

The fan leaf, ‘ Le Cerf de St . Hubert ,’ by Rosa Bonheur (born 1 822

,

died is dated 1 896 , and i s consequently one of the latest works of

th i s i l lustrious painter, whose fame has become universal . The legend of

S t. Hubert and his Christ vision, an unusual subject with modern artists ,

though great ly favoured by the pai nters of the Renaissance, engaged theattention of Rosa Bonheur as early as 1 868 , when she produced a crayon

study, s imilar i n treatment to th i s fan leaf, with the stag shown a l itt le

more in perspective , i l lustrated in Rosa B onheur, sa Vie, son Ginore , Anna

Klumpke, 1 908 . The stag of the fan leaf, reversed however, presents

many similarit ies to the famous picture ‘ Le Roi de la Fo rét ,’ painted in

1 878, the same studies probably be ing uti l ised for both works . The leaf i s

of si lk , the pai nting in transparent pigment , with very l ittle body colour

introduced . I t appeared at the Franco- British Exhibition in 1 908, and

280


qual ities,is

,neverthe less

,charming in idea and pretty in colour ; i t represents

a sylvan scene on the borders of a lake upon which are two white swans , a

del icate al lusion to the bride and bridegroom . I n the centre, underneath

a tree,i s a Cupid tu rn ing over the pages of a large book , inscribed

‘Apri l 1 0,1 880 ,

xxv .

’ The subject i s enclosed within a cartouche of gold

and flowers .

Once again,the Royal Fan

,in its hour ofneed , finds a friend in royal ty,

on th i s occasion the most powerful monarch i n Europe , Queen Victoria.

I n 1 870,the period ofperhaps the lowest ebb of the fan’s fortunes in thi s

country, at the init iat ive of this royal lady, an exhibition was organ ised

at the South Kens ington Museum (now Victoria and Albert), when

a prize of£400 was offered by Her Majesty,and four hundred and

th irteen examples from the finest col lections both here and abroad were

shown .

The great success of this exhibition , and the absorbing interest

displayed in i t,natural ly led to the organisat ion of others . Among the

measures adopted by the Worshipful Company of Fanmakers for the

purpose of reviving what was at one time ‘a flou rishing industry i n

this ancient ci ty,

’

a competitive exhibition of fans was held at Drapers"

Hal l i n 1 878, agai n under the protect ing aegis of royalty Princess

Lou ise, now Duchess of Argyll). Twelve hundred and e ighty- four fans,

ancient and modern,were exhibited ; gold , s i lver, and bronze medals , and

money prizes amounting in the aggregate to J£I7Z were awarded,the

freedom of the Company being in most instances granted to the prize

winners .

E leven years later ( 1 889) this experiment was repeated . I n addition to

prizes offered by the Fanmakers’

Company,others were offered by private

individuals and publ ic newspapers,and one hundred and six works were

entered for competition .

The Queen newspaper, the donor of one of the prizes , commenting282


on the exhibition , held at Drapers Hal l du ring the month of May,

said : ‘ Considered as a whole,the exhibition d id not come up to our

expectations . The l iberal prizes offered ought to have brought forward

finer and more original work in a branch of minor art which i s to be

cons idered as the special province of lady artists,

1and presents so many

opportunities for fanci fu l composit ion and refined taste in arranging and

grouping,’ etc.

I n the fol lowing year, 1 890 , the Fanmakers’

Company decided to hold

thei r thi rd competi t ive exhibi tion .

The Daily Graphic ofMay 1 7 said : ‘ The exhibit ion of fans organised

last year by the Company of Fanmakers gave so valuable an impetus

to Engl ish trade i n this direction,that the Company very wisely and

patriotical ly decided to hold another this season .

’

On this occasion no less a sum than£275 was placed at the disposal

of the Company , to be distributed as prizes for fans and fan designs , the

exclusive work of B ritish subjects , the number of exhibits reach ing the very

respectable total of s ix hundred .

I n 1 89 1 an important exhibi tion of ancient and modern fans was held

at Karlsruhe , under the patronage of the Grand Duke and Grand Duchess

ofBaden , a sumptuous i l lustrated record of the exhib it ion being issued , the

text written by Professor Marc Rosenberg. S ixteen prizes and forty- three

diplomas of honour were offered for competit ion,i n which some of the

foremost continental artists took part . O f these the d ist inguished Au strian

painter Hans Makart claims a leading place,and may be included i n the

al ready long l ist of art ists of the foremost rank who have given thei r

attention to fan painting. A design in crayons and water- colour by him

appeared at th is exhibi tion, and i s now i n the Royal Gal lery at Berl in ; a

charming vis ion of a procession of ch i ldren crowding the whole field of the

fan,suggesting the impossibi l i ty of having too many. Professor Eugen

1 There is no reason why e ithe r sex should claim a monopoly of fan paint ing.283


Klimsch of Frankfurt, the winner of one of the prizes , was represented by

‘ The Dance ,’

a compos i t ion of figures in the style of Watteau , a number

of Cupids occupying the centre of the fan,which was priced at the high

figure of£500 . Professor Hermann Gotz, director of the School of Artsand Crafts at Karlsruhe

,showed an excel lent classical compos ition on

paper , of the chariot of an orb or planet . Professor Ferdinand Ke l ler, of

Karlsruhe , exhibited an apotheos is of the Emperor Will iam an excel lentfan mount of a pretty Cupid on a cloud

,with a medal l ion portrai t of the

Empress and a large eagle. This in the possession of Mr. J . G. Rosenberg,

who also owns an extremely able compos i t ion of a dance of bacchantes by

Georg Papperitz .

There was al so a powerfu l painting of the plein air school, of a pier

with fishing- boats,

‘ Bewegte See, Schwanenhaut ,

’ by Professor Gustav

Schonleber ; and an excel lent natural istic pai nting on s i lk of parrots ,paroquets , etc., by Max Sel iger of Berl in .

The above by no means exhausts the good things of th is important

exhibition , i n which was represented practical ly every phase of modern

art,and amply demonstrated the fact that the Germans , artists and

publ ic al ike, are much more al ive to the importance of the fan,both as

affording an opportunity for artistic expression , and as an accessory of

costume, than we are in this country.

Upon occas ion , the fan has led to unforeseen and undesired conse

quences ; a s tory is told of the eccentric King Ludwig of Bavaria, the

gal lant and prodigal admirer of the dancer Lola Montés . At one of the

bal ls ofhis Court , a fai r princess having inadvertently let her fan fal l to the

ground , the monarch hastened to pick i t up and to restore i t to the hands of

the giddy beauty,when his forehead came in sharp contact with that of

another gentleman , no less desirous than the king of paying homage to

the fai r. The shock was so great and so violent that King Ludwig,stunned for the moment, soon afterwards discovered growing on his

284

H ISTORY OF THE FAN

The fan cons ists of twenty- six blades of plai n wood on which appear the

s ignatures of such famous painters as Bastien- Lepage, Joseph I sraels ,Du Maurier, Legros , accompanied in most instances by characteristic

sketches ; and of such musical executants as Charles Hal lé, with , in

several i nstances, the addition of a few bars of music . The sketches

are dated 1 879 .

The fan of Mrs . Arthu r Lewis is a deve lopment of the same idea.

This has nineteen blades , and the space between the rounded edge and

the connecting ribbon is ut i l ised for sketches by Orchardson , Col in Hunter,Pettie

,M i l lais

,Lesl ie

,Alma Tadema

,Du Maurier, Phil Morris , Ansdell,

J . C. Hook , Frank Dicksee , Goodal l , Herkomer, F i ldes , Marks,Boughton

,

and Adrian S tokes . The outer blades are ornamented by arabesques en

clos ing the monogram of the owner,a laurel wreath

,and painter’s palettes.

The dates recorded are 1 880- 84.

The popu larity o n the Continent of this form of autograph fan is

evidenced by the fact that three examples were shown at Karlsruhe in

1 89 1 from the collection ofHerr Conrad Dreher ofMunich . These included

the work Of such wel l- known German artists as Ernst Zimmermann , Franz

S tuck , L enbach, Holmberg, L Owith,D iez

,Hermann Kaulbach , and others .

At Karlsruhe , also , was shown an autograph fan belonging to the

Baroness Friederichsy, on which were the s ignatures of all the diplomat ists

who attended the Berl in Congress. Countess Onola possesses a s imilar

fan , with the autographs of the royal family and the more distinguished

personages Of the Berl in Court, i ncluding Prince Bismarck and Count

Moltke.

Mrs . Joachim-Gibson has a‘Wagner ’ fan

,with printed portrai t of

the mas ter, views of the Wagner theatre and of Bayreuth , and, on the

reverse, autographs of famous Wagner s ingers .

Among novelties or curiosities i n fans i s an example shown at the

Vienna Exhibition in 1 873, i n which each rib was a knife or a fork ,286


o r a spoon, o r a comb , o r a pai r of scissors , etc . Any s i ngle piece could be

removed for use without spoil ing the tout ensemble.

In the exhibition of the Fanmakers’ Company at Drapers"Hal l i n

1 890 ,a

‘ butterfly fan ’

appeared . Two large gauze wings , speckled and

veined to imitate a gigantic i nsect,form the fan , the body represented by

the handle ; upon press ing a bu tton or spring, the wings are set i n motion ,and

, by thei r flu ttering,fan the bearer.

Mrs . Kendal , the famous actress is also credited with a l i ttle surprise ,i n the shape of a ‘ dressing- case fan . This is a fan and enti re toi let- case

in one, and affords its owner an opportunity of beauti fying hersel f on

occas ions when the ord inary means are unattainable . The st icks are of

s i lver, the leaf Of black gauze, with a black velvet mask, resembl ing those

the Venetians carry at Carn ival t ime,set i n the centre . Behind this mask,

which permits the owner to see everyth ing,may be carried on all the

toilet duties for which the fan contai ns conveniences . Upon turning back

one of the broad outer st icks,a l itt le mirror is revealed

, and underneath

the other is a receptacle for hair- pins , scissors , glove- hook , etc . At the

lower end of the fan i s a s i lver box contai n ing a smal l powder- puff. This

was advertised some ten o r fifteen years ago as manufactu red by Messrs .

W. Thornhi l l and Co .

The employment of the ostrich feather for the folding- fan has been

revived during recent years,fol lowing an older custom . Many examples

occurring in old engravings and pictures may be cited ; amongst them the

portra it group of the family of Jan Miense Molenaer, by Van Loon ,previous ly referred to

,i n which a lady holds a folding- fan ofwhite ostrich

feathers . (See i l lustrat ion , p .

I n the s ixteenth century, and for a long subsequent period , Venice

cont inued to be the principal emporium for supplying ostrich feathers

to Eu rope , and i n no country were they more extens ively used than in

England . At present England is the mart of the world for feathers ;287


foreign manufacturers , therefore , must perforce come here to make their

selections .I t is this latter circumstance , doubtless, together with the universal

populari ty of the feather itse lf, which has occasioned thei r revival—some

of the handsomest fans made at present being of that character. The

msthetic value of these fans , for the most part depends, no doubt, from

cons iderat ions of cost , upon the beauty Of the ostrich feather i tself, the

sticks being general ly of plai n ivory,tortoise- shel l

,horn

,or bone—thus

just ifying the cri t icism passed upon one of the prize-winners at a

compet i t ive exhibition at Drapers’ Hal l,that i t was to the ostrich that

the prize ought real ly to go . Under no circumstances,however, cou ld

these fo lding- fans hope to vie with the magnificent rigid fans of the

E l izabethan era, the form of these handles , apparent ly,offering better

opportunities to the designer than do the radiating st icks of the folding- fan .

I f we might have feathers set i n handles des igned in the sumptuous manner

of these early fans , well and good ; i f we could have the sticks of the

folding-fans more in keeping with the sumptuous nature of the feather,well also

,though not quite so good ; but the ever- present question of

cost must always remai n a determining factor.

The feathers of other birds have also been , and are at present , em

ployed for the purposes of the fan ; i n thi s connection the charming

Chinese fan at South Kens i ngton of the feathers of the Argus pheasant

may be cited . (I l lustrated facing p .

The system of appl ied feather-work is referred to on a number of

occas ions in this work , several i l lustrations be ing given , notab ly the

Chinese feather screens belonging to Mr. Crewdson,and the Queen Anne

screen ofMr. Messel . The practice was common during the latter hal f

of the eighteenth century , used both for fans and other purposes, and

it was a favourite pastime with Mrs . Montague,who refers to it in one

of her letters , dated 1 785—‘

I am obl iged to you for your kind attention288


by H.R.H. the Prince of Wales from the wings Of 3260 woodcocks, there

be ing one on ly of these miniature feathers i n each wing of the bird .

Each s ingle feather is fixed with two stitches of thread and worked upon

a l inen base,the back being formed of the ordinary feathers from the

breast and wings .The fan was commenced o n the 1 8th August 1 900,

and on ly com

pleted on the 28th October 1 90 1 . The lady who worked it was unable

to apply herself for more than an hour or so at a t ime, the work being

so excessively fine and tedious .

The manufacture of the fan was entrusted to Mr. Al fred C lark , of

33 New Bond Street,

1 the work be ing carried out under his direction ,and

,we bel ieve

,on a princip le of his own .

M . Edouard Moreau signed a number of fans from 1 860 onwards ,characterised by a charming de l icacy of execution and elaborat ion ofdetai l .

A representat ive example is given,which appeared in the Internat ional

Exhibition of 1 862 , andwas pu rchased for the South Kensington Museum .

This,an ivory brisé, i s painted with three medal l ions of ‘The Tou r

nament,

’ ‘ Before the Tou rnament,

’

and ‘After the Tournament .’ The

fan was made by Alexandre , and bears very favou rable comparison with

the best work of the e ighteenth centu ry. (Facing p .

A fan,also manufactured by Alexandre and painted by Moreau , was

exhibited in 1 870 by Madame Maurice Richard (au Ministere des’

Beaux

Arts,Paris) . The ve l lum mount has for centre a medal l ion

,with the

i n it ial s ‘ H . R.

’

(Helene R ichard) surmounted by two doves. On either

s ide are medal l ions wi th figures emblemat ic of Scu lpture and Mus ic ,Poetry and Painting, pai nted en camaieu on a gold ground by Moreau .

On the reverse,i n a medal l ion , the Genius of the Arts awarding wreaths

to Sculpture,Architecture

,Painting

,Music

,and Poetry. The ivory stick ,

1 These detai ls are most kindly suppl ied by the Private Secretary , the Hon. A. Nelson Hood, whoalso photographed the fan for this work.

290


carved and pierced in the style of the s ixteenth century,is also painted

by Moreau,with medal l ions of seraphs playing mu sical instruments , and

supporting emblems of the arts they represent ; the guards bearing the

in it ials ‘ H . R.

’ i n gold .

Many fans bearing Morean’s s ignature have mounts of lace , the

ivory stick being minutely pai nted with medal l ions of figure subjects

near the handle end,usual ly three subjects enclosed in an ornamental

setting. An excel lent example is given from the col lection at the Victoria

and Albert Museum . M . Duvelleroy (of Regent Street) also has a fan

arranged on s imi lar l ines ; another, i n the possess ion ofMr. G. J . Rosen

berg, was exhibited at Karl sruhe in 1 89 1 , both the last named being

made by Alexandre.

This leads us to the important subject of lace mounts. The use of

th i s de l icate material for the fan ,especial ly su ited by its l ightness and

da intiness , has been revived during recent years .

A lace fan having in the centre the word ‘ E lena,

’ surmounted by a

royal crown , was made at Burano and presented to Queen E lena of I taly

on her marriage i n 1 896 . I n Devonshire , also, lace mounts have been

made ; i n the Paris Exhib ition of 1 900 appeared a fan with a coat of

arms i n the centre,i n which M iss Trevelyan adapted an Ital ian design

to the old Honiton st i tches,i l lustrated by Mrs. Bury Pal l iser i n her

work o n Lace.

Fans have been,and are , a feature Of the Youghal lace industry

,

establ ished by the s isterhood of the Presentat ion Convent,county Cork

,

the oldest of the many that have sprung up under the fostering care of

the I rish nuns , and dating back to the dark t imes of 1 847, when famine

decimated the rural population of the south and west of I reland . The

designs are i n each instance furnished by the s isters,who are qual ified

under the Board of Education .

The Irish flat needle- point ofYoughal,though doubtless derived in

29 1


the fi rst instance from fore ign sources , may be said to have developed

into a purely nat ive art , capable of well holding its own against any

contemporary foreign work .

Fan leaves have been worked for many highly placed personages ;the example i l lustrated was presented by the Earl of Crewe to H.R .H.

the Princess Mary on her marriage , and is , perhaps , one of the most

successful i n point of design and richness of effect . A wedding gift to

H.R .H. the Princess Maud of Wales has for centre the in itial M. sur

mounted by a crown .

A beautifu l example, of the finest workmanship, was presented to

H.M. Queen Alexandra on the occas ion of her first vis it to Ireland after

the Coronation , i n 1 903, and has for centre the I rish harp,with the

appropriate inscription in Cel tic half uncials , on a ribbon running over

the whole field of the fan

‘ 1 coo l, I refresh, and I can keep secrets.

’

Another fan was presented to H.R.H. the Princess Margaret ofConnaught as a wedding gift, and obtai ned a prize at an exhibition in

Dubl in in 1 897. The number of medals awarded by the various inter

nat ional and other exhibit ions test ify to the un iversal appreciat ion of

this del icate industry,which has for some years past , with the fu l l consent

of the nuns , been formed into a co - operat ive society, thus enabl ing the

workers to part icipate fully in the profits accru ing to the associat ion .

The thread is a l inen one of various degrees of fineness , from the strong

NO. 1 to the almost invisible NO. 400 , and though so del icately wrought ,i t wears better than most other laces

,and can be cleaned repeatedly

without suffering injury in texture o r appearance .

1

We are enabled , by the gracious permiss ion of Her Majesty, to

il lustrate the lace fan presented by the Worshipful Company of Fan

1 The above facts are taken from an art icle in the I rish Rosary for June 1 898.

292


makers to Queen A lexandra for use on Coronation Day , 1 902 . This

bears two crossed A’

s surmounted by the royal crown . On the panaches

the royal monogram again appears surmounted by the crown .

Lace may be said to be the one s i ngle industry remai n ing com

paratively uninfluenced by the modern art movement, which is pro

fessedly a return to the independent study of natural forms. We saycomparatively uninfluenced,

s ince most praiseworthy, and,i ndeed

,success

ful attempts have been made both in th is country and abroad to profi t

by the abundant ornamental suggestion which Nature everywhere Offers

us . The beautifu l lace fan contribu ted by M. Duvelleroy suggests almost

i nfinite possibi l it ies i n the treatment of th is charming material ; i t i s

designed on a convention essential ly modern ; i t i s the art of tod ay, of

the present moment, owing pract ical ly nothing to the past , and represent

ing that revolt against tradition , which, for good or for i l l , has come to

be one of the most sign ificant features ofmodern art .

Nor i s th is the only instance that might be cited . Excel lent

designs for lace mounts , based upon natural forms , have from time to

time been made in our schools ; i n this connection may be mentioned

the work of Mi ss Lydia Hammett, of the Taunton School ofArt, who

has produced charming fan mounts i n Brussels and other lace in which

bi rd and plant l i fe are happi ly treated , and with a proper and due sense

of the l imitations imposed by the material .

Miss L. O ldroyd , al so,has worked a number of charming lace

mounts , i ncluding one for a fan presented to Queen Victoria by the

Worshipful Company of Fanmakers on the occas ion of the diamond

jubilee .

On the Continent , among some of the most admirably reticent work ,a treatment more frankly unusual has been adopted , no t without successful

resul ts . I n the art icle on Der Moderne Facher ,’ i n the K unstgewerbe

-Matt

for September 1 904, Frau M . Erler gives several admirable examples293


from Vienna and e lsewhere , together with i l lustrat ions of her own work,

cons isting of a happy arrangement of applique embroidery and network

or gauze insertion , extreme ly effective , and los ing none of its value from

the fact of its having been obtained by s imple means . We have festoons

offlowers embroidered on a l ight ground of gauze , with ornamenta l spaces

of network insertion ; we have the mountain- ash arranged symmetrical ly,the leaves painted red with embroidered outl ine ; the ‘ honesty ’ treated as

a broad border, the outl ine embroidered ; the rose treated as an all- over

pattern , the groundwork in artfu l ly alternated lace and net.

At the time ofwriting, the news of Charles Conder

’

s death reaches us.

He was a man of singu lar gifts, a modern of the moderns , whose work,though doubtless derived from that of a past age, wou ld have been

impo ssible at any other epoch than our own . What Conder undoubtedly

possessed , and i n a very high degree, was that subtle qual ity which

for lack of a better word we cal l style, a qual i ty not easy of defini

t ion , but readi lyfelt . I t would be difficult to say what style is, i t i s far

eas ier to say what i t is not ; i t is not for example , design ; a man may

possess considerable power of des ign withou t much perception of style ; i tis not a sense Of proport ion , al though this comes nearer the mark ,

‘ i t is no t

original i ty either, s ince a man may be very original indeed , andonly prove

himsel f rid iculous ; i t i s rather, a happy blending of these several elements ,and some others also.

To this great gift of nature,s ince this qual i ty i n its h ighest form

cannot be acqu ired , Conder added pract ical ly nothing. I t i s with a feel ingakin to resentment that we find faculties so exceedingly rare and so

precious , al l ied to such a lamentable lack of train ing and art education .

I t is i ndeed poss ible that,i f his l i fe had been prolonged , these short

comings would have been supplied, as Burne- Jones taught himself the

human figure after he became famous ; but, after all, crit icism is per

haps somewhat ungracious where there is so much that i s admirable,294


produce quite a number of fans and designs for fans , which have found

their way i nto various hands . In the S tudio winter number for 1 90 1 - 2

appeared a coloured i l lustrat ion—a rich composition of young girls gather

i ng roses—also painted on s i lk. I n the article on ‘ Der Moderne Facher,

’

in Kunstgewerbe-Matt for September 1 904, by Frau Margaret Erler of

Berl in , previously al luded to,appeared the first sketch for this Studio fan ,

vigorously drawn in chalk.

I t is impossible at the present stage ofa career having i n the natural

order Of th ings so much before it,and in the face Of such superabundant

energy, to form any definite idea of the ultimate outcome of Mr. Brang

wyn’s art ; of his present accompl ishment , his etched work , which ranks

amongst the most remarkable produced during recent periods , seems l ikely ,i n the Opinion of the present writer, to earn for him the most enduringfame. I f we might conceive etched or engraved fans becoming agai n

popu lar i n the twentieth,as they were in the eighteenth century

,i t might

be an i nteresting speculat ion as to how Mr. Brangwyn would treat an

etched fan. The material of zinc,which he so much affects, and i n which

he has discovered such great possibi l it ies, would , doubtless , be unsuitable

for such a del icate object ; nevertheless , we can imagine some rapid and

characteristic note on copper,the print further enl ivened here and there by

a touch of colour,as a su itable thing to be flu ttered in the hand ofthe fai r.

Such work wou ld provide,in these days oflack of patronage, other art ists

also with a means of augmenting their too Often , i t is to be feared , but

s lender incomes , s ince there would be an additional i ncentive to purchase a

print that might be appl ied to a definite purpose,o r made the occas ion of

some gracefu l Offering.

Mr. H . Granvi lle Fel l,whose Court of Love , a compos ition in the

shape ofa reversed heart , with Cupid enthroned in the centre, was i l lustrated

in the Studio winter number above referred to , i s another instance ofan

Engl ish present-day artist who has essayed fan pai nt ing o r design ing.

296


M iss Jessie King , whose charmingly original style is admirably suited to

the fan, was also represented in the same pub l icat ion . The beaut ifu l fan

gracious ly lent fo r reproduction by H.R .H. Princess Henry of Battenberg ,the wedding gift of Queen Victoria

,is entirely of English workmanship

,

designed and pai nted by a lady student of the Trai n ing School at South

Kens ington .

‘What style Of ornament i s most su i table for the fan ? ’

asks Charles

Blanc , who draws attention to the fact of the pleats breaking up o r

d istorting the design or picture . Our author suggests as a possible wayout of this difficulty ‘ that each pleat o r fold shou ld have a separate subject ,or

,at least

,that the subject be so arranged that the pleats have relat ion to

each other,as

,a Watteau harlequin kiss ing his hand to a columbine

,a

Leander quarrel l ing with I sabel le,these being placed on blades that i n

refold ing would reunite the lovers and reconci le the d isputants . But to

develop a graceful subject on a series of project ing and retreat ing angles,

all more or less acute,would be a waste of labour. I s i t not better to use

i n these cases a different or a radiat ing ornament ? I s it not better to

scatter over a fan a charmingly discordant arrangement of pictures and

colours,o r even to p lace isolated subjects between the folds , i n order that

elegant women,i n man ipu lat ing the i r fans

,may have twenty opportunities

ofshowing i n each fancy group the artist’s talent, and at the same time,of

disp laying some special charm of their own—a pretty hand , a well- turned

arm,o r beautiful eyes ? ”

Our au thor has drawn attention,i n his l ight and charming way, to a

difficu l ty which is practical ly insuperable ; there is nothing new in thi s

suggest ion of decorat ing each pleat with a separate subject , o r of a con

secutive series of subjects . Many instances of its appl icat ion might

be cited ; some are given in this work,notably the Ital ian fan Of mica, i n

which subdivision i s carried to i ts utmost l im it . But we mu st not take our1 Ar t and Ornament in D ress.

297


author too seriously,and al though his suggested fan , i f carried out, would

be a most exquisite experience,especial ly if drawn with the power of a

Gavarn i,o r designed with the skil l of a Sambourne o r a Caran d’

Ache,

the Opportunity afforded to the pai nter by the fu l l space of the mount far

outweighs any sl ight disturbance of the design caused by the pleat ing ;moreover

,i s it not a fact that si lk, the material most favou red by modern

art ists, which , when prepared with rice size and stretched , offers as suitablea material as cou ld be des ired for the free play of the brush , opens out to

practical ly a flat surface ?

George Augustus Sala has referred to the fan pai nted by S i r Matthew

D igby Wyatt with the subject of the ‘ Triumph of Love,

’

as marking the

period of the Engl ish revival of fan pai nting, and as a striking exemplifi

cat ion ofthe folly ofassuming that a great art ist derogates from the dignity

of his cal l ing by paint ing fans. He may stoop , i ndeed , says this author

fel icitously,but it wil l be to conquer !

Our task is at length completed ; we have endeavoured to trace to i ts

source in the dimmest past the chequered history of th is l ittle toy,once the

pride and the glory of kings,and now the plaything of queens. We trust

we have shown that, in the words of S i r George Birdwood , there is perhaps

more in a fan than was dreamt ofi n Johnson’s matter- of- fact definition‘An instrument used by ladies to move the air and cool themselves .

’

What , then , of the fu ture ? May we reasonably look forward in this

twentieth century for a renaissance of the fan ; for a re—attainment , i f notof its past spiritual significance

,at l east of something of its art istic

poss ibi l it ies ?

The future is fu l l of hope ; we have turned o ur backs upon the bad Old

nineteenth centu ry , with its manifold outrages upon the aesthetic sense ;the foundations , at any rate , Of a l iving art have begun to be laid—were

begun , as a matter of fact, by this same nineteenth century , fol lowing that

strange natural order of the ou tcome Of good from evi l and the apparent298

I N D E X

ABAN ICO m NOV IA , 99. Aurora,’ by Guido, 1 23.

Abano, Portuguese fire-fan , 1 2 , 1 3. Aurora and Zephyr,’ 1 32 .

Abol it ion of the Slave-Trade ,’ 2 26 . Au tograph and inscription fans, 58, 59, 68, 69 , 285.

‘Achil les and De idamia, ’ 1 80. Autumn fan , 59.

Actaeon fan , 1 46.

Adam and Eve in the Garden of Eden ,’ 1 94.

Addison , quotation , 1 89. BAAL, 2 2 .

z‘Elian. Fest ival of Apol lo at L encos, 24. Baalbek , 23.

Ajanta, cave - temples, 4 1 . Baal -Shameh, 23.

Akbar-Namah, 45. Bacchus, myst ical fan of, 1 1 .

Akome ogi, 63, 64. and Ariadne, fans of, 1 22 , 1 23, 1 24.

Alb in, St. M. Phi l ippe de, 2 23. Baden , Grand Duke Frede rick of, 99 .

Alexander v1 . , Pope , 1 07. GrandDuchess of, wedding fan , 277.

Alexandra, H.M. Queen, 1 95, 278, 29 2 , 293. Badin i , Charles Francis, 2 54.

Alexandre , M. , 278, 279, 28 1 , 290 , 29 1 . Bai rd, H . M ., quotation , 1 8 1 .

Alma-Tadema, L ady, 285. Bal d’AmourS,

’277.

Sir L .,2 0 2 .

‘ Bal des Nat ions,’ 2 1 0.

Alum, 36 , note, 37. Bald, Charles the, 98.

Amaravati tom, 4 1 . Bal l at the Tu i le ries, 1 829, 274.

Ancient Marriage ,’ 1 80 . Balloon-fan , 2 1 4.

Andaman Islands, 85. Balzac, Guez de , 26, 1 44, 1 68.

Anderson, Dr. , quotation, 48, note , 6 8. Bamboo- fan , 50, 55, 6 2 , 74, 75.

André, Eugene, 55. Barc lay, 5t ofFools, 94.

Angelo, M ichae l , 1 1 5. Barnwe ll, Camb ridge , 98.

Anne, H.R.H. Princess, 1 80 . Bartholomaus, Fran, 1 36 .

Queen, screen of, 2 88. Barto loz z i, 1 93, 268.

Antoinette, Marie 1 1 7, 1 32 , 1 59 , 1 66 , 1 67, 1 68, Bastard, 278.

1 69, 2 1 3, 2 25. Bat Bu’

u, 52 .

Antony and C leopatra,’ 1 98. Bat toir fan, 1 63.

Aposto l ical Const itut ions, 87. Baude, Alphonse, 277.

Araki, 73. Beaumarchais, 2 1 3, 2 1 5.

ArchaologicalAssociation ,journal ofi 93, note. Beaussier, Countess de, 1 52 .

Archaeologicaljournal, 93, note . Before and afte r Marriage,"264.

Arevalo, Cano de, 1 27, 1 28. Behrens, W. L ., 70 .

Arhats, 6 2 . Be lla, Stefano de l la, 205.Aristophanes, 36 .

‘ Be l le Chanteuse,’ 208.

Aristotle , 1 1 8. Bel lows or fire fans, 1 0 , 1 1 , 1 2 , and note , 1 3, 80 ;Ascen t of Mont B lanc,’ 276 . Queen Mary , 1 0 2.

Assignat- fans, 2 23, 2 24, 2 27. Ben in , 83.

Assur-banip al, 20 , 2 1 , 2 2 . Berge r, Eugene , 278.

Assyrian p lai ted hand-fan, 2 5. Berl in Museum, 98 , 269.

Athenian Stuart,’ 1 85 . Berrett in i (P ietro da Cortona), 1 2 2 .

Atsumori, 72 , note, 73. Berri, Madame la Duchesse de, 274.

Atterbury, Dr., Bishop of Rocheste r, epigram 1 87. Bessborough, L ord, 1 24.

Aubery, MS., prodigious fans, temp. Henry V1 1 1 ., 8. Betrothal of L ou is xv. and Marie L ecz inska,’ 1 6 1 .

Audsley, G. Ashdown , 57, note.

‘ Betrothal .of L ou is xv 1 . and Marie -Antoinette , ’August ine , St. , 96 . 1 32.


Béz e, Theodore de, 207.Binyon , L aurence , 73.

Birdwood, M iss Ethe l, 1 70 .

Sir George , 1 5, note , 2 1 , 24, quotation, 35,

36 , note, 1 07, 1 70 , 298.

B ischoffshe im, Mrs , 1 63.

Bisschop, Madame, 28 1 .

B lanc, Charles, 3, 1 2 1 , 297.

B lanchard, M., 2 1 4.

B londe l z—Greek figures, 29 ; Peru and Mexico,84 ; Middle Ages, 94 ; flag-fan , 99, 1 00 , 1 36 ;

agricultural fetes, 1 71 ; lorgnettes , 1 73 ;

quotation, 279.

Boi leau, Et ienne , 94.

Boissey, L ouis de, quotation, 9.

Bonheur, Rosa, 280.

Bosse , Ab raham, 1 48, 1 50, 1 5 1 , 1 52 , 204, 207.

Boucher, 1 42.

Bouchot, Henri, 1 65, note, 207, 2 25, 2 27, 2 28.

Bradford, Coun tess of, 1 6 7.Brangwyn, Frank , 295, 296 .

Brantome , 1 0 1 , 1 0 2 , note , 1 44, 1 45, 1 66 .

Brétigny seal of Edward 1 1 0.

Bridal -fan of Adelaide of Savoy, Duchess of Burgundy

,1 58.

ofMarie -Antoinet te, 1 66 , 1 67.

ofH.R.H. Princess Anne, 1 90.

Brisé fan, its construction and decoration, 1 1 9 ;

period of, 1 1 9 ; modern , 278 ; exhib itions of,282 , 283.

Bristol, Dowager March ioness of, 1 23, 1 25, 1 32 , 1 53,1 6 1 1 1 65 1 1 941 1 971 1 98 1 276

British Gu iana, 80 .

Museum, 48, 50 , 5 1 , 58 , 6 1 , 6 2 , 63, 72 , 76 ,

80 , 82 , 83, 84, 85, 9 1 , 93, 205, 232 .

Broken Chinese fan , 58.

Bruyere, Madame la, 1 69.

Bruyn , A. de, 1 1 1 , 1 1 2 , 1 96 , 1 97.

Buddha, Gautama, 34 ; Gaya, 34.

Buddhist priests, Siam, 42 .

Bulrushes, 50.

Burdett—Coutts, Baroness, 1 9 1 , 259.

W- 1 56 1 1 1 71 1 251 247'

Burges, W., 95, note , 96, 97.

Burma, monastic novit iate of, 6 ; King of, 34.

Burmese regal ia, 43.

Burty, Ph., 71 .

Bushe ll, S. W., 2 1 , 56 , note, 69, note.

Butler, 87, 89.

CABINET DE MEDM L L ES, Paris, 99.

‘ Cab riolet ’fan , 1 64, 2 26, 2 2 7.Cain , Georges, 28 1 .

Caligraphic School, Japan, 6 2 .

Cal igraphy, 69, note .

Callamatta, Madame, 28 1 .

Cal lot Jacques, 204, 207.

Camb ridge, Augusta, Duchess of, 1 66 .

Camp- fan (jin sen), 73.

Campbel l’s L ondon Tradesman , 1 747, quotation ,

1 79.

Canal, Anton io (Canaletto) , 1 25 , 1 9 1 , 258.

Canning, L ady, 1 33.

Capture of the Balearic Islands,’ 1 29.

Carlos King OfSpain , 1 759, 1 29, 1 30.

Carlyle, Thomas, 2 1 5 , 2 1 8.

Carracci, Agostino, 1 05, 1 80 , 204.

Ann ibale , 1 2 2 , 1 23.

Carrand collection, 90 .

Carrouse l at Madrid,’ 1 29 .

Case or cover of a fan , 2 1 , 2 2 .

Ceremonial fan, 82 , 89.

‘Cerf de St . Hube rt ,’ 280 .

Chamba, 44.

Chamberlain, Basi l, 72 , 75.

Chambers, Dictionary of 4rts and Sciences, 25, note.

Chamb run, Comtesse de, 1 65.Chapel-fan, 2 5 1 .

Chapt, Madame la Baro'nne de , G ut/res Philoso

phiques, 3.

Chardin, M., 1 23.

Voyages, 35.

Charles v., 99.

Charles, Prof. , 2 1 3.

Charlotte , Queen , management of fan, 7.

Chateau de P ierre , excavat ion at the, 1 08.

Chaudet, 2 29.

Chaurie , 38, 39.

C hesterfie ld, Lord, 259, note .

Chi ld, Josiah , 1 64.

Chi ldren’

s fans, exhib it ion of, 1 25.

Chinese feather- screens, 288.

Chodowiecki, D ., 245, 2 69.

Chrism,consecrat ions of, 88.

Chrysostom , St., 88, note.

Chuke i , 65.

Church -fan , 1 93, 248, 249 , 250 , 25 1 .

C iprian i , 1 93, 268.

C lark, J . W., 98, note .

C leopatra, 1 9.

Climenson, E. J . , quotation , 1 90.

C loue t, Frangois, 1 38.

Cluny, Musée de, 9 1 , 1 1 4, 1 46.

Coburg, H.R .H. Duke of, 1 98.Cochin , N icolas, 205.

Cockade fan , 83, 1 00 .

Code of the fan (Japan) , 65.

Cole , Sir Henry, 280.

Colomb ia, Repub l ic of, be l lows fan, 1 2 .

Columbus Christopher, expedition to America, 1 07.

Compte-Cal ix, 278.

302


Emb roide red Dutch fans, 1 99.

Employment of fans in rel igious ceremon ies, 1 5, 20 ,27» 52 ,

Enamel, 55, 56 .

Enault, L o uis, 1 36 .

Engraved fans of the seventeenth and e ighteenthcen turies, French

Earl iest, 204.

C lassical, 206 .

Topical , 207.

Naval andm i litary, 207.

Separat ion ofAmeri ca from England, 2 1 2 .

Capture of Granada, 2 1 2 .

L ou is Se iz e, 2 1 2.

Birth of the Dauphin, 2 1 2.

Professor Charles’s bal loon , 2 1 4.

Beaumarchais’ comedy, L eMan'

age (leFigaro , 2 1 6 .

Ope rat ic , 2 1 6 .

The Revolut ion, 2 1 9.

Mirabeau, 2 23.

Paper~money difficult ies, 2 23, 2 24, 2 27.

Abol ition of the Slave-T rade, 2 26 .

Cab riolet, 227.

Napoleon Bonaparte , 2 28, 2 29 .

Russian campaign of 1 8 1 2 , 230 .

Ni caragua Canal, 230 .

Engraved fans of the seventeenth and e ighteenthcentu ries, Engl ish

Coronat ion of George 2 32 .

B eggar’s Opera , 233.

Marriage of the C rown Princess with Prince ofOrange, 234.

W ill iam Hogarth, 238.

V ictories of Admiral Vernon , 240 , 24 1 .

The unpopu lar Prime M in ister, 24 1 .

Jacob ite Rebe llion , 243.

Peace ofAix- la—Chape l le , 244.

Death of the P rince of Wales, 1 75 1 , 244.

Tak ing of Quebec , 244.

Marriage of George xv., 246 .

L ord Howe’s victory, 247.

T rial ofWarren Hast ings, 247.Popular resorts, 256 .

Ope ra, 26 2 .

L ordHardwicke’s NewMarriage Act of 1 753, 2 67.

Processes of, 270 .

Ente rtainmen t fans, 2 56 .

Entomologist,’ 280 .

Eugénie, Empress, 57, 279, 280 , 28 1 .

Euripides, Quota/ion , 2 9.

Eventail b risé, ’ 1 1 9.

Excise fan, 234.

FABRI , Am ie , 1 47.

Fair fans, 256, 2 57.

Fairholt, quotafion, 1 78.

Fan and towel or handkerch ie f bearers, 2 1 .

Fan as decorative motif in design, 76 .

Fan as emb lem of l i fe , Japan , 20 , 60.

Fan-bearer, office of, 1 6 ; privileges of, 1 9 ; Assyrian ,

20,2 1 badge of Assyria, 20.

Fan games, 75 , 76.

Fan-shops, Paris, 1 5 1 ; L ondon, 1 87.Fanniere Brothers, 278.

Feast of L anterns, 46 .

Feather- fans, C reek, 29, 30 ; Etruscan , 30 ; Roman ,30 , 87; India, 40 ; China, 46 ; wing- shaped,47, 57; prim it ive , 77 eagle, 82 ; Venet ian,

99 ; France, Charles v. , 1 00 ; twe lfth to six

teenth centuries, 1 0 1 white and coloured, 1 0 2France, 1 44 ; Engl ish , 1 76 ; modern , 287, 288

289, 290 ; woodcock, 289.

Feather-wands, 84.

Feather-work, 50 , 288.

Fel l, H. Granv i l le, 296 .

Ferrara, or duck’s - foot fan, 1 07.

Fete de l’Agriculture ,’ 1 71 .

Féte de la Federation 2 2 2 .

Fete on the P iaz z e tta, 1 2 5.

Feucheres, Jean , 278.

Feu re , Georges de, 297.

Fielding, Henry, 2 56 .

Figaro fans, 2 1 6 .

F i l igree, ss, 56. 57. 58.

F itz herbert , Mrs., 1 95.

Flabelliferaz, 1 5, 3 1 , 45 .

Flabel lum,Egypt ian , 1 6 ; leek-green, 32 ; Christ ian ,

87-

97 early adopt ion by the L at in Church, 88 ;symbol ism of, 88 ; types of, 89 ; Tou rnus, 89,90 ; handle, French twe lfth centu ry, 9 1 , 92 ;capita l , North German , 92 peacock, 94 metal,99 ; cockade, 1 00.

Flage llum, the mystical vannus, 1 1 .

Flag- fans : India, 4 1 , 42 , 44 ; West Africa, 83Eu rope , 97; Coptic, 98 ; Venice , 99.

Flamand, L e, 1 68.

Fleury, Robert, 275.

Fl ies, Baal- z ebub , lord of the, 2 2 , 23.

Flaire, Tire, 1 0 1 .

Flory, M. A., 7, note.

Fly-hunter (Jupiter Myiodes), 23 ; Hercules, 23.

Fly-whisk or fly-flap, primitive Egypt ian,1 4 ; As

syrian, 2 2 , 2 5 Roman, 28, 3 1 ; Indian , 38, 39,

44, 45, 6 2 ; primit ive peoples, 84, 85 ; b lackhorse-hai r, 86 Abyssin ian, 86 peacockfeathers, 92 palm leaves, 98.

Fo l, Walther, 279.

Folding or pleated fans, 28, 52 , 53, 57, 58 ; bamboo,6 2

, 65 ; war, 70 ; French, 1 45 ; Engl ish, 1 76 ;

modern , 272 .

Forrers, Robert , 98.

304

Fortune -tell ing fans, 254, 255, 256 .

Fox-Davies, A. C . , 1 1 0, 1 1 1 .

Fragonard, 1 67.

Frankl in, Benjam in, 1 70.

Franks col lection,1 6 1 , 1 99.

Fre ij , Jacobus, 1 2 2 .

Friederichsy, Baroness, 286 .

Fuj i san (peerless mountain) , 75.

‘GALANT, L E,’ 2 08.

Gamb le, M ., 233, 234, 237, 248 , 255, 264.

Games of the fan, 75, 76 .

Garnier, 278.

Gaut ier, Theophi le, 1 35.

Gavarni, 278, 279.

Gay, 2 .

Gen l is, Madame de , Dictionary ofE tiquette, 1 74.

Gen tleman’s Magaz ine, quotat ion, 1 82 , 1 83, 1 86.

George Wash ington, ’ 2 1 2.

Germanns, 89.

Germo, L eonardo, 1 23.

Gerome , 275.

Giant fans, 74.

Gibson, Mrs. Frank W. , 1 32.

Gi les, H . A., 52 , note , 59, note.

Girardin, Madame de, 278.

Glaiz e, 275, 278.

G luck, 2 1 6 .

Gold Coast, 84.

Gold-handled fans, 1 0 2, 1 03.

Go ldon i, The Fan, 6 , 7, 1 26 , quotation.

Goncourt, MM. de , 1 72 , quotation.

Gore, Sir Humphrey, 1 80 .

Gosson, Stephen, quotation , 1 77.

Gotz , Prof. Hermann, 284.

Goupy, 1 85.

Goya, Francisco, 1 34.

Granville, Countess, 280.

Grass or rush fans, 77, 79, 83.

Grave lot, 1 9 1 .

Great L ottery of 1 90.

Greek Chu rch, 94.

Gregoire, 2 2 6.

Gretry, 2 1 6.

Grignan, Madame de, 1 54, 1 59.

Gu ido, ‘Aurora ’ of, 1 23.

Guimet , Musée , 50, 5 1 , 76, note.

Gumbai U chiwa, 6 2 .

Gun Sen, 6 2 .

Gypsy fans, 254, 255, 256 .

HALBERD- SHAPED FANS, 42 .

Hall, Bishop, 1 05.

Hammett, L ydia, 293.

Hamon , Jean L ou is, 278, 279, 280.

2 9

DEX

Han dynasty, sculptures, 2 1 , 26 , 49, 58.

Hand-fan Egyptian plaited, 1 3 ; Assyrian , 2 5 primit ive, 77, 78, 79 ; Egyptian semicircular, 1 3, 1 4.

Hand- screen , engraved design for a, by AgostinoCarracc i, 1 05 feathe r, 1 05 straw, 1 96 en

graved, 204, 2 1 7.

Handles at Museums, 1 4, 30, 1 05 ; Gold Coast, 84.

Harlot’s Progress,’ 238, 239.

Harpe, M. de la, 1 68, note.

Harvey, John, 1 80 .

Hast ings, Warren , trial of, 247.

Hawai ian Islands, 79, 80 , 84.

Heart - shaped fans : Greek, 28, 44 ; primit ive, 78.

Heere , L ucas de, 1 78.

Hefner-Altenek, 1 1 2 .

He ine, Madame Charles, 1 29.

Hennin collection (Bib l iotheque Nationale), 1 65, 1 95.

He rvey Islands, 79.

H i ogi, 6 2 , 64, 69.

H ide- fans, 77, 80 , 83.

Hildeb ert, St., 88.

H indu theatre, 39, note .

H i roshige 72 .

Hogarth , W i ll iam, 238.

Hohenlohe L angenburg, H.S.H. Princess V ictorof, 1 32 .

Hokusai, 69. 72 .

Holmes, Randle, 94.

Holt, H . F., 1 0 1 , note , 203.

Horman, Ch ristopher Fredr. , 205.

Horn , 1 20, 20 1 .Horniman Museum, 38, 83.

Hote i, 6 1 , 67, 68.

Hsi-Wang-Mu, fan of, 47-

49.

Hughes, John , Tat/er , 1 89, note.

Mr. Talb ot, 1 34.

Humorous fans, 265.

Hunefer, papyrus of, 1 8.

Hunt, W. Holman, 24, note.

Husse in Dey, 273.

IMPER IAL MUSEUM, Tokyo, 68.

Impract icab le, ’ 58.

Incrustat ion , process of, mother of pearl , 1 1 9.

India Museum, 38, 39, 44, 5 1 , 86 .

Ingres, 275.

Innocent xl. , Pope , 232 .

Inscription or autograph fans, 58, 59, 68, 69, 285.

Invention of fan : China, 46 ; Japan, 63.

Inventories : St. R iquer, Amiens, L a Sainte Chapel le, Ely, Sal isbury, St. Pau l’s, 92 ; Exete r, 92of pledges, 1 303, 95 Comptesse Mahautd’

Artois, Queen C lémence , Johanne d’

Evereux,

Charles v. ,1 00 ; Queen El izabeth , 1 03.

Isabel la, queen of Edward 93.

305


Isabey, 275. L egends of the fan, 72 .

Isis, pr iest of, 27. L eicester, Earl of, 1 02 .

Ivory, 5 1 , 53, 55, 57, 58, 64, 74, 1 05, L ewis, Mrs. Arthur, 286 .

1 1 4, 1 1 8, 1 25, 1 29, 1 34, 1 47, 1 6 1 , 1 6 2 , 1 66 , L i ll iputian fans, 263.

1 74, 1 92 , 1 94, 1 97, 1 99, 200, 20 1 , 203, 2 1 2 , L inas, Charles de , 98.

244, 273, 280. L indsay, L ady, 1 33, 1 58.

L ithography, 271 .

L iturgic fans 97.

ACOBITE REBELL ION 2

Jacquemart, 275, 2725,43

L orre , N icholas, 204, 2 06.

Jane of Navarre, 1 96 .

L ott,Pierre, 64.

J eaffreson , qua/affair, 267.

L ouise, H.R.H. Princess, Duchess of Argyll, 1 98,

Jewe l led fans, 1 0 2.

277, 282 .

Jews, names of cit ies of, 2 2 .

L ove fans, 2 6 2 ; c lasses of, 26 2 courting fan

Joachim-Gibson, Mrs.,2 86 .

mounts, 263

1

-

3Johnston, Mrs. Bruce 1 24, 1 66.

Lovers Agency ureau, 1 55.

Joly, Henry L ., 73, note .

Josephs, Marie , 1 25.

Jubinal, Madame Ach i lle, 99, 1 2 2 , 1 74.

‘ Judgment of Paris,’ 1 58, 2 06.

Juro, 6 1 .

KANAME, or rivet, 60, note.

Kanaoka, 66 .

Kano San Raku, 68.

Kapiolani, Queen, 79.

Kasuga Motomitsu, 66.

Takayoski, 68.

Kauffmann , Ange l ica, 1 20 , 1 93, 1 94, 268.

Kells, Book of, 87, 89, 93.

Kendal, Mrs. , 287.

Kew Museum, 44.

Khaskhzi s root, 44.

King, Jessie , 2 97.

Kingsley, M iss, 84, note.

K lagmann, 278.

Klimsch, Prof. Eugen, 284.

Koyetsu, 69.

Krishna, 44.

Kun isada, 69.

Kuniyoshi, 71 .

Kyoto, 69.

L ACE MOUNTS, 29 1 .

L acquer, 53, 54 ; gold, 55, 75, 76 , 1 56, 1 57.

L a Farge , Raymond, 1 44.

L ami, Eugene, 275, 278.

L a pet ite best iole,’ story of, 1 1 5.

L ancey, Col. de, 1 95.

Lancret, 1 44.

L ane, Mr. andMrs. John , 295.

L anguage of the fan , 1 36 , 1 37, 253.

L anoy, 278.

L a Sal le, L e Sieur de, 8 2 , 83.

L ayard, N ineveh, 1 1 , note, 2 2 , 25, note.

L e Brun, Charles, 1 39, 1 54, note .

MAHABHARATA , 33.

Maintenon, Madame de, 1 58.

Mai ogi , 6 2 .

Makart, Han s, 283.

Mak ing ofa fan, numb er of persons employed, 1 2 1 .Malay Kris, 58.

Malbrouk,’207, 208, 2 1 1 , 2 1 3.

Mantz , Paul, 1 43, 1 60,note .

Marat ’ fans, 2 25- 2 2 6 .

Marcel , Gab rie l, 1 3 1 .

Margaret, Queen , 1 02 .

Maria Theresa of Spain, 1 54, 1 6 2 , 1 63.

Marie -Antoinette, 1 1 7, 1 32 , 1 59, 1 66 , 1 67, 1 68, 1 69,

Marquesas, 79.Marriage fans of Char les 1 80.

Marriage of Cupid and Psyche,’ 1 23.

Marriage of L ouis X IV. andMaria Theresa,’ 1 54.

Marriage of Napoleon with Marie L ouise, ’ 2 29.Marston , Sat ires, 1 0 1 .

Martial, quotation, 28, 3 1 .

Mart in , Ju l ian, 1 56 .

Robert, 1 56 .

Simon -Et ienne, 1 56.

W i ll iam, 1 56 .

Mary, H.R.H. Princess, 292 .

Queen, 1 0 2 .

Masanobu, 67.Kiato, 69.

Matahe i, 73, 85.

Mathilde, Princess, 28 1 .Meehan, FamousHouses ofB ath, quotation, 26 1 .Medal l ion fan after Cosway, 1 95.

Medic is, Cather ine de’, 1 44.

Me ir, “

Rabb i Joseph Ben, 24.

Melvi lle , L ewis, quotation , 2 59, 260 .

Ménagiaua, quotat ion , 1 73.

Merrure de France, quotation , 1 49 , 1 57.

Meredith , George, Harry Richmond, 4, 5.

H I STORY OF

duction of Span ish fashions, 1 52 ; re ign of theGrand Monarque, 1 54 ; lacquering, 1 56 , 1 57,

1 58 ; Vern is Martin, 1 58 ; c las sical influence ,1 63 ;

‘ cab riolet ’ fan s, 1 64 ; re lapse of theindust ry, 1 65 Handel andGluck , 1 66 customof presenting wedding fans, 1 67; influence ofthe D i rectoire and Empire periods, 1 70 strawand spangles, 1 72 gauze or net, 1 72 lorgnetteor ope ra-glass fan, 1 72 reduct ion in size, 1 74.

ENGL ISH.—Early use of the folded fan , 1 76 ;

plumedfan, 1 76 ; découpé, 1 78 gigant ic greenshading fans, 1 79 influence of the trade withIndia, 1 79 ; importation of I tal ian fan mounts,1 79 earl iest fans, 1 80 ; marriage fans ofCharles 1 80 charter of incorporationgran ted by Queen Anne , 1 8 1 ; fanmakers

’ petit ion to Parl iament demanding prohib i tion ofimportat ion of fans from India, China, and theEast , 1 82 ; tax upon wooden and feathe r- fans,1 82 importat ion of feather- fans forb idden ,1 82

,1 84 ; disputes between Fanmakers’Com

pany and journeymen, 1 82 ; extent of theindust ry and adverse conditions in the m iddleof the e ighteenth century , 1 82 tea-merchan tsas dealers in imported fans, 1 83 ; principalenactments regu lat ing importations, 1 84 L on

don fan-shops, 1 87 large fans, 1 87; select ionof partners at dancing assemb l ies, 1 89 influ

ence of peace b etween Austria andFrance, 1 90 ;spangles, 1 9 1 ; ivory b r isé, 1 94 ; Wedgwood,1 94 Napoleon ic wars, 1 95 .

Durex—Early uses, 1 97 mounts, 1 97 histori

cal or fancifu l sub jects, 1 98 ; influence ofFrance, I taly, and China on the treatment ofthe mount, 1 98 ; Flemish, 1 99 ; varnish, 200 ;

ivory b risé, 200 ; horn, 20 1 ; small decoratedSpangled, 20 1 st icks

,202 .

GERMAN .—Medalllon, 203 ; lace or net, 203 ;

e ighteenth century the era of the fan, 203.

Pal l iser, Mrs. Bury,29 1 .

Palm fans, 2 , 42 , 43 ; late ral, 43, 78 ; natural 77;Tal ipot, 78 ; Palmyra, 78.

Pankha, 40, 4 1 , 45, 78.Papperitz , Georg , 284.Parchment fans, 87.

Paris, Madame la Comtesse de , 203.

Parkman, Francis, 83, note.

Pasqu ie r, Etienn e, 1 1 5, 1 60.

Pattern fans, Etruscan, 30 .

Pausanias, 2 3, 24, note.

Peace of Aix-la-Chapelle,’ 1 90 .

Peacock : 30 , 3 1 , 39 ; Greek, 29, 30 ; Roman, 3 1 ,87; emb lem, 39, 44 ; India, 40 ; qu ills, 42 ;China, 46, 47; feathers, 5 1 , 87, 89 ; Muscifugium, 93 ; p lumes of, 1 0 1 .

Pe rrot andChipiez , 2 2, 24.

THE FAN

Persians, venti lat ing fan , 25 ; fan crest, 27.Pet it, Edouard, 1 2 1 , note.

Petrie, Prof. W. M. Fl inders, 1 5.

Pheasant, 46 ; Argus, 54.

Phil ibert, St., 90 .

Phi l ippe le Bel, 1 96.

Phoeni cians, 27.

Phoen ix, 5 1 , 56 .

Phré, sacred barque of, 1 5.

P iaz za of St . Mark , Venice,’ 1 2 5.

P ichard, le Sieur, 1 44.

P ictorial art, 1 4 1 .

Piis, August in de, 2 .

P inchbeck, Jonathan, 235, 236 , 237, 238, 243, 258,

P iqué work, 1 1 7 employment of, 1 1 9.

Plautus, flabelliferze , 3 1 .

Pleated fans, via’e Folded fans.Pliny, sacrifices of Cyren ians, 23.

Poggi, 1 92. 1 93Po igey, Dr., 1 44.

Pollen, Mrs. Hungerford, 1 95.

Pompadour ’ fan, 1 66 .

Pompadou r, Marqu ise de , 1 2 2 .

Ponsonb y, L ady, 1 24.

Pope , quota tion , 1 74, note, 1 79.

Pope lin, C laudius, 28 1 .

Popular resorts, fans of, 256, 258, 259, 260, 2 6 1 , 2 62 .

Portraits, fans appearing in : Queen El izab eth, Anneof Denmark, P rincess El izabeth, wife of JohnPen, Esq .

,Sebast ian del P iombo, 1 04 ; Maria

Giuseppa, Archduchess of Austria ; Maria Cardina, Queen of Naples Queen Mar ia Crist inadi Borbone Queen Maria L ou isa, 1 29.

Portugal, 1 00, 1 07.Poussiégle, Ach i lle, 285.

Present-day fans, aide Mode rn fans.Prince ofWales andMrs. F itzherbert,’ 1 95.

P rince ofWales (King Edward 34.

(King George 1 95.

Printed fans, 269.Processional fans, Egypt ian, 1 4, 1 5, 1 6 , 1 7 India, 42 .

Promenade, the,’ 1 59.

Propertius, flabella, 3 1 , 32 .

Prou i lle,Monastery of, 9 1 .

RAMA, 39.

Rambert, C., 280 .

Rameses X 1 1 . , temp le of, 1 5.

‘Rape of Helen,’ 1 58.

Raphael, 1 23.

Rat isbon, 35.

Rawl inson, Sir Henry, 2 2, note.

Reason for the Mot ion 243.

Redgrave, S., 1 32 , note, 1 50, 200, 276 .

INDEX

References of the fan in Holy Writ , 1 0, 1 1 , 2 2 .

Registrum Rofl'

, 92 , note .

Re iset , Frederie , 1 74.

Rémusat, Abe l , 57, note .

Reversib le or doub le fan,1 20

, 1 2 1 .

Rheims, 93.

R iant, Madame, 1 58 .

Richel ieu, Due de , 1 49.

Riegl, Alois, 25.

R iester, 278.

Rikiu Ogi, 73.

R i ley, Henry Thomas, 95, note.

‘R inaldo in the Garden of Armida,’ 1 66, 1 99.

Rob espie rre, 2 26 .

Rob inson, Sir John, 1 80.

Sarah, 1 80.

Rodney, Admi ral , 245 .

Rol l-up fans, 74.

Romanel l i , F., 1 2 2 .

Rondot, Natalis, 49, 52 , note, 53, 272 , 273, 275, 277.

Roqueplan , Cami l le, 278.

Rosenb erg, G. J., 99, 1 2 2 , 1 54, 1 58, 284, 29 1 .Rothschild, L eopold de, 1 59, 273.

Baroness Meyer de, 1 92 .

Baroness Salomon de, 43.

Rouen, 93.

Rousseau , 2 27.

Phi l ippe, 278.

Royal Fami ly, fans of, 245, 246 , 247.Rubens, 1 97.

Rush or grass fans, 77, 79, 83.

Ruspae, Bishop of, 98.

Rutlinger, J ., 1 04.

Rutz , Gaspar, 8, note.

‘ Sr . PETER’S, ROME,’ 1 25.

Sala, George Augustus, 2 , 1 90 , 298.

Salt ing collect ion, 9 1 , 1 05.

Salwey, Mrs., 65, note, 73, 74, note, 76 , note.

Sanchi , Tope, 34.

Sandalwood, 53, 55, 57, 58.

Sandwich Islands, 79.

‘ Sans Géne,’1 72 .

Sargent , 2 1 5.

Sayiban , or sun-fan, 36 , note.

Scal iger, 24.

Scented wood, 1 28.

Schonleb er, Prof. Gustav, 284.

Schools of Japanese pain t ing, 65, 66 , 67.

Schre iber col lect ion , Brit ish Museum, 6 ;‘Aurora ’

of Gu ido, 1 23 ;‘ Carrouse l at Madrid.’ 1 29 ;

Surrender of M inorca, 1 782 , 1 33 ;‘ Grand

Monarque,’ 1 54, 1 55 ; Tea-merchan t’s trade

card, 1 83 ; Goupy’s fan mount, 1 85 L ione l

Gust’

s letter, 1 93 L oire’s ‘ Desse ins de grands309

Eventails,’206 ; Biaggini

’s Air Balloon,’ 2 1 4

Figaro fans, 2 1 6 ; Duc d’Orleans as Sponsor,

2 1 8 ;‘N icaragua Canal,’ 230 ;

‘Harlot’s P rogress,’ 239

‘Admi ral Rodney,’ 245 Royalvisit to Royal Academy, 246 Marriage ofPr ince of Wales (George 247 opera fan,26 2 widowhood, 268 ‘ Ascent of MontB lanc ,’ 276 ; Madame Bisschop

’s fan, 28 1 .

Schre iber, L ady Charlotte, 1 93, 205, 244, 259, 268,28 1 .

Screens, pear- shaped, 48, 6 1 white jade , 50 hand,50 , 5 1 , 75 ; straw hand, 1 95 ; engraved hand,204, 2 1 7; circular, 50 , 5 1 , 53, 6 1 , 69 ; cockade,5 1 ; ceremon ial banner, 5 1 , 6 1 ; rigid, 6 1 , 6 2 ,69, 1 27; silk , 6 1 ; palm, 75 ; large round, 1 27;Chinese feathe r, 288 Queen Anne, 288.

Se l iger, Max, 284.

Senefe lde r, A loys, 271 .

Sen -no Rikiu , 74.

Septvans, Sir Rob e rt de, arms of, 1 1 .

Seraphim, 88.

Sesata, C ingalese, 37.

Sesshiu schoo l , Japan, 6 2 , 65, 66 .

Sevigne, Madame de , 1 54, 1 59.

Sewe l l, Colonel, 1 83.

Shakespeare, quotation, 8, 9, 1 1 , note, 1 9, 1 0 1 , 1 76.

Shaku, 64, 65.

‘ Sheba, Queen of,’fan , 1 33.

Shunsui, 71 .

Si lk, 57, 71 . 75Si lver-handled fans, 1 0 1 , 1 03.

Sk in fans, chi cken ,268 ; asses

’

,273.

Smith , Dictionary of Greek and Roman Antiquities,

1 2 , note ; D ictionary of Christian Antiquities,

88, note.

A lb ert, Ascent of Mont B lanc, 276.

W. Harding, 70.

So ldé, A .,277, 2 88.

Solomon Islands, 79.

Sommerand, Du , 9 1 .

South -Eastern Pacific, 84.

Span ish lady, management of the fan, 4.

Spatu la, 80.

Speak ing or conversat ion fan, 253.

Spear- shaped fans, 78.

Spectator , 4, 1 87, 1 89.

Spiers, R. Phené, 76 .

Stanhope, L ord, 2 29.

Statutes regu lat ing the fan industry, 1 46 .

Stee le, Ta tler , 5—6 , 1 79, 1 87.

St iletto, I talian , 58.

‘ Storm ing of the Bast i lle, ’ 2 1 9, 2 20 , 2 2 1 .

Stow’s Chronicle, 53.

Strange, Sir Robert, 243.

Strickland, Agnes, quotation, 1 79.

Strogonoffcol lection, 25.

H I STORY

‘ Stuart, Athen ian,’ 1 85.

Sudan , Western , 84.

Sun goddess, 74.

‘ Surrender of Malta,’ 1 95.

Surrender of Minorca 1 33.

Sutherland, Duke of, 1 95.

Suye hi ro ogi (wide end), 63.

‘ Swanne downe,’ 1 02 .

Swift, Dean, 263.

Swinging- fans, 25.

Sydney, Sir Robert, 1 0 3.

VA ILLANT, 278.

Valmik i, 39.

TABEL L IE, ROMAN , 32 , 5 1 . Vandyke , 1 97.

Tadahira, 65. Van L oon , 1 97.

Tahiti , 85. Vannus, 1 0 , 1 1 .

Taira, 69, 72 . Varn ish , 1 56 , 1 57.

Taishin , 74, 75. Vasco da Gama, expeditions of, 1 07.Taj ima, 8, 69. Vatican, 93.

Talc, 44. Vece ll io, 1 07, 1 09, 1 1 3, 1 27, 1 47, 1 96.

Tallien, Madame, 1 71 . Velasquez , 1 28.

Tanagra figures, 29.

‘Ventosus,’1 87.

Tanjore , 44.

‘Venus and Adon is,’ 1 23.

Taoist Gen i i, 47, 6 1 , 67. Vernet, Car! , 2 27.

Tasso, Torquato, legendary account of, 1 1 3. Vernet, Horace, 275.

Tatler , John Hughes, 1 89.

‘Vern is Mart in,’ 1 2 5, 1 68, 1 6 1 , 200.

Steele, 5, 6 , 1 79, 1 87. Vernon, Admiral , 240 , 241 .

Tea ceremony, China, 57 Japan, 74. Vibert, 275.

Tea fans, 74. Victoria and Albe rt Museum, 47, 74, 83, 9 1 , 1 1 2 ,

Terence (Eunuchus) , quotation, 3 1 . 1 96, 28 1 , 28 2.

Testament du L ou is xv1 ., 2 24. V ictoria, Queen , 1 59, 1 98, 202 , 203, 277, 279, 282 ,

Tete-a- tete fan , 2 54. 283.

Theodolinda, Queen , 95, 97. Viollet- le—Duc, M. , 1 08.

Thiac, M. de, 1 69. V irgil,myst ica l fan of Bacchus, 1 1 Eclogues, 9 1 .

Thomas, Fel ix , 24. Voisin, M . , 1 6 1 .

Thornbury, Walter, 1 42 . Voltai re, 1 56 quotation , 1 57.

Toilette de Madame la Marqu ise de Montespan,’ Voorde, Aloys van de, 278.

1 59. Vouet, Simon, 1 39.

Tomkinson, M. , 56 , 75.

Tonga Islands, 85.

Tooth rel ic of Buddha, 43, note. WADDELL, DR., 34.

Topical fans, 206 . Wagner fans, 286.

Topograph ical fans, 1 9 1 . Wales, H.R .H. Princess of, 1 66 , 289, 290 .

Tortoise- shell, 53, 54, 57, 58, 74, 1 1 9, 1 32 . H.R.H. Princess Maude of, 292 .

Tournus, 89, 96 , 97. Walke r, Rob e rt , 1 55, 1 8 1 .

Trevelyan , Sir W. C .,Bart., 85. Walker sale , 1 882 , 1 63, 1 68, 1 80 , 1 90, 1 9 1 ,

Tréves, Gospel of, 93. 1 95, 1 99, 244, 2 59.

‘T rial of Warren Hast ings,’ 247. Wallace collect ion , 1 25.

‘Trips to Gretna,’ 267. Walpole, Horace, quotation, 1 64, 2 1 5, 24 1 .

Triumph of Alexande r ’ (after L e Brun), 1 23. Sir Rob ert , 233.

‘Triumph of Amphitrite ,’ 1 80 . War caused by a fan, 273.

‘Triumph of Bacchus, ’ by A. Carracci, 1 80 . War fans, 70 , 71 , 72 .

‘T riumph of Mordecai,’ 1 23. Water fans, 6 2 , 74.

Tsunenori, 65. Watteau, 1 41 , 1 44, 1 59.

Tsunetaka, 66 . Watt ier, 278, 280.

Turtle—she ll, 50. Wedding fans, 1 32 , 1 33, 277.

3 1 0

OF THE FAN

e vové SCHOOL, 66 .

U lféda, 97.

U lrica, L ou isa, 1 53.

U mb rella, importance and significance Of, in the

East , 33-

36 ; in Bacch ic processions, 36 ; inearly Persian rel iefs, 35 ; form- connection between fan and umb re l la 36 ; C ingalese, 36 .

U ses of the fan, 3-

9, 60.

U z anne, M. ,2, 27, 273, 285.

E D I N B U R G H

T. and A. C O N S T A B L E

P r inters to His Majesty

MCMX

R T T H 7 !F 14 H Jl L; Ljy 4l - Forgotten Books

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