Holidays in Eastern France | Page 9

visit to Ferrières, I
happened to hear of the Baron Davillier's learned little treatise on this
ancient leather-work, or Guadamaciles, variously called cuir d'or, cuirs
dorés, cuirs basanés, &c. The history of these artistic varieties is so
curious, that I will give it in as few words as possible.
Guadamacil, a Spanish word, signifying painted leather, is supposed to
have its origin in the city of Ghadamès, Sahara, where M. Duveyrier
the eminent French explorer, was making scientific inquiries in 1860.
The Kadi knowing M. Duveyrier's interest in all that concerned the
history of this city in the desert, drew his attention to the following
passage in the geographical work of a learned Tunisian, dating from the
sixth century of the Hegira, that is to say, the twelfth of our era.
"Ghadamès--from this city come the painted leathers or Ghadamesien."
M. Duveyrier accepted this etymology of the word as the most natural,
seeing that the Moors of Spain, and especially of Cordova, had constant
intercourse with the inhabitants of North Africa, and would naturally
receive these with other artistic curiosities. The Arab dictionary of
Freytag confirms M. Duveyrier's etymology, the author thus describing
Ghadamès--"Nomen oppidi in Africa, unde pelles gudsamiticae
appellatae sunt."
Whatever its origin, we find the fabrication of these guadamaciles very
flourishing at Cordova in the sixteenth century. The preparation of
sheep and goat-skins for artistic purposes was a source of considerable
commercial wealth to this city, and they were largely exported to
various parts of Europe and India. A writer of that period describes the

glowing effect of the Cordovan streets tapestried with the richly gilt
and painted skins hung out to dry before packing; whilst Cervantes is
supposed to have one in his mind, when thus describing the heroine of
one of his plays, "Enter Hortigosa, wearing a guadamacile, &c."
Rabelais also alludes to the subject in Pantagruel:--"De la peau de ces
moutons seront faictes les beaux maroquins, lesquels on vendra pour
maroquins Turquins ou de Montelimart, ou de Hespaigne."
The guadamaciles, although leather-work was fabricated in several
cities of France, also of Italy and Belgium, ever remained a speciality
of Spain, Seville, Barcelona, Lerida, Ciudad-Real, and Valladolid
bearing the palm after Cordova. Such works are characterized by
elaborateness, splendour of colour and richness of detail. The curious
may consult the Recherches sur le Cuir doré, anciennement appelé
Cuir basané, by M. de la Quérière, also M. Jacquemart's Histoire du
Mobilier, in which is found a very exact representation of a specimen,
probably Italian. The art decayed in Spain after the expulsion of the
Moors in 1610, but was introduced in various parts of France by some
of the exiled artists, and it may be said to have died out in France about
the end of the last century.
Señor Riaño's handbook to the Spanish collection in the South
Kensington Museum gives a list with details of the specimens there
exhibited, numbering upwards of twenty panels and borders for
furniture. These are chiefly seventeenth century work-tables,
exceedingly interesting and valuable. All lovers of art, furniture, and
decoration generally can but echo M. Davilliers' hope that the art of
painting and stamping on leather may be ere long revived at Cordova.
So much for the artistic treat in store for those art-lovers who find their
way to the Château of Ferrières, where none will fail to add to his
previous stock of knowledge. Art-lovers cannot study the exquisite
design, elaborate workmanship, and splendid materials of the furniture,
decoration, and general fittings up of such a palace without some
sadness. How little that is new and modern can here be compared with
the old, whether we regard mere carpentry detail or solidity! This is
strikingly illustrated in the Japanese cloisonné work of which there are

some choice specimens.
Two refinements of civilization will amuse the stranger; the first is a
railway in miniature from kitchens to dining-rooms, by means of which
the dishes are conveyed to the latter with the utmost possible dispatch.
The temper indeed of these happy diners should be ineffably serene,
considering that they can never be ruffled by soups or fish coming to
table one degree less hot than the most epicurean palate could desire.
Luxury can go no farther, unless, which may be invented some day, a
patent appetite and digesting apparatus were supplied, enabling host
and guests to sit down every day to the feasts spread before them with
undiminished relish and perfect impunity.
The second amusing, or rather surprising, fact is that of the luxurious,
though I venture to say somewhat floridly decorated ladies smoking
room? Were we dreaming? Or was it our informant who was but half
awake or in error? I believe not, and that the elegant and princely
Château de Ferrières thus acknowledges the fact of lady smokers!
CHAPTER II.