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around word indicated italics in4       
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---  ,illustration         ,,catalogue  
,,of ,,the      ,,retrospective ,,loan  
,,exhibition      ,,of      ,,european  
,,tapestries      ,,held ,,in ,,the     
,,san ,,francisco ,,museum ,,of ,,art   
,,mcmxxii     ,,european ,,tapestries   
,,san ,,francisco ,,museum ,,of ,,art   
,,catalogue      ,,of ,,the             
,,retrospective ,,loan ,,exhibition     
,,of      ,,european ,,tapestries       
,,by      ,,phyllis ,,ackerman          
,m4,a42 ,,ph4,d4      ,,with ,a         
,,preface ,,by      ,j4 ,,nilsen        
,,laurvik      ,,director      ,,san    
,,francisco      ,,published ,,by ,,the 
,,museum      ,,mcmxxii     ,published  
,september #bi1 #aibb1 in an edition of 
#bjjj copies4 ,copyright1 #aibb1 by ,san
 ,francisco ,museum of ,art4 ,reprinted 
,november #ae1 #aibb1 #ejj copies4      
,printed by ,,taylor  ,,taylor1 ,san    

,francisco4 ,in the making of the       
type-design for the cover1 the printer  
has introduced an illuminated           
fifteenth-century woodcut by an unknown 
master4 ,its original appears1          
illuminated as shown1 in ,l',istoire de 
la ,destruction de ,troye la ,grant1 a  
book printed at ,paris1 dated ,may #ab1 
#adhd1 of which only a single copy is   
known to exist1 that in the ,royal      
,library at ,dresden1 this reproduction 
having been made from the excellent     
facsimile of the block shown in         
,claudin's ,histoire de l',imprimerie en
 ,france4 ,the border-design of the     
cover is composed of the names of the   
chief tapestry-producing cities in      
,europe during the ,gothic and          
,renaissance periods4  ,halftones made  
by ,commercial ,art ,company1 ,san      
,francisco4     ,,preface   ,this       
historical exhibition of ,european      
,tapestries is the fourth in a series of
 retrospective exhibitions which we have
 planned to illustrate the chronological

 development of some important phase of 
world-art1 as in the ,old ,masters      
,exhibition1 held in the fall of #aibj1 
or of the art of an individual in whose 
work is significantly reflected the     
spirit of his age1 as in the ,j4        
,pierpont ,morgan ,collection of        
drawings and etchings by ,rembrandt1    
exhibited here in the spring of #aibj4  
,in its scope and general lines this    
exhibition follows closely the plan of  
our ,exhibition of ,paintings by ,old   
,masters1 and1 as will at once be       
apparent from the subject-matter and    
treatment1 covers the same period of    
,european history4 ,although important  
exhibitions of ,european tapestries have
 been held at various times both here   
and abroad1 it has remained for our     
museum to arrange the first complete    
historical survey of this art given in  
,america4 ,this collection presents in  
unbroken sequence the main currents     
influential in the development and      
decadence of the great art of           

tapestry-weaving in ,europe1 from the   
,x,i,vth century down to and including  
the early ,x,i,xth century1 as exhibited
 in the work of the foremost designers  
and weavers of the period1 in examples  
that1 for the most part1 are brilliantly
 typical and always characteristic of   
their particular style4  ,virtually1    
every loom of importance in ,france1    
,flanders1 ,germany1 ,switzerland1      
,spain1 ,england1 and ,russia is here   
represented by historically famous      
pieces which run the entire gamut of    
subjects that engaged the interest of   
the most celebrated designers and       
weavers of each epoch1 from allegorical1
 classical1 historical1 and mythological
 to genre subjects1 landscapes1         
religious pieces1 and even portraits and
 still-life subjects4 ,the only         
omissions of any consequence are the    
,italian looms and ,soho1 and the output
 of these was relatively small and the  
examples extant are very scarce4        
,however1 their absence does not        

materially affect the historical        
integrity of the exhibition as a whole4 
,on the other hand1 the ,gothic series  
is perhaps the most complete assemblage 
of all the most important types ever    
brought together at one time in this    
country1 and every important type of    
,renaissance design is here included2   
the collection comprises two of the     
excessively rare products of the        
,fontainebleau ateliers1 as well as     
unusually fine specimens of the         
relatively scarce examples of the       
,spanish and ,russian looms4  ,my chief 
concern in organizing this exhibition   
has been to make it exemplify1 first1   
the history of tapestry1 and1 second1   
its sthetic qualities as these have     
appeared during the different periods of
 its changing and varying development1  
which1 like the art of painting1 had its
 nave1 primitive beginnings1 its        
glorious culmination1 and its decline4  
,therefore1 every piece has been        
selected both to represent a distinct   

and significant type in the chronology  
of the art and to illustrate the        
artistic merits of that type1 and all   
the tapestries shown are of the highest 
worth in their particular category and  
many of them are among the supreme      
masterpieces of ,european art1          
considered from whatever point of view  
one may choose to regard them4 ,only too
 long have these noble products of the  
loom been relegated to a secondary place
 in the history of ,european culture1   
which they did so much to celebrate4 ,i 
sincerely trust that this exhibition1   
culled from seventeen collections in    
,new ,york1 ,san ,francisco1 and ,paris1
 may successfully contribute something  
toward abolishing the hypnotic spell of 
the gold-framed oil-painting1 that      
artistic fetish which too long has held 
the uncritical enthralled to the        
exclusion of other and ofttimes more    
authentic manifestations of the human   
spirit in art4  ,regarded from the      
standpoint of design alone1 the         

extraordinary co-ordination of color and
 pattern 7not to speak of the depth and 
richness of the inner content7 exhibited
 in certain of these pieces is a sharp  
challenge to the oft-repeated           
distinction drawn between the major and 
the minor arts1 and one is constrained1 
after studying these tapestries1 to     
conclude that there are no major or     
minor arts1 only major and minor        
artists1 and that greatness transfigures
 the material to the point of art1 be it
 paint or potter's clay1 and a simple   
,tanagra transcends in worth all the    
gilded and bejeweled banalities of      
,cellini1 whose essentially flamboyant  
soul sought refuge in gold and precious 
stones4 ,this truth1 too rarely insisted
 upon1 is of prime importance in any    
consideration of art1 whether it be fine
 or applied art1 and a collection such  
as this should do much to make it clear4
 ,here one may observe how the          
principles of design and color that     
animate the immortal masterpieces of    

mural painting are identical with those 
that give life and vitality to these    
masterpieces of the loom1 and thereby   
apprehend something of that mysterious  
law governing the operation of the      
creative impulse which finds its        
expression in all the arts1 irrespective
 of time and place1 whether it be in    
rugs1 porcelains1 ,persian tiles and    
manuscripts1 in ,european primitives1 or
 in the works of ,chinese and ,japanese 
old masters1 transcending racial        
differences and attaining a universal   
affinity that makes a ,holbein one with 
a ,chinese ancestral portrait4 ,surely  
such opulent fantasy of design and color
 as is revealed in ,nos4 #a1 #c1 #e1 and
 #ag1 to mention only four of the       
,gothic pieces in the collection1 is    
deserving of something better than the  
left-handed compliment of a comparison  
with painting4  ,in their masterly      
filling of the allotted space1 in the   
fine subordination of the varied details
 to the general effect1 as well as in   

the loftiness and intensity of the      
emotion expressed1 these glorious       
products of the loom are worthy         
exemplars of the highest ideals of mural
 decoration no less than of the         
aristocratic art of tapestry-weaving4   
,reflections such as these are the      
natural consequence of a comparative    
study of art1 and these and kindred     
reasons are the impelling causes        
prompting one to exhibit1 not only      
tapestries1 but rugs and textiles of all
 kinds1 in an art museum and to give    
them the same serious study one would   
accord a ,leonardo1 a ,giotto1 a        
,rembrandt4 sthetically and racially1   
they are no less revealing and          
frequently more interesting in that they
 are the products of the earliest       
expressions of those sthetic impulses   
the manifestation of which has come to  
be called art2 nor are they less        
authentic and expressive because        
communicated with the force and         
directness of the primitive loom1 which 

give to all its products a certain      
character and worth rarely equaled by   
the more sophisticated products of the  
so-called fine arts4  ,it is our hope   
that this catalogue will serve as a     
helpful guide to all those wishing to   
make such use of this collection4 ,every
 serious student of the subject no less 
than every unbiased specialist will1 ,i 
am sure1 appreciate at its true worth   
the scholarly work done by ,dr4         
,ackerman1 whose researches have made   
such a text possible4 ,bringing to the  
task a critical judgment and a          
scientific method of analysis hitherto  
applied almost exclusively to the       
identification and interpretation of    
primitive paintings1 the author has been
 able to correct several                
well-established errors and to throw new
 light on many doubtful and obscure     
points which are so well documented as  
should make them contributions of       
permanent value to the literature of the
 subject4  ,in conclusion we wish to    

thank ,messrs4 ,william ,baumgarten     
,company1 ,c4 ,templeton ,crocker1      
,demotte1 ,duveen ,brothers1 ,p4 ,w4    
,french  ,company1 ,a4 ,j4 ,halow1      
,jacques ,seligmann  ,company1 ,dikran  
,k4 ,kelekian1 ,frank ,partridge1 ,inc41
 ,w4  ,j4 ,sloane1 ,william ,c4 ,van    
,antwerp1 ,wildenstein  ,company1 and   
,mesdames ,james ,creelman1 ,william ,h4
 ,crocker1 ,daniel ,c4 ,jackling1 and   
,maison ,jamarin of ,paris1 for their   
kindness in lending us these priceless  
examples of the ,european weavers' art  
that constitute this notable assemblage 
of tapestries1 and to record our deep   
appreciation of the generous            
co-operation of the patrons and         
patronesses whose sponsorship has made  
the exhibition possible by guaranteeing 
the very considerable expense involved  
in bringing the collection to ,san      
,francisco4 ,and last1 but not least1 we
 wish to express our grateful           
appreciation of the unremitting thought 
and attention devoted by the printer to 

designing and executing the very fitting
 typographical form that contributes so 
largely to making the varied material   
contained herein readily available to   
the reader1 and to acknowledge1 on      
behalf of the author1 the friendly help 
of ,arthur ,upham ,pope1 whose          
suggestions and criticisms have been    
found of real value in the preparation  
of the text of the catalogue4      ,j4  
,,nilsen ,,laurvik1 ,director      ,san 
,francisco1 ,september #bi1 #aibb4      
99       99       99       99       99  
,the patrons and patronesses of the     
,exhibition are3 ,messrs4 ,william      
,c4 ,van ,antwerp1 ,edwin ,raymond      
,armsby1 ,leon ,bocqueraz1 ,francis     
,carolan1 ,c4 ,templeton ,crocker1      
,sidney ,m4 ,ehrman1 ,william ,l4       
,gerstle1     ,joseph ,d4 ,grant1       
,walter ,s4 ,martin1 ,james ,d4 ,phelan1
 ,george ,a4     ,pope1 ,laurance       
,irving ,scott1 ,paul ,verdier1 ,john   
,i4 ,walter1 ,michel     ,d4 ,weill1 and
 ,mesdames ,a4 ,s4 ,baldwin1 ,c4        

,templeton ,crocker1 ,henry     ,j4     
,crocker1 ,william ,h4 ,crocker1 ,marcus
 ,koshland1 ,eleanor ,martin1           
,george ,a4 ,pope1 and ,misses ,helen   
,cowell and ,isabel ,cowell1 and ,the   
,emporium4         ,,the ,,san          
,,francisco ,,museum ,,of ,,art         
,,board ,,of ,,trustees      ,,william  
,c4 ,,van ,,antwerp1 ,,edwin ,,raymond  
,,armsby      ,,arthur ,,brown1 ,,jr41  
,,francis ,,carolan1 ,,charles ,w4      
,,clark      ,,charles ,,templeton      
,,crocker      ,,william ,h4 ,,crocker1 
,,john ,s4 ,,drum1 ,,sidney ,m4 ,,ehrman
      ,,joseph ,d4 ,,grant1 ,,daniel ,c4
 ,,jackling      ,,walter ,s4 ,,martin1 
,,james ,d4 ,,phelan1 ,,george ,a4      
,,pope      ,,laurance ,i4 ,,scott1     
,,richard ,m4 ,,tobin      ,,john ,i4   
,,walter       ,,director      ,j4      
,,nilsen ,,laurvik       ,,the ,,museum 
,,is ,,housed ,,in ,,the ,,palace ,,of  
,,fine ,,arts     ,,erected ,,by ,,the  
,,panama-,,pacific ,,international      
,,exposition ,,in #aiae     ,,contents  

,for a detailed list of the tapestries  
catalogued herein see the subject and   
title index at the end of the volume    
,illustration      ,,preface            
,page   #e      ,,introduction          
#aa      ,,catalogue                    
#be      ,,list ,,of ,,weavers          
#eh      ,,bibliography                 
#ei      ,,subject ,,and ,,title ,,index
                                        
#fa     ,,illustrations       ,,map     
,facing ,page #af      ,showing the     
principal centers of production of      
,gothic and early     ,renaissance      
tapestries       ,,tapestries      ,the 
,annunciation                           
,facing ,page #bd      ,the ,chase      
#be      ,the ,annunciation1 the        
,nativity1 and the ,announcement to the 
,shepherds                              
#bf      ,scenes from the ,roman de la  
,rose                               #bg 
,the ,vintage                           
#cj      ,entombment on ,millefleurs    
#ca      ,millefleurs with ,shepherds   

and the ,shield of the ,rigaut          
,family                                 
#cb      ,pastoral ,scene               
#cc      ,the ,creation of the ,world   
#cd      ,four ,scenes from the ,life of
 ,christ                ,facing ,page   
#ce      ,the ,triumph of ,david        
#ch      ,two ,pairs of ,lovers         
#ci      ,hannibal ,approaches ,scipio  
to ,sue for ,peace                      
#dj      ,cyrus ,captures ,astyages1    
,his ,grandfather                       
#da      ,the ,crucifixion              
#db      ,grotesques                    
#dc      ,triumph of ,diana             
#df      ,the ,niobides                 
#dg      ,scene from the ,history of    
,cleopatra                              
#dh      ,verdure                       
#di      ,verdure with ,dancing ,nymphs 
#ej      ,the ,conquest of ,louis the   
,great                                  
#ea      ,the ,poisoning of a ,spy      
#ed      ,the ,arms of ,france and      
,navarre                                

#ee     ,,introduction  ,,an            
,,historical ,,and ,,critical ,,survey  
,,of ,,the ,,art ,,of ,,tapestry        
,,weaving  ,illustration  ,tapestry is a
 compound art4 ,it stands at the        
meeting-point of three other arts1 and  
so is beset by the problems of all      
three4 ,in the first place1 it is       
illustrative1 for while there are       
tapestries that show only a sprinkling  
of flowers1 a conventionalized          
landscape1 or an armorial shield1 the   
finest and most typical pieces are those
 with personnages that represent some   
episode from history1 myth1 or romance1 
or give a glimpse of the current usages 
of daily life4 ,in the second place1    
tapestry is a mural decoration4 ,it is  
part of the architectural setting of the
 rooms1 really one with the wall4 ,and1 
in the third place1 it is a woven       
material--a solid fabric of wool or silk
 in the simplest of all techniques4     
,since a tapestry is an illustration1 it
 must be realistic and convincing1      

accurate in details and clearly         
indicative of the story4 ,because it is 
also a wall decoration1 it cannot be too
 realistic1 but must be structural in   
feeling and design1 and the details must
 fall into broad masses that carry a    
strong effect from a distance4 ,and     
since it is a woven material1 even if it
 be structural1 it must be flexible1 and
 must have a fullness of ornament that  
will enrich the whole surface so that   
none of it will fall to the level of    
mere cloth4  ,but if the tapestry       
designer have a difficult problem in    
resolving these conflicting demands of  
the different aspects of his art1 he has
 also wider opportunities to realize    
within those limitations4 ,as an        
illustration1 if he handle it with      
skill1 he can make the design convey all
 the fascination of romance and         
narrative4 ,as a mural decoration his   
design can attain a dignity and noble   
reserve denied to smaller illustrations1
 splendid in itself1 and valuable for   

counterbalancing the disproportionate   
literary interest that the subject      
sometimes arouses4 ,and the thick       
material1 with its soft1 uneven surface1
 lends1 even to a trivial design1 a     
richness and mellowness that the painter
 can achieve only in the greatest       
moments of his work4  ,the designer of  
tapestry can steer his way among the    
difficulties of the three phases of his 
art1 and win the advantages of them all 
only if he have a fine and sensitive    
feeling for the qualities that he must  
seek4 ,a realism flattened to the       
requirement of mural decoration and     
formalized to the needs of the technique
 of weaving1 that still retains the     
informality and charm of the            
illustration1 can best be won by        
considering the design as a pattern of  
silhouettes2 for a silhouette is flat1  
and so does not violate the structural  
flatness of the wall by bulging out in  
high modeling4 ,moreover1 it does give a
 broad1 strong effect that can carry    

across a large room4 ,and1 finally1 it  
permits both of adaptation in attitude  
and gesture to the needs of the story   
and of easy-flowing lines that can      
reshape themselves to the changing folds
 of a textile4 ,so1 to make good        
silhouettes1 the figures in a good      
tapestry design will be arranged in the 
widest1 largest planes possible1 as they
 are in a fine ,greek relief1 and they  
will be outlined with clear1 decisive1  
continuous lines1 definitive of         
character1 expressive and vivacious4    
,the strength and vivacity of the       
outline is of prime significance in     
tapestry design1 even though in its     
final effect it appears not primarily as
 a linear art1 but rather as a color    
art4 ,the outlines have to be both      
clearly drawn in the cartoon and        
forcefully presented in the weave2 for  
they bear the burden both of the        
illustrative expressiveness and of the  
decorative definition4 ,if they are     
weakened in delineation or submerged by 

the glow of the colors1 the tapestry    
becomes confused in import1 weak in     
emphasis1 and blurred in all its        
relations1 while the charm and interest 
of detail is quite lost4 ,the too heavy 
lines of some of the primitive          
tapestries are less a defect than the   
too delicate lines of the later pieces  
designed by those who were primarily    
painters1 and which were too much       
adapted to the painting technique4 ,the 
outlines in the best tapestries are not 
only indicated with a good deal of      
force1 but these lines themselves have  
unflagging energy1 unambiguous          
direction1 diversified movement1 and    
unfaltering control4  ,in order to      
complete and establish the silhouette   
effect1 the color in the best tapestries
 is laid on in broad flat areas1 each   
containing only a limited number of     
tones4 ,a gradual transition of tone    
through many shades is undesirable1     
because such modulations convey an      
impression of relief modeling1 which is 

inappropriate and superfluous in an art 
of silhouette4 ,then1 again1 these      
gradations at a little distance tend to 
fuse1 and thus somewhat blur the force  
and purity of the color2 and1 finally1 a
 considerable number of color           
transitions are ill-adapted to the      
character of a textile1 as they tend to 
make it appear too much like painting4  
,nor are fluctuating tones and minute   
value-gradations necessary for a soft   
and varied effect4 ,the very quality of 
tapestry material accomplishes          
that--first1 because the ribbed surface 
breaks up the flatness of any color area
 and gives it shimmering variations of  
light and shade1 and1 second1 because   
the wide folds natural to the material  
throw the flat tones now into dark and  
now into light1 thus by direct light and
 shade differentiating values that in   
the dyes themselves are identical4      
,color in tapestry can thus be used in  
purer1 more saturated masses than in any
 form of painting1 not excepting even   

the greatest murals4  ,flat silhouetted 
figures cannot of course be set in a    
three-dimensional world4 ,they would not
 fit4 ,so the landscape1 too1 must be   
flattened out into artificially         
simplified stages4 ,this is also        
necessary both for the architectural and
 the decorative effect of tapestry1 for 
otherwise the remote vistas tend to give
 the effect of holes in the wall1 and   
the distance1 dimmed by atmosphere1 is  
too pallid and empty to be interesting  
as textile design4 ,yet the fact of     
perspective cannot be altogether denied4
 ,often the designer can avoid or limit 
the problem by cutting off the farther  
views with a close screen of trees and  
buildings1 and this has also the        
advantage of giving a strong backdrop   
against which the figures stand out firm
 and clear4 ,but there are occasions in 
which a wider field is essential for the
 purposes of illustration4 ,the problem 
is how to show a stretch of country and 
still keep it flat and full of detail4  

,in the most skillful periods of        
tapestry design the difficulty was met  
by reducing the perspective to three or 
four sharply stepped levels of distance1
 laid one above the other in informal   
horizontal strips4 ,aerial perspective  
was disregarded1 each strip being filled
 with details1 all sharply drawn but    
diminishing in size4 ,the scene was thus
 kept relatively flat1 was adapted to   
flat figures1 and was also filled with  
interesting details4  ,this fullness of 
detail is important in tapestries and is
 the source of much of their richness   
and charm4 ,the great periods of weaving
 made lavish use of an amazing variety  
of incidents and effects3 the pattern of
 a gown1 jewels1 the chasing or relief  
on a piece of armor1 bits of decorative 
architecture1 carved furniture1 and the 
numerous household utensils1 quaint in  
shape or suddenly vivid in color--all   
these1 with the innumerable flowers1 the
 veritable menagerie of beasts1 real and
 imaginary1 gayly patterned birds1 as   

well as rivers1 groves1 and mountains1  
make up the properties with which the   
designer fills his spaces and creates a 
composition of inexhaustible resource   
and delight4  ,so with flat figures1    
strong outlines1 deep1 pure1 and simple 
colors1 a flattened setting1 and a      
wealth of details1 the artist can make a
 tapestry that will be at the same time 
both a representative and an expressive 
illustration1 an architectural wall     
decoration1 and a sumptuous piece of    
material4 ,but even then he has not     
solved every difficulty2 for the        
tapestry cannot be merely beautiful in  
itself4 ,it has to serve as a background
 for a room and for the lives lived in  
it2 so it must be consonant in color and
 line quality with the furniture current
 at the time it is made1 and it must    
meet the prevailing interests of the    
people4 ,moreover1 while it must be rich
 enough to absorb the loitering         
attention1 it must also have sufficient 
repose and reserve and aloofness not to 

intrude unbidden into the eye and not to
 be too wearyingly exciting--and this   
last was sometimes no easy problem to   
solve when the designer was bidden to   
illustrate a rapidly moving and dramatic
 tale4 ,sometimes1 in truth1 he did not 
solve it1 but sometimes he employed with
 subtle skill the device of so          
dispersing his major points of action   
that until they are examined carefully  
they merge into a general mass effect4  
,while the designers have at different  
periods met these various problems in   
different ways and with varying skill1  
the technique of the weaving has never  
been modified to any extent4 ,for       
centuries this simple kind of weaving   
has been done4 ,in essentials it is the 
same as that used in the most primitive 
kind of cloth manufacture4 ,the warps   
are stretched on a frame that may rest  
horizontally or stand upright4 ,the     
shuttle full of thread of the desired   
color is passed over and under the      
alternate warps1 the return reversing   

the order1 now under the warps where it 
was before over1 and over where it was  
under4 ,a comb is used to push the wefts
 thus woven close together so that they 
entirely cover the warps4 ,in the       
finished tapestry the warps run         
horizontally across the design4 ,a      
change of colors in the weft-threads    
creates the pattern4 ,in the more       
complex patterns of later works the     
weaver follows the design drawn in      
outline on his warps1 or sometimes1 in  
the horizontal looms1 follows the       
pattern drawn on a paper laid under his 
warps so that he looks down through     
them4 ,his color cues he takes from the 
fully painted cartoon suspended         
somewhere near in easy view4            
,occasionally1 in later pieces1 to      
enrich the effect1 the simple tapestry  
weave is supplemented with another      
technique1 such as brocading 7cf4 ,no4  
#eb71 but this is rare4  ,all the       
earliest examples left to us of this    
kind of weaving are akin to tapestry as 

we usually know it only in technique4   
,they have practically no bearing on the
 development of its design4 ,of the very
 earliest we have no evidence left by   
which to judge4 ,homer1 the ,bible1 and 
a number of ,latin authors all mention  
textiles that probably could be classed 
as tapestries2 but the references are   
too general to give us any definite clue
 as to the treatment of the design4 ,but
 from the ,v,ith to the ,v,i,i,ith      
century1 the ,copts in ,egypt produced  
many pieces1 showing1 usually in very   
small scale1 birds and animals and      
foliage1 and even groups of people4 ,of 
these we have many samples left4 ,from  
various parts of ,europe1 primarily from
 ,germany1 in the next two centuries we 
have a few famous examples4 ,but these  
are almost wholly without significant   
relation to the central development of  
tapestry design4 ,tapestry1 in our sense
 of the word1 begins1 as far as extant  
examples are concerned1 with the        
,x,i,vth century4  ,from the ,x,i,vth to

 the end of the ,x,vth century was the  
,gothic period4 ,then tapestry was at   
its greatest height4 ,more of the       
requisites of its design were met1 and  
met more adequately and more naturally1 
than by any subsequent school of        
designers or any looms4 ,as             
illustration1 the tapestry of the       
,gothic period is interesting1 vivid1   
and provocative4 ,the stories and       
episodes that it presents were1 to be   
sure1 all part of the mental content of 
the audience1 so that they comprehended 
them more immediately than we2 but even 
without the literary background we      
follow them readily1 so adequate is     
their delineation4 ,moreover1 they carry
 successfully almost every narrative    
mood--humor1 romance1 lyricism1         
excitement1 pathos1 and pure            
adventure--and1 except in the           
traditional religious scenes1 they      
wisely eschew such tenser dramatic      
attitudes as a momentous climax1        
long-sustained suspense1 or profound    

tragedy4 ,finally1 when they had a good 
tale to tell1 the ,gothic designers     
rendered their episodes with a fullness 
of incident and a vivacity of detail    
never again equaled4  ,as mural         
decorations1 too1 the ,gothic tapestries
 are equally successful4 ,for the       
figures are always flat and1 even while 
natural and animated1 are often slightly
 formalized and structural in drawing   
7cf4 ,no4 #aj72 the outlines are clean  
and active1 the colors strong and broad1
 the vistas either eliminated as in the 
millefleurs 7cf4 ,no4 #aa7 or completely
 simplified 7cf4 ,no4 #ac71 while the   
details are abundant and delightful4    
,finally1 they are among the most       
sumptuous textiles ever woven in the    
,western ,world--sumptuous1 not because 
of costly material1 for they only rarely
 use metal thread1 and even silk is     
unusual1 but sumptuous because of the   
variety and magnificence of their       
designs and the splendor and opulence of
 their color4  ,thus the ,gothic        

designers both appreciated and employed 
to the full all of the sthetic          
conditions of their art2 yet they did   
not do this from any theoretical        
comprehension of the medium4 ,the       
supremacy of ,gothic tapestry rests on a
 broad basis4 ,it is the final product  
of one of the most vital and creative   
epochs in the history of art2 its       
designers were brought up in a great    
tradition1 surrounded everywhere by the 
most magnificent architectural          
monuments1 accustomed to the habit of   
beauty in small as well as great things1
 still inspired and nourished by the    
fertile spirit that had created and     
triumphantly solved so many problems in 
the field of art4 ,a passion for        
perfection and an elevated and          
sophisticated taste animated all of the 
crafts1 of which tapestry was but one4  
,the full flowering of tapestry is      
contemporaneous with that of ,limoges   
enamel1 paralleling it in many ways1    
even to the employment of the same      

designers 7cf4 ,no4 #g74 ,great armor   
was being made at the same time--armor  
that exemplified as never before or     
since its inherent qualities and        
possibilities3 perfection of form and   
finish1 a sensitive and expressive      
surface1 and exquisite decoration       
logically developed out of construction4
 ,furniture also achieved at that time a
 combination of strength with natural   
and imaginative embellishments that     
still defies copy1 while the first      
publishers were producing the most      
beautiful books that have ever been     
printed1 unsurpassable in the clear and 
decorative silhouette of the type1 in   
the perfection of tone1 and in the      
balanced spacing of the composition4    
,other textile arts1 such as that of    
velvet and brocade weaving1 reached the 
utmost heights of subtlety and          
magnificence4 ,this easy achievement of 
masterpieces in kindred fields1 so      
characteristic of great epochs1         
doubtless stimulated tapestry-weaving as

 it did every other art4  ,this great   
achievement of the ,gothic period in so 
many fields of art was the natural      
flowering of the spirit of the time4    
,life for all was limited in content1   
education as we understand it meager and
 ill-diffused1 opportunities for        
advancement for the individual about    
non-existent4 ,despite these            
limitations--partly1 indeed1 because of 
them--and despite the physical disorders
 of the age1 there were1 none the less1 
a simplicity and unity of mind and an   
integrity of spirit that provided the   
basis for great achievement4 ,the       
spontaneous and tremendous energy1 the  
inexhaustible fertility that was an     
inheritance from their ,frankish and    
,germanic forbears were now moulded and 
controlled by common institutions1 by   
the acceptance of common points of view 
and the consciousness of unified and    
fundamental principles of life1 the     
acceptance of an authoritative social   
system that defined and limited each    

man's ambitions4 ,all these factors     
prevented the protracted self-analysis1 
the aimless criticism1 the uncertainties
 and confusion of individual aims that  
consume our energies1 detract from our  
will1 and impoverish our                
accomplishments4 ,theirs was in no sense
 an ambiguous age2 they were conscious  
of a universal spirit1 continuously     
pressing for expression in art which    
could fortunately forge straight ahead  
to objective embodiment4  ,the          
stimulation of all of the arts had come 
in part1 too1 from the inrush of culture
 from the ,byzantine ,empire1 where     
traditions and riches had been heaping  
up continuously ever since the ,greek   
civilization had at its height spilled  
over into the ,east4 ,every flood-tide  
of culture is created by various streams
 of ideas and customs that have for     
generations taken separate courses4 ,all
 competent ethnologists are agreed that1
 no matter what the native equipment of 
a people is1 no matter how abundant are 

their natural resources1 how friendly   
and encouraging is their environment or 
how threatening and stimulating1 one    
stream of culture flowing alone never   
rises to great heights4 ,invention1     
evolved organization1 and artistic      
production come only with the meeting   
and mingling of ideas and habits4 ,the  
,east had first fertilized ,european    
intellectual creativeness when the      
numerous ,crusades and the sacking of   
,constantinople by the ,franks brought a
 wealth of novel and exciting ideas into
 ,france and the neighboring territories
 in the ,x,ith and ,x,i,ith centuries4  
,there followed the great period of     
cathedral-building with all the minor   
accompanying artistic developments of   
the sculpture1 the glass-painting1 the  
manuscript illuminating1 the enameling1 
the lyrics of ,southern ,france1 and the
 romances and fabliaux of ,northern4    
,this tide was ebbing slowly when a     
second rush from the ,east incident to  
the fall of ,constantinople in #adec    

lifted it again4 ,the art of tapestry   
was especially sensitive to this second 
,byzantine influence4 ,the industry was 
coming to its height2 the demand was    
already prodigious1 the prices paid     
enormous1 the workers highly skilled and
 well organized4 ,tapestry was ready to 
assimilate any relevant contribution4   
,it enthusiastically took unto itself   
the sumptuous luxury of the decadent    
,orient with its splendid fabrics1      
encrusted architecture1 complex         
patterns1 and heavy glowing colors4 ,the
 simple ,frankish spirit of the earlier 
pieces 7cf4 ,no4 #b7 was almost         
submerged by the riotously extravagant  
opulence of the ,east 7cf4 ,nos4 #ag1   
#ah74 ,on the other hand1 too1 from the 
jewelry of ,scandinavia1 a remote       
descendant of an ancient ,oriental      
precedent1 tapestry adopted examples of 
heavy richness of design4 ,and at the   
same time it took also from the         
,byzantine some of the formality1 the   
thickness of elaborate drapery1 the     

conventionalization of types1 and the   
rigidity of drawing that had paralyzed  
the art of ,byzantium1 but that in      
tapestry enhanced the architectural     
character and so constituted a real     
addition4 ,the tendency of the late     
,x,i,vth century to an absorption in an 
exact naturalism which might have       
immediately rushed ,french and ,flemish 
taste into the scientific realism of the
 ,florentine ,renaissance was checked   
and deflected by the example and the    
memory of the stiff carven form1 the    
arrested gestures1 and the fixed        
draperies of the mosaics and manuscript 
illuminations of the ,eastern ,empire   
7cf4 ,no4 #h74  ,but aside from these   
general considerations1 which were vital
 for the creation of great tapestries1  
there was at work a specific principle  
perhaps even more important4 ,the manner
 of treatment which the tapestry medium 
itself calls for was one which was      
native to the mind of the time and which
 declared itself in a great variety of  

forms4  ,illustration3      ,map        
,showing the     ,principle centers of  
,production     of ,gothic and early    
,renaissance     ,,tapestries      drawn
 by     ,arthur ,upham ,pope      ,for  
the ,san ,francisco ,museum of ,art     
,retrospective ,loan ,exhibition of     
,tapestries     ,copyright #aibb   ,in  
the first place1 the ,middle ,ages were 
in spirit narrative4 ,the bulk of their 
literature was narrative--long          
historical or romantic poems with       
endless sequences of continued episodes 
that never came to any dominating       
climax4 ,their drama1 too1 was          
narrative1 a story recounted through a  
number of scenes that could be cut short
 at almost any point or could be carried
 on indefinitely without destroying the 
structure1 because there was no         
inclusive unity in them1 no returning of
 the theme on itself such as            
distinguishes ,greek drama or           
,shakespeare and which we demand in     
modern times4 ,their religion and their 

ethics also were narrative1 dependent1  
for the common man1 upon the life       
history of sacred individuals that both 
explained the fundamental truths of the 
universe and set models for moral       
behavior4 ,and they were supplemented1  
too1 by profane histories with          
moralizing symbolism contrived to point 
the way to the good life1 such as we    
find in the ,roman de la ,rose 7cf4 ,no4
 #d74 ,even their lesser ethics1 their  
etiquette1 was narrative1 derived from  
the fabric of chivalric romance4 ,and1  
again1 their greatest art1 their        
architecture1 was adorned with          
narrative1 ornamented with multiple     
histories1 so that even the capital of a
 column told a tale4 ,the whole world   
about them was narrative1 so that the   
painters and designers must needs think 
in narrative terms1 and hence as        
illustrators4 ,the narrative features of
 the other arts also lent them valuable 
examples for their tapestries4 ,most of 
their renderings of religious stories   

were taken direct from the ,mystery     
,plays 7cf4 ,no4 #ad71 and some of their
 scenes were already familiar to them in
 stained glass and church sculptures4   
,moreover1 narrative decorations were   
interesting and important to the people 
of the ,x,vth century because they had  
only very limited resources for         
intellectual entertainment4 ,books were 
scarce1 but even if plentiful would have
 been of little use1 for very few could 
read4 ,the theatre for the mass of the  
people was limited to occasional        
productions on church holidays of       
,mystery and ,miracle plays1 and even   
for the great dukes these were only     
meagerly supplemented by court          
entertainers4 ,there was no illustrated 
daily news1 no moving pictures1 no      
circuses1 no menageries1 no easy travel 
to offer ready recreation4 ,in our      
distractedly crowded life today we are  
apt to forget how limited were the lives
 of our ancestors and what pleasure1 as 
a result1 they could get from a woven   

story on their walls4  ,in the second   
place1 the ,gothic designers1 when they 
came to draw their decorative           
illustrations1 because of their         
inherited traditions1 naturally fell    
into a technique adapted to the         
architectual forms of mural decoration4 
,for all the art of the ,middle ,ages   
was the derivative of architecture1 and 
at its inception was controlled by it4  
,the original conception of the graphic 
arts in this period was the delineation 
on a flat surface of                    
sculpture--sculpture1 moreover1 that was
 basically structural1 because made as  
part of a building4 ,so the painted     
figures were heavily outlined           
silhouettes in a few broad planes with  
the poise and the restraint essential to
 sculpture4 ,these early statuesque     
figures1 familiar in the primitive      
manuscript illumination and             
stained-glass windows1 had1 by the time 
the tapestries reached their apogee1    
been modified by a fast-wakening        

naturalism4 ,but the underlying idea of 
the silhouette and of the poised body   
was not yet lost1 and so it was natural 
for tapestry designers to meet these    
requirements4 ,the naturalism1 on the   
other hand1 was just becoming strong    
enough to make the lines more gracefully
 flowing and the details more varied and
 more delicate and exact in drawing1 so 
that the very transitional form of the  
art of the time made it especially well 
adapted to a woven rendition4  ,in the  
third place1 the cartoons1 even if they 
were not quite right in feeling when    
they came from the painter's hand1 would
 be modified in the translation into the
 weave by the workmen themselves2 for   
the weavers at that time were respected 
craftsmen with sufficient command of    
design to make their own patterns for   
the less important orders1 and were     
therefore perfectly able to modify and  
enrich the details of the cartoon of    
even a great painter4 ,and no designer  
in the one medium of paint can ever fit 

his theme to the other medium of wool   
quite as aptly as the man who is doing  
the weaving himself4  ,thus because the 
,gothic period happened to be a time    
when it was natural for the artists to  
make vivacious and decorative           
illustrations in clear1 flat silhouettes
 with rich details1 most of the ,gothic 
tapestries have some measure of artistic
 greatness1 sufficient to put them above
 all but the very greatest pieces of    
later times4 ,even when we discount the 
additions that time and our changed     
attitude make1 the beauty of softened   
and blended colors1 the charm of the    
unaccustomed and the quaint1 the        
interest of the unfamiliar costumes1 the
 literary flavor of old romantic        
times--even discounting these1 they are 
still inherently superior4 ,to be sure1 
they are rarely pretty and are sometimes
 frankly ugly1 but with a tonic ugliness
 which possesses the deepest of all     
sthetic merits1 stimulating vitality4   
,they have verve1 energy1 a pungent     

vividness that sharply reminds the      
beholder that he is alive4 ,their       
angular emphatic silhouettes and pure1  
highly saturated1 abruptly contrasted   
colors catch and hold the attention and 
quicken all the vital responses that are
 essential to clear perception and full 
appreciation4 ,they are a standing      
refutation of the many mistaken theories
 that would make the essence of beauty  
consist merely in the balanced form and 
symmetry1 or smooth perfection of       
rendition1 or photographic accuracy of  
representation4 ,they are a forceful and
 convincing demonstration that in the   
last analysis beauty is the quality that
 arouses the fullest realization of     
life4  ,within the common ,gothic       
character there are clearly recorded    
local differences3 the division between 
the ,french and the ,flemish1 not marked
 until the middle of the ,x,vth century1
 because up to that time the            
,franco-,flemish school was really one  
and continuous4 ,it amalgamated         

influences from both regions and        
absorbed a rather strong contribution   
from ,italy4 ,the center of activity was
 at first ,paris and then at the courts 
of the ,burgundian dukes4 ,but after the
 middle of the century the divergence is
 rapid and clear4 ,the ,french is       
characterized by greater simplicity1    
clarity1 elegance1 and delicacy4 ,even  
the strong uprush of realism was held in
 check in ,france by decorative         
sensitiveness4 ,the most characteristic 
designs of the time are the millefleurs1
 the finer being made in ,touraine 7cf4 
,no4 #h71 the coarser in ,la ,marche4   
,the ,flemish decoration1 on the other  
hand1 is sumptuous1 overflowing1        
sometimes confused1 always energetic1   
and strongly varied in detail4 ,nothing 
checks the relentless realism that      
sometimes runs even to caricature and   
often is fantastic 7cf4 the punishment  
scenes in ,no4 #d74 ,typical of ,flemish
 abundance are the cartoons with        
multiple religious scenes1 heavy with   

rich draperies and gorgeous with        
infinite detail1 yet not subordinating  
to theme the human interest of many     
well-delineated types of character 7cf4 
,no4 #ah74 ,brussels was the great      
center for the production of work of    
this kind1 but beautiful pieces were    
being produced in almost every city of  
the ,lowlands--,bruges1 ,tournai1       
,arras1 and many more4  ,the ,german    
,gothic tapestry is quite different from
 both of these4 ,it was developed almost
 entirely independently1 under quite    
other conditions4 ,while the ,french and
 ,flemish shops grew up under the       
patronage of the great and wealthy      
nobles1 and worked primarily for these  
lavish art-patrons1 in ,germany the     
nobles were impoverished and almost     
outcast2 there was scarcely a real      
court1 and all the wealth lay in the    
hand of the burghers1 solid1 practical  
folk who did not see much sense in art4 
,so while in ,france and in the         
,lowlands the workshops were highly     

organized under great entrepreneurs1 and
 the profits were liberal1 in ,germany  
the workshops were very small1 and many 
of the pieces were not made             
professionally at all1 but were the work
 of nuns in the convents or of ladies in
 their many idle hours4 ,thus the       
industry that in ,france and ,flanders  
was definitely centered in the great    
cities such as ,paris and ,brussels1 in 
,germany was scattered through many     
towns1 primarily1 however1 those of     
south ,germany and ,switzerland4 ,and1  
too1 while the designs for the ,french  
and ,flemish pieces were specially made 
by manuscript illuminators1 painters1 or
 professional cartoon designers1 some of
 whom1 like ,matre ,philippe 7cf4 ,nos4 
#ag-ai71 conducted great studios1 for   
the ,german pieces the weavers          
themselves adapted the figures from one 
of the woodcuts that were the popular   
art of the ,german people or from some  
book illustration4 ,so while the ,french
 and ,flemish tapestries reached great  

heights of skill and luxury1 and really 
were a great art1 the ,german tapestry  
remained nave and simple and most of its
 artistic value is the product of that  
very navet4  ,toward the close of the   
,x,vth century a change begins to appear
 in the character of tapestry design4   
,more and more often paintings are      
exactly reproduced down to the last     
detail4 ,at first sporadic products1 the
 reproductions of the work of such      
masters as ,roger ,van der ,weyden and  
,bernard ,van ,orley become more and    
more frequent until by the end of the   
first quarter of the ,x,v,ith century   
they are a commonplace4 ,yet even though
 tapestry is no longer entirely true to 
itself1 these tapestry paintings are    
nevertheless beautiful and fit4 ,a woven
 painting has not yet become an anomaly 
because painting in ,northern ,europe is
 still narrative and decorative4 ,there 
are still poise and restraint and clear 
flat silhouette and rich detail4  ,it   
was not until tapestry plunged full into

 the tide of the ,italian ,renaissance  
that it entirely lost its ,gothic       
merits4 ,but when1 beginning in #aeae   
with the arrival of ,raphael's cartoons 
for the ,pope's ,apostle series1 the    
weavers of the ,north began to depend   
more and more for their designs on the  
painters of the ,south and on painters  
trained in the ,south1 the character of 
tapestry completely changed4 ,true1     
tapestry in the old style was still made
 for two decades1 but in diminishing    
numbers4 ,the ,renaissance had the      
field4 ,in place of endlessly varied    
detail1 the designers sought for        
instantly impressive effects1 and these 
are of necessity obvious4 ,every-thing  
grew larger1 coarser1 more insistent on 
attention4 ,figures were monumental1    
floreation bold and strong1 architecture
 massive4 ,even the verdures developed a
 new manner2 great scrolling            
acanthus-leaves and exotic birds 7cf4   
,no4 #cc7 took the place of the delicate
 field flowers and pigeons and          

songsters4 ,drama took the place of     
narrative4 ,on many pieces metal thread 
was lavished in abundance4 ,the whole   
flagrant richness of the newly modern   
world was called into play4  ,for the   
first time also with ,renaissance       
tapestry1 it becomes relevant to ask1   
,do they look like the scenes they      
depict8--for realism was in the full    
tide of its power4 ,a hundred and fifty 
years before the ,renaissance realism   
had begun to develop1 inspired by the   
naturalism of ,aristotle1 whose         
influence had gradually filtered down   
from the schools to the people1 and     
throughout the ,x,i,vth and early ,x,vth
 century it had been slowly growing4    
,the hunting tapestries of the first    
part of the ,x,vth century are early    
examples of it4 ,but the ,gothic realism
 was an attempt to convey the impression
 of the familiar incidents of life1 to  
get expressive gestures1 to record      
characteristic bits of portraiture1     
whether of people or things or episodes1

 so that a ,gothic tapestry can be      
adjudged naturalistically successful if 
it carries strongly the spirit and      
effect of a situation regardless of     
whether the drawing is quite true or not
 7cf4 ,no4 #b74 ,renaissance realism1 on
 the other hand1 is not satisfied with  
the impression1 but strives for the     
fact4 ,it wishes to depict not only the 
world as one sees it1 but as one knows  
it to be--knows it1 moreover1 after long
 and careful study4 ,so in all          
,renaissance graphic art correct anatomy
 becomes of importance1 solid modeling  
is essential1 and all details must be   
specific4  ,yet1 though tapestry in the 
,renaissance was no longer illustrative 
in the old sense1 it still was          
decoratively fine2 for the painting of  
,italy was founded on a mural art1 and  
the decorative traditions still held    
true4 ,outlines are still clear and     
expressive4 ,there was respect for      
architectural structure1 and details1 if
 less complex and sensitive1 are still  

rich and full4 ,color1 too1 is still    
strong and pure1 though the key is      
heightened somewhat and the number of   
tones increased4 ,moreover1 the         
,renaissance introduced two important   
new resources1 the wide border and the  
grotesque4 ,hitherto the border had been
 a narrow floral garland1 a minor       
adjunct easily omitted4 ,now it became  
of major importance1 always essential to
 the beauty of the piece1 often the most
 beautiful part of it1 designed with    
great resource and frequently interwoven
 with gold and silver4 ,the grotesque1  
from being originally a border          
decoration1 soon spread itself over the 
whole field 7cf4 ,no4 #cf71 mingling    
with amusing incongruity but with       
decorative consistency goats and fair   
ladies1 trellis1 flowers1 and heraldic  
devices4 ,what the ,renaissance lacked  
in subtlety it made up in abundance4    
,during the ,renaissance the tapestry   
industry was dominated by the ,flemish  
cities1 with ,brussels at the head4 ,she

 had the greatest looms1 great both for 
the exceeding skill of the workers and  
for the enormous quantity of the        
production4 ,some workshops1 of which   
the most famous was that of the         
,pannemaker family1 specialized in      
exquisitely fine work rendered in the   
richest materials4 ,of this class1 the  
most typical examples are the miniature 
religious tapestries in silk and metal  
thread1 in which all the perfection of a
 painting was united with the           
sumptuousness of a most extravagant     
textile 7cf4 ,no4 #ce74 ,but sometimes  
full-sized wall-hangings too were done  
with the same perfection and elaboration
 7cf4 ,nos4 #bc-be74 ,other shops       
sacrificed the perfection of workmanship
 to a large output1 but even in the most
 commercially organized houses the      
weavers of ,flanders in the ,x,v,ith    
century were able and conscientious     
craftsmen4  ,these same ,flemish workmen
 were called to different countries in  
,europe to establish local looms4 ,so   

,italy had several small temporary      
ateliers at this period1 as did ,england
 also 7cf4 ,no4 #cb74 ,but though these 
shops were in ,italy and ,england1 they 
were still predominantly ,flemish4 ,the 
character of local decoration and local 
demand influenced the design somewhat1  
but fundamentally the products both in  
cartoon and in weave were still those of
 the mother country4 ,in ,france1       
however1 the ,flemish workmen were made 
the tools of the beginning of a new     
national revival of the art4 ,a group of
 weavers was called to ,fontainebleau1  
where1 under the extravagant patronage  
of ,francis ,i1 the ,french ,renaissance
 was taking form4 ,these ,flemings1     
weaving designs made by ,italians1      
nevertheless created decorative textiles
 that are typically ,french in spirit   
7cf4 ,no4 #cg74 ,france alone had a     
strong enough artistic character to     
refashion the conventions of ,italy and 
the technique of ,flanders to a national
 idiom4  ,in the next century this      

revival of the art which survived at    
,fontainebleau barely fifty years was   
carried on in several ateliers at       
,paris4 ,the workmen were still         
predominantly ,flemish1 but again their 
work was unmistakably ,french 7cf4 ,no4 
#ch74 ,in ,trinity ,hospital looms had  
been maintained since the middle of the 
,x,v,ith century4 ,in the gallery of the
 ,louvre looms were set up about #afjg4 
,and the third and most important shop  
was established by ,marc de ,comans and 
,franois de la ,planche at the          
invitation of the king4 ,this was most  
important1 because it later was moved to
 the ,bivre ,river1 where the ,gobelins 
family had its old dye-works1 and it    
eventually became the great state       
manufactory4  ,thereafter for the next  
two centuries the looms of ,flanders and
 ,france worked in competition4 ,now    
one1 now the other took precedence1 but 
,france had a slowly increasing         
superiority that by the middle of the   
,x,v,i,i,ith century put her two royal  

looms1 the ,gobelin and ,beauvais1      
definitely in the forefront of the      
industry4  ,for cartoons the looms of   
the two countries called on the great   
painters of the time1 often             
requisitioning the work of the same     
painters1 and sometimes even using the  
very same designs4 ,thus ,van der       
,meulen worked both for ,brussels       
manufacturers 7cf4 ,nos4 #ec-ef7 and for
 the ,french state looms 7cf4 ,no4 #eb71
 and the ,gobelin adapted to its uses   
the old ,lucas ,months that had         
originated in ,flanders 7cf4 ,nos4 #eg1 
#eh47  ,but though they did thus        
parallel each other in cartoons1 the    
finished tapestries nevertheless        
retained their national differences4 ,as
 in the ,gothic period1 the ,flemish    
tapestries in all respects showed a     
tendency to somewhat overdo4 ,their     
figures were larger1 their borders      
crushed fuller of flowers and fruit1    
their verdures heavier1 their grotesques
 more heterogeneous1 their metal threads

 solider4 ,their abundance was rich and 
decorative1 but lacking in refinement   
and grace4 ,the ,french1 on the other   
hand1 kept always a certain detachment  
and restraint that made for clarity and 
often delicacy4 ,when the ,baroque taste
 demanded huge active figures1 the      
,french still kept theirs well within   
the frame4 ,their borders were always   
spaced and usually more abstract4 ,the  
verdures of ,aubusson can be            
distinguished from those of ,audenarde  
by the fewer leaves1 the lighter        
massing1 the more dispersed lights and  
shades4 ,the grotesques of ,france1     
especially in the ,x,v,i,i,ith century1 
often controlled the random fancy       
popularized among the ,flemish weavers  
by introducing a central idea1 a goddess
 above whom they could group the proper 
attributes 7cf4 ,no4 #cf71 or a court   
fte 7cf4 ,no4 #ei74 ,and when the       
,french used metal thread it was to     
enrich a limited space rather than to   
weight a whole tapestry4 ,in a way the  

opulence of the ,flemish was better     
adapted to the medium4 ,certainly it    
produced some very beautiful tapestries4
 ,but the refinement of the ,french is a
 little more sympathetic to an          
overcivilized age4  ,with the accession 
of ,louis ,,xv1 tapestry joined the     
other textile arts and painting in      
following furniture styles4 ,thereafter1
 until the advent of machinery put an   
end to tapestry as a significant art1   
the cabinetmaker led all the other      
decorators4 ,small pieces with small    
designs1 light colors1 delicate floral  
ornaments1 and the reigning temporary   
fad--now the ,chinese taste 7cf4 ,no4   
#ga71 now the pastoral 7cf4 ,no4        
#fh7--occupied the attention of the     
cartoonmakers1 so that the chief        
occupations of the court beauties of    
each successive decade can be read in   
the tapestries4  ,during this time      
,france was dictating the fashions of   
all the ,western ,world1 so other       
countries were eager not only to have   

her tapestries1 but to have her workmen 
weave for them in their own capitals4   
,accordingly1 the royal family of       
,russia1 always foreign in its tastes1  
sent for a group of weavers to set up a 
royal ,russian tapestry works4          
,similarly1 ,spain sent for a ,frenchman
 to direct her principal looms1 those at
 ,santa ,barbara and ,madrid1 which for 
a decade or so had been running under a 
,fleming4  ,and meanwhile tapestry was  
steadily becoming more and more another 
form of painting4 ,until the middle of  
the ,x,v,i,i,ith century it remains     
primarily illustrative4 ,the            
,renaissance designers continued to tell
 historical and biblical stories and to 
fashion the designs in the service of   
the tale they had to tell4 ,with the    
influence of ,rubens and his school 7cf4
 ,no4 #dd71 the story becomes chiefly   
the excuse for the composition2 but the 
story is nevertheless still there and   
adequately presented4 ,the artists of   
,louis ,,xiv1 when called upon to       

celebrate their king in tapestry1       
respected this quality of the art by    
depicting his history and his military  
exploits 7cf4 ,no4 #eb74 ,but           
illustration already begins to run thin 
in the series of the royal residences   
done by the ,gobelins during his reign1 
and with the style of his successor it  
runs out almost altogether4 ,if ,boucher
 paints the series of the ,loves of the 
,gods it is not for the sake of the     
mythology1 but for the rosy flesh and   
floating drapes1 and ,fragonard does not
 even bother to think of an excuse1 but 
makes his languid nudes simply bathers  
7cf4 ,no4 #fi74 ,so when ,louis ,,xv is 
to be celebrated by his weavers the     
designers make one effort to invent a   
story by depicting his hunts1 and then  
abandon episode and substitute          
portraiture 7cf4 ,no4 #fd74  ,throughout
 most of the ,renaissance1 tapestry     
remained decorative as a mural painting 
is decorative1 but in the ,x,v,i,ith    
century1 with the degeneration of all   

architectual feeling1 tapestry lost     
entirely its architectual character4 ,it
 was still decorative--it was decorative
 as the painting of the time was4 ,the  
tapestries of the ,x,v,i,ith century are
 giant easel paintings1 and of the      
,x,v,i,i,ith century woven panel        
paintings4  ,as to the textile quality1 
during the ,x,v,i,ith century the very  
scale of the pieces kept them somewhat  
true to it4 ,the large figures1 heavy   
foliage1 and big floral ornaments can   
fall successfully into wide1 soft folds4
 ,but most of the tapestry of the       
,x,v,i,i,ith century must be stretched  
and set in panels or frames4 ,that they 
are woven is incidental1 a fact to call 
forth wonder for the skill of the       
workmen1 both of the dyers who perfected
 the numberless slight gradations of    
delicate tones and kept them constant1  
and of the almost unbelievably deft     
weavers who could ply the shuttle so    
finely and exactly and grade these      
delicate tones to reproduce soft modeled

 flesh1 fluttering draperies1 billowing 
clouds1 spraying fountains1 and the     
sheen and folds of different materials4 
,but that they are woven is scarcely a  
fact to be considered in the artistic   
estimate4 ,the only advantage of the    
woven decorations over the painted panel
 is that they present a softer surface  
to relieve the cold glitter of rooms4   
,otherwise as paintings they stand or   
fall4 ,even the border has usually been 
reduced to a simulated wood or stucco   
frame4  ,during this gradual change     
through five hundred years in the       
artistic qualities of tapestry the      
technical tricks of the weavers         
underwent corresponding modification4   
,in the ,gothic period the drawing      
depended primarily upon a strong dark   
outline1 black or brown1 that was       
unbroken1 and that was especially       
important whether the design was        
affiliated rather with panel painting   
7cf4 ,no4 #a7 or with the more graphic  
miniature illustration 7cf4 ,no4 #e74   

,even the lesser accessories were all   
drawn in clear outline4 ,within a given 
color area1 transitions from tone to    
tone were made by hatchings1 little bars
 of irregular length of one of the      
shades that fitted into alternate bars  
of the other shade1 like the teeth of   
two combs interlocked4 ,and for shadows 
and emphasis of certain outlines1 some  
of the ,gothic weavers had a very clever
 trick of dropping stitches 7cf4 ,no4   
#a71 so that a series of small holes in 
the fabric takes the place of a dark    
line4 ,during the ,renaissance the      
outline becomes much narrower1 and is   
used only for the major figures1 a      
device that sometimes makes the figures 
look as if they had been cut out and    
applied to the design4 ,hatching1 if    
used at all1 is much finer than in the  
earlier usage1 consisting now of only   
single lines of one color shading into  
the next4 ,in the work of ,fontainbleau 
7cf4 ,nos4 #cf1 #cg71 the dotted series 
of holes between colors is still used to

 give a subordinate outline4 ,during the
 ,x,v,i,ith century hatching is scarcely
 used at all1 and the outline has       
practically disappeared4 ,during the    
,x,v,i,i,ith century the ,french weavers
 perfected a trick which obviated any   
break in the weave where the color      
changes1 thus enabling tapestry to      
approximate even closer to painting     
effects4  ,to the weavers who adjusted  
these tricks to the varying demands of  
the cartoons1 and so translated painted 
patterns in a woven fabric1 is due quite
 as much credit for the finished work of
 art as to the painters who first made  
the design4 ,famous painters did prepare
 tapestry designs4 ,aside from the      
masters of the ,middle ,ages to whom    
tapestries are attributed1 we have      
positive evidence that1 among others1   
,jacques ,daret1 ,roger ,van der        
,weyden1 ,raphael1 ,giulio ,romano 7cf4 
,nos4 #bc-be71 ,le ,brun1 ,rubens1      
,coypel 7cf4 ,nos4 #fb1 #fc71 ,boucher  
7cf4 ,nos4 #fg1 #fh71 ,watteau1         

,fragonard 7cf4 ,no4 #fi71 and ,vernet  
7cf4 ,no4 #gj71 all worked on tapestry  
designs4 ,the master weavers who could  
transpose their designs deserve to rank 
with them in honor4  ,yet we know       
relatively little of these master       
weavers4 ,many names of tapicers appear 
in tax-lists and other documents1 but   
not until the ,x,v,i,i,ith century do   
the names often represent to us definite
 personalities1 and until then we can   
only occasionally credit a man with his 
surviving work4 ,from the long lists of 
names and the great numbers of remaining
 tapestries a few only can be connected4
 ,among the greatest of these is        
,nicolas ,bataille1 of ,paris1 who wove 
the famous set of the ,apocalypse now in
 the ,cathedral of ,angers2 ,pasquier   
,grenier1 of ,tournai1 to whom the ,wars
 of ,troy and related sets can be       
accredited 7cf4 ,no4 #g71 but who       
apparently was an entrepreneur rather   
than a weaver2 ,pieter ,van ,aelst1 who 
was so renowned that the cartoons of    

,raphael were first entrusted to him2   
,william ,pannemaker1 another ,brussels 
man1 who had supreme taste and skill1   
and his relative ,pierre1 almost as     
skilful2 ,marc ,comans and ,franois de  
la ,planche1 the ,flemings who set up   
the looms in ,paris that developed into 
the ,gobelins 7cf4 ,no4 #ch72 ,jean     
,lefbvre1 who worked first in the       
gallery of the ,louvre and then had his 
studio in the ,gobelins 7cf4 ,nos4 #ci1 
#dj72 the ,van der ,beurchts1 of        
,brussels 7cf4 ,nos4 #db1 #ef71 and     
,leyniers 7cf4 ,nos4 #bf1 #bg71 and     
,cozette1 most famous weaver of the     
,gobelins4 ,such men as these1 and many 
more whose names are lost or are        
neglected because we do not know their  
work1 were in their medium as important 
artists as the painters whose designs   
they followed4  ,with the passing of    
such master craftsmen the art of        
tapestry died4 ,when men must compete   
with machines their work is no more     
respected1 and so tapestry is no longer 

the natural medium of expression for the
 culture of the times4 ,tapestries are  
still being made1 but there is no       
genuine vitality in the art and little  
merit in its product4 ,it exists today  
only as an exhausted and irrelevant     
persistence from the past1 and1 as a    
fine art1 doomed to failure and ultimate
 extinction4      ,p4,a4  ,illustration3
      ,the ,annunciation      ,no4 #a   
,illustration3      ,the ,chase         
,no4 #b      ,,catalogue                
,abbreviations3 ,h4 7,height72 ,w4      
7,width72 ft4 7,feet72 in4 7,inches74   
,right  ,left1 refer to right  left of  
the spectator   ,sidenote3 #a           
,,franco-,,flemish1 ,,possibly ,,arras1 
,,beginning ,,of ,,xv ,,or ,,end ,,of   
,,xiv ,,century  ,sidenote3      ,wool1 
,silk1 ,gold4     ,h4 #aa ft4 #d in4    
,w4 #i ft4 #f in4   ,,the               
,,annunciation3 ,the ,virgin1 in a blue 
robe lined with red1 is seated before a 
reading-desk in a white marble portico  
with a tile floor4 ,behind her is a red 

and metal gold brocade4 ,the lily is in 
a majolica jar4 ,the angel1 in a green  
robe with yellow high lights lined with 
red1 has alighted in a garden without4  
,in the sky1 ,god the ,father holding   
the globe and two angels bearing a      
shield4  ,the treatment of the sky in   
two-toned blue and white striations1 as 
well as the conventional landscape      
without perspective1 with small oak and 
laurel trees1 is characteristic of a    
number of tapestries of the opening     
years of the ,x,vth century4 ,most of   
them depicted hunting scenes4 ,but there
 was one famous religious piece1 the    
,passion of the ,cathedral of           
,saragossa4 ,in the drawing of the      
figures and some of the details the     
piece is closely related to the         
paintings of that ,paris school of which
 ,jean ,malouel is the most famous      
member4 ,the work is by no means by     
,malouel1 but it is similar to that of  
one of his lesser contemporaries1 whose 
only known surviving work is a set of   

six panels painted on both sides1 two of
 which are in the ,cuvellier ,collection
 at ,niort and the others in the ,mayer 
,van der ,bergh ,collection at ,antwerp4
 ,the very primitively rendered ,eternal
 ,father is almost identical with the   
one that appears in several of the      
panels2 the roughly indicated shaggy    
grass is the same1 the rather unusual   
angle of the angel's wings recurs in the
 ,cuvellier ,annunciation1 as does the  
suspended poise of the ,virgin's        
attitude4 ,the ,virgin's reading-desk1  
too1 is almost identical1 though shown  
in the panel at the other side of the   
scene4 ,the long1 slim-fingered hands   
and the pointed nose and chin of the    
,virgin are characteristic of the       
school4  ,the tiles in the portico1 so  
carefully rendered1 are of interest     
because they are very similar to the    
earliest-known tile floor still in      
position--that of the ,caracciolo       
,chapel in ,naples4 ,some of the same   
patterns are repeated1 notably that of  

the ,virgin's initial and the star1     
which is more crudely rendered4 ,the    
colors1 too1 are approximately the same1
 the brown being a fair rendering of the
 manganese purple of the chapel tiles4  
,the majolica vase is also interesting  
as illustrating a type of which few     
intact examples are left4  ,sidenote3   
,exhibited3  ,chicago ,art ,institute1  
,gothic ,exhibition1 #aiba4  ,sidenote3 
,lent by ,p4 ,w4 ,french  ,company4     
,the piece maintains a high level of    
sthetic expression4 ,the religious      
emotion is intensely felt and is        
adequately conveyed in the wistful      
sadness of the ,virgin's face and the   
expectant suspense of her poised body4  
,the portico seems removed from reality 
and flooded by a direct heavenly light1 
in its shining whiteness contrasting    
with the deep blue-green background4    
,this tapestry by virtue of its intense 
and elevated feeling1 purified by       
sthetic calm and by its exceptional     
decorative vividness1 ranks with the    

very great masterpieces of the graphic  
arts4   ,sidenote3 #b                   
,,franco-,,flemish1 ,,early ,,xv        
,,century  ,sidenote3      ,wool and    
,gold4     ,h4 #e ft4 #e in4     ,w4 #e 
ft4 #aa in4   ,,the ,,chase3 ,a man in a
 long dark-blue coat and high red hat   
and a lady in a brown brocade dress and 
ermine turban watch a dog in leather    
armor attack a bear4 ,a landscape with  
trees and flowers is indicated without  
perspective and a castle in simple      
outline is projected against a blue and 
white striated sky4  ,sidenote3         
,exhibited3  ,south ,kensington ,museum1
 ,french-,english ,retrospective        
,exhibition of ,textiles1 #aiba4  ,this 
tapestry is an important example of a   
small group of hunting scenes of the    
early ,x,vth century4 ,it is closely    
related in style to the famous pair of  
large hunting tapestries in the         
collection of the ,duke of ,devonshire4 
,it is not definitely known where any of
 these pieces were woven1 but ,arras is 

taken as a safe assumption1 as that was 
the center of weaving at the time1 and  
these tapestries are the finest         
production known of the period4  ,the   
very simple figures sharply silhouetted 
against the contrasting ground have a   
decidedly architectural quality1        
perfectly adapted to mural decoration4  
,yet the scene seems very natural and   
the persons have marked and attractive  
personalities4  ,sidenote3 ,illustrated3
  ,la ,renaissance de l',art franais1   
#aiba1 p4 #ajd2 ,burlington1 vol4 #ch1  
opp4 p4 #aga4 ,de,motte1 ,les           
,tapisseries gothiques1 ,deuxime ,srie4 
,these exceedingly rare pieces mark the 
great wave of naturalism that began     
sweeping over ,europe about #acej and   
they exemplify strikingly one of the    
finest qualities of the primitive--the  
impressive universality and objectivity 
that come from the freshness of the     
artist's vision4 ,looking straight at   
the thing itself1 free from all the     
presuppositions that come from an       

inherited convention1 the draftsman saw 
the essentials and recorded them        
directly without any confusing          
elaboration of technique4 ,he was       
completely absorbed by the unsolved     
problems of the task1 too occupied with 
the difficulty of rendering the central 
outstanding features of the scene to be 
diverted by personal affectations4 ,his 
realization thus became vivid and       
intimate1 his rendition achieved a      
singularity and epic force never again  
to be found in tapestry4  ,sidenote3    
,lent by ,demotte4  ,this is one of the 
few tapestries that have been improved  
by age4 ,time has spread over it a      
slight gray bloom that seems to remove  
it from the actual world1 giving it the 
isolation that is so important a factor 
in sthetic effect2 yet the depth and    
strength of the colors have not been    
weakened1 for we interpret the grayness 
as a fine veil through which the colors 
shine with their original purity4       
,sidenote3 #c  ,,flanders1 ,,middle ,,xv

 ,,century  ,sidenote3      ,wool4      
,h4 #ae ft4 #g in4     ,w4 #ad ft4 #g   
in4   ,,the ,,annunciation1 ,,the       
,,nativity1 ,,and ,,the ,,announcement  
,,to ,,the ,,shepherds3 ,at the left in 
a ,gothic chapel the ,annunciation4 ,the
 ,virgin1 in a richly jeweled and       
brocaded robe1 reads the ,holy ,book4   
,the angel in rich robes kneels before  
her4 ,the lilies are in a dinanderie    
vase4 ,through the open door a bit of   
landscape is seen1 and in a room beyond 
the chapel two women sit reading4 ,the  
,nativity1 at the right1 is under a pent
 roof4 ,the ,virgin1 ,joseph1 and ,saint
 ,elizabeth kneel in adoration about the
 ,holy ,babe1 who lies on the           
flower-strewn grass4 ,john kneels in    
front of his mother1 and in the         
foreground an angel also worships4      
,above and beyond the stable the three  
shepherds sit tending their flocks1 and 
an angel bearing the announcement       
inscribed on a scroll flutters down to  
them from ,heaven4 ,oak-trees1          

rose-vines1 and blossoming orange-trees 
in the grass4  ,illustration3      ,the 
,annunciation1 ,the ,nativity1 and ,the 
,announcement to the         ,shepherds 
,no4 #c   ,illustration3      ,scenes   
from the ,roman de la ,rose      ,no4 #d
   ,this tapestry belongs to a small and
 very interesting group1 all evidently  
the work of one designer4 ,the three    
famous ,conversations ,galantes 7long   
erroneously called the ,baille des      
,roses7 in the ,metropolitan ,museum are
 by the same man1 as are the four panels
 of the ,history of ,lohengrin in ,saint
 ,catherine's ,church1 ,cracow1 the     
fifth fragmentary panel of the series   
being in the ,muse ,industrielle1       
,cracow4 ,a fragment from the same      
designer showing a party of hunters is  
in the ,church of ,notre ,dame de       
,saumur de ,nantilly1 and another       
fragment depicting a combat is in the   
,muse des ,arts ,decoratifs4 ,three     
small fragments--one with a single      
figure of a young man with a swan1 like 

the ,metropolitan pieces1 on a striped  
ground1 another showing a king reading  
in a portico very similar to the portico
 of the ,annunciation1 and the third    
showing a group of people centered about
 a king--were in the ,heilbronner       
,collection4  ,schmitz points out#a a   
connection between the three            
,metropolitan pieces and the series of  
seven pieces depicting the life of      
,saint ,peter in the ,beauvais          
,cathedral1 with an eighth piece in the 
,cluny ,muse1 and it is quite evident   
that the cartoons are the work of the   
same man4 ,but whereas the other pieces 
all have the same characteristics in the
 weaving1 this series shows a somewhat  
different technique in such details as  
the outline and the hatchings1 so that  
one must assume they were woven on      
another loom4  ,fortunately1 there is   
documentary information on one set of   
the type that enables us to say         
definitely where and when the whole     
group was made4 ,the ,lohengrin set was 

ordered by ,philip the ,good from the   
first ,grenier of ,tournai in #adfb4    
,there can be no reasonable doubt that  
the set in ,saint ,catherine's ,church  
is the same1 for in this set the knight 
is quite apparently modeled after ,duke 
,philip himself1 judging from the       
portraits of him in both the ,romance of
 ,gerard de ,rousillon 7,vienna         
,hof-bibliothque7 and in the ,history of
 ,haynaut 7,bibliothque ,royale1        
,brussels74  ,schmitz asserts that it is
 almost certainly useless to seek the   
author of these cartoons among          
contemporary painters1 as they are      
probably the work of a professional     
cartoon painter1 of which the ,dukes of 
,burgundy kept several in their         
service--and this is probably true4 ,but
 artists were not as specialized then as
 they are now1 and even a professional  
tapestry designer might very well on    
occasion turn his hand to illustrating a
 manuscript or making a sketch for an   
enamel1 so that it is not impossible    

that further research in the other      
contemporary arts may bring to light    
more information about this marked      
personality who created so individual a 
style4  ,sidenote3 ,lent by ,duveen     
,brothers4  ,this tapestry is           
exceedingly interesting1 not only for   
its marked style of drawing and its     
quaint charm1 but for the direct        
sincerity of the presentation and the   
brilliant and rather unaccustomed range 
of colors4   ,sidenote3 #d  ,,flanders1 
,,middle ,,xv ,,century  ,sidenote3     
,wool and ,silk4     ,h4 #h ft4 #d in4  
,w4 #bj ft4 #d in4   ,sidenote3         
,formerly in ,skipton ,castle1 ,ireland4
  ,,scenes ,,from ,,the ,,roman ,,de    
,,la ,,rose3 ,this piece illustrates one
 of the most popular romances of the    
,middle ,ages1 the ,romance of the      
,rose1 the first part of which was      
written in #accg by ,guillaume de       
,lorris1 the second part in #acgh by    
,jean de ,meung1 and translated into    
,english by ,chaucer4 ,the culminating  

scenes are represented4 ,jealousy has   
imprisoned ,bel ,acceuil in a tower     
because he helped the ,lover see the    
,rose after ,jealousy had forbidden it4 
,the ,lover calls all his followers1    
,frankness1 ,honor1 ,riches1 ,nobility  
of ,heart1 ,leisure1 ,beauty1 ,courage1 
,kindness1 ,pity1 and a host of others1 
to aid him in rescuing the prisoner4 ,in
 the course of the struggle ,scandal1   
one of ,jealousy's henchmen1 is trapped 
by two of the ,lover's followers posing 
as ,pilgrims1 who cut his throat and cut
 out his tongue4 ,with the aid of       
,venus1 the ,lover finally wins4        
,sidenote3 ,exhibited3  ,chicago ,art   
,institute1 ,gothic ,exhibition1 #aiba4 
,the piece is very close in drawing to  
the illustrations of the ,master of the 
,golden ,fleece1#b whom ,lindner has    
identified as ,philip de ,mazarolles4   
,the long bony1 egg-shaped heads that   
look as if the necks were attached as an
 afterthought1 the shoe-button eyes1    
flat mouths1 and peaked noses all occur 

in his many illustrations4              
,characteristic of him1 too1 are the    
crowded grouping of the scene and the   
great care in presenting the            
accessories1 every gown being an        
individual design1 whereas many of his  
contemporary illustrators contented     
themselves with rendering the general   
style without variations4 ,the          
conventional trees are probably the     
weaver's interpolations4 ,the top of the
 tapestry being gone1 there is no       
possibility of knowing whether his      
customary architectural background was  
included or not4  ,sidenote3 ,lent by   
,p4 ,w4 ,french  ,company4  ,the        
tapestry is interesting1 not only       
because it is quaint1 but because it is 
a vivid illustration of the spirit of   
the time--virile1 cruel1 yet            
self-consciously moralistic4            
,sidenote3 #e  ,,flanders1 ,,middle ,,xv
 ,,century  ,sidenote3      ,wool4      
,h4 #aj ft4 #i in4     ,w4 #ag ft4 #e   
in4   ,,the ,,vintage3 ,this piece was  

probably originally one of a series of  
the ,months1 representing ,september4   
,groups of lords and ladies have        
strolled down from the castle in the    
background to watch the peasants        
gathering and pressing the grapes4      
,sidenote3 ,formerly in the ,collection 
of ,edouard ,aynard1 ,paris4  ,sidenote3
 ,exhibited3  ,exhibition of the ,middle
 ,ages and the ,renaissance1 ,old       
,palace of ,sagan1 ,paris1 #aiac4  ,the 
costumes and the drawing indicate that  
the piece was made in ,burgundy at the  
time of ,philip the ,good4 ,in fact1 it 
is so close to the work of one of the   
most prolific of the illustrators who   
worked for ,philip the ,good that it is 
safe to assume that the original drawing
 for the cartoons was his work4 ,in the 
pungency of the illustration and the    
vivacity of the episodes as well as in  
numerous details it follows closely the 
characteristics of ,loysot ,lyedet4     
,here are the same strong-featured faces
 with large prominent square mouths1 the

 same exaggeratedly long and thin legs  
with suddenly bulging calves on the men1
 the same rapidly sketched flat hands1  
and the same attitudes4 ,the very exact 
drawing of the bunches of grapes        
parallels the exactness with which he   
renders the household utensils in his   
indoor scenes1 and the dogs1 while they 
are of types familiar in all the        
illustrations of the time1 have the     
decided personalities and alert manner  
that he seemed to take particular       
pleasure in giving them4  ,sidenote3    
,reproduced3  ,les ,arts1 ,sept41 #aiac2
 ,gazette des ,beaux ,arts1 #aiac4      
,another tapestry that seems to be from 
the same hand is ,le ,bal de ,sauvages  
in l',eglise de ,nantilly de ,saumur4   
,the piece is one of the most vivid and 
convincing illustrations of the life of 
the time that has come down to us in    
tapestry form4 ,the silhouetting of the 
figures against contrasting colors and  
the structural emphasis of the vertical 
lines give the design great clarity and 

strength4  ,sidenote3 ,lent by ,jacques 
,seligmann  ,company4      ,loysot      
,lyedet was working for the ,dukes of   
,burgundy in #adfa4 ,he died     about  
#adfh4 ,among the most famous of his    
illustrations are those     of the      
,history of ,charles ,martel            
7,bibliothque ,royale1 ,brussels7       
,history of ,alexander 7,bibliothque    
,nationale1 ,paris7 and the     ,roman  
,history 7,bibliothque de l',arsenal1   
,paris47   ,sidenote3 #f  ,,germany1    
,,probably ,,nuremberg1 ,,middle ,,xv   
,,century  ,sidenote3      ,wool and    
,gold4     ,h4 #c ft4 #f in4     ,w4 #g 
ft4 #f in4   ,,scenes ,,from ,,the      
,,life ,,of ,,christ3 ,the ,life of     
,christ is shown in eight small scenes1 
beginning with the ,entrance into       
,jerusalem1 the ,farewell to his        
,mother1 the ,last ,supper1 the ,agony  
in the ,garden1 the ,carrying of the    
,cross1 the ,crucifixion1 the ,pieta1   
and the ,entombment4  ,the scenes in    
this tapestry were apparently adapted   

from the illustrations from a ,nuremberg
 manuscript of the middle of the ,x,vth 
century4 ,of course1 the weaving may    
have been done later4 ,the simplified   
arrangement of the scenes with a        
reduction to a minimum of the number of 
actors1 the relative size of the figures
 to the small squares of the            
compositions1 the marked indebtedness in
 the use of line and light and shade to 
woodcuts1 and the courageous but not    
altogether easy use of the direct       
profile1 all bring the pieces into close
 relationship with such book            
illustrations as those of ,george       
,pfinzing's book of travels 7,the       
,pilgrimage to ,jerusalem71 now in the  
,city ,library of ,nuremberg4#c ,in     
fact1 the parallelism is so very close1 
the tapestry may well have been adapted 
from illustrations by the same man1 the 
curiously conventionalized line-and-dot 
eyes being very characteristic of the   
,pfinzing illustrations and not common  
to all the school4  ,sidenote3 ,lent by 

,p4 ,w4 ,french  ,company4  ,in weaving 
many of the figures the warp is curved  
to follow the contours4  ,the nave      
directness and unassuming sincerity of  
the piece give it great interest4       
,sidenote3 #g  ,,tournai1 ,,third       
,,quarter ,,xv ,,century  ,sidenote3    
,wool4     ,h4 #aj ft4 #f in4     ,w4 #h
 ft4 #i in4   ,,the ,,history ,,of      
,,hercules3 ,hercules1 clad in a        
magnificent suit of shining black armor1
 rides into the thickest tumult of a    
furious battle2 with sword in his right 
hand1 he skillfully parries the thrust  
of a huge lance1 while with the other   
hand he deals a swinging backhand blow  
that smites an enemy footman into       
insensibility4 ,his next opponent1      
obviously bewildered and frightened1 has
 half-turned to flee4 ,the whole        
apparatus of medival combat is shown in 
intense and crowded action4 ,the piece  
is incomplete4  ,this tapestry          
illustrates one of the favorite stories 
of the ,middle ,ages1 and was           

undoubtedly originally one of a set4 ,in
 design it is closely related to the    
famous ,wars of ,troy series1 many      
examples of which are known and some of 
the first sketches for which are in the 
,louvre4 ,it is also closely related to 
the ,history of ,titus set in the       
,cathedrale de ,notre ,dame de ,nantilly
 de ,saumur4#d ,both of these sets are  
signed by ,jean ,van ,room1 and this    
piece also is undoubtedly from his      
cartoon4 ,all of these pieces were      
probably woven between #adfj and #adgj4 
,jean ,van ,room 7sometimes called de   
,bruxelles7 is one of the most          
interesting personalities connected with
 the history of ,gothic tapestry4 ,he   
was a cartoon painter and probably      
conducted a large studio1 judging from  
the number of pieces of his which are   
left to us4 ,fortunately1 he had a habit
 of signing his name on obscure parts of
 the designs1 such as the borders of    
garments4 ,his work extends over sixty  
years and changes markedly in style     

during that time1 adapting itself to the
 changing taste of his clients4 ,this   
piece illustrates his earliest manner4  
,in the succeeding decades he is more   
and more affected by the ,renaissance   
and the ,italian influence1 until his   
latest pieces 7cf4 ,no4 #ba7 are quite  
unlike these first designs4 ,at the     
close of the century he began to        
collaborate with ,matre ,philippe1      
evidently a younger man1 who had had    
,italian instruction and was less       
restrained by early ,gothic training    
7cf4 ,nos4 #ag-ai74  ,jean ,van ,room   
seems to have done designs for enamels1 
also1 that were executed in the studio  
of the so-called ,monvaerni4 ,in the    
collection of ,otto ,h4 ,kahn is a      
,jesus before ,pilate very close in     
style to ,jean ,van ,room's early       
work1#e on which appear the letters ,m  
,e ,r ,a1 which might even be a pied    
misspelling of ,room1 for similar       
confused signatures appear on tapestries
 known to be his4 ,a triptych with      

,crucifixion in the collection of       
,charles ,p4 ,taft#f has figures very   
close to the ,crucifixion tapestry in   
the ,cathedral of ,angers done by ,van  
,room in his middle period4 ,according  
to ,marquet de ,vasselot1 this enamel   
bears the letters ,,jenrage1 but ,m4 de 
,vasselot also comments on its          
illegibility in the present condition of
 the enamel4 ,could he have misread a   
letter or two8 ,still another triptych  
with ,crucifixion1 in the ,hermitage1#g 
actually repeats two figures from the   
,angers ,crucifixion with only very     
slight variations4  ,jean ,van ,room    
borrowed liberally from various other   
artists at different stages of his      
career4 ,in the ,wars of ,troy1 the     
,history of ,titus1 and this piece he   
seems to have relied primarily on ,jean 
le ,tavernier for his models1 the       
affiliation being especially close in   
the ,wars of ,troy4 ,le ,tavernier is   
known to have illustrated the ,wars of  
,troy1#h and ,jean ,van ,room1 judging  

from the close stylistic relations of   
his ,troy tapestries with le            
,tavernier's drawings1 evidently took   
his hints from this lost manuscript4    
,illustration3      ,the ,vintage       
,no4 #e   ,illustration3                
,entombment on ,millefleurs      ,no4 #h
   ,this piece was probably woven under 
,pasquier ,grenier at ,tournai1 as were 
the ,wars of ,troy1 on which there are  
some documents4  ,sidenote3 ,lent by ,p4
 ,w4 ,french  ,company4  ,this tapestry 
presents with extraordinary vividness   
the fury1 din1 excessive effort1 hot    
excitement1 and blinding confusion of   
crowded hand-to-hand conflicts that     
marked medival warfare4 ,it must have   
been conceived and rendered by an       
eye-witness who knew how to select and  
assemble the raw facts of the situation 
with such honesty and directness that an
 overwhelming impression of force and   
tumult is created1 and it was woven for 
patrons1 the fighting ,dukes of         
,burgundy1 by whom every gruesome       

incident would be observed with relish  
and every fine point of individual      
combat noted with a shrewd and          
appraising eye4   ,sidenote3 #h         
,,france1 ,,end ,,xv ,,century          
,sidenote3      ,wool4     ,h4 #b ft4   
#aj in4     ,w4 #g ft4 #aj in4          
,,entombment ,,on ,,millefleurs3 ,christ
 lies on the tomb which is inscribed    
,humani ,generis ,redeptori4 ,john in a 
red cloak1 the ,virgin in a blue cloak  
over a red brocaded dress1 and ,mary    
,magdalene in a red cloak over a green  
dress stand behind the tomb4 ,at the    
head1 removing the crown of thorns1     
stands ,joseph of ,arimathea and at the 
foot ,nicodemus4 ,both ,joseph and      
,nicodemus are in richly brocaded robes4
 ,borders at the sides only of alternate
 blue and red squares inscribed ,i ,h ,s
 and ,m ,a surrounded by jeweled frames4
 ,millefleurs on a blue ground4 ,in the 
upper left corner the monogram ,i ,s and
 in the upper right ,w ,s1 with a scroll
 under each bearing the inscription de  

,mailly4  ,this tapestry is an unusually
 delicately and perfectly rendered      
example of the millefleurs aux          
personnages of ,france of the late      
,gothic period4 ,a small piece like this
 was undoubtedly made for a private     
chapel1 probably that of the de ,mailly 
family4 ,this quality of millefleurs was
 probably woven in ,touraine4 ,an altar 
frontal showing the ,pieta which is very
 similar in style is in the             
,kunstgewerbe ,museum4  ,sidenote3 ,lent
 by ,demotte4  ,the drawing has the nice
 exactness of a finished miniature1 the 
workmanship the brilliance of enamel2   
yet both are transfigured by the vivid  
conception of the tragic event4 ,its    
utter pathos is expressed with moving   
power4 ,we are in the presence of an    
unutterably solemn moment4   ,sidenote3 
#i  ,,france1 ,,end ,,xv ,,century      
,sidenote3      ,wool and ,silk4     ,h4
 #d ft4 #f in4     ,w4 #c ft4           
,,millefleurs ,,armorial ,,with ,,wild  
,,men3 ,on a delicate millefleurs ground

 a wild man and woman hold an armorial  
shield surmounted by a winged helmet4   
,sidenote3 ,formerly in the ,c4 ,d4     
,barney ,collection4  ,sidenote3 ,lent  
by ,p4 ,w4 ,french  ,company4  ,the wild
 men1 probably a modified revival of the
 classical satyrs in modified form1 were
 very popular in ,france in the         
,x,i,i,ith and ,x,i,vth centuries4      
,there are tapestries extant depicting  
the balls where all the company came    
dressed in hairy tights to represent    
these creatures4 ,froissart recounts an 
episode of a ball at the ,hotel ,st4    
,pol in ,paris in #acib when the king   
and five of his companions came in such 
costumes1 all chained together1 and the 
flax used to imitate the hair caught    
fire from a torch1 so that in an instant
 all were enveloped in flames4 ,the king
 was saved by the presence of mind of   
his cousin1 who enveloped him in her    
skirts1 and another was saved by jumping
 into a tub of water he had noticed     
earlier in the evening in an adjacent   

service-room4 ,the others were burned to
 death4   ,sidenote3 #aj  ,,france1     
,,beginning ,,xvi ,,century  ,sidenote3 
,wool4     ,h4 #g ft4 #aj in4     ,w4   
#aj ft4 #g in4   ,,millefleurs ,,with   
,,shepherds ,,and ,,the ,,shield ,,of   
,,the ,,rigaut ,,family3 ,against a     
background of conventionalized          
millefleurs1 shepherds and shepherdesses
 and their flock4 ,in the center1 two   
peasants holding a shield1 evidently of 
the ,rigaut family4 ,in the corners the 
shield of ,rigaut and of another family4
 ,the tapestry was evidently made to    
celebrate a marriage1 the corner shields
 signifying the joining of the families1
 an oblique reference being intended in 
the pairing of the shepherds and        
shepherdesses4 ,a scroll in the center  
bears the inscription ,par ,ii ,passe   
,rigaut4  ,sidenote3 ,lent by ,p4 ,w4   
,french  ,company4  ,the navet both of  
the characterization and of the drawing 
that emphasizes the structural and      
silhouette character of the figures     

contributes greatly to the charm of this
 piece4 ,the clean1 sharp rendering of  
the millefleurs enhances the decorative 
effect4 ,the piece is probably the work 
of a small provincial loom4   ,sidenote3
 #aa  ,,france1 ,,probably ,,la         
,,marche1 ,,beginning ,,xvi ,,century   
,sidenote3      ,wool and ,silk4     ,h4
 #e ft4 #g in4     ,w4 #i ft4 #d in4    
,,millefleurs ,,with ,,animals3 ,against
 a large-scale millefleurs ground on    
blue1 deer are playing about a fountain 
within a paddock4 ,on a fence-post      
perches a peacock4 ,outside the fence a 
fox waits1 watching slyly4 ,in the      
background conventional castles4        
,sidenote3 ,lent by ,p4 ,w4 ,french     
,company4  ,the floreation is rather    
unusual1 as it shows the transition from
 the ,gothic millefleurs to the         
,renaissance verdure4 ,the enlarged     
scale of the flowers and the use of the 
iris and the scrolled thistle-leaves in 
the foreground show the influence of the
 ,renaissance1 but the daisies and wild 

roses are still ,gothic in feeling1 as  
are the unusually charming and vivacious
 deer4 ,the conventional rendering of   
the water is skillfully managed4 ,the   
sly fox is especially well              
characterized4  ,illustration3          
,millefleurs with ,shepherds and the    
,shield of the ,rigaut ,family          
,no4 #aj   ,illustration3      ,pastoral
 ,scene      ,no4 #ac    ,sidenote3 #ab 
,,france1 ,,probably ,,la ,,marche1     
,,early ,,xvi ,,century  ,sidenote3     
,wool4     ,h4 #d ft4 #e in4     ,w4 #i 
ft4 #e in4   ,,millefleurs ,,with       
,,animals3 ,millefleurs with animals on 
a blue ground4 ,at the top a narrow     
strip of conventionalized hilly         
landscape4  ,sidenote3 ,lent by ,dikran 
,k4 ,kelekian4  ,many tapestries of this
 type were woven in ,france at the end  
of the ,x,vth and beginning of the      
,x,v,ith century4 ,they are one of the  
most successful types of tapestry       
decoration1 the quaint animals in this  
piece being especially charming1 and one

 of the most generally useful kinds of  
wall decoration1 so that the demand for 
them was large and continuous4 ,as a    
result1 the style was produced almost   
without modification for over a hundred 
years4 ,only the bit of landscape at the
 top indicates that this was woven in   
the beginning of the ,x,v,ith century   
and not in the middle of the ,x,vth4    
,sidenote3 #ac  ,,france1 ,,late ,,xv   
,,century  ,sidenote3      ,wool4       
,h4 #i ft4 #f in4     ,w4 #i ft4        
,,pastoral ,,scene3 ,two ladies have    
strolled into the country with their    
lords1 who are on the way to the hunt1  
one with a falcon and the other with a  
spear and dog4 ,on the way they have    
stopped to talk to a group of peasants  
who are tending their flocks and to play
 with their children4 ,one young peasant
 girl is gathering a basket of grapes4  
,such peasant scenes as this were much  
in demand during the ,x,vth century4 ,a 
piece very similar both in general      
spirit and in detailed drawing and      

facial types is in the ,muse des ,arts  
,decoratifs4 ,in this two lords are     
watching a large group of woodcutters4  
,sidenote3 ,formerly in the ,de ,zolte  
,collection4  ,the piece is an excellent
 illustration of the clarity of ,french 
design4 ,each figure stands out almost  
entirely detached against the           
background4 ,yet1 nevertheless1 the     
naturalness of the grouping is not      
sacrificed4 ,the piece conveys          
extraordinarily the impression of a real
 scene1 a common daily occurrence among 
people that we might reasonably expect  
to know1 at which we are allowed to be  
present in spite of the intervening four
 hundred years4  ,sidenote3 ,lent by    
,duveen ,brothers4  ,some of the tricks 
of drawing and the types portrayed are  
so very similar to those in some of the 
stained-glass windows of ,st4 ,etienne  
du ,mont and of ,st4                    
,germain-l',auxerrois the cartoons must 
be by members of the same school1 one of
 the groups of l',ile de ,france1 and   

may quite possibly be by the same man4  
,sidenote3 #ad-af  ,,flanders1 ,,first  
,,quarter ,,xvi ,,century  ,sidenote3   
,wool and ,silk4      ,no4 #ad3     ,h4 
#aa ft4 #f in4     ,w4 #ad ft4 #b in4   
,sidenote3      ,no4 #ae3     ,h4 #aj   
ft4 #i in4     ,w4 #g ft4 #c in4        
,no4 #af3     ,h4 #aa ft4     ,w4 #aj   
ft4 #e in4   ,,three ,,pieces ,,from ,a 
,,series ,,illustrating ,,the ,,creed3  
,this series of scenes illustrating the 
,creed begins 7,no4 #ad7 with the       
,creation of the ,world4 ,the designer1 
evidently with some allegorical poem in 
mind1 includes in the scene ,sapientia1 
,potencia1 and ,benignitas1 depicted1 in
 characteristic medieval form1 as three 
richly dressed women4 ,in the center    
scene these three offer the world to    
,god4 ,on the right1 ,gubernacio1       
,redempcio1 and ,caritas stand under the
 throne of the ,trinity4  ,in the second
 piece 7,no4 #ae7 the series continues  
with the ,life of ,christ1 beginning    
with the ,annunciation1 the ,nativity1  

and the ,adoration of the ,kings4       
,reverting to the older tradition of the
 ,x,i,vth century that had been almost  
displaced during the ,x,vth century1 all
 the events of ,christ's public life are
 omitted1 and the third piece 7,no4 #af7
 depicts the scenes of the ,passion1    
including the popular interpolation of  
,christ's farewell to his ,mother1 with 
the ,apostles in the background1 the    
,resurrection1 and finally ,christ      
taking his place at the right hand of   
,god while the angels sing hosannas4    
,below1 throughout the series1 is the   
set of the ,apostles facing ,prophets1  
symbolic of the parallelism of the ,old 
and ,new ,testaments1 each with a scroll
 bearing his speech in the conventional 
responses depicted in so many works of  
art of the period4 ,so ,peter 7,no4     
#ad71 says1 ,i believe in ,god the      
,father ,omnipotent1 and ,jeremiah1 who 
faces him1 replies1 ,you invoke the     
,father who made the earth and builded  
the heavens4 ,next 7,no4 #ae7 comes     

,andrew1 who originally faced ,david1 a 
figure now missing4 ,the next pair1     
,john and ,daniel1 is also missing4     
,there follow 7,no4 #af7 ,thomas1 who   
originally faced ,hosea1 and ,john the  
,lesser1 who is opposite ,amos4 ,above1 
on either side of the ,nativity 7,no4   
#ae71 is introduced another pair1 ,john 
the ,greater and ,isaiah4  ,the complete
 piece1 of which number #af is the      
right-hand end1 was formerly in the     
,toledo ,cathedral1 then in the         
collection of ,asher ,wertheimer1 of    
,london4 ,the present owner is          
unknown4#i ,another rendition was in the
 ,vatican1 but disappeared in the middle
 of the ,x,i,xth century4#aj            
,tapestries illustrating the ,creed were
 common throughout the ,middle ,ages4   
,they appear frequently in              
,x,i,vth-century inventories1 and a     
number of examples from the ,x,vth and  
early ,x,v,ith century are left to us4  
,the ,apostles and ,prophets arranged in
 pairs are a common feature of this type

 of tapestry4  ,sidenote3 ,formerly in  
,evora ,palace1 ,portugal4  ,the        
cartoons are evidently the work of the  
painter who painted the ceiling of the  
,church of ,st4 ,guy at ,naarden1 whom  
,dr4 ,six tentatively identifies as     
,albert ,claesz4#aa ,the similarity is  
too close to be overlooked4 ,the ,christ
 of the ,naarden ,resurrection#ab and   
this ,resurrection are almost identical1
 the face of ,god the ,father in the    
,assumption is almost identical with    
that of an onlooker in the ,naarden     
,betrayal1#ac and ,adam in the first    
piece of this series closely resembles  
the ,christ of the ,naarden             
,flagellation4#ad ,but more indicative  
are the lesser peculiarities common to  
both series4 ,there are in both the same
 curiously flattened and slightly       
distorted skulls with very large ears1  
the same large eyes with heavy arched   
lids and eyebrows close above them1     
oblique and not quite correctly placed  
in the three-quarter views1 and always  

looking beyond their focus4 ,the mouths1
 too1 in some of the faces are          
overemphasized in the same way1 and the 
feet have the same quaint distortion1   
being seen from above1 as in the figure 
of the ,prophet ,john 7,no4 #ae74 ,and  
in very conspicuous minor agreement1 the
 cross has a strongly indicated and     
rigidly conventionalized graining       
identical in the two renditions4 ,the   
attitude of the ,christ and the         
indication of the garment in the ,toledo
 tapestry is very close to that in the  
,naarden painting4  ,illustration3      
,the ,creation of the ,world      ,no4  
#ad   ,illustration3      ,four ,scenes 
from the ,life of ,christ      ,no4 #ag 
,the floreation was probably introduced 
by the weaver4 ,the delightfully exact  
scene of the owl scolded by a magpie1   
while a pigeon sits near by and another 
bird flutters about 7,no4 #ad71 is      
repeated with slight variations in a    
number of ,x,v,ith-century pieces4      
,sidenote3 ,lent by ,demotte4  ,the     

drawing in these tapestries is rather   
unusually primitive for pieces of this  
period1 but the figures have a broad    
monumental character and a direct       
sincerity of bearing that make them very
 convincing4   ,sidenote3 #ag-ai        
,,flanders1 ,,probably ,,brussels1      
,,beginning ,,xvi ,,century  ,sidenote3 
,wool and ,silk4      ,no4 #ag3     ,h4 
#aa ft4 #aj in4     ,w4 #ag ft4 #f in4  
,no4 #ah3     ,h4 #aa ft4 #g in4     ,w4
 #g ft4 #e in4      ,no4 #ai3     ,h4   
#ab ft4     ,w4 #bf ft4   ,,three       
,,pieces ,,from ,a ,,series             
,,illustrating ,,the ,,creed3 ,in the   
first piece 7,no4 #ag7 four scenes from 
the ,life of ,christ are portrayed3 the 
,adoration of the ,kings1 the           
,presentation at the ,temple1 the       
meeting of ,christ and ,john1 and       
,christ among the ,doctors4 ,in the     
corner sits a prophet1 probably ,david4 
,the piece undoubtedly began with the   
,nativity1 at the left1 and possibly the
 ,annunciation1 with the ,apostle       

,andrew in the other corner4 ,this would
 indicate that the piece was the second 
in the series1 the first probably having
 been the ,creation of the ,earth1 with 
,peter and ,jeremiah4  ,the second piece
 7,no4 #ah7 shows the ,circumcision and 
the ,assumption of the ,virgin1 and     
evidently included at least one more    
scene at the right4  ,sidenote3 ,the    
,last ,judgment was formerly in the     
,evora ,palace1 ,portugal1 and is       
illustrated from the ,louvre example in 
,migeon1 ,les ,arts de ,tissu1 p4 #bbj2 
in part1 in ,e4 ,mle1 ,l',art religieux 
de la fin du ,moyen ,age en ,france1 p4 
#eja2 ,burlington1 vol4 #bj1 p4 #i2     
,figaro ,illustr1 #aiaa4  ,the third    
piece 7,no4 #ai7 shows the full scene of
 the ,last ,judgment with a personage   
who seems to be ,philip in one corner   
and in the other ,zephaniah4 ,the piece 
is complete except1 possibly1 for a     
border4 ,a tapestry from the same       
cartoon with a narrow border of flowers 
is in the ,louvre4 ,christ1 enthroned1  

is surrounded by the ,virgin1 ,saint    
,john1 and the eleven ,apostles4        
,angels1 bearing instruments of the     
,passion and sounding trumpets flutter  
through the sky4 ,at the right of the   
throne angels come bearing crowns for   
the elect4 ,below the dead are rising   
from the graves4 ,before the throne of  
,christ ,justice bearing a sword and    
,pity bearing a lily come to punish the 
,seven ,deadly ,sins1 ,pride1 ,avarice1 
,luxury1 ,greed1 ,anger1 ,envy1 and     
,laziness1 an episode adopted from the  
,mystery ,plays4 ,on the border of the  
robe of the ,virgin appear the letters  
,,wol and on the border of the robe of  
the last ,apostle at ,christ's left the 
letters ,,rim ,,daci ,,baptista ,,oradi4
  ,sidenote3 ,the ,circumcision and     
,assumption is illustrated in ,demotte1 
,les ,tapisseries gothiques1 ,premire   
,srie1 pl4 #ci4  ,seven other large     
tapestries very closely related to these
 are known4 ,they represent various     
episodes involving ,christ and numerous 

allegorical figures that have not been  
identified4 ,three of these are in the  
collection of ,baron de ,zuylen du      
,nyevelt de ,haar1 two in the ,burgos   
,cathedral1 and two others have passed  
into private collections and been lost  
sight of4#ae ,another smaller piece1    
apparently of the same series1 was      
number ,x in the ,morgan ,collection4   
,three duplicates are also in ,hampton  
,court4  ,the series is closely related 
also to the ,life of the ,virgin set in 
the ,royal ,collection at ,madrid1 and  
also the ,presentation in the ,temple of
 the ,martin le ,roy ,collection4 ,the  
cartoons are clearly the work of ,matre 
,philippe1 and the weaving was evidently
 done in ,flanders1 probably in         
,brussels1 about #aeaj4 ,marquet de     
,vasselot suggests that the cartoons of 
the ,martin le ,roy piece and of the    
,madrid series were done after a second 
master under the influence of ,gerard   
,david4#af ,destre1 following ,wauters1 
suggests ,jean de ,bruxelles1 known     

author of the cartoon for the ,communion
 of ,herkenbald1 another ,matre         
,philippe piece1 to which he sees a     
resemblance1#ag and ,thiry repeats the  
claim1 but on far-fetched evidence4#ah  
,certainly the types are very close to  
those of ,gerard ,david4 ,some of the   
figures on ,david's ,tree of ,mary in   
the ,lyons ,museum#ai are repeated      
almost exactly1 and some of the female  
figures are very like the ,saint in the 
,marriage of ,catherine in the ,san     
,luca ,academy at ,rome4#bj ,but other  
types1 such as ,zacharias in the meeting
 of ,christ and ,john1 are more         
reminiscent of ,hugo ,van der ,goes1    
being1 for instance1 almost identical   
with ,joseph of ,arimathea in the       
,descent from the ,cross in the         
,national ,museum1 ,naples1#ba even to  
such details as the drawing and placing 
of the ear4 ,the glimpses of landscapes1
 too1 are clearly derived from ,hugo in 
their composition and details1 and even 
the floreations are close to those in   

some of ,hugo's work1 notably the       
,original ,sin in the ,imperial ,gallery
 of ,vienna1#bb where one finds the same
 upspringing sheaf of iris4 ,the work   
would seem to be that of a lesser       
eclectic1 such as the author of the     
,life of ,mary in the ,bishops' ,palace 
at ,evora4  ,sidenote3 ,lent by         
,demotte4  ,in all the pieces there are 
intense sincerity and real grandeur of  
design4 ,the ,last ,judgment1 in the    
musical swinging together of the        
draperies1 the perfect control of the   
great composition1 and in the fine      
development of the dominance of ,christ 
without sacrifice of the minor episodes1
 as well as in the power of expression  
of the thrilling solemnity of the       
moment1 deserves to rank with the       
greatest interpretations of the subject4
   ,sidenote3 #bj  ,,brussels1          
,,beginning ,,of ,,xvi ,,century        
,sidenote3      ,wool and ,silk4     ,h4
 #ab ft4 #c in4     ,w4 #ac ft4 #b in4  
,,scenes ,,from ,a ,,romance3 ,a queen  

surrounded by her court awaits the      
preparation of a document4 ,there is a  
general interchange of documents among  
the courtiers at the right4 ,in the     
background1 upper left1 a knight indites
 a letter1 and on the opposite side two 
knights wait on horseback4 ,the scenes  
illustrate some contemporary romance and
 are closely related to the ,court of   
,love tapestries that were so often     
woven at this time4  ,sidenote3         
,formerly in the ,morgan ,collection4   
,sidenote3 ,lent by ,p4 ,w4 ,french     
,company4  ,the cartoon1 like those of  
the ,court of ,love scenes1 is the work 
of the studio of ,matre ,philippe4 ,jean
 ,van ,room probably collaborated1 as   
his signature appears on a very similar 
tapestry of ,david and ,bathsheba in the
 ,royal ,spanish ,collection4#bc ,as in 
that tapestry1 the elegantly dressed    
persons are quite typical of the        
prosperous burghers of the time and     
might well be used as fashion plates4   
,the composition is skillful in the     

balancing of the groups and the massing 
of the drapes to form a support for the 
dominant figure of the queen4           
,sidenote3 #ba  ,,brussels1 ,,early     
,,xvi ,,century  ,sidenote3      ,h4 #ac
 ft4 #i in4     ,w4 #bb ft4 #a in4      
,sidenote3 ,barberini ,collection2      
,ffoulke ,collection4 ,illustrated3     
,ffoulke ,collection1 opp4 p4 #dc4      
,exhibited3 ,exposition d',art ancien   
bruxellois1 ,brussels1 #aije1 ,no4      
,,xxi4 ,illustrated3 ,destre1 ,catalogue
 of same1 pl4 ,,xxiv4  ,,the ,,triumph  
,,of ,,david3 ,david carrying the head  
of ,goliath on his sword and surrounded 
by musicians is followed by ,king ,saul 
and ,jonathan on horseback4 ,in the     
background a hilly landscape with the   
tents of the ,hebrews4 ,a narrow floral 
border4  ,the cartoon was painted by    
,jean ,van ,room1 his signature         
appearing on another piece#bd of the    
same series in the ,muse du             
,cinquantenaire1 ,brussels4 ,matre      
,philippe must have collaborated with   

him in this work1 for a strong ,italian 
influence is evident which appears only 
in the ,van ,room tapestries that have  
had ,philippe's assistance4  ,sidenote3 
,lent by ,mrs4 ,wm4 ,c4 ,van ,antwerp4  
,though the drawing and details show the
 incoming ,renaissance influence1 the   
full continuous narrative arrangement of
 the group1 the strong vertical lines of
 the figures1 and the simple modeling   
show the tarrying ,gothic feeling4 ,the 
groups are beautifully massed and the   
individual figures show great dignity4  
,sidenote3 #bb  ,,switzerland1 ,,early  
,,xvi ,,century  ,sidenote3      ,wool4 
,h4 #d ft4 #c in4     ,w4 #g ft4 #i in4 
,,two ,,pairs ,,of ,,lovers3 ,two pairs 
of lovers are pictured against a        
background of vines with blue-green     
scrolled leaves and large red and yellow
 blossoms on a dark-blue field4 ,the    
pair at the right is on either side of a
 ,gothic pedestal on which is a small   
statue4 ,the ladies are in red robes4   
,one man is in a blue doublet1 the other

 in a two-toned red brocaded cloak4     
,border of rose-vines and daisies4      
,sidenote3 ,formerly in the ,collection 
of ,comtesse ,desautoy4  ,the piece was 
probably woven in ,basle1 and is        
undoubtedly adapted from a wood-block   
illustration in one of ,leonhard        
,ysenmuth's publications4 ,the width and
 richness of the border indicate that it
 was done in the early ,x,v,ith rather  
than in the late ,x,vth century4  ,the  
subject of pairs of lovers was quite a  
favorite one with ,german and ,swiss    
weavers1 and a number of them in        
different styles is left to us4 ,the    
piece is probably the work of an        
amateur1 a nun1 or more probably some   
lady1 who thus filled her long leisure  
hours4 ,the wood-block print has been   
closely followed for the figures1 even  
to such minor details as the very simple
 conventionalization of the hair4 ,the  
vine background in rather a large scale 
is common to many ,swiss tapestries of  
the period4 ,the limited range of colors

 used is especially worthy of note1     
there being only three shades of blue1  
three of green-blue1 three of tan1 and  
two of red1 in addition to the black for
 the outlines4  ,sidenote3 ,lent by     
,wildenstein  ,co4  ,the work is        
thoroughly nave1 but it has the strong  
appeal of genuineness and directness    
common to nave designs and shows a      
strong feeling for decorative quality4  
,sidenote3 #bc-be  ,,brussels1 ,,second 
,,quarter ,,xvi ,,century  ,sidenote3   
,wool1 ,silk1 ,gold4      ,no4 #bc3     
,h4 #ac ft4 #e in4     ,w4 #ae ft4 #d   
in4      ,no4 #bd3     ,h4 #ac ft4 #e   
in4     ,w4 #bj ft4      ,no4 #be3      
,h4 #ac ft4 #e in4     ,w4 #bj ft4      
,,three ,,scenes ,,from ,,the ,,deeds   
,,of ,,scipio3 ,in the first piece 7,no4
 #bc7 ,scipio enthroned offers the mural
 crown to ,caius ,laelius4 ,roman army  
officers stand about4 ,in the background
 the army is assembled4  ,in the second 
piece 7,no4 #bd7 ,scipio is about to    
land in ,africa4 ,in the foreground two 

vessels filled with soldiers4 ,in the   
background the city of ,utica4  ,in the 
third piece 7,no4 #be7 ,hannibal        
approaches ,scipio to sue for peace4 ,in
 the background the opposing armies face
 each other on either side of a river4  
,the pieces bear the ,brussels city mark
 and the monogram ,h4,m4 7,hubert de    
,mecht74 ,the cartoons are attributed to
 ,giulio ,romano1 fifteen of the        
original small drawings being in the    
,louvre4 ,there are in all eighteen     
pieces in this set1 and two subsequent  
sets1 the ,triumphs of ,scipio and the  
,fruits of ,war1 make a total of        
thirty-five pieces in the complete      
history1 one of the largest sequences   
ever attempted in tapestry4  ,sidenote3 
,illustrated3 ,hauser y ,menet1 ,los    
,tapices de la ,corona de ,espaa1 vol4  
#b1 pl4 #ic2 ,burlington1 #aiaf1 pp4    
#eh-ff1 in connection with article by   
,george ,leland ,hunter1 ,scipio        
,tapestries ,now in ,america4  ,the     
cartoons have been woven a number of    

times and examples have been included in
 many famous collections1 including that
 of ,francis ,i4 ,these pieces were so  
rich in gold that they were burned to   
obtain the metal during the ,revolution4
  ,these three pieces are from one of   
the earliest weavings1 and in perfection
 of execution and sumptuousness of      
material far surpass most of the        
renderings1 ranking with the greatest   
productions of the early ,renaissance4  
,the use of the metal is particularly   
effective1 occurring as it does in three
 techniques1 plain weaving1 basket      
weaving1 which always gives a heavy     
richness1 and couching4  ,the borders   
with the classical allegorical figures  
under porticos are of a very fine type1 
following the example set by ,raphael in
 his panels for the ,acts of the        
,apostles4  ,sidenote3 ,lent by ,duveen 
,brothers4  ,for vividness of           
illustration1 strength and clarity of   
silhouette1 and delicacy and freshness  
of color this set is nowhere surpassed4 

,illustration3      ,the ,triumph of    
,david      ,no4 #ba   ,illustration3   
,two ,pairs of ,lovers      ,no4 #bb    
,sidenote3 #bf1 #bg  ,,brussels1 ,,xvi  
,,century  ,sidenote3      ,wool and    
,silk4      ,no4 #bf3     ,h4 #ab ft4   
,w4 #ae ft4      ,no4 #bg3     ,h4 #ab  
ft4     ,w4 #af ft4   ,,two ,,scenes    
,,from ,,the ,,life ,,of ,,cyrus3 ,in   
the first 7,no4 #bf7 ,cyrus captures    
,astyages1 his grandfather4 ,soldiers   
stand about1 and in the background the  
army is assembled4  ,in the second 7,no4
 #bg7 ,thomyris has the head of ,cyrus  
offered as a human sacrifice4 ,an       
attendant is placing the head in a gold 
basin and soldiers standing about draw  
back in horror4 ,in the background a    
battle wages4  ,sidenote3 ,illustrated3 
,hauser y ,menet1 ,los ,tapices de la   
,corona de ,espaa1 vol4 #b1 pls4 #aai1  
#aba4  ,these two pieces1 showing the   
moment of greatest triumph and the      
ultimate defeat of ,cyrus1 the great    
world conqueror1 are from a famous set  

that has been woven several times4 ,one 
of these sets1 belonging to the royal   
family of ,france1 was used in the      
funeral service of ,francis ,,ii4       
,another group from the series is in the
 ,royal ,spanish ,collection4 ,the only 
set known with a weaver's signature     
bears the mark of ,nicolas ,leyniers1   
and it is entirely probable that all of 
the examples1 including these two1 are  
from those looms4  ,sidenote3 ,lent by  
,mr4  ,mrs4 ,daniel ,c4 ,jackling4      
,they are very fine examples of a type  
of design perfected in the first half of
 the ,x,v,ith century in ,brussels4 ,the
 fullness of details in the background  
serves to keep the textile rich and     
interesting and to throw into sharp     
silhouette the dominant figures4 ,the   
intricate and decorative borders that   
are used on these pieces well illustrate
 one of the most important contributions
 of the ,renaissance to tapestry design4
   ,sidenote3 #bh  ,,brussels1 ,,xvi    
,,century  ,sidenote3      ,wool and    

,silk4     ,h4 #h ft4 #aj in4     ,w4 #g
 ft4 #b in4   ,,the ,,pentecost3 ,the   
,apostles and the members of the ,early 
,church are gathered together4 ,the     
tongues of fire descend upon them1 and  
the ,holy ,ghost appears like a dove    
between the figures of ,god and ,jesus  
revealed above4 ,a wide border of scroll
 with inset medallions of biblical      
scenes4 ,in the upper border a papal    
coat of arms4  ,sidenote3 ,lent by      
,william ,baumgarten  ,company4         
,renaissance tapestries in so intimate a
 scale that yet are not miniature occur 
rather seldom4 ,the piece has great     
clarity and brilliance and carries      
forcefully the religious feeling of the 
episode4  ,in the selvage the ,brussels 
city mark and the weaver's initials1 ,c4
 ,s4 ,the mark is unidentified4         
,sidenote3 #bi  ,,brussels1 ,,xvi       
,,century  ,sidenote3      ,wool and    
,silk4     ,h4 #f ft4 #i in4     ,w4 #ac
 ft4 #h in4   ,,judith ,,departs ,,for  
,,the ,,enemy',s ,,camp3 ,judith        

accompanied by her maid takes leave of  
her mother4 ,attendants await to lead   
her away and a slave awaits in the      
background holding two camels4 ,wide    
border of fruits and flowers4           
,sidenote3 ,lent by ,william ,baumgarten
  ,company4  ,this is one of a very     
famous set of the ,story of ,judith and 
,holofernes1 examples of which are in a 
number of famous collections4 ,the      
tapestry bears on the selvage the       
,brussels city mark and the weaver's    
monogram1 ,n4 ,x4 ,the mark is          
unidentified4  ,this piece is a strong  
example of a set that combines          
characteristic ,renaissance stateliness 
with a less customary direct charm4     
,sidenote3 #cj  ,,brussels1 ,,middle    
,,xvi ,,century  ,sidenote3      ,wool  
and ,silk4     ,h4 #aa ft4 #c in4       
,w4 #ab ft4 #i in4   ,,garden ,,scene3  
,through a trellis upheld by caryatides 
a formal garden with fountains and      
pavilions is seen4 ,in the foreground1  
deer4 ,in the garden1 various animals4  

,border of scrolls and flowers with     
inset cartouches showing animals4  ,such
 trellis designs as this were quite     
often used in the middle of the ,x,v,ith
 century4 ,a famous example very similar
 to this is the ,vertumnus and ,pomona  
set1 one of which was in the ,palace of 
the ,escurial and two in the ,barberini 
,collection4#be ,another piece so like  
this that it must be the work of the    
same designer is in the ,vienna         
,collection1 number #adb4  ,sidenote3   
,lent by ,p4 ,w4 ,french  ,company4  ,it
 is a rich and resourceful kind of      
decoration well fitted to the           
requirements of tapestry4 ,the drawing  
of the deer is unusually graceful and   
vivacious4   ,sidenote3 #ca  ,,flanders1
 ,,xvi ,,century  ,sidenote3      ,wool 
and ,silk4     ,h4 #e ft4 #i in4     ,w4
 #ab ft4 #i in4   ,,verdure3 ,in the    
center a chteau surrounded by a moat on 
which swans and ducks swim about4 ,at   
the left fishermen on the bank and a    
hunter with his dogs4 ,on the right     

mounted hunters chasing rabbits through 
a wood4  ,sidenote3 ,lent by ,mrs4      
,william ,h4 ,crocker4  ,the high-keyed 
landscape on a small scale was the      
,renaissance successor to the ,gothic   
millefleurs4 ,the drawing in this piece 
is beautifully clean and exact1 and the 
color delightfully and uncommonly varied
 and vibrant4 ,the chteau is so         
carefully rendered that it is valuable  
as an architectural record4 ,the piece  
may have been made by ,flemish weavers  
working in ,england4   ,sidenote3 #cb   
,,flanders1 ,,late ,,xvi ,,century      
,sidenote3      ,wool4     ,h4 #i ft4   
,w4 #bc ft4   ,,hunting ,,scene3        
,hunters riding through a woodland4 ,in 
the foreground a knight and lady        
strolling4 ,scroll border4  ,sidenote3  
,lent by ,w4  ,j4 ,sloane4  ,this piece 
is a rather uncommon variation of a     
familiar type4 ,many tapestries were    
woven in ,flanders in the second part of
 the ,x,v,ith century that were         
predominantly verdure with a few minor  

figures1 but the figures were seldom as 
delicately drawn nor the colors so high 
in key and clear4 ,it is quite possible 
that the piece was woven by ,flemish    
weavers in ,england1 a few pieces woven 
there by the ,poyntz family being known 
to have somewhat the same quality4 ,the 
relatively low height in proportion to  
the great length also suggests that it  
was made for an ,english house4         
,illustration3      ,hannibal           
,approaches ,scipio to ,sue for ,peace  
,no4 #be   ,illustration3      ,cyrus   
,captures ,astyages1 ,his ,grandfather  
,no4 #bf    ,sidenote3 #cc  ,,flanders1 
,,enghien 7871 ,,xvi ,,century          
,sidenote3      ,wool4     ,h4 #i ft4 #g
 in4     ,w4 #g ft4 #i in4   ,,verdure3 
,large scrolling leaves1 bluish-green1  
with bunches of fruit and flowers and   
small finches4 ,wide border of fruit and
 flowers4  ,verdures of this type were  
very much in demand in the ,renaissance 
period4 ,they are typical of the        
decorative manner of the time and one of

 its finest inventions4  ,sidenote3     
,lent by ,dikran ,k4 ,kelekian4  ,the   
heavy1 simple leaves are often too      
obvious and too readily explored for the
 best tapestry decoration2 but in this  
piece the beautifully drawn birds       
provide delicacy and interest of detail4
   ,sidenote3 #cd  ,,bruges1 ,,middle   
,,xvi ,,century 7#aeef7  ,sidenote3     
,wool and ,silk4     ,h4 #i ft4 #a in4  
,w4 #h ft4 #i in4   ,,armorial3 ,two    
amorini support a shield4 ,above1       
crossed banners2 below1 dolphins4 ,six  
flags radiate from the shield1 each     
bearing the initial ,p surmounted by a  
crown4 ,border of scrolls and classic   
figures4 ,in cartouches in the side and 
lower borders the initials ,f1 ,g1 and  
,x respectively1 and in the             
corresponding cartouche of the top      
border the date1 #aeef4 ,on the right   
lower selvage is the city mark of       
,bruges1 with the weaver's monogram1 ,a4
 ,f4#bf  ,sidenote3 ,lent by ,p4 ,w4    
,french  ,company4  ,this tapestry is   

very interesting1 not only because it is
 a clear1 strong example of a           
,renaissance heraldic hanging1 but      
because very few pieces of the period   
can be ascribed definitely to ,bruges   
although it is known that important     
looms flourished there4 ,the weaver's   
monogram has not been identified4 ,the  
coat of arms1 which is also             
unidentified1 seems to be ,spanish1 and 
judging by the coronet evidently        
belonged to a family of high station4   
,the amorini are after a follower of    
,giulio ,romano1 if not by ,romano      
himself4  ,the relief effect of the     
design is quite extraordinary4          
,sidenote3 #ce  ,,brussels1 ,,xvi       
,,century 7#aegd7  ,sidenote3           
,wool1 ,silk1 ,gold4     ,h4 with frame1
 #d ft4     ,w4 with frame1 #c ft4 #i   
in4   ,,the ,,crucifixion3 ,christ and  
the two thieves on the crosses4 ,in the 
foreground1 right1 the ,roman soldiers2 
left1 the sorrowing ,marys4 ,floral     
border4 ,dated in cartouche in the      

border1 #aegd4  ,this is one of a number
 of small tapestries in silk and gold of
 religious subjects1 most of which have 
been attributed to ,bernard ,van ,orley1
 who probably designed this piece also4 
,they are all of them very exact        
reproductions of paintings1 remarkable  
in weave and very beautiful in color4   
,the type was first woven in the first  
quarter of the ,x,v,ith century1 and    
continued to be produced in very limited
 numbers until well into the ,x,v,i,ith 
century4 ,they were undoubtedly woven   
only for special orders--probably for   
private chapels4  ,the piece is a very  
brilliant example of one of the richest 
types of tapestry that has ever been    
woven4  ,sidenote3 ,lent by ,p4 ,w4     
,french  ,company4      ,bernard ,van   
,orley 7#adib-e to #aedj7 was trained by
 his father1     ,valentin1 and         
afterwards studied under ,raphael in    
,italy4 ,he was     engaged to supervise
 the translation of ,raphael's cartoons 
for the     famous series of the        

,apostles into tapestry4 ,in #aeah he   
became     court painter4 ,he designed  
many tapestries1 of which the most      
famous     are the ,hunts of ,maximilian
 and the ,victory of ,pavia series4     
,sidenote3 #cf  ,,fontainebleau1        
,,middle ,,xvi ,,century  ,sidenote3    
,wool and ,silk4     ,h4 #aa ft4     ,w4
 #ag ft4   ,,grotesques3 ,on a red      
ground1 grotesques1 of which the        
principal features are3 in the center   
,flora in an arbor on the top of which  
stands ,atlas upholding the world2 two  
cartouches left and two right with      
candelabra and various deities4 ,below  
at the left in a small oval medallion   
,leda and the ,swan1 and in the         
corresponding medallion on the other    
side ,eve and the ,serpent4 ,the        
remaining spaces are filled with        
amorini1 garlands of fruit and flowers1 
gods1 and various ornaments4 ,narrow    
floral borders1 and in the center of    
both side borders a triangle4  ,the     
triangles in the border are the ,deltas1

 the ciphers of ,diane de ,poitiers1    
indicating that this piece was woven in 
the reign of ,henry ,,ii for ,diane1    
possibly for the ,chteau d',anet4       
,sidenote3 ,lent by ,p4 ,w4 ,french     
,company4  ,for fertile and varied      
imagination this piece is quite uncommon
 even among grotesques1 the most        
imaginative type of decorative          
tapestries4 ,it exhibits a most         
entertaining sense of humor and shows a 
capricious independence never found in  
the more formal ,flemish grotesques of  
the time4   ,sidenote3 #cg              
,,fontainebleau1 ,,middle ,,xvi         
,,century  ,sidenote3      ,wool and    
,silk4     ,h4 #ab ft4 #h in4     ,w4 #h
 ft4   ,,triumph ,,of ,,diana3 ,the     
goddess in a blue robe1 bearing her bow 
and arrows1 drives a pale-blue chariot  
on which a nymph is tied prisoner4      
,love1 whose wings are beautifully      
multicolored1 also is a prisoner4       
,diana's attendants1 garbed in blue and 
red tunics1 follow on foot1 one in the  

foreground in a green tunic leading a   
large grey-hound4 ,in the border shells 
alternate with crescents on a blue      
ground and in the corners above are     
crescents and rams' heads4 ,the mottoes 
,non ,frusta ,jupiter ,am ,bas and ,sic 
,immota ,manet are in the upper and     
lower borders respectively4#bg  ,the    
tapestry was evidently made for ,diane  
de ,poitiers1 mistress of ,henry ,,ii1  
the subject being chosen as a personal  
tribute4  ,sidenote3 ,formerly in the   
,collection of ,edouard ,kann1 ,paris4  
,aside from its evident beauty1 the     
piece is important because it is one of 
the few remaining examples of the work  
of the ,fontainebleau looms1 which      
adapted to tapestry the characteristic  
,italian-,french ,renaissance decoration
 that was formulated in the frescoes of 
,fontainebleau4 ,there are few documents
 left on these looms1 but it is known   
that le ,primatice made designs for     
tapestries woven there1 and1 judging    
from the drawing of the figures with the

 long limbs and heavily marked muscles  
that reflect the influence of ,michael  
,angelo1 and the contour of the small   
heads with the hair flowing back and the
 classical features1 together with such 
other details as the long flexible      
fingers1 this piece would seem to be an 
example of his work4 ,if not by le      
,primatice1 it was certainly done       
directly under his influence2 but it    
could scarcely be by ,baudouin1 judging 
from the recently discovered set in the 
,viennese exhibition1#bh for it has more
 poise and clarity of space than any of 
those tapestries4  ,illustration3       
,the ,crucifixion      ,no4 #ce         
,illustration3 ,grotesques ,no4 #cf     
,for grace and charm1 without any loss  
of strength1 this surpasses most ,french
 work of the period4 ,it is an unusually
 typical illustration of the ,french    
,renaissance which took the technique of
 the ,italian revival of the antique and
 refashioned it to her own spirit1      
giving the classic goddesses1 even in   

their dignity1 youthful and feminine    
appeal1 and refining the ,italian       
opulence4 ,the floreation in the        
foreground is as delicate as in a       
,x,v,ith-century millefleurs1 and the   
colors are unusually luminous4          
,sidenote3 ,lent by ,wildenstein        
,company4      ,francesco ,primaticcio  
7#aejd-aegj7 studied under a disciple of
     ,raphael and worked with ,giulio   
,romano on the decorations of the       
,palace de ,te1 ,mantua4 ,in #aecb he   
went from ,italy to ,fontainebleau      
to work on the decorations there4 ,in   
#aedj he returned to ,italy     to      
collect works of art for the king4 ,he  
returned to ,france and     continued to
 create decorations at ,fontainebleau   
with a large staff     of ,italian      
painters as his collaborators4 ,under   
,francis ,,ii he became                 
,superintendent of the ,building4       
,sidenote3 #ch  ,,paris1 ,,early ,,xvii 
,,century  ,sidenote3      ,wool4       
,h4 #ac ft4     ,w4 #af ft4 #i in4      

,,the ,,niobides3 ,apollo and ,artemis  
from a cloud shoot down the children of 
,niobe1 thus avenging their mother1 who 
had been outraged by ,niobe's boasting  
that she had the more children4 ,border 
of fruit garlands and figures in        
camaieux4  ,sidenote3 ,formerly in      
,marnier-,lapostalle ,collection1       
,paris4  ,sidenote3 ,reproduced3        
,guiffrey1 ,les ,gobelins et ,beauvais1 
p4 #ae2 ,hauser y ,menet1 ,los ,tapices 
de la ,corona de ,espaa1 vol4 #b1 pl4   
#acb4  ,the tapestry is one of the      
,artemis series designed for ,marie de  
,medici by ,toussaint du ,breuil4 ,it   
was woven on the looms which were under 
the direction of ,marc ,comans and      
,franois de la ,planche1 and which later
 became the ,gobelins state manufactory4
 ,the cartoons were repeated many times 
with different borders4 ,judging by the 
border1 this piece was woven about      
#afaa4  ,the piece is a splendid example
 of the dramatic and monumental         
character of the productions of the     

pre-,gobelins looms4  ,the sensitive    
feeling for decorative fitness and the  
reserve that are evident in ,french     
designs from the ,gothic period on      
differentiate such a cartoon as this    
from the contemporary ,flemish          
productions1 usually so violent and     
exaggerated in scale1 in drawing1 and in
 emotional expression4 ,for1 though     
dramatic1 the scene is restrained and   
the figures have an almost sculptural   
detachment4 ,this quality is sustained  
by the fine architectural border1 which 
is very typical of the ,paris looms of  
this period4  ,sidenote3 ,lent by       
,jacques ,seligmann  ,company4          
,toussaint du ,breuil 7#aefa-afjb7      
painted decorations in the ,pavilions   
des ,poles at ,fontainebleau1 and also  
in the ,galerie des ,rois in the        
,louvre4 ,most of his work has perished4
  ,sidenote3 #ci1 #dj  ,,gobelins1 ,,xvi
 ,,century  ,sidenote3      ,wool and   
,silk4      ,no4 #ci3     ,h4 #g ft4 #i 
in4     ,w4 #ac ft4 #f in4      ,no4    

#dj3     ,h4 #g ft4 #i in4     ,w4 #aa  
ft4   ,,two ,,scenes ,,from ,,the       
,,history ,,of ,,cleopatra3 ,in the     
first 7,no4 #ci7 ,cleopatra attended by 
two maidens greets a young prince who is
 being introduced to her by a general4  
,in the harbor the young stranger's ship
 is seen4  ,in the second 7,no4 #dj7    
,cleopatra welcomes a young man4 ,an    
attendant holds a heavy canopy of silk4 
,beyond1 a ,greek temple is seen4  ,side
 borders1 only1 of classic decorations  
on a red ground with inset medallions   
showing the ,judgment of ,paris4        
,sidenote3 ,formerly in the ,collection 
of ,lord ,lovelace4  ,the pieces both   
signed in the lower right               
corner--,lefbvre1 with the fleur-de-lis 
and ,g4 ,they do not1 however1 appear on
 the records of the ,gobelins1 so they  
must have been done by ,lefbvre outside 
of the official work4  ,sidenote3 ,lent 
by ,william ,baumgarten  ,company4      
,they are strong and fresh examples of  
the early work of the ,gobelins weavers1

 and typical of the classicism of the   
late ,renaissance in ,france4 ,the      
requirements of mural decoration are met
 by the monumental character and        
sculptural poise of the figures1 but at 
the same time the design is adapted to a
 decorative textile through the         
perfection of the detail and the        
richness of the colors4   ,sidenote3 #da
  ,,flanders1 ,,beginning ,,of ,,xvii   
,,century  ,sidenote3      ,wool and    
,silk4     ,h4 #g ft4 #aj in4     ,w4   
#ac ft4 #d in4   ,,verdure3 ,a formal   
garden with fountains and a chteau in   
the distance and various birds in the   
foreground4  ,sidenote3 ,lent by ,mrs4  
,c4 ,templeton ,crocker4  ,such         
landscape tapestries were a             
characteristic late ,renaissance        
interpretation of the verdure type1 a   
transition between the ,gothic          
millefleurs1 that were really originally
 landscapes without perspective 7cf4    
,no4 #aa71 and the ,x,v,i,ith-century   
verdures 7cf4 ,no4 #dc74 ,it is a very  

successful form of verdure1 for they are
 broadly effective from a distance and  
yet have a sufficient wealth of detail  
to yield interest on closer exploration4
 ,the birds in this piece are especially
 carefully observed and well drawn1 and 
the purity and vivacity of the color is 
exceptional for this type4   ,sidenote3 
#db  ,,brussels1 ,,late ,,xvii ,,century
  ,sidenote3      ,wool and ,silk4      
,h4 #ac ft4     ,w4 #ab ft4   ,,america3
 ,in a tropical landscape an ,indian    
with bow and arrows caressing a         
crocodile4 ,two children beside him     
smoking pipes4 ,in the background on a  
hill a mission2 in the foreground a heap
 of fruits and flowers and precious     
objects symbolic of the wealth of the   
,new ,world4 ,border of fruits and      
flowers with corner medallions          
representing ,north1 ,east1 ,south1 and 
,west4 ,on the lower selvage the        
,brussels city mark and the signature1  
,i4 ,v4 ,d4 ,,beurcht4  ,sidenote3      
,another example in ,muse ,impriale des 

,ecuries1 ,petrograd1 ,no4 #aag4  ,the  
piece is one of a set of four           
representing the four quarters of the   
globe4 ,it was woven by ,jean ,van der  
,beurcht1 one of the great weavers of   
,brussels1 who is known to have been    
working there between #afij and #agaj4  
,the ,van der ,beurcht family had for   
several generations been painters1 ,jean
 being the first to turn from that      
profession to tapestry weaving4 ,he was 
followed by several other members of the
 family 7cf4 ,no4 #ef71 all of whom did 
work of the highest quality4  ,sidenote3
 ,lent by ,p4 ,w4 ,french  ,company4    
,the piece is a splendid illustration of
 the romantic attitude toward ,america  
at the time and a reminder of the       
importance ,america had to ,europeans as
 a source of wealth4 ,the mission on the
 hill1 and another mission settlement in
 the valley of which a glimpse can be   
caught1 are of especial interest4       
,sidenote3 #dc  ,,flanders1 ,,xvii      
,,century  ,sidenote3      ,wool and    

,silk4     ,h4 #aa ft4 #aj in4     ,w4  
#aa ft4   ,,verdure ,,with ,,bear       
,,hunt3 ,in a forest of large trees     
hunters shooting and spearing bears4 ,in
 place of a border1 large columns at the
 sides with floral garlands hung between
 them across the top4  ,the piece is a  
type of verdure1 numbers of which with  
many variations were produced in        
,flanders during the ,x,v,i,ith century4
 ,it is one of a set of five1 and is a  
very strong1 fresh example4  ,sidenote3 
,lent by ,p4 ,w4 ,french  ,company4     
,the substitution of massive columns for
 formal borders is characteristic of the
 ,baroque period and serves the better  
to adapt the tapestry to the prevailing 
architecture4   ,sidenote3 #dd          
,,brussels1 ,,xvii ,,century  ,sidenote3
      ,wool and ,silk4     ,h4 #aa ft4  
,w4 #ah ft4 #h in4   ,sidenote3 ,from   
the ,morgan ,collection1 ,no4 #ag4      
,another example in the ,swedish ,royal 
,collection4  ,,triumph ,,of ,,augustus 
,,and ,,livia3 ,caesar offers the crown 

of victory to ,augustus1 who kneels     
before him4 ,he is surrounded by his    
attendants and his chariot waits in the 
background4 ,the side borders are of    
flower-draped columns1 top and bottom   
borders of fruit and flower garlands1   
with ornaments4 ,on the side borders are
 cartouches bearing the insignia3 ,pax4 
,aug4 and ,vic4 ,aug4 7,pax ,augusta and
 ,victoria ,augusta74  ,sidenote3       
,illustrated3  ,bttiger1 ,svenska       
,statins ,samling1 vol4 #c1 pl4 ,,xlii4 
,the piece is one of a series on the    
,history of ,julius ,caesar1 three of   
which were in the ,morgan ,collection4  
,it has all the abundance and dramatic  
emphasis characteristic of the ,baroque 
period4  ,sidenote3 ,lent by ,p4 ,w4    
,french  ,company4  ,the massive yet    
active figures1 the large folded1       
swinging drapes1 the luxurious and heavy
 accessories are all typical of the work
 of a time when the large1 the          
impressive1 and the elaborate were      
sought in all forms of art4 ,the manner 

was introduced into tapestry cartoons by
 ,rubens and carried on by many of his  
pupils and imitators4 ,even the outline 
of the composition of this piece follows
 closely that of ,rubens' famous        
,triumphs1 from which the suggestion for
 the cartoon was undoubtedly taken4     
,sidenote3 #de  ,,flanders1 ,,xvii      
,,century  ,sidenote3      ,wool1 ,silk1
 ,gold4     ,h4 #c ft4 #a in4     ,w4 #d
 ft4   ,,the ,,virgin ,,and ,,child3    
,the ,virgin in a pale red gown with a  
dark-blue cloak falling about her is    
seated on the ground4 ,the child holding
 a staff in the form of a cross sits on 
her knee4 ,beyond is a castle1 and      
against the sky a high mountain4 ,wide  
floral border4 ,the high lights are in  
gold4  ,this is a most exceptional piece
 of tapestry1 evidently made to special 
order1 probably for a private chapel1   
after an ,italian ,renaissance painting4
 ,the excessive fineness of the weave   
and the unstinted use of gold to render 
the high lights indicate that it was    

made for a person of wealth and         
importance4  ,sidenote3 ,lent by ,duveen
 ,brothers4  ,the painting is faithfully
 and delicately reproduced and the      
border is remarkably rich and glowing4  
,sidenote3 #df  ,,brussels1 ,,late      
,,xvii1 ,,early ,,xviii ,,century       
,sidenote3      ,wool and ,silk4     ,h4
 #ab ft4     ,w4 #ag ft4 #f in4         
,,sancho ,,is ,,tossed ,,in ,a          
,,blanket3 ,sancho1 following ,don      
,quixote's example1 has refused to pay  
the innkeeper1 as that is against the   
tradition of knights-errant and their   
squires4 ,so the clothmakers of ,segovia
 and the needlemakers of ,cordova who   
chance to be there toss him in a        
blanket1 while ,don ,quixote sits       
without on his horse cursing lustily4   
,the piece is one of a set of           
illustrations of ,don ,quixote after    
,david ,teniers the ,younger4 ,the scene
 has all the casual and convincing      
informality and boisterous good spirits 
for which ,teniers' paintings are       

famous4 ,it quite catches the spirit of 
the romance which it illustrates4 ,the  
landscape vista is unusually lovely in  
color4  ,sidenote3 ,lent by ,p4 ,w4     
,french  ,company4      ,david ,teniers 
the ,younger 7#afaj-afid7 was trained   
principally under     his father1 ,david
 the ,elder1 also famous for paintings  
of peasant     episodes4 ,in #afcc he   
became ,master of the ,guild of ,st4    
,lukes1 and     thereafter was ,dean of 
the ,guild and painter to the governor1 
,archduke ,leopold ,william1 a position 
which he continued to hold     under the
 next governor1 ,don ,juan of ,austria4 
,in #affc he helped form     the        
,antwerp ,academy of ,fine ,arts4 ,he   
painted innumerable pictures of         
peasant scenes1 many of which have been 
rendered in tapestry4   ,sidenote3 #dg1 
#dh  ,,brussels1 ,,xviii ,,century      
,sidenote3      ,wool and ,silk4        
,no4 #dg3     ,h4 #aa ft4     ,w4 #h ft4
 #i in4      ,no4 #dh3     ,h4 #aa ft4  
,w4 #h ft4 #i in4   ,,two ,,peasant     

,,scenes3 ,in the first 7,no4 #dg7 a    
group of peasants has stopped to rest   
and talk beside a stream that comes     
tumbling down in broken cascades beneath
 a high stone bridge4 ,on the hills in  
the background are farmhouses and the   
ruins of castles4  ,in the second 7,no4 
#dh7 a group of peasants sits and stands
 about under a tree in a meadow1 in     
which cattle and goats wander4 ,in the  
background is a farmhouse4  ,sidenote3  
,lent by ,duveen ,brothers4  ,these     
tapestries after ,teniers are typical of
 his illustrations of life among the    
peasants and of his decorative and      
romantic yet realistic landscapes4 ,they
 are in weaving and color of the best   
quality of examples of this type4       
,illustration3      ,triumph of ,diana  
,no4 #cg   ,illustration3      ,the     
,niobides      ,no4 #ch    ,sidenote3   
#di  ,,mortlake1 ,,late ,,xvii ,,century
  ,sidenote3      ,wool and ,silk4      
,h4 #aj ft4 #d in4     ,w4 #g ft4 #f in4
   ,,peasants ,,in ,a ,,landscape3 ,a   

group of peasants has stopped by the    
wayside in a mountainous landscape4     
,above is a shield bearing the          
inscription ,iocatur in ,parvis sorts ut
 cum ,magna ,mercede ,fallat4           
,sidenote3 ,formerly in the ,collection 
of ,sir ,john ,ramsay4  ,the cartoon is 
after ,teniers4 ,the ,mortlake          
renditions of these cartoons1 which were
 borrowed from ,flanders1 have a clarity
 and sharpness that give them marked    
distinction4 ,the towering mountain     
landscape is really impressive4         
,sidenote3 ,lent by ,frank ,partridge1  
,inc4  ,the rendition of the water is   
unusually realistic without any loss of 
decorative interest4 ,the translation of
 water into a woven design is one of the
 most difficult problems of the craft4  
,it has been given many solutions1 of   
which this is the most naturalistic4    
,sidenote3 #ej  ,,beauvais1 ,,late      
,,xvii ,,century  ,sidenote3      ,wool 
and ,silk4     ,h4 #aj ft4     ,w4 #h   
ft4 #h in4   ,,hermes ,,and ,,the       

,,shepherd3 ,hermes has taken the       
,shepherd's pipe1 leaving the caduceus  
on the ground1 and is attempting to     
play4 ,they are in a wood with large    
flowers in the foreground4 ,in the      
background there is a glimpse of a hilly
 landscape and a formal garden with     
fountains4 ,wide floral border4         
,sidenote3 ,lent by ,mrs4 ,james        
,creelman4  ,the piece is one of a set  
of five verdures1 most of which have    
hunting scenes4 ,while there is no      
signature1 and there are no records on  
them1 the character of the foliage and  
of the floreation makes it almost       
certain that these are of ,beauvais     
manufacture4 ,while in some details they
 resemble contemporary ,aubusson        
tapestries1 the quality of the color is 
rather different4  ,they are a          
particularly deep and quiet type of     
verdure1 an excellent background for    
fine furnishings4 ,the quality of the   
greens is uncommonly fine4   ,sidenote3 
#ea  ,,beauvais1 ,,beginning ,,of       

,,xviii ,,century  ,sidenote3      ,wool
 and ,silk4     ,h4 #aj ft4 #i in4      
,w4 #ac ft4 #c in4   ,,verdure ,,with   
,,dancing ,,nymphs3 ,in a wooded dell   
are four nymphs dancing4 ,beyond is a   
glimpse of an open pasture with cows4   
,sidenote3 ,lent by ,dikran ,k4         
,kelekian4  ,the strong and brilliant   
trees throw into sharp contrast the     
delicate perfection of the bit of       
landscape beyond4 ,the nymphs are       
probably after ,nol ,coypel4 ,the use of
 the red to relieve the general tone of 
green is especially successful4         
,sidenote3 #eb  ,,beauvais1 #afhe-agaa  
,sidenote3      ,wool1 ,silk1 ,gold4    
,h4 #ae ft4 #h in4     ,w4 #aa ft4 #aj  
in4   ,,the ,,conquest ,,of ,,louis     
,,the ,,great3 ,louis ,,xiv on horseback
 with two attendants points with his    
cane to the siege of a city whose       
defenses are surrounded by water4 ,in   
the upper border appear the arms of     
,count ,bruhl of ,saxony4 ,the piece is 
one of a set of seven4  ,sidenote3      

,formerly in the ,lord ,amherst         
,collection4  ,sidenote3 ,illustrated3  
,badin1 ,la ,manufacture de la          
,tapisserie de ,beauvais1 opp4 p4 #d4   
,this is a very rare example from one of
 the earliest sets woven at ,beauvais   
when the factory was under the direction
 of ,behagle4 ,the cartoon was designed 
either by ,van der ,meulen or his       
greatest pupil1 ,jean-,baptiste ,martin1
 later called ,martin of the ,battles1  
because of a famous series of cartoons  
which he made for the ,beauvais works   
illustrating the victories of ,sweden   
over ,denmark4  ,the richness of the    
king's group stands out brilliantly     
against the clear1 cool color and sharp 
geometrical lines of the background4    
,the city with its canals and buildings 
is exquisitely rendered1 an interesting 
anticipation of an aeroplane view4      
,sidenote3 ,lent by ,p4 ,w4 ,french     
,company4      ,adam ,frans ,van der    
,meulen 7#afcb-afij7 was a native of    
,brussels and     studied there under   

,peter ,snayers1 but on recommendation  
of ,le ,brun     was invited by ,colbert
 to ,paris1 where he was pensioned by   
the king     and given apartments in the
 ,gobelins4 ,in #afgc be was received   
into     the ,academy4 ,he collaborated 
with ,le ,brun in making designs for the
     ,gobelins1 notably for the series  
of ,the ,history of the ,king4          
,sidenote3 #ec-ef  ,,brussels1          
,,beginning ,,xviii ,,century           
,sidenote3      ,wool4      ,no4 #ec3   
,h4 #aj ft4 #g in4     ,w4 #bi ft4      
,no4 #ed3     ,h4 #aj ft4 #d in4     ,w4
 #i ft4 #d in4      ,no4 #ee3     ,h4   
#aj ft4 #c in4     ,w4 #g ft4 #b in4    
,no4 #ef3     ,h4 #aj ft4 #d in4     ,w4
 #g ft4 #c in4   ,,the ,,operations ,,of
 ,,the ,,siege ,,of ,,lille3 ,number #ec
 represents the battle of ,wynendael    
,wood4 ,lord ,cobham on horseback with  
his sword drawn is in the midst of his  
troops4  ,number #ed shows the burning  
of ,lille4 ,the burning city is seen in 
the background4 ,soldiers in the        

foreground are getting bundles of wood  
to feed the flames4  ,number #ee shows  
cavaliers foraging4 ,soldiers are       
carrying bundles of hay for their horses
 and a lamb lies on the ground ready to 
be carried off4  ,number #ef shows the  
poisoning of a spy4 ,the cavaliers have 
just given a glass of poisoned wine to a
 young woman who is about to drink4     
,the borders simulate wooden frames and 
carry the arms of ,lord ,cobham4        
,sidenote3 ,formerly in ,stowe ,house4  
,the set was designed by ,van der       
,meulen for ,lord ,cobham1 who served   
under the ,duke of ,marlborough and had 
a brilliant military career4 ,it was    
woven at the ,royal ,manufactory of     
,brussels under the direction of        
,leyniers1 whose signature appears in   
the border of three pieces4 ,in the     
fourth piece is the signature ,,acastro1
 ,latin for ,van der ,beurcht4  ,cobham 
inherited ,stowe ,house in #afig1 and   
these tapestries until recently hung in 
the dining-room there4  ,sidenote3 ,lent

 by ,jacques ,seligmann  ,company4  ,the
 set ranks with the strongest and most  
effective pieces of the period1 rich    
both in illustrative action and in      
decoration4 ,the weave is technically   
perfect4   ,sidenote3 #eg  ,,gobelins1  
,,middle ,,xviii ,,century 7#agdg-agea7 
,sidenote3      ,wool and ,silk4     ,h4
 #aa ft4 #f in4     ,w4 #h ft4 #c in4   
,,july ,,from ,,the ,,months ,,of       
,,lucas3 ,from a series of designs of   
the ,months1 used in ,brussels since the
 ,x,vth century and attributed without  
verification to ,lucas ,van ,leyden4    
,the scene represents a falconing party4
  ,illustration3      ,scene from the   
,history of ,cleopatra      ,no4 #ci    
,illustration3      ,verdure      ,no4  
#da   ,the piece has the last type of   
border used for the set1 the so-called  
,dresden border1 representing a carved  
and gilded wood frame with corner       
ornaments surrounded by naturalistic    
flowers1 and with a sign of the ,zodiac 
7,leo7 in a cartouche at the top4       

,sidenote3 ,lent by ,p4 ,w4 ,french     
,company4  ,the piece was probably woven
 in the tenth weaving between #agda and 
#agea on the upright looms in the       
atelier of ,cozette4#bi  ,this is an    
unusually clear and brilliant example of
 a famous ,gobelins set4   ,sidenote3   
#eh  ,,gobelins1 ,,xvii ,,century       
,sidenote3      ,wool and ,silk4     ,h4
 #i ft4 #d in4     ,w4 #f ft4 #h in4    
,,december ,,from ,,the ,,months ,,of   
,,lucas3 ,a nobleman greets a peasant   
woman and her child1 while a man and    
woman carrying a baby wait for him4 ,in 
the background a castle and people      
skating on the ice4 ,the piece is       
incomplete4  ,sidenote3 ,another example
 in the ,vienna ,collection1 ,no4 #aji4 
,this tapestry is from the same set as  
the preceding1 but woven almost a       
century earlier1 and it is interesting  
to contrast the changes that the change 
in taste has made in the feeling of the 
rendition and the color key4 ,during the
 ,x,v,i,i,ith century the cartoon was   

refined with slight changes4 ,the hand  
of the old man1 for example1 was        
modified to hold a fruit for the child4 
,the piece probably is from the third or
 fourth weaving4 ,if so1 it was done on 
the horizontal looms in the atelier of  
,lefbvre1 outside of the official work  
of the ,gobelins4#cj  ,sidenote3 ,lent  
by ,wildenstein  ,company4  ,this is one
 of the few really successful renditions
 of a snow scene in tapestry4           
,sidenote3 #ei  ,,beauvais1 ,,late      
,,xvii1 ,,early ,,xviii ,,century       
7#afhd-agaa7  ,sidenote3      ,wool and 
,silk4     ,h4 #i ft4 #h in4     ,w4 #af
 ft4 #e in4   ,,chinese ,,grotesque3    
,under an arbor clowns conduct a circus4
 ,above the arbor are scrolls1 garlands1
 birds1 musical instruments1 and other  
decorations4 ,on a yellow ground4  ,this
 is one of a famous series of grotesques
 by ,berain on a yellow ground1 woven   
several times at the ,beauvais works    
when they were under the direction of   
,behagle4#ca  ,the entertaining fantasy 

of the conception1 together with the    
delicate drawing and the beautiful      
ground color1 makes this one of the     
finest grotesques of the ,x,v,i,i,ith   
century4  ,sidenote3 ,lent by ,p4 ,w4   
,french  ,company4      ,jean ,berain   
7#afch-agaa7 was appointed in #afgd     
designer to the king1     and in this   
position designed the scenery and       
costumes for the court     ballets4 ,he 
is famous for his decorations4          
,sidenote3 #fj1 #fa  ,,beauvais1 ,,xviii
 ,,century  ,sidenote3      ,wool and   
,silk4      ,no4 #fj3     ,h4 #ae in4   
,w4 #ai in4      ,no4 #fa3     ,h4 #ae  
in4     ,w4 #ai in4   ,,two             
,,still-,,life ,,pieces3 ,in one 7,no4  
#fj7 a glass1 a napkin1 and some        
vegetables on a table4 ,in the other    
7,no4 #fa7 various vegetables about a   
china dish4  ,these panels1 after       
paintings by ,chardin1 are the only     
recorded examples of still-life         
composition in tapestry4 ,from the      
middle of the ,x,vth century household  

utensils and various other types of     
accessories were used to contribute     
richness of ornamentation to scenes1 and
 during the ,baroque period embossed    
metals and lavish carvings became       
especially important in creating a      
luxurious effect1 but not until tapestry
 was thought of as a form of painting   
was a purely still-life subject         
attempted4 ,all still-life designs      
depend so much on contrasted weights1   
and especially on textures1 that they   
are particularly difficult to translate 
into a medium which1 like tapestry1     
renders primarily silhouettes and which 
has such a decided texture of its own4  
,but the extraordinary skill of the     
,x,v,i,i,ith-century ,french weavers was
 equal even to that problem4 ,the       
skillful care of the composition of the 
original paintings and the pure beauty  
of the colors of the tapestry make of   
rather unpromising subjects beautiful   
decorations4  ,sidenote3 ,lent by       
,maison ,jamarin1 ,paris4      ,jean    

,simon ,chardin 7#afii-aggi7 studied    
under ,nol ,coypel and     assisted     
,jean ,baptiste ,van ,loo in restoring  
one of the galleries of                 
,fontainebleau4 ,he was admitted to the 
,academy in #agbh4 ,his early     work  
was devoted to still-life subjects      
principally1 his later to     peasant   
scenes1 in which there are often fine   
incidental still lifes4   ,sidenote3 #fb
  ,,aubusson1 ,,middle ,,xviii ,,century
  ,sidenote3      ,wool and ,silk4      
,h4 #i ft4 #h in4     ,w4 #aj ft4 #i in4
   ,,the ,,priest ,,and ,,cardenio      
,,meet ,,dorothy3 ,the priest and the   
barber while looking for ,don ,quixote  
come across ,cardenio4 ,while ,cardenio 
is telling them the sad story of how his
 love1 ,lucinda1 has been stolen from   
him by the treachery of ,don ,fernando  
they hear someone lamenting4 ,following 
the sound of the voice1 they find       
,dorothy disguised as a shepherd-boy    
bathing her feet in a stream4 ,she is on
 her way to seek ,don ,fernando1 who is 

her pledged husband and who has deserted
 her for ,lucinda4 ,in the background   
,don ,quixote1 exhausted and starved    
from his wanderings1 lies on the ground1
 while the faithful ,sancho pleads with 
him to return to ,toboso4  ,the border  
simulates a carved frame4 ,on the lower 
selvage is the signature ,m4 ,r4        
,,daubusson4 ,,mage4 ,,picon4  ,the     
piece is one of a series of             
illustrations by ,coypel1 originally    
designed for the ,gobelins1 and was     
engraved and used in many editions of   
the romance both in ,france and ,spain4 
,several looms made tapestries after the
 engravings1 including those of ,santa  
,barbara in ,madrid4  ,the signature is 
the mark of the royal manufacture of    
,aubusson1 and of ,mage1 a tapestry     
merchant in ,paris in #agdf1 and ,picon1
 dyer to the king from #agdh to #agef4  
,the piece was evidently made in the    
royal works of ,aubusson to the order of
 the dealer ,mage under the supervision 
of ,picon1 who1 from his position1 was  

evidently one of the most important     
members of the staff there4             
,illustration3      ,verdure with       
,dancing ,nymphs      ,no4 #ea          
,illustration3      ,the ,conquest of   
,louis ,the ,great      ,no4 #eb   ,the 
piece shows ,aubusson work at its       
richest and finest4 ,the foliage of the 
trees with every leaf shown and broken  
up into small spots of changing color is
 very typical of ,aubusson1 and quite   
different from the manner of the        
,flemish shops 7cf4 ,no4 #ee74 ,the     
colors are remarkably fine4  ,sidenote3 
,lent by ,p4 ,w4 ,french  ,company4     
,charles ,antoine ,coypel 7#afid-ageb7  
entered the ,academy in #agae1 and      
the next year made a series of          
twenty-eight designs illustrating       
,don ,quixote for the ,gobelins4 ,a     
second important series which he        
designed for the ,gobelins illustrated  
scenes from the theatre4 ,he     was a  
favorite painter of ,queen ,marie       
,leczinska4 ,he wrote several     comic 

dramas and had an interest in an        
understanding of the theatre     which  
is reflected in his tapestry designs1   
which are conceived     always as a     
theatrical scene in a stage setting1    
with actors making     the proper       
expressive gestures4   ,sidenote3 #fc   
,,paris1 ,,xviii ,,century  ,sidenote3  
,wool and ,silk4      ,oval2     ,h4 #bh
 in4     ,w4 #bc in4   ,,bacchante3 ,a  
young bacchante wearing a tigerskin and 
holding ,pan's pipes4 ,in an oval panel4
  ,this panel is after a portrait by    
,coypel4 ,though it does not appear on  
the official registers of the ,gobelins1
 the technique would indicate that it   
was probably by a ,gobelins weaver1 who 
quite often worked outside of the       
official orders4  ,sidenote3 ,lent by   
,jacques ,seligmann  ,company4  ,the    
delicate execution reproduces faithfully
 the piquant charm of the painting2 even
 the most delicate gradations of tones  
are exactly reproduced4   ,sidenote3    
#fd4  ,,gobelins1 ,,xviii ,,century     

,sidenote3      ,wool and ,silk4     ,h4
 #be in4     ,w4 #ba in4   ,,portrait   
,,of ,,louis ,,xv3 ,this portrait1 after
 a painting by ,van ,loo made for the   
,gobelins in #agfj1 is one of a series  
of the royal family4 ,it is in the      
original frame4  ,sidenote3             
,illustrated3 ,bttiger1 ,svenska        
,statins ,samling1 vol4 #b1 pl4 ,,xli2  
,fnaille1 ,etat gnral des ,tapisseries  
de la ,manufacture des ,gobelins1       
,dix-huitime ,sicle1 #bme ,partie1 p4   
#caa2 as portrait of ,louis ,,xvi1 in   
,migeon1 ,les ,arts de ,tissu1 p4 #cce4 
,while tapestry is not an appropriate   
medium for portraiture1 a portrait is   
the supreme test of the skill of the    
weaver4 ,in this piece the effect of the
 painting is reproduced with remarkable 
fidelity4 ,the warp is vertical4        
,sidenote3 ,lent by ,p4 ,w4 ,french     
,company4  ,the technical difficulty was
 the greater because almost the entire  
piece was woven in wool1 the proper     
material for tapestry1 silk being relied

 on only for a few high lights4 ,as a   
portrait it has directness and          
conviction1 carrying the essential      
dignity of royalty4 ,the ,x,v,i,i,ith   
century1 which first undertook to weave 
tapestry portraits1 produced a kind of  
portrait that was especially ill-adapted
 to this material2 for the likenesses   
depended primarily on the delicate      
modeling produced by a very sensitively 
differentiated scale of values and      
scarcely at all on lines4 ,even in      
,gothic tapestries there are many heads 
that are striking portraits1 but these  
are entirely graphic in character and so
 fitted for tapestry4 ,in rendering this
 portrait the weavers had literally to  
paint with the shuttle4      ,carle ,van
 ,loo 7#agje-agef7 studied in ,rome     
under ,luti and ,le ,gros4 ,in     his  
youth he painted scenery for the opera  
with ,boucher4 ,in #agcg he     was     
admitted to the ,academy1 and in #agfb  
made first painter to the     king4     
,sidenote3 #fe  ,,gobelins1 ,,first     

,,half ,,xviii ,,century  ,sidenote3    
,wool4     ,h4 #ac ft4 #c in4     ,w4 #h
 ft4 #c in4   ,sidenote3 ,another       
rendering in the ,vienna ,collection1   
,no4 #bec2 another in the ,muse         
,impriale des ,ecuries1 ,petrograd1 ,no4
 #aah4  ,,the ,,indian ,,hunter3 ,this  
tapestry is one of a set of eight       
illustrating the ,new ,india after      
designs by ,franois ,desportes4 ,the set
 was first woven in #afhg4 ,this piece  
has the first type of border used with  
the series1 bearing the arms of the     
king1 which means that it was woven     
before #agfh under either ,cozette or   
,neilson4#cb  ,the design is typical of 
the romantic primitivism that ,rousseau 
formulated in his conception of the     
,noble ,savage4 ,the accuracy of detail 
in the ,indian basket is interesting and
 rather unexpected4  ,sidenote3 ,lent by
 ,demotte4      ,franois ,desportes     
7#affa-agdc7 studied under ,bernaert1 a 
pupil of     ,snyders4 ,he entered the  
,academy in #afii and was made painter  

to the     king4 ,he is famous for his  
paintings of animals and hunting scenes4
   ,sidenote3 #ff  ,,beauvais1 ,,xviii  
,,century 7#aggg7  ,sidenote3           
,wool4     ,h4 #aa ft4 #a in4     ,w4   
#ba ft4 #c in4   ,,the ,,theft ,,of     
,,the ,,trunk3 ,a group of gypsies      
surround a traveler's carriage1 and     
while some tell the lady's fortune and  
receive alms others attempt to steal a  
trunk from the baggage-rack behind4     
,sidenote3 ,formerly in ,collection of  
,count ,polovzoff1 ,petrograd4 ,another 
example in the ,swedish ,royal          
,collection4 ,illustrated3 ,bttiger1    
,svenska ,statins ,samling1 vol4 #c1 pl4
 ,,lxvi4  ,the tapestry is one of the   
series ,les ,bohmiens by ,franois       
,casanova1 and was woven in ,beauvais   
when the factory was under the direction
 of ,andr ,charlemagne ,charron1 whose  
initials it bears in signature4         
,according to the inventories1 the      
series has been woven only twice--once  
in #aggg for the king1 and again in     

#agii4cc  ,the vividness of the minor   
episodes and the vivacity of            
characterization of even the lesser     
actors make this a most interesting     
tapestry4 ,the weaving is done with     
exquisite skill and the color is        
unusually fresh and charming4           
,sidenote3 ,lent by ,jacques ,seligmann 
,company4      ,franois ,casanova       
7#agcj-ahje7 went to ,italy in #agbg    
where he studied     under ,guardi and  
,francesco ,simonini4 ,he returned to   
,france and later     studied under     
,parocel4 ,in #agfc he was received into
 the ,academy and     exhibited in the  
salons until #aghc4   ,sidenote3 #fg    
,,beauvais1 ,,xviii ,,century           
7#agce-agdj7  ,sidenote3      ,wool and 
,silk4     ,h4 #aa ft4 #i in4     ,w4   
#ad ft4 #f in4   ,,the ,,arms ,,of      
,,france ,,and ,,navarre3 ,two angels on
 clouds support the coat of arms before 
an ermine drape against a ground of     
fleur-de-lis on blue4  ,the angels are  
after ,boucher1 the only coat of arms in

 tapestry known to which ,boucher has   
contributed4 ,it is evidently one of    
several fleur-de-lis pieces listed in   
the accounts of ,beauvais between #agce 
and #agdj and may be the one made for   
the ,parliament of ,rouen in the latter 
year4#cd  ,it is an unusually rich and  
interesting armorial1 the angels with   
their characteristic ,boucher grace     
adding great beauty to the formal       
setting4  ,sidenote3 ,lent by ,p4 ,w4   
,french  ,company4      ,franois        
,boucher 7#agjc-aggj7 studied with      
,lemoyne and during that     time       
painted scenery for the ,opera1 a work  
to which he returned in     the height  
of his career 7#agcg-dd74 ,in #agcd he  
became ,academician4     ,in #agce he   
was appointed head of the ,gobelins by  
,marigny4 ,in #agfe     he was made     
first painter to the king and ,director 
of the ,academy4     ,in the years      
between #agdj and #agee he painted many 
cartoons for the     ,beauvais tapestry 
works4 ,among his most famous tapestry  

suites are     the ,loves of the ,gods1 
the ,chinese ,hangings1 and the ,italian
     ,ftes4   ,sidenote3 #fh            
,,gobelins1 ,,xviii ,,century 7#agfg7   
,sidenote3      ,wool and ,silk4     ,h4
 #d ft4 #aa in4     ,w4 #f ft4 #f in4   
,,the ,,fortune-,,teller3 ,two peasant  
girls seated on the ground by a fountain
 are having their fortune told by       
another girl4 ,a naked baby clings to   
her skirts4 ,from one side a goat looks 
on inquisitively4 ,it is signed ,f4     
,boucher and dated4  ,sidenote3         
,illustrated3 ,fnaille1 ,l',etat gnral  
des ,tapisseries de la ,manufacture des 
,gobelins1 ,dix-huitime ,sicle1 #bme    
,partie1 p4 #bch4  ,this is one of a    
series of cartoons in small size made by
 ,boucher for the ,gobelins while he was
 director4 ,they were very popular and  
have been woven a number of times4  ,the
 piece shows how remarkably the delicate
 gradations of tone1 on which ,boucher's
 essential quality depended1 could be   
translated into the weave by the        

extraordinarily skillful craftsmen of   
the ,gobelins4  ,sidenote3 ,lent by     
,duveen ,brothers4   ,as in all of      
,boucher's cartoons1 the subject is only
 an occasion for his own charming       
decorative mannerisms4 ,as a rendition  
of peasant life1 it is interesting to   
contrast this cartoon with the honest   
literalness of ,teniers 7cf4 ,nos4      
#dg-di74   ,sidenote3 #fi  ,,aubusson1  
,,late ,,xviii ,,century  ,sidenote3    
,wool and ,silk4     ,h4 #i ft4 #aj in4 
,w4 #g ft4 #e in4   ,,baigneuse3 ,a     
bather attended by amorini is about to  
step into a woodland stream4 ,in an oval
 frame surrounded by an encadrement of  
garlands upheld by amorini and satin    
drapes in the manner of ,huet1 on a gray
 ground4  ,the central panel is after   
,fragonard1 a subject that he repeated  
with many variations4 ,the piece is     
typical of the ,aubusson work1 delicate 
in color with the decorative effect     
depending largely on the flowery        
encadrement4  ,sidenote3 ,lent by ,p4   

,w4 ,french  ,company4      ,jean ,honor
 ,fragonard 7#agcb-ahjf7 studied under  
,boucher1 ,greuze1 and     ,chardin1 and
 is usually considered the successor of 
,boucher4 ,in #ageb     he was given    
,grand ,prize for ,painting4 ,he was a  
favorite painter of     ,madame ,du     
,barry1 for whom he did a great deal of 
work4   ,sidenote3 #gj  ,,aubusson1     
,,late ,,xviii ,,century  ,sidenote3    
,wool and ,silk4     ,h4 #h ft4 #aj in4 
,w4 #f ft4 #f in4   ,,au ,,bord ,,du    
,,mer3 ,in an oval panel are peasants   
landing from a rowboat4 ,in the harbor  
under a cliff is a sailing vessel4 ,in  
an encadrement of red and blue flowers  
and ribbons on a gray ground4           
,sidenote3 ,formerly in the ,vaffrin    
,collection1 ,bordeaux4  ,the central   
panel is after ,vernet1 who was         
particularly famous for his port scenes4
 ,the encadrement is unusually rich and 
delicate4  ,sidenote3 ,lent by          
,wildenstein  ,company4                 
,claude-,joseph ,vernet 7#agad-aghi7    

first studied under his father as     a 
decorative painter of wall and furniture
 panels4 ,afterward he     studied under
 ,bernardino ,fergiori in ,rome to be a 
marine painter4 ,in     #agce he was    
received by the ,academy4 ,his most     
famous paintings1 of     the seaports of
 ,france1 are in the ,louvre4           
,sidenote3 #ga  ,,aubusson1 ,,xviii     
,,century  ,sidenote3      ,wool4       
,h4 #i ft4     ,w4 #e ft4   ,,chinese   
,,grotesque3 ,a ,chinaman1 fantastically
 dressed1 stands between two tall       
tropical trees4 ,on a pale-blue ground4 
,sidenote3 ,lent by ,a4 ,j4 ,halow4     
,the piece is a delightful example of   
the taste for chinoiseries which the    
,pompadour fostered for the benefit of  
the ,french ,east ,india ,company1 in   
which she was interested1 and which     
taste was eagerly followed by the       
frivolous and bored ,french court1      
always seeking novelty4   ,sidenote3 #gb
  ,,aubusson1 ,,xviii ,,century         
,sidenote3      ,wool and ,silk4     ,h4

 #d ft4 #c in4     ,w4 #c ft4 #i in4    
,,armorial3 ,on a red ground1 two angels
 support a shield4 ,border of scrolls4  
,this crisp and delicate little armorial
 is a fine example of the best quality  
of work done at ,aubusson in the late   
,x,v,i,i,ith century4 ,the clear drawing
 on the deep-red background makes a     
vivid piece of decoration4  ,sidenote3  
,exhibited3 ,detroit ,museum of ,fine   
,arts1 #aiai4  ,sidenote3 ,lent by      
,dikran ,k4 ,kelekian4  ,the rendition  
of a coat of arms in tapestry is        
difficult1 because the decorative value 
of heraldic devices depends almost      
entirely on the beauty of the           
line-drawing1 and tapestry1 because of  
the character of the weave and the      
surface1 is not a good medium for clean 
lines4 ,in the earlier periods1         
therefore1 the shield was usually made  
incidental to a design better adapted to
 tapestry 7cf4 ,no4 #i74 ,it was only   
well into the ,x,v,i,i,ith century that 
the bearings could be woven delicately  

enough to let them stand alone4         
,sidenote3 #gc  ,,imperial ,,russian    
,,tapestry ,,works1 ,,st4 ,,petersburg1 
#ahaa  ,sidenote3      ,wool and ,silk4 
,h4 #i ft4 #d in4     ,w4 #f ft4 #g in4 
,,catherine ,,the ,,great3 ,catherine   
stands in her robes of state holding the
 sceptre while the ,imperial crown rests
 on a stool beside her4 ,on the wall is 
the ,russian motto1 ,,nachatoye         
,,soverchayet 7,what is begun is        
accomplished74 ,it is signed and dated4 
,sidenote3 ,exhibited3 ,metropolitan    
,museum1 #aiab4  ,for sheer technical   
skill the rendition of this portrait is 
unsurpassable4 ,the representation of   
textures is remarkable1 quite on a par  
with the cleverest paintings of the     
period4  ,illustration3      ,the       
,poisoning of a ,spy      ,no4 #ef      
,illustration3      ,the ,arms of       
,france and ,navarre      ,no4 #fg      
,sidenote3 ,illustrated3 ,hunter1       
,tapestries1 pl4 #bbi2 also1 ,candee1   
,tapestry ,book1 opp4 p4 #acc1--;but    

wrongly attributed to the ,gobelins4    
,sidenote3 ,lent by ,p4 ,w4 ,french     
,company4  ,it is1 in truth1 an         
absolutely perfect reproduction of a    
painting--a painting1 moreover1 that    
from the character of all the           
accessories is particularly difficult to
 render in wool2 and while it is by no  
means the business of tapestry to       
imitate painting1 it is nevertheless an 
interesting display of remarkable       
virtuosity4 ,the personal power of the  
forceful old ,empress is strongly       
presented4 ,from every aspect this is   
one of the greatest portraits in a woven
 medium4 ,in general color tone the     
piece has remained faithful to the      
character of tapestry1 sustaining the   
rich quality that the solid texture     
demands4 ,in spite1 also1 of the need   
for many delicately graded values to    
render the stuffs and the modeling1 the 
weavers have kept the color in large    
enough masses to be broadly decorative4 
,sidenote3 #gd  ,,madrid1 ,,late ,,xviii

 ,,century  ,sidenote3      ,wool and   
,silk4     ,h4 #e ft4     ,w4 #h ft4    
,,the ,,card ,,players3 ,a group of men 
and women playing at cards sit about a  
table on which is thrown a rich brocade4
 ,one of the company sits to one side   
playing a lute4  ,sidenote3 ,lent by    
,duveen ,brothers4  ,this piece is one  
of the rather uncommon examples of the  
work of the ,santa ,barbara looms of    
,madrid4 ,the skill of the weavers is   
remarkable in reproducing the heavy     
modeling of the deep shadows and the    
delicate modulations of the faces4 ,for 
the perfect rendition of the effect of a
 painting in tapestry it cannot be      
excelled4   ,,addenda      ,the         
tapestries entered under this heading   
were received     too late to be entered
 in their proper order     in the body  
of the catalogue4   ,sidenote3 #ge      
,,brussels1 ,,beginning ,,of ,,xvi      
,,century  ,sidenote3      ,wool1 ,silk1
 ,gold4     ,h4 #i ft4 #a in4     ,w4 #g
 ft4 #h in4   ,,the ,,resurrection3 ,the

 risen ,christ discovered by ,peter4    
,upper left1 the ,agony in ,gethsemane2 
upper right1 ,christ appearing to ,mary 
in the garden4 ,in the background1 the  
angel appearing to the three women4     
,border of fruits and flowers1 grapes1  
roses1 and iris interspersed with       
finches and a paroquet4  ,this tapestry1
 the last of a series illustrating the  
,passion of ,our ,lord1 was designed in 
the studio of ,bernard ,van ,orley1 and 
may be the work of ,van ,orley himself1 
though there were some of his students  
and followers who in purity of          
conception and elevation and            
sensitiveness of feeling were superior  
at times to the master himself4 ,the    
weaving1 unsurpassable in technical     
perfection1 may be the work of the      
,pannemaker looms4 ,the quality of the  
design and weaving and the lavish use of
 gold all indicate that this series was 
made for a great church or a noble      
family4  ,sidenote3 ,formerly in the    
,collection of the ,duc d',albe4  ,the  

weavers at this period had attained     
complete mastery of the shuttle4 ,this  
absolute technical control made possible
 the exact translation into tapestry of 
the intricate ,renaissance patterns4    
,the finish and elegance of the         
goldsmith's art which characterized so  
much of ,renaissance design is perfectly
 rendered4  ,however1 while the weaving 
was fitted to the requirements of the   
,renaissance at this time1 it had not   
yet sacrificed any of its qualities as  
tapestry4 ,nor did the designs of       
,bernard ,van ,orley force the weavers  
out of their proper limitations4 ,for   
though he was ,italian trained and      
saturated with ,renaissance influences1 
he was still close to the technical     
problems of the weaver's art and he     
adjusted the new manner in painting to  
them4 ,so this piece is rich in         
jewel-like detail that enriches without 
crowding the whole surface4 ,the drawing
 of the flowers and the birds is        
exquisite4 ,the figures also1 in spite  

of their dramatic force1 keep the aloof 
poise that decorative art demands4      
,finally1 by means of a dispersion of   
substantial tones1 the brilliant        
suffusion of golden light which the     
,renaissance loved is fully achieved4   
,such a scene as this is1 in short1 one 
of the last great monuments of the      
perfection of ,gothic tapestry1         
reinspired by the new insights of the   
,renaissance before the ostentation and 
mistaken conventions of ,raphael        
misguided the entire art4  ,sidenote3   
,lent by ,mrs4 ,william ,h4 ,crocker4   
,nor is it merely a technical triumph4  
,it is the direct expression of a       
profound religious emotion which shines 
through the material beauty1 elevates it
 above earthly things1 and sets it apart
 in glory4 ,easter has scarce had a     
lovelier celebration4   ,sidenote3 #gf  
,,brussels1 ,,xvi ,,century  ,sidenote3 
,wool and ,silk4     ,h4 #ae ft4     ,w4
 #ai ft4   ,,the ,,triumph ,,of         
,,wisdom3 ,wisdom with her two herons   

rides in a chariot drawn by mythological
 beasts4 ,in the upper right are        
,perseus and ,pegasus4 ,before the      
chariot are ,ahasuerus1 ,abigail1       
,david1 and ,saba4 ,cassandra walks     
beside1 while ,titus and his soldiers1  
,rachel1 and ,judith with the head of   
,holofernes bring up the rear4 ,in the  
upper left ,prometheus1 in the lower    
,cadmus1 contending with the dragons4   
,this is one of a very famous set of    
tapestries illustrating the ,triumphs of
 ,petrarch and a number of other        
,triumphs invented by ,french poets in  
imitation of ,petrarch4 ,the cartoons   
are evidently the product of the studio 
of ,matre ,philippe 7cf4 ,nos4 #ai1     
#bj71 for the heads of several of the   
minor characters are regular models1    
often repeated in his work4 ,the        
cartoons were painted and also executed 
before #aebc1 because in that year      
,henry ,,vii bought eight of the set1   
four of which are still at ,hampton     
,court4 ,this piece1 however1 was woven 

in the middle of the century1 as is     
shown by the character of the heavy     
floral border4 ,in the selvage is the   
,brussels city mark and the mark of the 
,brussels weaver1 ,leo ,van den ,hecke4 
,sidenote3 ,lent by ,mrs4 ,william ,h4  
,crocker4  ,the design is full of the   
oblique symbolism that the period loved4
 ,the allusions are drawn with equal    
interest from classic tradition1 secular
 history1 and ,christian legend4 ,the   
entire past has been laid under tribute 
with magnificent disregard of           
historical1 social1 and religious       
congruity4 ,such an unclassified        
assemblage of exciting personalities    
might even cause confusion in the ,day  
of ,judgment4 ,it is typical of the     
,renaissance catholicity1 the           
,renaissance eagerness to assimilate all
 knowledge and be always as impressive  
as possible4 ,yet the figures still have
 some of the stately restraint of the   
,gothic1 and the dispersion of the      
points of interest1 so that the whole   

textile is equally covered1 is a        
remainder from the ,gothic taste4 ,truly
 transitional1 it represents the final  
stage of ,matre ,philippe's development4
   ,sidenote3 #gg  ,,flanders1 ,,enghien
 7871 ,,xvi ,,century  ,sidenote3       
,wool and ,silk4     ,h4 #e ft4     ,w4 
#f ft4 #aa in4   ,,verdure3 ,scrolling  
leaves in rich blue-green with red and  
yellow flowers and fruits on a very     
deep-blue ground4 ,a wide border of     
clusters of flowers and fruits4         
,sidenote3 ,lent by ,mrs4 ,william ,h4  
,crocker4  ,this is a notably brilliant 
example of the characteristic           
,renaissance verdure4 ,the drawing is   
both accurate and vivacious1 the colors 
pure1 deep1 and brilliant1 the wool of  
extraordinary firmness and lustre1 while
 the weave is remarkably close for the  
type4 ,tapestries of this class are so  
often perfunctory in conception and     
mechanical in execution that we need a  
piece of this clarity1 strength1 and    
perfect finish to show how splendid are 

the possibilities inherent in the simple
 design4   ,sidenote3 #gh  ,,flanders1  
,,late ,,xvii ,,century  ,sidenote3     
,wool and ,silk4     ,h4 #aa ft4 #h in4 
,w4 #ae ft4   ,,the ,,cabriole3 ,a young
 knight shows his skill in jumping his  
horse4 ,at the left a page leads in a   
sumptuously caparisoned horse4 ,at the  
right a large fountain is seen through  
the trees1 and in the background is a   
formal garden with fountains4           
,sidenote3 ,lent by ,mrs4 ,william ,h4  
,crocker4  ,such very decorative        
verdures1 half realistic landscapes1    
were among the finest products of the   
late ,x,v,i,ith and ,x,v,i,i,ith        
centuries4 ,audenarde looms wove many of
 the best pieces of the type1 and this  
piece probably came from that district4 
,the fountain is rendered with          
delightful detail and animation1 and the
 drawing of flowing waters1 a trying    
problem for tapestry1 is managed with   
admirable dexterity4   ,sidenote3 #gi   
,,antwerp1 ,,late ,,xvii ,,century      

,sidenote3      ,wool and ,silk4     ,h4
 #cb in4     ,w4 #bd in4   ,,scenes     
,,from ,,the ,,childhood ,,of ,,christ3 
,on a black ground strewn with flowers1 
five oval panels framed with wreaths3   
the ,annunciation2 the ,nativity2 the   
,adoration of the ,magi2 the            
,circumcision2 the ,flight into ,egypt4 
,sidenote3 ,illustrated3 ,schmitz1      
,bild-,teppiche1 p4 #bfe4  ,sidenote3   
,lent by ,mrs4 ,william ,h4 ,crocker4   
,this very unusual tapestry was the work
 of ,balthasar ,bosmanns1 one of the    
greatest weavers of ,antwerp4 ,the      
realistically drawn yet richly          
decorative flowers show the influence of
 the school of flower painters of which 
,jan ,brueghel was the most famous4 ,the
 landscape in the ,adoration and the    
,flight into ,egypt are rendered with   
exquisite delicacy4 ,the effect of the  
panels in such light1 fresh1 almost     
pastel colors against the black ground  
is a daring and striking decorative     
experiment4 ,another rendering of the   

same cartoon is in the ,kunstgewerbe    
,museum1 ,berlin4   ,,footnotes3        
,footnote #a3 ,schmitz1 ,bild-,teppiche1
 p4 #ahf4  ,footnote #b3 ,lindner1 ,der 
,breslauer ,froissart4  ,footnote #c3   
,amberger ,catalogue4  ,footnote #d3    
,thiry1 ,les ,inscriptions des          
,tapisseries de ,jean ,van ,room1 pp4   
#bc1 #bd;,e4  ,footnote #e3 ,marquet de 
,vasselot1 ,les ,emaux ,limousin1 ,no4  
#h1 pl4 ,,ii4  ,footnote #f3 ,op4 cit4  
#bi1 pl4 ,x4  ,footnote #g3 ,op4 cit4   
#di1 pl4 ,,xvi4  ,footnote #h3 ,order   
for ,payment of ,philip the ,good1      
,april #d1 #adee1 quoted in ,van den    
,gheyn1 ,chroniques et ,conqutes de     
,charlemagne1 by le ,tavernier1 p4 #aa4 
,footnote #i3 ,see ,burlington          
,magazine1 vol4 #bj1 pp4 #bdg1 #cji4 ,d4
 ,t4 ,b4 ,wood1 ,credo ,tapestries4     
,footnote #aj3 ,see ,barbier de         
,montault's inventory in ,annales       
,archologiques1 tome #ae1 pp4 #bcb1     
#bif4  ,footnote #aa3 ,van ,kalcken1    
,peintures ecclsiastiques du ,moyen     

,age4 ,notes by ,dr4 ,jan ,six4         
,footnote #ab3 ,op4 cit4 p4 #a4         
,footnote #ac3 ,op4 cit4 p4 #c4         
,footnote #ad3 ,op4 cit4 p4 #ae4        
,footnote #ae3 ,burlington ,magazine1   
vol4 #bj1 p4 #bbj4 ,d4 ,t4 ,b4 ,wood1   
,tapestries of the ,seven ,deadly ,sins4
  ,footnote #af3 ,catalogue of the      
,collection of ,martin le ,roy1 vol4 #d4
  ,footnote #ag3 ,destre1 ,tapisseries  
et ,sculptures bruxelloises1 p4 #h4     
,footnote #ah3 ,thiry1 ,les             
,inscriptions des ,tapisseries de ,jean 
,van ,room4  ,footnote #ai3             
,bodenhauser1 ,gerard ,david1 ,no4 #aj4 
,footnote #bj3 ,op4 cit4 ,no4 #be;a4    
,footnote #ba3 ,destre1 ,hugo ,van der  
,goes1 opp4 p4 #dh4  ,footnote #bb3 ,op4
 cit41 opp4 p4 #cb4  ,footnote #bc3     
,thiry1 ,les ,inscriptions des          
,tapisseries de ,jean ,van ,room1 p4    
#bh4  ,footnote #bd3 ,thiry1 ,les       
,inscriptions des ,tapisseries de ,jean 
,van ,room1 p4 #bg4 ,also1 ,destre and  
,van den ,ven1 ,les ,tapisseries1 ,no4  

#ag4  ,footnote #be3 ,for illustration1 
see ,fsoulke ,collection1 opp4 p4 #di4  
,footnote #bf3 ,thomson1 ,history of    
,tapestry1 p4 #dgi4  ,footnote #bg3 ,for
 further discussion1 see ,gazette des   
,beaux ,arts1 #bme ,priode2 ,montaiglon1
 ,diane de ,poitiers et ,son ,got dans  
les ,arts1 t4 ,,xix1 p4 #aeb4  ,footnote
 #bh3 ,la ,renaissance de l',art        
franais1 #aiba1 p4 #aei ff42 ,e4        
,dimier1 ,la ,tenture de la ,grande     
,galerie4  ,footnote #bi3 ,fnaille1     
,etat gnral des ,tapisseries de la      
,manufacture des ,gobelins1 ,priode     
,louis ,,xiv1 pp4 #ccg1 #cda;f41 #cdd1  
#cgj4  ,footnote #cj3 ,fnaille1 ,etat   
gnral des ,tapisseries de la            
,manufacture des ,gobelins1 ,priode     
,louis ,,xiv1 pp4 #ccg4 #cdc;f41 #cfi4  
,footnote #ca3 ,badin1 ,la ,manufacture 
de la ,tapisserie de ,beauvais1 p4 #aa4 
,footnote #cb3 ,fnaille1 ,etat gnral des
 ,tapisseries de la ,manufacture des    
,gobelins1 ,dix-huitime ,sicle1 ,partie 
#aa1 p4 #dj;ff4  ,footnote #cc3 ,badin1 

,la ,manufacture de la ,tapisserie de   
,beauvais1 p4 #fd4  ,footnote #cd3      
,badin1 ,la ,manufacture de la          
,tapisserie de ,beauvais1 p4 #ge4     ,a
 ,,list ,,of ,,weavers   ,the following 
is a list of the most prominent weavers4
 ,such men as ,sir ,francis ,crane1 of  
,mortlake1 and ,delorme1 of             
,fontainebleau1 have not been included  
because they were only administrators4  
,it is possible that ,grenier was not a 
weaver1 though he may have been both    
weaver and contractor4      ,nicolas    
,bataille         ,paris                
,x,i,vth ,century     ,pasquier ,grenier
         ,tournai   ,middle of ,x,vth   
,century     ,pieter ,van ,aelst        
,brussels           ,x,v,ith ,century   
,wilhelm ,pannemaker       ,brussels    
,x,v,ith ,century     ,franois ,geubels 
,brussels           ,x,v,ith ,century   
,hubert de ,mecht          ,brussels    
,x,v,ith ,century     ,john ,karcher    
,ferrara            ,x,v,ith ,century   
,nicolas ,karcher          ,ferrara     

,x,v,ith ,century     ,john ,rost       
,florence           ,x,v,ith ,century   
,philip de ,mecht          ,mortlake    
,x,v,i,ith ,century     ,francis ,poyntz
           ,mortlake          ,x,v,i,ith
 ,century     ,francis ,spierinx        
,delft             ,x,v,i,ith ,century  
,john ,vanderbanc          ,england     
,x,v,i,ith ,century     ,catherine ,van 
der ,eynde  ,brussels                   
,x,v,i,ith ,century     ,jean ,raes     
,brussels          ,x,v,i,ith ,century  
,everard ,leyniers         ,brussels    
,x,v,i,ith ,century     ,jacques ,van   
der ,beurcht  ,brussels                 
,x,v,i,ith ,century     ,marc ,comans   
,paris             ,x,v,i,ith ,century  
,franois de la ,planche   ,paris        
,x,v,i,ith ,century     ,jean ,lefbvre  
,paris             ,x,v,i,ith ,century  
,jean ,jans                ,paris       
,x,v,i,ith ,century     ,gerard ,laurent
           ,paris             ,x,v,i,ith
 ,century     ,philippe ,behagle        
,beauvais         ,x,v,i,i,ith ,century 

,cozette                  ,gobelins     
,x,v,i,i,ith ,century     ,le ,blond    
,gobelins         ,x,v,i,i,ith ,century 
,de la ,tour               ,gobelins    
,x,v,i,i,ith ,century     ,james        
,neilson            ,gobelins           
,x,v,i,i,ith ,century     ,jacques ,van 
der ,goten    ,madrid                   
,x,v,i,i,ith ,century     ,antoine      
,lenger           ,madrid               
,x,v,i,i,ith ,century     ,,bibliography
  ,all the books starred 7997 may be    
consulted in the ,san ,francisco ,public
 ,library  ,illustration  ,there is1    
unfortunately1 no satisfactory book in  
,english on ,tapestry and no wholly     
satisfactory book for the general reader
 in any language4 ,the following are the
 most useful and are readily available4 
99,candee1 ,helen ,churchill4 ,the      
,tapestry ,book4 ,new ,york1 #aiab4     
,a somewhat superficial and sentimental 
sketch of the history of     tapestry1  
with almost no interpretation and little
 indication of the     relation of      

tapestry to the other arts4  ,de,motte1 
,g4 ,j4 ,les ,tapisseries gothiques4    
,paris1 #aibb4      ,when complete will 
contain two hundred large color plates  
of     incomparable beauty and fidelity4
 ,invaluable as a source-book4 ,will    
contain probably the majority of        
important examples of the period4       
,guiffrey1 ,j4 ,j4 ,l',histoire de la   
,tapisserie4 ,tours1 #ahhf4      ,a     
narrative history1 now superseded in a  
number of respects4  ,guiffrey1 ,j4 ,j4 
,l',histoire de la ,tapisserie en       
,france 7,l',histoire gnrale de la      
,tapisserie74 ,paris1 #ahgh-he4      ,a 
compilation of all the facts available  
at the time1 and still an     important 
fundamental reference work4  ,guiffrey1 
,j4 ,j4 ,les ,tapisseries du ,x,i,ie  la
 fin du ,x,v,ie ,sicle4 ,paris1 n4 d4   
,the most detailed survey of the period1
 but unfortunately poorly     organized4
 ,superbly illustrated4  99,hunter1     
,george ,leland4 ,tapestries3 ,their    
,origin1 ,history1 and ,renaissance4    

,new ,york1 #aiab4      ,an unsystematic
 assemblage of facts1 not all of which  
are correct1     and many of which are  
irrelevant4  ,migeon1 ,gaston4 ,les     
,arts de ,tissu 7,troisime ,partie74    
,paris1 #aiji4      ,a complete and     
readable account of the history of      
tapestry1 with     some excellent       
interpretations4  ,mntz1 ,eugne4        
,l',histoire de la ,tapisserie en       
,italie1 en ,allemagne1 etc4            
7,l',histoire gnrale de la ,tapisserie74
 ,paris1 #ahgh-he4      ,similar to     
,guiffrey's volume in the same series4  
,mntz1 ,eugne4 ,la ,tapisserie4 ,paris1 
#ahhc4      ,a brief presentation of the
 general history1 superseded at some    
points1 but with valuable illuminating  
interpretations4  ,pinchart1 ,a4        
,l',histoire de la ,tapisserie dans les 
,flandres 7,l',histoire gnrale de la    
,tapisserie74 ,paris1 #ahgh-he4         
,similar to the other volumes of the    
same series4  ,schmitz1 ,herman4        
,bild-,teppiche4 ,berlin1 #aiai4        

,by far the most systematic1 scholarly1 
complete1 and informing book     yet    
published on the subject4  99,thomson1  
,w4 ,g4 ,a ,history of ,tapestry4 ,new  
,york1 #aijf4      ,a conventional      
history with useful tables of marks1 but
 limited by     being illustrated       
entirely with examples in ,england4     
99,thomson1 ,w4 ,g4 ,tapestry ,weaving  
in ,england4 ,new ,york1 #aiad4         
,the fundamental reference on this      
aspect of the subject1 with full        
reproduction of documents4   ,in        
addition to the above titles1 there are 
a great number of monographs on various 
phases of the subject1 many of which are
 excellent4 ,for example3 ,thiry1 ,les  
,inscriptions des ,tapisseries de ,jean 
,van ,room1 ,louvain1 #aijg1 is an able 
piece of work1 a model of exact         
scholarship4 ,the majority of these     
monographs are of interest only to the  
special student4 ,schmitz refers to the 
more important of them in his           
foot-notes4     ,,subject  ,,title      

,,index  ,every tapestry is listed by   
its respective catalogue number1 and a  
star 7997 indicates the tapestry is     
illustrated4  ,illustration             
,,looms ,,represented ,,in ,,the        
,,exhibition                            
,numbers      ,aubusson                 
#fb1 #fi1 #gj1 #ga1 #gb      ,beauvais  
99#ea1 99#eb1 #ei1 #fj1 #fa1 #ff1 99#fg 
,english                                
#di      ,flemish ,gothic          99#c 
99#d1 99#e1 #g1 99#ad1 #ae1 #af1 99#ag1 
#ah1 #ai1 #bj1                          
99#ba1 #ge1 #gf      ,flemish           
,renaissance   #bc1 #bd1 99#be1 99#bf1  
#bg1 #bh1 #bi1 #cj1 #ca1 #cb1 #cc1      
#cd1 99#ce1 #gg      ,flemish1          
,x,v,i,ith ,century            99#da1   
#db1 #dc1 #dd1 #de1 #df1 #gh1 #gi       
,flemish1 ,x,v,i,i,ith ,century         
#dg1 #dh1 #ec1 #ed1 #ee1 99#ef          
,fontainebleau                          
99#cf1 99#cg      ,french ,gothic       
99#a1 99#b1 99#h1 #i1 99#aj1 #aa1 #ab1  
99#ac      ,french1 ,x,v,i,ith ,century 

99#ch1 99#ci1 #dj1 #ej1 #eh      ,german
 and ,swiss ,gothic                     
#f1 99#bb      ,gobelins                
#eg1 #fc1 #fd1 #fe1 #fh      ,russian   
#gc      ,spanish                       
#gd       ,,allegorical1 ,,classical1   
,,historical1 ,,and ,,mythological      
,america                                
#db      ,augustus and ,livia1 ,triumph 
of                                  #dd 
,bacchante                              
#fc      ,chinese ,grotesque            
#ei      ,chinese ,grotesque            
#ga      ,cleopatra1 ,two ,scenes from  
the ,history of                  99#ci1 
#dj      ,cyrus1 ,two ,scenes from the  
,life of                         99#bf1 
#bg      ,december from the ,months of  
,lucas                             #eh  
,diana1 ,triumph of                     
99#cg      ,grotesques                  
99#cf      ,hercules1 the ,history of   
#g      ,indian ,hunter1 ,the           
#fe      ,july from the ,months of      
,lucas                                  

#eg      ,louis the ,great1 ,the        
,conquest of                            
99#eb      ,niobides1 ,the              
99#ch      ,priest and ,cardenio ,meet  
,dorothy1 ,the                          
#fb      ,roman de la ,rose1 ,scenes    
from the                                
99#d      ,romance1 ,scenes from a      
#bj      ,sancho is ,tossed in a        
,blanket                                
#df      ,scipio1 ,three ,scenes from   
the ,deeds of                 #bc1 #bd1 
99#be      ,siege of ,lille1 ,the       
,operations of the              #ec1    
#ed1 #ee1 99#ef      ,wisdom1 ,triumph  
of                                      
#gf       ,,armorial      ,armorial1    
,aubusson1 ,x,v,i,i,ith ,century        
#gb      ,armorial1 ,bruges1 #aeef      
#cd      ,arms of ,france and ,navarre1 
,the                                    
99#fg      ,millefleurs ,armorial with  
,wild ,men                              
#i      ,millefleurs with ,shepherds and
 the ,shield of the ,rigaut ,family     

99#aj       ,,genre ,,scenes      ,au   
,bord ,du ,mer                          
#gj      ,baigneuse                     
#fi      ,cabriole1 ,the                
#gh      ,card ,players1 ,the           
#gd      ,chase1 ,the                   
99#b      ,fortune-,teller1 ,the        
#fh      ,pastoral ,scene               
99#ac      ,peasants in a ,landscape    
#di      ,peasant ,scenes1 ,two         
#dg1 #dh      ,theft of the ,trunk1 ,the
                                        
#ff      ,two ,pairs of ,lovers         
99#bb      ,vintage1 ,the               
99#e       ,,landscapes      ,garden    
,scene                                  
#cj      ,hunting ,scene                
#cb      ,millefleurs with ,animals     
#aa      ,millefleurs with ,animals     
#ab      ,verdure1 ,enghien 787         
#cc      ,verdure1 ,enghien  787        
#gg      ,verdure1 ,flanders1 ,x,v,ith  
,century                                
#ca      ,verdure1 ,flanders1 ,x,v,i,ith
 ,century                               

99#da      ,verdure3 ,hermes and the    
,shepherd                               
#ej      ,verdure with ,bear ,hunt      
#dc      ,verdure with ,dancing ,nymphs 
99#ea       ,,portraits      ,catherine 
the ,great                              
#gc      ,louis ,,xv                    
#fd       ,,religious ,,subjects        
,annunciation1 ,the                     
99#a      ,annunciation1 the ,nativity  
and the ,announcement to the ,shepherds1
        ,the                            
99#c      ,childhood of ,christ1 ,scenes
 from the                            #gi
      ,creed1 ,three ,pieces from a     
,series ,illustrating the     99#ad1    
#ae1 #af      ,creed1 ,three ,pieces    
from a ,series ,illustrating the        
99#ag1 #ah1 #ai      ,crucifixion1 ,the 
99#ce      ,david1 ,the ,triumph of     
99#ba      ,entombment on ,millefleurs  
99#h      ,judith ,departs for the      
,enemy's ,camp                          
#bi      ,life of ,christ1 ,scenes from 
the                                  #f 

,pentecost1 ,the                        
#bh      ,resurrection1 ,the            
#ge      ,virgin and ,child1 ,the       
#de       ,,still ,,life      ,two      
,still-,life ,pieces                    
#fj1 #fa   ,illustration      ,,taylor  
,,taylor     ,,edward ,,de ,,witt       
,,henry ,h4 ,,taylor     ,,san          
,,francisco     #aibb         99        
99       99       99       99           
----------------------------------------
------------------------                
,transcriber ,notes3                    
,p4 #bj4 'the minature' changed to 'the 
miniature'4                    ,footnote
 p4 #ca4 ',chroniques et ,conqutes de   
,charlemaine'             changed to    
',chroniques et ,conqutes ,charlemagne'4
                    ,p4 #fj4 ',les      
,incriptions' changed to ',les          
,inscriptions'4              ,corrected 
various punctuation4                    
----------------------------------------
------------------------