Chapter III: Part 3

_Wool._
H. 9 _ft._
W. 23 _ft._
]

HUNTING SCENE: _Hunters riding through a woodland. In the foreground a knight and lady strolling. Scroll border._

[Sidenote: Lent by _W. & J. Sloane_.]

This piece is a rather uncommon variation of a familiar type. Many tapestries were woven in Flanders in the second part of the XVIth century that were predominantly verdure with a few minor figures, but the figures were seldom as delicately drawn nor the colors so high in key and clear. It is quite possible that the piece was woven by Flemish weavers in England, a few pieces woven there by the Poyntz family being known to have somewhat the same quality. The relatively low height in proportion to the great length also suggests that it was made for an English house.

_Hannibal Approaches Scipio to Sue for Peace_ No. 25
]

_Cyrus Captures Astyages, His Grandfather_ No. 26
]

[Sidenote: 33]

FLANDERS, ENGHIEN (?), XVI CENTURY

[Sidenote:

_Wool._
H. 9 _ft._ 7 _in._
W. 7 _ft._ 9 _in._
]

VERDURE: _Large scrolling leaves, bluish-green, with bunches of fruit and flowers and small finches. Wide border of fruit and flowers._

Verdures of this type were very much in demand in the Renaissance period. They are typical of the decorative manner of the time and one of its finest inventions.

[Sidenote: Lent by _Dikran K. Kelekian_.]

The heavy, simple leaves are often too obvious and too readily explored for the best tapestry decoration; but in this piece the beautifully drawn birds provide delicacy and interest of detail.

[Sidenote: 34]

BRUGES, MIDDLE XVI CENTURY (1556)

[Sidenote:

_Wool and Silk._
H. 9 _ft._ 1 _in._
W. 8 _ft._ 9 _in._
]

ARMORIAL: _Two amorini support a shield. Above, crossed banners; below, dolphins. Six flags radiate from the shield, each bearing the initial P surmounted by a crown. Border of scrolls and classic figures._ _In cartouches in the side and lower borders the initials F_, _G_, _and X respectively_, _and in the corresponding cartouche of the top border the date_, 1556. _On the right lower selvage is the city mark of Bruges, with the weaver's monogram, A. F._[26]

[Sidenote: Lent by _P. W. French & Company_.]

This tapestry is very interesting, not only because it is a clear, strong example of a Renaissance heraldic hanging, but because very few pieces of the period can be ascribed definitely to Bruges although it is known that important looms flourished there. The weaver's monogram has not been identified. The coat of arms, which is also unidentified, seems to be Spanish, and judging by the coronet evidently belonged to a family of high station. The amorini are after a follower of Giulio Romano, if not by Romano himself.

The relief effect of the design is quite extraordinary.

[Sidenote: 35]

BRUSSELS, XVI CENTURY (1574)

[Sidenote:

_Wool, Silk, Gold._
H. with frame, 4 _ft._
W. with frame, 3 _ft._ 9 _in._
]

THE CRUCIFIXION: _Christ and the two thieves on the crosses. In the foreground, right, the Roman soldiers; left, the sorrowing Marys. Floral border._ _Dated in cartouche in the border_, 1574.

This is one of a number of small tapestries in silk and gold of religious subjects, most of which have been attributed to Bernard Van Orley, who probably designed this piece also. They are all of them very exact reproductions of paintings, remarkable in weave and very beautiful in color. The type was first woven in the first quarter of the XVIth century, and continued to be produced in very limited numbers until well into the XVIIth century. They were undoubtedly woven only for special orders--probably for private chapels.

The piece is a very brilliant example of one of the richest types of tapestry that has ever been woven.

[Sidenote: Lent by _P. W. French & Company_.]

Bernard Van Orley (1492-5 to 1540) was trained by his father,
Valentin, and afterwards studied under Raphael in Italy. He was
engaged to supervise the translation of Raphael's cartoons for the
famous series of the _Apostles_ into tapestry. In 1518 he became
court painter. He designed many tapestries, of which the most famous
are the _Hunts of Maximilian_ and the _Victory of Pavia_ series.

[Sidenote: 36]

FONTAINEBLEAU, MIDDLE XVI CENTURY

[Sidenote:

_Wool and Silk._
H. 11 _ft._
W. 17 _ft._
]

GROTESQUES: _On a red ground, grotesques, of which the principal features are: in the center Flora in an arbor on the top of which stands Atlas upholding the world; two cartouches left and two right with candelabra and various deities. Below at the left in a small oval medallion Leda and the Swan, and in the corresponding medallion on the other side Eve and the Serpent. The remaining spaces are filled with amorini, garlands of fruit and flowers, gods, and various ornaments. Narrow floral borders, and in the center of both side borders a triangle._

The triangles in the border are the Deltas, the ciphers of Diane de Poitiers, indicating that this piece was woven in the reign of Henry II for Diane, possibly for the Château d'Anet.

[Sidenote: Lent by _P. W. French & Company_.]

For fertile and varied imagination this piece is quite uncommon even among grotesques, the most imaginative type of decorative tapestries. It exhibits a most entertaining sense of humor and shows a capricious independence never found in the more formal Flemish grotesques of the time.

[Sidenote: 37]

FONTAINEBLEAU, MIDDLE XVI CENTURY

[Sidenote:

_Wool and Silk._
H. 12 _ft._ 8 _in._
W. 8 _ft._
]

TRIUMPH OF DIANA: _The goddess in a blue robe, bearing her bow and arrows, drives a pale-blue chariot on which a nymph is tied prisoner. Love, whose wings are beautifully multicolored, also is a prisoner. Diana's attendants, garbed in blue and red tunics, follow on foot, one in the foreground in a green tunic leading a large grey-hound. In the border shells alternate with crescents on a blue ground and in the corners above are crescents and rams' heads. The mottoes "Non Frusta Jupiter Am Bas" and "Sic Immota Manet" are in the upper and lower borders respectively._[27]

The tapestry was evidently made for Diane de Poitiers, mistress of Henry II, the subject being chosen as a personal tribute.

[Sidenote: Formerly in the Collection of Edouard Kann, Paris.]

Aside from its evident beauty, the piece is important because it is one of the few remaining examples of the work of the Fontainebleau looms, which adapted to tapestry the characteristic Italian-French Renaissance decoration that was formulated in the frescoes of Fontainebleau. There are few documents left on these looms, but it is known that le Primatice made designs for tapestries woven there, and, judging from the drawing of the figures with the long limbs and heavily marked muscles that reflect the influence of Michael Angelo, and the contour of the small heads with the hair flowing back and the classical features, together with such other details as the long flexible fingers, this piece would seem to be an example of his work. If not by le Primatice, it was certainly done directly under his influence; but it could scarcely be by Baudouin, judging from the recently discovered set in the Viennese exhibition,[28] for it has more poise and clarity of space than any of those tapestries.

_The Crucifixion_ No. 35
]

For grace and charm, without any loss of strength, this surpasses most French work of the period. 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 spirit, giving the classic goddesses, even in their dignity, youthful and feminine appeal, and refining the Italian opulence. The floreation in the foreground is as delicate as in a XVIth-century millefleurs, and the colors are unusually luminous.

[Sidenote: Lent by _Wildenstein & Company_.]

Francesco Primaticcio (1504-1570) studied under a disciple of
Raphael and worked with Giulio Romano on the decorations of the
Palace de Te, Mantua. In 1532 he went from Italy to Fontainebleau
to work on the decorations there. In 1540 he returned to Italy
to collect works of art for the king. He returned to France and
continued to create decorations at Fontainebleau with a large staff
of Italian painters as his collaborators. Under Francis II he became
Superintendent of the Building.

[Sidenote: 38]

PARIS, EARLY XVII CENTURY

[Sidenote:

_Wool._
H. 13 _ft._
W. 16 _ft._ 9 _in._
]

THE NIOBIDES: _Apollo and Artemis from a cloud shoot down the children of Niobe, thus avenging their mother, who had been outraged by Niobe's boasting that she had the more children. Border of fruit garlands and figures in camaieux._

[Sidenote: Formerly in Marnier-Lapostalle Collection, Paris.]

[Sidenote: Reproduced:

_Guiffrey, Les Gobelins et Beauvais_, p. 15; _Hauser y Menet, Los Tapices de la Corona de España_, vol. 2, pl. 132.]

The tapestry is one of the Artemis series designed for Marie de Medici by Toussaint du Breuil. It was woven on the looms which were under the direction of Marc Comans and François de la Planche, and which later became the Gobelins state manufactory. The cartoons were repeated many times with different borders. Judging by the border, this piece was woven about 1611.

The piece is a splendid example of the dramatic and monumental character of the productions of the pre-Gobelins looms.

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 productions, usually so violent and exaggerated in scale, in drawing, and in emotional expression. For, though dramatic, the scene is restrained and the figures have an almost sculptural detachment. This quality is sustained by the fine architectural border, which is very typical of the Paris looms of this period.

[Sidenote: Lent by _Jacques Seligmann & Company_.]

Toussaint du Breuil (1561-1602) painted decorations in the Pavilions
des Poêles at Fontainebleau, and also in the Galerie des Rois in the
Louvre. Most of his work has perished.

[Sidenote: 39, 40]

GOBELINS, XVI CENTURY

[Sidenote:

_Wool and Silk._

No. 39:
H. 7 _ft._ 9 _in._
W. 13 _ft._ 6 _in._

No. 40:
H. 7 _ft._ 9 _in._
W. 11 _ft._
]

TWO SCENES FROM THE HISTORY OF CLEOPATRA: _In the first_ (_No._ 39) _Cleopatra attended by two maidens greets a young prince who is being introduced to her by a general_. _In the harbor the young stranger's ship is seen._

_In the second_ (_No._ 40) _Cleopatra welcomes a young man_. _An attendant holds a heavy canopy of silk. Beyond, a Greek temple is seen._

_Side borders, only, of classic decorations on a red ground with inset medallions showing the Judgment of Paris._

[Sidenote: Formerly in the Collection of Lord Lovelace.]

The pieces both signed in the lower right corner--Lefébvre, with the fleur-de-lis and G. They do not, however, appear on the records of the Gobelins, so they must have been done by Lefébvre outside of the official work.

[Sidenote: Lent by _William Baumgarten & Company_.]

They are strong and fresh examples of the early work of the Gobelins weavers, and typical of the classicism of the late Renaissance in France. The requirements of mural decoration are met by the monumental character and sculptural poise of the figures, but at the same time the design is adapted to a decorative textile through the perfection of the detail and the richness of the colors.

[Sidenote: 41]

FLANDERS, BEGINNING OF XVII CENTURY

[Sidenote:

_Wool and Silk._
H. 7 _ft._ 10 _in._
W. 13 _ft._ 4 _in._
]

VERDURE: _A formal garden with fountains and a château in the distance and various birds in the foreground._

[Sidenote: Lent by _Mrs. C. Templeton Crocker_.]

Such landscape tapestries were a characteristic late Renaissance interpretation of the verdure type, a transition between the Gothic _millefleurs_, that were really originally landscapes without perspective (cf. No. 11), and the XVIIth-century verdures (cf. No. 43). It is a very successful form of verdure, for they are broadly effective from a distance and yet have a sufficient wealth of detail to yield interest on closer exploration. The birds in this piece are especially carefully observed and well drawn, and the purity and vivacity of the color is exceptional for this type.

[Sidenote: 42]

BRUSSELS, LATE XVII CENTURY

[Sidenote:

_Wool and Silk._
H. 13 _ft._
W. 12 _ft._
]

AMERICA: _In a tropical landscape an Indian with bow and arrows caressing a crocodile. Two children beside him smoking pipes. In the background on a hill a mission; in the foreground a heap of fruits and flowers and precious objects symbolic of the wealth of the New World. Border of fruits and flowers with corner medallions representing North, East, South, and West. On the lower selvage the Brussels city mark and the signature, I. V. D. BEURCHT._

[Sidenote: Another example in Musée Impériale des Ecuries, Petrograd, No. 117.]

The piece is one of a set of four representing the four quarters of the globe. It was woven by Jean Van der Beurcht, one of the great weavers of Brussels, who is known to have been working there between 1690 and 1710. The Van der Beurcht family had for several generations been painters, Jean being the first to turn from that profession to tapestry weaving. He was followed by several other members of the family (cf. No. 56), all of whom did work of the highest quality.

[Sidenote: Lent by _P. W. French & Company_.]

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 wealth. The mission on the hill, and another mission settlement in the valley of which a glimpse can be caught, are of especial interest.

[Sidenote: 43]

FLANDERS, XVII CENTURY

[Sidenote:

_Wool and Silk._
H. 11 _ft._ 10 _in._
W. 11 _ft._
]

VERDURE WITH BEAR HUNT: _In a forest of large trees hunters shooting and spearing bears. In place of a border, large columns at the sides with floral garlands hung between them across the top._

The piece is a type of verdure, numbers of which with many variations were produced in Flanders during the XVIIth century. It is one of a set of five, and is a very strong, fresh example.

[Sidenote: Lent by _P. W. French & Company_.]

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 architecture.

[Sidenote: 44]

BRUSSELS, XVII CENTURY

[Sidenote:

_Wool and Silk._
H. 11 _ft._
W. 18 _ft._ 8 _in._
]

[Sidenote: From the Morgan Collection, No. 17. Another example in the Swedish Royal Collection.]

TRIUMPH OF AUGUSTUS AND LIVIA: _Caesar offers the crown of victory to Augustus, who kneels before him. He is surrounded by his attendants and his chariot waits in the background. The side borders are of flower-draped columns, top and bottom borders of fruit and flower garlands, with ornaments. On the side borders are cartouches bearing the insignia: Pax. Aug. and Vic. Aug. (Pax Augusta and Victoria Augusta)._

[Sidenote: Illustrated:

_Böttiger, Svenska Statins Samling_, vol. 3, pl. XLII.]

The piece is one of a series on the _History of Julius Caesar_, three of which were in the Morgan Collection. It has all the abundance and dramatic emphasis characteristic of the Baroque period.

[Sidenote: Lent by _P. W. French & Company_.]

The massive yet active figures, the large folded, swinging drapes, the luxurious and heavy accessories are all typical of the work of a time when the large, the impressive, and the elaborate were sought in all forms of art. The manner was introduced into tapestry cartoons by Rubens and carried on by many of his pupils and imitators. Even the outline of the composition of this piece follows closely that of Rubens' famous _Triumphs_, from which the suggestion for the cartoon was undoubtedly taken.

[Sidenote: 45]

FLANDERS, XVII CENTURY

[Sidenote:

_Wool, Silk, Gold._
H. 3 _ft._ 1 _in._
W. 4 _ft._
]

THE VIRGIN AND CHILD: _The Virgin in a pale red gown with a dark-blue cloak falling about her is seated on the ground. The child holding a staff in the form of a cross sits on her knee. Beyond is a castle, and against the sky a high mountain. Wide floral border. The high lights are in gold._

This is a most exceptional piece of tapestry, evidently made to special order, probably for a private chapel, after an Italian Renaissance painting. 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 importance.

[Sidenote: Lent by _Duveen Brothers_.]

The painting is faithfully and delicately reproduced and the border is remarkably rich and glowing.

[Sidenote: 46]

BRUSSELS, LATE XVII, EARLY XVIII CENTURY

[Sidenote:

_Wool and Silk._
H. 12 _ft._
W. 17 _ft._ 6 _in._
]

SANCHO IS TOSSED IN A BLANKET: _Sancho, following Don Quixote's example, has refused to pay the innkeeper, as that is against the tradition of knights-errant and their squires. So the clothmakers of Segovia and the needlemakers of Cordova who chance to be there toss him in a blanket, while Don Quixote sits without on his horse cursing lustily._

The piece is one of a set of illustrations of _Don Quixote_ after David Teniers the Younger. The scene has all the casual and convincing informality and boisterous good spirits for which Teniers' paintings are famous. It quite catches the spirit of the romance which it illustrates. The landscape vista is unusually lovely in color.

[Sidenote: Lent by _P. W. French & Company_.]

David Teniers the Younger (1610-1694) was trained principally under
his father, David the Elder, also famous for paintings of peasant
episodes. In 1633 he became Master of the Guild of St. Lukes, and
thereafter was Dean of the Guild and painter to the governor,
Archduke Leopold William, a position which he continued to hold
under the next governor, Don Juan of Austria. In 1663 he helped form
the Antwerp Academy of Fine Arts. He painted innumerable pictures of
peasant scenes, many of which have been rendered in tapestry.

[Sidenote: 47, 48]

BRUSSELS, XVIII CENTURY

[Sidenote:

_Wool and Silk._

No. 47:
H. 11 _ft._
W. 8 _ft._ 9 _in._

No. 48:
H. 11 _ft._
W. 8 _ft._ 9 _in._
]

TWO PEASANT SCENES: _In the first_ (_No._ 47) _a group of peasants has stopped to rest and talk beside a stream that comes tumbling down in broken cascades beneath a high stone bridge. On the hills in the background are farmhouses and the ruins of castles_.

_In the second_ (_No._ 48) _a group of peasants sits and stands about under a tree in a meadow_, _in which cattle and goats wander._ _In the background is a farmhouse._

[Sidenote: Lent by _Duveen Brothers_.]

These tapestries after Teniers are typical of his illustrations of life among the peasants and of his decorative and romantic yet realistic landscapes. They are in weaving and color of the best quality of examples of this type.

_Triumph of Diana_ No. 37
]

_The Niobides_ No. 38
]

[Sidenote: 49]

MORTLAKE, LATE XVII CENTURY

[Sidenote:

_Wool and Silk._
H. 10 _ft._ 4 _in._
W. 7 _ft._ 6 _in._
]

PEASANTS IN A LANDSCAPE: _A group of peasants has stopped by the wayside in a mountainous landscape. Above is a shield bearing the inscription "Iocatur in Parvis sorts ut cum Magna Mercede Fallat."_

[Sidenote: Formerly in the Collection of Sir John Ramsay.]

The cartoon is after Teniers. The Mortlake renditions of these cartoons, which were borrowed from Flanders, have a clarity and sharpness that give them marked distinction. The towering mountain landscape is really impressive.

[Sidenote: Lent by _Frank Partridge, Inc._]

The rendition of the water is unusually realistic without any loss of decorative interest. The translation of water into a woven design is one of the most difficult problems of the craft. It has been given many solutions, of which this is the most naturalistic.

[Sidenote: 50]

BEAUVAIS, LATE XVII CENTURY

[Sidenote:

_Wool and Silk._
H. 10 _ft._
W. 8 _ft._ 8 _in._
]

HERMES AND THE SHEPHERD: _Hermes has taken the Shepherd's pipe, leaving the caduceus on the ground, and is attempting to play. They are in a wood with large flowers in the foreground. In the background there is a glimpse of a hilly landscape and a formal garden with fountains. Wide floral border._

[Sidenote: Lent by _Mrs. James Creelman_.]

The piece is one of a set of five verdures, most of which have hunting scenes. While there is no signature, and there are no records on them, the character of the foliage and of the floreation makes it almost certain that these are of Beauvais manufacture. While in some details they resemble contemporary Aubusson tapestries, the quality of the color is rather different.

They are a particularly deep and quiet type of verdure, an excellent background for fine furnishings. The quality of the greens is uncommonly fine.

[Sidenote: 51]

BEAUVAIS, BEGINNING OF XVIII CENTURY

[Sidenote:

_Wool and Silk._
H. 10 _ft._ 9 _in._
W. 13 _ft._ 3 _in._
]

VERDURE WITH DANCING NYMPHS: _In a wooded dell are four nymphs dancing. Beyond is a glimpse of an open pasture with cows._

[Sidenote: Lent by _Dikran K. Kelekian_.]

The strong and brilliant trees throw into sharp contrast the delicate perfection of the bit of landscape beyond. The nymphs are probably after Noël Coypel. The use of the red to relieve the general tone of green is especially successful.

[Sidenote: 52]

BEAUVAIS, 1685-1711

[Sidenote:

_Wool, Silk, Gold._
H. 15 _ft._ 8 _in._
W. 11 _ft._ 10 _in._
]

THE CONQUEST OF LOUIS THE GREAT: _Louis XIV on horseback with two attendants points with his cane to the siege of a city whose defenses are surrounded by water. In the upper border appear the arms of Count Bruhl of Saxony. The piece is one of a set of seven._

[Sidenote: Formerly in the Lord Amherst Collection.]

[Sidenote: Illustrated: _Badin, La Manufacture de la Tapisserie de Beauvais_, opp. p. 4.]

This is a very rare example from one of the earliest sets woven at Beauvais when the factory was under the direction of Behagle. The cartoon was designed either by Van der Meulen or his greatest pupil, Jean-Baptiste Martin, later called Martin of the Battles, because of a famous series of cartoons which he made for the Beauvais works illustrating the victories of Sweden over Denmark.

The richness of the king's group stands out brilliantly against the clear, cool color and sharp geometrical lines of the background. The city with its canals and buildings is exquisitely rendered, an interesting anticipation of an aeroplane view.

[Sidenote: Lent by _P. W. French & Company_.]

Adam Frans Van der Meulen (1632-1690) was a native of Brussels and
studied there under Peter Snayers, but on recommendation of Le Brun
was invited by Colbert to Paris, where he was pensioned by the king
and given apartments in the Gobelins. In 1673 be was received into
the Academy. He collaborated with Le Brun in making designs for the
Gobelins, notably for the series of _The History of the King_.

[Sidenote: 53-56]

BRUSSELS, BEGINNING XVIII CENTURY

[Sidenote:

_Wool._

No. 53:
H. 10 _ft._ 7 _in._
W. 29 _ft._

No. 54:
H. 10 _ft._ 4 _in._
W. 9 _ft._ 4 _in._

No. 55:
H. 10 _ft._ 3½ _in._
W. 7 _ft._ 2 _in._

No. 56:
H. 10 _ft._ 4½ _in._
W. 7 _ft._ 3 _in._
]

THE OPERATIONS OF THE SIEGE OF LILLE: _Number_ 53 _represents the battle of Wynendael Wood._ _Lord Cobham on horseback with his sword drawn is in the midst of his troops._

_Number_ 54 _shows the burning of Lille_. _The burning city is seen in the background. Soldiers in the foreground are getting bundles of wood to feed the flames._

_Number_ 55 _shows cavaliers foraging_. _Soldiers are carrying bundles of hay for their horses and a lamb lies on the ground ready to be carried off._

_Number_ 56 _shows the poisoning of a spy_. _The cavaliers have just given a glass of poisoned wine to a young woman who is about to drink._

_The borders simulate wooden frames and carry the arms of Lord Cobham._

[Sidenote: Formerly in Stowe House.]

The set was designed by Van der Meulen for Lord Cobham, who served under the Duke of Marlborough and had a brilliant military career. It was woven at the Royal Manufactory of Brussels under the direction of Leyniers, whose signature appears in the border of three pieces. In the fourth piece is the signature ACASTRO, Latin for Van der Beurcht.

Cobham inherited Stowe House in 1697, and these tapestries until recently hung in the dining-room there.

[Sidenote: Lent by _Jacques Seligmann & Company_.]

The set ranks with the strongest and most effective pieces of the period, rich both in illustrative action and in decoration. The weave is technically perfect.

[Sidenote: 57]

GOBELINS, MIDDLE XVIII CENTURY (1747-1751)

[Sidenote:

_Wool and Silk._
H. 11 _ft._ 6 _in._
W. 8 _ft._ 3 _in._
]

JULY FROM THE "MONTHS" OF LUCAS: _From a series of designs of the Months, used in Brussels since the XVth century and attributed without verification to Lucas Van Leyden. The scene represents a falconing party._

_Scene from the History of Cleopatra_ No. 39
]

_Verdure_ No. 41
]

The piece has the last type of border used for the set, the so-called Dresden border, representing a carved and gilded wood frame with corner ornaments surrounded by naturalistic flowers, and with a sign of the Zodiac (Leo) in a cartouche at the top.

[Sidenote: Lent by _P. W. French & Company_.]

The piece was probably woven in the tenth weaving between 1741 and 1751 on the upright looms in the atelier of Cozette.[29]

This is an unusually clear and brilliant example of a famous Gobelins set.

[Sidenote: 58]

GOBELINS, XVII CENTURY

[Sidenote:

_Wool and Silk._
H. 9 _ft._ 4 _in._
W. 6 _ft._ 8 _in._
]

DECEMBER FROM THE "MONTHS" OF LUCAS: _A nobleman greets a peasant woman and her child, while a man and woman carrying a baby wait for him. In the background a castle and people skating on the ice. The piece is incomplete._

[Sidenote: Another example in the Vienna Collection, No. 109.]

This tapestry is from the same set as the preceding, but woven almost a century earlier, and it is interesting to contrast the changes that the change in taste has made in the feeling of the rendition and the color key. During the XVIIIth century the cartoon was refined with slight changes. The hand of the old man, for example, was modified to hold a fruit for the child. The piece probably is from the third or fourth weaving. If so, it was done on the horizontal looms in the atelier of Lefébvre, outside of the official work of the Gobelins.[30]

[Sidenote: Lent by _Wildenstein & Company_.]

This is one of the few really successful renditions of a snow scene in tapestry.

[Sidenote: 59]

BEAUVAIS, LATE XVII, EARLY XVIII CENTURY (1684-1711)

[Sidenote:

_Wool and Silk._
H. 9 _ft._ 8 _in._
W. 16 _ft._ 5 _in._
]

CHINESE GROTESQUE: _Under an arbor clowns conduct a circus. Above the arbor are scrolls, garlands, birds, musical instruments, and other decorations. On a yellow ground._

This is one of a famous series of grotesques by Berain on a yellow ground, woven several times at the Beauvais works when they were under the direction of Behagle.[31]

The entertaining fantasy of the conception, together with the delicate drawing and the beautiful ground color, makes this one of the finest grotesques of the XVIIIth century.

[Sidenote: Lent by _P. W. French & Company_.]

Jean Berain (1638-1711) was appointed in 1674 designer to the king,
and in this position designed the scenery and costumes for the court
ballets. He is famous for his decorations.

[Sidenote: 60, 61]

BEAUVAIS, XVIII CENTURY

[Sidenote:

_Wool and Silk._

No. 60:
H. 15½ _in._
W. 19 _in._

No. 61:
H. 15½ _in._
W. 19 _in._
]

TWO STILL-LIFE PIECES: _In one_ (_No._ 60) _a glass_, _a napkin_, _and some vegetables on a table_. _In the other_ (_No._ 61) _various vegetables about a china dish_.

These panels, after paintings by Chardin, are the only recorded examples of still-life composition in tapestry. From the middle of the XVth century household utensils and various other types of accessories were used to contribute richness of ornamentation to scenes, and during the Baroque period embossed metals and lavish carvings became especially important in creating a luxurious effect, but not until tapestry was thought of as a form of painting was a purely still-life subject attempted. All still-life designs depend so much on contrasted weights, and especially on textures, that they are particularly difficult to translate into a medium which, like tapestry, renders primarily silhouettes and which has such a decided texture of its own. But the extraordinary skill of the XVIIIth-century French weavers was equal even to that problem. 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 decorations.

[Sidenote: Lent by _Maison Jamarin, Paris_.]

Jean Siméon Chardin (1699-1779) studied under Noël Coypel and
assisted Jean Baptiste Van Loo in restoring one of the galleries of
Fontainebleau. He was admitted to the Academy in 1728. His early
work was devoted to still-life subjects principally, his later to
peasant scenes, in which there are often fine incidental still lifes.

[Sidenote: 62]

AUBUSSON, MIDDLE XVIII CENTURY

[Sidenote:

_Wool and Silk._
H. 9 _ft._ 8 _in._
W. 10 _ft._ 9 _in._
]

THE PRIEST AND CARDENIO MEET DOROTHY: _The priest and the barber while looking for Don Quixote come across Cardenio. While Cardenio is telling them the sad story of how his love, Lucinda, has been stolen from him by the treachery of Don Fernando they hear someone lamenting. Following the sound of the voice, they find Dorothy disguised as a shepherd-boy bathing her feet in a stream. She is on her way to seek Don Fernando, who is her pledged husband and who has deserted her for Lucinda. In the background Don Quixote, exhausted and starved from his wanderings, lies on the ground, while the faithful Sancho pleads with him to return to Toboso._

_The border simulates a carved frame. On the lower selvage is the signature M. R. DAUBUSSON. MAGE. PICON._

The piece is one of a series of illustrations by Coypel, originally designed for the Gobelins, and was engraved and used in many editions of the romance both in France and Spain. Several looms made tapestries after the engravings, including those of Santa Barbara in Madrid.

The signature is the mark of the royal manufacture of Aubusson, and of Mage, a tapestry merchant in Paris in 1746, and Picon, dyer to the king from 1748 to 1756. The piece was evidently made in the royal works of Aubusson to the order of the dealer Mage under the supervision of Picon, who, from his position, was evidently one of the most important members of the staff there.

_Verdure with Dancing Nymphs_ No. 51
]

_The Conquest of Louis The Great_ No. 52
]

The piece shows Aubusson work at its richest and finest. The foliage of the trees with every leaf shown and broken up into small spots of changing color is very typical of Aubusson, and quite different from the manner of the Flemish shops (cf. No. 55). The colors are remarkably fine.

[Sidenote: Lent by _P. W. French & Company_.]

Charles Antoine Coypel (1694-1752) entered the Academy in 1715, and
the next year made a series of twenty-eight designs illustrating
_Don Quixote_ for the Gobelins. A second important series which he
designed for the Gobelins illustrated scenes from the theatre. He
was a favorite painter of Queen Marie Leczinska. He wrote several
comic dramas and had an interest in an understanding of the theatre
which is reflected in his tapestry designs, which are conceived
always as a theatrical scene in a stage setting, with actors making
the proper expressive gestures.

[Sidenote: 63]

PARIS, XVIII CENTURY

[Sidenote:

_Wool and Silk._

Oval;
H. 28 _in._
W. 23 _in._
]

BACCHANTE: _A young bacchante wearing a tigerskin and holding Pan's pipes. In an oval panel._

This panel is after a portrait by Coypel. Though it does not appear on the official registers of the Gobelins, the technique would indicate that it was probably by a Gobelins weaver, who quite often worked outside of the official orders.

[Sidenote: Lent by _Jacques Seligmann & Company_.]

The delicate execution reproduces faithfully the piquant charm of the painting; even the most delicate gradations of tones are exactly reproduced.

[Sidenote: 64.]

GOBELINS, XVIII CENTURY

[Sidenote:

_Wool and Silk._
H. 25 _in._
W. 21 _in._
]

PORTRAIT OF LOUIS XV: _This portrait, after a painting by Van Loo made for the Gobelins in_ 1760, _is one of a series of the royal family. It is in the original frame_.

[Sidenote: Illustrated: _Böttiger, Svenska Statins Samling_, vol. 2, pl. XLI; _Fénaille, Etat général des Tapisseries de la Manufacture des Gobelins, Dix-huitième Siècle_, 2me Partie, p. 311; as portrait of Louis XVI, in _Migeon, Les Arts de Tissu_, p. 335.]

While tapestry is not an appropriate medium for portraiture, a portrait is the supreme test of the skill of the weaver. In this piece the effect of the painting is reproduced with remarkable fidelity. The warp is vertical.

[Sidenote: Lent by _P. W. French & Company_.]

The technical difficulty was the greater because almost the entire piece was woven in wool, the proper material for tapestry, silk being relied on only for a few high lights. As a portrait it has directness and conviction, carrying the essential dignity of royalty. The XVIIIth century, which first undertook to weave tapestry portraits, produced a kind of portrait that was especially ill-adapted to this material; for the likenesses depended primarily on the delicate modeling produced by a very sensitively differentiated scale of values and scarcely at all on lines. Even in Gothic tapestries there are many heads that are striking portraits, but these are entirely graphic in character and so fitted for tapestry. In rendering this portrait the weavers had literally to paint with the shuttle.

Carle Van Loo (1705-1756) studied in Rome under Luti and Le Gros. In
his youth he painted scenery for the opera with Boucher. In 1737 he
was admitted to the Academy, and in 1762 made first painter to the
king.

[Sidenote: 65]

GOBELINS, FIRST HALF XVIII CENTURY

[Sidenote:

_Wool._
H. 13 _ft._ 3 _in._
W. 8 _ft._ 3 _in._
]

[Sidenote: Another rendering in the Vienna Collection, No. 253; another in the Musée Impériale des Ecuries, Petrograd, No. 118.]

THE INDIAN HUNTER: _This tapestry is one of a set of eight illustrating the New India after designs by François Desportes. The set was first woven in 1687._ _This piece has the first type of border used with the series_, _bearing the arms of the king_, _which means that it was woven before_ 1768 _under either Cozette or Neilson_.[32]

The design is typical of the romantic primitivism that Rousseau formulated in his conception of the Noble Savage. The accuracy of detail in the Indian basket is interesting and rather unexpected.

[Sidenote: Lent by _Demotte_.]

François Desportes (1661-1743) studied under Bernaert, a pupil of
Snyders. He entered the Academy in 1699 and was made painter to the
king. He is famous for his paintings of animals and hunting scenes.

[Sidenote: 66]

BEAUVAIS, XVIII CENTURY (1777)

[Sidenote:

_Wool._
H. 11 _ft._ 1 _in._
W. 21 _ft._ 3 _in._
]

THE THEFT OF THE TRUNK: _A group of gypsies surround a traveler's carriage, and while some tell the lady's fortune and receive alms others attempt to steal a trunk from the baggage-rack behind._

[Sidenote: Formerly in Collection of Count Polovzoff, Petrograd. Another example in the Swedish Royal Collection. Illustrated: _Böttiger, Svenska Statins Samling_, vol. 3, pl. LXVI.]

The tapestry is one of the series _Les Bohémiens_ by François Casanova, and was woven in Beauvais when the factory was under the direction of André Charlemagne Charron, whose initials it bears in signature. According to the inventories, the series has been woven only twice--once in 1777 for the king, and again in 1799.[33]

The vividness of the minor episodes and the vivacity of characterization of even the lesser actors make this a most interesting tapestry. The weaving is done with exquisite skill and the color is unusually fresh and charming.

[Sidenote: Lent by _Jacques Seligmann & Company_.]

François Casanova (1730-1805) went to Italy in 1727 where he studied
under Guardi and Francesco Simonini. He returned to France and later
studied under Parocel. In 1763 he was received into the Academy and
exhibited in the salons until 1783.

[Sidenote: 67]

BEAUVAIS, XVIII CENTURY (1735-1740)

[Sidenote:

_Wool and Silk._
H. 11 _ft._ 9 _in._
W. 14 _ft._ 6 _in._
]

THE ARMS OF FRANCE AND NAVARRE: _Two angels on clouds support the coat of arms before an ermine drape against a ground of fleur-de-lis on blue._

The angels are after Boucher, the only coat of arms in tapestry known to which Boucher has contributed. It is evidently one of several fleur-de-lis pieces listed in the accounts of Beauvais between 1735 and 1740 and may be the one made for the Parliament of Rouen in the latter year.[34]

It is an unusually rich and interesting armorial, the angels with their characteristic Boucher grace adding great beauty to the formal setting.

[Sidenote: Lent by _P. W. French & Company_.]

François Boucher (1703-1770) studied with Lemoyne and during that
time painted scenery for the Opera, a work to which he returned in
the height of his career (1737-44). In 1734 he became Academician.
In 1735 he was appointed head of the Gobelins by Marigny. In 1765
he was made first painter to the king and Director of the Academy.
In the years between 1740 and 1755 he painted many cartoons for the
Beauvais tapestry works. Among his most famous tapestry suites are
the _Loves of the Gods_, the _Chinese Hangings_, and the _Italian
Fêtes_.

[Sidenote: 68]

GOBELINS, XVIII CENTURY (1767)

[Sidenote:

_Wool and Silk._
H. 4 _ft._ 11 _in._
W. 6 _ft._ 6 _in._
]

THE FORTUNE-TELLER: _Two peasant girls seated on the ground by a fountain are having their fortune told by another girl. A naked baby clings to her skirts. From one side a goat looks on inquisitively. It is signed F. Boucher and dated._

[Sidenote: Illustrated: _Fénaille, L'Etat général des Tapisseries de la Manufacture des Gobelins, Dix-huitième Siècle_, 2me Partie, p. 238.]

This is one of a series of cartoons in small size made by Boucher for the Gobelins while he was director. They were very popular and have been woven a number of times.

The piece shows how remarkably the delicate gradations of tone, on which Boucher's essential quality depended, could be translated into the weave by the extraordinarily skillful craftsmen of the Gobelins.

[Sidenote: Lent by _Duveen Brothers_. ]

As in all of Boucher's cartoons, the subject is only an occasion for his own charming decorative mannerisms. As a rendition of peasant life, it is interesting to contrast this cartoon with the honest literalness of Teniers (cf. Nos. 47-49).

[Sidenote: 69]

AUBUSSON, LATE XVIII CENTURY

[Sidenote:

_Wool and Silk._
H. 9 _ft._ 10 _in._
W. 7 _ft._ 5 _in._
]

BAIGNEUSE: _A bather attended by amorini is about to step into a woodland stream. In an oval frame surrounded by an encadrement of garlands upheld by amorini and satin drapes in the manner of Huet, on a gray ground._

The central panel is after Fragonard, a subject that he repeated with many variations. The piece is typical of the Aubusson work, delicate in color with the decorative effect depending largely on the flowery encadrement.

[Sidenote: Lent by _P. W. French & Company_.]

Jean Honoré Fragonard (1732-1806) studied under Boucher, Greuze, and
Chardin, and is usually considered the successor of Boucher. In 1752
he was given Grand Prize for Painting. He was a favorite painter of
Madame Du Barry, for whom he did a great deal of work.

[Sidenote: 70]

AUBUSSON, LATE XVIII CENTURY

[Sidenote:

_Wool and Silk._
H. 8 _ft._ 10 _in._
W. 6 _ft._ 6 _in._
]

AU BORD DU MER: _In an oval panel are peasants landing from a rowboat. In the harbor under a cliff is a sailing vessel. In an encadrement of red and blue flowers and ribbons on a gray ground._

[Sidenote: Formerly in the Vaffrin Collection, Bordeaux.]

The central panel is after Vernet, who was particularly famous for his port scenes. The encadrement is unusually rich and delicate.

[Sidenote: Lent by _Wildenstein & Company_.]

Claude-Joseph Vernet (1714-1789) first studied under his father as
a decorative painter of wall and furniture panels. Afterward he
studied under Bernardino Fergiori in Rome to be a marine painter. In
1735 he was received by the Academy. His most famous paintings, of
the seaports of France, are in the Louvre.

[Sidenote: 71]

AUBUSSON, XVIII CENTURY

[Sidenote:

_Wool._
H. 9 _ft._
W. 5 _ft._
]

CHINESE GROTESQUE: _A Chinaman, fantastically dressed, stands between two tall tropical trees. On a pale-blue ground._

[Sidenote: Lent by _A. J. Halow_.]

The piece is a delightful example of the taste for _chinoiseries_ which the Pompadour fostered for the benefit of the French East India Company, in which she was interested, and which taste was eagerly followed by the frivolous and bored French court, always seeking novelty.

[Sidenote: 72]

AUBUSSON, XVIII CENTURY

[Sidenote:

_Wool and Silk._
H. 4 _ft._ 3 _in._
W. 3 _ft._ 9 _in._
]

ARMORIAL: _On a red ground, two angels support a shield. Border of scrolls._

This crisp and delicate little armorial is a fine example of the best quality of work done at Aubusson in the late XVIIIth century. The clear drawing on the deep-red background makes a vivid piece of decoration.

[Sidenote: Exhibited: _Detroit Museum of Fine Arts_, 1919.]

[Sidenote: Lent by _Dikran K. Kelekian_.]

The rendition of a coat of arms in tapestry is difficult, because the decorative value of heraldic devices depends almost entirely on the beauty of the line-drawing, and tapestry, because of the character of the weave and the surface, is not a good medium for clean lines. In the earlier periods, therefore, the shield was usually made incidental to a design better adapted to tapestry (cf. No. 9). It was only well into the XVIIIth century that the bearings could be woven delicately enough to let them stand alone.

[Sidenote: 73]

IMPERIAL RUSSIAN TAPESTRY WORKS, ST. PETERSBURG, 1811

[Sidenote:

_Wool and Silk._
H. 9 _ft._ 4 _in._
W. 6 _ft._ 7 _in._
]

CATHERINE THE GREAT: _Catherine stands in her robes of state holding the sceptre while the Imperial crown rests on a stool beside her. On the wall is the Russian motto, NACHATOYE SOVERCHAYET ("What is begun is accomplished"). It is signed and dated._

[Sidenote: Exhibited: _Metropolitan Museum_, 1912.]

For sheer technical skill the rendition of this portrait is unsurpassable. The representation of textures is remarkable, quite on a par with the cleverest paintings of the period.

_The Poisoning of a Spy_ No. 56
]

_The Arms of France and Navarre_ No. 67
]

[Sidenote: Illustrated: _Hunter, Tapestries_, pl. 229; also, _Candee, Tapestry Book_, opp. p. 133,--but wrongly attributed to the Gobelins.]

[Sidenote: Lent by _P. W. French & Company_.]

It is, in truth, an absolutely perfect reproduction of a painting--a painting, moreover, that from the character of all the accessories is particularly difficult to render in wool; and while it is by no means the business of tapestry to imitate painting, it is nevertheless an interesting display of remarkable virtuosity. The personal power of the forceful old Empress is strongly presented. From every aspect this is one of the greatest portraits in a woven medium. In general color tone the piece has remained faithful to the character of tapestry, sustaining the rich quality that the solid texture demands. In spite, also, of the need for many delicately graded values to render the stuffs and the modeling, the weavers have kept the color in large enough masses to be broadly decorative.

[Sidenote: 74]

MADRID, LATE XVIII CENTURY

[Sidenote:

_Wool and Silk._
H. 5 _ft._
W. 8 _ft._
]

THE CARD PLAYERS: _A group of men and women playing at cards sit about a table on which is thrown a rich brocade. One of the company sits to one side playing a lute._

[Sidenote: Lent by _Duveen Brothers_.]

This piece is one of the rather uncommon examples of the work of the Santa Barbara looms of Madrid. The skill of the weavers is remarkable in reproducing the heavy modeling of the deep shadows and the delicate modulations of the faces. For the perfect rendition of the effect of a painting in tapestry it cannot be excelled.

ADDENDA

_The tapestries entered under this heading were received
too late to be entered in their proper order
in the body of the catalogue._

[Sidenote: 75]

BRUSSELS, BEGINNING OF XVI CENTURY

[Sidenote:

_Wool, Silk, Gold._
H. 9 _ft._ 1 _in._
W. 7 _ft._ 8 _in._
]

THE RESURRECTION: _The risen Christ discovered by Peter. Upper left, the Agony in Gethsemane; upper right, Christ appearing to Mary in the garden. In the background, the angel appearing to the three women. Border of fruits and flowers, grapes, roses, and iris interspersed with finches and a paroquet._

This tapestry, the last of a series illustrating the _Passion_ of Our Lord, was designed in the studio of Bernard Van Orley, and may be the work of Van Orley himself, 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 himself. The weaving, unsurpassable in technical perfection, may be the work of the Pannemaker looms. 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 family.

[Sidenote: Formerly in the Collection of the Duc d'Albe.]

The weavers at this period had attained complete mastery of the shuttle. This absolute technical control made possible the exact translation into tapestry of the intricate Renaissance patterns. The finish and elegance of the goldsmith's art which characterized so much of Renaissance design is perfectly rendered.

However, while the weaving was fitted to the requirements of the Renaissance at this time, it had not yet sacrificed any of its qualities as tapestry. Nor did the designs of Bernard Van Orley force the weavers out of their proper limitations. For though he was Italian trained and saturated with Renaissance influences, he was still close to the technical problems of the weaver's art and he adjusted the new manner in painting to them. So this piece is rich in jewel-like detail that enriches without crowding the whole surface. The drawing of the flowers and the birds is exquisite. The figures also, in spite of their dramatic force, keep the aloof poise that decorative art demands. Finally, by means of a dispersion of substantial tones, the brilliant suffusion of golden light which the Renaissance loved is fully achieved.

Such a scene as this is, in short, one of the last great monuments of the perfection of Gothic tapestry, reinspired by the new insights of the Renaissance before the ostentation and mistaken conventions of Raphael misguided the entire art.

[Sidenote: Lent by _Mrs. William H. Crocker_.]

Nor is it merely a technical triumph. It is the direct expression of a profound religious emotion which shines through the material beauty, elevates it above earthly things, and sets it apart in glory. Easter has scarce had a lovelier celebration.

[Sidenote: 76]

BRUSSELS, XVI CENTURY

[Sidenote:

_Wool and Silk._
H. 15 _ft._
W. 19 _ft._
]

THE TRIUMPH OF WISDOM: _Wisdom with her two herons rides in a chariot drawn by mythological beasts. In the upper right are Perseus and Pegasus. Before the chariot are Ahasuerus, Abigail, David, and Saba. Cassandra walks beside, while Titus and his soldiers, Rachel, and Judith with the head of Holofernes bring up the rear. In the upper left Prometheus, in the lower Cadmus, contending with the dragons._

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 Petrarch. The cartoons are evidently the product of the studio of Maître Philippe (cf. Nos. 19, 20), for the heads of several of the minor characters are regular models, often repeated in his work. The cartoons were painted and also executed before 1523, because in that year Henry VII bought eight of the set, four of which are still at Hampton Court. This piece, however, was woven in the middle of the century, as is shown by the character of the heavy floral border. In the selvage is the Brussels city mark and the mark of the Brussels weaver, Leo Van den Hecke.

[Sidenote: Lent by _Mrs. William H. Crocker_.]

The design is full of the oblique symbolism that the period loved. The allusions are drawn with equal interest from classic tradition, secular history, and Christian legend. The entire past has been laid under tribute with magnificent disregard of historical, social, and religious congruity. Such an unclassified assemblage of exciting personalities might even cause confusion in the Day of Judgment. It is typical of the Renaissance catholicity, the Renaissance eagerness to assimilate all knowledge and be always as impressive as possible. Yet the figures still have some of the stately restraint of the Gothic, and the dispersion of the points of interest, so that the whole textile is equally covered, is a remainder from the Gothic taste. Truly transitional, it represents the final stage of Maître Philippe's development.

[Sidenote: 77]

FLANDERS, ENGHIEN (?), XVI CENTURY

[Sidenote:

_Wool and Silk._
H. 5 _ft._
W. 6 _ft._ 11 _in._
]

VERDURE: _Scrolling leaves in rich blue-green with red and yellow flowers and fruits on a very deep-blue ground. A wide border of clusters of flowers and fruits._

[Sidenote: Lent by _Mrs. William H. Crocker_.]

This is a notably brilliant example of the characteristic Renaissance verdure. The drawing is both accurate and vivacious, the colors pure, deep, and brilliant, the wool of extraordinary firmness and lustre, while the weave is remarkably close for the type. Tapestries of this class are so often perfunctory in conception and mechanical in execution that we need a piece of this clarity, strength, and perfect finish to show how splendid are the possibilities inherent in the simple design.

[Sidenote: 78]

FLANDERS, LATE XVII CENTURY

[Sidenote:

_Wool and Silk._
H. 11 _ft._ 8 _in._
W. 15 _ft._
]

THE CABRIOLE: _A young knight shows his skill in jumping his horse. At the left a page leads in a sumptuously caparisoned horse. At the right a large fountain is seen through the trees, and in the background is a formal garden with fountains._

[Sidenote: Lent by _Mrs. William H. Crocker_.]

Such very decorative verdures, half realistic landscapes, were among the finest products of the late XVIIth and XVIIIth centuries. Audenarde looms wove many of the best pieces of the type, and this piece probably came from that district. The fountain is rendered with delightful detail and animation, and the drawing of flowing waters, a trying problem for tapestry, is managed with admirable dexterity.

[Sidenote: 79]

ANTWERP, LATE XVII CENTURY

[Sidenote:

_Wool and Silk._
H. 32 _in._
W. 24 _in._
]

SCENES FROM THE CHILDHOOD OF CHRIST: _On a black ground strewn with flowers, five oval panels framed with wreaths: the Annunciation; the Nativity; the Adoration of the Magi; the Circumcision; the Flight into Egypt._

[Sidenote: Illustrated: _Schmitz, Bild-Teppiche_, p. 265.]

[Sidenote: Lent by _Mrs. William H. Crocker_.]

This very unusual tapestry was the work of Balthasar Bosmanns, one of the greatest weavers of Antwerp. The realistically drawn yet richly decorative flowers show the influence of the school of flower painters of which Jan Brueghel was the most famous. The landscape in the _Adoration_ and the _Flight into Egypt_ are rendered with exquisite delicacy. The effect of the panels in such light, fresh, almost pastel colors against the black ground is a daring and striking decorative experiment. Another rendering of the same cartoon is in the Kunstgewerbe Museum, Berlin.

FOOTNOTES:

[Footnote 1: _Schmitz, Bild-Teppiche_, p. 186.]

[Footnote 2: _Lindner, Der Breslauer Froissart_.]

[Footnote 3: _Amberger Catalogue._]

[Footnote 4: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room_, pp. 23, 24E.]

[Footnote 5: _Marquet de Vasselot, Les Emaux Limousin_, No. 8, pl. II.]

[Footnote 6: _Op. cit._ 29, pl. X.]

[Footnote 7: _Op. cit._ 49, pl. XVI.]

[Footnote 8: _Order for Payment of Philip the Good_, _April_ 4, 1455, _quoted in Van den Gheyn_, _Chroniques et Conquêtes de Charlemagne_, _by le Tavernier_, _p._ 11.]

[Footnote 9: _See Burlington Magazine_, vol. 20, pp. 247, 309. _D. T. B. Wood, Credo Tapestries._]

[Footnote 10: _See Barbier de Montault's inventory in Annales Archéologiques_, tome 15, pp. 232, 296.]

[Footnote 11: _Van Kalcken, Peintures ecclésiastiques du Moyen Age. Notes by Dr. Jan Six._]

[Footnote 12: _Op. cit._ p. 1.]

[Footnote 13: _Op. cit._ p. 3.]

[Footnote 14: _Op. cit._ p. 15.]

[Footnote 15: _Burlington Magazine_, vol. 20, p. 220. _D. T. B. Wood, Tapestries of the Seven Deadly Sins._]

[Footnote 16: _Catalogue of the Collection of Martin le Roy_, vol. 4.]

[Footnote 17: _Destrée, Tapisseries et Sculptures bruxelloises_, p. 8.]

[Footnote 18: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room._]

[Footnote 19: _Bodenhauser, Gerard David_, No. 10.]

[Footnote 20: _Op. cit._ No. 25a.]

[Footnote 21: _Destrée, Hugo Van der Goes_, opp. p. 48.]

[Footnote 22: _Op. cit._, opp. p. 32.]

[Footnote 23: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room_, p. 28.]

[Footnote 24: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room_, p. 27. Also, _Destrée and Van den Ven, Les Tapisseries_, No. 17.]

[Footnote 25: For illustration, see _Fsoulke Collection_, opp. p. 49.]