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diff --git a/26151-h/26151-h.htm b/26151-h/26151-h.htm new file mode 100644 index 0000000..91d8beb --- /dev/null +++ b/26151-h/26151-h.htm @@ -0,0 +1,12875 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of The Tapestry Book, by Helen Churchill Candee. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body {margin-left: 10%; margin-right: 10%;} + + a {text-decoration: none;} + + img {border: none;} + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-style: normal; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .bbox {border: solid 2px; padding: 1em;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .amends {margin-left: 5%; margin-right: 10%;} + + .dropcap {float: left; padding-right: 3px; font-size: 350%; line-height: 83%;} + /* Plain dropcaps */ + + .caption {font-weight: bold; text-align: center;} + .incaption {font-style: normal; margin-left: 20%; margin-right: 20%; text-align: center;} /* for sub-captions */ + + .figcenter {margin: auto; text-align: center; padding-top: 3em;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding-top: 3em; text-align: center;} + + .link {font-weight: bold; font-size: small;} /* for links to larger images */ + + .footnotes {border: dashed 1px; margin-top: 2em;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: .2em; font-size: .8em; text-decoration: none;} + + .tdl {text-align: left; vertical-align: bottom;} /* left align cell */ + .tdlp {text-align: left; padding-top: 1em; vertical-align: bottom;} /* left align cell */ + .tdlin {text-align: left; padding-left: 1em; vertical-align: bottom;} /* left align cell */ + .tdrt {text-align: right; vertical-align: bottom;} /* right align cell */ + .tdrb {text-align: right; vertical-align: bottom;} /* right align cell */ + .tdlsc {text-align: left; vertical-align: bottom; font-variant: small-caps;} /* left align cell small caps font */ + .tdc {text-align: center; vertical-align: bottom; padding-left: 2em; padding-right: 2em;} + .tdctx {text-align: center; vertical-align: bottom;} + + .sig {text-align: right; margin-right: 4em;} /* address of letter aligned right */ + + .padtop {padding-top: 3em;} + + .index {padding-top: 2em;} /* spacing for individual letters */ + .in1 {margin-left: 1em;} /* first level indent for index */ + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Tapestry Book, by Helen Churchill Candee + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Tapestry Book + +Author: Helen Churchill Candee + +Release Date: July 30, 2008 [EBook #26151] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE TAPESTRY BOOK *** + + + + +Produced by Eileen Gormly, Alicia Williams (who did the +scanning, image prep, and OCR), Sam W. and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + + +<div class="figcenter" style="width: 379px;"> +<img src="images/tapestry001.jpg" width="379" height="600" +alt="Cover of the book" /> +</div> + + + +<h1 class="padtop"><span style="font-size: large;">THE</span><br /> +TAPESTRY<br /> +BOOK</h1> + + +<p class="center" style="padding-top: 2em;"><b>BY</b></p> + +<h2>HELEN CHURCHILL CANDEE</h2> +<p class="center smcap">Author of “Decorative Styles and Periods”</p> + + +<p class="center padtop"><i>WITH FOUR PLATES IN COLOUR AND NINETY-NINE<br /> +ILLUSTRATIONS IN BLACK-AND-WHITE</i></p> + + +<div class="figcenter" style="width: 158px;"> +<img src="images/tapestry002.png" width="158" height="200" +alt="Decorative logo" /> +</div> + + +<p class="center padtop">NEW YORK<br /> +FREDERICK A. STOKES COMPANY<br /> +MCMXII</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="HERSE_AND_MERCURY" id="HERSE_AND_MERCURY"></a> +<img src="images/tapestry003th.jpg" width="400" height="327" alt="" /> +<span class="link"><a href="images/tapestry003.jpg">See larger image</a></span> +</div> + +<p class="caption">HERSE AND MERCURY</p> + +<p class="incaption">Renaissance Brussels Tapestry, Italian Cartoon. W. de Pannemaker, weaver.<br /> +Collection of George Blumenthal, Esq., New York</p> + + + + +<p class="center padtop"><i>Copyright, 1912, by</i><br /> +<span class="smcap">Frederick A. Stokes Company</span><br /> +<br /> +———<br /> +<br /> +<i>All rights reserved, including that of translation into foreign<br /> +languages, including the Scandinavian</i></p> + +<div class="figleft" style="width: 200px;"> +<img src="images/tapestry004.png" width="200" height="56" +alt="October, 1912" /> +</div> + + + + + +<hr style="width: 65%;" /> + +<p class="center padding">TO<br /> +TWO CERTAIN BYZANTINE MADONNAS<br /> +AND THEIR OWNERS</p> + + +<hr style="width: 65%;" /> + +<h2>AN ACKNOWLEDGMENT</h2> + + +<p>Modesty so dominates the staff in art museums that I +am requested not to make mention of those officers who +have helped me with friendly courtesy and efficiency. To +the officers and assistants at the Metropolitan Museum +of Art in New York, the Art Institute of Chicago, the +Museum of Fine Arts in Boston, and the Print Department +in the Library of Congress in Washington, indebtedness +is here publicly acknowledged with the regret that +I may not speak of individuals. Photographs of tapestries +are credited to Messrs. A. Giraudon, Paris; J. Laurent, +Madrid; Alinari, Florence; Wm. Baumgarten, and Albert +Herter, New York, and to those private collectors whose +names are mentioned on the plates.</p> + +<p class="sig">H. C. C.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p> + +<h2>CONTENTS</h2> + +<table border="0" cellpadding="2" cellspacing="0" width="60%" summary="Table of contents"> + <tr> + <td class="tdl" colspan="2">CHAPTER</td> + <td class="tdrt">PAGE</td> + </tr> + <tr> + <td class="tdrt">I</td> + <td class="tdlsc">A Foreword</td> + <td class="tdrb"><a href="#Page_1">1</a></td> + </tr> + <tr> + <td class="tdrt">II</td> + <td class="tdlsc">Antiquity</td> + <td class="tdrb"><a href="#Page_15">15</a></td> + </tr> + <tr> + <td class="tdrt">III</td> + <td class="tdlsc">Modern Awakening</td> + <td class="tdrb"><a href="#Page_25">25</a></td> + </tr> + <tr> + <td class="tdrt">IV</td> + <td class="tdlsc">France and Flanders, 15th Century</td> + <td class="tdrb"><a href="#Page_32">32</a></td> + </tr> + <tr> + <td class="tdrt">V</td> + <td class="tdlsc">High Gothic</td> + <td class="tdrb"><a href="#Page_51">51</a></td> + </tr> + <tr> + <td class="tdrt">VI</td> + <td class="tdlsc">Renaissance Influence</td> + <td class="tdrb"><a href="#Page_64">64</a></td> + </tr> + <tr> + <td class="tdrt">VII</td> + <td class="tdlsc">Renaissance to Rubens</td> + <td class="tdrb"><a href="#Page_72">72</a></td> + </tr> + <tr> + <td class="tdrt">VIII</td> + <td class="tdlsc">Italy, 15th through 17th Centuries</td> + <td class="tdrb"><a href="#Page_81">81</a></td> + </tr> + <tr> + <td class="tdrt">IX</td> + <td class="tdlsc">France</td> + <td class="tdrb"><a href="#Page_90">90</a></td> + </tr> + <tr> + <td class="tdrt">X</td> + <td class="tdlsc">The Gobelins Factory</td> + <td class="tdrb"><a href="#Page_105">105</a></td> + </tr> + <tr> + <td class="tdrt">XI</td> + <td class="tdlsc">The Gobelins Factory (<i>Continued</i>)</td> + <td class="tdrb"><a href="#Page_117">117</a></td> + </tr> + <tr> + <td class="tdrt">XII</td> + <td class="tdlsc">The Gobelins Factory (<i>Continued</i>)</td> + <td class="tdrb"><a href="#Page_126">126</a></td> + </tr> + <tr> + <td class="tdrt">XIII</td> + <td class="tdlsc">The Gobelins Factory (<i>Continued</i>)</td> + <td class="tdrb"><a href="#Page_135">135</a></td> + </tr> + <tr> + <td class="tdrt">XIV</td> + <td class="tdlsc">Beauvais</td> + <td class="tdrb"><a href="#Page_145">145</a></td> + </tr> + <tr> + <td class="tdrt">XV</td> + <td class="tdlsc">Aubusson</td> + <td class="tdrb"><a href="#Page_154">154</a></td> + </tr> + <tr> + <td class="tdrt">XVI</td> + <td class="tdlsc">Savonnerie</td> + <td class="tdrb"><a href="#Page_159">159</a></td> + </tr> + <tr> + <td class="tdrt">XVII</td> + <td class="tdlsc">Mortlake</td> + <td class="tdrb"><a href="#Page_163">163</a></td> + </tr> + <tr> + <td class="tdrt">XVIII</td> + <td class="tdlsc">Identifications</td> + <td class="tdrb"><a href="#Page_172">172</a></td> + </tr> + <tr> + <td class="tdrt">XIX</td> + <td class="tdlsc">Identifications (<i>Continued</i>)</td> + <td class="tdrb"><a href="#Page_186">186</a></td> + </tr> + <tr> + <td class="tdrt">XX</td> + <td class="tdlsc">Borders</td> + <td class="tdrb"><a href="#Page_201">201</a></td> + </tr> + <tr> + <td class="tdrt">XXI</td> + <td class="tdlsc">Tapestry Marks</td> + <td class="tdrb"><a href="#Page_216">216</a></td> + </tr> + <tr> + <td class="tdrt">XXII</td> + <td class="tdlsc">How It Is Made</td> + <td class="tdrb"><a href="#Page_226">226</a></td> + </tr> + <tr> + <td class="tdrt">XXIII</td> + <td class="tdlsc">The Bayeux Tapestry</td> + <td class="tdrb"><a href="#Page_241">241</a></td> + </tr> + <tr> + <td class="tdrt">XXIV</td> + <td class="tdlsc">To-day</td> + <td class="tdrb"><a href="#Page_249">249</a></td> + </tr> + <tr> + <td class="tdlsc" colspan="2">Best Periods and Their Dates</td> + <td class="tdrb"><a href="#Page_265">265</a></td> + </tr> + <tr> + <td class="tdlsc" colspan="2">Index</td> + <td class="tdrb"><a href="#Page_267">267</a></td> + </tr> +</table> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p> + +<h2>ILLUSTRATIONS</h2> + +<table border="0" cellpadding="2" cellspacing="0" width="60%" summary="List of illustrations"> + <tr> + <td class="tdlp">HERSE AND MERCURY (<i>Coloured Plate</i>)</td> + <td class="tdrb"><a href="#HERSE_AND_MERCURY"><i>Frontispiece</i></a></td> + </tr> + <tr> + <td class="tdlin">Renaissance Brussels Tapestry, Italian Cartoon. W. de Pannemaker, weaver. Collection of George Blumenthal, Esq., New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdl"> </td> + <td class="tdrb"><small>FACING PAGE</small></td> + </tr> + <tr> + <td class="tdlp">CHINESE TAPESTRY</td> + <td class="tdrb"><a href="#CHINESE_TAPESTRY">14</a></td> + </tr> + <tr> + <td class="tdlin">Chien Lung Period</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">COPTIC TAPESTRY</td> + <td class="tdrb"><a href="#COPTIC_TAPESTRY01">15</a></td> + </tr> + <tr> + <td class="tdlin">About 300 A. D.</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">COPTIC TAPESTRY</td> + <td class="tdrb"><a href="#COPTIC_TAPESTRY02">16</a></td> + </tr> + <tr> + <td class="tdlin">Boston Museum of Fine Arts</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">COPTIC TAPESTRY</td> + <td class="tdrb"><a href="#COPTIC_TAPESTRY03">17</a></td> + </tr> + <tr> + <td class="tdlin">Boston Museum of Fine Arts</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">TAPESTRY FOUND IN GRAVES IN PERU</td> + <td class="tdrb"><a href="#PERUVIAN_TAPESTRY">18</a></td> + </tr> + <tr> + <td class="tdlin">Date prior to Sixteenth Century</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE SACRAMENTS (<i>Coloured Plate</i>)</td> + <td class="tdrb"><a href="#THE_SACRAMENTS01">34</a></td> + </tr> + <tr> + <td class="tdlin">Arras Tapestry, about 1430. Metropolitan Museum of Art, New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE SACRAMENTS</td> + <td class="tdrb"><a href="#THE_SACRAMENTS02">38</a></td> + </tr> + <tr> + <td class="tdlin">Arras Tapestry, about 1430</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE SACRAMENTS</td> + <td class="tdrb"><a href="#THE_SACRAMENTS03">39</a></td> + </tr> + <tr> + <td class="tdlin">Arras Tapestry, about 1430</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">FIFTEENTH CENTURY, FRENCH TAPESTRY</td> + <td class="tdrb"><a href="#FRENCH_TAPESTRY">40</a></td> + </tr> + <tr> + <td class="tdlin">Boston Museum of Fine Arts</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE LIFE OF CHRIST</td> + <td class="tdrb"><a href="#LIFE_OF_CHRIST">41</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Tapestry, second half of Fifteenth Century. Boston Museum of Fine Arts</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">LA BAILLÉE DES ROSES</td> + <td class="tdrb"><a href="#LA_BAILLEE_DES_ROSES">42</a></td> + </tr> + <tr> + <td class="tdlin">French Tapestry, about 1450. Metropolitan Museum of Art, New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">FIFTEENTH CENTURY MILLEFLEUR WITH ARMS</td> + <td class="tdrb"><a href="#MILLEFLEUR_WITH_ARMS">43</a></td> + </tr> + <tr> + <td class="tdlin">Cathedral of Troyes</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE LADY AND THE UNICORN</td> + <td class="tdrb"><a href="#LADY_AND_UNICORN01">44</a></td> + </tr> + <tr> + <td class="tdlin">French Tapestry, Fifteenth Century. Musée de Cluny, Paris</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE LADY AND THE UNICORN</td> + <td class="tdrb"><a href="#LADY_AND_UNICORN02">45</a></td> + </tr> + <tr> + <td class="tdlin">French Tapestry, Fifteenth Century. Musée de Cluny, Paris</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE SACK OF JERUSALEM (DETAIL)</td> + <td class="tdrb"><a href="#SACK_OF_JERUSALEM">46</a></td> + </tr> + <tr> + <td class="tdlin">Burgundian Tapestry, about 1450. Metropolitan Museum of Art, New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp"><span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg xii]</a></span>SCENES FROM THE LIFE OF CHRIST, WITH ARMORIAL SHIELDS</td> + <td class="tdrb"><a href="#SCENES_FROM_LIFE_OF_CHRIST">48</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Tapestry, Fifteenth Century. Institute of Art, Chicago</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">HISTORY OF THE VIRGIN</td> + <td class="tdrb"><a href="#HISTORY_OF_VIRGIN">49</a></td> + </tr> + <tr> + <td class="tdlin">Angers Cathedral</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">DAVID AND BATHSHEBA</td> + <td class="tdrb"><a href="#DAVID_AND_BATHSHEBA01">50</a></td> + </tr> + <tr> + <td class="tdlin">German Tapestry, about 1450</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">FLEMISH TAPESTRY. ABOUT 1500</td> + <td class="tdrb"><a href="#FLEMISH_TAPESTRY01">51</a></td> + </tr> + <tr> + <td class="tdlin">Collection of Alfred W. Hoyt, Esq.</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">DAVID AND BATHSHEBA</td> + <td class="tdrb"><a href="#DAVID_AND_BATHSHEBA02">52</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Tapestry, late Fifteenth Century</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">HISTORY OF ST. STEPHEN</td> + <td class="tdrb"><a href="#HISTORY_OF_ST_STEPHEN">53</a></td> + </tr> + <tr> + <td class="tdlin">Arras Tapestry, Fifteenth Century</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">VERDURE</td> + <td class="tdrb"><a href="#VERDURE">54</a></td> + </tr> + <tr> + <td class="tdlin">French Gothic Tapestry</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">“ECCE HOMO”</td> + <td class="tdrb"><a href="#ECCE_HOMO">55</a></td> + </tr> + <tr> + <td class="tdlin">Brussels Tapestry, about 1520. Metropolitan Museum of Art, New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">ALLEGORICAL SUBJECT</td> + <td class="tdrb"><a href="#ALLEGORICAL_SUBJECT">56</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Tapestry, about 1500. Collection of Alfred W. Hoyt, Esq.</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">CROSSING THE RED SEA</td> + <td class="tdrb"><a href="#CROSSING_RED_SEA">57</a></td> + </tr> + <tr> + <td class="tdlin">Brussels Tapestry, about 1500. Boston Museum of Fine Arts</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE KINGDOM OF HEAVEN</td> + <td class="tdrb"><a href="#KINGDOM_OF_HEAVEN">58</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Tapestry, about 1510. Collection of J. Pierpont Morgan, Esq., New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">FLEMISH TAPESTRY, END OF FIFTEENTH CENTURY</td> + <td class="tdrb"><a href="#FLEMISH_TAPESTRY02">60</a></td> + </tr> + <tr> + <td class="tdlin">Collection of Martin A. Ryerson, Esq., Chicago. Formerly in the Spitzer Collection</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE HOLY FAMILY</td> + <td class="tdrb"><a href="#HOLY_FAMILY">61</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Tapestry, end of Fifteenth Century. Collection of Martin A. Ryerson, Esq., Chicago. Formerly in the Spitzer Collection</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">CONQUEST OF TUNIS BY CHARLES V (DETAIL)</td> + <td class="tdrb"><a href="#CONQUEST_OF_TUNIS">62</a></td> + </tr> + <tr> + <td class="tdlin">Cartoon by Jan Vermeyen. Woven by Pannemaker. Royal Collection at Madrid</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">DEATH OF ANANIAS.—FROM ACTS OF THE APOSTLES BY RAPHAEL</td> + <td class="tdrb"><a href="#DEATH_OF_ANANIAS">64</a></td> + </tr> + <tr> + <td class="tdlin">From the Palace of Madrid</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE STORY OF REBECCA</td> + <td class="tdrb"><a href="#STORY_OF_REBECCA01">65</a></td> + </tr> + <tr> + <td class="tdlin">Brussels Tapestry, Sixteenth Century. Collection of Arthur Astor Carey, Esq., Boston</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE CREATION</td> + <td class="tdrb"><a href="#THE_CREATION">66</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Tapestry. Italian Cartoon, Sixteenth Century</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE ORIGINAL SIN</td> + <td class="tdrb"><a href="#ORIGINAL_SIN">67</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Tapestry. Italian Cartoon, Sixteenth Century</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp"><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span>MELEAGER AND ATALANTA</td> + <td class="tdrb"><a href="#MELEAGER_AND_ATALANTA">68</a></td> + </tr> + <tr> + <td class="tdlin">Flemish design, second half of Seventeenth Century. Woven in Paris workshops by Charles de Comans</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">PUNIC WAR SERIES</td> + <td class="tdrb"><a href="#PUNIC_WAR_SERIES">69</a></td> + </tr> + <tr> + <td class="tdlin">Brussels Tapestry. Sixteenth Century. Collection of Arthur Astor Carey, Esq., Boston</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">EPISODE IN THE LIFE OF CÆSAR</td> + <td class="tdrb"><a href="#EPISODE_IN_LIFE_OF_CAESAR">70</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Tapestry. Sixteenth Century. Gallery of the Arazzi, Florence</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">WILD BOAR HUNT</td> + <td class="tdrb"><a href="#WILD_BOAR_HUNT">71</a></td> + </tr> + <tr> + <td class="tdlin">Flemish Cartoon and Weaving, Sixteenth Century. Gallery of the Arazzi, Florence</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">VERTUMNUS AND POMONA</td> + <td class="tdrb"><a href="#VERTUMNUS_AND_POMONA01">72</a></td> + </tr> + <tr> + <td class="tdlin">First half of Sixteenth Century. Royal Collection of Madrid</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">VERTUMNUS AND POMONA</td> + <td class="tdrb"><a href="#VERTUMNUS_AND_POMONA02">73</a></td> + </tr> + <tr> + <td class="tdlin">First half of Sixteenth Century. Royal Collection of Madrid</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">VERTUMNUS AND POMONA</td> + <td class="tdrb"><a href="#VERTUMNUS_AND_POMONA03">74</a></td> + </tr> + <tr> + <td class="tdlin">First half of Sixteenth Century. Royal Collection of Madrid</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">VERTUMNUS AND POMONA</td> + <td class="tdrb"><a href="#VERTUMNUS_AND_POMONA04">75</a></td> + </tr> + <tr> + <td class="tdlin">First half of Sixteenth Century. Royal Collection of Madrid</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">TAPESTRIES FOR HEAD AND SIDE OF BED</td> + <td class="tdrb"><a href="#BED_TAPESTRIES">76</a></td> + </tr> + <tr> + <td class="tdlin">Renaissance designs. Royal Collection of Madrid</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE STORY OF REBECCA</td> + <td class="tdrb"><a href="#STORY_OF_REBECCA02">77</a></td> + </tr> + <tr> + <td class="tdlin">Brussels Tapestry. Sixteenth Century. Collection of Arthur Astor Carey, Esq., Boston</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">BRUSSELS TAPESTRY. LATE SIXTEENTH CENTURY</td> + <td class="tdrb"><a href="#BRUSSELS_TAPESTRY">78</a></td> + </tr> + <tr> + <td class="tdlin">Weaver, Jacques Geubels. Institute of Art, Chicago</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">MEETING OF ANTONY AND CLEOPATRA</td> + <td class="tdrb"><a href="#MEETING_OF_ANTONY_AND_CLEOPATRA">79</a></td> + </tr> + <tr> + <td class="tdlin">Brussels Tapestry. Woven by Gerard van den Strecken. Cartoon attributed to Rubens</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE ANNUNCIATION (<i>Coloured Plate</i>)</td> + <td class="tdrb"><a href="#THE_ANNUNCIATION">82</a></td> + </tr> + <tr> + <td class="tdlin">Italian Tapestry. Fifteenth Century. Collection of Martin A. Ryerson, Esq., Chicago</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">ITALIAN TAPESTRY, MIDDLE OF SIXTEENTH CENTURY</td> + <td class="tdrb"><a href="#ITALIAN_TAPESTRY01">84</a></td> + </tr> + <tr> + <td class="tdlin">Cartoon by Bacchiacca. Woven by Nicholas Karcher</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">ITALIAN TAPESTRY. MIDDLE OF SIXTEENTH CENTURY</td> + <td class="tdrb"><a href="#ITALIAN_TAPESTRY02">85</a></td> + </tr> + <tr> + <td class="tdlin">Cartoon by Bacchiacca. Woven by G. Rost</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">ITALIAN VERDURE. SEVENTEENTH CENTURY</td> + <td class="tdrb"><a href="#ITALIAN_VERDURE">86</a></td> + </tr> + <tr> + <td class="tdlp">THE FINDING OF MOSES</td> + <td class="tdrb"><a href="#FINDING_OF_MOSES">90</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins, Seventeenth Century. Cartoon after Poussin. The Louvre Museum</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">TRIUMPH OF JUNO</td> + <td class="tdrb"><a href="#TRIUMPH_OF_JUNO">91</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins under Louis XIV</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp"><span class='pagenum'><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span>TRIUMPH OF THE GODS (DETAIL)</td> + <td class="tdrb"><a href="#TRIUMPH_OF_GODS01">94</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins, Seventeenth Century</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">TRIUMPH OF THE GODS (DETAIL)</td> + <td class="tdrb"><a href="#TRIUMPH_OF_GODS02">95</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins Tapestry</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">GOBELINS BORDER (DETAIL) SEVENTEENTH CENTURY</td> + <td class="tdrb"><a href="#GOBELINS_BORDER">98</a></td> + </tr> + <tr> + <td class="tdlp">CHILDREN GARDENING</td> + <td class="tdrb"><a href="#CHILDREN_GARDENING01">99</a></td> + </tr> + <tr> + <td class="tdlin">After Charles Lebrun. Gobelins, Seventeenth Century. Château Henri Quatre, Pau</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">CHILDREN GARDENING</td> + <td class="tdrb"><a href="#CHILDREN_GARDENING02">102</a></td> + </tr> + <tr> + <td class="tdlin">After Charles Lebrun. Gobelins, Seventeenth Century. Château Henri Quatre, Pau</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">GOBELINS GROTESQUE</td> + <td class="tdrb"><a href="#GOBELINS_GROTESQUE">103</a></td> + </tr> + <tr> + <td class="tdlin">Musée des Arts Decoratifs, Paris</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">GOBELINS TAPESTRY, AFTER LEBRUN, EPOCH LOUIS XIV</td> + <td class="tdrb"><a href="#GOBELINS_TAPESTRY01">104</a></td> + </tr> + <tr> + <td class="tdlin">Collection of Wm. Baumgarten, Esq., New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE VILLAGE FÊTE</td> + <td class="tdrb"><a href="#VILLAGE_FETE">105</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins Tapestry after Teniers</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">DESIGN BY RUBENS</td> + <td class="tdrb"><a href="#RUBENS_DESIGN01">110</a></td> + </tr> + <tr> + <td class="tdlp">DESIGN BY RUBENS</td> + <td class="tdrb"><a href="#RUBENS_DESIGN02">111</a></td> + </tr> + <tr> + <td class="tdlp">DESIGN BY RUBENS</td> + <td class="tdrb"><a href="#RUBENS_DESIGN03">112</a></td> + </tr> + <tr> + <td class="tdlp">GOBELINS TAPESTRY. DESIGN BY RUBENS</td> + <td class="tdrb"><a href="#GOBELINS_TAPESTRY02">113</a></td> + </tr> + <tr> + <td class="tdlin">Royal Collection, Madrid</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">LOUIS XIV VISITING THE GOBELINS FACTORY</td> + <td class="tdrb"><a href="#LOUIS_XIV_VISITING">114</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins Tapestry, Epoch Louis XIV</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">GOBELINS TAPESTRY. TIME OF LOUIS XV</td> + <td class="tdrb"><a href="#GOBELINS_TAPESTRY03">126</a></td> + </tr> + <tr> + <td class="tdlp">HUNTS OF LOUIS XV</td> + <td class="tdrb"><a href="#HUNTS_OF_LOUIS_XV">130</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins, G. Audran after Cartoon by Oudry</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">ESTHER AND AHASUERUS SERIES</td> + <td class="tdrb"><a href="#ESTHER_AND_AHASUERUS">131</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins, about 1730. Cartoon by J. F. de Troy; G. Audran, weaver</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">CUPID AND PSYCHE</td> + <td class="tdrb"><a href="#CUPID_AND_PSYCHE">132</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins Tapestry. Eighteenth Century. Design by Coypel</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">PORTRAIT OF CATHERINE OF RUSSIA</td> + <td class="tdrb"><a href="#CATHERINE_OF_RUSSIA">133</a></td> + </tr> + <tr> + <td class="tdlin">Gobelins under Louis XVI.</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">CHAIR OF TAPESTRY. STYLE OF LOUIS XV</td> + <td class="tdrb"><a href="#CHAIR_OF_TAPESTRY">136</a></td> + </tr> + <tr> + <td class="tdlp">GOBELINS TAPESTRY (DETAIL) CRAMOISÉE. STYLE LOUIS XV</td> + <td class="tdrb"><a href="#GOBELINS_TAPESTRY04">137</a></td> + </tr> + <tr> + <td class="tdlp">HENRI IV BEFORE PARIS</td> + <td class="tdrb"><a href="#HENRI_IV_BEFORE_PARIS">146</a></td> + </tr> + <tr> + <td class="tdlin">Beauvais Tapestry, Seventeenth Century. Design by Vincent</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">HENRI IV AND GABRIELLE D’ESTRÉES</td> + <td class="tdrb"><a href="#HENRI_IV_AND_GABRIELLE">147</a></td> + </tr> + <tr> + <td class="tdlin">Design by Vincent</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp"><span class='pagenum'><a name="Page_xv" id="Page_xv">[Pg xv]</a></span>BEAUVAIS TAPESTRY. EIGHTEENTH CENTURY</td> + <td class="tdrb"><a href="#BEAUVAIS_TAPESTRY01">148</a></td> + </tr> + <tr> + <td class="tdlin">Metropolitan Museum of Art, New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">BEAUVAIS TAPESTRY. TIME OF LOUIS XVI</td> + <td class="tdrb"><a href="#BEAUVAIS_TAPESTRY02">149</a></td> + </tr> + <tr> + <td class="tdlin">Collection of Wm. Baumgarten, Esq., New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">BEAUVAIS TAPESTRY. TIME OF LOUIS XIV</td> + <td class="tdrb"><a href="#BEAUVAIS_TAPESTRY03">150</a></td> + </tr> + <tr> + <td class="tdlp">BEAUVAIS TAPESTRY</td> + <td class="tdrb"><a href="#BEAUVAIS_TAPESTRY04">152</a></td> + </tr> + <tr> + <td class="tdlp">CHAIR COVERING</td> + <td class="tdrb"><a href="#CHAIR_COVERING">153</a></td> + </tr> + <tr> + <td class="tdlin">Beauvais Tapestry. First Empire</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">SAVONNERIE. PORTRAIT SUPPOSABLY OF LOUIS XV</td> + <td class="tdrb"><a href="#SAVONNERIE">162</a></td> + </tr> + <tr> + <td class="tdlin">Metropolitan Museum of Art, New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">VULCAN AND VENUS SERIES. MORTLAKE</td> + <td class="tdrb"><a href="#VULCAN_AND_VENUS01">163</a></td> + </tr> + <tr> + <td class="tdlin">Collection of Philip Hiss, Esq., New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">VULCAN AND VENUS SERIES. MORTLAKE</td> + <td class="tdrb"><a href="#VULCAN_AND_VENUS02">168</a></td> + </tr> + <tr> + <td class="tdlin">Collection of Philip Hiss, Esq., New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">VULCAN AND VENUS SERIES. MORTLAKE</td> + <td class="tdrb"><a href="#VULCAN_AND_VENUS03">169</a></td> + </tr> + <tr> + <td class="tdlin">Collection of Philip Hiss, Esq., New York</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE EXPULSION OF VULCAN FROM OLYMPUS (<i>Coloured Plate</i>)</td> + <td class="tdrb"><a href="#EXPULSION_OF_VULCAN">170</a></td> + </tr> + <tr> + <td class="tdlp">WEAVER AT WORK ON LOW LOOM. HERTER STUDIO</td> + <td class="tdrb"><a href="#WEAVER_AT_WORK">228</a></td> + </tr> + <tr> + <td class="tdlp">SEWING AND REPAIR DEPARTMENT. BAUMGARTEN ATELIERS</td> + <td class="tdrb"><a href="#SEWING_AND_REPAIR">229</a></td> + </tr> + <tr> + <td class="tdlp">BAUMGARTEN TAPESTRY. LATE NINETEENTH CENTURY</td> + <td class="tdrb"><a href="#BAUMGARTEN_TAPESTRY01">230</a></td> + </tr> + <tr> + <td class="tdlp">BAUMGARTEN TAPESTRY. MODERN CARTOON</td> + <td class="tdrb"><a href="#BAUMGARTEN_TAPESTRY02">231</a></td> + </tr> + <tr> + <td class="tdlp">BAUMGARTEN TAPESTRY. MODERN CARTOON</td> + <td class="tdrb"><a href="#BAUMGARTEN_TAPESTRY03">234</a></td> + </tr> + <tr> + <td class="tdlp">BAYEUX TAPESTRY. (DETAIL) 1066</td> + <td class="tdrb"><a href="#BAYEUX_TAPESTRY01">242</a></td> + </tr> + <tr> + <td class="tdlp">BAYEUX TAPESTRY. (DETAIL) 1066</td> + <td class="tdrb"><a href="#BAYEUX_TAPESTRY02">243</a></td> + </tr> + <tr> + <td class="tdlp">BAYEUX TAPESTRY. (DETAIL) 1066</td> + <td class="tdrb"><a href="#BAYEUX_TAPESTRY03">244</a></td> + </tr> + <tr> + <td class="tdlp">MODERN AMERICAN TAPESTRY, LOUIS XV INSPIRATION</td> + <td class="tdrb"><a href="#MODERN_AMERICAN_TAPESTRY01">250</a></td> + </tr> + <tr> + <td class="tdlp">MODERN AMERICAN TAPESTRY FROM FRENCH INSPIRATION</td> + <td class="tdrb"><a href="#MODERN_AMERICAN_TAPESTRY02">251</a></td> + </tr> + <tr> + <td class="tdlp">GOBELINS TAPESTRY. LATE NINETEENTH CENTURY</td> + <td class="tdrb"><a href="#GOBELINS_TAPESTRY05">252</a></td> + </tr> + <tr> + <td class="tdlin">Luxembourg, Paris</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">GOBELINS TAPESTRY. LATE NINETEENTH CENTURY</td> + <td class="tdrb"><a href="#GOBELINS_TAPESTRY06">253</a></td> + </tr> + <tr> + <td class="tdlin">Pantheon, Paris</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">THE ADORATION</td> + <td class="tdrb"><a href="#THE_ADORATION">256</a></td> + </tr> + <tr> + <td class="tdlin">Merton Abbey Tapestry. Figures by Burne-Jones</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">DAVID INSTRUCTING SOLOMON IN THE BUILDING OF THE TEMPLE</td> + <td class="tdrb"><a href="#DAVID_INSTRUCTING_SOLOMON">257</a></td> + </tr> + <tr> + <td class="tdlin">Merton Abbey Tapestry. Burne-Jones, Artist</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">TRUTH BLINDFOLDED</td> + <td class="tdrb"><a href="#TRUTH_BLINDFOLDED">258</a></td> + </tr> + <tr> + <td class="tdlin">Merton Abbey Tapestry. Byram Shaw, Artist</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp"><span class='pagenum'><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span>THE PASSING OF VENUS</td> + <td class="tdrb"><a href="#PASSING_OF_VENUS">260</a></td> + </tr> + <tr> + <td class="tdlin">Merton Abbey Tapestry. Cartoon by Burne-Jones</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">ANGELI LAUDANTES</td> + <td class="tdrb"><a href="#ANGELI_LAUDANTES">261</a></td> + </tr> + <tr> + <td class="tdlin">Merton Abbey Tapestry</td> + <td class="tdrb"> </td> + </tr> + <tr> + <td class="tdlp">AMERICAN (BAUMGARTEN) TAPESTRY COPIED FROM THE GOTHIC</td> + <td class="tdrb"><a href="#AMERICAN_TAPESTRY">262</a></td> + </tr> + <tr> + <td class="tdlp">DRYADS AND FAUNS</td> + <td class="tdrb"><a href="#DRYADS_AND_FAUNS">263</a></td> + </tr> + <tr> + <td class="tdlin">From Herter Looms, New York, 1910</td> + <td class="tdrb"> </td> + </tr> +</table> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> + +<h1 class="padtop">THE TAPESTRY BOOK</h1> + + + +<h2 class="padtop">CHAPTER I</h2> + +<h3>A FOREWORD</h3> + + +<p><span class="dropcap">T</span>HE commercial fact that tapestries have immeasurably +increased in value within the last five +years, would have little interest were it not that +this increase is the direct result of America’s awakened +appreciation of this form of art. It has come about in +these latter days that tapestries are considered a necessity +in the luxurious and elegant homes which are multiplying +all over our land. And the enormous demand thus +made on the supply, has sent the prices for rare bits into +a dizzy altitude, and has made even the less perfect pieces +seem scarce and desirable.</p> + +<p>The opinion of two shrewd men of different types is +interesting as bearing on the subject of tapestries. One +with tastes fully cultivated says impressively, “Buy good +old tapestries whenever you see them, for there are no +more.” The other says bluffly, “Tapestries? You can’t +touch ’em. The prices have gone way out of sight, and +are going higher every day.” The latter knows but one +view, the commercial, yet both are right, and these two +views are at the bottom of the present keen interest in +tapestries in our country. Outside of this, Europe has +collections which we never can equal, and that thought +<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span> +alone is enough to make us snatch eagerly at any opportunity +to secure a piece. We may begin with our ambition +set on museum treasures, but we can come happily +down to the friendly fragments that fit our private purses +and the wall-space by the inglenook.</p> + +<p>Tapestries are not to be bought lightly, as one buys a +summer coat, to throw aside at the change of taste or +circumstance. They demand more of the buyer than +mere money; they demand that loving understanding and +intimate appreciation that exists between human friends. +A profound knowledge of tapestries benefits in two ways, +by giving the keenest pleasure, and by providing the collector—or +the purchaser of a single piece—with a self-protection +that is proof against fraud, unconscious or deliberate.</p> + +<p>The first step toward buying must be a bit of pleasant +study which shall serve in the nature of self-defence. +Not by books alone, however, shall this subject be approached, +but by happy jaunts to sympathetic museums, +both at home and abroad, by moments snatched from the +touch-and-go talk of afternoon tea in some friend’s salon +or library, or by strolling visits to dealers. These object +lessons supplement the book, as a study of entomology is +enlivened by a chase for butterflies in the flowery meads +of June, or as botany is made endurable by lying on a +bank of violets. All work and no play not only makes +Jack a dull boy, but makes dull reading the book he has +in hand.</p> + +<p>The tale of tapestry itself carries us back to the unfathomable +East which has a trick at dates, making the +<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> +Christian Era a modern epoch, and making of us but a +newly-sprung civilisation in the history of the old grey +world. After showing us that the East pre-empted originality +for all time, the history of tapestry lightly lifts us +over a few centuries and throws us into the romance of +Gothic days, then trails us along through increasing +European civilisation up to the great awakening, the +Renaissance. Then it loiters in the pleasant ways of the +kings of France during the Seventeenth and Eighteenth +Centuries, and finally falls upon modern effort, not limited +to Europe now, but nesting also in the New World +which is especially our own.</p> + +<p>Tapestry, according to the interpretation of the word +used in this book, is a pictured cloth, woven by an artist +or a talented craftsman, in which the design is an integral +part of the fabric, and not an embroidery stitched on a +basic tissue. With this flat statement the review of tapestries +from antiquity until our time may be read without +fear of mistaking the term.</p> + + +<h4>THE LOOM</h4> + +<p>The looms on which tapestries are made are such as +have been known as long as the history of man is known, +but we have come to call them high-warp and low-warp, +or as the French have it, <i>haute lisse</i> and <i>basse lisse</i>. In +the celebrated periods of weaving the high loom has been +the one in use, and to it is accredited a power almost +mysterious; yet the work of the two styles of loom are not +distinguishable by the weave alone, and it is true that the +low-warp looms were used in France when the manufacture +<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> +of tapestries was permanently established by the +Crown about 1600. So difficult is it to determine the +work of the two looms that weavers themselves could not +distinguish without the aid of a red thread which they +at one time wove in the border. Yet because the years +of the highest perfection in tapestries have been when the +high loom was in vogue, some peculiar power is supposed +to reside within it. That the high movements of the fine +arts have been contemporary with perfection in tapestries, +seems not to be taken into consideration.</p> + + +<h4>NECESSARY FRENCH TERMS</h4> + +<p>French terms belong so much to the art of tapestry +weaving that it is hard to find their English equivalent. +Tapestries of <i>verdure</i> and of <i>personnages</i> describe the +two general classes, the former being any charming mass +of greenery, from the Gothic <i>millefleurs</i>, and curling +leaves with animals beneath, to the lovely landscapes of +sophisticated park and garden which made Beauvais +famous in the Eighteenth Century. <i>Tapisseries des personnages</i> +have, as the name implies, the human figure as +the prominent part of the design. The shuttle or bobbin +of the high loom is called a <i>broche</i>, and that of the low +loom a <i>flute</i>. Weavers throughout Europe, whether in +the Low Countries or in France, were called <i>tapissiers</i>, +and this term was so liberal as to need explaining.</p> + + +<h4>WORKERS’ FUNCTIONS</h4> + +<p>The tapestry factory was under the guidance of a +director; under him were the various persons required for +<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> +the work. Each tapestry woven had a directing artist, as +the design was of primary importance. This man had +the power to select the silks and wools for the work, that +they might suit his eye as to colour. But there was also +a <i>chef d’atelier</i> who was an artist weaver, and he directed +this matter and all others when the artist of the cartoons +was not present. Under him were the tapissiers who +did the actual weaving, and under these, again, were the +apprentices, who began as boys and served three years +before being allowed to try their hands at a “’prentice +job” or essay at finished work.</p> + + +<h4>WEAVERS</h4> + +<p>The word weaver means so little in these days that it +is necessary to consider what were the conditions exacted +of the weavers of tapestries in the time of tapestry’s highest +perfection. A tapissier was an artist with whom a +loom took place of an easel, and whose brush was a +shuttle, and whose colour-medium was thread instead of +paints. This places him on a higher plane than that of +mere weaver, and makes the term tapissier seem fitter. +Much liberty was given him in copying designs and +choosing colours. In the Middle Ages, when the Gothic +style prevailed, the master-weaver needed often no other +cartoon for his work than his own sketches enlarged from +the miniatures found in the luxurious missals of the day. +These historic books were the luxuries of kings, were +kept with the plate and jewels, so precious were considered +their exquisitely painted scenes in miniature. From +them the master-weaver drew largely for such designs +<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> +as <i>The Seven Deadly Sins</i> and other “morality” subjects.</p> + +<p>Master-weavers were many in the best years of tapestry +weaving; indeed, a man must have attained the dignity +and ability of that position before being able to produce +those marvels of skill which were woven between 1475 +and 1575 in Flanders, France and Italy. Their aids, the +apprentices, pique the fancy, as Puck harnessed to labour +might do. They were probably as mischievous, as shirking, +as exasperating as boys have ever known how to be, +but those little unwilling slaves of art in the Middle Ages +make an appeal to the imagination more vivid than that +of the shabby lunch-box boy of to-day.</p> + + +<h4>DYERS</h4> + +<p>Accessory to the weavers, and almost as important, +were the dyers who prepared the thread for use. The +conscientiousness of their work cries out for recognition +when the threads they dyed are almost unaltered in colour +after five hundred years of exposure to their enemies, +light and air. Dye stuffs were precious in those days, +and so costly that even threads of gold and silver (which +in general were supplied by the client ordering the tapestry) +hardly exceeded in value certain dyed wools and +silk. All of these workers, from director down to apprenticed +lad, were bound by the guild to do or not do, +according to its infinite code, to the end that the art of +tapestry-making be held to the highest standards. The +laws of the guilds make interesting reading. The guild +prevailed all over Europe and regulated all crafts. In +<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> +Florence even to-day evidences of its power are on every +side, and the Guildhall in London attests its existence +there. Moreover, the greatest artists belonged to the +guilds, uniting themselves usually by work of the goldsmith, +as Benvenuto Cellini so quaintly describes in his +naïve autobiography.</p> + + +<h4>GUILDS</h4> + +<p>It was these same protective laws of the guilds that +in the end crippled the hand of the weaver. The laws +grew too many to comply with, in justice to talent, and +talent with clipped wings could no longer soar. At the +most brilliant period of tapestry production Flanders was +to the fore. All Europe was appreciating and demanding +the unequalled products of her ateliers. It was but +human to want to keep the excellence, to build a wall of +restrictions around her especial craft that would prevent +rivals, and at the same time to press the ateliers to execute +all the orders that piled in toward the middle of the +Sixteenth Century.</p> + +<p>But although the guilds could make wise laws and enforce +them, it could not execute in haste and retain the +standard of excellence. And thus came the gradual decay +of the art in Brussels, a decay which guild-laws had +no power to arrest.</p> + + +<h4>GOTHIC PERIOD</h4> + +<p>The first period in tapestries which interests—except +the remnants of Egyptian and aboriginal work—is that +of the Middle Ages, the early Gothic, because that is +<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> +when the art became a considerable one in Europe. It +is a time of romance, of chivalry, of deep religious feeling, +and yet seems like the childhood of modernity. Is +it the fault of crudity in pictorial art, or the fault of +romances that we look upon those distant people as more +elemental than we, and thus feel for them the indulgent +compassion that a child excites? However it is, theirs +is to us a simple time of primitive emotion and romance, +and the tapestries they have left us encourage the whim.</p> + +<p>The time of Gothic perfection in tapestry-making is +included in the few years lying between 1475 and 1520. +Life was at that time getting less difficult, and art had +time to develop. It was no longer left to monks and +lonely ladies, in convent and castle, but was the serious +consideration of royalty and nobility. No need to dwell +on the story of modern art, except as it affects the art of +tapestry weaving. With the improvement of drawing +that came in these years, a greater excellence of weave +was required to translate properly the meaning of the +artist. The human face which had hitherto been either +blank or distorted in expression, now required a treatment +that should convey its subtlest shades of expression. +Gifted weavers rose to the task, became almost inspired +in the use of their medium, and produced such works of +their art as have never been equalled in any age. These +are the tapestries that grip the heart, that cause a <i>frisson</i> +of joy to the beholder. And these are the tapestries we +buy, if kind chance allows. If they cannot be ours to +live with, then away to the museum in all haste and often, +to feast upon their beauties.</p> + + +<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> + +<h4>RENAISSANCE</h4> + +<p>That great usurper, the Renaissance, came creeping up +to the North where the tapestry looms were weaving +fairy webs. Pope Pius X wanted tapestries, those of the +marvellous Flemish weave. But he wanted those of +the new style of drawing, not the sweet restraint and +finished refinement of the Gothic. Raphael’s cartoons +were sent to Brussels’ workshops, and thus was the North +inoculated with the Renaissance, and thus began the +second phase of the supreme excellency of Flemish tapestries. +It was the Renaissance expressing itself in the +wondrous textile art. The weavers were already perfect +in their work, no change of drawing could perplex them. +But to their deftness with their medium was now added +the rich invention of the Italian artists of the Renaissance, +at the period of perfection when restraint and delicacy +were still dominant notes.</p> + +<p>It was the overworking of the craft that led to its +decadence. Toward the end of the Sixteenth Century +the extraordinary period of Brussels perfection had +passed.</p> + +<p>But tapestry played too important a part in the life +and luxury of those far-away centuries for its production +to be allowed to languish. The magnificence of every +great man, whether pope, king or dilettante, was ill-expressed +before his fellows if he were not constantly +surrounded by the storied cloths that were the indispensable +accessories of wealth and glory. Palaces and +castles were hung with them, the tents of military +<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> +encampments were made gorgeous with their richness, and +no joust nor city procession was conceivable without their +colours flaunting in the sun as background to plumed +knights and fair ladies. Venice looked to them to +brighten her historic stones on days of carnival, and Paris +spread them to welcome kings.</p> + + +<h4>FRANCE</h4> + +<p>When, therefore, Brussels no longer supplied the tissues +of her former excellence, opportunity came for some +other centre to rise. The next important producer was +Paris, and in Paris the art has consistently stayed. Other +brief periods of perfection have been attained elsewhere, +but Paris once establishing the art, has never let it drop, +not even in our own day—but that is not to be considered +at this moment.</p> + +<p>Divers reigns of divers kings, notably that of Henri +IV, fostered the weaving of tapestry and brought it to +an interesting stage of development, after which Louis +XIV established the Gobelins. From that time on for a +hundred years France was without a rival, for the decadent +work of Brussels could not be counted as such. +Although the work of Italy in the Seventeenth Century +has its admirers, it is guilty of the faults of all of Italy’s +art during the dominance of Bernini’s ideals.</p> + + +<h4>AMERICAN INTEREST</h4> + +<p>America is too late on the field to enter the game of +antiquity. We have no history of this wonderful textile +art to tell. But ours is the power to acquire the lovely +<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> +examples of the marvellous historied hangings of other +times and of those nations which were our forebears before +the New World was discovered. And we are +acquiring them from every corner of Europe where they +may have been hiding in old château or forgotten chest. +To the museums go the most marvellous examples given +or lent by those altruistic collectors who wish to share +their treasures with a hungry public. But to the mellow +atmosphere of private homes come the greater part of +the tapestries. To buy them wisely, a smattering of their +history is a requisite. Within the brief compass of this +book is to be found the points important for the amateur, +but for a profounder study he must turn to those huge +volumes in French which omit no details.</p> + +<p>Not entirely by books can he learn. Association with +the objects loved, counts infinitely more in coming to an +understanding. Happy he who can make of tapestries +the <i>raison d’être</i> for a few months’ loitering in Europe, +and can ravish the eye and intoxicate the imagination +with the storied cloths found hanging in England, in +France, in Spain, in Italy, in Sweden, and learn from +them the fascinating tales of other men’s lives in other +men’s times.</p> + +<p>Then, when the tour is finished and a modest tapestry +is hung at home, it represents to its instructed owner the +concentrated tale of all he has seen and learned. In +the weave he sees the ancient craftsman sitting at his +loom. In the pattern is the drawing of the artist of +the day, in the colours, the dyes most rare and costly; +in the metal, the gold and silver of a duke or prince; and +<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> +in the tale told by the figures he reads a romance of chivalry +or history, which has the glamour given by the haze +of distant time to human action.</p> + +<p>To enter a house where tapestries abound, is to feel +oneself welcomed even before the host appears. The +bending verdure invites, the animated figures welcome, +and at once the atmosphere of elegance and cordiality +envelopes the happy visitor.</p> + +<p>To live in a house abundantly hung with old tapestries, +to live there day by day, makes of labour a pleasure +and of leisure a delight. It is no small satisfaction in +our work-a-day life to live amidst beauty, to be sure that +every time the eyes are raised from the labour of writing +or sewing—or of bridge whist, if you like—they encounter +something worthy and lovely. In the big living-room +of the home, when the hours come in which the +family gathers, on a rainy morning, or on any afternoon +when the shadows grow grim outside and the afternoon +tea-tray is brought in whispering its discreet tune +of friendly communion, the tapestries on the walls seem +to gather closer, to enfold in loving embrace the sheltered +group, to promise protection and to augment brotherly +love.</p> + +<p>In the dining-room the glorious company assembles, so +that he who eats therein, attends a feast on Olympus, even +though the dyspeptic’s fast be his lot. If the eyes gaze +on Coypel’s gracious ladies, under fruit and roses, with +adolescent gods adoring, what matters if the palate is +chastised? In a dining-room soft-hung with piquant +<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span> +scenes, even buttermilk and dog-biscuit, burnt canvasback +and cold Burgundy lose half their bitterness.</p> + +<p>When night is well started in its flight, perhaps one +only, one lover of the silence and the solitude, loath to +give away to soft sleep the quiet hours, this one remains +behind when all the others have flown bedward, and to +him the neighbouring tapestries speak a various language. +From the easy chair he sees the firelight play on the +verdure with the effect of a summer breeze, the gracious +foliage all astir. The figures in this enchanted wood are +set in motion and imagination brings them into the life +of the moment, makes of them sympathetic playmates +coaxing one to love, as they do, the land of romance. +Before their imperturbable jocundity what bad humour +can exist? All the old songs of mock pastoral times come +singing in the ears, “It happened on a day, in the merry +month of May,” “Shepherds all and maidens fair,” “It +was a lover and his lass,” “Phœbus arise, and paint the +skies,” <i>et cetera</i>. Animated by the fire, in the silence of +the winter night the loving horde gathers and ministers to +the mind afflicted with much hard practicality and the +strain of keeping up with modern inexorable times. +This sweet procession on the walls, thanks be to lovely +art, needs no keeping up with, merely asks to scatter joy +and to soften the asperities of a too arduous day.</p> + +<p>All the way up the staircase in the house of tapestries +are dainty bits of <i>millefleurs</i>, that Gothic invention for +transferring a block of the spring woods from under the +trees into a man-made edifice. It may have a deep indigo +<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> +background or a dull red—like the shades of moss or like +last year’s fallen leaves—but over it all is abundantly +sprinkled dainty bluebells, anemones, daisies, all the +spring beauties in joyous self-assertion and happy mingling. +With such flowery guides to mark the way the +path to slumberland is followed. Once within the bedroom, +the poppies of the hangings spread drowsy influence, +and the happy sleeper passes into unconsciousness, +passes through the flowered border of the ancient square, +into the scene beyond, becomes one of those storied persons +in the enchanted land and lives with them in jousts +and tourneys or in <i>fêtes champêtres</i> at lovely châteaux. +The magic spell of the house of tapestries has fallen like +the dew from heaven to bless the striver in our modern +life of exigency and fatigue.</p> + +<div class="figcenter" style="width: 241px;"> +<a name="CHINESE_TAPESTRY" id="CHINESE_TAPESTRY"></a> +<img src="images/tapestry005th.jpg" width="241" height="400" alt="" /> +<span class="link"><a href="images/tapestry005.jpg">See larger image</a></span> +</div> + +<p class="caption">CHINESE TAPESTRY</p> + +<p class="incaption">Chien Lung Period</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="COPTIC_TAPESTRY01" id="COPTIC_TAPESTRY01"></a> +<img src="images/tapestry006th.jpg" width="400" height="358" alt="" /> +<span class="link"><a href="images/tapestry006.jpg">See larger image</a></span> +</div> + +<p class="caption">COPTIC TAPESTRY</p> + +<p class="incaption">About 300 A. D.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> + +<h2 class="padtop">CHAPTER II</h2> + +<h3>ANTIQUITY</h3> + + +<p><span class="dropcap">E</span>GYPT and China, India and Persia, seem made to +take the conceit from upstart nations like those of +Europe and our own toddling America. Directly +we scratch the surface and look for the beginning +of applied arts, the lead takes us inevitably to the oldest +civilisation. It would seem that in a study of fabrics +which are made in modern Europe, it were enough to +find their roots in the mediæval shades of the dark ages; +but no, back we must go to the beginning of history +where man leaped from the ambling dinosaur, which +then modestly became extinct, and looking upon the lands +of the Nile and the Yangtsi-kiang found them good, and +proceeded to pre-empt all the ground of applied arts, so +that from that time forward all the nations of the earth +were and are obliged to acknowledge that there is nothing +new under the sun.</p> + +<p>In the Metropolitan Museum of Art in New York is a +bit of tapestry, Coptic, that period where Greek and +Egyptian drawing were intermixed, a woman’s head +adorned with much vanity of head-dress, woven two or +three centuries after Christ. (Plate facing page <a href="#COPTIC_TAPESTRY01"><b>15</b></a>.) +In the Boston Museum of Fine Arts are other rare specimens +of this same time. (Plates facing pages <a href="#COPTIC_TAPESTRY02"><b>16</b></a> +and <a href="#COPTIC_TAPESTRY03"><b>17</b></a>.) +Looking further back, an ancient decoration shows Penelope +<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> +at her high loom, four hundred years before the +Christian era; and one, still older, shows the Egyptians +weaving similarly three thousand years before that epoch.</p> + +<p>It is not altogether thrilling to read that civilised people +of ancient times wove fabrics for dress and decoration, +but it certainly is interesting to learn that they were +masters of an art which we carelessly attribute to Europe +of six centuries back, and to find that the weaving apparatus +and the mode of work were almost identical. The +Coptic tapestry of the Third Century is woven in the +same manner as the tapestries that come to us from Europe +as the flower of comparatively recent times, and its +dyes and treatment of shading are identical with the +Gothic times. Penelope’s loom as pictured on an ancient +vase, is the same in principle as the modern high-warp +loom, although lacking a bit in convenience to the +weaver; and so we can easily imagine the lovely lady at +work on her famous web, “playing for time,” during +Ulysses’ absence, when she sat up o’ nights undoing her +lovely stint of the day.</p> + +<p>And the Egyptian loom shown in ancient pictures—that +is even more modern than Penelope’s, although it +was set up three thousand years before, a last guide-post +on the backward way to the misty land called prehistoric.</p> + +<p>But as there is really little interest except for the +archeologist in digging so far into the past for an art +that has left us but traditions and museum fragments, let +us skim but lightly the surface of this time, only picking +up the glistening facts that attract the mind’s eye, so that +<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> +we may quickly reach the enchanted land of more recent +times which yet appear antique to the modern.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="COPTIC_TAPESTRY02" id="COPTIC_TAPESTRY02"></a> +<img src="images/tapestry007th.jpg" width="400" height="159" alt="" /> +<span class="link"><a href="images/tapestry007.jpg">See larger image</a></span> +</div> + +<p class="caption">COPTIC TAPESTRY</p> + +<p class="incaption">Boston Museum of Fine Arts</p> + + +<div class="figcenter" style="width: 379px;"> +<a name="COPTIC_TAPESTRY03" id="COPTIC_TAPESTRY03"></a> +<img src="images/tapestry008th.jpg" width="379" height="400" alt="" /> +<span class="link"><a href="images/tapestry008.jpg">See larger image</a></span> +</div> + +<p class="caption">COPTIC TAPESTRY</p> + +<p class="incaption">Boston Museum of Fine Arts</p> + +<p>There are those to whom reading the Bible was a +forced task during childhood, a class which slipped the +labour as soon as years gave liberty of choice. There +are others who have always turned as naturally to its +accounts of grand ceremony and terrible battles as to the +accounts of Cæsar, Cœur de Lion, Charlemagne. But +in either case, whatever the reason for the eye to absorb +these pages of ancient Hebrew history, the impression is +gained of superb pomp. And always concerned with +it are descriptions of details, lovingly impressed, as +though the chronicler was sure of the interest of his audience. +In this enumeration, decorative textiles always +played a part. Such textiles as they were exceed in extravagance +of material any that we know of European +production, for in many cases they were woven entirely of +gold and silver, and even set with jewels. These gorgeous +fabrics shone like suns on the magnificent pomp of +priest and ruler, and declared the wealth and power of +the nation. They departed from the original intention +of protecting shivering humanity from chill draughts or +from close and cold association with the stones of architectural +construction, and became a luxury of the eye, a +source of bewilderment to the fancy and a lively intoxication +to those who—irrespective of class, or of century—love +to compute display in coin.</p> + +<p>But, dipping into the history of one ancient country +after another, it is easy to see that the usual fabric for +hanging was woven of wool, of cotton and of silk, and +<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> +carried the design in the weaving. Babylon the great, +Egypt under the Pharaohs, Greece in its heroic times, +Rome under the Emperors—not omitting China and +India of the Far East—these countries of ancient peoples +all knew the arts of dyeing and weaving, of using the +materials that we employ, and of introducing figures +symbolic, geometric, or realistic into the weaving. Beyond +a doubt the high loom has been known to man since +prehistoric times. It may be discouraging to those who +like to feel that tapestry properly belongs to Europe only,—Europe +of the last six centuries—to find that the art +has been sifted down through the ages; but in reality it is +but one more link between us and the centuries past, the +human touch that revivifies history, that unites humanity. +People of the past wear a haze about them, are immovable +and rigid as their pictured representations. The Assyrian +is to us a huge man of impossible beard, the +Egyptian is a lean angle fixed in posture, the Greek is +eternally posed for the sculptor.</p> + +<p>But once we can find that these people were not forever +transfixed to frieze, but were as simple, as industrious, +as human as we, the kinship is established, and +through their veins begins to flow the stream that is common +to all humanity. These people felt the same need +for elegantly covering the walls of their homes that we +in this country of new homes feel, and the craftsmen led +much the same lives as do craftsmen of to-day. Even in +the matter of expense, of money which purchasers were +willing to spend for woven decorative fabrics, we see no +novelty in the high prices of to-day, the Twentieth +<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span> +Century. <i>The Mantle of Alcisthenes</i> is celebrated for having +been bought by the Carthaginians for the equal of a +hundred thousand dollars.</p> + +<div class="figcenter" style="width: 336px;"> +<a name="PERUVIAN_TAPESTRY" id="PERUVIAN_TAPESTRY"></a> +<img src="images/tapestry009th.jpg" width="336" height="400" alt="" /> +<span class="link"><a href="images/tapestry009.jpg">See larger image</a></span> +</div> + +<p class="caption">TAPESTRY FOUND IN GRAVES IN PERU</p> + +<p class="incaption">Date prior to Sixteenth Century</p> + +<p>Thus we connect ourselves with the remote past in +making a continuous history. But as the purpose of this +book is to assist the owner of tapestries to understand the +story of his hangings and to enable the purchaser or collector +to identify tapestries on his own knowledge instead +of through the prejudiced statements of the salesman, it +is useless to dwell long upon the fabrics that we can only +see through exercise of the imagination or in disintegrated +fragments in museums.</p> + +<p>Then away with Circe and her leisure hours of weaving, +with Helen and her heroic canvas, and the army of +grandiose Biblical folk, and let us come westward into +Europe in short review of the textiles called tapestry +which were produced from the early Christian centuries +to the time of the Crusades, and thus will we approach +more modern times.</p> + +<p>So far as known, high-warp weaving was not universally +used in Europe in the first part of the Middle Ages. +Whether plain or figured, most of the fabrics of that +time that have come down to us for hangings or for clothing, +are woven, with the decorative pattern executed by +the needle on woven cloth. In Persia and neighbouring +states, however, the high-warp loom was used.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> + +<p>Europe in the Middle Ages was a place so savage, so +devastated by war and by neighbouring malice, that to +consider it is to hear the clash of steel, to feel the pangs +<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> +of hunger, to experience the fearsome chill of dungeons +or moated castles. It was a time when those who could +huddle in fortresses mayhap died natural deaths, but +those who lived in the world were killed as a matter of +course. Man was man’s enemy and to be killed on sight.</p> + +<p>In such gay times of carnage, art is dead. Men there +were who drew designs and executed them, for the <i>luxe</i> +of the eye is ever demanding, but the designs were timid +and stunted and came far from the field of art. Fabrics +were made and worn, no doubt, but when looms were +like to be destroyed and the weavers with them, scant attention +was given to refinements.</p> + +<p>By the time the Tenth Century was reached matters +had improved. We come into the light of records. It +is positively known that the town of Saumur, down in +the lovely country below Tours, became the destination +of a quantity of wall-hangings, carpets, curtains, and seat +covers woven of wool. This was by order of the third +Abbot Robert of the Monastery of St. Florent, one of +those vigorous, progressive men whose initiative inspires +a host. It is recorded that he also ordered two pieces of +tapestry executed, not of wool exclusively, but with silk +introduced, and in these the figures of the designs were +the beasts that were then favourites in decoration and that +still showed the influence of Oriental drawing.</p> + +<p>Before enumerating other authentic examples of early +tapestries it is well to speak of the reason for their being +invariably associated with the church. The impression +left by history is that folk of those days must have been +universally religious when not cutting each other in bits +<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span> +with bloody cutlass. The reason is, of course, that when +poor crushed humanity began to revive from the devastating +onslaughts of fierce Northern barbarians, it was +with a timid huddling in monasteries, for there was +found immunity from attack. The lord of the castle was +forced to go to war or to resist attack in his castle, but +the monastery was exempt from whatever conscription +the times imposed, and frocked friars were always on +hand were defence needed. Thus it came about that +monasteries became treasure-houses, the only safe ones, +were built strong, were sufficiently manned, and therefore +were the safe-deposit of whatever articles of concentrated +value the great lord of the Middle Ages might +accumulate. Many tapestries thus deposited became +gifts to the institution which gave them asylum.</p> + +<p>The arts and crafts of the Middle Ages were in the +hands of the monasteries, monks and friars being the +only persons with safety and leisure. Weaving fell naturally +to them to execute as an art. In the castles, necessary +weaving for the family was done by the women, as +on every great lord’s domains were artisans for all crafts; +and great ladies emulated Penelope and Helen of old in +passing their hours of patience and anxiety with fabricating +gorgeous cloths. But these are exceptional, and +deal with such grand ladies as Queen Matilda, who with +her maidens embroidered (not wove) the Bayeux Tapestry, +and with the Duchess Gonnor, wife of Richard First, +who embroidered for the church of Notre Dame at +Rouen a history of the Virgin and Saints.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> + +<p><span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> +To the monasteries must be given the honour of preserving +this as many other arts, and of stimulating the +laity which had wealth and power to present to religious +institutions the best products of the day. The subjects +executed inside the monastery were perforce religious, +many revelling in the horrors of martyrology, and those +intended as gifts or those ordered by the clergy were +religious in subject for the sake of appropriateness. It +is interesting to note the sweet childlike attitude of all +lower Europe toward the church in these years, a sort of +infantile way of leaving everything in its hands, all +knowledge, all wisdom, all power. It was not even +necessary to read or write, as the clergy conveniently concerned +themselves with literacy. As late as the beginning +of the Fifteenth Century Philip the Hardy, the +great Duke of Burgundy, in ordering a tapestry, signed +the order, not with his autograph, for he could not, but +with his mark, for he, too, left pen-work to the clerks of +the church.</p> + +<p>That pile of concentrated royal history, the old abbey +of St. Denis, received, late in the Tenth Century, one of +the evidences of royal patronage that every abbey must +have envied. It was a woven representation of the +world, as scientists of that day imagined our half-discovered +planet, and was presented by Queen Adelaide, +the wife of Hugh Capet, whose descendants reigned for +three hundred years.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p> + +<p>While dealing with records rather than with objects +on which the eye can gaze and the hand can rest, note +<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span> +must be made of an order of a Count of Poitou, William +V, to a factory for tapestries then existing in Poitiers, +showing that the art of weaving had in that spot jumped +the monastery walls in 1025.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> The order was for a large +hanging with subjects taken from the Scriptures, but +given the then modern touch by introducing portraits of +kings and emperors and their favourite animals transfixed +in ways peculiar to the nature of the day.</p> + +<p>A century later, another Abbot of St. Florent in +Saumur had hangings made important enough to be recorded. +One of these represented the four and twenty +elders of the Apocalypse with musical instruments, and +other subjects taken from the Revelation of John. This +subject was one of unending interest to the artists of that +time who seemed to find in its depicting a serving of both +God and imagination.</p> + +<p>Among the few tapestries of this period, those of the +Cathedral at Halberstadt must be mentioned, partly by +way of conscientious chronicling, partly that the interested +traveller may, as he travels, know where to find the +rare specimens of the hobby he is pursuing. This is a +high-warp tapestry which authorities variously place as +the product of the Eleventh or the Twelfth Centuries. +Entirely regardless of its age, it has for us the charm of the +craft of hands long vanished, and of primitive art in all +its simplicity of artifice. The subject is religious—could +hardly have been otherwise in those monastic days—and +for church decoration, and to fit the space they were +woven to occupy, each of the two parts was but three +<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> +and a half feet high although more than fourteen yards +long.</p> + +<p>Each important event recorded in history has its expression +in the material product of its time, and this is one +of the charms of studying the liberal arts. Tapestry more +than almost any other handicraft has left us a pictured +history of events in a time when records were scarce. +The effect of the Crusades was noticeable in the impetus +it gave to tapestry, not only by bringing Europe into fresh +contact with Oriental design but by increasing the desire +for luxurious stuffs. The returning crusaders—what +traveller’s tales did they not tell of the fabrics of the +great Oriental sovereigns and their subjects, the soft rugs, +the tent coverings, the gorgeous raiment; and these tales +they illustrated with what fragments they could port in +their travellers’ packs. Here lay inspiration for a continent.</p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Eugene Müntz, “History of Tapestry.”</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Jubinal, “Recherches,” Vol. I.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> F. Michel, “Recherches.”</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Jubinal, “Recherches.”</p></div> +</div> + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> + +<h2 class="padtop">CHAPTER III</h2> + +<h3>MODERN AWAKENING</h3> + + +<p><span class="dropcap">I</span>N the Fourteenth Century, tapestry, the high-warp +product, began to play an important part in the refinements +of the day. We have seen the tendency of the +past time to embellish and soften churches and monastic +institutions with hangings. Records mostly in clerical +Latin, speak of these as curtains for doorways, dossers +for covering seats, and the backs of benches, and baldachins, +as well as carpets for use on the floor. Subjects +were ecclesiastic, as the favourite Apocalypse; or classic, +like that of the Quedlimburg hanging which fantastically +represents the marriage of Mercury and Philology.</p> + +<p>But in the Thirteenth Century the political situation +had improved and men no longer slept in armour and +women no longer were prepared to thrust all household +valuables into a coffer on notice that the enemy was +approaching over the plains or up the rocks. Therefore, +homes began to be a little less rude in their comforts. +Stone walls were very much the rule inside as well as +out, but it became convenient then to cover their grim +asperities with the woven draperies, the remains of which +so interest us to-day, and which we in our accession of +luxuriousness would add to the already gently finished +apartments. To put ourselves back into one of those +<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> +castle homes we are to imagine a room of stone walls, +fitted with big iron hooks, on which hung pictured +tapestry which reached all around, even covering the +doors in its completeness. To admit of passing in and +out the door a slit was made, or two tapestries joined at +this spot. Set Gothic furniture scantily about such a +room, a coffer or two, some high-backed chairs, a generous +table, and there is a room which the art of to-day +with its multiple ingenuity cannot surpass for beauty and +repose.</p> + +<p>But such a room gave opportunity for other matters +in the Thirteenth Century. Customs were less polite and +morals more primitive. Important people desiring important +information were given to the spying and eavesdropping +which now has passed out of polite fashion. +And those ancient rooms favoured the intriguer, for the +hangings were suspended a foot or two away from the +wall, and a man or a woman, for that matter, might easily +slip behind and witness conversations to which the listener +had not been invited. So it was customary on occasions +of intimate and secret converse lightly to thrust a +sharpened blade behind the curtains. If, as in the case +in “Hamlet,” the sword pierced a human quarry, so much +the worse for the listener who thus gained death and lost +its dignity.</p> + +<p>Before leaving this ancient chamber it is well to impress +ourselves with the interesting fact that tapestries +were originally meant to be suspended loosely, liberally, +from the upper edge only, and to fall in folds or gentle +undulations, thus gaining in decorative value and +<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> +elegance. This practice had an important effect on the +design, and also gave an appearance of movement to +human figures and to foliage, as each swayed in light +folds.</p> + +<p>When considering tapestries of the Thirteenth Century +we are only contemplating the stones of history, for the +actual products of the looms of that time are not for us; +they are all gathered into museums, public or ecclesiastic. +The same might be said of tapestries of the Fourteenth +Century, and almost of the Fifteenth. But those old times +are so full of romance, that their history is worth our +toying with. It adds infinite joy to the possessing of old +tapestries, and converts museum visits into a keen chase +for the elusive but fascinating figures of the past.</p> + +<p>Let us then absorb willingly one or two dry facts. +High-warp tapestry we have traced lightly from Egypt +through Greece and Rome and, almost losing the thread +in the Middle Ages, have seen it rising a virile industry, +nursed in monasteries. It was when the stirrings of +artistic life were commencing under the Van Eycks in +the North and under Giotto and the Tuscans in the South +that the weaving of tapestries reached a high standard +of production and from that time until the Nineteenth +Century has been an important artistic craft. The Thirteenth +Century saw it started, the Fourteenth saw the +beginnings of important factories, and the Fifteenth +bloomed into full productions and beauty of the style we +call Gothic.</p> + +<p>In these early times of the close of the Thirteenth Century +and the beginning of the Fourteenth, the best known +<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> +high-warp factories were centred in northern and midland +provinces of France and Flanders, Paris and Arras +being the towns most famed for their productions. As +these were able to supply the rest of Europe, the skilled +technique was lost otherwheres, so that later, when Italy, +Germany and England wished to catch up again their +ancient work, they were obliged to ask instruction of the +Franco-Flemish high-warp workers.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p> + +<p>It is not possible in the light of history for either Paris +or Arras to claim the invention of so nearly a prehistoric +art as that of high-warp tapestry, and there is much discussion +as to which of these cities should be given the +honour of superiority and priority in the work of the +Twelfth and Thirteenth Centuries.</p> + +<p>Factories existed at both places and each had its rules +of manufacture which regulated the workman and stimulated +its excellence. The factories at Paris, however, +were more given to producing copies of carpets brought +from the East by returning crusaders, and these were +intended for floors. The craftsmen were sometimes +alluded to as <i>tapissiers Sarrazinois</i>, named, as is easily +seen, after the Saracens who played so large a part in +the adventurous voyages of the day. But in Paris in +1302, by instigation of the Provost Pierre le Jumeau, +there were associated with these tapissiers or workmen, +ten others, for the purpose of making high-warp tapestry, +and these were bound with all sorts of oaths not to depart +from the strict manner of proceeding in this valued handicraft.</p> + +<p><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> +Indeed, the Articles of Faith, nor the Vows of the +Rosicrucians, could not be more inviolable than the +promises demanded of the early tapestry workers. In +some cases—notably a factory of Brussels, Brabant, in +the Sixteenth Century—there were frightful penalties +attendant upon the breaking of these vows, like the loss +of an ear or even of a hand.</p> + +<p>The records of the undertaking of the Provost Pierre +le Jumeau in introducing the high-warp (<i>haute lisse</i>) +workers into the factory where Sarrazinois and other +fabrics were produced, means only that the improvement +had begun, but not that Paris had never before practised +an art so ancient.</p> + +<p>The name of Nicolas Bataille is one of the earliest +which we can surround with those props of records that +please the searcher for exact detail.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> He was both manufacturer +and merchant and was a man of Paris in the +reign of Charles VI, a king who patronised him so well +that the workshops of Paris benefited largely. The +king’s brother becoming envious, tried to equal him in +personal magnificence and gave orders almost as large +as those of the king. Philip the Hardy, uncle of the +king, also employed this designer whose importance has +not lessened in the descent of the centuries.</p> + +<p>What makes Bataille of special interest to us is that +we cannot only read of him in fascinating chronicles as +well as dry histories, but we can ourselves see his wondrous +works. In the cathedral at Angers hangs a tapestry +<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> +executed by him; it is a part of the <i>Apocalypse</i> (favourite +subject) drawn by Dourdin, who was artist of the cartoons +as well as artist to Charles V.</p> + +<p>In those days the weaver occupied much the same place +in relation to the cartoonist as the etcher does now to the +painter. That is to say, that because the drawing was +his inspiration, the weaver was none the less an artist +of originality and talent.</p> + +<p>These celebrated hangings at Angers, although commenced +in 1376 for Louis of Anjou, were not completed +in all the series until 1490, therefore Bataille’s work was +on the first ones, finished on Christmas, 1379. The design +includes imposing figures, each seated on a Gothic +throne reading and meditating. The larger scenes are +topped with charming figures of angels in primitive skies +of the “twisted ribbon” style of cloud, angels whose duty +and whose joy is to trump eternally and float in defiance +of natural laws of gravitation.</p> + +<p>The museum at the Gobelins factory in Paris shows +to wondering eyes the other authentic example of late +Fourteenth Century high-warp tapestry, as woven in the +early Paris workshops. It portrays with a lovely naïve +simplicity <i>The Presentation in the Temple</i>. This with +the pieces of the <i>Apocalypse</i> at Angers are all that are +positively known to have come from the Paris workshops +of the late Fourteenth Century.</p> + +<p>History steps in with an event that crushed the industry +in Paris. Just when design and execution were at their +highest excellence, and production was prolific, political +events began to annihilate the trade. The English King, +<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span> +Henry V, crossed the Channel and occupied Paris in +1422. Thus, under the oppression of the invaders, the +art of tapestry was discouraged and fell by the way, not +to rise lustily again in Paris for two hundred years.</p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Eugene Müntz, “La Tapisserie.”</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> For extensive reading see Guiffrey, “Nicolas Bataille, tapissier parisien,” +and “L’Histoire General de la Tapisserie,” the section called “Les Tapisseries +Francaises.”</p></div> +</div> + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span></p> + +<h2 class="padtop">CHAPTER IV</h2> + +<h3>FIFTEENTH CENTURY IN FRANCE AND FLANDERS</h3> + + +<p><span class="dropcap">W</span>HETHER Arras began as early as Paris is a +question better left unsettled if only for the +sake of furnishing a subject of happy controversy +between the champions of the two opinions. But +certain it is that with fewer distractions to disturb her +craftsmen, and under the stimulus of certain ducal and +royal patrons, Arras succeeded in advancing the art more +than did her celebrated neighbour. It was Arras, too, +that gave the name to the fabric, a name which appears +in England as arras and in Italy as arazzo, as though there +was no other parent-region for the much-needed and +much-prized stuffs than the busy Flemish town.</p> + +<p>Among the early records is found proof that in 1311, +a countess of the province of Artois, of which Arras was +the capital, bought a figured cloth in that city, and two +years later ordered various works in high warp.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> It is +she who became ruler of the province. To patronise the +busy town of her own domains, Arras, she ordered from +there the hangings that were its specialty. Paris also +shared her patronage. She took as husband Otho, Count +of Burgundy, and set his great family the fashion in the +way of patronising the tapestry looms.</p> + +<p>It was in the time of Charles V of France, that the +<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> +Burgundian duke Philip, called the Hardy, began to +patronise conspicuously the Arras factories. In 1393, +as de Barante delightfully chronicles, the gorgeous equipments +of this duke were more than amazing when he +went to arrange peace with the English at Lelingien.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p> + +<p>The town chosen for the pourparlers, wherein assembled +the English dukes, Lancaster and Gloucester and +their attendants, as well as the cortége attending the Duke +of Burgundy, was a poor little village ruined by wars. +The conferences were held by these superb old fighters +and statesmen in an ancient thatched chapel. To make +it presentable and worthy of the nobles, it was covered +with tapestries which entirely hid the ruined walls. The +subject of the superb pieces was a series of battles, which +made the Duke of Lancaster whimsically critical of a subject +ill-chosen for a peace conference, he suggesting that +it were better to have represented “<i>la Passion de notre +Seigneur</i>.”</p> + +<p>Not satisfied with having the meeting place a gorgeous +and luxurious temple, this Philip, Duke of Burgundy, +demonstrated his magnificence in his own tent, which +was made of wooden planks entirely covered with “toiles +peintes” (authorities state that tapestries with personages +were thus described), and was in form of a château +flanked with towers. As a means of pleasing the English +dukes and the principal envoys, Philip gave to them +superb gifts of tapestries, the beautiful tapestries of +Flanders such as were made only in the territory of the +duke. It is interesting to note this authentic account +<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> +of the importation of certain Arras tapestries into England.</p> + +<p>Subjects at this time introduced, besides Bible people, +figures of Clovis and of Charlemagne. Two hangings +represented, the one <i>The Seven Cardinal Vices</i>, with their +conspicuous royal exponents in the shape of seven vicious +kings and emperors; the other, <i>The Seven Cardinal Virtues</i>, +with the royalties who had been their notable exponents. +Here is a frank criticism on the lives of kings +which smacks of latter-day democracy. All these tapestries +were enriched with gold of Cyprus, as gold threads +were called.</p> + +<p>This same magnificent Philip the Hardy, had other +treaties to make later on, and seeing how much his tapestries +were appreciated, continued to make presents of +them. One time it was the Duke of Brittany who had +to be propitiated, all in the interests of peace, peace being +a quality much sought and but little experienced at this +time in France. Perhaps this especial Burgundian duke +had a bit of self-interest in his desire for amity with the +English, for he was lord of the Comité of Artois (including +Arras) and this was a district which, because of its +heavy commerce with England, might favour that country. +A large part of that commerce was wool for tapestry +weaving, wool which came from the <i>prés salés</i> of +Kent, where to-day are seen the same meadows, salt with +ocean spray and breezes, whereon flocks are grazing now +as of old—but this time more for mutton chops than for +tapestry wools.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="THE_SACRAMENTS01" id="THE_SACRAMENTS01"></a> +<img src="images/tapestry010th.jpg" width="400" height="311" alt="" /> +<span class="link"><a href="images/tapestry010.jpg">See larger image</a></span> +</div> + +<p class="caption">THE SACRAMENTS</p> + +<p class="incaption">Arras Tapestry, about 1430. Metropolitan Museum of Art, New York</p> + +<p>The history of the Dukes of Burgundy, because their +<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> +patronage was so stimulating to the factories of Flanders, +leads us to recall the horrors of the war with Bajazet, the +terrible Sultan of Turkey, and the way in which this cool +monster bartered human lives for human luxuries. It +was when the flower of France (1396) invaded his country +and was in the power of his hand, that he had the +brave company of nobles pass in review before his royal +couch that he might see them mutilated to the death. +Three or four only he retained alive, then sent one of +these, the Sire de Helly, back to his France with <i>parole +d’honneur</i> to return—to amass, first, as big a ransom as +could be raised; this, if in the Turk’s demanding eyes +it appeared sufficient, he would accept in exchange for +the remaining unhappy nobles.</p> + +<p>Added to the money which de Helly was able to collect, +were superb tapestries of Arras contributed by the +Burgundian duke, Philip the Hardy. It was argued that +of these luxurious hangings, Bajazet had none, for the +looms of his country had not the craft to make tapestries +of personages. Cloth of gold and of silver, considered +an extreme elegance in France, they argued was no rarity +to the terrible Turk, for it was from Damascus in his +part of the world that this precious fabric came most +plentifully. So de Helly took Arras tapestries into +Turkey, a suite representing the history of Alexander the +Great, and the avaricious monarch was persuaded by reason +of this and other ransom to let his prisoners free.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p> + +<p>After the death of Philip the Hardy in 1404, his +accumulated luxuries had to be sold to help pay his +<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> +fabulous debts. To this end his son sold, among other things, +his superb tapestries, and thus they became distributed in +Paris. And yet John without Fear, who succeeded +Philip, continued to stimulate the Arras weavers. In +1409 he ordered five big hangings representing his victories +of Liége, all battle subjects.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></p> + +<p>Philip the Good was the next head of the Burgundian +house, and he it was who assisted in the sumptuous preparations +for the entry of the king, Louis XI, into Paris. +The king himself could scarcely equal in magnificence +this much-jewelled duke, whose splendour was a matter +of excitement to the populace. People ran to see him +in the streets or to the church, to feast their eyes on his +cortége, his mounted escort of a hundred knights who +were themselves dukes, princes and other nobles.</p> + +<p>His house, in the old quarter of Paris, where we are +wont to wander with a Baedeker veiled, was the wonder +of all who were permitted to view its interior. Here he +had brought his magnificent Arras tapestries and among +them the set of the <i>History of Gideon</i>, which he had had +made in honour of the order of the Golden Fleece founded +by him at Bruges, in 1429, for, he said, the tale of Gideon +was more appropriate to the Fleece than the tale of Jason, +who had not kept his trust—a bit of unconventionalism +appreciable even at this distance of time.</p> + +<p>Charles le Téméraire—the Bold or rather the foolhardy—how +he used and lost his tapestries is of interest +to us, because his possessions fell into a place where we +can see them by taking a little trouble. Some of them +<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> +are among the treasures in the museum at Nancy and at +Berne in Switzerland. How they got there is in itself +a matter of history, the history of a war between Burgundy +and Switzerland.</p> + +<p>Like all the line of these half-barbaric, picturesque +dukes, Charles could not disassociate himself from magnificence, +which in those days took the place of comfort. +When making war, he endeavoured to have his camp +lodgment as near as possible reproduce the elegance of +his home. In his campaign against Switzerland, his tent +was entirely hung with the most magnificent of tapestries. +After foolhardy onslaughts on a people whose strength +he miscalculated, he lost his battles, his life—and his +tapestries. And this is how certain Burgundian tapestries +hang in the cathedral at Berne, and in the museums +at Nancy.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> + +<p>The simple Swiss mountaineers, accustomed more to +expediency than to luxury, are said to have been entirely +ignorant of the value of their spoils of war. Tapestries +they had never seen, nor had they the experienced eye +to discern their beauties; but cloth, thick woollen cloth, +that would protect shivering man from the cold, was a +commodity most useful; so, many of the fine products of +the high-warp looms that had augmented the pride of +their noble possessor, found their way into shops and were +sold to the Swiss populace in any desired length, according +to bourgeois household needs, a length for a warm +bed-cover, or a square for a table; and thus disappeared +so many that we are thankful for the few whole hangings +<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> +of that time which are ours to inspect, and which represent +the best work of the day both from Arras and from +Brussels, which was then (about 1476) beginning to produce.</p> + +<p>There is a special and local reason why we should be +interested in the products of the high-warp tapestries in +the time of the greatest power of the Dukes of Burgundy. +It is that we can have the happy experience of studying, +in our own country, a set of these hangings, and this without +going farther than to the Metropolitan Museum of +Art in New York, where repose the set called <i>The Sacraments</i>. +(Plates facing pages <a href="#THE_SACRAMENTS01"><b>34</b></a>, +<a href="#THE_SACRAMENTS02"><b>38</b></a> and <a href="#THE_SACRAMENTS03"><b>39</b></a>.) There are +in all seven pieces, although the grounds are well taken +that the set originally included one more. They represent +the four Sacraments of Baptism, Marriage, Confirmation +and Extreme Unction, first by a series of ideal +representations, then by the everyday ceremonies of the +time—the time of Joan of Arc. Thus we have the early +Fifteenth Century folk unveiled to us in their ideals and +in their practicality. The one shows them to be religionists +of a high order, the other reveals a sumptuous and +elegant scale of living belonging to the nobility who made +resplendent those early times.</p> + +<div class="figcenter" style="width: 352px;"> +<a name="THE_SACRAMENTS02" id="THE_SACRAMENTS02"></a> +<img src="images/tapestry011th.jpg" width="352" height="400" alt="" /> +<span class="link"><a href="images/tapestry011.jpg">See larger image</a></span> +</div> + +<p class="caption">THE SACRAMENTS</p> + +<p class="incaption">Arras Tapestry, about 1430</p> + + +<div class="figcenter" style="width: 240px;"> +<a name="THE_SACRAMENTS03" id="THE_SACRAMENTS03"></a> +<img src="images/tapestry012th.jpg" width="240" height="400" alt="" /> +<span class="link"><a href="images/tapestry012.jpg">See larger image</a></span> +</div> + +<p class="caption">THE SACRAMENTS</p> + +<p class="incaption">Arras Tapestry, about 1430</p> + +<p>The drawing is full of simplicity and honesty, the composition +limited to a few individuals, each one having its +place of importance. In this, the early work differed +from the later, which multiplied figures until whole +groups counted no more than individuals. The background +is a field of conventionalised fleur-de-lis of so +large a pattern as not to interfere with the details thrown +<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> +against it. Scenes are divided by slender Gothic columns, +and other architectural features are tessellated floors +and a sketchy sort of brick-work that appears wherever +a limit-line is needed. It is the charming naïveté of its +drawing that delights. Border there is none, but its lack +is never felt, for the pictures are of such interest that the +eye needs no barrier to keep it from wandering. Whatever +border is found is a varying structure of architecture +and of lettering and of the happy flowers of Gothic times +which thrust their charm into all possible and impossible +places.</p> + +<p>The dress, in the suite of ideals, is created by the imagining +of the artist, admixed with the fashion of the day; +but in scenes portraying life of the moment, we are given +an interesting idea of how a bride à la mode was arrayed, +in what manner a gay young lord dressed himself on his +wedding morning, and how a young mother draped her +proud brocade. The colouring is that of ancient stained +glass, simple, rich, the gamut of colours limited, but the +manner of their combining is infinite in its power to +please. The conscientiousness of the ancient dyer lives +after him through the centuries, and the fresh ruby-colour, +the golden yellow of the large-figured brocades, +glow almost as richly now as they did when the Burgundian +dukes were marching up and down the land from +the Mediterranean, east of France, to the coast of +Flanders, carrying with them the woven pictures of their +ideals, their religion and their conquests. The weave is +smooth and even, speaking for the work of the tapissier +or weaver, although time has distorted the faces beyond +<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> +the lines of absolute beauty; and hatching accomplishes +the shading.</p> + +<p>The repairer has been at work on this valuable set, not +the intelligent restorer, but the frank bungler who has +not hesitated to turn certain pieces wrong side out, nor +to set in large sections obviously cut from another tapestry. +It is surmised that the set contained one more piece—it +would be regrettable, indeed, if that missing square +had been cut up for repairs.</p> + +<p>The Metropolitan Museum of Art in New York owns +these tapestries through the altruistic generosity of J. +Pierpont Morgan, Esq. They are the most interesting +primitive work which are on public view in our country, +and awake to enthusiasm even the most insensate dullard, +who has a half hour to stand before them and realise all +they mean in art, in morals and in history.</p> + +<p>To the lives of the Prophets and Saints we can always +turn; from the romance of men and women we can never +turn away. And so when a Gothic tapestry is found that +frankly omits Biblical folk and gives us a true picture +of men and women of the almost impenetrable time back +of the fifteen hundreds, tells us what they wore, in what +manner they comported themselves, that tapestry has a +sure and peculiar value. The surviving art of the Middle +Ages smacks strong of saints, paints at full length the +people of Moses’ time, but unhappily gives only a bust +of their contemporaries.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="FRENCH_TAPESTRY" id="FRENCH_TAPESTRY"></a> +<img src="images/tapestry013th.jpg" width="400" height="315" alt="" /> +<span class="link"><a href="images/tapestry013.jpg">See larger image</a></span> +</div> + +<p class="caption">FIFTEENTH CENTURY FRENCH TAPESTRY</p> + +<p class="incaption">Boston Museum of Fine Arts</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="LIFE_OF_CHRIST" id="LIFE_OF_CHRIST"></a> +<img src="images/tapestry014th.jpg" width="400" height="208" alt="" /> +<span class="link"><a href="images/tapestry014.jpg">See larger image</a></span> +</div> + +<p class="caption">THE LIFE OF CHRIST</p> + +<p class="incaption">Flemish Tapestry, second half of Fifteenth Century. Boston Museum of Fine Arts</p> + +<p>Hangings portraying secular subjects were less often +woven than those of religion and morals, but also the +former have less lustily outlived the centuries, owing to +<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> +the habit of tearing them from the suspending hooks and +packing them about from château to château, to soften +surroundings for the wandering visitor. Thus it comes +that we have little tapestried record of a time when +knights and ladies and ill-assorted attributes walked hand +in hand, a time of chivalry and cruelty, of roses and war, +of sumptuousness and crudity, of privation and indulgence, +of simplicity and deceit.</p> + +<p>If prowling among old books has tempted the hand to +take from the shelves one of those quaint luxuries known +as a “Book of Hours,” there before the eye lies the spirit +of that age in decoration and design. There, too, lies +much of the old spirit of morality—that, whether genuine +or affected, was bound to be expressed. Morality had a +vogue in those days, was a <i>sine qua non</i> of fashion. That +famous amateur Jean, duc de Berry, uncle of Charles VI +of France, had such a book, “Les Très Riches Heures”; +one was possessed by that gifted Milanese lady whom +Ludovico Sforza put out of the line of Lombardy’s throne. +The wonderful Gothic ingenuousness lies in their careful +paintings, the ingenuousness where virtue is expressed by +beauty, and vice by ugliness, and where, with delightful +seriousness, standing figures overtop the houses they +occupy—the same people, the same battlements, we have +seen on the early tapestries. Weavers must surely have +consulted the lovely books of Gothic miniature, so like is +the spirit of the designs to that in the Gothic fabrics.</p> + +<p>“The beauties of Agnes Sorel were represented on the +wool,” says Jubinal, “and she herself gave a superb and +magnificent tapestry to the church at Loches,” but this +<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> +quaint student is doubtful if the lovely <i>amante du roi</i> +actually gave the tapestries that set forth her own beauties, +which beauty all can see in the quiet marble as she +lies sleeping with her spaniel curled up at her lovely feet +in the big château on the Loire.</p> + +<p>By means of a rare set bought by the Rogers Fund for +the Metropolitan Museum of Art in New York, we can +see, if not the actual tapestries of fair Agnes Sorel, at least +those of the same epoch and manner. This set is called +<i>The Baillée des Roses</i> and comprises three pieces, fragments +one is inclined to call them, seeing the mutilations +of the ages. (Plate facing page <a href="#LA_BAILLEE_DES_ROSES"><b>42</b></a>.) They were woven +probably before 1450, probably in France, undoubtedly +from French drawings, for the hand and eye of the artist +were evidently under the influence of the celebrated +miniaturist, Jean Fouquet of Tours. Childlike is the +charm of this careful artist of olden times, childlike is his +simplicity, his honesty, his care to retain the fundamental +virtues of a good little boy who lives to the tune of Eternal +Verities.</p> + +<p>These three tapestries of the Roses illustrate so well so +many things characteristic of their day, that it is not time +lost to study them with an eye to all their points. There +is the weave, the wool, the introduction of metal threads, +the colour scale; all these besides the design and the story +it tells.</p> + +<p>The tapestries represent a custom of France in the time +when Charles VII, the Indolent (and likewise through +Jeanne d’Arc, the victorious) had as his favourite the +fascinating Agnes Sorel. During the late spring, when +<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> +the roses of France are in fullest flower, various peers of +France had as political duty to present to each member +of the Parliament a rose when the members answered in +response to roll call.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="LA_BAILLEE_DES_ROSES" id="LA_BAILLEE_DES_ROSES"></a> +<img src="images/tapestry015th.jpg" width="400" height="336" alt="" /> +<span class="link"><a href="images/tapestry015.jpg">See larger image</a></span> +</div> + +<p class="caption">LA BAILLÉE DES ROSES</p> + +<p class="incaption">French Tapestry, about 1450. Metropolitan Museum of Art, New York</p> + + +<div class="figcenter" style="width: 371px;"> +<a name="MILLEFLEUR_WITH_ARMS" id="MILLEFLEUR_WITH_ARMS"></a> +<img src="images/tapestry016th.jpg" width="371" height="400" alt="" /> +<span class="link"><a href="images/tapestry016.jpg">See larger image</a></span> +</div> + +<p class="caption">FIFTEENTH CENTURY MILLEFLEUR WITH ARMS</p> + +<p class="incaption">Cathedral of Troyes</p> + +<p>The great chamber where the body met was for the +occasion transformed into a bower; vines and sprays of +roses covered all the grim walls, as the straying vines in +the tapestry reveal. The host of the day, who might be +a foreign prince or cardinal, or one of the “children of +France,” began the day with giving a great breakfast +which took place in the several chambers. During the +feast the noble host paid a courtly visit to each chamber, +accompanied by a servitor who bore a huge salver on +which were the flowers and souvenirs to be presented. +The air was sweet with blossoms and pungent herbs, music +penetrated from the halls outside as the man of conspicuous +elegance played mock humility and served all with +the dainty tribute of a fragrant tender rose. This part +of the ceremony over, the company moved on to the great +audience chamber, where mass was said.</p> + +<p>Our tapestries show the figures of ladies and gentlemen +present at this pretty ceremony—too pretty to associate +with desperate Jeanne d’Arc, who at that very time was +rousing France to war to throw off the foreign yoke. The +ladies fair and masters bold are intensely human little +people, for the most part paired off in couples as men +and women have been wont to pair in gardens since +Eden’s time. They are dressed in their best, that is evident, +and by their distant, courteous manners show good +society. The faces of the ladies are childlike, dutiful; +<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> +those of the men more determined, after the manner of +men.</p> + +<p>But the interest of the set centres in the tableau wherein +are but three figures, those of two men and a woman. +Here lies a piquant romance. Who is she, the grand +and gracious lady, bending like a lily stalk among the +roses, with a man on either side? A token is being exchanged +between her and the supplicant at her right. +He, wholly elegant, half afraid, bends the knee and fixes +her with a regard into which his whole soul is thrown. +She, fair lady, is inclining, yet withdrawing, eyes of fear +and modesty cast down. Yet whatever of temerity the +faces tell, the hands are carrying out a comedy. Hid in +the shadow of a copious hat, which the gentleman extends, +lurks a rose; proffered by the lady’s hand is a token—fair +exchange, indeed, of lover’s symbols—provided the strong, +hard man to the left of the lady has himself no right of +command over her and her favours. Thus might one +dream on forever over history’s sweets and romance’s gallantries.</p> + +<p>It is across the sea, in the sympathetic Museum of +Cluny that the beauty of early French work is exquisitely +demonstrated. The set of <i>The Lady and the Unicorn</i> is +one of infinite charm. (Plates facing pages <a href="#LADY_AND_UNICORN01"><b>44</b></a> +and <a href="#LADY_AND_UNICORN02"><b>45</b></a>.) +In its enchanted wood lives a noble lady tall and fair, +lithe, young and elegant, with attendant maid and two +faithful, fabulous beasts that uphold the standards of +maidenhood. A simple circle denotes the boundary of +the enchanted land wherein she dwells, a park with noble +trees and lovely flowers, among which disport the little +<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> +animals that associate themselves with mankind. For +four centuries these hangings have delighted the eye of +man, and are perhaps more than ever appreciated now. +Certain it is that the art student’s easel is often set before +them for copying the quaint design and soft colour.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="LADY_AND_UNICORN01" id="LADY_AND_UNICORN01"></a> +<img src="images/tapestry017th.jpg" width="400" height="326" alt="" /> +<span class="link"><a href="images/tapestry017.jpg">See larger image</a></span> +</div> + +<p class="caption">THE LADY AND THE UNICORN</p> + +<p class="incaption">French Tapestry, Fifteenth Century. Musée de Cluny, Paris</p> + + +<div class="figcenter" style="width: 323px;"> +<a name="LADY_AND_UNICORN02" id="LADY_AND_UNICORN02"></a> +<img src="images/tapestry018th.jpg" width="323" height="400" alt="" /> +<span class="link"><a href="images/tapestry018.jpg">See larger image</a></span> +</div> + +<p class="caption">THE LADY AND THE UNICORN</p> + +<p class="incaption">French Tapestry, Fifteenth Century. Musée de Cluny, Paris</p> + +<p>As the early worker in wools could not forget the beauties +of earth, the foreground of many Gothic tapestries +is sprinkled with the loved common flowers of every day, +of the field and wood. This is one of the charming +touches in early tapestry, these little flowers that thrust +themselves with captivating inappropriateness into every +sort of scene. The grave and awesome figures in the +<i>Apocalypse</i> find them at their feet, and in scenes of battle +they adorn the sanguinary sod and twinkle between fierce +combatants.</p> + +<p>Occasionally a weaver goes mad about them and refuses +to produce anything else but lily-bells newly sprung +in June, cowslips and daisies pied, rosemary and rue, and +all these in decorous courtesy on a deep, dark background +like twilight on a bank or moonlight in a dell—and lo, +we have the marvellous bit of nature-painting called +<i>millefleurs</i>.</p> + +<p>A Burgundian tapestry that has come to this country to +add to our increasing riches, is the large hanging known +as <i>The Sack of Jerusalem</i>. (Plate facing page <a href="#SACK_OF_JERUSALEM"><b>46</b></a>.) Almost +more than any other it revivifies the ancient times of +Philip the Hardy, John without Fear, and Charles the +Bold, when these dukes, who were monarchs in all but +name, were leading lives that make our own Twentieth +Century fretting seem but the unrest of aspens. Such +<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> +hangings as this, <i>The Sack of Jerusalem</i>, were those that +the great Burgundian dukes had hung about their tents in +battle, their castles in peace, their façades and bridges in +fêtes.</p> + +<p>The subject chosen hints religion, but shouts bloodshed +and battle. Those who like to feel the texture of old +tapestries would find this soft and pliable, and in +wondrous state of preservation. Its colours are warm +and fresh, adhering to red-browns and brown-reds and +a general mellow tone differing from the sharp stained-glass +contrasts noticed in <i>The Sacraments</i>. Costumes +show a naïve compromise between those the artist knew +in his own time and those he guessed to appertain to the +year of our Lord 70, when the scene depicted was actually +occurring. The tapestry resembles in many ways the +famous tapestries of the Duke of Devonshire which are +known as the Hardwick Hall tapestries. In drawing it +is similar, in massing, in the placing of spots of interest. +This large hanging is a part of the collection at the Metropolitan +Museum of Art in New York.</p> + +<p>The Boston Museum of Fine Arts exhibits a primitive +hanging which is probably woven in France, Northern +France, at the end of the Fifteenth Century. (Plate +facing page <a href="#FRENCH_TAPESTRY"><b>40</b></a>.) It represents, in two panels, the power +of the church to drive out demons and to confound the +heathen. Fault can be found with its crudity of drawing +and weave, but tapestries of this epoch can hold a position +of interest in spite of faults.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="SACK_OF_JERUSALEM" id="SACK_OF_JERUSALEM"></a> +<img src="images/tapestry019th.jpg" width="400" height="326" alt="" /> +<span class="link"><a href="images/tapestry019.jpg">See larger image</a></span> +</div> + +<p class="caption">THE SACK OF JERUSALEM (DETAIL)</p> + +<p class="incaption">Burgundian Tapestry, about 1450. Metropolitan Museum of Art, New York</p> + +<p>A fine piece at the same museum is the long, narrow +<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> +hanging representing scenes from the life of Christ, with +a scene from Paradise to start the drama. (Plate facing +page <a href="#LIFE_OF_CHRIST"><b>41</b></a>.) This tapestry, which is of great beauty, is subdivided +into four panels by slender columns suggesting a +springing arch which the cloth was too low to carry. All +the pretty Gothic signs are here. The simple flowers upspringing, +the Gothic lettering, the panelling, and a narrow +border of such design as suggests rose-windows or +other lace-like carving. Here is noticeable, too, the +sumptuous brocades in figures far too large for the human +form to wear, figures which diminished greatly a very +few decades later.</p> + +<p>The Institute of Art, Chicago, possesses an interesting +piece of the period showing another treatment of a similar +subject. (Plate facing page <a href="#SCENES_FROM_LIFE_OF_CHRIST"><b>48</b></a>.) In this the columns +are omitted, the planes are increased, and there is +an entire absence of the triptych or altar-piece style of +drawing which we associate with the primitive artists in +painting.</p> + +<p>We have seen in this slight review that Paris was in a +fair way to cover the castle walls and floors of noble lords +with her high loom and <i>sarrazinois</i> products, when the +English occupation ruined the prosperity of the weaver’s +guild. Arras supplied the enormous demand for tapestries +through Europe, and made a lasting fame. But this +little city, too, had to go down before the hard conditions +of the Conqueror. Louis XI, in 1477, possessed himself +of the town after the death of the last-famed Burgundian +duke, Charles the Bold, and under his eccentric persecutions +<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> +the guild of weavers scattered. He saw too late his +mistake. But other towns benefited by it, towns whither +the tapissiers fled with their art.</p> + +<p>There had also been much trouble between the last +Duke of Burgundy and his Flemish cities. His extravagances +and expeditions led him to make extraordinary +demands upon one town and another for funds, and even +to make war upon them, as at Liége, the battles of which +conflict were perpetuated in tapestries. Let us trust that +no Liégois weaver was forced to the humiliation of weaving +this set.</p> + +<p>This disposition to work to his own ultimate undoing +was encouraged in the duke, wherever possible, by the +crafty Louis XI, who had his own reasons for wishing +the downfall of so powerful a neighbour. And thus it +came that Arras, the great tapestry centre, was at first +weakened, then destroyed by the capture of the town by +Louis XI immediately after the tragic death of the duke +in 1477.</p> + +<p>Thus everything was favourable to the Brussels factories, +which began to produce those marvels of workmanship +that force from the world the sincerest admiration. +It is frankly asserted that toward the end of the century, +or more accurately, during the reigns of Charles VIII +and Louis XII (1483-1515), tapestry attained a degree +of perfection which has never been surpassed.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="SCENES_FROM_LIFE_OF_CHRIST" id="SCENES_FROM_LIFE_OF_CHRIST"></a> +<img src="images/tapestry020th.jpg" width="400" height="213" alt="" /> +<span class="link"><a href="images/tapestry020.jpg">See larger image</a></span> +</div> + +<p class="caption">SCENES FROM THE LIFE OF CHRIST, WITH ARMORIAL SHIELDS</p> + +<p class="incaption">Flemish Tapestry, Fifteenth Century. Institute of Art, Chicago</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="HISTORY_OF_VIRGIN" id="HISTORY_OF_VIRGIN"></a> +<img src="images/tapestry021th.jpg" width="400" height="235" alt="" /> +<span class="link"><a href="images/tapestry021.jpg">See larger image</a></span> +</div> + +<p class="caption">HISTORY OF THE VIRGIN</p> + +<p class="incaption">Angers Cathedral</p> + +<p>We have a very clear idea of what use to make of tapestries +in these days—to hang them in a part of the house +where they will be much seen and much protected, on +an important wall-space where their figures become the +<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> +friend of daily life, or the bosky shades of their verdure +invite to revery. They are extended flat against the wall, +or even framed, that not one stroke of the artist’s pencil +or one flash of the weaver’s shuttle be hid. But, many +were their uses and grand were their purposes in the days +when high-warp and low-warp weaving was the important +industry of whole provinces. Palaces and castles +were hung with them, but apart from this was the sumptuous +use of a reserve of hangings for outdoor fêtes and +celebrations of all sorts. These were the great opportunities +for all to exhibit their possessions and to make a +street look almost as elegant and habitable as the grandest +chamber of the king.</p> + +<p>On the occasion of the entry of a certain queen into +Paris, all the way from Porte St. Denis to the Cathedral +of Notre Dame was hung with such specimens of the +weaver’s art as would make the heart of the modern amateur +throb wildly. They were hung from windows, +draped across the fronts of the houses, and fluttered their +bright colours in the face of an illuminating sun that +yet had no power to fade the conscientious work of the +craftsman. The high lights of silk in the weave, and the +enrichment of gold and silver in the pattern caught and +held the sunbeams. In all the cavalcade of mounted +knights and ladies, there was the flashing of arms, the +gleam of jewelled bridles, the flaunting of rich stuffs, +all with a background of unsurpassed blending of colour +and texture. The bridge over the Seine leading to Notre +Dame, its ramparts were entirely concealed, its asperities +softened, by the tapestries which hung over its sides, making +<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> +the passage over the river like the approach to a +throne, the luxury of kings combined with the beauty of +the flowing river, the blue sky, the tender green of the +trees.</p> + +<p>Indeed, it was so lovely a sight that the king himself +was not content to see it from his honoured but restricted +post, but needs must doff his crown—monarchs wore them +in those fairy days—and fling a leg over a gentleman’s +charger, behind its owner, and thus ride double to see +the sights. So great was his eagerness to enjoy all the +display that he got a smart reproof from an officer of +ceremonies for trespassing.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p> + +<p>When Louis XI was the young king, and had not yet +developed the taste for bloodshed and torture that as a +crafty fox he used later to the horror of his nation, he, +too, had similar festivals with similar decorations. On +one occasion the Pont des Changes was made the chief +point in the royal progress through the streets of Paris. +The bridge was hung with superb tapestries of great size, +from end to end, and the king rode to it on a white +charger, his trappings set with turquoise, with a gorgeous +canopy supported over his head. Just as he reached the +bridge the air became full of the music of singing birds, +twenty-five hundred of them at that moment released, +and all fluttering, darting, singing amid the gorgeous +scene to tickle the fancy of a king.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="DAVID_AND_BATHSHEBA01" id="DAVID_AND_BATHSHEBA01"></a> +<img src="images/tapestry022th.jpg" width="400" height="227" alt="" /> +<span class="link"><a href="images/tapestry022.jpg">See larger image</a></span> +</div> + +<p class="caption">DAVID AND BATHSHEBA</p> + +<p class="incaption">German Tapestry, about 1450</p> + + +<div class="figcenter" style="width: 326px;"> +<a name="FLEMISH_TAPESTRY01" id="FLEMISH_TAPESTRY01"></a> +<img src="images/tapestry023th.jpg" width="326" height="400" alt="" /> +<span class="link"><a href="images/tapestry023.jpg">See larger image</a></span> +</div> + +<p class="caption">FLEMISH TAPESTRY. ABOUT 1500</p> + +<p class="incaption">Collection of Alfred W. Hoyt, Esq.</p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Canon de Haisnes, “La Tapisserie.”</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> M. de Barante, “Histoire des Ducs de Bourgogne.”</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Froissart, manuscript of the library of Dijon.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> De Barante, “Histoire.”</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> See M. Pinchart, “Roger van der Weyden et les Tapisseries de Berne.”</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Enguerrand de Monstrelet, “Chronicles.”</p></div> +</div> + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> + +<h2 class="padtop">CHAPTER V</h2> + +<h3>HIGH GOTHIC</h3> + + +<p><span class="dropcap">T</span>HE wonderful time of the Burgundian dukes is +gone; Charles le Téméraire leaves the world at +Nancy, where the pitying have set up a cross in +memory of his unkingly death, and where the lover of +things Gothic may wander down a certain way to the +exquisite portico of the Ducal Palace and, entering, find +the Gothic room where the duke’s precious tapestries +are hung. In this sympathetic atmosphere one may +dream away hours in sheer joy of association with these +shadowy hosts of the past, the relentless slayers in the +battle scenes, relentless moralists in the religious subjects—for +morality plays had a parallel in the morality tapestry, +issuing such rigid warnings to those who make merry +as is seen in <i>The Condemnation of Suppers and Banquets</i>, +<i>The Reward of Virtue</i>, <i>The Triumph of Right</i>, <i>The Horrors +of the Seven Deadly Sins</i>, all of which were popular +subjects for the weaver.</p> + +<p>With the artists who might be called primitives we +have almost finished in the end of the Fifteenth Century. +The simplicity of the very early weavers passed. They +were content with comparatively few figures, and these +so strongly treated that in composition one scarce took +on more importance than another. When Arras and +other Flemish towns, as well as Paris and certain French +<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> +towns, developed the industry and employed more ambitious +artists, the designs became more crowded, and the +tendency was to multiply figures in an effort to crowd as +many as possible into the space. When architecture appeared +in the design, towers and battlements were +crowded with peeping heads in delightful lack of proportion, +and forests of spears springing from platoons +of soldiers, filled almost the entire height of the cloth. +The naïve fashion still existed of dressing the characters +of an ancient Biblical or classic drama in costumes which +were the mode of the weaver’s time, disregarding the +epoch in which the characters actually lived.</p> + +<p>An adherence to the childlike drawing of the early +workers continues noticeable in their quaint way of putting +many scenes on one tapestry. Interiors are readily +managed, by dividing—as in <i>The Sacraments</i> set in the +Metropolitan Museum of Art, New York—with slender +Gothic columns, than which nothing could be prettier, +especially when framed in at the top with the Gothic +arch. In outdoor scenes the frank disregard of the probable +adds the charm of audacity. Side by side with a +scene of carnage, a field of blood with victims lying prone, +is inserted an island of flowers whereon youths and dogs +are pleasantly sporting; and adjoining that may be another +section cunningly introduced where a martyred +woman is enveloped in flames which spring from the +ground around her as naturally as grass in springtime.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="DAVID_AND_BATHSHEBA02" id="DAVID_AND_BATHSHEBA02"></a> +<img src="images/tapestry024th.jpg" width="400" height="317" alt="" /> +<span class="link"><a href="images/tapestry024.jpg">See larger image</a></span> +</div> + +<p class="caption">DAVID AND BATHSHEBA</p> + +<p class="incaption">Flemish Tapestry, late Fifteenth Century</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="HISTORY_OF_ST_STEPHEN" id="HISTORY_OF_ST_STEPHEN"></a> +<img src="images/tapestry025th.jpg" width="400" height="384" alt="" /> +<span class="link"><a href="images/tapestry025.jpg">See larger image</a></span> +</div> + +<p class="caption">HISTORY OF ST. STEPHEN</p> + +<p class="incaption">Arras Tapestry, Fifteenth Century</p> + +<p>And flowers, flowers everywhere. Those little blossoms +of the Gothic with their perennial beauty, they are +one of the smiles of that far time that shed cheer through +<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span> +the centuries. They are not the grandiose affairs of the +Renaissance whose voluptuous development contains the +arrogant assurance of beauty matured. They do not +crown a column or trail themselves in foliated scrolls; +but are just as Nature meant them to be, unaffected bits +of colour and grace, upspringing from the sod. In the +cathedral at Berne is a happy example of the use of these +sweet flowers, as they appear at the feet of the sacred +group, and as they carry the eye into the sky by means +of the feathery branches like fern-fronds which tops the +scene; but we find them nearer home, in almost every +Gothic tapestry.</p> + +<p>It was about the end of the last Crusade when Italy +began to produce the inspired artists who broke the bonds +of Byzantine traditions and turned back to the inspiration +of all art, which is Nature. Giotto, tending his sheep, +began to draw pictures of things as he saw them, Savonarola +awoke the conscience, Dante, Petrarch, Boccaccio—a +string of names to conjure with—all roused the intellect. +The dawn of the Renaissance flushed Europe with the +life of civilisation. But before the wonderful development +of art through the reversion to classic lines, came +a high perfection of the style called Gothic, and with that +we are pleased to deal first. It is so full of beauty to +the eye and interest to the intellect that sometimes we +must be dragged away from it to regard the softer lines +of later art, with the ingratitude and reluctance of childhood +when torn from its fairy tales to read of real people +in the commonplace of every day.</p> + +<p>We are now in the time when the perfection of +<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span> +production was reached in the tapestries we call Gothic. +Artists had grown more certain of their touch in colour +and design, and weavers worked with such conscientious +care as is now almost unknown, and produced a quality +of tapestry superior to that of their forebears. The +Fifteenth Century and the first few years of the Sixteenth +were spent in perfecting the style of the preceding century, +and so great was the perfection reached, that it was +impossible to develop further on those lines.</p> + +<p>It must not be supposed from their importance that +Brussels and Bruges were the sole towns of weavers. +There were many high-warp looms, and low-warp as +well, in many towns in Flanders and France, and there +were also beginnings in Spain, England and Germany. +Italy came later. The superb set in the Cluny Museum +in Paris, <i>The Lady and the Unicorn</i>, than which nothing +could be lovelier in poetic feeling as well as in technique, +is accorded to French looms. But as it is impossible in +a cursory survey to mention all, the two most important +cities are dwelt upon because it is from them that the +greatest amount of the best product emanated.</p> + +<p>Tapestries could not well decline with the fortunes of +a town, for they were a heavy article of commerce at the +time when Louis XI attacked Arras. Trade was made +across the Channel, whence came the best wool for their +manufacture; they were bought by the French monarchs +and nobility; many drifted to Genoa and Italy, to be sold +by the active merchants of the times to whoever could +buy. When, therefore, Arras was crushed, her able +workmen flew to other centres of production, principally +<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> +in Flanders, notably to Bruges and Brussels, and helped +to bring these places into their high position.</p> + +<div class="figcenter" style="width: 207px;"> +<a name="VERDURE" id="VERDURE"></a> +<img src="images/tapestry026th.jpg" width="207" height="400" alt="" /> +<span class="link"><a href="images/tapestry026.jpg">See larger image</a></span> +</div> + +<p class="caption">VERDURE</p> + +<p class="incaption">French Gothic Tapestry</p> + + +<div class="figcenter" style="width: 303px;"> +<a name="ECCE_HOMO" id="ECCE_HOMO"></a> +<img src="images/tapestry027th.jpg" width="303" height="400" alt="" /> +<span class="link"><a href="images/tapestry027.jpg">See larger image</a></span> +</div> + +<p class="caption">“ECCE HOMO”</p> + +<p class="incaption">Brussels Tapestry, about 1520. Metropolitan Museum of Art, New York</p> + +<p>Stories of kings and their magnificence breathe ever +of romance, but kings could not be magnificent were it +not for the labour of the conscientious common people, +those who go daily to their task, asking nothing better +than to live their little span in humble endeavour. +The weavers, the tapissiers of that far-away time in +Flanders are intensely appealing now when their beautiful +work hangs before us to-day. They send us a +friendly message down through the centuries. It is this +makes us inquire a bit into the conditions of their lives, +and so we find them scattered through the country north +of France working with single-hearted devotion toward +the perfection of their art. That they arrived there, we +know by such tapestries as are left us of their time.</p> + +<p>Bruges was the home of a movement in art similar to +that occurring in Italy. Old traditions of painting were +being thrown aside—the revolution even attacking the +painter’s medium, tempera, which was criticised, discarded +and replaced by oil on the palettes. Memling, +the brothers Van Eyck, were painting things as they saw +them, not as rules prescribed. Bernard Van Orley was +at work with bold originality.</p> + +<p>It were strange if this Northern school of painters had +not influenced all art near by. It is to these men that +Brussels owes the beauty of her tapestries in that apogee +of Gothic art which immediately preceded the introduction +of the Renaissance from Italy.</p> + +<p>Cartoons or drawings for tapestries took on the rules +<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> +of composition of these talented and original men. Easily +distinguishable is the strong influence of the religious +feeling, the fidelity to standards of the church. When +a rich townsman wished to express his praise or gratitude +to God, he ordered for the church an altar-piece or dainty +gilded Gothic carving to frame the painted panels of +careful execution. When Jean de Rome executed a cartoon, +he treated it in much the same way; built up an +airy Gothic structure and filled the spaces with pretty +pictures. The so-called Mazarin tapestry of Mr. Morgan’s +shows this treatment at its best. Unhappily, the +atelier of Jean de Rome or Jan von Room is too sketchily +portrayed in the book of the past; its records are faint +and elusive. We only hear now and then an interested +allusion, a suggestion that this or that beautiful specimen +of work has come from his atelier.</p> + +<p>Cartoons at the beginning of the Sixteenth Century +were not all divided into their different scenes by Gothic +column and arch. In much of the fine work there was +no division except a natural one, for the picture began to +develop the modern scheme of treating but one scene in +one picture. Although this might be filled with many +groups, yet all formed a harmonious whole. The practice +then fell into disuse of repeating the same individual +many times in one picture.</p> + +<p>A good example of the change and improvement in +drawing which assisted in making Brussels’ supremacy +and in bringing Gothic art to perfection, is the fine hanging +in the Museum of Fine Arts in Boston. (Plate +facing page <a href="#CROSSING_RED_SEA"><b>57</b></a>.) It depicts with beautiful naïveté and +<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> +much realism the discomfiture of Pharaoh and his army +floundering in the Red Sea, while the serene and elegant +children of Israel contemplate their distress with well-bred +calm from the flowery banks of an orderly park.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="ALLEGORICAL_SUBJECT" id="ALLEGORICAL_SUBJECT"></a> +<img src="images/tapestry028th.jpg" width="400" height="273" alt="" /> +<span class="link"><a href="images/tapestry028.jpg">See larger image</a></span> +</div> + +<p class="caption">ALLEGORICAL SUBJECT</p> + +<p class="incaption">Flemish Tapestry, about 1500. Collection of Alfred W. Hoyt, Esq.</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="CROSSING_RED_SEA" id="CROSSING_RED_SEA"></a> +<img src="images/tapestry029th.jpg" width="400" height="292" alt="" /> +<span class="link"><a href="images/tapestry029.jpg">See larger image</a></span> +</div> + +<p class="caption">CROSSING THE RED SEA</p> + +<p class="incaption">Brussels Tapestry, about 1500. Boston Museum of Fine Arts</p> + +<p>This tapestry illustrates so many of the important features +of work during the first period of Brussels’ +supremacy that it is to be lingered over, dissected and +tasted like a dessert of nuts and wine. Should one speak +first of the cartoon or of the weave, of the artist or of the +craftsmen? If it is to be the tapissier, then to him all +credit, for in this and similar work he has reached a care +in execution and a talent in translation that are inspired. +Such quantity of detail, so many human faces with their +varying expressions, could only be woven by the most +adroit tapissier.</p> + +<p>The drawing shows, first, one scene of many groups +but a sole interest, with none but probable divisions. +Much grace and freedom is shown in the attitudes of the +persons on the shore, and strenuous effort and despair +among the engulfed soldiers. Extreme attention to detail, +the making one part as finished as another, even to +the least detail, is noticeable. The exaggerated patterns +of the stuffs observable in earlier work is absent, and a +sense of proportion is displayed in dress ornament. The +free movement of men and beasts, and the variety of +facial expression all show the immense strides made in +drawing and the perfection attained in this brilliant +period.</p> + +<p>It was a time when the artist perfected the old style +and presaged the new, the years before the Renaissance +<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> +had left its cradle and marched over Europe. This perfection +of the Gothic ideal has a purity and simplicity +that can never fail to appeal to all who feel that sincerity +is the basic principle of art as it is of character. The +style of Quentin Matsys, of the Van Eycks, was the mode +at the end of the Fifteenth Century and the beginning of +the Sixteenth, and after all this lapse of time it seems to +us a sweet and natural expression of admirable human +attributes.</p> + +<p>In the new wing of the Metropolitan Museum of Art, +New York, the labels of certain exhibits, purchases and +loans allude briefly to “studio of Jean de Rome.” It is an +allusion which especially interests us, as our country now +holds examples of this atelier which make us wish to +know more about its master. He was a designer in the +marvellous transition period of about 1500, when art +trembled between the restraint of ecclesiastic Gothic and +the voluptuous freedom of the Renaissance; hesitated between +the conventions of religion and the abandonment +to luxury, to indulgence of the senses. It is the fashion +to regard periods of transition as times of decadence, of +false standards of hybrid production, but at least they are +full of deepest interest to the student of design who finds +in the tremulous dawn of the new idea a flush which +beautifies the last years of the old method.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="KINGDOM_OF_HEAVEN" id="KINGDOM_OF_HEAVEN"></a> +<img src="images/tapestry030th.jpg" width="400" height="328" alt="" /> +<span class="link"><a href="images/tapestry030.jpg">See larger image</a></span> +</div> + +<p class="caption">THE KINGDOM OF HEAVEN</p> + +<p class="incaption">Flemish Tapestry, about 1510. Collection of J. Pierpont Morgan, Esq., +New York</p> + +<p>Attributed to this newly unearthed studio of Jean de +Rome hangs a marvellous tapestry in the new wing alluded +to, one which deserves repeated visits. (Plate facing +page <a href="#KINGDOM_OF_HEAVEN"><b>58</b></a>.) Indeed, to see it once creates the desire to +see it again, so beautiful is it in drawing and so exquisite +<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> +in colour and weave. It is suggested that Quentin +Matsys is responsible for the drawing, and it is known +that only Bruges or Brussels could produce such perfection +of textile. Indeed, Jean de Rome is by some authorities +spoken of as Jean de Brussels, for it is there that he +worked long and well, assisting to produce those wonders +of textile art that have never been surpassed, not even by +the Gobelins factory in the Seventeenth Century. The +tapestry in the Metropolitan Museum is now the property +of J. Pierpont Morgan, Esq., but began life as the +treasure of the King and Queen of Spain who, at the +time when Brussels was producing its best, were sitting +firmly on a throne but just wrested from the Saracenic +occupancy. Spain, while unable to establish famous +and enduring tapestry factories of her own, yet +was known always as a lavish buyer. Later, Cardinal +Mazarin, with his trained Italian eye, detected at once +the value of the tapestry and became possessed of it, counting +it among his best treasures of art. It is a woven representation +of the triptych, so favourite in the time of the +Van Eycks, and is almost as rich with gold as those ancient +altar decorations. The tapestry is variously called +<i>The Kingdom of Heaven</i>, and <i>The Adoration of the +Eternal Father</i> and is the most beautiful and important +of its kind in America. Fortunate they who can go to +the museum to see it—only less fortunate than those who +can go to see it many times.</p> + +<p>In the private collection of Martin A. Ryerson, Esq., +of Chicago, are three examples of great perfection. They +belonged to the celebrated art collection of Baron Spitzer, +<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> +which fact, apart from their beauty, gives them renown. +The first of these (plate facing page <a href="#FLEMISH_TAPESTRY02"><b>60</b></a>) is an appearance +of Christ to the Magdalen after the Entombment, +and is Flemish work of late in the Fifteenth Century. It +is woven in silk and gold with infinite skill. With exquisite +patience the weaver has brought out the crowded +detail in the distance; indeed, it is this background, +stretching away to the far sky, past the Tomb, beyond +towns and plains of fruited trees to yet more cities set on +a hill, that constitutes the greatest charm of the picture, +and which must have brought hours of happy toil to the +inspired weaver.</p> + +<p>The second tapestry of Mr. Ryerson’s three pieces is also +Flemish of the late Fifteenth Century. (Plate facing +page <a href="#HOLY_FAMILY"><b>61</b></a>.) This small group of the Holy Family shows +at its best the conscientious work of the time, a time +wherein man regarded labour as a means of worshipping +his God. The subject is treated by both artist and weaver +with that loving care which approaches religion. The +holy three are all engaged in holding bunches of grapes, +while the Child symbolically spills their juice into a +chalice. Other symbols are found in the book and the +cross-surmounted globe. A background of flat drapery +throws into beautiful relief the inspired faces of the +group. Behind this stretches the miniature landscape, +but the foreground is unfretted by detail, abounding in +the repose of the simple surfaces of the garments of +Mother and Child. By a subtle trick of line, St. Joseph +is separated from the holier pair. The border is the +familiar well-balanced Gothic composition of flower, +<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> +fruit, and leaf, all placed as though by the hand of Nature. +The materials used are silk and gold, but one might well +add that the soul of the weaver also entered into the fabric.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="FLEMISH_TAPESTRY02" id="FLEMISH_TAPESTRY02"></a> +<img src="images/tapestry031th.jpg" width="400" height="399" alt="" /> +<span class="link"><a href="images/tapestry031.jpg">See larger image</a></span> +</div> + +<p class="caption">FLEMISH TAPESTRY, END OF FIFTEENTH CENTURY</p> + +<p class="incaption">Collection of Martin A. Ryerson, Esq., Chicago. Formerly in the +Spitzer Collection</p> + + +<div class="figcenter" style="width: 377px;"> +<a name="HOLY_FAMILY" id="HOLY_FAMILY"></a> +<img src="images/tapestry032th.jpg" width="377" height="400" alt="" /> +<span class="link"><a href="images/tapestry032.jpg">See larger image</a></span> +</div> + +<p class="caption">THE HOLY FAMILY</p> + +<p class="incaption">Flemish Tapestry, end of Fifteenth Century. Collection of Martin A. Ryerson, +Esq., Chicago. Formerly in the Spitzer Collection</p> + +<p>The third piece from the Spitzer collection bears all +those marks of exquisite beauty with which Italy was +teeming in the Fifteenth Century. (Colour plate facing +page <a href="#THE_ANNUNCIATION"><b>82</b></a>.) Weavers from Brussels went down into Italy +and worked under the direction of Italian artists who +drew the designs. Andrea Mantegna was one of these. +The patron of the industry was the powerful Gonzaga +family. This tapestry of <i>The Annunciation</i> which Mr. +Ryerson is so fortunate as to hang in his collection, is +decorated with the arms of the Gonzaga family. The +border of veined marble, the altar of mosaics and fine +relief, the architecture of the outlying baptistry, the +wreathed angel, all speak of Italy in that lovely moment +when the Gothic had not been entirely abandoned and +the Renaissance was but an opening bud.</p> + +<p>The highest work of painter and weaver—artists both—continued +through thirty or forty years. Pity it is, the +time had not been long enough for more remains of it to +have come to us than those that scantily supply museums. +After the Gothic perfection came the great change made +in Flanders by the introduction of the Renaissance.</p> + +<p>It came through the excellence of the weavers. It was +not the worth of the artists that brought Brussels its greatest +fame, but the humbler work of its tapissiers. Their +lives, their endeavours counted more in textile art than +did the Flemish school of painting. No such weavers +existed in all the world. They were bound together as +<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> +a guild, had restrictions and regulations of their own that +would shame a trades union of to-day, and in change of +politics had scant consideration from new powers. But +in the end they were the ones to bring fame to the Brussels +workshops.</p> + +<p>In 1528 they were banded together by organisation, +and from that time on their work is easily followed and +identified. It was in that year that a law was made compelling +weavers—and allowing weavers—to incorporate +into the encompassing galloon of the tapestry the Brussels +Brabant mark of two B’s with a shield between. And it +was about this time and later that the celebrated family +of weavers named Pannemaker came into prominence +through the talent of Wilhelm de Pannemaker, he who +accompanied the Emperor Charles V on his expedition +to Tunis.</p> + +<p>This expedition flaunts itself in the set of tapestries +now in Madrid. (Plate facing page <a href="#CONQUEST_OF_TUNIS"><b>62</b></a>.) The emperor +seems, from our point of view, to have done it all with +dramatic forethought. There was his special artist on +the spot, Jan Vermeyen, to draw the superb cartoons, and +accompanying him was Wilhelm de Pannemaker, the +ablest weaver of his day, to set the loom and thrust the +shuttle. Granada was the place selected for the weaving, +and the finest of wool was set aside for it, besides lavish +amounts of silk, and pounds of silver and gold. In three +years, by the help of eighty workmen, Pannemaker completed +his colossal task. Such was the master-weaver of +the Sixteenth Century.</p> + +<div class="figcenter" style="width: 310px;"> +<a name="CONQUEST_OF_TUNIS" id="CONQUEST_OF_TUNIS"></a> +<img src="images/tapestry033th.jpg" width="310" height="400" alt="" /> +<span class="link"><a href="images/tapestry033.jpg">See larger image</a></span> +</div> + +<p class="caption">CONQUEST OF TUNIS BY CHARLES V (DETAIL)</p> + +<p class="incaption">Cartoon by Jan Vermeyen. Woven by Pannemaker. Royal Collection at Madrid</p> + +<p>As for Pannemaker’s imperial patron, John Addington +<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> +Symonds discriminatingly says of him: “Like a gale +sweeping across a forest of trees in blossom, and bearing +their fertilising pollen to far distant trees, the storm of +Charles Fifth’s army carried far and wide through Europe +the productive energy of the Renaissance.”</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span></p> + +<h2 class="padtop">CHAPTER VI</h2> + +<h3>RENAISSANCE INFLUENCE</h3> + + +<p><span class="dropcap">B</span>RUSSELS in 1515, with her workmen at the +zenith of their perfection, was given the order to +weave the set of the <i>Acts of the Apostles</i> for the +Pope to hang in the Sistine Chapel. (Plate facing page +<a href="#DEATH_OF_ANANIAS"><b>64</b></a>.) The cartoons were by the great Raphael. Not +only did he draw the splendid scenes, but with his exquisite +invention elaborated the borders. Thus was set in +the midst of the Brussels ateliers a pattern for the new +art that was to retire the nice perfection of the previous +school of restraint. From that time, all was regulated +by new standards.</p> + +<p>Before considering the change that came to designs +in tapestry, it is necessary that both mind and eye should +be literally savants in the Gothic. Without this the +greatest point in classifying and distinguishing is missed. +The dainty grace of the verdure and flowers, the exquisite +models of the architectural details, the honest, simple +scheme of colour, all these are distinguishing marks, but +to them is added the still greater one of the figures and +their grouping. In the very early work, these are few +in number, all equally accented in size and finish, but +later the laws of perspective are better understood, and +subordinates to the subject are drawn smaller. This gives +opportunity for increase in the number of personages, and +<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span> +for the introduction of the horses and dogs and little wild +animals that cause a childish thrill of delight wherever +they are encountered, so like are they to the species that +haunt childhood’s fairyland.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="DEATH_OF_ANANIAS" id="DEATH_OF_ANANIAS"></a> +<img src="images/tapestry034th.jpg" width="400" height="278" alt="" /> +<span class="link"><a href="images/tapestry034.jpg">See larger image</a></span> +</div> + +<p class="caption">DEATH OF ANANIAS.—FROM ACTS OF THE APOSTLES BY RAPHAEL</p> + +<p class="incaption">From the Palace of Madrid</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="STORY_OF_REBECCA01" id="STORY_OF_REBECCA01"></a> +<img src="images/tapestry035th.jpg" width="400" height="281" alt="" /> +<span class="link"><a href="images/tapestry035.jpg">See larger image</a></span> +</div> + +<p class="caption">THE STORY OF REBECCA</p> + +<p class="incaption">Brussels Tapestry. Sixteenth Century. Collection of Arthur Astor Carey, +Esq., Boston</p> + +<p>Indeed, the Gothic tapestries more than any other existing +pictures take us back to that epoch of our lives when +we lived in romance, when the Sleeping Beauty hid in +just such towers, when the prince rode such a horse and +appeared an elegant young knight. The inscrutable +mystery of those folk of other days is like the inscrutable +mystery of that childhood time, the Mediæval time of the +imagination, and those of us who remember its joys gaze +silent and happy in the tapestry room of the Ducal Palace +at Nancy, or in Mary’s Chamber at Holyrood, or in +any place whatever where hang the magic pictured +cloths.</p> + +<p>When the highest development of a style is reached +a change is sure to come. It may be a degeneration, or +it may be the introduction of a new style through some +great artistic impulse either native or introduced by contact +with an outside influence. Fortunately, the Gothic +passed through no pallid process of deterioration. The +examples that nest comfortably in the museums of the +world or in the homes of certain fortunate owners, do +not contain marks of decadence—only of transition. It +is a style that was replaced, but not one that died the +death of decadence.</p> + +<p>It is with reluctance that one who loves the Gothic +will leave it for the more recent art of the Renaissance. +Its charm is one that embodies chasteness, grace, and +<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span> +simplicity, one that is so exquisitely finished, and so individual +that the mind and eye rest lovingly upon its decorative +expressions. It is averred that the introduction of the +revived styles of Greece and Rome into France destroyed +an art superior. One is inclined to this opinion in studying +a tapestry of the highest Gothic expression, a finished +product of the artist and the craftsman, both having given +to its execution their honest labour and highest skill. Unhappily +it is often, with the tapestry lover, a case similar +to that of the penniless boy before the bakeshop window—you +may look, but you may not have,—for not +often are tapestries such as these for sale. Only among +the experienced dealer-collectors is one fortunate enough +to find these rare remnants of the past which for colour, +design and texture are unsurpassed.</p> + +<p>But the Gothic was bound to give way as a fashion +in design. Politics of Europe were at work, and men +were more easily moving about from one country to +another. The cities of the various provinces over which +the Burgundian dukes had ruled were prevented by +natural causes, from being united. Arras, Ghent, Liége +instead of forming a solidarity, were separate units of +interest. This made the subjugation of one or the other +an easy matter to the tyrant who oppressed. As Arras +declined under the misrule of Charles le Téméraire +(whose possessions at one time outlined the whole northern +and eastern border of France) Brussels came into +the highest prominence as a source of the finest tapestries.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="THE_CREATION" id="THE_CREATION"></a> +<img src="images/tapestry036th.jpg" width="400" height="245" alt="" /> +<span class="link"><a href="images/tapestry036.jpg">See larger image</a></span> +</div> + +<p class="caption">THE CREATION</p> + +<p class="incaption">Flemish Tapestry. Italian Cartoon, Sixteenth Century</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="ORIGINAL_SIN" id="ORIGINAL_SIN"></a> +<img src="images/tapestry037th.jpg" width="400" height="266" alt="" /> +<span class="link"><a href="images/tapestry037.jpg">See larger image</a></span> +</div> + +<p class="caption">THE ORIGINAL SIN</p> + +<p class="incaption">Flemish Tapestry. Italian Cartoon, Sixteenth Century</p> + +<p>The great change in tapestries that now occurs is the +same that altered all European art and decoration and +<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> +architecture. Indeed it cannot be limited to these evidences +alone, for it affected literature, politics, religion, +every intellectual evidence. Man was breaking his bonds +and becoming freed for centuries to come. The time +was well-named for the new birth. Like another Birth +of long ago, it occurred in the South, and its influence +gradually spread over the entire civilised world. The +Renaissance, starting in Italy, gradually flushed the whole +of Europe with its glory. Artists could not be restrained. +Throbbing with poetry to be expressed, they threw off +design after design of inspired beauty and flooded the +world with them. The legitimate field of painting was +not large enough for their teeming originality which pre-empted +also the field of decorative design as well. Many +painters apprenticed themselves to goldsmiths and silversmiths +to become yet more cunning in the art of minute +design, and the guilds of Florence held the names best +known in the fine arts.</p> + +<p>Tapestry weaving seems a natural expression in the +North, the impulsive supplying of a local need. Possibly +Italy felt no such need throughout the Middle Ages. +However that may be, when her artists composed designs +for woven pictures there were no permanent artisans at +home of sufficient skill to weave them.</p> + +<p>But up in the North, craftsmen were able to produce +work of such brilliant and perfect execution that the great +artists of Italy were inspired to draw cartoons. And +so it came, that to make sure of having their drawings +translated into wool and silk with proper artistic feeling, +the cartoons of Raphael were bundled off by trusty +<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> +carriers to the ateliers of Flanders. Thus Italy got her +tapestries of the Renaissance, and thus Flanders acquired +by inoculation the rich art of the Renaissance.</p> + +<p>The direct cause of the change in Flemish style of +tapestries was in this way brought about by the Renaissance +of Italy. New rules of drawing were dominating. +Changes were slower when travelling was difficult, and +the average of literacy was low; but gradually there came +creeping up to Brussels cartoon after cartoon in the new +method, for her skilled workmen to transpose into wool +and silk and metal, “thread of Arras,” and “gold and +silver of Cyprus.” Italy had the artists, Brussels had the +craftsmen—what happier combination could be made +than the union of these two? Thus was the great change +brought about in tapestries, and this union is the great +fact to be borne in mind about the difference between the +Gothic tapestries and those which so quickly succeeded +them.</p> + +<p>From now on the old method is abandoned, not only in +Brussels, but everywhere that the high-warp looms are +set up. The “art nouveau” of that day influenced every +brush and pencil. The great crowding of serried hosts +on a single field disappeared, and fewer but perfect figures +played their parts on the woven surface. Wherever +architectural details, such as porticoes or columns, were +introduced, these dropped the old designs of “pointed” +style or battlements, and took on the classic or the high +Renaissance that ornaments the façade of Pavia’s Certosa. +One by one the wildwood flowers receded before +the advance of civilisation, very much as those in the +<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span> +veritable land are wont to do, and their place was taken +by a verdure as rich as the South could produce, with +heavy foliage and massive blossoms.</p> + +<div class="figcenter" style="width: 363px;"> +<a name="MELEAGER_AND_ATALANTA" id="MELEAGER_AND_ATALANTA"></a> +<img src="images/tapestry038th.jpg" width="363" height="400" alt="" /> +<span class="link"><a href="images/tapestry038.jpg">See larger image</a></span> +</div> + +<p class="caption">MELEAGER AND ATALANTA</p> + +<p class="incaption">Flemish design, second half of Seventeenth Century. Woven in Paris workshops +by Charles de Comans</p> + + +<div class="figcenter" style="width: 309px;"> +<a name="PUNIC_WAR_SERIES" id="PUNIC_WAR_SERIES"></a> +<img src="images/tapestry039th.jpg" width="309" height="400" alt="" /> +<span class="link"><a href="images/tapestry039.jpg">See larger image</a></span> +</div> + +<p class="caption">PUNIC WAR SERIES</p> + +<p class="incaption">Brussels Tapestry. Sixteenth Century. Collection of Arthur Astor Carey, +Esq., Boston</p> + +<p>It is impossible to overestimate the importance to Brussels +of the animating experience and distinguished commission +of executing the set of tapestries for the Sistine +Chapel after cartoons by Raffaelo Sanzio. The date is +one to tie to (1515) and the influence of the work was +far-reaching. The Gothic method could no longer continue.</p> + +<p>The Renaissance spread its influence, established its +standards and introduced that wave of productiveness +which always followed its introduction. There are many +who doubt the superiority of the voluptuous art of the +high Renaissance. There are those who prefer (perhaps +for reasons of sentiment) the early Gothic, and many +more who love far better the sweet purity of the early +Renaissance. Before us Raphael presents his full figures +replete with action, rich with broad, open curves in +nudity, and magnificent with lines of flowing drapery. +To him be accorded all due honour; but, if it is the privilege +of the artist’s spirit to wander still on earth, he must +find his particular post-mortem punishment in viewing +the deplorable school of exaggeration which his example +founded. Who would not prefer one of the chaste +tapestries of perfected Gothic to one of those which followed +Raphael, imitating none of his virtues, exaggerating +his faults? It is these followers, the virilities of +whose false art is as that of weeds, who have come almost +to our own day and who have succeeded in spoiling the +<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> +historical aspect of the New Testament for many an +imaginative Sunday-school attendant by giving us Bible +folk in swarthy undress, in lunatic beards and in unwearable +drapings. These terrible persons, descendants of +Raphael’s art, can never stir a human sympathy.</p> + +<p>Just here a word must be said of the workmen, the +weavers of Brussels. For them certain fixed rules were +made, but also they were allowed much liberty in execution. +The artist might draw the big cartoons and thus +become the governing influence, but much of the choice +of colour and thread was left to the weaver. This made +of him a more important factor in the composition than +a mere artisan; he was, in fact, an artist, must needs be, +to execute a work of such sublimity as the Raphael set.</p> + +<p>And as a weaver, his patience was without limit. +Thread by thread, the warp was set, and thread by thread +the woof was woven and coerced into place by the relentless +comb of the weaver. Perhaps a man might make +a square foot, by a week of close application; but “how +much” mattered nothing—it was “how well” that counted. +Haste is disassociable from labour of our day; we might +produce—or reproduce—tapestries as good as the old, +but some one is in haste for the hanging, and excellency +goes by the board. The weaver of those days of perfection +was content to be a weaver, felt his ambition gratified +if his work was good.</p> + +<div class="figcenter" style="width: 384px;"> +<a name="EPISODE_IN_LIFE_OF_CAESAR" id="EPISODE_IN_LIFE_OF_CAESAR"></a> +<img src="images/tapestry040th.jpg" width="384" height="400" alt="" /> +<span class="link"><a href="images/tapestry040.jpg">See larger image</a></span> +</div> + +<p class="caption">EPISODE IN THE LIFE OF CÆSAR</p> + +<p class="incaption">Flemish Tapestry. Sixteenth Century. Gallery of the Arazzi, Florence</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="WILD_BOAR_HUNT" id="WILD_BOAR_HUNT"></a> +<img src="images/tapestry041th.jpg" width="400" height="346" alt="" /> +<span class="link"><a href="images/tapestry041.jpg">See larger image</a></span> +</div> + +<p class="caption">WILD BOAR HUNT</p> + +<p class="incaption">Flemish Cartoon and Weaving, Sixteenth Century. Gallery of the Arazzi, +Florence</p> + +<p>Peter van Aelst was the master chosen to execute the +Raphael tapestries, and the pieces were finished in three +or four years. Those who think present-day prices high, +should think on the fact that Pope Leo X paid $130,000 +<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span> +for the execution of the tapestries, which in 1515 counted +for more than now. Raphael received $1,000 each for +the cartoons, almost all of which are now guarded in +England. The tapestries after a varied history are resting +safely in the Vatican, a wonder to the visitor.</p> + +<p>When Van Aelst had finished his magnificent work, the +tapestries were sent to Rome. Those who go now to the +Sistine Chapel to gaze upon Michael Angelo’s painted +ceiling, and the panelled sidewalls of Botticelli and other +cotemporary artists, are more than intoxicated with the +feast. But fancy what the scene must have been when +Pope Leo X summoned his gorgeous guard and cardinals +around him in this chapel enriched also with the splendour +of these unparalleled hangings.</p> + +<p>And thus it came that Italy held the first place—almost +the only place—in design, and Brussels led in manufacture.</p> + +<p>In 1528 appeared a mark on Brussels’ tapestries which +distinguished them from that time on. Prior to that their +works, except in certain authenticated instances, are not +always distinguishable from those of other looms—of +which many existed in many towns. The mark alluded +to is the famous one of two large B’s on either side of a +shield or scutcheon. This was woven into a plain band +on the border, and the penalty for its misuse was the no +small one of the loss of the right hand—the death of the +culprit as a weaver. This mark and its laws were intended +to discourage fraud, to promote perfection and to +conserve a high reputation for weavers as well as for +dealers.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span></p> + +<h2 class="padtop">CHAPTER VII</h2> + +<h3>RENAISSANCE TO RUBENS</h3> + + +<p><span class="dropcap">W</span>HEN the Raphael cartoons first came to Brussels +the new method was a little difficult for +the tapissier. His hand had been accustomed +to another manner. He had, too, been allowed much liberty +in his translations—if one may so call the art of +reproducing a painted model on the loom. He might +change at will the colour of a drapery, even the position of +a figure, and, most interesting fact, he had on hand a supply +of stock figures that he might use at will, making for +himself suitable combination. The figures of Adam and +Eve gave a certain cachet to hangings not entirely secular +and these were slipped in when a space needed filling. +There were also certain lovely ladies who might at one +time play the rôle of attendant at a feast <i>al fresco</i>, at +another time a character in an allegory. The weaver’s +hand was a little conventional when he began to execute +the Raphael cartoons, but during the three years required +for their execution he lost all restriction and was ready +for the freer manner.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="VERTUMNUS_AND_POMONA01" id="VERTUMNUS_AND_POMONA01"></a> +<img src="images/tapestry042th.jpg" width="400" height="270" alt="" /> +<span class="link"><a href="images/tapestry042.jpg">See larger image</a></span> +</div> + +<p class="caption">VERTUMNUS AND POMONA</p> + +<p class="incaption">First half of Sixteenth Century. Royal Collection of Madrid</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="VERTUMNUS_AND_POMONA02" id="VERTUMNUS_AND_POMONA02"></a> +<img src="images/tapestry043th.jpg" width="400" height="329" alt="" /> +<span class="link"><a href="images/tapestry043.jpg">See larger image</a></span> +</div> + +<p class="caption">VERTUMNUS AND POMONA</p> + +<p class="incaption">First half of Sixteenth Century. Royal Collection of Madrid</p> + +<p>It must not be supposed the Flemish artists were content +to let the Italians entirely usurp them in the drawing +of cartoons. The lovely refinement of the Bruges +school having been thrust aside, the Fleming tried his +hand at the freer method, not imitating its classicism but +<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span> +giving his themes a broader treatment. The Northern +temperament failed to grasp the spirit of the South, and +figures grew gross and loose in the exaggerated drawing. +Borders, however, show no such deterioration; the attention +to detail to which the old school was accustomed +was here continued and with good effect. No stronger +evidence is needed than some of these half savage portrayals +of life in the Sixteenth Century to declare the +classic method an exotic in Flanders.</p> + +<p>But with the passing of the old Gothic method, there +was little need for other cartoonists than the Italian, so +infinitely able and prolific were they. Andrea del Sarto, +Titian, Paolo Veronese, Giulio Romano, these are among +the artists whose work went up to Brussels workshops +and to other able looms of the day. We can fancy +the fair face of Andrea’s wife being lovingly caressed +by the weaver’s fingers in his work; we can imagine the +beauties of Titian, the sumptuousness of Veronese’s +feasts, and the fat materialism of Giulio Romano’s heavy +cherubs, all contributing to the most beautiful of textile +arts.</p> + +<p>Still earlier, Mantegna supplied a series of idealised +Pompeian figures exquisitely composed, set in a lacy +fancy of airy architectural detail, in which he idealised +all the gods of Olympus. Each fair young goddess, each +strong and perfect god, stood in its particular niche and +indicated its <i>penchant</i> by a tripod, a peacock, an apple +or a caduceus, as clue to the proper name. Such airy +beauty, such dainty conception, makes of the gods rulers of +æsthetics, if not of fate. This series of Mantegna was +<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> +the inspiration two centuries later of the <i>Triumphs of +the Gods</i>, and similar hangings of the newly-formed +Gobelins.</p> + +<p>Giulio Romano drew, among other cartoons, a set of +<i>Children Playing</i>, which were the inspiration later at the +Gobelins for Lebrun’s <i>Enfants Jardiniers</i>.</p> + +<p>As classic treatment was the mode in the Sixteenth +Century, so classic subject most appealed. The loves and +adventures of gods and heroes gave stories for an infinite +number of sets. As it was the fashion to fill a room with +a series, not with miscellaneous and contrasting bits, several +tapestries similar in subject and treatment were a +necessity. The gods were carried through their adventures +in varying composition, but the borders in all the +set were uniform in style and measurement.</p> + +<p>In those prolific days, when ideas were crowding fast +for expression, the border gave just the outlet necessary +for the superfluous designs of the artist. He was wont +to plot it off into squares with such architectonic fineness +as Mina da Fiesole might have used, and to make of +each of these a picture or a figure so perfect that in +itself it would have sufficient composition for an entire +tapestry. All honour to such artists, but let us never +once forget that without the skill and talent of the +master-weaver these beauties would never have come +down to us.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="VERTUMNUS_AND_POMONA03" id="VERTUMNUS_AND_POMONA03"></a> +<img src="images/tapestry044th.jpg" width="400" height="263" alt="" /> +<span class="link"><a href="images/tapestry044.jpg">See larger image</a></span> +</div> + +<p class="caption">VERTUMNUS AND POMONA</p> + +<p class="incaption">First half of Sixteenth Century. Royal Collection of Madrid</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="VERTUMNUS_AND_POMONA04" id="VERTUMNUS_AND_POMONA04"></a> +<img src="images/tapestry045th.jpg" width="400" height="330" alt="" /> +<span class="link"><a href="images/tapestry045.jpg">See larger image</a></span> +</div> + +<p class="caption">VERTUMNUS AND POMONA</p> + +<p class="incaption">First half of Sixteenth Century. Royal Collection of Madrid</p> + +<p>The collection of George Blumenthal, Esquire, of New +York, contains as beautiful examples of Sixteenth Century +composition and weaving as could be imagined. +Two of these were found in Spain—the country which +<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span> +has ever hoarded her stores of marvellous tapestries. +They represent the story of <i>Mercury</i>. (<a href="#HERSE_AND_MERCURY"><b>Frontispiece.</b></a>) +The cartoon is Italian, and so perfect is its drawing, so +rich in invention is the exquisite border, that the name of +Raphael is half-breathed by the thrilled observer. But +if the artist is not yet certainly identified, the name of +the weaver is certain, for on the galloon he has left his +sign. It is none other than the celebrated Wilhelm de +Pannemaker.</p> + +<p>In addition to this is the shield and double B of the +Brussels workshop, which after 1528 was a requirement +on all tapestries beyond a certain small size. In 1544 +the Emperor Charles V made a law that the mark or +name of the weaver and the mark of his town must be +put in the border. It was this same Pannemaker of the +Blumenthal tapestries who wove in Spain the <i>Conquest +of Tunis</i> for Charles V. (Plate facing page <a href="#CONQUEST_OF_TUNIS"><b>62</b></a>.)</p> + +<p>Mr. Blumenthal’s tapestries must have carried with +them some such contract for fine materials as that which +attended the execution of the <i>Tunis</i> set, so superb are +they in quality. Indeed, gold is so lavishly used that +the border seems entirely made of it, except for the delicate +figures resting thereon. It is used, too, in an unusual +manner, four threads being thrown together to +make more resplendent the weave.</p> + +<p>The beauty of the cartoon as a picture, the decorative +value of the broad surfaces of figured stuffs, the marvellous +execution of the weaver, all make the value of these +tapestries incalculable to the student and the lover of +decorative art. Mr. Blumenthal has graciously placed +<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> +them on exhibition in the Metropolitan Museum of Art, +New York. Fortunate they who can absorb their beauty.</p> + +<p>That treasure-house in Madrid which belongs to the +royal family contains a set which bears the same ear-marks +as the Blumenthal tapestries. It is the set called +<i>The Loves of Vertumnus and Pomona</i>. (Plates facing +pages <a href="#VERTUMNUS_AND_POMONA01"><b>72</b></a>, <a href="#VERTUMNUS_AND_POMONA02"><b>73</b></a>, +<a href="#VERTUMNUS_AND_POMONA03"><b>74</b></a> and <a href="#VERTUMNUS_AND_POMONA04"><b>75</b></a>.) Here is the same manner of +dress, the same virility, the same fulness of decoration. +Yet the Mercury is drawn with finer art.</p> + +<p>The delight in perfected detail belonging to the Italian +school of artists resulted in an arrangement of <i>grotesques</i>. +Who knows that the goldsmith’s trade was not +responsible for these tiny fantastics, as so many artists +began as apprentices to workers in gold and silver? This +evidence of talented invention must be observed, for it +set the fashion for many a later tapestry, notably the +<i>Grotesque Months</i> of the Seventeenth Century. Mingled +with verdure and fruit, it is seen in work of the Eighteenth +Century. But in its original expression is it the most +talented. There we find that intellectual plan of design, +that building of a perfect whole from a subtle combination +of absolutely irreconcilable and even fabulous objects. +Yet all is done with such beguiling art that both +mind and eye are piqued and pleased with the impossible +blending of realism and imagination.</p> + +<p>Bacchiacca drew a filigree of attenuated fancies, threw +them on a ground of single delicate colour, and sent them +for weave to the celebrated masters, John Rost and Nicholas +Karcher. (Plates facing pages <a href="#ITALIAN_TAPESTRY01"><b>84</b></a> +and <a href="#ITALIAN_TAPESTRY02"><b>85</b></a>.) These +<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span> +men at that time (1550) had set their Flemish looms in +Italy.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="BED_TAPESTRIES" id="BED_TAPESTRIES"></a> +<img src="images/tapestry046th.jpg" width="400" height="238" alt="" /> +<span class="link"><a href="images/tapestry046.jpg">See larger image</a></span> +</div> + +<p class="caption">TAPESTRIES FOR HEAD AND SIDE OF BED</p> + +<p class="incaption">Renaissance designs. Royal Collection of Madrid</p> + + +<div class="figcenter" style="width: 243px;"> +<a name="STORY_OF_REBECCA02" id="STORY_OF_REBECCA02"></a> +<img src="images/tapestry047th.jpg" width="243" height="400" alt="" /> +<span class="link"><a href="images/tapestry047.jpg">See larger image</a></span> +</div> + +<p class="caption">THE STORY OF REBECCA</p> + +<p class="incaption">Brussels Tapestry. Sixteenth Century. Collection of Arthur Astor Carey, +Esq., Boston</p> + +<p>And so it came that the Renaissance swept all before +it in the world of tapestry. More than that, with the +increase of culture and of wealth, with the increased +mingling of the peoples of Europe after the raid of +Charles V into Italy, the demand for tapestries enormously +increased. They were wanted for furnishing of +homes, they were wanted as gifts—to brides, to monarchs, +to ambassadors. And they were wanted for splendid +decoration in public festivals. They had passed beyond +the stage of rarity and had become almost as much a +matter of course as clothing.</p> + +<p>Brussels being in the ascendency as a producer, the +world looked to her for their supply, and thereby came +trouble. More orders came than it was possible to fill. +The temptation was not resisted to accept more work than +could be executed, for commercialism has ever a hold. +The result was a driving haste. The director of the +ateliers forced his weavers to quick production. This +could mean but one thing, the lessening of care in every +department.</p> + +<p>Gradually it came about that expedition in a tapissier, +the ability to weave quickly, was as great a desideratum +as fine work. Various other expedients were resorted to +beside the Sixteenth Century equivalent of “Step lively.” +Large tapestries were not set on a single loom, but +were woven in sections, cunningly united when finished. +In this manner more men could be impressed into the +<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> +manufacture of a single piece. A wicked practice was +introduced of painting or dyeing certain woven parts in +which the colours had been ill-selected.</p> + +<p>All these things resulted in constantly increasing restrictions +by the guild of tapissiers and by order of royal +patrons. But fraud is hard to suppress when the animus +of the perpetrator is wrong. Laws were made to stop +one fault after another, until in the end the weavers were +so hampered by regulations that work was robbed of all +enthusiasm or originality.</p> + +<p>It was at this time that Brussels adopted the low-warp +loom. In other words, after a brilliant period of prolific +and beautiful production, Brussels began to show signs +of deterioration. Her hour of triumph was past. It had +been more brilliant than any preceding, and later times +were never able to touch the same note of purity coupled +with perfection. The reason for the decline is known, +but reasons are of scant interest in the face of the deplorable +fact of decadence.</p> + +<p>The Italian method of drawing cartoons was adopted +by the Flemish cartoonists at this time, but as it was an +adoption and not a natural expression of inborn talent, +it fell short of the high standard of the Renaissance. But +that is not to say that we of to-day are not ready to worship +the fruit of the Italian graft on Flemish talent. A +tapestry belonging to the Institute of Art in Chicago well +represents this hybrid expression of drawing. (Plate +facing page <a href="#BRUSSELS_TAPESTRY"><b>78</b></a>.) The principal figures are inspired by +such as are seen in the <i>Mercury</i> of Mr. Blumenthal’s collection, +or the <i>Vertumnus and Pomona</i> series, but there +<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span> +the artist stopped and wandered off into his traditional +Flemish landscape with proper Flemings in the background +dressed in the fashion of the artist’s day.</p> + +<div class="figcenter" style="width: 310px;"> +<a name="BRUSSELS_TAPESTRY" id="BRUSSELS_TAPESTRY"></a> +<img src="images/tapestry048th.jpg" width="310" height="400" alt="" /> +<span class="link"><a href="images/tapestry048.jpg">See larger image</a></span> +</div> + +<p class="caption">BRUSSELS TAPESTRY. LATE SIXTEENTH CENTURY</p> + +<p class="incaption">Weaver, Jacques Geubels. Institute of Art, Chicago</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="MEETING_OF_ANTONY_AND_CLEOPATRA" id="MEETING_OF_ANTONY_AND_CLEOPATRA"></a> +<img src="images/tapestry049th.jpg" width="400" height="336" alt="" /> +<span class="link"><a href="images/tapestry049.jpg">See larger image</a></span> +</div> + +<p class="caption">MEETING OF ANTONY AND CLEOPATRA</p> + +<p class="incaption">Brussels Tapestry. Woven by Gerard van den Strecken. Cartoon attributed +to Rubens</p> + +<p>The border was evidently inspired by Raphael’s classic +figures and arabesques, but the column of design is naïvely +broken by the far perspective of a formal garden. The +Italian cartoonist would have built his border, figure and +arabesque, one above another like a fantastic column +(<i>vide</i> Mr. Blumenthal’s <i>Mercury</i> border). The Fleming +saw the intricacy, the multiplied detail, but missed +the intellectual harmony. But, such trifles apart, the +Flemish examples of this style that have come to us are +thrilling in their beauty of colour, and borders such as +this are an infinite joy. This tapestry was woven about +the last quarter of the Sixteenth Century by a weaver +named Jacques Geubels of Brussels, who was employed +by Carlier, a merchant of Antwerp.</p> + +<p>As the fruit of the Renaissance graft on Flanders coarsened +and deteriorated, a new influence arose in the Low +Countries, one that was bound to submerge all others. +Rubens appeared and spread his great decorative surfaces +before eyes that were tired of hybrid design. This great +scene-painter introduced into all Europe a new method +in his voluptuous, vigorous work, a method especially +adapted to tapestry weaving. It is not for us to quarrel +with the art of so great a master. The critics of painting +scarce do that; but in the lesser art of tapestry the change +brought about by his cartoons was not a happy one.</p> + +<p>His great dramatic scenes required to be copied directly +from the canvas, no liberty of line or colour could +<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> +be allowed the weaver. In times past, the tapissier—with +talent almost as great as that of the cartoonist—altered +at his discretion. Even he to whom the Raphael +cartoons were entrusted changed here and there the work +of the master.</p> + +<p>But now he was expected to copy without license for +change. In other words, the time was arriving when +tapestries were changing from decorative fabrics into +paintings in wool. It takes courage to avow a distaste +for the newer method, seeing what rare and beautiful +hangings it has produced. But after a study of the purely +decorative hangings of Gothic and Renaissance work, how +forced and false seem the later gods. The value of the +tapestries is enormous, they are the work of eminent men—but +the heart turns away from them and revels again +in the Primitives and the Italians of the Cinque Cento.</p> + +<p>Repining is of little avail. The mode changes and +tastes must change with it. If the gradual decadence +after the Renaissance was deplorable, it was well that a +Rubens rose in vigour to set a new and vital copy. To +meet new needs, more tones of colour and yet more, were +required by the weaver, and thus came about the making +of woven pictures.</p> + +<p>As one picture is worth many pages of description, it +were well to observe the examples given (plate facing +page <a href="#MEETING_OF_ANTONY_AND_CLEOPATRA"><b>79</b></a>) of the superb set of <i>Antony and Cleopatra</i>, a +series of designs attributed to Rubens, executed in Brussels +by Gerard van den Strecken. This set is in the Metropolitan +Museum of Art, New York.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p> + +<h2 class="padtop">CHAPTER VIII</h2> + +<h3>ITALY</h3> + +<h4>FIFTEENTH THROUGH SEVENTEENTH CENTURIES</h4> + + +<p><span class="dropcap">T</span>HE history of tapestry in Italy is the story of the +great families, their romances and achievements. +These families were those which furnished rulers +of provinces—kings, almost—which supplied popes as +well, and folk who thought a powerful man’s pleasurable +duty was to interest himself seriously in the arts.</p> + +<p>With the fine arts all held within her hand, it was but +logical that Italy should herself begin to produce the +tapestries she was importing from the land of the barbarians +as those beyond her northern borders were arrogantly +called. First among the records is found the name +of the Gonzaga family which called important Flemish +weavers down to Mantua, and there wove designs of +Mantegna, in the highest day of their factory’s production, +about 1450.</p> + +<p>Duke Frederick of Urbino is one of the early Italian +patrons of tapestry whose name is made unforgettable in +this connexion by the product of the factory he established +toward the end of the Fifteenth Century, at his court in +the little duchy which included only the space reaching +from the Apennines to the Adriatic and from Rimini to +Ancona. The chief work of this factory was the <i>History +of Troy</i> which cost the generous and enthusiastic duke a +hundred thousand dollars.</p> + +<p><span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> +The great d’Este family was one to follow persistently +the art, possibly because it habited the northern part of +the peninsula and was therefore nearer Flanders, but more +probably because the great Duke of Ferrara was animated +by that superb pride of race that chafes at rivalry; this, +added to a wish to encourage art, and the lust of possession +which characterised the great men of that day.</p> + +<p>It was the middle of the Sixteenth Century that Ercole +II, the head of the d’Este family, revived at Ferrara the +factory of his family which had suffered from the wars. +The master-weavers were brought from Flanders, not only +to produce tapestries almost unequalled for technical perfection, +but to instruct local weavers. These two important +weavers were Nicholas and John Karcher or Carcher +as it is sometimes spelled, names of great renown—for a +weaver might be almost as well known and as highly esteemed +as the artist of the cartoons in those days when +artisan’s labour had not been despised by even the great +Leonardo. The foremost artist of the Ferrara works was +chosen from that city, Battista Dosso, but also active as +designer was the Fleming, Lucas Cornelisz. In Dosso’s +work is seen that exquisite and dainty touch that characterises +the artists of Northern Italy in their most perfect +period, before voluptuous masses and heavy scroll-like +curves prevailed even in the drawing of the human figure.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="THE_ANNUNCIATION" id="THE_ANNUNCIATION"></a> +<img src="images/tapestry050th.jpg" width="400" height="258" alt="" /> +<span class="link"><a href="images/tapestry050.jpg">See larger image</a></span> +</div> + +<p class="caption">THE ANNUNCIATION</p> + +<p class="incaption">Italian Tapestry. Fifteenth Century. Collection of Martin A. Ryerson, Esq., +Chicago</p> + +<p>The House of Este had a part to play in the visit of the +Emperor Charles V when he elected to be crowned with +Lombardy’s Iron Crown, in 1530, at Bologna instead of +in the cathedral at Monza where the relic has its home. +“Crowns run after me; I do not run after them,” he said, +<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> +with the arrogance of success. At this reception at +Bologna we catch a glimpse of the brilliant Isabella +d’Este amid all the magnificence of the occasion. It +takes very little imagination to picture the effect of the +public square at Bologna—the same buildings that stand +to-day—the square of the Palazzo Publico and the Cathedral—to +fancy these all hung with the immense woven +pictures with high lights of silk and gold glowing in the +sun, and through this magnificent scene the procession +of mounted guards, of beautiful ladies, of church dignitaries, +with Charles V as the central object of pomp, wearing +as a clasp to the cope of state the great diamond found +on the field of Marat after the defeat of the Duke of +Burgundy. The members of the House of Este were +there with their courts and their protégés, their artists +and their literati, as well as with their display of riches +and gaiety.</p> + +<p>The manufactory at Ferrara was now allowed to sell +to the public, so great was its success, and to it is owed +the first impetus given to the weaving in Italy and the +production of some of the finest hangings which time has +left for us to enjoy to-day. It is a sad commentary on +man’s lust of novelty that the factory at Ferrara was ultimately +abandoned by reason of the introduction into the +country of the brilliant metal-illuminated leathers of +Cordova. The factory’s life was comprised within the +space of the years 1534 to 1597, the years in which lived +Ercole II and Alfonso II, the two dukes of the House of +Este who established and continued it.</p> + +<p>It was but little wonder that the great family of the +<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> +Medici looked with envious eyes on any innovation or +success which distinguished a family which so nearly approached +in importance its own. When Ercole d’Este +had fully proved the perfection of his new industry, the +weaving of tapestry, one of the Medici established for +himself a factory whereby he, too, might produce this +form of art, not only for the furtherance of the art, but +to supply his own insatiable desires for possession.</p> + +<p>The <i>Arazzeria Medicea</i> was the direct result of the +jealousy of Cosimo I, Grand Duke of Tuscany, 1537-1574. +It was established in Florence with a success to +be anticipated under such powerful protection, and it +endured until that patronage was removed by the extinction +of the family in 1737.</p> + +<p>It was to be expected that the artists employed were +those of note, yet in the general result, outside of delicate +grotesques, the drawing is more or less the far-away echo +of greater masters whose faults are reproduced, but +whose inspiration is not obtainable. After Michael +Angelo, came a passion for over-delineation of over-developed +muscles; after Raphael—came the debased +followers of his favourite pupil, Giulio Romano, who +had himself seized all there was of the carnal in Raphael’s +genius. But if there is something to be desired in the +composition and line of the cartoons of the Florentine +factory, there is nothing lacking in the consummate skill +of the weavers.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="ITALIAN_TAPESTRY01" id="ITALIAN_TAPESTRY01"></a> +<img src="images/tapestry051th.jpg" width="400" height="309" alt="" /> +<span class="link"><a href="images/tapestry051.jpg">See larger image</a></span> +</div> + +<p class="caption">ITALIAN TAPESTRY. MIDDLE OF SIXTEENTH CENTURY</p> + +<p class="incaption">Cartoon by Bacchiacca. Woven by Nicholas Karcher</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="ITALIAN_TAPESTRY02" id="ITALIAN_TAPESTRY02"></a> +<img src="images/tapestry052th.jpg" width="400" height="217" alt="" /> +<span class="link"><a href="images/tapestry052.jpg">See larger image</a></span> +</div> + +<p class="caption">ITALIAN TAPESTRY. MIDDLE OF SIXTEENTH CENTURY</p> + +<p class="incaption">Cartoon by Bacchiacca. Woven by G. Rost</p> + +<p>The same Nicholas Karcher who set the standard in +the d’Este works, gave of his wonderful skill to the Florentines, +and with him was associated John Rost. These +<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> +were both from Flanders, and although trade regulations +for tapestry workers did not exist in Italy, Duke Cosimo +granted each of these men a sufficient salary, a habitat, +as well as permission to work for outsiders, and in addition +paid them for all work executed for himself.</p> + +<p>The subjects for the set of tapestries had entirely left +the old method of pious interpretation and of mediæval +allegory and revelled in pictured tales of the Scriptures +and of the gods and heroes of mystical Parnassus and of +bellicose Greece, not forgetting those dainty exquisite impossibilities +called grotesques. It was about the time of +the death of Cosimo I (1574), the founder of the +Medicean factory, that a new and unfortunate influence +came into the directorship of the designs. This was +the appointment of Stradano or Johan van der Straaten, +to give his Flemish name, as dominating artist.</p> + +<p>He was a man without fine artistic feeling, one of those +whose eye delighted in the exaggerations of decadence +rather than in the restraint of perfect art. He was inspired, +not by past perfection of the Italians among +whom he came to live, but by those of the decline, and +on this he grafted a bit of Northern philistinism. His +brush was unfortunately prolific, and at this time the fine +examples of weaving set by Rost and Karcher had been +replaced by quicker methods so that after 1600 the tapestries +poured out were lamentably inferior. Florentine +tapestry had at this time much pretence, much vulgar +display in its drawing, missing the fine virtues of the +time when Cosimo I dictated its taste, the fine virtues of +“grace, gaiety and reflectiveness.”</p> + +<p><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> +Leo X, the great Medicean pope, was elected in 1513, +he who ordered the great Raphael set of the <i>Acts of the +Apostles</i>, but it was before the establishment of important +looms in Italy, so to Flanders and Van Aelst are due the +glory of first producing this series which afterward was +repeated many times, in the great looms of Europe. Leo +X emulated in the patronage of the arts his father +Lorenzo, well-named Magnificent. What Lorenzo did +in Florence, Leo X endeavoured to do in Rome; make +of his time and of his city the highest expression of culture. +His record, however, is so mixed with the corruption +of the time that its golden glory is half-dimmed. +It was from the licentiousness of cardinals and the +wanton revels of the Vatican in Leo’s time that young +Luther the “barbarian” fled with horror to nail up his +theses on the doors of the churches in Wittenberg.</p> + +<p>The history of tapestry in Italy at the Seventeenth +Century was all in the hands of the great families. Italy +was not united under a single royal head, but was a heterogeneous +mass of dukedoms, of foreign invaders, with +the popes as the head of all. But Italy had experienced +a time of papal corruption, which had, as its effect, wars +of disintegration, the retarding of that unity of state +which has only recently been accomplished. State +patronage for the factories was not known, that steady +beneficent influence, changeless through changing reigns. +Popes and great families regulated art in all its manifestations, +and who shall say that envy and rivalry did not +act for its advancement.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="ITALIAN_VERDURE" id="ITALIAN_VERDURE"></a> +<img src="images/tapestry053th.jpg" width="400" height="257" alt="" /> +<span class="link"><a href="images/tapestry053.jpg">See larger image</a></span> +</div> + +<p class="caption">ITALIAN VERDURE. SEVENTEENTH CENTURY</p> + +<p>The desire to imitate the cultivation and elegance of +<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> +Italy was what made returning invaders carry the Renaissance +into the rest of Europe; and in a lesser degree the +process was reversed when, in the Seventeenth Century, +a cardinal of the House of Barberini visited France and, +on viewing in the royal residences a superb display of +tapestries, his envy and ambition were aroused to the extent +of emulation. He could not, with all his power, +possess himself of the hangings that he saw, but he could, +and did, arrange to supply himself generously from another +source. He was the powerful Francesco Barberini, +the son of the pope’s brother (Pope Urban VIII, +1623-1644), and it was he who established the Barberini +Library and built from the ruins of Rome’s amphitheatres +and baths the great palace which to-day still dominates +the street winding up to its aristocratic elegance. +It was to adorn this palace that Cardinal Francesco established +ateliers and looms and set artists and weavers to +work. This tapestry factory is of especial interest to +America, for some of its chief hangings have come to rest +with us. <i>The Mysteries of the Life and Death of Jesus +Christ</i>, one set is called, and is the property of the Cathedral +of St. John, the Divine, in New York, donated by +Mrs. Clarke.</p> + +<p>Cardinal Francesco Barberini chose as his artists those +of the school of Pietro di Cortona with Giovanni Francesco +Romanelli as the head master. The director of the +factory was Giacomo della Riviera allied with M. +Wauters, the Fleming.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> The former was especially concerned +with the pieces now owned by the Cathedral of +<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span> +St. John, the Divine, in New York, and which are signed +with his name. Romanelli was the artist of the cartoons, +and his fame is almost too well known to dwell upon. +His portrait, in tapestry, hangs in the Louvre, for in +Paris he gained much fame at the Court of Louis XIV, +where he painted portraits of the Grand Monarch, who +never wearied of seeing his own magnificence fixed on +canvas.</p> + +<p>It was the hard fate of the Barberini family to lose +power and wealth after the death of their powerful member, +Pope Urban VIII, in 1644. Their wealth and influence +were the shining mark for the arrows of envy, +so it was to be expected that when the next pope, Innocent +X, was elected, they were robbed of riches and +driven out of the country into France. This ended for +a time the work of the tapestry factory, but later the +family returned and work was resumed to the extent of +weaving a superb series picturing scenes especially connected +with the glory of the family, and entitled <i>History +of Urban VIII</i>.</p> + +<p>Although Italy is growing daily in power and riches +under her new policy of political unity, there were +dreary years of heavy expense and light income for many +of her famous families, and it was during such an era +that the Barberini family consented to let their tapestries +pass out from the doors of the palace they were woven to +decorate. In 1889, the late Charles M. Ffoulke, Esq., +became the possessor of all the Barberini hangings, and +added them to his famous collection. Thus through the +enterprise and the fine artistic appreciation of Mr. +<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> +Ffoulke, is America able to enjoy the best expression of +Italian tapestry of the Seventeenth Century.</p> + +<p>The part that Venice ever played in the history of tapestry +is the splendid one of consumer. In her Oriental +magnificence she exhibited in palace and pageant the +superb products of labour which others had executed. +Without tapestries her big stone palaces would have +lacked the note of soft luxury, without coloured hangings +her balconies would have been but dull settings for languid +ladies, and her water-parades would have missed +the wondrous colour that the Venetian loves. Yet to her +rich market flowed the product of Europe in such exhaustless +stream that she became connoisseur-consumer +only, nor felt the need of serious producing. Workshops +there were, from time to time, but they were as easily +abandoned as they were initiated, and they have left little +either to history or to museums. Venice was, in the Sixteenth +Century, not only a buyer of tapestries for her own +use, but one of the largest markets for the sale of hangings +to all Europe. Men and monarchs from all Christendom +went there to purchase. The same may be said +of Genoa, so that although these two cities had occasional +unimportant looms, their position was that of middleman—vendors +of the works of others. In addition to +this they were repairers and had ateliers for restoring, +even in those days.</p> + + +<div class="footnotes"><h3>FOOTNOTE:</h3> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> E. Müntz, “La Tapisserie.”</p></div> +</div> + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> + +<h2 class="padtop">CHAPTER IX</h2> + +<h3>FRANCE</h3> + +<h4>WORKING UP TO GOBELINS FACTORY</h4> + + +<p><span class="dropcap">I</span>N following the great sweep of tapestry production +we arrive now in France, there to stay until the +Revolution. The early beginnings were there, +briefly rivalling Arras, but Arras, as we have seen, caught +up the industry with greater zeal and became the ever-famous +leader of the Fifteenth Century, ceding to Brussels +in the Sixteenth Century, whence the high point of +perfection was carried to Paris and caused the establishment +of the Gobelins. The English development under +James I, we defer for a later considering.</p> + +<p>Francis I stands, an over-dressed, ever ambitious figure, +at the beginning of things modern in French art. He +still smacks of the Middle Ages in many a custom, many +a habit of thought; his men clank in armour, in his +châteaux lurk the suggestion of the fortress, and his common +people are sunk in a dark and hopeless oppression. +Yet he himself darts about Europe with a springing gait +and an elegant manner, the type of the strong aristocrat +dispensing alike arts of war and arts of the Renaissance.</p> + +<p>Was it his visits, bellicose though they were, to Italy +and Spain, that turned his observant eye to the luxury of +woven story and made him desire that France should produce +the same? The Sforza Castle at Milan had walls +enough of tapestry, the pageants of Leonardo da Vinci, +<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> +organised at royal command of the lovely Beatrice d’Este, +displayed the wealth of woven beauty over which Francis +had time to deliberate in those bad hours after the +battle at Milan’s noted neighbour, Pavia.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="FINDING_OF_MOSES" id="FINDING_OF_MOSES"></a> +<img src="images/tapestry054th.jpg" width="400" height="280" alt="" /> +<span class="link"><a href="images/tapestry054.jpg">See larger image</a></span> +</div> + +<p class="caption">THE FINDING OF MOSES</p> + +<p class="incaption">Gobelins, Seventeenth Century. Cartoon after Poussin. The Louvre Museum</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="TRIUMPH_OF_JUNO" id="TRIUMPH_OF_JUNO"></a> +<img src="images/tapestry055th.jpg" width="400" height="375" alt="" /> +<span class="link"><a href="images/tapestry055.jpg">See larger image</a></span> +</div> + +<p class="caption">TRIUMPH OF JUNO</p> + +<p class="incaption">Gobelins under Louis XIV.</p> + +<p>The attention of Francis was also turned much to +Spain through envy of that extraordinary man of luck +and ability, the Emperor Charles V, and from whom he +made abortive and sullen efforts to wrest Germany, Italy, +anything he could get. In his imprisonment in Madrid, +Francis had time in plenty on which to think of many +things, and why not on the wonderful tapestries of which +Spain has always had a collection to make envious the +rest of Europe. He might forget his two poor little +boys who were left as hostages on his release, but he forgot +not whatever contributes to the pleasure of life. +That peculiarity was one which was yielding luscious +fruit, however, for Francis was the bearer of the torch +of the Renaissance which was to illumine France with +the same fire that flashed and glowed over Italy. This +is a fact to remember in regard to the class of designs of +his own and succeeding periods in France.</p> + +<p>How he got his ideas we can reasonably trace, and the +result of them was that he established a royal tapestry +factory in beautiful Fontainebleau, which lies hid in +grateful shade, stretching to flowered fields but a reasonable +distance from the distractions of Paris.</p> + +<p>It pleased Francis—and perhaps the beautiful Diane +de Poitiers and Duchesse d’Étampes—to critique plays in +that tiny gem of a theatre at the palace, or to feed the +carp in the pool; but also it gave him pleasure to wander +<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span> +into the rooms where the high-warp looms lifted their +utilitarian lengths and artists played at magic with the +wools.</p> + +<p>Alas, one cannot dress this patronage of art with too +much of disinterestedness, for these marvellous weavings +were for the adornment of the apartments of the very +persons who caused their productions.</p> + +<p>The grand idea of state ateliers had not yet come to +bless the industry. For this reason the factory at Fontainebleau +outlasted the reign of its founder, Francis I, +but a short time.</p> + +<p>Nevertheless, examples of its works are still to be seen +and are of great beauty, notably those at the Museum of +the Gobelins in Paris. That a series called the <i>History +of Diana</i> was produced is but natural, considering the +puissance at court of the famous Diane de Poitiers.</p> + +<p>When Francis’ son, Henri II, enfeebled in constitution +by the Spanish confinement, inherited the throne, it was +but natural that he should neglect the indulgences of +his father and prefer those of his own. The Fontainebleau +factory strung its looms and copied its cartoons and +produced, too, certain hangings for Henri’s wife, the terrible +Catherine de Medici, on which her vicious eyes +rested in forming her horrid plots; but Henri had ambitions +of his own, small ambitions beside those which +had to do with jealousy of Charles Quint. He let the +factory of Francis I languish, but carried on the art under +his own name and fame.</p> + +<p>To give his infant industry a home he looked about +Paris and decided upon the Hôpital de la Trinité, an +<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span> +institution where asylum was found for the orphans of +the city who seem, in the light of the general brutality +of the time, to have been even in more need of a home +than the parentless child of modern civilisation. A part +of the scheme was to employ in the works such children +as were sufficiently mature and clever to work and to +learn at least the auxiliary details of a craft that is also +an art.</p> + +<p>In this way the sixty or so of the orphans of La Trinité +were given a means of earning a livelihood. Among +them was one whose name became renowned. This was +Maurice du Bourg, whose tapestries surpassed all others +of his time in this factory—an important factory, as being +one of the group that later was merged into the +Gobelins.</p> + +<p>It must be remembered in identifying French tapestries +of this kind that things Gothic had been vanquished +by the new fashion of things Renaissance, and that all +models were Italian. Giulio Romano and his school of +followers were the mode in France, not only in drawing, +but in the revival of classic subject. This condition in +the art world found expression in a set of tapestries from +the factory of La Trinité that are sufficiently celebrated +to be set down in the memory with an underscoring. +This set was composed of fifteen pieces illustrating in +sweeping design and gorgeous colouring the <i>History of +Mausolus and Artemisia</i>. Intense local and personal +interest was given to the set by making an open secret +of the fact that by Artemisia, the Queen of Halicarnassus, +was meant the widowed Queen of France, Catherine +<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span> +de Medici, who adored posing as the most famous of +widows and adding ancient glory to her living importance. +To this <i>History</i> French writers accord the important +place of inspirer of a distinctively French Renaissance.</p> + +<p>The weaver being Maurice du Bourg, the chief of the +factory of La Trinité, the artists were Henri Lerambert +and Antoine Carron, but the set has been many times +copied in various factories, and Artemisia has symbolised +in turn two other widowed queens of France.</p> + +<p>Into the throne of France climbed wearily a feeble +youth always under the influence of his mother, Catherine +de Medici; and then it was filled by two other incapable +and final Orleans monarchs, until at last by virtue +of inheritance and sword, it became the seat of that grand +and faulty Henri IV, King of Navarre. By fighting he +got his place, and the habit being strong upon him, he +was in eternal conflict. Some there be who are developed +by sympathy, but Henri IV was developed by opposition, +and thus it was that although opposed in the +matter by his Prime Minister, Sully, he established factories +for the weaving of tapestries in both high and low +warps.</p> + +<p>With the desire to see the arts of peace instead of evidences +of war throughout his kingdom just rescued from +conflict, he took all means to set his people in the ways +of pleasing industry. The indefatigable Sully was +plucking the royal sleeve to follow the path of the plough, +to see man’s salvation, material and moral, in the ways +of agriculture. But Henri favoured townspeople as +<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> +well as country people, and with the Edict of Nantes, +releasing from the bondage of terror a large number of +workers, he showed much industry in encouraging tapestry +factories in and near Paris, and as these all lead to +Gobelins we will consider them.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="TRIUMPH_OF_GODS01" id="TRIUMPH_OF_GODS01"></a> +<img src="images/tapestry056th.jpg" width="400" height="312" alt="" /> +<span class="link"><a href="images/tapestry056.jpg">See larger image</a></span> +</div> + +<p class="caption">TRIUMPH OF THE GODS (DETAIL)</p> + +<p class="incaption">Gobelins, Seventeenth Century</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="TRIUMPH_OF_GODS02" id="TRIUMPH_OF_GODS02"></a> +<img src="images/tapestry057th.jpg" width="400" height="233" alt="" /> +<span class="link"><a href="images/tapestry057.jpg">See larger image</a></span> +</div> + +<p class="caption">TRIUMPH OF THE GODS (DETAIL)</p> + +<p class="incaption">Gobelins Tapestry</p> + +<p>Henri IV, notwithstanding his Prime Minister Sully’s +opposition to what he considered a favouring of vicious +luxury, began to occupy himself in tapestry factories as +early in his reign as his people could rise from the +wounds of war. Taking his movements chronologically +we will begin with his establishment in 1597 (eight years +after this first Bourbon took the throne) of a high-warp +industry in the house of the Jesuits in the Faubourg St. +Antoine, associating here Du Bourg of La Trinité and +Laurent, equally renowned, and the composer of the St. +Merri tapestries.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></p> + +<p>Flemish workers in Paris were at this same time, about +1601, encouraged by the king and under protection of +his steward. These Flemings were the nucleus of a great +industry, for it was over them that two famous masters +governed, namely, François de la Planche and Marc Comans +or Coomans. In 1607 Henri IV established the +looms which these men were called upon to direct.</p> + +<p>These two Flemings, great in their art, were men of +family and of some means, for their first venture in the +manufacture of tapestry was a private enterprise like any +of to-day. They looked to themselves to produce the +money for the support of the industry. Combining +<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> +qualities of both the artist and the business man, they +took on apprentices and also established looms in the +provinces (notably Tours and Amiens) where commercialism +was as prominent as in modern methods; that is +to say, that by turning off a lot of cheaper work for +smaller purses, a quick and ready market was found +which supplied the money necessary for the production +of those finer works of art which are left to delight us +to-day.</p> + +<p>This manner of procedure of De la Planche and Comans +has an interest far deeper than the mere financial +venture of the men of the early Seventeenth Century, because +it forces upon us the fact that at that time, and +earlier, no state ateliers existed. It was Henri IV who +first saw the wisdom of using the public purse in advancing +this industry. He established Du Bourg in the +Louvre. With Henri Laurent he was placed in the +Tuileries, in 1607, and that atelier lasted until the ministry +of Colbert in the reign of Louis XIV.</p> + +<p>In about 1627 the great De la Planche died and his +son, Raphael, established ateliers of his own in the Faubourg +St. Germain, turning out from his looms productions +which were of sufficient excellence to be confused +with those of his father’s most profitable factory. +Chronologically this fact belongs later, so we return to +the influence of Henri IV and the master gentleman +tapissiers, De la Planche and Comans.</p> + +<p>The very name of the old palace, Les Tournelles, calls +up a crowd of pictures: the death of Henri II at the +tournament in honour of the marriage of his son with +<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span> +Marie Stuart, the subsequent razing of this ancient home +of kings by Catherine de Medici, and its reconstruction +in its present form by Henri IV. It is here that Richelieu +honoured the brief reign of Louis XIII by a statue, +and it is here that Madame de Sevigné was born. But +more to our purpose, it was here that, in 1607, Henri IV +cast his kingly eye when establishing a certain tapestry +factory. It was here he placed as directors the celebrated +Comans and De la Planche. It happened in time, +that the looms of Les Tournelles were moved to the +Faubourg St. Marceau and these two men came in +time to direct these and all other looms under royal +patronage.</p> + +<p>Examples are not wanting in museums of French work +of this time, showing the development of the art and the +progress that France was making under Henri IV, whose +energy without limit, and whose interests without number, +would to-day have given him the epithet of strenuous.</p> + +<p>Under his reign we see the activity that so easily led +France up to the point where all that was needed was +the assembling of the factories under the direction of one +great master. The factories flourishing under Henri IV +were La Trinité, the Louvre, the Savonnerie, the Faubourg +St. Marceau and one in the Tuileries. But it +needed the power of Louis XIV to tie all together in the +strength of unity.</p> + +<p>The assassin Ravaillac, fanatically muttering through +the streets of Paris, alternately hiding and swaggering +throughout the loveliest month of May, when he thrust +his murderous dagger through the royal coach, not only +<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> +gave a death blow to Henri IV, but to many of these +industries that the king had cherished for his people +against the opposition of his prime minister. The tale of +tapestry is like a vine hanging on a frame of history, and +frequent allusion therefore must be made to the tales of +kings and their ministers.</p> + +<p>As it is not always a monarch, but often the power +behind the throne that rules, we see the force of Richelieu +surging behind the reign of the suppressed Louis +XIII, whose rule followed that of the regretted Henri +IV. The master of the then new Palais-Royal had +minor interests of his own, apart from his generous plots +of ruin for the Protestants, for all the French nobility, +and for the House of Austria to which the queen belonged. +Luxurious surroundings were a necessity to this +man, refined in the arts of cruelty and of living. It was +no wonder that under him tapestry weaving was not allowed +to die, but was fostered until that day when the +Grand Monarch would organise and perfect.</p> + +<p>In 1643, Louis XIV came to the throne under the guidance +of Anne of Austria, but it was many years before +he was able to make his influence appreciable. Meanwhile, +however, others were fostering the elegant industry. +It was as early as 1647 that two celebrated tapestry +weavers came to Paris from Italy. They were Pierre +Lefèvre or Lefebvre and his son Jean. The first of these +was the chief of a factory in Florence, whither he presently +returned. Jean Lefebvre stayed in Paris, won his +way all the better for being released from parental rule, +and in time received the great honour of being appointed +<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> +one of the directors of the Gobelins, when that factory +was finally organised as an institution of the state.</p> + +<div class="figcenter" style="width: 309px;"> +<a name="GOBELINS_BORDER" id="GOBELINS_BORDER"></a> +<img src="images/tapestry058th.jpg" width="309" height="400" alt="" /> +<span class="link"><a href="images/tapestry058.jpg">See larger image</a></span> +</div> + +<p class="caption">GOBELINS BORDER (DETAIL) SEVENTEENTH CENTURY</p> + + +<div class="figcenter" style="width: 296px;"> +<a name="CHILDREN_GARDENING01" id="CHILDREN_GARDENING01"></a> +<img src="images/tapestry059th.jpg" width="296" height="400" alt="" /> +<span class="link"><a href="images/tapestry059.jpg">See larger image</a></span> +</div> + +<p class="caption">CHILDREN GARDENING</p> + +<p class="incaption">After Charles Lebrun. Gobelins, Seventeenth Century. Château Henri +Quatre, Pau</p> + +<p>During the regency of Louis XIV there were also factories +outside of Paris. The high-warp looms of Tours +were of such notable importance that the great Richelieu +placed here an order for tapestries of great splendour +with which to soften his hours of ease. Rheims Cathedral +still harbours the fine hangings which were woven +for the place they now adorn, an unusual circumstance in +the world of tapestry. These hangings (<i>The Story of +Christ</i>) were woven at Rheims, where the factory existed +well known throughout the first half of the Seventeenth +Century. The church had previously ordered tapestries +from another town executed by one Daniel Pepersack, +and so highly approved was his work that he was made +director of the Rheims factory.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p> + +<p>A factory which lasted but a few years, yet has for us +a special interest, is that of Maincy, founded in 1658. +It is here that we hear of the great Colbert and of Lebrun, +whose names are synonymous with prosperity of +the Gobelins. For the factory at Maincy, Lebrun made +cartoons of great beauty, notably that of <i>The Hunt of +Meleager</i>, which now hangs in the Gobelins Museum +in Paris. Louis Blamard was the director of the workmen, +who were Flemish, and who were afterwards called +to Paris to operate the looms of the newly-formed Gobelins, +and the reason of the transference forms a part of +the history of the great people of that day.</p> + +<p>Richelieu in dying had passed over his power to +<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> +Mazarin, who had used it with every cruelty possible to the +day. He had coveted riches and elegance and had possessed +himself of them; had collected in his palace the +most beautiful works of art of his day or those of a previous +time. After Mazarin came Foucquet, the great, the +iconoclastic, the unfortunate.</p> + +<p>It was at Foucquet’s estate of Vaux near Maincy that +this tapestry factory of short duration was established and +soon destroyed. The powerful Superintendent of Finance, +with his eye for the beautiful and desire for the +luxury of kings, built for himself such a château as only +the magnificence of that time produced. It was situated +far enough from Paris to escape any sort of ennui, and +was surrounded by gardens most marvellous, within a +beauteous park. It lay, when finished, like a jewel on +the fair bosom of France. The great superintendent +conceived the idea of pleasing the young king, Louis XIV, +by inviting the court for a wondrous fête in its lovely +enclosure.</p> + +<p>Foucquet was a man of the world, and of the court, +knew how to please man’s lighter side, and how to use +social position for his own ends. France calls him a +“dilapidateur,” but when his power and incidentally the +revenues of state, were laid out to produce a day of pleasure +for king and court, his taste and ability showed such +a fête as could scarce be surpassed even in those days of +artistic fêtes champêtres.</p> + +<p>The great gardens were brought into use in all the +beauty of flower and vine, of lawn and bosquet, of terrace +and fountain. When the guests arrived, weary of town +<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span> +life, they were turned loose in the enchanting place like +birds uncaged, and to the beauty of Nature was added +that of folk as gaily dressed as the flowers. The king +was invited to inspect it all for his pleasure, asked to +feast in the gardens, and to repose in the splendid château.</p> + +<p>He was young then, in the early twenties, and luxury +was younger then than now, so he was pleased to spend +the time in almost childish enjoyments. A play <i>al fresco</i> +was almost a necessity to a royal garden party, which was +no affair of an hour like ours in the busy to-day, but extended +the livelong day and evening. Molière was ready +with his sparkling satires at the king’s caprice, and into +the garden danced the players before an audience to whom +vaudeville and <i>café chantant</i> were exclusively a royal +novelty arranged for their delectation.</p> + +<p>It is easy to see the elegant young king and his court +in the setting of a sophisticated out-of-doors, wandering +on grassy paths, lingering under arches of roses, plucking +a flower to nest beside a smiling face, stopping where +servants—obsequious adepts, they were then—supplied +dainty things to eat and drink. Madame de Sevigné was +there, she of the observant eye, an eye much occupied at +this time with the figure of Superintendent Foucquet, the +host of this glorious occasion. This gracious lady lacked +none of the appearance of frivolity, coiffed in curls, +draped in lace and soft silks, but her mind was deeply +occupied with the signs of the times. All the elegance +of the château, all the seductive beauty of terrace, garden, +and bosquet, all the piquant surprises of play and pyrotechnics, +what were they? Simply the disinterested +<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> +effort of a subject to give pleasure to His Majesty, the +King.</p> + +<p>There were those present who had long envied +Foucquet, with his ever-increasing power and wealth, his +ability to patronise the arts, to collect, and even to establish +his tapestry looms like a king, for his own palace and +for gifts. This grand fête in the lovely month of June +did more than shower pleasure, more than gratify the lust +of the eye. In effect, it was a gathering of exquisite +beauties and charming men, lost in light-hearted play; in +reality, it proved to be an incitive to envy and malice, and +a means to ruin.</p> + +<p>Among the observant guests at this wondrous fête +champêtre was Colbert, young, ambitious, keen. He +was not slow to see the holes in Foucquet’s fabric, nor +were others. And so, whispers came to the king. +Foucquet’s downfall is the old story of envy, man trying +to climb by ruining his superiors, hating those whose +magnificence approaches their own. Foucquet’s unequalled +entertainment of the king was made to count as +naught. Louis, even before leaving for Paris, had begun +to ask whence came the money that purchased this +wide fertile estate stretching to the vision’s limit, the +money that built the château of regal splendour, +the money that paid for the prodigal pleasures of that +day of delights? Foucquet thought to have gained the +confidence and admiration of the king. But, on leaving, +Louis said coldly, “We shall scarce dare ask you to our +poor palace, seeing the superior luxury to which you are +accustomed.” A fearful cut, but only a straw to the fate +<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span> +which followed, the investigations into the affairs of +Superintendent Foucquet. His arrest and his conviction +followed and then the eighteen dreary years of imprisonment +terminating only with the superintendent’s life. +Madame de Sevigné saw him in the beginning, wept for +her hero, but after a while she, too, fell away from his +weary years.</p> + +<div class="figcenter" style="width: 269px;"> +<a name="CHILDREN_GARDENING02" id="CHILDREN_GARDENING02"></a> +<img src="images/tapestry060th.jpg" width="269" height="400" alt="" /> +<span class="link"><a href="images/tapestry060.jpg">See larger image</a></span> +</div> + +<p class="caption">CHILDREN GARDENING</p> + +<p class="incaption">After Charles Lebrun. Gobelins, Seventeenth Century. Château Henri +Quatre, Pau</p> + + +<div class="figcenter" style="width: 284px;"> +<a name="GOBELINS_GROTESQUE" id="GOBELINS_GROTESQUE"></a> +<img src="images/tapestry061th.jpg" width="284" height="400" alt="" /> +<span class="link"><a href="images/tapestry061.jpg">See larger image</a></span> +</div> + +<p class="caption">GOBELINS GROTESQUE</p> + +<p class="incaption">Musée des Arts Decoratifs, Paris</p> + +<p>With his arrest came the end of the glories of the +Château of Vaux near Maincy, and so, too, came an end +to the factory where so fine results had been obtained in +tapestry weaving. Yet the effort was not in vain, for +some of the tapestries remain and the factory was the +school where certain celebrated men were trained.</p> + +<p>It may easily have been that Louis XIV discovered on +that day at Vaux the excellence of Lebrun whom he +made director at the Gobelins in Paris when they were +but newly formed. Foucquet, wasting in prison, had +many hours in which to think on this and on the advancement +of the very man who had been keenest in running +him to cover, the great Colbert. It was well for France, +it was well for the artistic industry whose history occupies +our attention, that these things happened; but we, +nevertheless, feel a weakness towards the man of genius +and energy caged and fretted by prison bars, for he had +shown initiative and daring, qualities of which the world +has ever need.</p> + +<p>Foucquet’s factory lasted three years. It was directed +by Louis Blamard or Blammaert of Oudenarde, and employed +a weaver named Jean Zègre, who came from the +works at Enghien, works sufficiently known to be +<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span> +remarked. Lebrun composed here and fell under the +influence of Rubens, an influence that pervaded the +grandiose art of the day. The earliest works of Lebrun, +three pieces, were later used to complete a set of Rubens’ +<i>History of Constantine</i>. <i>The Muses</i> was a set by Lebrun, +also composed for the Château of Vaux. The +charm of this set is a matter for admiration even now +when, alas, all is destroyed but a few fragments.</p> + +<p>The disgrace of Foucquet was the last determining +cause of the establishment of the Gobelins factory under +Louis XIV, an act which after this brief review of Paris +factories (and an allusion to sporadic cases outside of +Paris) we are in position at last to consider. Pursuit of +knowledge in regard to the Gobelins factory leads us +through ways the most flowery and ways the most stormy, +through sunshine and through the dark, right up to our +own times.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="GOBELINS_TAPESTRY01" id="GOBELINS_TAPESTRY01"></a> +<img src="images/tapestry062th.jpg" width="400" height="311" alt="" /> +<span class="link"><a href="images/tapestry062.jpg">See larger image</a></span> +</div> + +<p class="caption">GOBELINS TAPESTRY, AFTER LEBRUN, EPOCH LOUIS XIV</p> + +<p class="incaption">Collection of Wm. Baumgarten, Esq., New York</p> + + +<div class="figcenter" style="width: 278px;"> +<a name="VILLAGE_FETE" id="VILLAGE_FETE"></a> +<img src="images/tapestry063th.jpg" width="278" height="400" alt="" /> +<span class="link"><a href="images/tapestry063.jpg">See larger image</a></span> +</div> + +<p class="caption">THE VILLAGE FÊTE</p> + +<p class="incaption">Gobelins Tapestry after Teniers</p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> For the facts here cited see E. Müntz, “Histoire de la Tapisserie,” and Jules +Guiffrey, “Les Gobelins.”</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> See Loriquet, “Les Tapisseries de Notre Dame de Rheims.”</p></div> +</div> + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span></p> + +<h2 class="padtop">CHAPTER X</h2> + +<h3>THE GOBELINS FACTORY, 1662</h3> + + +<p><span class="dropcap">C</span>OLBERT saw the wisdom of taking direction +for the king, Louis XIV, of the looms of Foucquet’s +château. Travel being difficult enough +to make desirable the concentration of points of interest, +Colbert transferred the looms of Vaux to Paris. To do +this he had first to find a habitat, and what so suitable +as the Hotel des Gobelins, a collection of buildings on +the edge of Paris by which ran a little brook called +the Bièvre. The Sieur Leleu was then the owner, and +the sale of the buildings was made on June 6, 1662.</p> + +<p>This was the beginning only of the purchase, for Louis +XIV added adjoining houses for the various uses of the +large industries he had in mind, for the development of +arts and crafts of all sorts, and for the lodging of the +workers.</p> + +<p>The story of the original occupants of the premises is +almost too well known to recount. The simple tale of +the conscientious “dyers in scarlet” is told on the marble +plaque at the present entry into the collection of buildings +still standing, still open to visitors. It is a tale with +a moral, an obvious simple moral with no need of Alice’s +Duchess to point it out, and it smacks strong of the honesty +of a labour to which we owe so much.</p> + +<p>Late in the Fifteenth Century the brothers Gobelin +<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span> +came to the city of Paris to follow their trade, which +was dyeing, and their ambition, which was to produce +a scarlet dye like that they had seen flaunting in the glowing +city of Venice. The trick of the trade in those days +was to find a water of such quality that dyes took to it +kindly. The tiny river, or rather brook, called the +Bièvre, which ran softly down towards the Seine had the +required qualities, and by its murmuring descent, Jean +and Philibert pitched the tents of their fortune.</p> + +<p>They succeeded, too, so well that we hear of their descendants +in later centuries as having become gentlemen, +not of property only, but of cultivation, and far removed +from trades or bartering. Their name is ever famous, +for it tells not only the story of the two original dyers, +but of their subsequent efforts in weaving, and finally it +has come to mean the finest modern product of the hand +loom. Just as Arras gave the name to tapestry in the +Fourteenth Century, so the Gobelins has given it to the +time of Louis XIV, even down to our own day—more +especially in Europe, where the word tapestry is far less +used than here.</p> + +<p>The tablet now at the Gobelins—let us re-read it, for +in some hasty visit to the Latin Quarter we may have overlooked +it. Translated freely it reads, “Jean and Philibert +Gobelin, merchant dyers in scarlet, who have left their +name to this quarter of Paris and to the manufacture of +tapestries, had here their atelier, on the banks of the +Bièvre, at the end of the Fifteenth Century.”</p> + +<p>Another inscription takes a great leap in time, skips +over the centuries when France was not in the lead in this +<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> +art, and recommences with the awakening strength under +the wise care of Henri IV. It reads:</p> + +<p>“April 1601. Marc Comans and François de la +Planche, Flemish tapestry weavers, installed their ateliers +on the banks of the Bièvre.”</p> + +<p>“September 1667, Colbert established in the buildings +of the Gobelins the manufacture of the furniture +(<i>meubles</i>) of the Crown, under the direction of Charles +Lebrun.”</p> + +<p>The tablet omits the date that is fixed in our mind as +that of the beginning of the modern tapestry industry in +France, the year 1662, but that is only because it deals +with a date of more general importance, the time when +the Gobelins was made a manufactory of all sorts of +gracious products for the luxury of palaces and châteaux, +not tapestries alone, but superb furniture, and metal work, +inlay, mounting of porcelains and all that goes to furnish +the home of fortunate men.</p> + +<p>In that year of 1667 was instituted the ateliers supported +by the state, not dependent upon the commercialism +of the workers. This made possible the development +of such men as Boulle with his superb furniture, of Riesner +with his marquetry, of Caffieri with his marvels in +metal to decorate all <i>meubles</i>, even vases, which were then +coming from China in their beauty of solid glaze or +eccentric ornament.</p> + +<p>Here lies the great secret of the success of Louis XIV +in these matters, with the coffers of the Crown he rewarded +the artists above the necessity of mere living, and +freed each one for the best expression of his own especial +<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> +art. The day of individual financial venture was gone. +The tapestry masters of other times had both to work +and to worry. They had to be artists and at the same time +commercial men, a chimerical combination.</p> + +<p>The expense of maintaining a tapestry factory was an +incalculable burden. A man could not set up a loom, +a single one, as an artist sets up an easel, and in solitude +produce his woven work of art. Other matters go to the +making of a tapestry than weaving, matters which have +to do with cartoons for the design, dyes, wools, threads, +etc.; so that many hands must be employed, and these +must all be paid. The apprentice system helped much, +but even so, the master of the atelier was responsible for +his finances and must look for a market for his goods.</p> + +<p>What a relief it was when the king took all this responsibility +from the shoulders and said to the artists and +artisans, “Art for Art’s sake,” or whatever was the equivalent +shibboleth of that day. Here was comfort assured +for the worker, with a housing in the Gobelins, or in that +big asylum, the Louvre, where an apartment was the +reward of virtue. And now was a market assured for a +man’s work, a royal market, with the king as its chief, +and his favourites following close.</p> + +<p>The ateliers scattered about Paris were allied in spirit, +were all the result of the encouragement of preceding +monarchs, but it remained for Le Grand Monarque to +gather all together and form a state solidarity.</p> + +<p>Kings must have credit, even though others do the +work. It was the labour of the able Colbert to organise +this factory. He was in favour then. It was after his +<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> +acuteness had helped in deposing the splendid brigand +Foucquet, and his power was serving France well, so well +that he brought about his head the inevitable jealousy +which finally threw him, too, into unmerited disgrace.</p> + +<p>Colbert, then, although a Minister of State, head of +the Army of France, and a few other things, had the fate +of the Gobelins in his hand. As the ablest is he who +chooses best his aids, Colbert looked among his countrymen +for the proper director of the newly-organised institution. +He selected Charles Lebrun.</p> + +<p>The very name seems enough, in itself. It is the concrete +expression of ability, not only as an artist, but as +a leader of artists, a director, an assembler, a blender. +He called to the Gobelins, as addition to those already +there, the apprentices from La Trinité, the weavers from +the Faubourg St. Germain, and from the Louvre. He +established three ateliers of high-warp under Jean Jans, +Jean Lefebvre and Henri Laurent; also two ateliers of +low-warp under Jean Delacroix and Jean-Baptiste +Mozin. When charged with the decoration of Versailles +he had under his direction fifty artists of differing +scopes, which alone would show his power of assembling +and leading, of blending and ordering. Workers at the +Gobelins numbered as many as two hundred fifty, and +apprentices were legion.</p> + +<p>Ten or twelve important artists composed the designs +for tapestries, yet the mind of Lebrun is seen to dominate +all; his genius was their inspiration. It was he whose +influence pervaded the decorative art of the day. More +than any others in that grand age he influenced the tone +<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> +of the artistic work. We may say it was the king, we +may have styles named for the king, but it was Lebrun +who made them what they were. The spirit of the time +was there, monarch and man made that, but it was Lebrun +who had the talent to express it in art. It was a +time when France was fully awake, more fully awake +than Italy who had, in fact, commenced the somnolence +of her art; she was strong with that brutal force that is +recently up from savagery, and she took her grandeur +seriously.</p> + +<p>At least that was the attitude of the king. No lightness, +no effervescing cynical humour ever disturbed the +heavy splendour of his pose. And this grand pose of +the king, Lebrun expressed in the heavy sumptuousness +of decoration. The tapestries of that time show the mood +of the day in subject, in border and in colour. All is +superb, grandiose.</p> + +<p>Rubens, although not of France, dominated Europe +with his magnificence of style, a style suited to the time, +expressing force rather than refinement, yet with a splendid +decorative value in the art we are considering. +Flanders looked to him for inspiration, and his lead was +everywhere followed. His virile work had power to +inspire, to transmit enthusiasm to others, and thus he was +responsible for much of the improvement in decorative +art, the re-establishment of that art upon an intellectual +basis. Designs from his hands were full, splendid and +self-assertive; harmony and proportion were there. A +study of the <i>Antony and Cleopatra</i> series and of the plates +given in this volume will establish and verify this.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="RUBENS_DESIGN01" id="RUBENS_DESIGN01"></a> +<img src="images/tapestry064th.jpg" width="400" height="333" alt="" /> +<span class="link"><a href="images/tapestry064.jpg">See larger image</a></span> +</div> + +<p class="caption">DESIGN BY RUBENS</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="RUBENS_DESIGN02" id="RUBENS_DESIGN02"></a> +<img src="images/tapestry065th.jpg" width="400" height="355" alt="" /> +<span class="link"><a href="images/tapestry065.jpg">See larger image</a></span> +</div> + +<p class="caption">DESIGN BY RUBENS</p> + +<p><span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> +Lebrun’s century was the same as that of Rubens, but +the former had the fine feeling for art of the Latin, who +knows that its first province is to please. A comparison +between the two men must not be carried too far, for +Rubens was essentially a painter, attacking the field of +decoration only with the overflow of imagination, while +Lebrun’s life and talent were wholly directed in the way +of beautifying palaces and châteaux. Yet Rubens’ work +gave a fresh impulse to tapestry weaving in Brussels +while Lebrun was inspiring it in France.</p> + +<p>Lebrun had, then, to direct the talent and the labour +of an army of artists and artisans, and to keep them working +in harmony. It was no mean task, for one artist alone +was not left to compose an entire picture, but each was +taken for his specialty. One artist drew the figures, another +the animals, another the trees, and another the architecture; +but it was the director, Lebrun, who composed +and harmonised the whole. Thus, although the number +of tapestries actually composed by him is few, it was his +great mind that ordered the work of others. He was the +leader of the orchestra, the others were the instruments +he controlled.</p> + +<p>It was while at Vaux that Lebrun had more time for +his own composition. He there produced a series called +<i>Les Renommés</i>, masterpieces of pure decorative composition. +These were designed as portières for the Château +of Maincy. They came to be models for the Gobelins, +and were woven to hang at royal doors, the doors of +Foucquet being at this time dressed with iron bars.</p> + +<p>The Gobelins wove seventy-two sets after this beautiful +<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> +model which had made Lebrun’s début as an artist. +Foucquet had given him a more pretentious work; it was +to complete a suite, the <i>History of Constantine</i>, after +Raphael. Rubens had given a fresh flush of popularity +to this subject, which again became the mode. The <i>History +of Meleager</i> was begun at Vaux and finished at the +Gobelins. Later, Vaux forgotten, or at least a thing of +the past, Lebrun’s decorative genius found expression in +the series called <i>The Months</i> or <i>The Royal Residences</i>, +of which there were twelve hangings.</p> + +<p>In these last the scheme is the perfection of decoration, +with the subject well subdued, yet so subtly placed that +notwithstanding its modesty, the eye promptly seeks it. +The castle in the distance, the motive holding aloft the +sign of the Zodiac, are seen even before the splendid columns +and the foliage of the middle-ground.</p> + +<p>Such a hanging has power to play pretty tricks with +the imagination of him who gazes upon it. The columns, +smooth and solid, declare him at once to be in a +place of luxury. Beyond the foreground’s columns, but +near enough for touching, are trees to make a pleasant +shade, and beyond, in the far distance, is the château set +in fair gardens, even the château where the lovely Louise +de la Vallière held her court until conscience drove her +to the convent.</p> + +<p>The set of most renown, woven under Lebrun’s generalship, +was that splendid advertisement of the king’s +magnificence known as the <i>History of the King</i>. Louis +demanded above all else that he should appear splendidly +before men. He was jealous of the magnificence of all +<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> +kings and emperors, whether living or dead. Even Solomon’s +glory was not to typify greater than his. With +this end in view, pomp was his pleasure, ceremony was +his gratification. Add to these an insatiable vanity that +knows not the disintegrating assaults of a sense of humour, +and we have a man to be fed on profound adulation.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="RUBENS_DESIGN03" id="RUBENS_DESIGN03"></a> +<img src="images/tapestry066th.jpg" width="400" height="379" alt="" /> +<span class="link"><a href="images/tapestry066.jpg">See larger image</a></span> +</div> + +<p class="caption">DESIGN BY RUBENS</p> + + +<div class="figcenter" style="width: 270px;"> +<a name="GOBELINS_TAPESTRY02" id="GOBELINS_TAPESTRY02"></a> +<img src="images/tapestry067th.jpg" width="270" height="400" alt="" /> +<span class="link"><a href="images/tapestry067.jpg">See larger image</a></span> +</div> + +<p class="caption">GOBELINS TAPESTRY. DESIGN BY RUBENS</p> + +<p class="incaption">Royal Collection, Madrid</p> + +<p>The subjects for the <i>History of the King</i> were chosen +from official solemnities during the first twelve years of +his reign. Lebrun’s task, into which he threw his whole +soul, was to celebrate the power and the glory of his +master, to show the king in perpetual picture as the greatest +living personage, and to still his fears with regard to +long defunct royal rivals. His life as a man was pictured, +his marriage, his treaties with other nations, and +his actions as a soldier in the various battles or military +conquests. In the latter affairs he had not even been +present, but poet’s license was given where the glorification +of the king was concerned. The flattery that surrounds +a king thus gave him reason to think that his +persecutions in the Palatinate and his constant warfare +were greatly to his glory.</p> + +<p>It is the tapestry in this set that is called <i>Visit of +Louis XIV to the Gobelins</i> that interests us strongly, +as being delightfully pertinent to our subject. The picture +shows the king in chary indulgence standing just +within the court of the Royal Factory, while eager masters +of arts and crafts strenuously heap before him their +masterpieces. (Plate facing page <a href="#LOUIS_XIV_VISITING"><b>114</b></a>.)</p> + +<p>The borders of these sumptuous hangings are to be +enjoyed when the original set can be seen, for the borders +<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> +are Lebrun’s special care. The three pieces added late +in the reign are drawn with different borders, and no +stronger example of deteriorating change can be given, +the change in the composition of the border which took +place after the passing of Lebrun. The pieces in the +set of the <i>Life of the King</i> numbered forty; with the addition +of the later ones, forty-three. They were repeated +many times in the succeeding years, but on low-warp, +reduced in size, and without the superb decorative border +which was composed by Lebrun’s own hand for the +original series.</p> + +<p>François de la Meulen was Lebrun’s able coadjutor +in the direction of this famous set. Eight artists accustomed +to the work were charged with the cartoons, but +Lebrun headed it all. It is interesting to note that the +temptation to sport in the fields of pure decoration, led +him into the personal composition of the border. These +borders are the very acme of perfection in decoration, +full of strength, of grace, and of purity. They suggest +the classic, yet are full of the warm blood of the hour; +they are Greek, yet they are French, and they foreshadow +the centuries of beautiful design which France supplies +to the world.</p> + +<p>The colouring of these tapestries seems to us strong, +but it is not a strength of tone that offends, rather it adds +force to the subject. The charge is made that in this +suite the deplorable change had taken place which lifted +tapestries from their original intent and made of them +paintings in wool. That change certainly did come later, +as we shall see and deplore, but at present the colours +<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span> +kept comparatively low in number. The proof of this +was that only seventy-nine tones were discoverable when +the Gobelins factory in recent years examined this hanging +for the purposes of reproducing it.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="LOUIS_XIV_VISITING" id="LOUIS_XIV_VISITING"></a> +<img src="images/tapestry068th.jpg" width="400" height="273" alt="" /> +<span class="link"><a href="images/tapestry068.jpg">See larger image</a></span> +</div> + +<p class="caption">LOUIS XIV VISITING THE GOBELINS FACTORY</p> + +<p class="incaption">Gobelins Tapestry, Epoch Louis XIV</p> + +<p>Lebrun’s task in this series seems to us far more simple +in point of picturesqueness than it did to him, for the +affairs of the time were those depicted. They were the +events of the moment, and the personages taking part in +them were given in recognisable portraiture. Figure a +tapestry of to-day depicting the laying of a cornerstone +by our National President, every one in modern dress, +every face a portrait, and Lebrun’s task appears in a +new light. Yet he was able to accomplish it in a way +which gratified the overfed vanity of Louis and which +more than gratifies the art lover of to-day.</p> + +<p>The set called the <i>History of Alexander</i> is one of Lebrun’s +famous works. In subject it departs from the +affairs of the time of the Sun King, to portray the Greek +Conqueror, to whom Louis liked to be compared. For +us the classic dress is less piquant than the gorgeous +toilettes of France in the Seventeenth Century, and the +battle of the Granicus is less engaging than scenes from +the life of Louis XIV. But this is a famous set, and +paintings of the same may be found in the Louvre.</p> + +<p>Originally the tapestries were but five, but the larger +ones having been divided into three each, the number is +increased. The Gobelins factory wove several sets, and, +the model becoming popular, it was copied many times +in Brussels and elsewhere, often with distressing alterations +in drawing, in border, and in colour.</p> + +<p><span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> +There were other suites produced at the Gobelins at +this wonderful time of co-operation between Colbert, the +minister, and Lebrun, the artist. Colbert, in his wisdom +of state economy, had repaired the ravages of the previous +ministry, and had the coffers full for the government’s +necessities and the king’s indulgences. Well for the liberal +arts, that he counted these among the matters to be +fostered in this wonderful time, which rises like a mountain +ridge between feudal savagery and modern civilisation.</p> + +<p>But Colbert, powerful as was his position, had yet to +suffer by reason of the despotism of the absolute monarch +who ruled every one within borders of bleeding France. +Louis began, before youth had left him, the terrible persecution +of the people in the name of religion, and established +also an indulgent left-hand court. The prodigious +expenditures for these were bound to be liquidated by +Colbert. Faithful to his master, he produced the money.</p> + +<p>The charm of royalty surrounded Louis, he was idealised +by a people proud of his position as the most magnificent +monarch of Europe; but Colbert was denounced +as a tax collector and a persecutor, yet suffered in silence, +if he might protect his king. Before he died, Louvois +had undermined his credit even with the king, and his +funeral at night, to avoid a mob, was a pathetic fact. +France has now reinstated him, say modern men—but +that is the irony of fate.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span></p> + +<h2 class="padtop">CHAPTER XI</h2> + +<h3>THE GOBELINS FACTORY (<i>Continued</i>)</h3> + + +<p><span class="dropcap">C</span>OLBERT died most inopportunely in 1684 and +was succeeded by his enemy, and for that matter, +the enemy of France, the man of jealousy and +cruelty, Louvois. He had long hated Colbert for his +success, counting as an affront to himself Colbert’s marvellous +establishment of a navy which he felt rivalled in +importance the army, over which the direction was his +own.</p> + +<p>On finding Colbert’s baton in his hand, it was but +human to strike with it as much as to direct, and one +of his blows fell upon the head of the Gobelins, Lebrun. +Thus history is woven into tapestry. Lebrun was not +at once deposed; first his magnificent wings were clipped, +so that his flights into artistic originality were curtailed. +This petty persecution had a benumbing effect. New +models were not encouraged. Strangely enough, the +scenes that glorified the king were no longer reproduced, +nor those of antique kings like Alexander, whose greatness +Louis was supposed to rival.</p> + +<p>It is not possible to tell the story of tapestry without +telling the story of the times, for the lesser acts are but +the result of the greater. There are matters in the life +of Louis XIV that are inseparable from our account. +These are the associating of his life with that of the three +<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> +women whom he exalted far higher than his queen, Marie +Thérèse, the well-known, much-vaunted mesdames, de la +Vallière, de Montespan and de Maintenon.</p> + +<p>Even before the death of Colbert, Louvois, with his +army, had encouraged the religious persecutions and wars +of the king, and shortly after, the widow of the poet +Scarron became the royal spouse. Relentless, indeed, +were the persecutions then. It was in the same year of +the marriage that Louis revoked the Edict of Nantes, +through the hand of the weak Le Tellier, an action which +gave Louvois ample excuse for depleting the state coffers. +Making military expense an excuse, he turned his blighting +hand toward the Gobelins and restricted the director, +Lebrun, even to denying him the golden threads so necessary +for the production of the sumptuous tapestries.</p> + +<p>And so for a time the productions of the looms lacked +their accustomed elegance. Under Madame de Maintenon, +the spirit of a morose religion pervaded the court. +All France was suffering under it, and in its name unbelievable +horrors were perpetrated in every province. +Paris was not too well informed of these to interfere with +bourgeois life, but at court the hypocritical soul of +Madame de Maintenon made self-righteousness a virtue.</p> + +<p>An almost laughable result of this pious rectitude was +a certain order given at the Gobelins. Madame de Maintenon +had thrust her leading nose between the doors of the +factory and had scented outraged modesty in the reproduction +there of the tapestries woven from models of +Raphael, Giulio Romano and the classicists, cartoons in +great favour after the hampering of Lebrun’s imagination. +<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span> +The naked gods from Olympus must be clothed, +said this pious and modest lady.</p> + +<p>This was very well for her rôle, as her influence over +the king lay deep-rooted in her pose of heavy virtue; +but at the Gobelins, the tapestry-makers must have +laughed long and loud at the prudery which they were +set to further by actually weaving pictured garments and +setting them into the hangings where the lithe limbs of +Apollo, and Venus’ lovely curves, had been cut away. +The hanging called <i>The Judgment of Paris</i> is one of those +altered to suit the refinement of the times.</p> + +<p>Louvois’ dominance lasted as long as Lebrun, so the +genius of the latter never reasserted itself in the factory. +Two methods of supply for designs came in vogue, and +mark the time. One was to turn to the old masters of +Italy’s high Renaissance for drawings. This brought +a quantity of drawings of fables and myths into use, so +that palace walls were decorated with Greek gods instead +of modern ones. Raphael, as a master in decoration, was +carefully copied, also other men of his school. The second +source of cartoons was chosen by Louvois, who +searched among previous works for the most celebrated +tapestries and had them copied without change.</p> + +<p>Thus came the Gobelins to reproduce hangings that +had not originated in their ateliers. All this traces the +change that came from the clipping of Lebrun’s wings +of genius. Identification marks they are, when old +tapestries come our way.</p> + +<p>Pierre Mignard succeeded Lebrun as director of the +Gobelins after the death of the greatest genius of decoration +<span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span> +in modern times. Lebrun had seen such prosperity +of tapestry weaving that eight hundred workers had +scarcely been enough to supply the tapestries ordered. +When Mignard came for his five years of direction, things +had mightily changed, and he did nothing to revive or +encourage the work. He owed his appointment entirely +to Louvois, whose protégé he had long been. The same +year, 1691, saw the death of them both.</p> + +<p>Until 1688 the factory was at its best time of productiveness, +reaching the perfection of modern drawing in +its cartoons, and, in its weaving, equalling the manner of +Brussels in the early Sixteenth Century.</p> + +<p>From then on began the decline, for the reasons so +forcibly written on pages of history. The French king’s +ambition to conquer, his animosity—jealousy, if you +will—toward Holland, his unceasing conflict with England, +added to his fierce attacks on religionists, especially +in the Palatinate—all these things required the most stupendous +expenditures. The Mississippi was now discovered, +the English colonists were in conflict with the +French, here in America, and the New World was becoming +too desirable a possession for Louis to be willing +to cede his share without a struggle; and thus came the +expense of fighting the English in that far land which +was at least thirty days’ sail away.</p> + +<p>Perhaps Mignard worked against odds too great for +even a strong director. Such drains on the state treasury +as were made by the self-indulgent court, and by the +political necessities, demanded not only depriving the +Gobelins of proper expensive materials, but in the +<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span> +department of furniture and ornaments, demanded also the +establishment of a sinister melting pot, a hungry mouth +that devoured the precious metals already made more +precious by the artistic hands of the gold-working artists.</p> + +<p>Mignard’s futile work was finished by his demise in +1695. Such was then the pitiable conditions at the +Gobelins that it was not considered worth while to fill +his place. Thus ended the first period of that beautiful +conception, art sustained by the state, artists relieved +from all care except that of expressing beauty.</p> + +<p>The ateliers were closed; the weavers had to seek other +means of gaining their living. The busy Gobelins, a +very Paradise of workers, an establishment which felt +itself the pride of Paris and the pet of the king, full of +merry apprentices and able masters, this happy solidarity +fell under neglect. The courtyards were lonely; the +Bièvre rippled by unused; the buildings were silent and +deserted. Some of the workers were happy enough to +be taken in at Beauvais, some returned to Flanders, but +many were at the miserable necessity of dropping their +loved professions and of joining the royal troops, for +which the relentless ambition of the king had such large +and terrible use.</p> + +<p>The time when the factory remained inactive were the +dolorous years from 1694 to 1697. It was in the latter +year that peace was signed in the Holland town of Ryswick, +which ended at least one of Louis’ bloody oppressions, +the fierce attacks in the Palatinate.</p> + +<p>The place of Colbert was never filled, so far as the +Gobelins was concerned. Louvois had not its interests +<span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span> +in his hard hands, nor had his immediate followers in +state administrations up to 1708, which included Mansard +(of the roofs) and the flippity courtesan, the Duc d’Antin. +But power was later given to Jules Robert de Cotte +to raise the fallen Gobelins by his own wise direction, +assisted by his father’s political co-operation (1699-1735). +Once again can we smile in thinking of the factory +where the wares of beauty were produced. Of +course, the artists flocked to the centre, eager to express +themselves. The one most interesting to us was Claude +Audran. Others there were who contributed adorable +designs and helped build up the most exquisite expressions +of modern art, but, alas, their modesty was such that +their names are scarce known in connexion with the art +they vivified.</p> + +<p>The aged Louis was ending his forceful reign in increasing +weakness, deserted at the finish by all but the +rigid de Maintenon; and four-year-old Louis, the grandson +of the Grand Dauphin, was succeeding under the +direction of the Regent of Orleans. New monarchs, new +styles, the rule was; for the newly-crowned must have his +waves of flattery curling about the foot of the throne. +Louis XIV, the Grand Monarque, lived to his pose of +heavy magnificence even in the furnishing and decorating +of the apartments where he ruled as king and where he +lived as man. Sumptuous splendour, expressed in heavy +design, in deep colouring, with much red and gold, these +were the order of the day, and best expressed the reign.</p> + +<p>But with Philip as regent, and the young king but a +baby, a gayer mood must creep into the articles of beauty +<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> +with which man self-indulgently decorates his surroundings. +Pomp of a heavy sort had no place in the regent’s +heart. He saw life lightly, and liked to foster the belief +that a man might make of it a pretty play.</p> + +<p>Thus, given so good excuse for a new school of decoration, +Claude Audran snatched up his talented brush +and put down his dainty inspirations with unfaltering +delicacy of touch. He wrote upon his canvas poems in +life, symphonies in colour, created a whole world of tasteful +fancy, a world whose entire intent was to please. He +left the heavy ways of pomp and revelled in a world +where roses bloom and ribbons flutter, where clouds are +strong to support the svelte deity upon them, and where +the rudest architecture is but an airy trellis.</p> + +<p>The classic, the Greek, he never forgot. It was ever +his inspiration, his alphabet with which he wrote the +spirit of his composition, but it was a classic thought +played upon with the most talented of variations. Pure +Greek was too cold and chaste for the temper of the time +in which he lived and worked and of which he was the +creature; and so his classic foundation was graced with +curves, with colour, with artful abandon, and all the +charming fripperies of one of the most exquisite periods +of decoration. Gods and goddesses were a necessary part +of such compositions, and a continual playing among +amorini, but such deities lived not upon Olympus, nor +anywhere outside France of the Eighteenth Century. +The heavy human forms made popular by the inflation +of the Seventeenth Century were banished to some dark +haven reserved for by-gone modes, and these new gods +<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span> +were exquisite as fairies while voluptuous as courtesans. +They were all caught young and set, while still adolescent +and slender, in suitable niches of delicate surroundings.</p> + +<p>The talent of Audran, not content with figures alone, +was lavishly expended on those ingenious decorative designs +which formed the frame and setting of the figures, +the airy world in which they lived and in the borders that +confined the whole.</p> + +<p>Only a study of tapestries or their photographs can +show the radical depth of the change from the styles prevailing +under the influence of Madame de Maintenon to +those produced by Audran and his school under the +regence. The difference in character of the two dominations +is the very evident cause. It is as though the +severe moral pose of de Maintenon had suppressed a +whole Pandora’s box of loves and graces who, when the +lid was lifted by the Regent, flew, a happy crew, to fix +themselves in dainty decorative effect, trailing with them +their complement of accessory flowers, butterflies, clouds +and tempered grotesques.</p> + +<p>Philippe d’Orleans, under the influence of the corrupt +cleverness of Cardinal du Bois, celebrated the few years +of his regency by bankrupting France with John Law’s +financial fallacies (this was the time of the South Sea +Bubble and the Mississippi scheme) and by returning to +Spain her princess as unsuited for the boy king’s mate—with +war as the natural result of that insult.</p> + +<p>But he also let artists have their way, and the style that +they supplied him, shows a talented invention unsurpassed. +Audran we will place at the top, but only to +<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span> +fix a name, for there was a whole army of men composing +the tapestry designs that so delighted the people of those +days and that have gone on thrilling their beholders for +two hundred years, and which distinguish French designs +from all others—which give them that indefinable quality +of grace and softness that we denominate French. Wizards +in design were the artists who developed it and those +who continue it in our own times.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span></p> + +<h2 class="padtop">CHAPTER XII</h2> + +<h3>THE GOBELINS FACTORY (<i>Continued</i>)</h3> + + +<p><span class="dropcap">A</span>UDRAN had in his studio André Watteau, whose +very name spells sophisticated pastorals of exceeding +loveliness. Watteau worked with Audran +when he was producing his most inspired set of tapestry, +on which we must dwell for a bit for pure pleasure. +This set is called the <i>Portières des Dieux</i>.</p> + +<p>That they were portières, only door-hangings, is a fact +too important to be slipped by. It denotes one of the +greatest changes in tapestries when the size of a hanging +comes down from twenty or thirty feet to the dimensions +of a doorway. It speaks a great change in interiors, and +sets tapestries on a new plane. Later on, they are still +further diminished. But the sadness of noting this +change is routed by the thrills of pleasure given by the +exquisite design, colour and weave.</p> + +<p>The <i>Portières of the Gods</i> was, then, a series of eight +small hangings, four typifying the seasons and four the +elements, with an appropriate Olympian forming the +central point of interest and the excuse for an entourage +of thrilling and graceful versatility. This set has been +copied so many times that even the most expert must fail +in trying to identify the date of reproduction. Two hundred +and thirty times this set is known to have been reproduced, +and such talented weavers were given the task as +Jans and Lefebvre.</p> + +<div class="figcenter" style="width: 331px;"> +<a name="GOBELINS_TAPESTRY03" id="GOBELINS_TAPESTRY03"></a> +<img src="images/tapestry069th.jpg" width="331" height="400" alt="" /> +<span class="link"><a href="images/tapestry069.jpg">See larger image</a></span> +</div> + +<p class="caption">GOBELINS TAPESTRY. TIME OF LOUIS XV</p> + +<p><span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span> +In this exquisite period, which might be called the +adolescence of the style Louis XV, Audran and his collaborators +produced another marvellous and inspired set +of portières. These were executed for the Grand +Dauphin, to decorate his room in the château at Meudon, +and were called the <i>Grotesque Months in Bands</i>. The +most self-sufficient of pens would falter at a description +of design so exquisite, which is arranged in three panels +with a deity in each, a composition of extraordinary +grace above and below them, and a bordering band of +losenge or diaper, on which is set the royal double L +and the significant dolphin who gave his name to kings’ +sons. The exquisite art of Audran and of the regence +cannot be better seen than in this set of tapestries which +was woven but once at the royal factory, although repeated +many times elsewhere with the border altered, +Audran’s being too personal for other chambers than +that of the prince for whom it was composed. Recently +copies have been made without border.</p> + +<p>The name of the artist, Charles Coypel, must not be +overlooked, for it was he who composed the celebrated +suite of <i>Don Quixote</i>. Twenty-eight pieces composed +the series, and they were drawn with that exquisite combination +of romantic scenes and fields of pure decorative +design that characterised the charm of the regence. In +the centre of each piece (small pieces compared to those +of Louis XIV) was a scene like a painting representing +an incident from the adventure of the humorously pathetic +Spanish wanderer; and this was surrounded with +so much of refined decoration as to make it appear but a +<span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span> +medallion on the whole surface. This set was so important +as to be repeated many times and occupied the +factory of the Gobelins from 1718 to 1794. Charles +Coypel was but twenty when he composed the first design +for this suite. Each year thereafter he added a new design, +not supplying the last one until 1751. But, while +all honour is due Coypel, Audran and Le Maire and +their collaborators must be remembered as having composed +the borders, the pure decorative work which expresses +the tender style of transition, the suggestive period +of early spring that later matured into the fulsome +Rococo. America is enriched by five of these exquisite +pieces through Mr. Morgan’s recent purchase.</p> + +<p>But while artists were producing purity in art, those +in political power were, with ever-increasing effect, +plunging morals into the mud. Philippe, the Regent, +died, the corrupt Duke of Bourbon took the place of minister, +and poor Louis XV was still but thirteen years old, +and unavoidably influenced by the lives of those around +him. Even the Gobelins was under the hand of the +shallow Duke d’Antin. Yet even when the king matured +and became himself a power for corruption, the +artists of the Gobelins reflected only beauty and light. +It is to their credit.</p> + +<p>It is an ungrateful task to pick flaws with a period so +firmly enthroned in the affections as that of the regence +and the early years of the reign of Louis XV. The beauties +of its pure decoration lead us into Elysian fields that +are but reluctantly left behind. But the designs and +tapestry weavers of that time left us two distinct classes +<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span> +of production, and to be learned in such matters, the +amateur contemplates both. This second style is ungrateful +because it trains us away from art, delicate and ingenious, +and plants us before enormous woven paintings.</p> + +<p>Now it never had been the intention of tapestry to +replace painting. Whenever it leaned that way a deterioration +was evident. It was by the lure of this fallacy +that Brussels lost her pre-eminence. It was through this +that the number of tones was increased from the twenty +or more of Arras to the twenty thousand of the Gobelins. +It was through this that the true mission of tapestry was +lost, which was the mission of supplying a soft, undulating +lining to the habitat of man, and flashes of colour for his +pageants.</p> + +<p>Under Louis XIV the pictures came thick and fast, as +we have seen, but in deep-toned, simple colour-scheme. +Now, with the De Cottes as directors at the Gobelins, and +with a new reign begun, more pictures were called for.</p> + +<p>The splendid <i>History of the King</i> of Louis XIV +could not be forgotten; the history of his successor must +be similarly represented, and what could this be but a +series of woven paintings. The flower of the time was +an exquisitely complicated decoration on a small scale. +The larger expression was not spontaneous.</p> + +<p>Louis XV, poor boy, was not old enough to have had +many events outside the nursery, so it took imagination—perhaps +that of the elegant profligate, Duke d’Antin—to +suggest an occasion of appropriate splendour and significance. +The official reception of the Turkish ambassador +in 1721 was the subject chosen, and under the direction +<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span> +of Charles Parrocel became a superb work, full of court +magnificence of the day and a valuable portrayal to us +of the boyhood of the king.</p> + +<p>The same type of big picture was continued in the series +of <i>Hunts of Louis XV</i>, lovely forest scenes wherein +much unsportsmanlike elegance displays itself in the persons +of noble courtiers. The Duc d’Antin favoured +these and they were reproduced until 1745.</p> + +<p>It is probable that the Bible fell into neglect in those +days, too heavy a volume for pointed, perfumed fingers +accustomed to no books at all. Bossuet, Voltaire, were +they not obliged to set to the sonorous music of their +voices the reforming and satirical attacks on manners and +morals of the aristocrats at a time when books lay all +unread? But at the Gobelins ateliers the Bible, wiped +clean of dust, was much consulted for inspiration in cartoons. +Charles Coypel dipped into the Old Testament, +and Jouvenet into the New, with the result of several +suites of tapestries of great elegance—all of which might +much better have been painted on canvas and framed.</p> + +<p>Charles Coypel, the talented member of a talented family +of painters, also made popular the heroine <i>Armide</i>, +who seemed almost to come of the Bible, since Tasso had +set her in his Christian <i>Jerusalem Delivered</i>. The seductive +palace and entrancing gardens where Renaud +was kept a prisoner, gave opportunity for fine drawing +in this set.</p> + +<div class="figcenter" style="width: 313px;"> +<a name="HUNTS_OF_LOUIS_XV" id="HUNTS_OF_LOUIS_XV"></a> +<img src="images/tapestry070th.jpg" width="313" height="400" alt="" /> +<span class="link"><a href="images/tapestry070.jpg">See larger image</a></span> +</div> + +<p class="caption">HUNTS OF LOUIS XV</p> + +<p class="incaption">Gobelins, G. Audran after Cartoon by Oudry</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="ESTHER_AND_AHASUERUS" id="ESTHER_AND_AHASUERUS"></a> +<img src="images/tapestry071th.jpg" width="400" height="316" alt="" /> +<span class="link"><a href="images/tapestry071.jpg">See larger image</a></span> +</div> + +<p class="caption">ESTHER AND AHASUERUS SERIES</p> + +<p class="incaption">Gobelins, about 1730. Cartoon by J. F. de Troy; G. Audran, weaver</p> + +<p>The Iliad of Homer came in for its share of consideration +at the hands of Antoine and Charles Coypel, who +made of it a set of five scenes. It was Romanelli, the +<span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span> +Italian, who painted a similar set, a hundred years before, +for Cardinal Barberini, which set came to America in +the Ffoulke collection. After the death, in 1730, of the +Duke d’Antin, that interesting son of Madame de Montespan, +several directors had the management of the +Gobelins in hand, the Count of Vignory and the Count +of Angivillier being the most important prior to the Revolution. +These were men who held the purse-strings of +the state, and could thereby foster or crush a state institution, +but the direction of the Gobelins itself, as a factory, +was in the hands of architects, beginning with +the able De Cotte. As the factory had many ateliers, +these were each directed by painters, among whom +appear such interesting men of talent as Oudry, Boucher, +Hallé.</p> + +<p>Although d’Antin was dead when it commenced, he +is accredited with having inspired and ordered the important +hanging known as the <i>History of Esther</i>. (Plate +facing page <a href="#ESTHER_AND_AHASUERUS"><b>131</b></a>.) The first piece, from cartoons by Jean +François de Troy, was sent to the weavers in 1737, and the +last piece, which was painted in Rome, was finished in +1742. This set shows as ably as any can, the magnificent +style of production of the period. It had from the beginning +an immense popularity and was copied many +times. Even now it is a favourite subject for those whose +perverted taste leads them into the dubious art of copying +tapestry in paints on cloth.</p> + +<p>The serious accusation against this set, which in composition +seems much like the tableaux in grand opera, +is that it invades the art of painting. And that is the +<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span> +fault of woven art at that period. The decline in tapestry +in Paris began when both weavers and painters struggled +for the same results, the weavers quite forgetting +the strength and beauty that were peculiar to their art +alone.</p> + +<p>This fault cannot be laid to the weavers only, who numbered +such men as Neilson the able Scot, and Cozette, +who, with wondrous touch, wove the set of <i>Don Quixote</i>; +nor were the artists at fault, for they included +such men as Audran and Boucher. No, it was the +director who blighted and subverted talent, and the vitiated +public taste that shifted restlessly and demanded +novelty. The novelty that came in large hangings was +a suppressing of the delicate subjects that delight the imagination +by their playful grace, their association of +human life with all that is gaily exquisite. The mode +was for leaving the land of idealised mythology, for discarding +the flowers, the scrolls, the happy loves and +charming crew that lived among them, and for plunging +into Roman history, real and ugly, enwrapped in drapings +too full, cumbered with forced accessory, or into such +mythology as is represented in <i>Cupid and Psyche</i>. +(Plate facing page <a href="#CUPID_AND_PSYCHE"><b>132</b></a>.)</p> + +<p>The <i>History of Esther</i> illustrates the loss of imagination +sustained by the border which had come to be a mere +woven imitation, in shades of brown and yellow, of a +carved and gilded, wooden frame. At the close of the +reign of Louis XV, borders were frankly abandoned altogether. +Compare this state of things with the days when +Audran and Coypel were producing the sets of <i>The +<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span> +Seasons</i>, <i>The Months</i>, and <i>Don Quixote</i>. It is aridness compared +to talented invention.</p> + +<div class="figcenter" style="width: 280px;"> +<a name="CUPID_AND_PSYCHE" id="CUPID_AND_PSYCHE"></a> +<img src="images/tapestry072th.jpg" width="280" height="400" alt="" /> +<span class="link"><a href="images/tapestry072.jpg">See larger image</a></span> +</div> + +<p class="caption">CUPID AND PSYCHE</p> + +<p class="incaption">Gobelins Tapestry. Eighteenth Century. Design by Coypel</p> + + +<div class="figcenter" style="width: 276px;"> +<a name="CATHERINE_OF_RUSSIA" id="CATHERINE_OF_RUSSIA"></a> +<img src="images/tapestry073th.jpg" width="276" height="400" alt="" /> +<span class="link"><a href="images/tapestry073.jpg">See larger image</a></span> +</div> + +<p class="caption">PORTRAIT OF CATHERINE OF RUSSIA</p> + +<p class="incaption">Gobelins under Louis XVI.</p> + +<p>The top note of the imitation of painting was struck +when the Gobelins set the task of becoming a portrait +maker. (Plate facing page <a href="#CATHERINE_OF_RUSSIA"><b>133</b></a>.) The work was done, +it was bound to be, as royalty backed the demand. Portraits +were woven of Louis XV (to be seen now at +Versailles), and his queen, of Louis XVI and Marie +Antoinette, and others less well known. A better scheme +for limiting the talent of the weaver could not have been +suggested by his most ingenious enemy. He was a man +of talent or his art had not reached so high, and as such +must be untrammelled; but here was given him a work +where personal discretion was not allowed, where he must +copy tone for tone, shade by shade, the myriad indefinite +blendings of the brush.</p> + +<p>It is this practice, pursued to its end, that has made of +the tapestry weaver a mere part of a machine, and tapestry-making +a lost art, to remain in obscurity until weavers +return to the time before the French decadence.</p> + +<p>The temper of those who hold in their hands the direction +of the people, these are the determining causes of +the products of that age. If d’Angivillier was responsible +for displacing a transcendent art with a false one, +if he routed a dainty mythology and its accessories with +the heavy effort and paraphernalia of the Romans, on +whom shall we place the entirely supportable responsibility +of diminishing tapestries from noble draperies +down to mere furniture coverings?</p> + +<p>The result came happily, with much fluttering of fans, +<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span> +dropping of handkerchiefs, with powder, patches, intrigues, +naughty sports, and a general necessity for a gay +company to divide itself into groups of four or two—a +lady and a cavalier, forsooth—the inevitable man and +maid. In the time of the preceding king, Louis XIV, +the court lived in masses. Life was a pageant, a grand +one, moving in slow dignity of gorgeous crowds, but a +pageant on which beat the fierce light of a throne jealous +of its grandeur. No chance was here for sweet escape +and no chance for light communing.</p> + +<p>But all that saw a change. The needs of the lighter +court and the lighter people, were for reminders that life +is a merry dance in which partners change often, and sitting-out +a figure with one of them is part of the game.</p> + +<p>Perhaps the huge apartments were not to the taste of +Regent Philippe, and certainly they were not convenient +to the life of the king when he came to man’s estate. So, +down came the ceiling’s height, and closer drew the walls, +until the model of the Petit Trianon was reached and considered +the ideal—if that were not indeed the miniature +Swiss Cottage.</p> + +<p>What place had an acre of tapestry in these little rooms? +How could yards of undulating colour hang over walls +that were already overlaid with the most exquisite low +relief in wood that has ever been carved this side of the +Renaissance in Italy? No place for it whatever. So, +out with it—the fashions have changed.</p> + +<p>But there was the furniture. That, too, was smaller +than hitherto. But this was the day of artists skilled in +small design, and they must fill the need.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p> + +<h2 class="padtop">CHAPTER XIII</h2> + +<h3>THE GOBELINS FACTORY (<i>Continued</i>)</h3> + + +<p><span class="dropcap">A</span>ND so it came about that tapestry fell from the +walls, shrunk like a pricked balloon and landed +in miniature on chairs, sofas and screens.</p> + +<p>How felt the artists about this domesticating of their +art? We are not told of the wry face they made when, +with ideals in their souls, they were set to compose chair-seats +for the Pompadour. Her preference was for +Boucher. Perhaps his revenge showed itself by treating +the bourgeoise courtisane to a bit of coarseness now and +then, slyly hid in dainties.</p> + +<p>The artist, Louis Tessier, appeased himself by composing +for furniture a design of simple bouquets of flowers +thrown on a damask background; but, with such +surety of hand, such elegance, are these ornaments designed +and composed, that he who but runs past them +must feel the power of their exquisite beauty.</p> + +<p>In this manufacture of small pieces the Gobelins factory +unhappily put itself on the same footing as Beauvais +and much confusion of the products has since resulted. +The dignity of the art was lowered when the size and +purpose of tapestries were reduced to mere furniture coverings. +The age of Louis XV, looked at decoratively, +was an age of miniature, and the reign that followed was +the same. When small chambers came into vogue, +<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span> +furniture diminished to suit them, and not only were walls +too small for tapestries to hang on, but chairs, sofas and +screens offered less space than ever before for woven designs, +now preciously fine in quality and minutiæ.</p> + +<p>Tapestry weaving now entered the region of fancy-work +for the drawing-room’s idle hour, and we see even +the king himself, lounging idly among his favourite companions, +working at a tiny loom, his latest pretty toy. +Compare this trifling with the attitude of Henri IV and +Louis XIV toward tapestry weaving, and we have the +situation in a nutshell.</p> + +<p>Louis XV passed from the scene, likewise the charming +bits of immorality who danced through his reign. +However much we may disapprove their manner of life, +we are ever glad that their taste sanctioned—more than +that—urged, the production of a decorative style almost +unsurpassed. To the artists belong the glory, but times +were such that an artist must die of suppression if those +in power refuse to patronise his art. So we are glad that +Antoinette Poisson appreciated art, and that Jeanne Verbernier +made of it a serious consideration, for, what was +liked by La Pompadour and Du Barry must needs be +favoured by the king.</p> + +<p>When Louis XVI came to the throne, the return to +antiquity for inspiration had already begun, but did not +fully develop until later on, when David became court +painter under Napoleon. Yet the tonic note of decoration +was classic. Designs were still small and details +were from Greek inspiration. As tapestries were still but +furniture coverings, this was not to be regretted, for nothing +<span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span> +could be better suited to small spaces, nor could drawing +be more exquisitely pure and chaste than when copied +from Greek detail.</p> + +<div class="figcenter" style="width: 332px;"> +<a name="CHAIR_OF_TAPESTRY" id="CHAIR_OF_TAPESTRY"></a> +<img src="images/tapestry074th.jpg" width="332" height="400" alt="" /> +<span class="link"><a href="images/tapestry074.jpg">See larger image</a></span> +</div> + +<p class="caption">CHAIR OF TAPESTRY. STYLE OF LOUIS XV</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="GOBELINS_TAPESTRY04" id="GOBELINS_TAPESTRY04"></a> +<img src="images/tapestry075th.jpg" width="400" height="311" alt="" /> +<span class="link"><a href="images/tapestry075.jpg">See larger image</a></span> +</div> + +<p class="caption">GOBELINS TAPESTRY (DETAIL) CRAMOISÉE. STYLE LOUIS XV</p> + +<p>Count d’Angivillier kept the Gobelins factory from all +originality, sanctioned only the small wares for original +work, and forced a slavish copying of paintings for the +larger pieces. It is not deniable that some beautiful +hangings were produced, but the sad result is that pieces +of so many tones lose in value year by year, through the +gentle, inexorable touch of time; and, more deplorable +yet, the ambition and the originality of the master-weavers +was deprived of its very life-blood, and in time was +utterly atrophied.</p> + +<p>In the time of Louis XVI, when Marie Antoinette was +in the flower of her inconsiderate elegance, the note of +the day was for art to be small, but perfect; the worth of +a work of art was determined by its size—in inverse +ratio. It was a time lively and intellectual and frivolous, +and its art was the reflection of its desire for concentrated +completeness.</p> + +<p>In the reign of Louis XVI ripened, not the art of Louis +XIV, but the political situation whose seeds he had +planted. The idea of revolution which started in the +little-considered American colonies, took hold of the +thinkers of France, even to the king of little power. But +instead of being a theory of remedy for important men +to discuss, it acted as a fire-brand thrown among the inflammable, +long-oppressed Third Estate—with results +deplorable to the art which occupies our attention.</p> + +<p>The Gobelins was already suffering at the début of the +<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span> +Revolution. Its management had been relegated to men +more or less incapable; its art standards had been forced +lower and lower. Added to that its operatives were engaged +at lessened rates and often had to whistle for their +pay at that. The contractors asked for nothing better +than to be engaged as masters of ateliers at fixed rates.</p> + +<p>Then came the full force of the Revolution with such +deplorable and tragic results for the Gobelins. In the +madness of the time the workers here were not exempt +from the terrible call of Robespierre. The almoner of +the factory was arrested, and at the end of two months not +even a record existed of his execution, which took place +among the daily feasts of La Guillotine. A high-warp +weaver named Mangelschot met the same fate. Jean +Audran, once contractor for high-warp, then placed at +the head of the factory, was arrested, but escaped with +imprisonment only.</p> + +<p>During his absence he was replaced as head by Augustin +Belle, whose respect for the Republic and for his +head made him curry favour with the mob in a manner +most deplorable. He caused the destruction by fire of +many and many a superb tapestry at the Gobelins, giving +as his reason that they contained emblems of royalty, +reminders of the hated race of kings. The amateur can +almost weep in thinking of this ruthless waste of beauty.</p> + +<p>It was a celebrated bonfire that was built in the courtyard +of the Gobelins when, by order of the Committee on +Selection, all things offensive to an over-sensitive republican +irritability were heaped for the holocaust. As the +Gobelins was instituted by a king, patronised by kings, +<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span> +its works made in the main for palaces and pageants after +the taste of kings, it was only too easy to find tapestries +meet for a fire that had as object the destruction of articles +displaying monarchical power.</p> + +<p>During the four horrid years when terror reigned, the +workers at the Gobelins continued under a constant +threat of a cessation of work. Not only was their pay +irregular, but it was often given in paper that had sadly +depreciated in value. Then the decision was made to +sell certain valuable tapestries and pay expenses from this +source of revenue. But, alas, in those troublous times, +who had heart or purse to acquire works of art. A whole +skin and food to sustain it, were the serious objects of +life.</p> + +<p>Under the Directory, funds were scarce in bleeding +France, and all sorts of ways were used to raise them. +In the past times when Louis XIV had by relentless extravagance +and wars depleted the purse, he caused the +patiently wrought precious metals to be melted into bullion. +Why not now resort to a similar method? So +thought a minister of one of the Two Chambers, and +suggested the burning of certain tapestries of the royal +collection in order that the gold and silver used in their +weaving might be converted into metal.</p> + +<p>Sixty pieces, the most superb specimens of a king’s collection, +were transported to the court of La Monnaie, +and there burned to the last thread the wondrous work +of hundreds of talented artists and artisans. The very +smoke must have rolled out in pictures. The money +gained was considerable, 60,000 livres, showing how +<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span> +richly endowed with metal threads were these sumptuous +hangings. The commission sitting by, judicial, dispassionate, +presided with cold dignity over the sacrifice, and +pronounced it good.</p> + +<p>A hundred workers only remained at the Gobelins +which had once been a happy hive of more than eight +times that number, and these were constrained to follow +orders most objectionable and restrictive. Models to +copy were chosen by a jury of art, and such were its prejudices +that but little of interest remained. Ancient religious +suites, and royal ones were disapproved. New +orders consisted of portraits. But if we thought it a prostitution +of the art to weave portraits of Louis XV in royal +costume, or Marie Antoinette in the loveliness of her +queenly fripperies, what can be said of the low estate of +a factory which must give out a portrait of Marat or +Lepelletier, even though the great David painted the design +to be copied. The hundred men at the Gobelins +must have worked but sadly and desultorily over such +scant and distasteful commissioning.</p> + +<p>There were works upon the looms when the Commission +began inspecting the works of art to see if they were +proper stuff for the newly-made Republic to nurse upon. +In September, 1794, they found and condemned twelve +large pieces on the looms unfinished, and on which work +was immediately suspended. Of three hundred and +twenty-one models examined, which were the property of +the factory, one hundred and twenty were rejected. In +fact, only twenty were designated as truly fit for production, +not falling under the epithets “anti-republican, +<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span> +fanatic or insufficient.” The latter description was applied +to all those exquisite fantasies of art that make the +periods Louis XV and Louis XVI a source of transcendent +delight to the lover of dainty intellectual design, and +include particularly the work of Boucher.</p> + +<p>The mental and moral workings of the commission on +art may be tested by quoting from their own findings on +the <i>Siege of Calais</i>, a hanging by Berthélemy, depicting +an event of the Fourteenth Century. This is what the +temper of the times induced the Commission—among +whom were artists too—to say: “Subject regarded as +contrary to republican ideas; the pardon accorded to +the people of Calais was given by a tyrant through the +tears and supplications of the queen and child of a despot. +Rejected. In consequence the tapestry will be arrested +in its execution.”</p> + +<p>The models allowed in this benumbing period were +those of hunting scenes, and antique groups such as the +<i>Muses</i>, or scenes from the life of Achilles.</p> + +<p>A vicious system of pay was added to the vicious system +of art restriction. And so fell the Gobelins, to revive +in such small manner as was accorded it in the Nineteenth +Century.</p> + +<p>Its great work was done. It had lifted up an art which +through inflation or barrenness Brussels had let train on +the ground like a fallen flag, and it had given to France +the glory of acquiring the highest period of perfection.</p> + +<p>To France came the inspiration of gathering the industry +under the paternal care of the government, of +relieving it from the exigencies of private enterprise +<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span> +which must of necessity fluctuate, of keeping the art in +dignified prosperity, and of devoting to its uses the highest +talent of both art and industry.</p> + +<p>The Revolution and the Directory both hesitated to kill +an institution that had brought such glory to France, that +had placed her above all the world in tapestry producing. +But what deliberate intent did not accomplish, came +near being a fact through scant rations. Operators at the +Gobelins were irregularly paid, and the public purse +found onerous the burden of support.</p> + +<p>But with the coming of Napoleon the personal note was +struck again. A man was at the head, a man whose ambition +invaded even the field of decoration. The Emperor +would not be in the least degree inferior in splendour +to the most magnificent of the hereditary kings of France. +The Gobelins had been their glory, it should add to his.</p> + +<p>Louis David was the painter of the court, he whose +head was ever turned over his shoulder toward ancient +Greece and Rome, who not only preferred that source of +inspiration, but who realised the flattery implied to the +Emperor by using the designs of the countries he had +conquered. It was a graceful reminder of the trophies +of war.</p> + +<p>So David not only painted Josephine as a lady of Pompeii +elongated on a Greek lounge, but he set the classic +style for the Gobelins factory when Napoleon gave to +the looms his imperial patronage. It was David who had +found favour with Revolutionary France by his untiring +efforts to produce a style differing fundamentally from +the style of kings, when kings and their ways were +<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span> +unpopular. Technical exactness, with classic motives, +characterises his decorative work for the Gobelins.</p> + +<p>The Emperor was hot for throne-room fittings that +spoke only of himself and of the empire he had built. +David made the designs, beautiful, chaste, as his invention +ever was, and dotted them with the inevitable bees +and eagles. Percier, the artist, helped with the painting, +but the throne itself was David’s and shows his talent in +the floating Victory of the back and the conventionalised +wreaths of the seat. The whole set, important enough +to mention, embraced eight arm chairs and six smaller +ones, besides two dozen classic seats of a kingly pattern, +and screens for fire and draughts, all with a red background +on which was woven in gold the pattern of wreaths +and branches of laurel and oak.</p> + +<p>The Emperor made the Gobelins his especial care. He +committed it to the discretion of no one, but was himself +the director, and allowed no loom to set up its patterns +unsanctioned by his order. Even his campaigns left this +order operative. Is it to his credit as a genius, or his discredit +as a tyrant, that the chiefs of the Gobelins had to +follow him almost into battle to get permission to weave +a new hanging?</p> + +<p>Portraits were woven—but let us not dwell on that. +That portraits were woven at the Gobelins (portraits as +such, not the resemblance of one figure out of a mass to +some great personage) brings ever a sigh of regret. It +is like the evidence of senility in some grand statesman +who has outlived his vigour. It is like the portrait of your +friend done in butter, or the White House at Washington +<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span> +done in a paste of destroyed banknotes. In other words, +there is no excuse for it while paint and canvas exist.</p> + +<p>Napoleon’s own portrait was made in full length twice, +and in bust ten times. The Empress was pictured at full +length and in bust, and the young King of Rome came in +for one portrait. The summit of bad art seemed reached +when it was proposed to copy in wool a painting of portrait +busts, carved in marble. This work was happily +unfinished when the empire gave place to the next form +of government.</p> + +<p>It is unthinkable that Napoleon would not want his +reign glorified in manner like to that of hereditary kings +with pictured episodes, the conquests of his life, dramatic, +superb. David the court painter, supplied his canvas +<i>Napoleon Crossing the Alps</i>, and others followed. +Copying paintings was the order at the Gobelins, remember, +and that kind of work was done with infinite skill. +Numbers of grand scenes were planned, some set up on +the looms, but the great part were not done at all. Napoleon’s +triumph was full but brief; the years of his reign +were few. He interrupted work on large hangings by +his impatience to have the throne-room furniture ready +for the reception of Europe’s kings and ambassadors. +And when the time came that another man received in +that room, the big series of hangings which were to picture +his reign, even as the <i>Life of the King</i> pictured that +of Louis XIV, were scarcely begun.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span></p> + +<h2 class="padtop">CHAPTER XIV</h2> + +<h3>BEAUVAIS</h3> + + +<p><span class="dropcap">A</span>NOTHER name to conjure with, after Gobelins +is Beauvais. In general it means to us squares of +beautiful foliage,—foliage graceful, acceptably +coloured, and of a pre-Raphaelite neatness. But it is not +limited to that class of work, nor yet to the chair-coverings +for which the factory of Beauvais is so justly celebrated. +This factory has woven even the magnificent +series of Raphael, the designs without which the Sistine +Chapel was considered incomplete. But this is anticipating, +and an inquiry into how these things came about +is a pleasure too great to miss.</p> + +<p>The factory at Beauvais was founded by Colbert, under +Louis XIV, in 1664. In that respect it resembles the +Gobelins factory, but there existed an enormous difference +which had to do with the entire fate of the enterprise. +The Gobelins was founded for the king; Beauvais +was founded for commerce. The Gobelins was royally +conceived as a source of supply for palaces and +châteaux of royalty and royalty’s friends. Beauvais was +intended to supply with tapestry any persons who cared +to buy them, to the end that profit (if profit there were) +should be to the good of the country.</p> + +<p>So the factory was founded at Beauvais as being convenient +to Paris, although it was not known as a place +<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span> +where the industry had flourished hitherto, notwithstanding +the old tapestries still in the cathedral which are accorded +a local origin in the first half of the Sixteenth +Century. And the king granted it letters patent, and +large sums of money to start the enterprise, which had +to be given a building, and men to manage it and to work +therein, and materials to work with, in fact, the duplicate +in less degree of the appropriations for the Gobelins, +except that the furniture department was omitted.</p> + +<p>The idea was practically the same as that in the mind +of the paternal Henri IV when he united the scattered +factories with royal interest and patronage, but with always +the large end in view of benefiting his people +financially, as well as in the province of art. With our +modern republican views we can criticise the disinterestedness +of a monarch who maintains a factory at enormous +public expense exclusively for the indulgence of +kings.</p> + +<p>And yet, it seems impossible to make both an artistic +and commercial success of a tapestry factory—at least this +is the conclusion to which one is forced in a study of the +Beauvais factory.</p> + +<p>Louis Hinart was the man appointed to construct the +buildings and to stock them, and the royal appropriation +therefor, was 60,000 livres. He was to engage a hundred +workers for the first year, more to be added; and special +prizes were temptingly offered for workmen coming from +other countries, and to the contractor for each tapestry +sold for exportation.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="HENRI_IV_BEFORE_PARIS" id="HENRI_IV_BEFORE_PARIS"></a> +<img src="images/tapestry076th.jpg" width="400" height="399" alt="" /> +<span class="link"><a href="images/tapestry076.jpg">See larger image</a></span> +</div> + +<p class="caption">HENRI IV BEFORE PARIS</p> + +<p class="incaption">Beauvais Tapestry, Seventeenth Century. Design by Vincent</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="HENRI_IV_AND_GABRIELLE" id="HENRI_IV_AND_GABRIELLE"></a> +<img src="images/tapestry077th.jpg" width="400" height="390" alt="" /> +<span class="link"><a href="images/tapestry077.jpg">See larger image</a></span> +</div> + +<p class="caption">HENRI IV AND GABRIELLE D’ESTRÉES</p> + +<p class="incaption">Design by Vincent</p> + +<p>Thus was trade to be encouraged, and the venture put +<span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span> +on its feet commercially. But alas, the factory was not +a success. Tapestries were woven, hundreds of them, and +they delight us now wherever we can find them, whether +low warp or high, whether large pieces with figures or +smaller pieces almost entirely verdure of an entrancing +kind. But the orders for large hangings, the heavy patronage +from outside France, was of the imagination only, +and the verdures for home consumption did not meet the +expenses of the factory. After twenty years of struggle, +Hinart was completely ruined and ceded the direction +of the factory to a Fleming of Tournai, Philip Béhagle. +As most of the workers were Flemish, this was probably +not disagreeable to them.</p> + +<p>Béhagle, more energetic than Hinart, with a gift for +initiative, set the high-warp looms to work with extraordinary +activity. As though he would rival the great +Gobelins itself, he reproduced the most ambitious of +pieces, the Raphael series, <i>Acts of the Apostles</i>, and a long +list of ponderous groups wherein oversized gods disport +themselves in a heavy setting of architecture and voluminous +draperies. He also produced some contemporary +battle scenes which are now in the royal collection of +Sweden.</p> + +<p>Not content with copying, Béhagle set up a school of +design in the factory, realising that the base of all decorative +art was design. Le Pape was the artist set over it. +From this grew many of the lovely smaller patterns which +have made the factory famous. Its garlands have ever +been inspired, and its work on borders is of exquisite conception +and execution.</p> + +<p><span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span> +It is considered a great fact in the history of the factory +that the king paid it a visit in 1686; that he paraded and +rested his important person under the shade of the living +verdure in its garden. But it seems more to the point that +Béhagle made for it a success both artistic and commercial, +and this continued as long as he had breath.</p> + +<p>Also was it a feather in his cap that at the time when +the Gobelins factory was sighing and dying for lack of +funds, the provincial factory of Beauvais not only remained +prosperous, but opened its doors to many of the +starving operatives from the Gobelins ateliers, thus saving +them from the horrid fate of joining the Dragonades, +as some of their fellows had done.</p> + +<p>But the followers of the able Béhagle had not his capability. +After his twenty years of prosperity the factory +languished under the direction of his widow and sons, +and that of the brothers Filleul, and Micou, up to the time +when the Regent Philip was fumbling the reigns of government, +and when everything but scepticism and Les +Precieuses was sinking into feeble disintegration. The +factory became a financial failure from which the regent +had not power to lift it.</p> + +<p>Again we see the name of the son of Madame de Montespan, +the Duke d’Antin, who was at this time director +of buildings for the crown and in this capacity had the +power of choosing the directors of both the Gobelins and +Beauvais. The place of director at Beauvais was empty; +d’Antin must have the credit of filling it wisely with the +painter Jean-Baptiste Oudry. He was a man endowed +with the sort of energy we are apt to consider modern and +<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span> +American. He already occupied a high place in the +Gobelins, and retained it, too, while he lifted Beauvais +from the Slough of Despond, and carried it to its most +brilliant flowering.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="BEAUVAIS_TAPESTRY01" id="BEAUVAIS_TAPESTRY01"></a> +<img src="images/tapestry078th.jpg" width="400" height="378" alt="" /> +<span class="link"><a href="images/tapestry078.jpg">See larger image</a></span> +</div> + +<p class="caption">BEAUVAIS TAPESTRY. EIGHTEENTH CENTURY</p> + +<p class="incaption">Metropolitan Museum of Art, New York</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="BEAUVAIS_TAPESTRY02" id="BEAUVAIS_TAPESTRY02"></a> +<img src="images/tapestry079th.jpg" width="400" height="276" alt="" /> +<span class="link"><a href="images/tapestry079.jpg">See larger image</a></span> +</div> + +<p class="caption">BEAUVAIS TAPESTRY. TIME OF LOUIS XVI</p> + +<p class="incaption">Collection of Wm. Baumgarten, Esq., New York</p> + +<p>It is only as the history of a factory touches us that +we are interested in its changes. The result of Oudry’s +direction is one that we see so frequently in a small way +that it is agreeable to recognise its cause. Oudry was +pre-eminently a painter of animals. Add to this the +tendency to draw cartoons in suites and the demand for +furniture coverings, and at once we have the <i>raison d’être</i> +of the design seen over and over again nowadays on old +tapestried chairs, the designs picturing the <i>Fables of La +Fontaine</i>. These were the especial work of Oudry who +composed them, who put into them his best work as animal +painter, and who set them on the looms of Beauvais many +times.</p> + +<p>They had a success immediate. They became the fashion +of the day, and the pride of the factory. If the artist +had drawn with inspiration, the weavers copied with a +fidelity little short of talent. So it is not surprising that +a set of sofa and chairs on which these tapestries are displayed +brings now an average of a thousand dollars a +piece, even though the furniture frames are not excessively +rich.</p> + +<p>Beauvais set the fashion for this suite, but as success +has imitators who hope for success, many factories both in +and out of France copied this series. How shall we know +the true from the false? By that sixth sense that has its +origin in a taste at once instinctive and cultivated.</p> + +<p><span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span> +Oudry drew hangings for the small panelled spaces of +the walls, to accompany this set of <i>Fables</i>. He also +painted scenes from Molière’s comedies, which at least +show him master of the human figure as well as of the +lines of animals.</p> + +<p>We are now, it must be remembered, in the time of +Louis XV, the time of beautiful gaiety and light sarcasm, +of epigramme, and miniature, and of all that declared +itself <i>multum in parvo</i>. Therefore it was that even wall-hangings +were reduced in size and polished, so to speak, +to a perfection most admirable. Paintings were copied, +actually copied, on the looms, but however much the fact +may be deplored that tapestry had wandered far from its +original days of grand simplicity, it were unjust not to +recognise the exquisite perfection of the manner in vogue +in the middle of the Eighteenth Century, and of the perfection +of the craftsman.</p> + +<p>The pieces of Beauvais that are accessible to us are +indeed charming to live with, especially the verdures of +Oudry on which he left the trace of his talent, never omitting +the characteristic fox or dog, or ducks, or pheasants +that give vital interest to a peep into the enchanted woodland. +At the same time the factory of Aubusson, and +looms in Flanders, were throwing upon the market a +quantity of verdures, of which the amateur must beware. +Oudry verdures or outdoor scenes are but few in model, +and beautifully woven.</p> + +<div class="figcenter" style="width: 313px;"> +<a name="BEAUVAIS_TAPESTRY03" id="BEAUVAIS_TAPESTRY03"></a> +<img src="images/tapestry080th.jpg" width="313" height="400" alt="" /> +<span class="link"><a href="images/tapestry080.jpg">See larger image</a></span> +</div> + +<p class="caption">BEAUVAIS TAPESTRY. TIME OF LOUIS XIV</p> + +<p>In the prosperity of Beauvais, ambition carried Oudry +into a gay rivalry with the Gobelins. Charles Coypel +had gained fame by a set of hangings in which scenes were +<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span> +taken from Don Quixote. Oudry asked himself why he +should not rival them at Beauvais. The result was a +similar series, but composed by Charles Natoire, the +artist who had drawn a set of <i>Antony and Cleopatra</i> for +the Gobelins. The same idea extended to the furniture +coverings which ran to this design as well as to the <i>Fables</i>. +Thus originated a set familiar to those of us nowadays +who covet and who buy the rare old bits that the niggard +hand of the past accords to the seeker after the ancient.</p> + +<p>Exquisite indeed are the hangings by the great interpreter +of the spirit of his time, François Boucher. His +designs broke from the limit of the Gobelins, and were +woven at Beauvais with the care and skill required for +proper interpretation of his land of mythology. Such +flushed skies of light, such clean, soft trees waving against +them and such human elegance and beauty grouped beneath, +have seldom been reproduced in tapestry, and almost +make one wonder if, after all, the weavers of the +Eighteenth Century were not right in copying a finished +painting rather than in interpreting a decorative cartoon. +But such thoughts border on heresy and schism; away +with them.</p> + +<p>Casanova, Leprince, and a host of others are tacked onto +the list of artists who painted models. We can no longer +call them cartoons, so changed is the mode for Beauvais. +But Oudry and Boucher are pre-eminent.</p> + +<p>To the former, who was director as well as artist, is +attributed the fame of the factory and the resulting commercial +success. The factory had a house for selling its +wares under the very nose of the Gobelins; had another +<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span> +in the enemy’s country, Leipzig. And kings were the +patrons of these, as we know through the royal collections +in Italy, and Stockholm, where the King of Sweden was +an important collector.</p> + +<p>It was in 1755 that Beauvais found itself without the +support of its leaders. Both Oudry and his partner in +business matters, Besnier, had died. And we are well on +toward the time when kingly support was a feeble and +uncertain quantity. The factory lacked the inspiration +and patronage to continue its importance.</p> + +<p>In a few years more fell the blight of the Revolution. +The factory was closed.</p> + +<p>It re-opened again under new conditions, but its brilliant +period was past. Will the conditions recur that can +again elevate to its former state of perfection this factory +that has given such keen delight, whose ancient works are +so prized by the amateur? It has given us thrilling examples +of the highly developed taste of tapestry weaving +of the Eighteenth Century, it has left us lovable designs +in miniature. We repulse the thought that these things +are all of the past. The factory still lives. Will not the +Twentieth Century see a restoration of its former prestige?</p> + +<p>If it were only for the reproduction of the sets of furniture +of the style known as Louis XVI, the Beauvais loom +would have sufficient reason for existing at the present +day. Scenes from Don Quixote, however, and the pictured +fables of La Fontaine which we see on old chairs, +seem to need age to ripen them. These sets, when made +new, shown in all the freshness and unsoiled colour, and +unworn wool, and unfaded silk do not give pleasure.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="BEAUVAIS_TAPESTRY04" id="BEAUVAIS_TAPESTRY04"></a> +<img src="images/tapestry081th.jpg" width="400" height="280" alt="" /> +<span class="link"><a href="images/tapestry081.jpg">See larger image</a></span> +</div> + +<p class="caption">BEAUVAIS TAPESTRY</p> + + +<div class="figcenter" style="width: 276px;"> +<a name="CHAIR_COVERING" id="CHAIR_COVERING"></a> +<img src="images/tapestry082th.jpg" width="276" height="400" alt="" /> +<span class="link"><a href="images/tapestry082.jpg">See larger image</a></span> +</div> + +<p class="caption">CHAIR COVERING</p> + +<p class="incaption">Beauvais Tapestry. First Empire</p> + +<p><span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span> +But the familiar garlands and scrolls adapted from the +Greek, that were woven for the court of Marie Antoinette, +these are ever old and ever new, like all things vital. On +a background of solid colour, pale and tawny, is curved the +foliated scroll to reach the length of a sofa, and with this +is associated garlands or sprays of flowers that any flower-lover +would worship. Nothing more graceful nor more +tasteful could be conceived, and by such work is the Beauvais +factory best known, and on such lines might it well +continue.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span></p> + +<h2 class="padtop">CHAPTER XV</h2> + +<h3>AUBUSSON</h3> + + +<p><span class="dropcap">P</span>ERHAPS because of certain old and elegant carpets +lying under-foot in the glow and shadows of +old drawing-rooms that we love, the name of Aubusson +is one of interesting meaning. And yet history of +tapestry weaving at Aubusson lacks the importance that +gilds the Gobelins and Beauvais.</p> + +<p>It just escaped that <i>sine qua non</i>, the dower of a king’s +favour. But let us be chronological, and not anticipate.</p> + +<p>If antiquity is the thing, Aubusson claims it. There is +in the town this interesting tradition that when the invincible +Charles Martel beat the enemies of Christianity and +hammered out the word peace with his sword-blade, a lot +of the subdued Saracens from Spain remained in the +neighbourhood. It was at Poitiers in 732 that the final +blow was given to show the hordes of North Africa that +while a part of Spain might be theirs, they must stop below +the Pyrenees.</p> + +<p>When swords are put by, the empty hand turns to its +accustomed crafts of peace. Poitiers is a weary journey +from Africa if the land ways are hostile, and all to be +traversed afoot. Rather than return, the conquered Saracens +stayed, so runs the legend of Aubusson, and quite +naturally fell into their home-craft of weaving. They +had a pretty gift indeed to bestow, for at that time, as in +<span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span> +ages before, the world’s best fabrics came from the luxurious +East. And so the Saracens, defeated at Poitiers +by Charles Martel, wandered to nearby Aubusson, wove +their cloths and gave the town the chance to set its earliest +looms at a date far back in the past.</p> + +<p>The centuries went on, however, without much left +in the way of history-fabric or woven fabric until we approach +the time when tapestry-history begins all over +France, like sparse flowers glowing here and there in the +early spring wood.</p> + +<p>When the Great Louis, with Colbert at his sumptuous +side, was by way of patronising magnificently those arts +which contributed to his own splendour, he set his all-seeing +eye upon Aubusson, and thought to make it a royal +factory.</p> + +<p>He was far from establishing it—that was more than +accomplished already, not so much by the legendary +Saracens as by the busy populace who had as early as +1637 as many as two thousand workers. Going back a +little farther we find a record of four tapestries woven +there for Rheims.</p> + +<p>It was, perhaps, this very prosperity, this ability to +stand alone that made Louis and Colbert think it worth +while to patronise the works at Aubusson. But it must +be said that at this time (1664) the factory was deteriorating. +Tapestry works are as sensitive as the veriest +exotic, and without the proper conditions fail and fade. +The wrong matter here was primarily the cartoons, which +were of the poorest. No artist controlled them, and the +workers strayed far from the copy set long before. +<span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span> +Added to that, the wool was of coarse, harsh quality and +the dyeing was badly done. All three faults remediable, +thought the two chief forces in the kingdom.</p> + +<p>So Louis XIV announced to the sixteen hundred +weavers of Aubusson that he would give their works the +conspicuous privilege of taking on the name of the Royal +Manufactory at Aubusson. And, moreover, he declared +his wish to send them an artist to draw worthily, and a +master of the important craft of dyeing fast and lovely +colours.</p> + +<p>Colbert drew up a series of articles and stipulations, +long papers of rules and restrictions which were considered +a necessary part of fine tapestry weaving. These +papers are tiresome to read—the constitution of many a +nation or a state is far less verbose. They give the impression +that the craft of tapestry weaving is beset with +every sort of small deceit, so protection must be the arrangement +between master and worker, and between the +factory and the great outside world, lying in wait to tear +with avaricious claws any fabric, woven or written, that +this document leaves unprotected. You get, too, the impression +that weavers took themselves a little too seriously. +There must have been other arts and crafts in the world +than theirs, but if so these men of long documents ignored +it.</p> + +<p>Aubusson, then, took heart at the encouragement of the +king and his prime minister, enjoyed their fine new title +to flaunt before the world which lacked it, pored over +their new Articles of Faith, and awaited the new artist +and the new alchemist of colours.</p> + +<p><span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span> +But Louis XIV was a busy man, and Paris presented +enough activity to consume all his hours but the scant +group he allowed himself for sleep. So Aubusson was +forgot. Wars and pleasures both ravaged the royal purse, +and no money was left for indulgences to a tapestry factory +lying leagues distant from Paris and the satisfying +Gobelins.</p> + +<p>Then came the agitation of religious conflict during +which Louis XIV was persuaded, coerced, nagged into +the condition of mind which made him put pen to the +Revocation of the Edict of Nantes, the document that is +ever playing about the fortunes of tapestry weaving. +This was in 1685. Aubusson had struggled along on hope +for twenty years, under its epithet Royal, but now it had +to lose its best workers to the number of two hundred. +The Protestants had ever been among the best workers in +Louis’ kingdom, and by his prejudice he lost them. Germany +received some of the fugitives, notably, Pierre Mercier.</p> + +<p>Near Aubusson were Felletin and Bellegarde, the three +towns forming the little group of factories of La Marche. +When the king’s act brought disaster to Aubusson, her +two neighbours suffered equally.</p> + +<p>There was also another reason for a sagging of prosperity. +Beauvais was rapidly gaining in size and importance +under the patronage of the king and the wise +rule of its administrators. Beauvais with her high- and +low-warp looms, her artists from Paris and her privilege +to sell in the open market, lured from Aubusson the +patronage that might have kept her strong.</p> + +<p><span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span> +Thus things went on to the end of the Seventeenth Century +and the first quarter of the Eighteenth. Then in +1731 came deliverers in the persons of the painters, Jean +Joseph du Mons and Pierre de Montezert, and an able +dyer who aided them. Prosperity began anew. Not the +prosperity of the first half of the Seventeenth Century, +which was its best period, but a strong, healthy productiveness +which has lasted ever since. Two articles of faith +it adheres to—that the looms shall be invariably low, and +that the threads of the warp shall be of wool and wool +only.</p> + +<p>Large quantities of strong-colour verdures from La +Marche and notably from Aubusson are offered to the +buyer throughout France. They are as easily adapted +to the wood panels of a modern dining-room as is stuff by +the yard, the pattern being merely a mass of trees divisible +almost anywhere. The colour scheme is often worked +out in blues instead of greens; a narrow border is on undisturbed +pieces, and the reverse of the tapestry is as full +of loose threads as the back of a cashmere rug. For the +most part these fragments are the work of the Eighteenth +Century. Older ones, with warmer colours introduced +bring much higher prices.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span></p> + +<h2 class="padtop">CHAPTER XVI</h2> + +<h3>SAVONNERIE</h3> + + +<p><span class="dropcap">T</span>HOSE who hold by the letter, leave out the velvety +product of La Savonnerie from the aristocratic +society of hangings woven in the classic +stitch of the Gobelins. They have reason. Yet, because +the weave is one we often see in galleries, also on furniture +both old and new, it is as well not to ignore its productions +in lofty silence.</p> + +<p>Besides, it is rather interesting, this little branch of an +exotic industry that tried to run along beside the greater +and more artistic. It never has tried to be much higher +than a man’s feet, has been content for the most part to +soften and brighten floors that before its coming were left +in the cold bareness of tile or parquet. It crept up to +the backs and seats of chairs, and into panelled screens +a little later on, but never has it had much vogue on the +walls.</p> + +<p>When we go back to its beginnings we come flat against +the Far East, as is usual. The history of the fabric which +is woven with a pile like that of heavy wool velvet, and +which is called Savonnerie, runs parallel to the long story +of tapestry proper, but to make its scant details one short +concrete chronicle it is best to put them all together.</p> + +<p>From the East, then, came the idea of weaving in that +style of which only the people of the East were masters. +<span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span> +Oriental rugs as such were not attempted in either colour +or design, but one of the rug stitches was copied.</p> + +<p>We have to run back to the time of Henri IV, a pleasing +time to turn to with its demonstration of how much +a powerful king loved the welfare of his people. When +he interested himself in tapestry, one of the three important +existing factories was stationed in the Louvre. This +was primarily for the hangings properly called tapestry, +but in the same place were looms for the production of +work “after the fashion of Turkey.” Sometimes it was +called work of “long wool” (<i>longue laine</i>) and sometimes +also “<i>a la façon de Perse, ou du Levant</i>,” as well as “of +the fashion of Turkey,”—all names giving credit to the +East from whence the stitch came by means of crusades, +invasions and other storied movements of the people of +a dim past.</p> + +<p>How long ago this stitch came, is as uncertain as most +things in the Middle Ages. We know how persistently +the cultivated venturesome East overflowed Eastern Europe, +and how religious Europe thrust itself into the East, +and on these broad bases we plant our imaginings.</p> + +<p>Away back in Burgundian times there are traces of the +use of this velvet stitch. Tapestries of Germany also +woven in the Fifteenth Century, use this stitch to heighten +the effect of details.</p> + +<p>But the formation of an actual industry properly set +down in history and dignified by the name of its directors, +comes in the very first years of the Seventeenth Century +when Henri IV of France was living up to his high +ideals.</p> + +<p><span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span> +Pierre Dupont is the name to remember in this connexion. +He is styled the inventor of the velvet pile in +tapestry, but it were better to call him the adaptor. The +name of Savonnerie came from the building in which the +first looms were set up, an old soap factory, and thus the +velvet pile bears the misnomer of the Savonnerie.</p> + +<p>Pierre Dupont (whose book “La Stromaturgie” might +be consulted by the book-lover) was one of the enthusiasts +included by Henri IV along with the best high-and low-warp +masters of France at that time. Being placed under +royal patronage, the Savonnerie style of weaving acquired +a dignity which it has ever had trouble in retaining +for the simple reason that the legitimate place for its +products seems to be the floor.</p> + +<p>The Gobelins factory finally absorbed the Savonnerie, +but that was after it had been established in the Louvre. +Pierre Dupont who was director of tapestry works under +Henri IV even goes so far as to vaunt the works of French +production over those of “La Turquie.” The taste of +the day was doubtless far better pleased with the French +colour and drawing than with the designs of the East.</p> + +<p>At any rate, this pretty wool velvet found such favour +with kings that even Louis XIV encouraged its continuance, +gathering it under the roof of the all-embracing +Gobelins.</p> + +<p>A large royal order embraced ninety-two pieces, intended +to cover the Grand Galerie of the Louvre. Many +of these pieces are preserved to-day and are conserved by +the State.</p> + +<p>If Savonnerie has never produced much that is +<span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span> +noteworthy in the line of art, at least it has given us many +pretty bits of an endearing softness, bits which cover a +chair or panel a screen, to the delight of both eye and +touch. The softness of the weave makes it especially appropriate +to furniture of the age of luxurious interiors +which is represented by the styles of Louis XV and Louis +XVI.</p> + +<p>Portraits in this style of weave were executed at a time +when portraits were considered improved by translation +into wool, but except as curiosities they are scarcely successful. +An example hangs in the New York Metropolitan +Museum of Art. (Plate facing page <a href="#SAVONNERIE"><b>162</b></a>.) In the +Gobelins factory of to-day are four looms for the manufacture +of Savonnerie.</p> + +<div class="figcenter" style="width: 335px;"> +<a name="SAVONNERIE" id="SAVONNERIE"></a> +<img src="images/tapestry083th.jpg" width="335" height="400" alt="" /> +<span class="link"><a href="images/tapestry083.jpg">See larger image</a></span> +</div> + +<p class="caption">SAVONNERIE. PORTRAIT SUPPOSABLY OF LOUIS XV</p> + +<p class="incaption">Metropolitan Museum of Art, New York</p> + + +<div class="figcenter" style="width: 242px;"> +<a name="VULCAN_AND_VENUS01" id="VULCAN_AND_VENUS01"></a> +<img src="images/tapestry084th.jpg" width="242" height="400" alt="" /> +<span class="link"><a href="images/tapestry084.jpg">See larger image</a></span> +</div> + +<p class="caption">VULCAN AND VENUS SERIES. MORTLAKE</p> + +<p class="incaption">Collection of Philip Hiss, Esq., New York</p> + + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span></p> + +<h2 class="padtop">CHAPTER XVII</h2> + +<h3>MORTLAKE</h3> + +<h4>1619-1703</h4> + + +<p><span class="dropcap">T</span>HE three great epochs of tapestry weaving, with +their three localities which are roughly classed +as Arras in the Fifteenth Century, Brussels in the +Sixteenth Century, and Paris in the Seventeenth, had, as a +matter of course, many tributary looms. It is not supposable +that a craft so simple, when it is limited to unambitious +productions, should not be followed by hundreds +of modest people whose highest wish was to earn a +living by providing the market with what was then considered +as much a necessity as chairs and tables.</p> + +<p>To take a little retrospective journey through Europe +and linger among these obscurer weavers would be delectable +pastime for the leisurely, and for the enthusiast. +But we are all more or less in a hurry, and incline toward +a courier who will point out the important spots without +having to hunt for them. Artois had not only Arras; +Flanders had not only Brussels; France had not only +the State ateliers of Paris and Beauvais; but all these +countries had smaller centres of production. The tapestries +from some of these we are able to identify, even to +weave a little history about them. These products are +recognisable through much study of marks and details +<span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span> +and much digging in learned foreign books, where careful +records are kept—a congenial business for the antiquary.</p> + +<p>But even though we may neglect in the main the lesser +factories, there is one great development which must have +full notice. It is the important English venture known +as Mortlake.</p> + +<p>Sully, standing at the elbow of Henri IV of France, +called James I of England the wisest fool in Europe. A +part of his wisdom was the encouraging in his own kingdom +the royal craft of tapestry-making. To this end he +followed the example set by that grand Henri of Navarre, +and gave the crown’s aid to establish and maintain works +for tapestry production.</p> + +<p>The elegance of the Stuart came to the front, desiring +gratification; but craftiness had a hand in the matter, too. +After the introduction of Italian luxury into England by +Henry VIII, and the continuance of art’s revival through +the brilliant period of Elizabeth, it is not supposable that +no tapestry looms existed throughout the length and +breadth of the land at the time that James came down +from Scotland.</p> + +<p>They were there; documents prove it. But they were +not of such condition as pleased the fastidious son of +Marie Stuart, who needs must import his weavers and his +artists. And therein was shown his craftiness, for he had +coaxed secretly from Flanders fifty expert weavers before +the canny Dutch knew their talented material was thus +being filched away. Every weaver was bound to secrecy, +lest the Low Countries, knowing the value of her clever +<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span> +workmen, put a ban upon their going before the English +king had his full quota for the new venture.</p> + +<p>Wandering about old London, one can identify now the +place where the king’s factory had habitat. The buildings +stood where now we find Queen’s Court Passage, and +near by, at Victoria Terrace, was the house set aside for +the limners or artists who drew and painted for the works.</p> + +<p>To copy Henri IV in his success was dominant in the +mind of James I. To the able Sir Francis Crane he gave +the place of director of the works, and made with him a +contract similar to that made with François de la Planche +and Marc Comans in Paris by their king.</p> + +<p>If to James I is owed the initial establishment, to Crane +is owed all else at that time. It was in 1619 that the +works were founded and Sir Francis took charge. He +was a gentleman born, was much seen at Court, had ambitions +of his own, too, and was cultivated in many ways of +mind and taste. Besides all this, he had a head for business +and an enthusiasm rampant, which could meet any +discouragement—and needed this faculty later, too.</p> + +<p>The king then gave him the management of the venture, +started him with the royal favour, which was as good +as a fortune, with a building for the looms, with imported +workers who knew the tricks of the trade, and with a +pretty sum of money to boot.</p> + +<p>Prudence was born with the enterprise; so the men from +the Low Countries were advised to become naturalised +to make them more likely to stay, and to bring other +workers over, Walloons, malcontents, religious fugitives, +or whatever, so long as the hands were skilful. Down +<span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span> +in Kent, they say those cottages were built for weavers,—those +lovable nests of big timbers, curved gables and small +leaded panes which we are so keen to restore and live in +these days.</p> + +<p>To swell the number of workers, and to have an eye for +the future, there must be apprentices. The king looked +about among the city’s “hospitals” and saw many goodly +boys living at crown expense, with no specified occupation +during their adolescence. These he put as apprentices, +for a term of seven years, to work under the fifty +Flemish leaders. They were happy if they fell under the +care of Philip de Maecht, he of Flanders, who had wandered +down to Paris and served under De la Planche and +Comans, and now had been enticed to the new Mortlake. +He has left his visible mark on tapestries of his +production—his monogram, P.D.M. (Plate facing page +<a href="#EPISODE_IN_LIFE_OF_CAESAR"><b>70</b></a>.)</p> + +<p>A designer for the factory, one who lived there, was +an inseparable part of it. And thus it came that Francis +Clein (or Cleyn) was permanently established. He +came from Denmark, but had taken an enlightening journey +to Italy, and had a fine equipment for the work, +which he carried on until 1658. His name is on several +tapestries now existing.</p> + +<p>Even kings tire of their fulfilled wishes. James +wanted royal tapestry works, yet, when they were an +established fact, he wearied of the drafts on his purse +for their support. It was the old story of unfulfilled +obligations, of a royal purse plucked at by too many vital +interests to spend freely on art.</p> + +<p><span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span> +And Sir Francis Crane bore the brunt of the troubles. +Contracts with the king counted but lightly in face of his +enthusiasm. He continued the work, paid his men the +best he could, and let the king’s debt to him stand unsued.</p> + +<p>In a few years—a very few, as it was then but 1623—he +was obliged to petition the king. His private fortune +was gone by the board, the workmen were clamouring +for wages past due, and the factory trembled.</p> + +<p>Then it was the Prince of Wales showed the value of +his interest in the tapestries that were demonstrating the +artistic enterprise of England. The Italian taste was the +ultimate note in England as well as elsewhere—the Italy +of the Renaissance; and from Italy the prince had ordered +paintings and drawings. What was more to the +purpose at this hour of leanness, he ordered paid by the +crown a bill of seven hundred pounds, which covered +their expense. The king, unwillingly,—for needs pressed +on all sides—paid also Sir Francis Crane in part for +moneys he had expended, but left him struggling against +the hard conditions of a ruined private purse and a thin +royal one.</p> + +<p>At this juncture, 1625, James I died, and his son +reigned in his stead. The Prince of Wales was now become +that beribboned, picturesque, French-spirited monarch, +whose figure on Whitehall eternally protests his +tragic death.</p> + +<p>As Charles I, he had the power to foster the elegant +industry which now grew and flowered to a degree that +brought satisfaction then, and which yields a harvest of +delight in our own times. Sir Francis Crane was at last +<span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span> +to get the reward of enthusiasm and fidelity. Too much +reward, said the envious, who tried in all ways, fair and +foul, to drive him from what was now a lucrative and +conspicuous post. The money he had advanced the factory +came back to him, and more also. Ever a well-known +figure at court, he now even aspired to closer relations +with royalty, and built a magnificent country +home, which was large enough to accommodate a visiting +court. He even persuaded the king to visit the Mortlake +factory, that the royal presence might enhance the value +of art in the occult way known only to the subjects of +kings.</p> + +<p>Debts from the crown were not always paid in clinking +coin, but often in grants of land, and by these grants Sir +Francis Crane became rich. But the prosperity of Crane +was not worth our recording were it not that it evidenced +the prosperity of Mortlake. From the death of James I +in 1625 for a period of ten years, the factory flowered and +fruited. Its productions were of the very finest that have +ever been produced in any country.</p> + +<p>The reasons for this superiority were evident. First +of all, Mortlake was the pet of the king; next, Crane was +an able and devoted minister of its affairs; its artistic +inspiration came from the home of the highest art—Italy—and +its weavers were from that locality of sage and able +weavers—Flanders. Add to this, tapestries were the +fashion. Every man of wealth and importance felt them +a necessary chattel to his elegance. And add to this, too, +that Mortlake had almost a clean field. It was nearly +without rival in fine tapestry-making at that time. Brussels +<span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span> +had declined, and the Gobelins was not formed in +its inspired combination.</p> + +<div class="figcenter" style="width: 240px;"> +<a name="VULCAN_AND_VENUS02" id="VULCAN_AND_VENUS02"></a> +<img src="images/tapestry085th.jpg" width="240" height="400" alt="" /> +<span class="link"><a href="images/tapestry085.jpg">See larger image</a></span> +</div> + +<p class="caption">VULCAN AND VENUS SERIES. MORTLAKE</p> + +<p class="incaption">Collection of Philip Hiss, Esq., New York</p> + + +<div class="figcenter" style="width: 240px;"> +<a name="VULCAN_AND_VENUS03" id="VULCAN_AND_VENUS03"></a> +<img src="images/tapestry086th.jpg" width="240" height="400" alt="" /> +<span class="link"><a href="images/tapestry086.jpg">See larger image</a></span> +</div> + +<p class="caption">VULCAN AND VENUS SERIES. MORTLAKE</p> + +<p class="incaption">Collection of Philip Hiss, Esq., New York</p> + +<p>Besides this, were not the materials for the industry +found best within the confines of the kingdom? What +sheep in all the world produced such even, lustrous wool +as the muttons huddling or wandering on the undulating +<i>prés salés</i> of Kent; and was not wool, par excellence, the +ideal material for picture-weaving, better than silk or +glittering gold?</p> + +<p>The hangings made then were superb. Thanks to destiny, +we have some left on which to lavish our enthusiasm. +The cartoons preferred came from Italy’s great dead masters. +First was Raphael. The Mortlake would try its +hand at nothing less than the great series made to finish +and soften the decoration of the Sistine Chapel. And so +the <i>Acts of the Apostles</i> were woven, and in such manner +as was worthy of them. They can be seen now in the +Garde Meuble. Van Dyck, the great Hollander, made +court painter to the king, drew borders for them, and was +proud to do it, too. Van Dyck’s other work here was a +portrait of Sir Francis Crane and one of himself.</p> + +<p>Rubens likewise associated his great decorative genius +with the factory and gave to it his suite of six designs +for the <i>Story of Achilles</i>. Cleyn, the Mortlake art-director, +furnished a <i>History of Hero and Leander</i>, which +found home among the marvellous tapestries of the King +of Sweden.</p> + +<p>There were other classic subjects, and the months as +well, but of especial interest to us is the <i>Story of Vulcan</i>. +Several pieces of this series have been lent to the +<span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span> +Metropolitan Museum of Art, New York, by their owners, Mrs. +von Zedlitz, and Philip Hiss, Esq. Thus, without going +far from home, thousands have been able to see these delightful +examples of the highest period of England’s tapestry +production. The series was woven for Charles I +when he was Prince of Wales, from cartoons by Francis +Cleyn, and woven by the master, Philip de Maecht. The +borders are especially interesting, and carry the emblematic +three feathers of the prince, as well as his monogram, +in Mrs. von Zedlitz’s example, <i>The Expulsion of Vulcan</i>. +(Coloured plate facing page <a href="#EXPULSION_OF_VULCAN"><b>170</b></a>.)</p> + +<p>It was this same series of <i>Vulcan</i> that was used as a +text by Crane’s enemy to prove to the king, in 1630, that +Crane was profiting unduly and dishonestly from the +land grants given him in payment for arrears. The +plaintiff speaks of this set as being “the foundation of all +good tapestries in England.” We are fortunate in having +pieces from it in America.</p> + +<p>Only by actual contact with the tapestry itself can the +beauty of the colour and the work be known. We well +believe the superior quality of the English wool when it +lies before us in smooth expanse of subtle colour. And +as for even weaving, it is there unsurpassed. Every inch +declares the talent and patience of the craftsman. As for +colour, it is on a low scale that makes blues seem like remembrance +of the sea, and reds like faint flushings +planned in warm contrast, while over all is thrown a veil +of delicate mist that may be of years, or may have been +done with intent, but is there to give poetic value to the +whole of the artist’s scheme.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="EXPULSION_OF_VULCAN" id="EXPULSION_OF_VULCAN"></a> +<img src="images/tapestry087th.jpg" width="400" height="317" alt="" /> +<span class="link"><a href="images/tapestry087.jpg">See larger image</a></span> +</div> + +<p class="caption">THE EXPULSION OF VULCAN FROM OLYMPUS</p> + +<p><span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span> +Sir Francis Crane died in 1636, and Captain Richard +Crane succeeded him. And then began the decline of a +factory which should have lived to save us deep regret. +This second Crane could not carry on the work, and besought +the king to relieve him by taking over the factory, +which was thenceforth known as King’s Works.</p> + +<p>But civil wars came on in 1642 and other matters were +more urgent than the production of works of art. So evil +days fell upon the weavers.</p> + +<p>Then came the black day when Charles was beheaded. +The Commonwealth, to do it justice, tried to keep alive +the industry. They put at its head a nobleman, Sir Gilbert +Pickering, and, to inspire the workers, brought a +new model for design.</p> + +<p>They went to Hampton Court and took from there +<i>The Triumph of Cæsar</i>, by Mantegna, to serve as new +models. Some hope, too, lay in the weavers of the hour, +clever Hollanders taken prisoners in the war; and all this +while Cleyn directed.</p> + +<p>But there were too many circumstances in the way, too +many hard knocks of fate. People were too poor to buy +good tapestries, and loose-woven, cheaper ones were +heavily imported—to the amount of $500,000 yearly—from +France and the Low Countries. Anti-Catholic +feeling displayed hatred toward the able Catholic weavers, +who were forced out of the country by proclamation.</p> + +<p>The sad end of this story is that in 1702 a petition +was placed before the king asking permission to discontinue +the Mortlake works. It was granted in 1703, and +thus ended the English royal venture in England.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span></p> + +<h2 class="padtop">CHAPTER XVIII</h2> + +<h3>IDENTIFICATIONS</h3> + + +<p><span class="dropcap">I</span>DENTIFYING tapestries is like playing a game, like +the solving of a piquant problem, like pursuing the +elusive snark. I know of no keener pleasure than +that of standing before a tapestry for the first time and +giving its name and history from one’s own knowledge, +and not from a museum catalogue or a friend’s recital. +The latter sources of information may be faulty, but your +own you can trust, for by delightful association with tapestries +and their literature you have become expert. The +catalogue is to be read, the friend is to be heard, in all +humility, because these supply points that one may not +know; but, who shall not say that an intensely human +gratification is experienced when the owner of a tapestry +with the Brussels mark tells you that it is a Gobelins, +or one with the <i>History of Alexander</i> tells you it is the +only set of that series ever woven, and you know better.</p> + +<p>The first thing that strikes the eye and the intelligence +is the drawing, the general school to which it belongs. +There is matter for placing the piece in its right class. +It might be said to place it in its right century or quarter +century, but that tapestries were so often repeated in later +times, the cartoon having no copyright and therefore open +to all countries in all centuries. Next, then, to fix it +better, comes a study of the border, for therein lies many +<span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span> +a secret of identity, and borders were of the epoch in +which the weaving was done, even though the cartoon +for the centre came from an earlier time.</p> + +<p>Last, as a finishing touch, come the marks in the galloon. +This is put last because so often they are absent, and so +often unknown, the sign of some ancient weaver lost in +the mists of years, although a well-known mark so instantly +identifies, that study of other details is secondary.</p> + +<p>But under these three generalising heads comes all the +knowledge of the savant, for the truth about tapestries +is most elusive. Knowledge is to be gained only by a +lover of the objects, a lover willing to spend long hours +in association with his love, prowling among collections, +comparing, handling, studying designs, discerning colours, +searching for details, and indulging withal a nice +feeling for textures, a vision that feels them even without +touch of the hand.</p> + +<p>If the study of design has not given a keen scent for +the vague quality which we call “feeling,” the eye would +better be trained still further, for herein lies the secret of +success in difficult places, and not only that, but if he +have not this sense he is deprived of one of the most +subtile thrills that the arts can excite.</p> + +<p>But this sense is not a matter of untrained intuition. +It is the flower of erudition, the flame from a full heart, +or whatever dainty thing you choose to call it. It has its +origin primarily in keen observation of the various important +schools of design that have interested the world +for centuries. We unconsciously augment it even in following +the side-path of history in this modest volume. +<span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span> +Our studies here are but those of a summer morn or a +winter eve, yet they are in vain if they have not set up +a measuring standard or two within the mind.</p> + + +<h4>GOTHIC DRAWING</h4> + +<p>First, and dearest to the lover of designs, comes the +Gothic, the style practised by those conscientious romantic +children-in-art, the Primitives. Their characteristics +in tapestry are much the same as in painting, as in +sculpture; for, weavers, painters, book-makers, sculptors, +were all expressing the same matter, all following the +same fashion. Therefore, to one’s help comes any and +every work of the primitive artists. Making allowance +for the difference in medium, the same religious feeling +is seen in the Burgundian set of <i>The Sacraments</i> in the +Metropolitan Museum of Arts, New York, as is found +in stone carving of the time which decorated churches and +tombs.</p> + +<p>The figures in the Gothic tapestries show a dignified +restraint, a solemnity of pose, recalling the deadly seriousness +with which children play the game of grown-ups. +The artists of that day had to keep to their traditions; to +express without over-expression, was their difficult task +(as it is ours), but they had behind them the rigidity of +the Byzantine and Early Christian, so that every free line, +every vigorous pose or energetic action, was forging +ahead into a new country, a voyage of adventure for the +daring artist. Quite another affair was this from modern +restraint which consists in pruning down the voluptuous +lines following the too high Renaissance.</p> + +<p><span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span> +Faces are serious, but not animated. Dress reveals +charming matter concerning stuffs and modes in that far +time. But apart from these characteristics is the one +great feature of the arrangement of the figures, almost +without perspective. And therein lies one immense superiority +of the ancient designs of tapestries over the modern +as pure decorative fabric. Men and women are +placed with their accessories of furniture or architecture +all in the foreground, and each man has as many cubits +to his stature as his neighbour, not being dwarfed for +perspective, but only for modesty, as in the case of the +Lady’s companion in the <i>Unicorn</i> series—but that series +is of a later Gothic time than the early works of Arras.</p> + +<p>A noticeable feature is that the centre of vision is +placed high on the tapestry. The eye must look to the +top to find all the strength of the design. The lower part +is covered with the sweeping robes or finished figures of +the folk who are playing their silent parts for the delight +of the eye. This covers well the space with large and +simple motive. No recourse is had to such artifice as +distant lands seen in perspective, nor angles of rooms, but +all is flat, brought frankly into intimate association with +the room that is lived in, so that these people of other +days seem really to enter into our very presence, to thrust +vitally their quaint selves into our company. This feature +of simple flatness is in so great contrast to later methods +of drawing that one becomes keenly conscious of it, +and deeply satisfied with its beauty. The purpose of decoration +and of furnishing seems to be most adequately +met when the attention is retained within the chamber and +<span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span> +not led out of it by trick of background nor lure of perspective, +no matter how enticing are the distant landscapes +or how noble the far palace of royalty. Thus the +Primitives struck a more intimately human note than the +artists of later and more sophisticated times.</p> + +<p>The more archaic the tapestry, the simpler the motive, +is the rule. The early weavers of Arras and of France +were telling stories as naturally as possible, perhaps because +the ways of their times were simple, and brushed +aside all filigree with a directness almost brutal; but also, +perhaps, because technique was not highly developed, +either in him who drew with a pencil or him who copied +that drawing in threads of silk and wool and gold. +Whatever the cause, we can but rejoice at the result, +which, alas, is shown to us by but lamentably few remnants +outside of museums. These very archaic simple +pieces are, for the most part, work of the latter part of +the Fourteenth Century and the first part of the Fifteenth, +and as the history of tapestry shows, were almost invariably +woven in France or in Flanders. At the end of the +time mentioned, designs, while retaining much the same +characteristics already described, became more ambitious, +more complicated, and introduced many scenes into one +piece. This is easily proved by a comparison of the illustration +of <i>The Baillée des Roses</i>, or <i>The Sacraments</i>, with +<i>The Sack of Jerusalem</i>, all in the Metropolitan Museum.</p> + +<p>The idea in the earliest Gothic cartoons—if the word +may be allowed here, was to make a single picture, a +unified group. Into the later cartoons came the fashion +of multiplying these groups on one field, so that a tapestry +<span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span> +had many points of interest, many scenes where tragedies +or comedies were being enacted. Ingenious were the +ways of the early artist to accomplish the separation between +the various scenes, which were sometimes divided +merely by their own attitudes, as folk dispose themselves +in groups in a large drawing-room; and sometimes were +divided by natural obstructions, like brooks and trees, or +by columns.</p> + +<p>Later yet, all the antique eccentricities passed away, +and the laws of perspective and balance were fully developed +in an art which has an unspeakable charm. All the +things that modern art has decreed as crude or childish +has passed away, and the sweet flower of the Gothic perfection +unfolded its exquisite beauty. This Gothic +perfection was the Golden Age of tapestry.</p> + + +<h4>ARCHITECTURAL DETAIL</h4> + +<p>The use of architecture in the old Gothic designs makes +a pleasing necessity of fastening our attention upon it. +In the very oldest drawing the sole use is to separate one +scene from another, in the same hanging. For this purpose +slender columns are used. It is intensely interesting +to note that these are the same variety of column that +meets us on every delightful prowl among old relics of +North Europe, relics of the days when man’s highest and +holiest energy expressed itself at last in the cathedral. +Those slender stems of the northern Gothic are verily the +stems of plants or of aspiring young trees, strong when +grouped, dainty when alone, and forming a refined division +for the various scenes in a picture. It must be +<span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span> +confessed that in the medium of aged wool they sometimes +totter with the effect of imminent fall, but that they do not +fall, only inspires the illusion that they belong to the marvellous +age of fairy-tale and fancy.</p> + +<p>The careful observer takes a keen look at these columns +as a clue to dates. The shape of the shaft, whether round +or hectagonal, the ornament on the capitals, are indications. +It is not easy to know how long after a design is +adopted its use continues, but it is entirely a simple matter +to know that a tapestry bearing a capital designed in 1500 +could not have been made prior to that time.</p> + +<p>The columns, later on, took on a different character. +They lifted slender shafts more ornamented. It is as +though the restless men of Europe had come up from the +South and had brought with them reminiscences of those +tender models which shadowed the art of the Saracens, +the art which flavoured so much the art of Southern Europe. +The columns of many a cloister in Italy bear just +such lines of ornament, including the time when the +brothers Cosmati were illuminating the pattern with their +rich mosaic.</p> + +<p>Then, later still, the columns burst into the exquisite +bloom of the early Renaissance, their character profoundly +different, but their use the same, that of dividing +scenes from one another on the same woven picture. But +as any allusion to the Renaissance seems to thrust us far +out onto a radiant plain, let us scamper back into the mysterious +wood of the Gothic and pick up a few more of its +indicative pebbles, even as did Hans and Gretel of fairyland.</p> + +<p><span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span> +A use of Gothic architectural detail gives a religious +look to tapestry, quite other than the later introduction of +castles. These castle strongholds of the Middle Ages +wasted no daintiness of construction, nor favoured light +ornament, nor dainty hand. They were, par excellence, +places of defence against the frequent enemy; so, in bastion +and tower they were piled in curving masses around +the scenes of the later Gothic tapestries. Even more, +they began to play an important part in the <i>mise en scène</i>, +and were drawn on tiny scale as habitations of the actors +in the play who thrust heads from windows no larger than +their throats, or who gathered in gigantic groups on disproportioned +tessellated roofs.</p> + +<p>Occasionally a lovely lady in distress is seen in fine +raiment praying high Heaven for deliverance from the +top of a feudal pile not half as high as her stately figure. +Laws of proportion are quite lost in this naïve way of +telling a story, and one wonders whether the wise old +artist of other times, with his rigid solemnity was heroically +overcoming difficulties of traditional technique, or +whether he was smiling at the infantile taste of his +wealthy patrons. The past fashion in history was to record +only the lives and expressions of those great in +power. The artist is ever the servant of such, but may +he not have had his own private thoughts, unpurchaseable, +unsold, and therefore only for our divining. There +must have been a sense of humour then as now, and +twinkling eyes with which to see it.</p> + + +<p><span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span></p> + +<h4>GOTHIC FLOWERS</h4> + +<p>Always, in studying a Gothic tapestry, we find flowers. +The flowers of nature, they are, a simple nature at that, +and never to be thought of in the same day as the gorgeous, +expansive, proud flowers of the Seventeenth and +Eighteenth Century decoration. Those splendid later +blossoms flaunt their richness with assured swagger and +demand of man his homage, quite forgetting it is the flower’s +best part to give.</p> + +<p>Botticelli had not outgrown the Gothic flowers when +he sprinkled them on the ambient air and floating robe +of his chaste and dreamy <i>Venus</i>, nor when he set them +about the elastic tripping feet of the <i>Spring</i>. He knew +their simple power, and so do we. Scarce a Gothic tapestry +is complete without them, happily for those bent on +identification, for rarely can one discover them without +the same thrill that accompanies the discovery of the first +violets and snowdrops in the awakening woods.</p> + +<p>The old weavers set them low in the picture, used them +as space-fillers wherever space lay happily before them, +and they never exaggerated their size, a virtue of which +the full Renaissance cannot boast. They are the simplest +sort of flowers, the corolla of petals turning as frankly toward +the observer as the sunflower turns toward her god, +and little bells hanging as regularly as a chime. These +are their characteristics, easily recognisable and expressing +the unsophisticated charm of the creations of honest +childish hands. Irrelevancy is theirs, too. They spring +from stones or pavement as well as from turf or garden, +<span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span> +and thus express the more ardently their love for man and +for close association with him. When they are seen after +this manner, it is sure that the early men have set them, +just as Shakespeare, at the same epoch, set violets blue +and daisies pied, cowslip, rosemary “for remembrance,” +and other familiar dainties, in the grim foundation stones +of his tragedies.</p> + +<p>A comparison of the different hangings available to the +amateur, or of the pictured examples given in this book, +will reveal more than can be well set down with the pen. +The use of flowers in the set of <i>The Baillée des Roses</i> is +exceptional, in that here the flowers form a harmonious +decorative scheme and are at the same time an important +part of the story which is pictured.</p> + +<p>In other earliest examples they playfully peep within +the limits of the hanging. Important use is, however, +made of them in that altogether entrancing set of <i>The +Lady and the Unicorn</i>, where they indicate the beauties +of a fascinating park in which the delicate lady and her +attendant led a wondrous life guarded by two beasts as +fabulous as faithful, and the whole region of leaves and +petals but serving as a paradise for delectable white rabbits +and piquant monkeys. Could any modern indicate +by sophistry of brush or brain so intoxicating a fairyland, +so gracious a field of dear delights?</p> + + +<h4>COSTUMES</h4> + +<p>A minute study of all the details of costume and accessories +is one of the measuring sticks with which we count +the years of a tapestry’s life. This applies more particularly +<span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span> +to the work prior to the Renaissance, to the time +when all characters were dressed in the mode of the day—another +evidence of that ingenuousness that delights us +who have passed the period where it is possible.</p> + +<p>As we have noted before, a costume cannot be used +before its time, so, as much as anything can, the study of +its details prevents us from going too far back with its +date. When one has reached the point of identifying a +Gothic tapestry to where the exact decade is questioned, +the century having been ascertained, a careful study of +costumes outside the region of tapestries is necessary. +This leads one into a department all by itself and means +delightful hours in libraries poring over illustrated books +on costume. It means to learn in what manner our gods +and heroes of fact and fancy habited themselves, how +Berengaria wore her head-dress and Jehane de Bourgogne +her brocades, and how the eternally various sleeve +differed in its fashioning for both men and women.</p> + +<p>Head-dresses were of such size and variety that they +form a study in themselves, and dates have been fixed by +these alone. The turban in its evolution is an interesting +study, and makes one wonder if that, too, did not wander +north from the Moorish occupancy of Spain and the wave +of inspiration which flowed unceasingly from the Orient +in the years when Europe created little without inspiration +from outside.</p> + +<p>A patriarchal bearded man in sacerdotal robes of costly +elegance seriously impresses his fellows all through the +Gothic tapestries, and his rival is a swaggering, important +person, clean-shaven, in full brocaded skirt, +<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span> +fur-bound, whose attitude declares him royal or near it. The +first of these is the model nowadays for stage kings, and +even a woman’s toilet must vaunt itself to get notice beside +his gorgeous array. He wears about his waist a +jewelled girdle of great splendour, and on his head some +impressive matter of either jewels or draping. His face +is usually full-bearded, but even when smooth, youth is +not expressed upon him. Youths of the same time are +more <i>débonnaire</i>, are springing about, clean-faced, clad +in short, belted pelisse, showing sprightly legs equally +ready to step quickly towards a lovely lady or to a field of +battle.</p> + +<p>Soldiers—let a woman hesitate to speak of their dress +and arms in any tone but that of self-depreciating humility. +Suffice it to say that in the early work they wore the +armour of the time, whether the scene depicted were an +event of history cotemporaneous, or of the time of Moses. +Fashions in dress changed with deliberation then, and it +is to the arms carried by the men that we must sometimes +look for exactness of date.</p> + + +<h4>LETTERING</h4> + +<p>The presence of letters is often noticed in hangings of +the Fourteenth, Fifteenth and early Sixteenth Centuries. +It was a fashion eminently satisfactory, a great assistance +to the observer. It helped tell the story, and, as these old +pictures had always a story to tell, it was entirely excusable—at +least, so it seems to one who has stood confounded +before a modern painting without a catalogue or other +indication as to the why of certain agitated figures.</p> + +<p><span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span> +The lettering was, in the older Gothic, explicit and +unstinted, in double or quadruple lines, in which case it +counts as decoration banded across top or bottom. +Again, it is as trifling as a word or two affixed to the +persons of the play to designate them. This lettering +may be French or Latin.</p> + + +<h4>EARLY BACKGROUNDS</h4> + +<p>Backgrounds of the early Fifteenth Century deal much +in conventionalised, flat patterns, but fifty or sixty years +later, when figures began to be more crowded, there was +but little space left unoccupied by the participants in the +allegory, and this was filled by the artifices of architecture +or herbage that formed the divisions into the various +scenes. Later the designing artists decided to let into the +picture the light of distant fields and skies, and thus was +introduced the suggestion of space outside the limit of the +canvas.</p> + + +<h4>LATER DRAWING</h4> + +<p>After the Gothic drawing, came the avalanche of the +Renaissance. That altered all. The Italian taste took +precedence, and from that time on the cartoons of tapestries +represent modern art, trailing through its various +fashions or modes of the hour. The purest Renaissance +is direct from the Italian artist, in tapestry as well as in +painting, but it is interesting to see the maladroitness of +the Flemish hand when left to draw cartoons for himself +after the new manner.</p> + +<p>After the Renaissance came exaggeration and lack of +<span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span> +sincerity; then the improvement of the Seventeenth Century, +notably in France, and after that the dainty fancies +of the Eighteenth Century, and here we are dealing with +art so modern that it needs no elucidation. The drawing +in tapestries is a subject as fascinating as it is inexhaustible, +but, however much one may read on it, nothing equals +actual association with as many tapestries as are available, +for the eye must be trained by vision and not by intellectual +process alone.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span></p> + +<h2 class="padtop">CHAPTER XIX</h2> + +<h3>IDENTIFICATIONS (<i>Continued</i>)</h3> + + +<p><span class="dropcap">I</span>F the amateur can have the fortune to see in the same +hour a tapestry of the early Fifteenth Century, and +one a hundred years later, and then one about 1550, +from Brussels, drawn by an Italian artist, he has before +him an exposition of tapestry weaving in its golden age +when it sweeps through its greatest periods and phases to +marvellous perfection. The earliest example gives acquaintance +with that almost fabled time of the Gothic +primitives in art; the second shows the highest development +of that art under the influence of civilisation, and +the third shows the obsession of the new art of the Renaissance. +It is, perhaps, superfluous to say that after the +revival of classic art the power of producing spontaneous +Gothic was lost forever. From that time on, every drawing +has had certain characteristics, certain sophistications +that the artist cannot escape except in a deliberate copy.</p> + +<p>Modern art, we call it. In tapestry it began with a +freedom of drawing in figures, and an adoption of classic +ornament and architecture. In this connexion it is interesting +to note the introduction of Greek or Roman +detail in the columns that divide the scenes, to see saints +gathered by temples of classic form instead of Gothic. +If Renaissance details appear in a hanging called Gothic, +<span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span> +it is easy to see that the piece was woven after Europe +was infected with modern art, and this is an assistance in +placing dates; at least, it checks the tendency to slip back +too far in antiquity, a tendency of which we in a new +country are entirely guilty.</p> + +<p>Lest too long a lingering on the subject of design become +wearisome, a mention of later designs is made +briefly. The simplicity of the early Renaissance, the +perfection of the high Renaissance, are both shown in +tapestry as well as in paintings, and so, too, is exemplified +the inflation that ended in tiresome exuberance.</p> + +<p>After the fruit was ripe it fell into decay. After Sixteenth +Century perfection, Seventeenth Century designs +fell of their own overweight, figures were too exaggerated, +draperies billowed out as in a perpetual gale, +architecture and landscapes were too important, and tapestries +became frankly pictures to attract the attention. +To this class of design belong all those monstrosities +which reflected and distorted the art of Raphael, and +which have been intimately associated with Scriptural +subjects down to our own times.</p> + +<p>After Raphael, Rubens. Familiarity with this heroic +painter is the key to placing all the magnificent designs +similar to the set of <i>Antony and Cleopatra</i> (Metropolitan +Museum of Art in New York).</p> + +<p>Then came the easily recognisable designs of the +French ateliers of the Seventeenth and Eighteenth Centuries. +These are so frequently brought before us as to +seem almost like products of our own day. The earlier +ones seem (as ever) the purer art, the less sensual, appealing +<span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span> +to the more impersonal side of man, dealing in battles +and in classic subjects. Later, the drawings, becoming +more directly personal, in the time of Louis XIV portrayed +events in the <i>Life of the King</i>; in the next reign, +slipping into the pleasures of the <i>Royal Hunts</i>, from +which the descent was easy into depicting nothing higher +than the soft loveliness of the fantastic life of the time as +led by those of high estate. From Lebrun to Watteau +one can trace the gradual seductive decline, where heroic +ideal lowers softly in alluring decadence into a mere +tickling of the senses. And at this time the productions +of great tapestries stopped.</p> + +<p>Before leaving the review of drawing or design, it is +well to recall that the fleeting fashions of the day usually +set the models, not in the manner of treatment which we +have been considering broadly, but in the subject of designs. +For example, the tendency to religious and morality +subjects in the Gothic, the love for Greek gods and +heroes in the Renaissance, the glorification of kings and +warriors at all times, and the portrayal of royal pleasures +in modern times. The months of the year were woven in +innumerable designs and formed an endless theme for +artists’ ingenuity during and after the Renaissance.</p> + + +<h4>BORDERS</h4> + +<p>It is but natural that, with the expansion in drawing, +the freedom given the pencil, imagination leaped outside +the pictured scene and worked fantastically on the border, +and it is to the border that we turn for many a mark of +identification. The subject being a full one, it has longer +<span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span> +consideration in a separate chapter. First there is the simple +outlying tape, then the designed border. The early +Gothic was but a narrow line of flowers and berries; the +later more sophisticated Gothic enlarged and elaborated +this same motive without introducing another. The blossoms +grew larger, the fruit fuller and the modest cluster +of berries was crowded by pears, apples and larger fruit, +until a general air of full luxury was given. The design +was at first kept neatly within bordering lines of tape, but +later, overleaped them with a flaunting leaf or mutinous +flower.</p> + +<p>Ribbons appeared early, then came fragmentary +glimpses of dainty columns which gave nice reasons for +the erect upstanding of so heavy a decoration. These all +were Gothic, but what came after shows the riotous +imagination of the Renaissance. It seemed in that fruitful +time, space itself were not large enough to hold the +designs within the artist’s brain. Certainly no corner of +a tapestry could be left unfilled, and not that alone, but +filled with perfect pictures instead of with a simple repeated +scheme of decoration. It was in this rich time +of production that the borders of tapestries grew to exceeding +width, and were divided into squares, each +square containing a scene. These scenes were often of +sufficient importance in composition to serve as models +for the centre of a tapestry, each one of them, which +thought gives a little idea of the fertility of the artists +in that untired period.</p> + +<p>It was the delight of the great Raphael himself to expend +his talent on the border of his cartoons. From this +<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span> +artist others took their cue with varying skill, but with +fine effect, and with unlimited interest to us. Those who +run have time to remark only the great central picture +in a hanging; but, to those who live with it, this added +line of exquisite panorama is an unceasing delight for the +contemplative hours of solitude. From this rich departure +from Gothic simplicity the artists grew into the same +fulness of design that ended in decadence. The border +became almost obnoxious in its inflated importance and +from voluptuous elegance changed to coarse overweight; +and by these signs we know the early inspired work from +its rank and monstrous aftergrowth in the Eighteenth +Century.</p> + +<p>A quick glance at the plates showing the work of tapestry’s +next highwater mark, the hundred years of the +Gobelins’ best work, illustrates the difference between +that time and others, and shows also the gradual drop into +the border which is merely a woven representation of a +gilded wood frame to enclose the woven picture as +a painted one would be framed. The <a href="#ESTHER_AND_AHASUERUS"><b>plate</b></a> of <i>Esther and +Ahasuerus</i> illustrates this sort of border in the unmistakable +lines of Louis XV ornament.</p> + + +<h4>POINT OF INTEREST</h4> + +<p>Allusion has been made to the placing of the point of +interest in a tapestry, but this is a matter to be studied +by much exercise of the eye. Perhaps the amateur knows +already much about it, an unconscious knowledge, and +needs only to be directed to his own store of observations. +As much as anything this change of design depended on +<span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span> +the uses the varying civilisation made of the hangings. +So much interest lies in this that I find myself ever prone +to recapitulate the very human facts of the past; the lining +of rude stone walls and the forming of interior doors, +which was the office of the early tapestries, and the loose +full draping of the same; then the gradual increase of +luxury in the finish of dwellings themselves, until tapestries +were a decoration only; and then the minimising of +grandeur under Louis XV when everything fell into +miniature and tapestries were demanded only in small +pieces that could be applied to screens or chairs—a prostitution +of art to the royal demand for prettiness.</p> + +<p>Keeping these general ideas of the uses of tapestries in +mind, it is easy to reason out the course of the point of +interest in the design. The Gothic aim was to make +warm and comfortable the austere apartment; the Renaissance +sought to produce big decorative pictures to hang +in place of frescoes; and the French idea—beginning with +that same ideal—fell at last into the production of something +that should accompany the other arts in making +minutely ornate the home of man. Therefore, the +Gothic artist placed the point of interest high; the artists +of the Renaissance followed the rules of modern painting +(even to the point of becoming academic); and the last +good period of the Gobelins dropped into miniature and +decoration.</p> + + +<h4>COLOURS</h4> + +<p>Colours we have not yet considered, in this chapter of +review for identification’s sake. They follow the same +<span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span> +line, have the same history, and this makes the beauty, the +logic and the consistency of our work, the work of tracing +to their source the products of other men and other times.</p> + +<p>Colours in the early Gothic—of what do they remind +one so strongly as of the marvels of old stained glass, that +rich, pure kaleidoscope which has lived so long in the +atmosphere of incense ascending from censer and from +heart. The same scale, rich and simple, unafraid of unshaded +colour, characterise both glass and tapestry.</p> + +<p>The dyeing of colours in those days was a religion, a +religion that believed in holding fast to the forefathers’ +tenets. Red was known to be a goodly colour, and blue +an honest one; yellow was to conjure with, and brown to +shade; but beyond twelve or perhaps twenty colours, the +dyer never ventured. To these he gave the hours of his +life, with these he subjugated the white of Kentish wool, +and gave it honest and soft into the hand of the artist-weaver +who, we must add, should have been thankful for +this brief gamut. To say the least, we of to-day are grateful, +for to this we owe the effect of cathedral glass seen in +old tapestries like that of <i>The Sacraments</i>. The Renaissance +having more sophisticated tales to tell, a higher intellectual +development to portray, demanded a longer +scale of colour, so more were introduced to paint in wool +the pictures of the artists. At first we see them pure and +true, then muddy, uncertain, until a dull confusion comes, +and the hanging is depressing. When, at the last, it came +that a tapestry was but a painting in wool, with as many +thousand differently united threads as would reproduce +the shading of brush-blended paint, the whole thing fell +<span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span> +of its own weight, and we of to-day value less the unlimited +pains of the elaborate dyer and weaver than we do +the simpler work. The reason is plain. Time fades a +little even the securest dyes, and that little is just enough +to reduce to flat monotones a work in which perhaps sixty +thousand tones are set in subtle shading.</p> + + +<h4>HAUTE LISSE</h4> + +<p>The worker on tapestries, the modern restorer—to +whom be much honour—finds a sign of identification in +the handling of old tapestries that is scarcely within the +province of the amateur, but is worth mentioning. It is +the black tracing on the warp with which high-warp +weavers assist their work of copying the artist’s cartoon. +Where this is present, the work is of the prized haute lisse +or high-warp manufacture, instead of the basse lisse or +low-warp. But the latter is not to be spoken of disparagingly, +for in the admirable time of French production +about the time of the formation of the Gobelins, low-warp +work was almost as well executed as high-warp, and as +much valued. Brussels made her fame by haute-lisse, but +in France the low-warp was dubbed “<i>á la façon de Flandres</i>”; +and as Flanders stood for perfection, the weavers +did their best to make the low-warp production approach +in excellence the famed work of the ateliers to the north, +which had formerly so prospered.</p> + +<p>To find this black line is to establish the fact that the +tapestry was woven on a high-warp loom, if nothing more. +But that in itself means, as is explained in the chapter on +looms and <i>modus operandi</i>, that a superior sort of weaver, +<span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span> +an artist-artisan, did the work, and that he had enormous +difficulties to overcome in his patient task.</p> + +<p>A black outline woven in the fabric is one which artists +prior to the Seventeenth Century used to give greater +strength to figures. It was the habit thus to trace the +entire human form, to lift it clearly from its background, +after the “poster” manner of to-day. It is as though a +dark pencil had outlined each figure. This practice +stopped in later years, and is not seen at all in the softer +methods of the Gobelins.</p> + + +<h4>THE WEAVE</h4> + +<p>The materials of tapestries we know to be invariably +wool, silk and metal threads, yet the weaving of these +varies with the talent of the craftsman. The manner of +the oldest weavers was to produce a fabric not too thick, +flexible rather—for was it not meant to hang in folds?—and +of an engagingly even surface. It was not too fine, +yet had none of the looseness associated with the coarse, +hurried work of later and degenerate times. It was more +like the even fabric we associate with machine work, yet +as unlike that as palpitating flesh is like a graven image. +It was the logical production of honest workmen who +counted time well spent if spent in taking pains.</p> + +<p>This ability, to take detail as a religion, has left us the +precious relics of the exquisite period immediately before +the Italian artists had their way in Brussels. Notice the +weave here. See the pattern of the fabrics worn by the +personages of high estate. You could almost pluck it +from the tapestry, shake out its folds, measure it flat, by +<span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span> +the yard, and find its delicate, intelligent pattern neat and +unbroken. Wonderful weaver, magic hands, infinite +pains, were those to produce such an effect on our sated +modern vision, all with a few threads of silk and wool +and gold.</p> + +<p>Then there is the human face—it takes an artist to describe +the various faces with their beauty of modelling, +their infinite variety of type, their subtlety of expression. +You can almost see the flushing of the capillaries under +the translucent skin, so fine are the mediums of silk and +wool under the magic handling of the talented weavers in +brilliant epochs. Not a detail in one of these older canvases +of the highest Gothic development has been neglected.</p> + +<p>The modern places his point of interest, and, knowing +the observer’s eye is to obediently linger there, he splashes +the rest of his drawing into careless subserviency. But +these careful older drawings showed in every inch of their +execution a conscience that might put the Puritan to +shame. Note, even, the ring that is being handed to the +lady in the Mazarin tapestry of Mr. Morgan’s (if yours +is the happy chance to see it). It was not sufficient for +the weaver that it be a ring, but it must be a ring set with +a jewel, and that jewel must be the one celebrated ever +for its value; so in the canvas glows a carefully rounded +spot of pigeon-blood.</p> + +<p>This exquisitely fine weaving of the period which trembled +between the Gothic and the Renaissance made possible +the execution of the later work—and yet, and yet, +who shall say that the later is the superior work? +<span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span> +Vaunted as it is, one turns to it because one must, but with +entire fidelity of heart for the preceding manner.</p> + +<p>In the high period of Brussels production, when the +Renaissance was well established there, through the cartoons +of the Italian artists, it is interesting to note the richness +given to surfaces solidly filled in with gold by +throwing the thread in groups of four. The light is thus +caught and reflected, almost as though from a heap of cut +topaz. This characterises the tapestries of the <i>Mercury</i> +series in the Blumenthal collection.</p> + +<p>Naturally, the evenness of the weaving has much to do +with the value of the piece—otherwise the pains of the +old weavers would have been futile. The surface smooth, +free from lumps or ridges, strong with the even strength +of well-matched threads, this is the beauty that characterises +the best work this side of the Fifteenth Century.</p> + +<p>It is the especial prerogative of the merchant to touch +with his own hands a great number of tapestries. It is +by this handling of the fabric that he acquires a skill in +determining the make of many a tapestry. There is an +indefinable quality about certain wools, and about the +manner of their weaving that is only revealed by the touch. +Not all hands are wise to detect, but only those of the +sympathetic lover of the materials they handle—and I +have found many such among the merchant collector. +But even he finds identification a task as difficult as it is +interesting, and spends hours of thought and research before +arriving at a conclusion—and even then will retract +on new evidence.</p> + + +<p><span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span></p> + +<h4>COPIES</h4> + +<p>There are certain pitfalls into which one may so easily +fall that they must never be out of mind. The worst of +these, the pit which has the most engaging and innocent +entrance, is that of the copy, the modern tapestry copied +from the old a few decades ago.</p> + +<p>It is easy to find by reference to the huge volumes of +French writers on tapestry just when certain sets of cartoons +were first woven. Take, for example, the <i>Acts of +the Apostles</i> by Raphael; Brussels, 1519, is the authentic +date. But after that the Mortlake factory in England +wove a set, and others followed. This instance is too historic +to be entirely typical, but there are others less known. +It was the habit of factories that possessed a valuable set +of cartoons to repeat the production of these in their own +factory, and also to make some arrangement whereby +other factories could also produce the same set of hangings.</p> + +<p>In the evil days that fell upon Brussels after her apogee, +copying her own works took the place of new matters. +Also, in the French factories in their prime, the same set +was repeated on the same looms and on different ones, +<i>vide The Months</i>, <i>The Royal Residences</i>, <i>History of +Alexander</i>, etc., and the gorgeous <i>Life of Marie de +Medici</i>. If these notable examples were copied it is safe +to conclude that many others were.</p> + +<p>The study of marks is left for another chapter, for, by +this time, even the enthusiast is wearying. There seems +<span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span> +so much to learn in this matter of investigating and identifying, +and, after all, everything is uncertain. One looks +about at identified pieces in museums and private collections, +even among the dealers, and the discouraging +thought comes that other people can tell at a glance. But +this is very far from being true.</p> + +<p>Even the savant studies long and investigates much before +he gives a positive classification of a piece that is not +“pedigreed.” Here is a Flemish piece, here is a French, +he will declare, and for the life of you you cannot see +the ear-marks that tell the ancestry. And so in all humility +you ask, “How can you tell with a glance of the eye?” +But he does not. No one can do that in every case. He +must spend days at it, reflecting, reading, handling, if the +piece is evidently one of value. He will show you, perhaps, +as an honest dealer-collector showed me, a set of +five fine pieces which he could not identify at all. “The +weave,” said he, “is Mortlake, the design in part German, +these are Italian <i>putti</i>—yet when all is told, I put down +the work as an Eighteenth Century copy of decadent +Renaissance. But I am far from sure.”</p> + +<p>If a dealer, surrounded by experienced helpers, can thus +be nonplussed, there is little cause for humiliation on the +part of the amateur who hesitates. It is not expected that +one can know at a glance whether a piece of work was +executed in France, or in Flanders at a given epoch. But +the more difficult the work of identification, the keener +the zest of the hunt. It is then that one calls into requisition +all the knowledge of art that the individual has been +unconsciously accumulating all the years of his life. The +<span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span> +applied arts reflect the art feeling of the age to which +they belong, and the diluted influence of the great artists +directs them. This is true of drawing and of colour.</p> + +<p>History has ever its reflection on arts and crafts, but +perhaps it has in tapestry its most intentional record. It +is a forced and deliberate piece of egoism when a monarch +or a conqueror has a huge picture drawn exhibiting his +grandeur in battle or his elegance at home. In some +hangings modesty limits to the border of an imaginary +and decorative scene the monogram of the heroine of history +for whose apartments the tapestry was woven. And +so history is given a grace, a delicate meaning, a warm +interest, which is one of the side-gardens of delight that +show from the long path of identification study.</p> + +<p>This little book has as its aim the gentle purpose of +pointing the way to a knowledge that shall be a guide +in knowing gold from—not from dross, that is too simple, +but gold from gold-plating let us say, for the mad lover +of tapestries will not admit that any hand-woven tapestry +is on the low level of dross. Any work which human +hands have touched and lingered on in execution is deserving +of the respect of the modern whose life must of necessity +be lived in hasty execution. Every chapter, then, is +but a caution or a counsel, and this one but a briefer statement +of the same matter. If onto the fringe of the main +thought hangs much of history, it is history inseparable +from it, for history of nations gives the history of great +men, and these regulate the doings of all the lesser ones +below them.</p> + +<p>Identification, pure and simple, is for the rapt lover of +<span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span> +art who pursues his game in museums and has his quiet +delights that others little dream of. But in general, to +the practical yet cultivated American, it is a means to +expend wisely the derided dollars that we impress upon +other nations to the artistic enrichment of our own country.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span></p> + +<h2 class="padtop">CHAPTER XX</h2> + +<h3>BORDERS</h3> + + +<p><span class="dropcap">I</span>F the artists of tapestries had never drawn nor ever +woven anything but the borders that frame them, we +would have in that department alone sufficient matter +for happy investigation and acutely refined pleasure. +I even go so far as to think that in certain epochs the +border is the whole matter, and the main design is but +an enlargement of one of the many motives of which it +is composed. But that is in one particularly rich era, and +in good time we shall arrive at its joys.</p> + +<p>First then—for the orderly mind grows stubborn and +confused at any beginning that begins in the middle—we +must hark back to the earliest tapestries. Tracing the +growth of the border is a pleasant pastime, a game of +history in which amorini, grotesques and nymphs are the +personages, and garlands of flowers their perpetual accessories, +but first comes the time when there were no borders, +the Middle Ages.</p> + +<p>There were none, according to modern parlance, but it +was usual to edge each hanging with a tape of monotone, +a woven galloon of quiet hue, which had two purposes; +one, to finish neatly the work, as the housewife hems a +napkin; the other, to provide space of simple material +for hanging on rude hooks the big pictured surface.</p> + +<p>This latter consideration was one of no small importance, +<span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span> +as we can readily see by sending the thought back +to the time when tapestries led a very different life (so +human they seem in their association with men that the +expression must be allowed) from that of to-day, when +they are secured to stretchers, or lined, or even framed +behind glass like an easel painting.</p> + +<p>In those other times of romance and chivalry a great +man’s tapestries were always en route. Like their owner, +they were continually going on long marches, nor were +they allowed to rest long in one place. From the familiar +castle walls they were taken down to line the next habitat +of their owner, and that might be the castle of some other +lord, or it might be the tent of an encampment. Again, +it might be that an open-air exposition for a pageant, was +the temporary use.</p> + +<p>The tapestries thus bundled about, forever hung and +unhung on hooks well or ill-spaced, handled roughly by +unknowing varlets or dull soldiers, these tapestries suffered +much, even to the point of dilapidation, and thus +arose the need for a tape border, and thus it happens also +that the relics of that time are found mainly among the +religious pieces. These last found safe asylum within +convent walls or in the sombre quiet of cathedral shades, +and like all who dwell within such precincts were protected +from contact with a rude world.</p> + +<p>One day, sitting solitary at his wools, it occurred to the +weaver of the early Fifteenth Century to spill some of his +flowers out upon the dark galloon that edged his work. +The effect was charming. He experimented further, +went into the enchanted wood of such a design as that of +<span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span> +<i>The Lady and the Unicorn</i> to pluck more flowers, and of +them wove a solid garland, symmetrical, strong, with +which to frame the picture. To keep from confounding +this with the airy bells and starry corollas of the tender +inspiring blossoms of the work, he made them bolder, +trained them to their service in solid symmetric mass, and +edged the whole, both sides, with the accustomed two-inch +line of solid rich maroon or blue.</p> + +<p>It is easy to see the process of mind. For a long time +there had been gropings, the feeling that some sort of +border was needed, a division line between the world of +reality and the world of fable. Examine the Arras work +and see to what tricks the artist had recourse. The architectural +resource of columns, for example; where he could +do so, the artist decoyed one to the margin. Thus he +slipped in a frame, and broke none of the canons of his +art, and no more beautiful frame could have been devised, +as we see by following up the development and use +of the column. Once out from its position in the edge +of the picture into its post in the border, it never stops +in its beauty of growth until it reaches such perfection as +is seen in the twisted and garlanded columns which flank +the Rubens series, and those superb shafts in <i>The Royal +Residences</i> of Lebrun at the Gobelins under Louis XIV.</p> + +<p>The other trick of framing in his subject which was +open to the Arras weaver whom we call Gothic, was to +set verses, long lines of print in French or Latin at top +or bottom.</p> + +<p>But his first real legitimate border was made of the +same flowers and leaves that made graceful the finials and +<span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span> +capitals of Gothic carving. Small clustered fruit, like +grapes or berries, came naturally mixed with these, as +Nature herself gives both fruit and flowers upon the earth +in one fair month.</p> + +<p>Simplicity was the thing, and a continued turning to +Nature, not as to a cult like a latter-day nature-student, +but as a child to its mother, or a hart to the water brook. +As even in a border, stayed between two lines of solid-coloured +galloon, flowers and fruit do not stand forever +upright without help, the weaver gave probability to his +abundant mass by tying it here and there with a knot of +ribbon and letting the ribbon flaunt itself as ribbons have +ever done to the delight of the eye that loves a truant.</p> + +<p>By this time—crawling over the top of the Fourteen +Hundreds—the border had grown wider, had left its +meagre allowance of three or four inches, and was fast +acquiring a foot in width. This meant more detail, a +broader design, coarser flowers, bigger fruit, and these +spraying over the galloon, and all but invading the picture. +It was all in the way of development. The simplicity +of former times was lost, but design was groping +for the great change, the change of the Renaissance.</p> + +<p>The border tells quickly when it dawned, and when its +light put out all candles like a glorious sun—not forgetting +that some of those candles would better have been +left burning. By this time Brussels was the centre of +manufacture and the cartoonist had come to influence all +weavings. Just as carpenters and masons, who were the +planners and builders of our forefathers’ homes, have now +to submit to the domination of the <i>École des Beaux Arts</i> +<span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span> +graduates, so the man at the loom came under the direction +of Italian artists. And even the border was not left +to the mind of the weaver, but was carefully and consistently +planned by the artist to accompany his greater work, +if greater it was.</p> + +<p>Raphael himself set that fashion. He was a born decorator, +and in laying out the borders of his tapestries +unbridled his wonderful invention and let it produce as +many harmonies as could be crowded into miniature. He +set the fashion of dividing the border into as many sections +as symmetry would allow, dividing them so daintily +that the eye scarce notes the division, so purely is it of the +intellect. In the border for the <i>Acts of the Apostles</i>, this +style of treatment is the one he preferred. This set has +no copy in America, but an almost unrivalled example +of this style of border is in the private collection of George +Blumenthal, Esq., the <i>Herse and Mercury</i>.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> Here picture +follows picture in charming succession, in that purity +and perfection of design with which the early Renaissance +delights us. The classic note set by the subject of +the hanging is never forgotten, but on this key is played a +varied harmony of line and colour. For dainty invention, +this sort of border reaches a very high expression of art.</p> + +<p>If Raphael set the fashion, others at least were not slow +in seizing the new idea and from that time on, until a +period much later—that of the Gobelins under Louis +XV—it was the fashion to introduce great and distracting +interest into the border. Even the little galloon became +a twist of two ribbons around a repeated flower, or a +<span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span> +small reciprocal pattern, so covetous was design of all plain +spaces.</p> + +<p>Lesser artists than Raphael also divided the border into +squares and oblongs, and with charming effect. The sides +were built up after the same fashion, but instead of the +delicate architectural divisions he affected, partitions were +made with massed fruit and flowers, vines and trellises. +The scenes were surprisingly dramatic, Flemish artists +showing a preference for such Biblical reminders as Samson +with his head being shorn in Delilah’s lap, while +Philistines just beyond waited the enervating result of the +barber’s work; or, any of the loves and conflicts of the +Greek myths was used.</p> + +<p>The colouring—too much cannot be seen of the warm, +delicate blendings. There is always the look of a flowerbed +at dawn, before Chanticleer’s second call has brought +the sun to sharpen outlines, before dreams and night-mist +have altogether quitted the place. Plenty of warm wood +colours are there, of lake blues, of smothered reds. +Precious they are to the eye, these scenes, but hard to find +now except in bits which some dealer has preserved by +framing in a screen or in the carved enclosure of some +nut-wood chair.</p> + +<p>For a time borders continued thus, all marked off without +conscious effort, into countless delicious scenes. Then +a change begins. After perfection, must come something +less until the wave rises again. If in Raphael’s time the +border claimed a two-foot strip for its imaginings, it was +slow in coming narrower again, and need required that +it be filled. But here is where the variance lay: Raphael +<span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span> +had so much to say that he begged space in which to portray +it; his imitators had so much space to fill that their +heavy imagination bungled clumsily in the effort. They +filled it, then, with a heterogeneous mass of foliage, fruit +and flowers, trained occasionally to make a bower for a +woman, a stand for a warrior, but all out of scale, never +keeping to any standard, and lost absolutely in unintelligent +confusion.</p> + +<p>The Flemings in their decadence did this, and the +Italians in the Seventeenth Century did more, they introduced +all manner of cartouche. The cartouche plays an +important part in the boasting of great families and the +sycophancy of those who cater to men of high estate, for +it served as a field whereon to blazon the arms of the +patron, who doubtless felt as man has from all time, that +he must indeed be great whose symbols or initials are +permanently affixed to art or architecture. The cartouche +came to divide the border into medallions, to apportion +space for the various motives; but with a far less subtle +art than that of the older men who traced their airy +arbours and trailed their dainty vines and set their delicate +grotesques, in a manner half playful and wholly +charming.</p> + +<p>But when the cartouche appeared, what is the effect? +It is as though a boxful of old brooches had been at hand +and these were set, symmetrically balanced, around the +frame, and the spaces between filled with miscellaneous +ornament on a scale of sumptuous size. Confusing, this, +and a far cry from harmony. Yet, such are the seductions +of tapestry in colour and texture, and so caressing is +<span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span> +the hand of time, that these borders of the Seventeenth +Century given us by Italy and Flanders, are full of interest +and beauty.</p> + +<p>The very bombast of them gives joy. Who can stand +before the Barberini set, <i>The Mysteries of the Life and +Death of Jesus Christ</i>, bequeathed to the Cathedral of St. +John, the Divine, in New York, by Mrs. Clarke, without +being more than pleased to recognise in the border the +indefatigable Barberini bee? We are human enough to +glance at the pictures of sacred scenes as on a tale that is +told, but that potent insect makes us at once acquainted +with a family of renown, puts us on a friendly footing +with a great cardinal of the house, reminds us of sundry +wanderings of our own in Rome; and then, suddenly +flashes from its wings a memory of the great conqueror +of Europe, who after the Italian campaign, set this bee +among his own personal symbols and called it Napoleonic. +Yes, these things interest us enormously, personally, +for they pique imagination and help memory +to fit together neatly the wandering bits of history’s jigsaw +puzzle. Besides this, they help the work of identifying +old tapestries, a pleasure so keen that every sense +is enlivened thereby.</p> + +<p>When decorative design deserts the Greek example, it +strays on dangerous ground, unless Nature is the model. +The Italians of the Seventeenth Century, tired of forever +imitating and copying, lost all their refinement in the +effort to originate. Grossness, sensuality took the place +of fine purity in border designs. Inflation, so to speak, +replaced inspiration.</p> + +<p><span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span> +Amorini—the word can hardly be used without suggesting +the gay babes who tumble deliciously among +Correggio’s clouds or who snatch flowers in ways of grace, +on every sort of decoration. In these later drawings, +these tapestry borders of say 1650, they are monsters of +distortion, and resemble not at all the rosy child we know +in the flesh. They are overfed, self-indulgent, steeped +in the wisdom of a corrupt and licentious experience. I +cannot feel that anyone should like them, except as curiosities +of a past century.</p> + +<p>Heavy swags of fruit, searching for larger things, +changed to pumpkins, melons, in the gross fashion of enlarged +designs for borders. Almost they fell of their own +weight. Cornucopias spilled out, each one, the harvest +of an acre. And thus paucity of imagination was replaced +by increase in the size of each object used in filling up +the border’s allotted space.</p> + +<p>After this riot had continued long enough in its inebriety, +the corrective came through the influence of Rubens +in the North and of Lebrun in France. These two +geniuses knew how to gather into their control the art +strength of their age, and to train it into intellectual results. +Mere bulk, mere space-filling, had to give way +under the mind force of these two men, who by their +superb invention gave new standards to decorative art in +Flanders and in France. Drawings were made in scale +again, and designs were built in harmony, constructed not +merely to catch the eye, but to gratify the logical mind.</p> + +<p>The day was for the grandiose in borders. The petite +and <i>mignonne</i> of Raphael’s grotesques was no longer +<span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span> +suited to the people, or, to put it otherwise, the people +were not such as seek expression in refinement, for all art +is but the visible evidence of a state of mind or soul.</p> + +<p>The wish to be sumptuous and superb, then, was a force, +and so the art expressed it, but in a way that holds our admiration. +A stroll in the Metropolitan Museum of Art, +New York, shows us better than words the perfection of +design at this grandiose era. There one sees <i>Antony and +Cleopatra</i> of Rubens—probably. On these hangings the +border has all the evidences of genius. If there were no +picture at all to enclose, if there were but this decorative +frame, a superb inspiration would be flaunted. From +substantial urns at right and left, springs the design at +the sides which mounts higher and higher, design on design, +but always with probability. That is the secret of +its beauty, its probability, yet we are cheated all the time +and like it. No vase of fruit could ever uphold a cupid’s +frolic, nor could an emblematic bird support a chalice, +yet the artist makes it seem so. Note how he hangs his +swags, and swings his amorini, from the horizontal borders. +He first sets a good strong architectural moulding +of classic egg-and-dart, and leaf, and into this able motive +thrusts hooks and rings. From these solid facts he hangs +his happy weight of fruit and flower and peachy flesh. +Nothing could be more simple, nothing could be more +logical. The cartouche at the top, he had no choice +but to put it there, to hold the title of the picture, and at +the bottom came a tiny landscape to balance. So much +for fashion well executed.</p> + +<p>Colours were reformed, too, at this time, for we are +<span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span> +now at the era when tapestry had its last run of best days, +that is to say, at the time when France began her wondrous +ascendency under Louis XIV. In Italy colours had grown +garish. Too much light in that country of the sun, flooded +and over-coloured its pictured scenes. Tints were too +strong, masses of blue and yellow and red glared all in +tones purely bright. They may have suited the twilight +of the church, the gloom of a palace closed in narrow +streets, but they scourge the modern eye as does a blasting +light. The Gothic days gave borders the deep soft tones +of serious mood; the Renaissance played on a daintier +scale; the Seventeenth Century rushed into too frank a +palette.</p> + +<p>It remained for Rubens and Lebrun to find a scheme +both rich and subdued, to bring back the taste errant. +Here let me note a peculiarity of colour, noticeable in +work of Seventeenth and Eighteenth Century borders. +The colour tone varies in different pieces of the same set, +and this is not the result of fading, but was done by deliberate +intent, one side border being light and another dark, +or one entire border being lighter than others of the same +set.</p> + +<p>Lest in speaking of borders, too much reference might +be made to the history of tapestry in general, I have left +out Simon Vouet and Henri Lerambert as inspired composers +of the frame which enclosed their cartoons; but it +is well to say briefly that these men at least had not followed +false gods, and were not guilty of the flagrant +offence to taste that put a smirch on Italian art. These +are the men who preceded the establishment of State +<span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span> +ateliers under Louis XIV and who made productive the +reign of Henri IV.</p> + +<p>If Rubens kept to a style of large detail, that was a popular +one and had many followers in a grandiose age. Lebrun +in borders harked back to the classics of Greece and +Rome, thus restoring the exquisite quality of delicacy associated +with a thousand designs of amphoræ, foliated +scrolls and light grotesques. But he expressed himself +more individually and daringly in the series called <i>The +Months</i> and <i>The Royal Residences</i>. This set is so celebrated, +so delectable, so grateful to the eye of the tapestry +lover, that familiarity with it must be assumed. You recollect +it, once you have seen no more than a photograph +of one of its squares. But it cannot be pertinent here, for +it has no important border, say you. No, rather it is all +border. Look what the cunning artist has done. His +problem was to picture twelve country houses. To his +mind it must have seemed like converting a room into an +architect’s office, to hang it full of buildings. But genius +came to the front, his wonderful feeling for decoration, +and lo, he filled his canvas with glorious foreground, full +of things man lives with; columns, the size appropriate to +the salon they are placed in; urns, peacocks, all the ante-terrace +frippery of the grand age, arranged in the foreground. +Garlands are fresh hung on the columns as +though our decorator had but just posed them, and beyond +are clustered trees—with a small opening for a vista. +Way off in the light-bathed distance stands the faithfully +drawn château, but here, here where the observer stands, +<span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span> +is all elegance and grace and welcome shade, and close +friendship with luxury.</p> + +<p>This work of Lebrun’s is then the epitome of border. +Greater than this hath no man done, to make a tapestry +all border which yet so intensified the value of the small +central design, that not even the royal patron, jealous of +his own conspicuousness, discovered that art had replaced +display.</p> + +<p>After that a great change came. As the picture ever +regulates the border, that change was but logical. After +the “Sun King” came the regency of the effeminate +Philippe, whom the Queen Mother had kept more like a +court page than a man. Artists lapped over from the +previous reign, and these were encouraged to develop the +smaller, daintier, more effeminate designs that had already +begun to assert their charm. Borders took on the new +method. And as small space was needed for the curves +and shells and latticed bands, the border narrower grew.</p> + +<p>Like Alice, after the potent dose, the border shrank and +shrank, until in time it became a gold frame, like the <i>encadrement</i> +of any easel picture. And that, too, was logical, +for tapestries became at this time like painted +pictures, and lost their original significance of undulating +hangings.</p> + +<p>The well-known motives of the Louis XV decoration +rippled around the edge of the tapestry, woven in shades +of yellow silk and imitated well the carved and gilded +wood of other frames, those of chairs and screens and +paintings. There are those who deplore the mode, but +<span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span> +at least it seems appropriate to the style of picture it +encloses.</p> + +<p>And here let us consider a moment this matter of appropriateness. +So far we have thought only of tapestries and +their borders as inseparable, and as composed at the same +time. But, alas, this is the ideal; the fact is that in the +habit which weavers had of repeating their sets when +a model proved a favourite among patrons, led them into +providing variety by setting up a different border around +the drawing. As this reproducing, this copying of old +cartoons was sometimes done one or two hundred years +after the original was drawn, we find an anachronism most +disagreeable to one who has an orderly mind, who hates +to see a telephone in a Venus’ shell, for instance. The +whole thing is thrown out of key. It is as though your +old family portrait of the Colonial Governor was framed +in “art nouveau.”</p> + +<p>The big men, the almost divine Raphael, and later +Rubens, felt so keenly the necessity of harmony between +picture and frame, that they were not above drawing their +own borders, and it is evident they delighted in the work. +But Raphael’s cartoons went not only to Brussels, but +elsewhere, and somehow the borders got left behind; and +thus we see his celebrated suite of <i>Acts of the Apostles</i> +with a different entourage in the Madrid set from what +it bears in Rome.</p> + +<p>There is another matter, and this has to do with commerce +more than art. An old tapestry is of such value +that mere association with it adds to the market price of +newer work. So it is that sometimes a whole border is +<span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span> +cut off and transferred to an inferior tapestry, and the +tapestry thus denuded is surrounded with a border woven +nowadays in some atelier of repairs, copied from an old +design.</p> + +<p>Let such desecrators beware. The border of a tapestry +must appertain, must be an integral part of the whole +design for the sake of artistic harmony.</p> + + +<div class="footnotes"><h3>FOOTNOTE:</h3> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> <a href="#HERSE_AND_MERCURY"><b>Frontispiece.</b></a></p></div> +</div> + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span></p> + +<h2 class="padtop">CHAPTER XXI</h2> + +<h3>TAPESTRY MARKS</h3> + + +<p><span class="dropcap">R</span>EGARDLESS of what a man’s longing for fame +may have been in the Middle Ages, he let his +works pass into the world without a sign upon +them that portrayed their author. This is as true of the +lesser arts as of the greater. It was not the fashion in +the days of Giotto, nor of Raphael, to sign a painting in +vermillion with a flourished underscore. The artist was +content to sink individuality in the general good, to work +for art’s sake, not for personal fame.</p> + +<p>This was true of the lesser artists who wove or directed +the weaving of the tapestries called Gothic, not only +through the time of the simple earnest primitives, but +through the brilliant high development of that style as +shown at the studio of Jean de Rome, of the Brussels +ateliers, through the years lying between the close of the +Fifteenth Century and the Raphael invasion.</p> + +<p>Even that important event brought no consequence of +that sort. The freemasonry among celebrities in those +days showed its perfection by this very lack of signed +work. Everybody knew the man by his works, and the +works by their excellence.</p> + +<p>Tapestry marks were non-existent as a system until the +Brussels edict of 1528 made them compulsory in that +town. Documents and history have been less unkind to +<span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span> +those early workers, and to those of us who like to feel the +thrill of human brotherhood as it connects the artist and +craftsman centuries dead with our own strife for the ideal. +Nicolas Bataille in 1379 cannot remain unknown since the +publishing of certain documents concerning his Christmas +task of the <i>Apocalypse</i>, and there are scores of known +master weavers reaching up through the ages to the time +when marks began.</p> + +<p>The Brussels mark was the first. It was a simple and +appropriate composition, a shield flanked with two letters +B. These were capitals or not. One was reversed or +not, with little arbitrariness, for the mark was legible and +unmistakable in any case, even though the weaver took +great liberties—as he sometimes did. The place for this +mark was the galloon, and it was usually executed in a +lighter colour, but a single tone.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three variations of the Brussels mark"> + <tr> + <td class="tdc"><img src="images/tapestry088a.png" width="100" height="64" alt="" /></td> + <td class="tdc"><img src="images/tapestry088b.png" width="100" height="56" alt="" /></td> + <td class="tdc"><img src="images/tapestry088c.png" width="100" height="70" alt="" /></td> + </tr> + <tr> + <td class="tdctx"> </td> + <td class="tdctx">BRUSSELS</td> + <td class="tdctx"> </td> + </tr> +</table> + +<p>So much for the town mark, which has a score or more +of variations. In addition to this was the mark of the +weaver or of the merchant who gave the commission. A +pity it was thus to confound the two, to give such confusion +between a gifted craftsman and a mere dealer. One was +giving the years of his life and the cunning of his hand +to the work, while the other did but please a rich or royal +patron with his wares. But so it was, and we can but +study over the symbols and glean at least that the tapestry +was considered a worthy one, reached the high standard +of the day, or it would have had no mark at all.</p> + +<p><span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span> +For it was thus that the marks were first adopted. They +were for the protection of every one against fraud. High +perfection made Brussels famous, but fame brought with +it such a rush of patronage that only by lessening the +quality of productions could orders be filled in such hot +haste.</p> + +<p>Tricks of the trade grew and prospered; there were +tricks of dyeing after a tapestry was finished, in case the +flesh tints or other light shades were not pleasing. There +was a trick of dividing a large square into strips so that +several looms might work upon it at once. And there +was all manner of slighting in the weave, in the use of +the comb which makes close the fabric, in the setting of +the warp to make a less than usual number of threads to +the inch. In fact, men tricked men as much in those days +as in our own.</p> + +<p>The fame of the city’s industry was in danger. It was +the province of the guild of tapestry-makers to protect +it against its own evils. Thus, in 1528, a few years after +the weaving of the Raphael tapestries, the law was made +that all tapestries should bear the Brussels mark and that +of the weaver or the client. Small tapestries were exempt, +but at that time small tapestries were not frequent, +or were simple verdures, and, charming as they are, they +lacked the same intellectual effort of composition.</p> + +<p>The Brussels guild stipulated the size at which the +tapestry should be marked. It was given at six ells, a +Flemish ell being about 27½ inches. Therefore, a tapestry +under approximately thirteen feet might escape the +order. But that was the day of large tapestries, the day +<span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span> +of the Italian cartoonists, and important pieces reached +that measure.</p> + +<p>The guild of the tapissiers in Brussels, once started on +restrictions, drew article after article, until it seemed that +manacles were put on the masters’ hands. To these restrictions +the decadence of Brussels is ascribed, but that +were like laying a criminal’s fault to the laws of the country. +Primarily must have been the desire to shirk, the +intent to do questionable work. And behind that must +have been a basic cause. Possibly it was one of those +which we are apt to consider modern, that is, the desire +to turn effort into the coin of the realm. All of the enormous +quantity of orders received by Brussels in the days +of her highest prosperity could not have been accepted +had not the master of the ateliers pressed his underlings +to highest speed.</p> + +<p>Speed meant deterioration in quality of work, and so +Brussels tried by laws to prevent this lamentable result, +and to protect the fair fame of the symbol woven in the +bordering galloon. The other sign which accompanied +the town mark, of the two letters B, should have had excellent +results, the personal mark of the weaver that his work +might be known.</p> + +<p>In spite of this spur to personal pride, the standard +lessened in a few years, but not until certain weavers had +won a fame that thrills even at this distance. Unfortunately, +a great client was considered as important as a +weaver, and it was often his arbitrary sign that was woven. +And sometimes a dealer, wishing glory through his dealings, +ordered his sign in the galloon. And thus comes a +<span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span> +long array of signs which are not identifiable always. In +general, one or two initials were introduced into these +symbols, which were fanciful designs that any idle pencil +might draw, but in the lapse of years it is not possible to +know which able weaver or what great purveyor to royalty +the letter A or B or C may have signified.</p> + +<p>Happily the light of Wilhelm de Pannemaker could not +be hid even by piling centuries upon it. His works were +of such a nature that, like those of Van Aelst, who had no +mark, they would always be known for their historic association. +In illustration, there is his set of the <i>Conquest +of Tunis</i> (plate facing page <a href="#CONQUEST_OF_TUNIS"><b>62</b></a>), woven under circumstances +of interest. Even without a mark, it would still be +known that the master weaver of Brussels (whom all acknowledged +Pannemaker to be) set up his looms, so many +that it must have seemed to the folk of Granada that a new +industry had come to live among them. And it is a matter +of Spanish history that the great Emperor Charles V +carried in his train the court artist, Van Orley, that his +exploits be pictured for the gratification of himself and +posterity.</p> + +<p>But Wilhelm de Pannemaker lived and worked in the +time of marks, so his tapestries bear his sign in addition +to the Brussels mark. Of symbols he had as many as +nine or ten, but all of the same general character, taking +as their main motive the W and the P of his name.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three variations of Pannemaker's marks"> + <tr> + <td class="tdc"><img src="images/tapestry089a.png" width="100" height="130" alt="" /></td> + <td class="tdc"><img src="images/tapestry089b.png" width="100" height="139" alt="" /></td> + <td class="tdc"><img src="images/tapestry089c.png" width="100" height="72" alt="" /></td> + </tr> + <tr> + <td class="tdctx"> </td> + <td class="tdctx">WILHELM DE PANNEMAKER</td> + <td class="tdctx"> </td> + </tr> +</table> + +<p>Incorporated into his sign, as into many others of the +<span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span> +period, was a mark resembling a figure 4. Tradition has +it that when this four was reversed, the tapestry was not +for a private client, but for a dealer. One set of the <i>Vertumnus +and Pomona</i> at Madrid (plates facing pages <a href="#VERTUMNUS_AND_POMONA01"><b>72</b></a>, +<a href="#VERTUMNUS_AND_POMONA02"><b>73</b></a>, <a href="#VERTUMNUS_AND_POMONA03"><b>74</b></a>, +<a href="#VERTUMNUS_AND_POMONA04"><b>75</b></a>) bears De Pannemaker’s mark, while others +have a conglomerate pencilling.</p> + +<p>The sign of Jacques Geubels is, like W. de Pannemaker’s, +made up of his initials combined with fantastic +lines which doubtless were full of meaning to their inventor, +little as they convey to us. The example of +Jacques Geubels’ weaving given in the <a href="#BRUSSELS_TAPESTRY"><b>plate</b></a> is from the +Chicago Institute of Art. His time was late Sixteenth +Century.</p> + +<p>The <i>Acts of the Apostles</i> of Raphael, the first set, was +woven by Peter van Aelst without a mark, but the set +at Madrid bears the marks of several Brussels weavers, +some attributed to Nicolas Leyniers.</p> + +<p>The desirability of distinguishing tapestries by marks +in the galloon appealed to other weaving centres, and the +method of Brussels found favour outside that town. Presently +Bruges adopted a sign similar to that of her neighbour, +by adding to the double B and shield a small b +traversed by a crown.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three different marks"> + <tr> + <td class="tdc"><img src="images/tapestry090a.png" width="100" height="175" alt="" /></td> + <td class="tdc"><img src="images/tapestry090b.png" width="100" height="175" alt="" /></td> + <td class="tdc"><img src="images/tapestry090c.png" width="150" height="128" alt="" /></td> + </tr> + <tr> + <td class="tdctx">JACQUES GEUBELS</td> + <td class="tdctx">NICOLAS LEYNIERS</td> + <td class="tdctx">BRUGES</td> + </tr> +</table> + +<p>In Oudenarde, that town of wonderful verdures, the +weavers, as though by trick of modesty, often avoided +such clues to identity as a woven letter might be, and +<span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span> +adopted signs. However significant and famous they +may have been in the Sixteenth Century, they mean little +now. The town mark with which these were combined +was distinctly a striped shield with decoration like antennæ.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three variations of Oudenarde's marks"> + <tr> + <td class="tdc"><img src="images/tapestry091a.png" width="100" height="78" alt="" /></td> + <td class="tdc"><img src="images/tapestry091b.png" width="100" height="67" alt="" /></td> + <td class="tdc"><img src="images/tapestry091c.png" width="100" height="98" alt="" /></td> + </tr> + <tr> + <td class="tdctx"> </td> + <td class="tdctx">OUDENARDE</td> + <td class="tdctx"> </td> + </tr> +</table> + +<p>Enghien is one of the tapestry towns of which we are +gradually becoming aware. Its products have not always +been recognised, but of late more interest is taken in this +tributary to the great stream of the Sixteenth and Seventeenth +Centuries.</p> + +<p>The famous Peter or Pierre van Aelst, selected from +all of Flanders’ able craftsmen to work for Raphael and +the Pope, was born in this little town, wove here and, +more yet, was known as Pierre of Enghien. Yet it is the +larger town of Brussels which wore his laurels.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three variations of Enghien's marks"> + <tr> + <td class="tdc"><img src="images/tapestry092a.png" width="100" height="123" alt="" /></td> + <td class="tdc"><img src="images/tapestry092b.png" width="100" height="102" alt="" /></td> + <td class="tdc"><img src="images/tapestry092c.png" width="100" height="123" alt="" /></td> + </tr> + <tr> + <td class="tdctx"> </td> + <td class="tdctx">ENGHIEN</td> + <td class="tdctx"> </td> + </tr> +</table> + +<p>The Enghien town marks are an easy adaptation of the +arms of the place, and the weavers’ marks are generally +monograms.</p> + +<p>Weavers’ marks, after playing about the eccentricities +of cipher, changed in the Seventeenth Century to easily +read initials, sometimes interlaced, sometimes apart. +Later on it became the mode to weave the entire name. +An example of these is the two letters C of Charles de +<span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span> +Comans on the galloon of <i>Meleager and Atalanta</i> (plate +facing page <a href="#MELEAGER_AND_ATALANTA"><b>68</b></a>); and the name G. V. D. Strecken in the +<i>Antony and Cleopatra</i> (plate facing page <a href="#MEETING_OF_ANTONY_AND_CLEOPATRA"><b>79</b></a>).</p> + +<p>Other countries than Flanders were wise in their generation, +and placed the marks that are so welcome to the +eye of the modern who seeks to know all the secrets of +the tapestry before him. In the Seventeenth Century, +when Paris was gathering her scattered decorative force +for later demonstration at the Gobelins, the city had a +pretty mark for its own, a simple fleur-de-lis and the initial +P, and the initials of the weaver.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three different marks"> + <tr> + <td class="tdc"><img src="images/tapestry093a.png" width="100" height="89" alt="" /></td> + <td class="tdc"><img src="images/tapestry093b.png" width="100" height="102" alt="" /></td> + <td class="tdc"><img src="images/tapestry093c.png" width="100" height="75" alt="" /></td> + </tr> + <tr> + <td class="tdctx">PARIS</td> + <td class="tdctx">ALEX. DE COMANS</td> + <td class="tdctx">CHARLES DE COMANS</td> + </tr> +</table> + +<p>That Jean Lefèvre, who with his father Pierre was imported +into Italy to set the mode of able weaving for the +Florentines, had a sign unmistakable on the Gobelins tapestries +of the <i>History of the King</i>. (Plate facing page +<a href="#LOUIS_XIV_VISITING"><b>114</b></a>.) It was a simple monogram or union of his initials. +In the Eighteenth Century the Gobelins took the fleur-de-lis +of Paris, and its own initial letter G. The modern +Gobelins’ marks combined the G with an implement of +the craft, a <i>broche</i> and a straying thread.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three different marks"> + <tr> + <td class="tdc"><img src="images/tapestry094a.png" width="100" height="114" alt="" /></td> + <td class="tdc"><img src="images/tapestry094b.png" width="200" height="71" alt="" /></td> + <td class="tdc"><img src="images/tapestry094c.png" width="91" height="133" alt="" /></td> + </tr> + <tr> + <td class="tdctx">JEAN LEFÈVRE</td> + <td class="tdctx">GOBELINS, 18TH CENTURY</td> + <td class="tdctx">GOBELINS, MODERN</td> + </tr> +</table> + +<p>In Italy, in the middle of the Sixteenth Century, we +find the able Flemings, Nicholas Karcher and John Rost, +using their personal marks after the manner of their country. +<span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span> +Karcher thus signed his marvellously executed grotesques +of Bacchiacca which hang in the gallery of tapestries +in Florence. (Plates facing pages <a href="#SCENES_FROM_LIFE_OF_CHRIST"><b>48</b></a> +and <a href="#HISTORY_OF_VIRGIN"><b>49</b></a>.) John +Rost’s fancy led him to pun upon his name by illustrating +a fowl roasting on the spit. Karcher had a little different +mark in the Ferrara looms, where he went at the call of +the d’Este Duke.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three different marks"> + <tr> + <td class="tdc"><img src="images/tapestry095a.png" width="100" height="131" alt="" /></td> + <td class="tdc"><img src="images/tapestry095b.png" width="200" height="102" alt="" /></td> + <td class="tdc"><img src="images/tapestry095c.png" width="100" height="88" alt="" /></td> + </tr> + <tr> + <td class="tdctx">KARCHER, FLORENCE</td> + <td class="tdctx">JOHN ROST</td> + <td class="tdctx">KARCHER, FERRARA</td> + </tr> +</table> + +<p>The Florence factory made a mark of its own, refreshingly +simple, avoiding all of the cabalistic intricacies that +are so often made meaningless by the passing of the years, +and which were affected by the early Brussels weavers. +The mark found on Florence tapestries is the famous +Florentine lily, and the initial of the town. The mark +of Pierre Lefèvre, when weaving here, was a combination +of letters.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three variations of Lefevre's marks"> + <tr> + <td class="tdc"><img src="images/tapestry096a.png" width="100" height="93" alt="" /></td> + <td class="tdc"><img src="images/tapestry096b.png" width="100" height="78" alt="" /></td> + <td class="tdc"><img src="images/tapestry096c.png" width="100" height="99" alt="" /></td> + </tr> + <tr> + <td class="tdctx"> </td> + <td class="tdctx">PIERRE LEFÈVRE, FLORENCE</td> + <td class="tdctx"> </td> + </tr> +</table> + +<p> </p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Three variations of Mortlake's marks"> + <tr> + <td class="tdc"><img src="images/tapestry097a.png" width="100" height="97" alt="" /></td> + <td class="tdc"><img src="images/tapestry097b.png" width="100" height="128" alt="" /></td> + <td class="tdc"><img src="images/tapestry097c.png" width="100" height="106" alt="" /></td> + </tr> + <tr> + <td class="tdctx"> </td> + <td class="tdctx">MORTLAKE</td> + <td class="tdctx"> </td> + </tr> +</table> + +<p>When the Mortlake factory was established in England, +the date was sufficiently late, 1619, for marking to +be considered a necessity. The factory mark was a simple +shield quartered by means of a cross thrown thereon. +<span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span> +Sir Francis Crane contented himself with a simple F. C., +one a-top the other, as his identification. Philip de +Maecht, he whose family went from Holland to England +as tapissiers, directed at Mortlake the weaving of a part +of the celebrated <i>Vulcan</i> and <i>Venus</i> series, and his monogram +can be seen on <i>The Expulsion of Vulcan from +Olympus</i> (coloured plate facing page <a href="#EXPULSION_OF_VULCAN"><b>170</b></a>), owned by +Mrs. A. von Zedlitz, as well as in the other rare <i>Vulcan</i> +pieces owned by Philip Hiss, Esq. This same Philip de +Maecht worked under De Comans in Paris, he having +been decoyed thence by the wise organisers of Mortlake.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Two variations of Crane's marks and one of de Maecht's"> + <tr> + <td class="tdc"><img src="images/tapestry098a.png" width="100" height="183" alt="" /></td> + <td class="tdc"><img src="images/tapestry098b.png" width="100" height="162" alt="" /></td> + <td class="tdc"><img src="images/tapestry098c.png" width="100" height="106" alt="" /></td> + </tr> + <tr> + <td class="tdctx" colspan="2">SIR FRANCIS CRANE</td> + <td class="tdctx">PHILIP DE MAECHT</td> + </tr> +</table> + +<p>The marks on tapestries are as numerous as the marks +on china or silver, and the absence of marks confronts +the hunter of signs with baffling blankness, as is the case +of many very old wares, whether china, silver or tapestries. +Also, late work of poor quality is unmarked. +Having thus disposed of the situation, it remains to identify +the marks when they exist. The exhaustive works +of the French writers must be consulted for this pleasure. +There are hundreds of known signs, but there exist also +many unidentified signs, yet the presence of a sign of any +kind is a keen joy to the owner of a hanging which displays +it.</p> + +<table border="0" cellpadding="2" cellspacing="0" summary="Two different marks"> + <tr> + <td class="tdc"><img src="images/tapestry099a.png" width="100" height="126" alt="" /></td> + <td class="tdc"><img src="images/tapestry099b.png" width="200" height="123" alt="" /></td> + </tr> + <tr> + <td class="tdctx">TOURNAY</td> + <td class="tdctx">LILLE</td> + </tr> +</table> + + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span></p> + +<h2 class="padtop">CHAPTER XXII</h2> + +<h3>HOW IT IS MADE</h3> + + +<p><span class="dropcap">W</span>ANTING to see the wheels go ’round is a +desire not limited to babes. We, with our +minds stocked with the history and romance +of tapestry, yet want to know just how it is made in every +particular, just how the loom works, how the threads are +placed.</p> + +<p>It seems that there must be some obscure and occult +secret hidden within the looms that work such magic, and +we want to pluck it out, lay it in the sunlight and dissect +its intricacies. Well, then, let us enter a tapestry factory +and see what is there. But it is safe to forecast the final +deduction—which must ever be that the god of patience +is here omnipotent. Talent there must be, but even that +is without avail if patience lacks.</p> + +<p>The factory for tapestries seems, then, little like a factory. +The belt and wheel, the throb and haste are not +there. The whole place seems like a quiet school, where +tasks are done in silence broken by an occasional voice or +two. It is a place where every one seems bent on accomplishing +a brave amount of fancy-work; a kindergarten, +if you like, for grown-ups.</p> + +<p>Within are many departments of labour. The looms +are the thing, of course, so must be considered first, +although much preparing is done before their work can +be begun.</p> + +<p><span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span> +The looms are classic in their method, in their simplicity. +They have scarcely changed since the days when +Solomon built his Temple and draped it with such gorgeous +hangings that even the inspired writers digress to +emphasise their richness with long descriptions that could +not possibly have assisted the cause of their religion.</p> + +<p>The stitch made by the modern loom is the same as that +made by the looms of the furthermost-back Egyptian, by +the Greeks, by the Chinese, of primitive peoples everywhere, +by the people of the East in the familiar Khelim +rugs, and by the aborigines of the two Americas. There +is nothing new, nothing obscure about it, being a simple +weaving of warp and woof. Penelope’s loom was the +same almost as that in use to-day at the Gobelins factory +in Paris. Archeologists have discovered pictures of the +ancient Egyptian loom, and of Penelope’s, and there is +but little change from the times of these ladies to our days.</p> + +<p>The fact is, the work is hand-work, must always be so, +and the loom is but a tool for its working, a tool which +keeps in place the threads set by hand. That is why tapestry +must always be valuable and original and no more +possible to copy by machine than is a painting.</p> + +<p>High warp and low warp are the terms so often used +as to seem a shibboleth. <i>Haute lisse</i> and <i>basse lisse</i> are +their French equivalents. They describe the two kinds +of looms, the former signifying the loom which stands +upright, or high; the latter indicating the loom which +is extended horizontally or low. On the high loom, the +instrument which holds the thread is called the <i>broche</i>, +and on the low loom it is called the <i>flute</i>.</p> + +<p><span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span> +The stitch produced by the two is the same. The manner +of producing it varies in convenience to the operators, +the low-warp being the easier, or at least the more convenient +and therefore the quicker method.</p> + +<p>The cynic is ever ready to say that the tyrant living +within a man declares only for those things which represent +great sacrifice of time and effort on the part of other +men. Perhaps it is true, and that therein lies the preference +of the connoisseur in tapestry for the works of the +high-warp loom. Even the wisest experts cannot always +tell by an examination of a fabric, on which sort of loom +it was woven, high warp or low, other evidence being +excluded.</p> + +<p>The high loom has, then, the threads of its warp hung +like a weighted veil, from the top of the loom to the floor, +with a huge wooden roller to receive the finished fabric +at the bottom and one at the top for the yet unneeded +threads. Each thread of the warp is caught by a loop, +which in turn is fastened to a movable bar, and by means +of this the worker is able to advance or withdraw the +alternate threads for the casting of the <i>broche</i> or <i>flute</i>, +which is the shuttle. Behind the veil of the warp sits the +weaver—<i>tissier</i> or <i>tapissier</i>—with his supply of coloured +thread; back of him is the cartoon he is copying. He +can only see his work by means of a little mirror the other +side of his warp, which reflects it. The only indulgence +that convenience accords him is a tracing on the white +threads of the warp, a copy of the picture he is weaving. +Thus stands the prisoner of art, sentenced to hard labour, +<span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span> +but with the heart-swelling joy of creating, to lighten his +task.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="WEAVER_AT_WORK" id="WEAVER_AT_WORK"></a> +<img src="images/tapestry100th.jpg" width="400" height="310" alt="" /> +<span class="link"><a href="images/tapestry100.jpg">See larger image</a></span> +</div> + +<p class="caption">WEAVER AT WORK ON LOW LOOM. HERTER STUDIO</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="SEWING_AND_REPAIR" id="SEWING_AND_REPAIR"></a> +<img src="images/tapestry101th.jpg" width="400" height="275" alt="" /> +<span class="link"><a href="images/tapestry101.jpg">See larger image</a></span> +</div> + +<p class="caption">SEWING AND REPAIR DEPARTMENT. BAUMGARTEN ATELIERS</p> + +<p>High-warp looms were those that made famous the +tapestries of Arras in the Fifteenth Century, of Brussels +in the Sixteenth, and of Paris in the Seventeenth, therefore +it is not strange that they are worshipped as having +a resident, mysterious power.</p> + +<p>To-day, the age of practicality, they scarcely exist outside +the old Gobelins in Paris. But this is not the day +of tapestry weaving.</p> + +<p>A shuttle, thrown by machine, goes all the width of the +fabric, back and forth. The <i>flute</i> or <i>broche</i>, which is the +shuttle of the tapestry weaver, flies only as far as it is desired +to thrust it, to finish the figure on which its especial +colour is required. Thus, a leaf, a detail of any small +sort, may mount higher and higher on the warp, to its +completion, before other adjacent parts are attempted.</p> + +<p>The effect of this is to leave open slits, petty gashes in +the fabric, running lengthwise of the warp, and these are +all united later with the needle, in the hands of the women +who thus finish the pieces.</p> + +<p>Unused colours wound on the hundreds of flutes are +dropped at the demand of the pattern, left in a rich confusion +of shades to be resumed by the workmen at will; +but the threads are not severed, if the colour is to be used +again soon.</p> + +<p>Low-warp work is the same except for the weaver’s position +in relation to his work. Instead of the warp like a +thin wall before his face, on which he seems to play as on +<span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span> +one side of a harp, the warp is extended before him as a +table. It is easy to see how much more convenient is this +method.</p> + +<p>The wooden rollers are the same, one for the yet unused +length of warp, the other for the finished fabric, and over +one of these rollers the worker leans, protected from its +hostile hardness by a pillow.</p> + +<p>The pattern lies below, just beneath the warp, and easily +seen through it, not the mere tracing as on the threads of +the high-warp loom, but the coloured cartoon, so that +shades may be followed as well as lines. It sometimes +happens, however, in copying a valuable old tapestry, that +a black and white drawing only is placed under the warp +while the original is suspended behind the weavers, who +look to it for colour suggestion.</p> + +<p>In low-warp the worker has the privilege of laying his +flutes on top the work, the flutes not at the moment in +use, and there they lie in convenient mass ready to resume +for the figure abandoned for another. If the right hand +thrusts the flute, it is the duty of the left to see that +the alternate and the limiting threads of the warp are +properly lifted. First comes a pressure of the foot on +a long, lath-like pedal which is attached to the bar +holding in turn the loops which pass around alternate +threads.</p> + +<p>That pressure lifts the threads, and the fingers of the +left hand, deft and agile, limit and select those which the +flute shall cover with its coloured woof.</p> + +<p>After the casting of a thread, or of a group of threads, +the weaver picks up a comb of steel or of ivory, and packs +<span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span> +hard the woof, one line against another, to make the fabric +firm and even in the weaving.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="BAUMGARTEN_TAPESTRY01" id="BAUMGARTEN_TAPESTRY01"></a> +<img src="images/tapestry102th.jpg" width="400" height="223" alt="" /> +<span class="link"><a href="images/tapestry102.jpg">See larger image</a></span> +</div> + +<p class="caption">BAUMGARTEN TAPESTRY. LATE NINETEENTH CENTURY</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="BAUMGARTEN_TAPESTRY02" id="BAUMGARTEN_TAPESTRY02"></a> +<img src="images/tapestry103th.jpg" width="400" height="248" alt="" /> +<span class="link"><a href="images/tapestry103.jpg">See larger image</a></span> +</div> + +<p class="caption">BAUMGARTEN TAPESTRY. MODERN CARTOON</p> + +<p>Such then is the simple process of the looms, far simpler +seen than described and yet depending absolutely for +its beauty on the talent and patience of gifted workers. +It is as simple as the alphabet, yet as complicated as the +dictionary.</p> + +<p>Patient years of apprenticeship must a man spend before +he can become a good weaver, and then must he give +the best years of his life to becoming perfect in the craft. +But if the work is exacting, at least it is agreeable, almost +lovable, and in delightful contrast to the labour of those +who but tend machines driven by power. And if the art +of tapestry weaving is almost a lost one to-day, at least +the weavers can find in history much matter for pride. +It is no mean ambition to follow the profession of conscientious +Nicolas Bataille, of the able Pannemaker, of La +Planche and Comans, of Tessier, Cozette, and a hundred +others of family and fame.</p> + +<p>Much preparation is necessary before the loom can be +set going. First is the design, the cartoon. There we +are in the department of the artist, and must talk in whispers. +Raphael belongs there, and Leonardo; and Rubens, +Teniers, Lebrun, Boucher and David, train us through +the past centuries into our own.</p> + +<p>But the cartoon of to-day is not so sacred a matter, and +we may speak of it frankly—regretfully, too. Cartoons +hang all over the walls of the tapestry factory, so much +property for the setting of future scenes, and besides, they +make a decoration which alone would lift the tapestry +<span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span> +factory into the regions of art and class it among ateliers, +instead of factories. The cartoons are painted, however, +where the artist will, in his own studio or in one provided +for the purpose by the director, as in the case of the Baumgarten +works. They have the look of special designs. +They are not done in the manner of a painting to be hung +on a wall. Their brushwork is smooth and broad, dividing +lines well distinguished by marked contrasts in colour +to make possible their translation into the language of +silk and wool.</p> + +<p>After the cartoon is ready, comes the warp. That is +set with the closeness agreed upon. Naturally, the smaller +the thread of the warp, the closer is it set, the more threads +to the inch, and thus comes fine fabric. Coarser warp +means fewer threads to the inch, quicker work for the +weaver and less value to the tapestry. From ten to twenty +threads to the inch carries the limits of coarseness and +fineness. In fine weaving, a weaver will accomplish but +a square foot a week. Think of that, you who wonder at +the price of tapestries ordered for the new drawing-room.</p> + +<p>The warp comes to the factory all in big hanks of even +thread. Nowadays it is usually of cotton, although they +contend at the Gobelins that wool warp is preferable, for +it gives the finished fabric a lightness and flexibility that +the heavier, stiffer cotton destroys.</p> + +<p>Setting the warp is a matter of patience and precision, +and we will leave the workman with it, to make it the +whole length of the tapestry to be woven, and to fasten the +loops of thread around each <i>chaîne</i> and to fasten those in +<span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span> +turn, alternating, to the bar by means of which they may be +shifted to make the in-and-out of the weaving.</p> + +<p>Then after choosing the colours, the weaving begins. +It is like nothing so much as a piece of fancy-work. If +it were not for the cumbersome loom, I am sure ladies +would emulate the king who wove for amusement, and +would make chair-pieces on the summer veranda.</p> + +<p>But before the silks and wools go to the weaving they +are treated to a beauty-bath in the dye-room. Hanks of +wool and skeins of silk are but neutral matters, coming to +the factory devoid of individuality, mere pale, soft bulk.</p> + +<p>A room apart, somewhere away from the studio of design +and the rooms where the looms stand stolid, is a +laboratory of dyes, a place which looks like a farmhouse +kitchen on preserving day. You sniff the air as you go +in, the air that is swaying long bunches of pendulous +colour, and it smells warm and moist and full of the suggestions +of magic.</p> + +<p>Over a big cauldron two men are bending, stirring a +witches’ broth to charm man’s eye. One of the wooden +paddles brings up a mass from the heavy liquid. It is +silk, glistening rich, of the colour of melted rubies. Upstairs +the looms are making it into a damask background +onto which are thrown the garlands Boucher drew and +Tessier loved to work.</p> + +<p>Dainties fished up from another cauldron are strung +along a line to dry, soft wool and shining silk, all in shades +of grapes, of asters, of heliotropes, telling their manifest +destiny. And beyond, are great bunches of colour, red +which mounts a quivering scale to salmon pink, blue +<span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span> +which sails into tempered gray, greens dancing to the note +of the forest. It is a nature’s workshop, a laboratory +where the rainbow serves, apprenticed.</p> + +<p>Jars, stone jars, little kegs, all ugly enough, are standing +against the wall. But uncover one, touch the thick +dark stuff within, and feast your eye on the colour left on +a curious finger-tip. You are close to the cochineal, to +indigo, and all the wonderful alchemy of colour.</p> + +<p>Aniline? Not a bit of the treacherous stuff. It takes +the eye, but it is a fickle friend. They say a mordant +has been found to stay the flight of its lovely colours. +Perhaps; it may be. But what weaver of tapestry would +be willing to confide his labour to the care of a dye that +has not known the test of ages? Aniline dye, says the +director of a tapestry factory, may last twenty years—but +twenty years is nothing in the life of a tapestry. Over +in Paris, at the Gobelins, a master rules as chemist of the +dyes, with the dignity of a special laboratory for making +them.</p> + +<p>In America, with no government assuming the expense, +the dyes are bought in such form that only expert +dyers can use them in the few factories which exist. +But no new hazards are taken. The matter is too serious. +Economy in dyes brings too great disaster to contemplate. +It is only too true that a man, several men, may labour a +year to produce a perfect work, and that all the labour +may be ruined by an ephemeral dye, by the escape of tones +skilfully laid. Let commerce cheat in some other way, if +it must, but not in this. Let the dye be honest, as enduring +as the colours imprisoned in gems.</p> + +<div class="figcenter" style="width: 262px;"> +<a name="BAUMGARTEN_TAPESTRY03" id="BAUMGARTEN_TAPESTRY03"></a> +<img src="images/tapestry104th.jpg" width="262" height="400" alt="" /> +<span class="link"><a href="images/tapestry104.jpg">See larger image</a></span> +</div> + +<p class="caption">BAUMGARTEN TAPESTRY. MODERN CARTOON</p> + +<p><span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span> +It is a modern economy. The ancients knew not of +it, and were willing to spend any amount on colours. +More than that a port, or a nation, was willing to rest +its fame on a single colour. Purple of Tyre, red of +Turkey, yellow of China, are terms familiar through the +ages, and think not these colours were to be had for the +asking. They brought prices which we do not pay now +even in this age of money. The brothers Gobelins—their +fame originally rested on their ambition to be “dyers of +scarlet,” that being an ultimate test of skill.</p> + +<p>It is a serious matter, that of dyeing wools and silks +for tapestries, and one which the directors conduct within +the walls of the tapestry factory. The Gobelins uses for +its reds, cochineal or the roots of the madder; for blue, +indigo and Prussian blue; for yellow, the vegetable colour +extracted from gaude.</p> + +<p>In America there is a specialist in dyes: Miss Charlotte +Pendleton, who gives her entire attention to rediscovering +the dyes of the ancients, the dyes that made a +city’s fame. It is owing to her conscientious work that the +tapestry repairers of museums can find appropriate +threads.</p> + +<p>It is interesting to trace the differing gamut of colour +through the ages. Old dyes produced, old weavers +needed, but twenty tones for the old work. Tapestries of +the Fourteenth and Fifteenth Centuries were as simple in +scale as stained glass, and as honest. Flesh tints were neutral +by contrast to the splendid reds, honest yellows and +rich greens. Colours meant something, then, too; had a +sentimental language all their own. When white +<span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span> +predominated, purity was implied; black was mortification +of the flesh; livid yellow was tribulation; red, charity; +green, meditation.</p> + +<p>An examination of the colours in the series which depicts +the life of Louis XIV, reveals a use of but seventy-nine +colours. So up to that time, great honesty of dye, +and fine decorative effect were preserved. The shades +were produced by two little tricks open as the day, hatching +being one, the other, winding two shades on the same +broche or shuttle. Hatching, as we know, is merely a +penman’s trick, of shading with lines of light and dark.</p> + +<p>It was when they began to paint the lily, in the days of +pretty corruption, that the whole matter of dyeing +changed. In the Eighteenth Century when the Regent +Philip, and then La Pompadour, set the mode, things +greatly altered. When big decorative effects were no +more, the stimulating effect of deep strong colour was +considered vulgar, and, only the suave sweetness of +Boucher, Nattier, Fragonard, were admired. Every one +played a pretty part, all life was a theatre of gay comedy, +or a flattered miniature.</p> + +<p>So, as we have seen, new times and new modes caused +the Gobelins to copy paintings instead of to interpret cartoons—and +there lay the destruction of their art. Instead +of four-score tones, the dyers hung on their lines tens and +tens of thousands. And the weavers wove them all into +their fabric-painting, with the result that when the light +lay on them long, the delicate shades faded and with them +was lost the meaning of the design. And that is why the +<span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span> +Gobelins of the older time are worth more as decoration +than those of the later.</p> + +<p>We are doing a little better nowadays. There is a limit +to the tones, and in all new work a decided tendency to +abandon the copying of brush-shading in favour of a +more restricted gamut of colour. By this means the future +worker may regain the lost charm of the simple old +pieces of work.</p> + +<p>Another room in the factory of tapestry interests those +who like to see the creation of things. It is one of the +prettiest rooms of all, and is more than ever like a kindergarten +for grown-ups. Or, if you like, it is a chamber in +a feudal castle where the women gather when the men +are gone to war.</p> + +<p>Here the workers are all girls and women, each bending +over a large embroidery frame supported at a convenient +level from the floor. On one frame is a long +flowered border with cartouches in the strong rich colours +of Louis XIV. On another a sofa-seat copied from +Boucher. They are both new, but like all work fresh +from the loom are full of the open slits left in the process +of weaving, a necessity of the changing colours and the +requirements of the drawing.</p> + +<p>All these little slits, varying from half an inch to several +inches in length, must be sewed with strong, careful +stitches before the tapestry can be considered complete.</p> + +<p>On other frames are stretched old tapestries for repairs. +At the Gobelins as many as forty women are thus employed. +The malapropos deduction springs here that the +<span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span> +demand for repaired old work is greater than that for +new in the famous factory, for only six or eight weavers +are there occupied.</p> + +<p>Repairing is almost an art in itself. The emperor +established a small school at Berlin for training girls in +this trade. The studio of the late Mr. Ffoulke in Florence +kept twenty or thirty girls occupied. The Metropolitan +Museum of Art in New York has a repair studio +under a graduate of the Berlin school. The factories of +Baumgarten and of Herter, in New York, also conduct +repairs; and the museum at Boston as well.</p> + +<p>We cannot make old tapestries, but we can restore and +preserve them by skilled labour in special ateliers. +Restoration by the needle is the only perfect restoration, +and this is as yet but little done here, although the method +is so well known in Europe. We deplore the quicker +way, to use the loom for weaving large sections of border +or large bits which have gone into hopeless shreds, or +have disappeared altogether by reason of the bitter years +when tapestries had fallen into neglect. But the quicker +way is the poorer, with these great claimants for time. +The woven figures are relentless in this, that they claim +of the living man a lion’s share of his precious days. His +reward is that they outlast him. Food for cynics lies +there.</p> + +<p>The careful worker looks close and sees the warp exposed +like fiddle strings here and there. She matches +the colour of silk and wool to the elusive shades and +covers stitch by stitch the bare threads, in perfect imitation +of the loom’s way.</p> + +<p><span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span> +Sometimes the warp is gone. Then the work tests the +best skill. The threads, the <i>chaîne</i>, must be picked up, +one by one, and united invisibly to the new, and then the +pattern woven over with the needle. It happens that +large holes remain to be filled entirely, the pattern +matched, the design caught or imagined from some other +part of the fabric. That takes skill indeed. But it is +done, and so well, that the repairer is called not that, but +a restorer.</p> + +<p>The two factories in New York, the Baumgarten and +Herter ateliers, have certain employés always busy with +repairs and restorations. Given even a fragment, the +rest is supplied to make a perfect whole, in these studios +where the manner of the old workers is so closely studied. +For big repairs a drawing is made, a cartoon on the same +principle as that of large cartoons, in colours, these following +the old. Then it remains for the weaver to set his +loom with the corresponding number of threads, that the +new fabric may match the old in fineness. Then, too, +comes the test of matching colours, a test that almost never +discovers a worker equal to its exactions. That is as often +as not the fault of the dyer who has supplied colours too +fresh.</p> + +<p>It is the repairs done by the needle that give the best +effect, although such restorations are costly and slow.</p> + +<p>Old repairs on old tapestries have been made, in some +instances, very long ago. It often happens, in old sets, +that a great piece of another tapestry has been roughly set +in, like the knee-patches of a farm boy. The object has +been merely to fill the hole, not to match colour scheme +<span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span> +or figure. And these patches are by the judicious restorer +taken out and their place carefully filled with the +needle.</p> + +<p>Moths, say some, do not devour old tapestries. The +reason given is that the ancient wool is so desiccated as +to be no longer nutritious. A pretty argument, but not +to be trusted, for I have seen moths comfortably browsing +on a Burgundian hanging, keeping house and raising families +on such precious stuff.</p> + +<p>Commerce demands that tricks shall be played in the +repair room, but not such great ones that serious corruption +will result. The coarse verdures of the Eighteenth +Century that were thrown lightly off the looms with transient +interest are sought now for coverings to antique +chairs. To give the unbroken greens more charm, an +occasional bird is snipped from a worn branch where he +has long and mutely reposed, and is posed anew on the +centre of a back or seat. It is the part of the repairer to +see that he looks at home in his new surroundings.</p> + +<p>If metal threads have not been spoken of in this chapter +on <i>modus operandi</i>, it is because metal is so little used +since the time of Louis XV as to warrant omitting it. +And the little that appears seems very different from the +“gold of Cyprus” that made gorgeous and valuable the +tapestries of Arras, of Brussels and of old Paris.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span></p> + +<h2 class="padtop">CHAPTER XXIII</h2> + +<h3>THE BAYEUX TAPESTRY</h3> + +<h4>A. D. 1066</h4> + + +<p><span class="dropcap">S</span>O long as one word continues to have more than one +meaning, civilised man will continue to gain false +impressions. The word tapestry suffers as much as +any other—witness the attempt made for hundreds of +years among all nations to set apart a word that shall be +used only to designate the hand-woven pictured hangings +and coverings discussed in this book; arras, gobelins, <i>toile +peinte</i>, etc. In English, tapestry may mean almost any +decorative stuff, and so comes it that we speak of the wonderful +hanging which gives name to this chapter as the +tapestry of Bayeux (plates facing pages <a href="#BAYEUX_TAPESTRY01"><b>242</b></a>, +<a href="#BAYEUX_TAPESTRY02"><b>243</b></a> and +<a href="#BAYEUX_TAPESTRY03"><b>244</b></a>), when it is in reality an embroidery. But so much +is it confused with true tapestry, and so poignantly does +it interest the Anglo-Saxon that we will introduce it here, +even while acknowledging its extraneous character.</p> + +<p>To begin with, then, we say frankly that it is not a +tapestry; that it has no place in this book. And then we +will trail its length through a short review of its history +and its interest as a human document of the first order.</p> + +<p>In itself it is a strip of holland—brown, heavy linen +cloth, measuring in length about two hundred and thirty-one +feet, and in width, nineteen and two-thirds inches—remarkable +dimensions which are accounted for in the +<span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span> +neatest way. The hanging was used in the cathedral of +the little French city of Bayeux, draped entirely around +the nave of the Norman Cathedral, which space it exactly +covered. This indicates to archeologists the original purpose +of the hanging.</p> + +<p>On the brown linen is embroidered in coloured wools +a panoramic succession of incidents, with border top and +bottom. The colours are but eight, two shades each of +green and blue, with yellow, dove-colour, red and brown.</p> + +<p>This, in brief, is the great Bayeux tapestry. But its +threads breathe history; its stitches sing romance; and we +who love to touch humorously the spirits of brothers who +lived so long ago, find here the matter that humanly unites +the Eleventh Century with the Twentieth.</p> + +<p>The subject is the conquest of England by William the +Conqueror in 1066. That is fixed beyond a doubt, so that +the precious cloth cannot trail its ends any further back +into antiquity than that event. However, even the most +insatiable antiquarian of European specialties is smilingly +content with such a date.</p> + +<p>Legend has it that Queen Matilda, the wife of the conqueror, +executed the work as an evidence of the devotion +and adulation that were his due and her pleasure: There +are lovely pictures in the mind of Matilda in the safety +of the chambers of the old castle at Caen, directing +each day a corps of lovely ladies in the task of their historic +embroidery, each one sewing into the fabric her +own secret thoughts of lover or husband absent on the +great Conqueror’s business. In absence of direct testimony +to the contrary, why not let us believe this which +<span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span> +comes as near truth as any legend may, and fits the case +most pleasantly?</p> + +<div class="figcenter" style="width: 400px;"> +<a name="BAYEUX_TAPESTRY01" id="BAYEUX_TAPESTRY01"></a> +<img src="images/tapestry105th.jpg" width="400" height="260" alt="" /> +<span class="link"><a href="images/tapestry105.jpg">See larger image</a></span> +</div> + +<p class="caption">BAYEUX TAPESTRY (DETAIL), 1066</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="BAYEUX_TAPESTRY02" id="BAYEUX_TAPESTRY02"></a> +<img src="images/tapestry106th.jpg" width="400" height="278" alt="" /> +<span class="link"><a href="images/tapestry106.jpg">See larger image</a></span> +</div> + +<p class="caption">BAYEUX TAPESTRY (DETAIL), 1066</p> + +<p>The history it portrays in all its seventy-odd yards is +easy enough to verify. That is like working out a puzzle +with the key in hand. But the history of this keenly interesting +embroidery is not so easy.</p> + +<p>The records are niggardly. Inventories record it in +1369 and 1476. In an inventory of the Bishop of Bayeux +it is mentioned in 1563. About this time it was in ecclesiastical +hands and used for decorating the nave of the +Bayeux Cathedral.</p> + +<p>Then the world forgot it.</p> + +<p>How the world rediscovered that which was never lost +is interesting matter. Here is the story:</p> + +<p>In 1724 an antiquarian found a drawing of about ten +yards long, taken from the tapestry. Here, said he and +his fellow sages, is the drawing of some wonderful, ancient +work of art, most probably a frieze or other decoration +carved in wood or stone. Naturally, the desire was +to find such a monument. But no one could remember +such a carving in any church or castle.</p> + +<p>Father Montfaucon, of Saint Maur, with interest intelligent, +wrote to the prior of St. Vigor’s at Bayeux, and +received the most satisfactory reply, that the drawing represented +not a carving but a hanging in possession of his +church, and associated with many yards more of the same +cloth.</p> + +<p>So all this time the wonderful relic had lain safe in +Bayeux, and never was lost, but only forgotten by outsiders. +The rediscovery, so-called, aroused much +<span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span> +comment, and England declared the cloth the noblest monument +of her history.</p> + +<p>It was in use at that time, and after, once a year. It +was hung around the cathedral nave on St. John’s Day, +and left for eight days that all the people might see it.</p> + +<p>The fact that it was not religious in subject, that it +could not possibly be interpreted otherwise than as a secular +history, makes remarkable its place in the cathedral. +This is explained by the suggestion that while Bishop Odo +established that precedent, all others but followed without +thought.</p> + +<p>Since 1724 the world outside of Bayeux has never forgotten +this panorama of a past age, and its history is known +from that time on.</p> + +<p>The Revolution of France had its effect even on this +treasure; or would have had if the clergy had not been +sufficiently capable to defend it. It was hidden in the +depositories of the cathedral until the storm was over.</p> + +<p>It seems there was no treasure in Europe unknown to +Napoleon. He commanded in 1803 that the Bayeux +tapestry, of which he had heard so much, be brought to +the National Museum for his inspection. The playwrights +of Paris seized on the pictured cloth as material +for their imagination, and, refusing to take seriously the +crude figures, wrote humorously of Matilda eternally at +work over her ridiculous task, surrounded with simple +ladies equally blind to art and nature. It is only too easy +to let humour play about the ill-drawn figures. They +must be taken grandly serious, or ridicule will thrust +tongue in cheek. It is to these French plays of 1804 that +<span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span> +we owe the firmness of the tradition that Queen Matilda +in 1066 worked the embroidery.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="BAYEUX_TAPESTRY03" id="BAYEUX_TAPESTRY03"></a> +<img src="images/tapestry107th.jpg" width="400" height="263" alt="" /> +<span class="link"><a href="images/tapestry107.jpg">See larger image</a></span> +</div> + +<p class="caption">BAYEUX TAPESTRY (DETAIL), 1066</p> + +<p>Napoleon returned the cloth to Bayeux, not to the +church, but to the Hotel de Ville, in which manner it +became the property of the civil authorities, instead of +the ecclesiastic. It was rolled on cylinders, that by an +easy mechanism it might be seen by visitors. But the +fabric suffered much by the handling of a curious public. +Even the most enlightened and considerate hands can +break threads which time has played with for eight centuries.</p> + +<p>It was decided, therefore, to give the ancient <i>toile +fatiguée</i> a quiet, permanent home. For this purpose a +museum was built, and about 1835 the great Bayeux +tapestry was carefully installed behind glass, its full length +extended on the walls for all to see who journey thither +and who ring the guardian’s bell at the courtyard’s handsome +portico.</p> + +<p>Once since then, once only, has the venerable fabric +left its cabinet. This was at the time of the Prussians +when, in 1871, France trembled for even her most intimate +and special treasures.</p> + +<p>The tapestry was taken from its case, rolled with care +and placed in a zinc cylinder, hermetically sealed. Then +it was placed far from harm; but exactly where, is a +secret that the guardians of the tapestry do well to conserve. +There might be another trouble, and asylum +needed for the treasure in the future.</p> + +<p>The pictures of the great embroidery are such as a child +might draw, for crudeness; but the archeologist knows +<span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span> +how to read into them a thousand vital points. History +helps out, too, with the story of Harold, moustached like +the proper Englishman of to-day, taking a commission +from William, riding gaily out on a gentleman’s errand, +not a warrior’s. This is shown by the falcon on his wrist, +that wonderful bird of the Middle Ages that marked the +gentleman by his associations, marked the high-born man +on an errand of peace or pleasure.</p> + +<p>In these travelling days, no sooner do we land in Normandy +than Mount St. Michael looms up as a happy +pilgrimage. So to the same religious refuge Harold +went on the pictured cloth, crossed the adjacent river in +peril, and—how pleasingly does the past leap up and tap +the present—he floundered in the quicksands that surround +the Mount, and about which the driver of your +carriage across the <i>passerelle</i> will tell you recent tales +of similar flounderings.</p> + +<p>And when in Brittany, who does not go to tumbley-down +Dinan to see its ancient gates and walls, its palaces +of Queen Anne, its lurching crowd of houses? It is +thither that Harold, made of threads of ancient wool, +sped and gave battle after the manner of his time.</p> + +<p>Another link to make us love this relic of the olden +time: It is the star, the star so great that the space of +the picture is all too small to place it; so the excited hands +of the embroiderers set it outside the limit, in the border.</p> + +<p>It flames over false Harold’s head and he remembers +sombrely that it is an omen of a change of rule. He is +king now, has usurped a throne, has had himself crowned. +But for how long is he monarch, with this flaming menace +<span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span> +burning into his courage? The year finishing saw the +prophecy fulfilled by the coming of the conqueror.</p> + +<p>It was this section of the tapestry that, when it came +to Paris, had power to startle Napoleon, ever superstitious, +ever ready to read signs. The star over Harold’s +head reminded him of the possible brevity of his own +eminence.</p> + +<p>The star that blazed in 1066—we have found it. It +was not imaginary. Behold how prettily the bits of history +fit together, even though we go far afield to find those +bits. This one comes from China. Records were better +kept there in those times than in Christian Europe; and +the Chinese astronomers write of a star appearing April +2, 1066, which was seen first in the early morning sky, +then after a time disappeared to reappear in the evening +sky, with a flaming tail, most agreeably sensational. It +was Halley’s comet, the same that we watched in 1910 +with no superstitious fear at all for princes nor for powers. +But it is interesting to know that our modern comet +was recorded in China in the Eleventh Century, and has +its portrait on the Bayeux tapestry, and that it frightened +the great Harold into a fit of guilty conscience.</p> + +<p>The archeologist gives reason for the faith that is in +him concerning the Bayeux tapestry by reading the language +of its details, such as the style of arms used by its +preposterous soldiers; by gestures; by groupings of its +figures; and we are only too glad to believe his wondrous +deductions.</p> + +<p>There are in all fifteen hundred and twelve figures in +this celebrated cloth, if one includes birds, beasts, boats, +<span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span> +<i>et cetera</i>, with the men; and amidst all this elongated +crowd is but one woman. Queen Matilda, left at home +for months, immured with her ladies, probably had quite +enough of women to refrain easily from portraying them. +Needless to say, this one embroidered lady interests poignantly +the archeologist.</p> + +<p>Most of the animals are in the border—active little +beasts who make a running accompaniment to the tale +they adorn. This excepts the very wonderful horses ridden +by knights of action.</p> + +<p>Scenes of the pictured history of William’s conquest +are divided one from the other by trees. Possibly the +archeologist sees in these evidences of extinct varieties, +for not in all this round, green world do trees grow like +unto those of the Bayeux tapestry. They are dream +trees from the gardens of the Hesperides, and set in useful +decoration to divide event from event and to give sensations +to the student of the tree in ornament.</p> + +<p>Such is the Bayeux tapestry, which, as was conscientiously +forewarned, is not a tapestry at all, but the most +interesting embroidery of Europe.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span></p> + +<h2 class="padtop">CHAPTER XXIV</h2> + +<h3>TO-DAY</h3> + + +<p><span class="dropcap">T</span>HE making of inspired tapestry does not belong to +to-day. The <i>amour propre</i> suffers a distinct pain +in this acknowledgment. It were far more agreeable +to foster the feeling that this age is in advance of +any other, that we are at the front of the world’s progress.</p> + +<p>So we are in many matters, but those matters are all +bent toward one thing—making haste. Economy of time +occupies the attention of scientist, inventor, labourer. +Yet a lavish expenditure of time is the one thing the perfect +tapestry inexorably demands, and that is the fundamental +reason why it cannot now enter a brilliant period +of production like those of the past.</p> + +<p>It is not that one atelier cannot find enough weavers to +devote their lives to sober, leisurely production; it is that +the stimulating effect is gone, of a craft eagerly pursued +in various centres, where guilds may be formed, where +healthy rivalry spurs to excellence, where the world of +the fine arts is also vitally concerned.</p> + +<p>The great hangings of the past were the natural expression +of decoration in those days, the natural demand of +pomp, of splendour and of comfort. As in all things +great and small, the act is but the visible expression of +an inward impulse, and we of to-day have not the spirit +that expresses itself in the reverent building of cathedrals, +or in the inspired composition of tapestries.</p> + +<p><span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span> +This is to be entirely distinguished from appreciation. +That gift we have, and it is momentarily increasing. To +be entirely commercial, which view is of course not the +right one, one need only watch the reports of sales at +home and abroad to see what this latter-day appreciation +means in pelf. In England a tapestry was recently unearthed +and identified as one of the series of seven woven +for Cardinal Woolsey. It is not of extraordinary size, +but was woven in the interesting years hovering above +and below the century mark of 1500. The time was when +public favour spoke for the upholding of morality with +a conspicuousness which could be called Puritanism, were +the anachronism possible. Pointing a moral was the +fundamental excuse for pictorial art. This tapestry represents +one of <i>The Seven Deadly Sins</i>. Hampton Court +displays the three other known pieces of the series, and +he who harbours this most recent discovery has paid +$33,000 for the privilege.</p> + +<p>But that is a tiny sum compared to the price that rumour +accredits Mr. Morgan with paying for <i>The Adoration +of the Eternal Father</i> (called also <i>The Kingdom of +Heaven</i>). And this is topped by $750,000 paid for a +Boucher set of five pieces. One might continue to enumerate +the sales where enormous sums are laid down in +appreciation of the men whose excellence of work we +cannot achieve, but these sums paid only show with pathetic +discouragement the completeness with which the +spirit of commercialism has replaced the spirit of art, at +least in the expression of art that occupies our attention.</p> + +<div class="figcenter" style="width: 373px;"> +<a name="MODERN_AMERICAN_TAPESTRY01" id="MODERN_AMERICAN_TAPESTRY01"></a> +<img src="images/tapestry108th.jpg" width="373" height="400" alt="" /> +<span class="link"><a href="images/tapestry108.jpg">See larger image</a></span> +</div> + +<p class="caption">MODERN AMERICAN TAPESTRY, LOUIS XV INSPIRATION</p> + + +<div class="figcenter" style="width: 400px;"> +<a name="MODERN_AMERICAN_TAPESTRY02" id="MODERN_AMERICAN_TAPESTRY02"></a> +<img src="images/tapestry109th.jpg" width="400" height="258" alt="" /> +<span class="link"><a href="images/tapestry109.jpg">See larger image</a></span> +</div> + +<p class="caption">MODERN AMERICAN TAPESTRY FROM FRENCH INSPIRATION</p> + +<p>If, then, this is not an age of production, but of +<span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span> +appreciation, it, too, has its natural expression. First it is the +acquiring at any sacrifice of the ancient hangings wherever +they are found; and after that it is their restoration +and preservation. This is the reason for recent high +prices and the reason, too, for the establishment of ateliers +of repair, which are found in all large centres in Europe +as well as wherever any important museum exists in +America.</p> + +<p>It would not be possible nor profitable to dwell on the +tapestry repair shops of Europe. They have always been; +the industry is one that has existed since the Burgundian +dukes tore holes in their magnificent tapestries by dragging +them over the face of Europe, and since Henry the +Eighth, in eager imitation of the continentals, established +in the royal household a supervisor of tapestry repairs. +Paris is full of repairers, and in the little streets on the +other side of the Seine old women sit in doorways on a +sunny day, defeating the efforts of time to destroy the +loved <i>toiles peintes</i>. But this haphazard repair, done on +the knee, as a garment might be mended, is not comparable +to the careful, exact work of the restorer at her frame. +One ranks as woman’s natural task of nine stitches, while +the other is the work of intelligent patience and skilled +endeavour.</p> + +<p>Wherever looms are set up, a department of repair is +the logical accompaniment. As every tapestry taken +from the loom appears punctured with tiny slits, places +left open in the weaving, and as all of these need careful +sewing before the tapestry is finished, a corps of needlewomen +is a part of a loom’s equipment. This is true in +<span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span> +all but the ateliers of the Merton Abbey factory, of which +we shall speak later.</p> + +<p>Apart from repairs, what is being done in the present +day? So little that historians of the future are going to +find scant pickings for their record.</p> + + +<h4>FRANCE</h4> + +<p>The Gobelins factory being the last one to make a permanent +contribution to art, the impulse is to ask what +it is doing now. That is easily answered, but there is +no man so optimistic that he can find therein matter for +hope.</p> + +<p>France is commendably determined not to let the great +industry die. It would seem a loss of ancient glory to +shut down the Gobelins. Yet why does it live? It lives +because a body of men have the patriotic pride to keep +it alive. But as for its products, they are without inspiration, +without beauty to the eye trained to higher expressions +of art.</p> + +<p>The Gobelins to-day is almost purely a museum, not +only in the treasures it exposes in its collection of ancient +“toiles,” but because here is preserved the use of the high-warp +loom, and the same method of manufacture as in +other and better times. A crowd of interested folk drift +in and out between the portals, survey the Pavilion of +Louis XIV and the court, the garden and the stream, then, +turning inside, the modern surveys the work of the ancient, +the remnants of time. And no less curious and no +less remote do the old tapestries seem than the atelier +where the high looms rear their cylinders and mute men +<span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span> +play their colour harmonies on the warp. It all seems +of other times; it all seems dead. And it is a dead art.</p> + +<div class="figcenter" style="width: 282px;"> +<a name="GOBELINS_TAPESTRY05" id="GOBELINS_TAPESTRY05"></a> +<img src="images/tapestry110th.jpg" width="282" height="400" alt="" /> + <span class="link"><a href="images/tapestry110.jpg">See larger image</a></span> +</div> + +<p class="caption">GOBELINS TAPESTRY. LATE NINETEENTH CENTURY</p> + +<p class="incaption">Luxembourg, Paris</p> + + +<div class="figcenter" style="width: 284px;"> +<a name="GOBELINS_TAPESTRY06" id="GOBELINS_TAPESTRY06"></a> +<img src="images/tapestry111th.jpg" width="284" height="400" alt="" /> +<span class="link"><a href="images/tapestry111.jpg">See larger image</a></span> +</div> + +<p class="caption">GOBELINS TAPESTRY. LATE NINETEENTH CENTURY</p> + +<p class="incaption">Pantheon, Paris</p> + +<p>The tapestries on the looms are garish, crude, modern +art in its cheapest expression; or else they are brilliant-hued +copies of time-softened paintings that were never +meant to be translated into wool and silk.</p> + +<p>The looms are always busy, nevertheless. There is +always preserved a staff of officers, the director, the chemist +of dyes, and all that; and the tapissiers are careful +workmen, with perfection, not haste, in view. The State +directs the work, the State pays for it, the State consumes +the products. That is the Republic’s way of continuing +the craft that was the serious pleasure of kings. But +there is now no personal element to give it the vital touch. +There is no Gabrielle d’Estrées, nor Henri IV; no +Medici, no Louis XIV, no Pompadour. All is impersonal, +uninspired.</p> + +<p>Men who have worked in the deadening influence of +the Gobelins declare that the factory cannot last much +longer. But it is improbable that France—Republican +France, that holds with bourgeois tenacity to aristocratic +evidences—will abandon this, her expensive toy, her inheritance +of the time of kings.</p> + +<p>In the time of the Second Empire it was the fashion +to copy, at the Gobelins, the portraits of celebrated +personages executed by Winterhalter. The exquisite +portrait of the beautiful Empress Eugénie by this delectable +court painter has a delicacy and grace that is all +unhurt by contrast with more modern schools of painting. +But fancy the texture of the lovely flesh copied in the +<span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span> +medium of woven threads, no matter how delicately dyed +and skilfully wrought. Painting is one art, tapestry-making +is entirely another.</p> + +<p>But that is just where the fault lay and continued, the +inability of the Gobelins ateliers to understand that the +two must not be confused. The same false idea that +caused Winterhalter’s portraits to be copied, gave to the +modern tapissiers the paintings of the high Renaissance +to reproduce. Titian’s most celebrated works were set +up on the loom, as for example the beautiful fancy known +as <i>Sacred and Profane Love</i>, which perplexes the loiterer +of to-day in the Villa Borghese. Other paintings copied +were Raphael’s <i>Transfiguration</i>, Guido René’s <i>Aurora</i>, +Andrea del Sarto’s <i>Charity</i>. There were many more, but +this list gives sufficiently well the condition of inspiration +at the Gobelins up to the third quarter of the Nineteenth +Century.</p> + +<p>Paul Baudry appeared at about this time striking a +clear pure note of delicate decoration. The few panels +that he drew for the Gobelins charm the eye with happy +reminiscences of Lebrun, of Claude Audran, a potpourri +of petals fallen from the roses of yesterday mixed with +the spices of to-day.</p> + +<p>But if the work of this talented artist illustrates anything, +it is the change in the uses of tapestries. The modern +ones are made to be framed, as flat as the wall against +which they are secured. In a word, they take the place +of frescoes. The pleasure of touching a mobile fabric is +lost. A fold in such a dainty piece would break its +beauty. Almost must a woven panel of our day fit the +<span class='pagenum'><a name="Page_255" id="Page_255">[Pg 255]</a></span> +panel it fills as exactly as the wood-work of a room fits +its dimensions.</p> + +<p>The Nineteenth Century at the Gobelins was finished +by mistakenly copying Ghirlandajo, Correggio, others of +their time.</p> + +<p>In the beginning of this century, the spirit of pure decoration +again became animated. Instead of copying old +painters, the Gobelins began to copy old cartoons. The +effect of this is to increase the responsibility of the weaver, +and with responsibility comes strength.</p> + +<p>The models of Boucher, and the <i>Grotesques</i> of Italian +Renaissance drawing are given even now to the weavers +as a training in both taste and skill. But better than all +is the present wisdom of the Gobelins, which has directly +faced the fact that it were better to copy the tapestries of +old excellence than to copy paintings of no matter what +altitude of art.</p> + +<p>Modern cartoons are used, as we know, commanded +for various public buildings in France, but the copying +of old tapestries exercises a far happier influence on the +weavers. If this is not an age of creation in art, at least +it need not be an age of false gods, notwithstanding the +seriousness given to distortions of the Matisse and post-impressionist +school.</p> + +<p>A careful copying of old tapestries—and in this case +old means those of the high periods of perfection—has +led to a result from which much may be expected. This +is the enormous reduction in the number of tones used. +Gothic tapestries of stained glass effect had a restricted +range of colour. By this brief gamut the weaver made +<span class='pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span> +his own gradations of colour, and the passage from light +to shadow, by hatching, which was in effect but a weaving +of alternating lines of two colours, much as an artist +in pen-and-ink draws parallel lines for shading. Tapestries +thus woven resist well the attacks of light and time.</p> + +<p>To sum up the present attitude of the Gobelins, then, +is to say that the director of to-day encourages the education +of taste in the weavers by encouraging them to copy +old tapestries instead of paintings old or new, and in a +reduction of the number of the tones employed. The +talent of an artist is thus made necessary to the tapissier, +for shadings are left to him to accomplish by his own skill +instead of by recourse to the forty thousand shades that +are stored on the shelves of the store-room.</p> + +<p>The manufactory at Beauvais, being also under the +State, is associated with the greater factory in the glance +at modern conditions. Both factories weave primarily +for the State. Both factories keep alive an ancient industry, +and both have permission to sell their precious +wares to the private client. That such sales are rarely +made is due to the indifference of the State, which stipulates +that its own work shall have first place on the looms, +that only when a loom is idle may it be used for a private +patron. The length of time, therefore, that must elapse +before an order is executed—two or three years, perhaps—is +a tiresome condition that very few will accept.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="THE_ADORATION" id="THE_ADORATION"></a> +<img src="images/tapestry112th.jpg" width="400" height="271" alt="" /> +<span class="link"><a href="images/tapestry112.jpg">See larger image</a></span> +</div> + +<p class="caption">THE ADORATION</p> + +<p class="incaption">Merton Abbey Tapestry. Figures by Burne-Jones</p> + + +<div class="figcenter" style="width: 396px;"> +<a name="DAVID_INSTRUCTING_SOLOMON" id="DAVID_INSTRUCTING_SOLOMON"></a> +<img src="images/tapestry113th.jpg" width="396" height="400" alt="" /> +<span class="link"><a href="images/tapestry113.jpg">See larger image</a></span> +</div> + +<p class="caption">DAVID INSTRUCTING SOLOMON IN THE BUILDING OF THE TEMPLE</p> + +<p class="incaption">Merton Abbey Tapestry. Burne-Jones, Artist</p> + +<p>Beauvais, with its low-warp looms, is more celebrated +for its small pieces of work than for large hangings. The +tendency toward the latter ended some time ago, and in +our time Beauvais makes mainly those exquisite coverings +<span class='pagenum'><a name="Page_257" id="Page_257">[Pg 257]</a></span> +for seats and screens that give the beholder a thrill +of artistic joy and a determination to possess something +similar. The models of Béhagle, Oudry, Charron are +copied with fidelity to their loveliness, and it is these that +after a few years of wear on furniture take on that mellowness +which long association with human hands alone +can give. It is scarcely necessary to say that antique furniture +tapestry is rare; its use has been too hard to withstand +the years. Therefore, we may with joy and the +complacency of good taste acquire new coverings of the +Don Quixote or Æsop’s Fables designs for our latter-day +furniture or for the fine old pieces from which the original +tapestries have vanished.</p> + + +<h4>ENGLAND</h4> + +<p>The chapter on Mortlake looms shows what was accomplished +by deliberate importation of an art coveted but +not indigenous. It is interesting to compare this with +England’s entirely modern and self-made craft of the last +thirty years. I allude to the tapestry factory established +by William Morris and called Merton Abbey. Mr. +Morris preferred the word arras as attached to his weavings, +tapestry having sometimes the odious modern meaning +of machine-made figured stuffs for any sort of furniture +covering. But as Arras did not invent the high-warp +hand-loom, nor did the Saracens, nor the Egyptians, it +is but quibbling to give it arbitrarily the name of any +particular locale.</p> + +<p>It seems that enough can never be said about the versatility +of William Morris and the strong flood of beauty +<span class='pagenum'><a name="Page_258" id="Page_258">[Pg 258]</a></span> +in design that he sent rippling over arid ground. It were +enough had he accomplished only the work in tapestry. +It is not too strong a statement that he produced at Merton +Abbey the only modern tapestries that fill the primary +requirements of tapestries.</p> + +<p>How did he happen upon it in these latter days? By +worshipping the old hangings of the Gothic perfection, +by finding the very soul of them, of their designers and +of their craftsmen; then, letting that soul enter his, he +set his fingers reverently to work to learn, as well, the +secret of the ancient workman.</p> + +<p>It was as early as 1885 that he began; was cartoonist, +dyer, tapissier, all, for the experiment, which was a small +square of verdure after the manner of the Gothic, curling +big acanthus leaves about a softened rose, a mingling of +greens of ocean and shady reds. Perhaps it was no great +matter in the way of tapestry, but it was to Morris like +the discovery of a new continent to the navigator.</p> + +<p>His was the time of a so-called æsthetic school in England. +Watts, Rossetti and Burne-Jones were harking +back to antiquity for inspiration. Morris associated with +him the latter, who drew wondrous figures of maids and +men and angels, figures filled with the devout spirit of the +time when religion was paramount, and perfect with the +art of to-day.</p> + +<p>The romance of <i>The Holy Grail</i> gave happy theme for +the work, and three beautiful tapestries made the set. +<i>The Adoration of the Magi</i> was another, made for Exeter +College, Oxford. Sir Edward Burne-Jones designed +all these wondrous pictures, and the wisdom of Morris +<span class='pagenum'><a name="Page_259" id="Page_259">[Pg 259]</a></span> +decreed that the <i>Grail</i> series should not be oft repeated. +The first figure tapestry woven on the looms was a fancy +drawn by Walter Crane, called <i>The Goose Girl</i>.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="TRUTH_BLINDFOLDED" id="TRUTH_BLINDFOLDED"></a> +<img src="images/tapestry114th.jpg" width="400" height="355" alt="" /> +<span class="link"><a href="images/tapestry114.jpg">See larger image</a></span> +</div> + +<p class="caption">TRUTH BLINDFOLDED</p> + +<p class="incaption">Merton Abbey Tapestry. Byram Shaw, Artist</p> + +<p>The most enchantingly mediæval and most modernly +perfect piece is by Burne-Jones, called <i>David Instructing +Solomon in the Building of the Temple</i>. (Plate facing +page <a href="#DAVID_INSTRUCTING_SOLOMON"><b>257</b></a>.) In this the time of Gothic beauty lives again. +Planes are repeated, figures are massed, detail is clear and +impressive, yet modern laws of drawing concentrate the +interest on the central action as strongly as though all else +were subservient.</p> + +<p><i>The Passing of Venus</i> was Burne-Jones’ last cartoon +for Merton Abbey looms. (Plate facing page <a href="#PASSING_OF_VENUS"><b>260</b></a>.) +Although a critique of the art of this great painter would +be out of place in a book on the applied arts, at least it is +allowable to express the conviction that more beautiful, +more fitting designs for tapestry it would be difficult to +imagine. Modern work of this sort has produced nothing +that approaches them, preserving as they do the sincerity +and reverence of a simple people, the ideality of a conscientious +age, yet softening all technical faults with modern +finish. An unhappy fact is that this tapestry, which +was considered by the Merton Abbey works as its <i>chef +d’œuvre</i>, was destroyed by fire in the Brussels Exhibition +of 1910.</p> + +<p>Alas for tapestry weaving of to-day, the usual modern +cartoon is a staring anachronism, and a conglomerate of +modes. An “art nouveau” lady poses in a Gothic setting, +a Thayer angel stands in a Boucher entourage, and both +eye and intelligence are revolted. The master craftsman +<span class='pagenum'><a name="Page_260" id="Page_260">[Pg 260]</a></span> +and artist, William Morris, alone has known how to produce +acceptable modern work from modern cartoons. +Other examples are <i>Angeli Laudantes</i>, and <i>The Adoration</i>. +(Plates facing pages <a href="#ANGELI_LAUDANTES"><b>261</b></a> and <a href="#THE_ADORATION"><b>256</b></a>.)</p> + +<p>A false note is sometimes struck, even in this factory +of wondrous taste. In <i>Truth Blindfolded</i> (plate facing +page <a href="#TRUTH_BLINDFOLDED"><b>258</b></a>), Mr. Byram Shaw has drawn the central +figure as Cabanel might have done a decade ago, while +every other figure in the group might have been done by +some hand dead these four hundred years.</p> + +<p>Morris’ manner of procedure differed little from that +of the decorator Lebrun, although his work was a private +enterprise and in no way to be compared with the +royal factory of a rich king. Burne-Jones drew the +figures; H. Dearle, a pupil, and Philip Webb drew backgrounds +and animals, but Morris held in his own hands +the arrangement of all. It was as though a gardener +brought in a sheaf of cut roses and the master hand +arranged them. Mr. Dearle directed some compositions +with skill and talent.</p> + +<p>With the passing of William Morris an inevitable +change is visible in the cartoons. The Gothic note is not +continued, nor the atmosphere of sanctity, which is its +usual accompaniment. A tapestry of 1908 from the design +of <i>The Chace</i> by Heyward Sumner suggests long +hours with the Flemish landscapists of the Seventeenth +and Eighteenth Centuries, with a jarring note of Pan +dragged in by the ears to huddle under foliage obviously +introduced for this purpose.</p> + +<div class="figcenter" style="width: 400px;"> +<a name="PASSING_OF_VENUS" id="PASSING_OF_VENUS"></a> +<img src="images/tapestry115th.jpg" width="400" height="188" alt="" /> +<span class="link"><a href="images/tapestry115.jpg">See larger image</a></span> +</div> + +<p class="caption">THE PASSING OF VENUS</p> + +<p class="incaption">Merton Abbey Tapestry. Cartoon by Burne-Jones</p> + + +<div class="figcenter" style="width: 254px;"> +<a name="ANGELI_LAUDANTES" id="ANGELI_LAUDANTES"></a> +<img src="images/tapestry116th.jpg" width="254" height="400" alt="" /> +<span class="link"><a href="images/tapestry116.jpg">See larger image</a></span> +</div> + +<p class="caption">ANGELI LAUDANTES</p> + +<p class="incaption">Merton Abbey Tapestry</p> + +<p>But criticism of this aberration cannot hurt the +<span class='pagenum'><a name="Page_261" id="Page_261">[Pg 261]</a></span> +wondrous inspired work directed by Morris, and which it +were well for a beauty-loving world to have often repeated. +Unhappily, the Merton Abbey works are bound +not to repeat the superb series of the <i>Grail</i>. The entire +set has been woven twice, and three pieces of it a third +time—and there it ends. This is well for the value of the +tapestries, but is it not a providence too thrifty when the +public is considered? In ages to come, perhaps, other +looms will repeat, and our times will glow with the fame +thereof.</p> + +<p>Before leaving the subject of the Merton Abbey tapestries, +it is interesting to note a technical change in the +weaving. By intertwisting the threads of the chain or +warp at the back, a way is found to avoid the slits in weaving +that are left to be sewn together with the needle in all +old work. This method has been proved the stronger of +the two. The strain of hanging proves too great for the +strength of the stitches, and on many a tapestry appear +gaping wounds which call for yet more stitching. But +in the new method the fabric leaves the loom intact.</p> + +<p>The determination of William Morris to catch old +secrets by fitting his feet into old footsteps, led him to +employ only the loom of the best weavers in the ancient +long ago. The high-warp loom is the only one in use +at the Merton Abbey works.</p> + + +<h4>AMERICA</h4> + +<p>America makes heavy demands for tapestries, but the +art of producing them is not indigenous here. We are +not without looms, however. The first piece of tapestry +<span class='pagenum'><a name="Page_262" id="Page_262">[Pg 262]</a></span> +woven in America—to please the ethnologist we will +grant that it was woven by Zuñi or Toltec or other +aborigine. But the fabric approaching that of Arras or +Gobelins, was woven in New York, in 1893, in the looms +of the late William Baumgarten. It is preserved as a +curiosity, as being the first. It is a chair seat woven after +the designs popular with Louis XV and his court, a plain +background of solid colour on which is thrown a floral +ornament.</p> + +<p>The loom was a small affair of the low-warp type, and +was operated by a Frenchman who came to this country +for the purpose of starting the craft on new soil.</p> + +<p>The sequence to this small beginning was the establishment +of tapestry ateliers at Williamsbridge, a suburb of +New York. Like the Gobelins factory, this was located +in an old building on the banks of a little stream, the +Bronx. Workmen were imported, some from Aubusson, +who knew the craft; these took apprentices, as of +old, and trained them for the work. The looms were all +of the low-warp pattern.</p> + +<p>It may be of interest to those who like figures, to know +that the work of the Baumgarten atelier averages in price +about sixty dollars a square yard. Perhaps this will help +a little in deciding whether or not the price is reasonable +when a dealer seductively spreads his ancient wares. +Modern cartoons of the Baumgarten factory lack the +charm of the old designs, but the adaptations and copies +of ancient pieces are particularly happy. No better execution +could be wished for. The factory has increased its +looms to the number of twenty-two, and has its regular +<span class='pagenum'><a name="Page_263" id="Page_263">[Pg 263]</a></span> +corps of tapissiers, dyers, repairers, etc. Nowhere is the +life of the weaver so nearly like that of his prototype in +the golden age of tapestry. The colony on the Bronx is +like a bit of old Europe set intact on American soil.</p> + +<div class="figcenter" style="width: 336px;"> +<a name="AMERICAN_TAPESTRY" id="AMERICAN_TAPESTRY"></a> +<img src="images/tapestry117th.jpg" width="336" height="400" alt="" /> +<span class="link"><a href="images/tapestry117.jpg">See larger image</a></span> +</div> + +<p class="caption">AMERICAN (BAUMGARTEN) TAPESTRY COPIED FROM THE GOTHIC</p> + + +<div class="figcenter" style="width: 500px;"> +<a name="DRYADS_AND_FAUNS" id="DRYADS_AND_FAUNS"></a> +<img src="images/tapestry118th.jpg" width="500" height="141" alt="" /> +<span class="link"><a href="images/tapestry118.jpg">See larger image</a></span> +</div> + +<p class="caption">DRYADS AND FAUNS</p> + +<p class="incaption">From Herter Looms, New York, 1910</p> + +<p>It is odd that New York should have more tapestry +looms at work than has Paris. The Baumgarten looms +exceed in number the present Gobelins, and the Herter +looms add many more. The ateliers of Albert Herter +are in the busiest part of New York, and here are woven +by hand many fabrics of varying degrees of excellence. +It is not Mr. Herter’s intention to produce only fine wall +hangings, but to supply as well floor coverings “a la façon +de Perse,” as the ancient documents had it, and to make it +possible for persons of taste, but not necessarily fortune, +to have hand-woven portières of artistic value.</p> + +<p>Apart from this commendable aim, the Herter looms +are also given to making copies of the antique in the finest +of weaving, and to producing certain original pieces expressing +the decorative spirit of our day. Besides this, +the work is distinguished by certain combinations of +antique and modern style that confuse the seeker after +purity of style. That the effect is pleasing must be +acknowledged as illustrated in the plate showing a tapestry +for the country house of Mrs. E. H. Harriman. +(Plate facing page <a href="#DRYADS_AND_FAUNS"><b>263</b></a>.) It is not easy in a review of +tapestry weaving of to-day to find any great encouragement.</p> + +<p>These are times of commerce more than of art. If art +can be made profitable commercially, well and good. If +not, it starves in a garret along with the artist. If the +<span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span> +demand for modern tapestries was large enough, the art +would flourish—perhaps. But it is not a large demand, +for many reasons, chief among which is the incontrovertible +one that the modern work is seldom pleasing. The +whole world is occupied with science and commerce, and +art does not create under their influence as in more ideal +times. What can the trained eye and the cultivated taste +do other than turn back to the products of other days?</p> + +<p>We have artists in our own country whose qualities +would make of them marvellous composers of cartoons. +The imagination and execution of Maxfield Parrish, for +example, added to his richness of colouring, would be +translatable in wool under the hands of an artist-weaver. +And the designs which take the name of “poster” and are +characterised by strength, simplicity and few tones, why +would they not give the same crispness of detail that constitutes +one of the charms of Gothic work? Perhaps the +factories existent in America will work out this line of +thought, combine it with honesty of material and labour, +and give us the honour of prominence in an ancient art’s +revival.</p> + + +<p class="center padtop">FINIS</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_265" id="Page_265">[Pg 265]</a></span></p> + +<h2 class="padtop">BEST PERIODS AND THEIR DATES</h2> + + +<table border="0" cellpadding="2" cellspacing="0" summary="Best periods and their dates"> + <tr> + <td class="tdlsc">Earliest Tapestry Looms</td> + <td class="tdl">Prehistoric</td> + </tr> + <tr> + <td class="tdlsc">European Early Attempts</td> + <td class="tdl">Twelfth To Fourteenth Centuries</td> + </tr> + <tr> + <td class="tdlsc">Arras and Burgundian Tapestry</td> + <td class="tdl">Early Fifteenth Century</td> + </tr> + <tr> + <td class="tdlsc">Gothic Perfection, Flanders</td> + <td class="tdl">About Fifteen Hundred</td> + </tr> + <tr> + <td class="tdlsc">Gothic Perfection, France</td> + <td class="tdl">About Fifteen Hundred</td> + </tr> + <tr> + <td class="tdlsc">Italian Factories</td> + <td class="tdl">Fifteenth Century</td> + </tr> + <tr> + <td class="tdlsc">Raphael Cartoons in Flanders</td> + <td class="tdl">1515-1519</td> + </tr> + <tr> + <td class="tdlsc">Renaissance Perfection, Flanders</td> + <td class="tdl">1515 To Second Half of Century</td> + </tr> + <tr> + <td class="tdlsc">Brussels Mark</td> + <td class="tdl">1528</td> + </tr> + <tr> + <td class="tdlsc">Flemish Decadence</td> + <td class="tdl">End of Sixteenth Century</td> + </tr> + <tr> + <td class="tdlsc">French Rise</td> + <td class="tdl">End of Sixteenth Century</td> + </tr> + <tr> + <td class="tdlsc">French Organisation</td> + <td class="tdl">1597, Reign of Henri IV</td> + </tr> + <tr> + <td class="tdlsc">English Supremacy, Mortlake Established</td> + <td class="tdl">1619</td> + </tr> + <tr> + <td class="tdlsc">Establishment of Gobelins</td> + <td class="tdl">1662, Reign of Louis XIV</td> + </tr> + <tr> + <td class="tdlsc">Best Heroic Period of Gobelins</td> + <td class="tdl">Last Half of Seventeenth Century</td> + </tr> + <tr> + <td class="tdlsc">Best Decorative Period of Gobelins</td> + <td class="tdl">Middle of Eighteenth Century</td> + </tr> + <tr> + <td class="tdlsc">Decadence of Gobelins</td> + <td class="tdl">End of Eighteenth Century</td> + </tr> + <tr> + <td class="tdlsc">Recent Times, England, Wm. Morris</td> + <td class="tdl">End of Nineteenth Century</td> + </tr> + <tr> + <td class="tdlsc">Recent Times, America</td> + <td class="tdl">End of Nineteenth Century</td> + </tr> +</table> + +<p><span class='pagenum'><a name="Page_266" id="Page_266"><!-- blank page --></a></span></p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_267" id="Page_267">[Pg 267]</a></span></p> + +<h2 class="padtop">INDEX</h2> + +<p class="center"> +<a href="#A">A</a> <a href="#B">B</a> <a href="#C">C</a> +<a href="#D">D</a> <a href="#E">E</a> <a href="#F">F</a> +<a href="#G">G</a> <a href="#H">H</a> <a href="#I">I</a> +<a href="#J">J</a> <a href="#K">K</a> <a href="#L">L</a> +<a href="#M">M</a> <a href="#N">N</a> <a href="#O">O</a> +<a href="#P">P</a> <a href="#Q">Q</a> <a href="#R">R</a> +<a href="#S">S</a> <a href="#T">T</a> <a href="#U">U</a> +<a href="#V">V</a> <a href="#W">W</a> <a href="#Z">Z</a> +</p> + + +<p class="index"><a name="A" id="A"></a> +Abbot Robert, <a href="#Page_20">20</a>.<br /> +<br /> +<i>Achilles, Story of</i>, <a href="#Page_169">169</a>.<br /> +<br /> +Adelaide, Queen, <a href="#Page_22">22</a>.<br /> +<br /> +<i>Adoration of the Eternal Father, The</i>, <a href="#Page_59">59</a>, +<a href="#Page_250">250</a>, <a href="#Page_260">260</a>.<br /> +<br /> +<i>Adoration of the Magi, The</i>, <a href="#Page_258">258</a>.<br /> +<br /> +<i>Acts of the Apostles</i>, <a href="#Page_64">64</a>, <a href="#Page_86">86</a>, +<a href="#Page_147">147</a>, <a href="#Page_169">169</a>, +<a href="#Page_197">197</a>, <a href="#Page_205">205</a>, +<a href="#Page_214">214</a>, <a href="#Page_221">221</a>.<br /> +<br /> +<i>Alcisthenes, Mantle of</i>, <a href="#Page_19">19</a>.<br /> +<br /> +<i>Alexander, History of</i>, <a href="#Page_115">115</a>, <a href="#Page_172">172</a>, +<a href="#Page_197">197</a>.<br /> +<br /> +Alfonso II (d’Este), <a href="#Page_83">83</a>.<br /> +<br /> +America, <a href="#Page_261">261-264</a>.<br /> +<br /> +American interest, <a href="#Page_10">10</a>.<br /> +<br /> +Amorini, <a href="#Page_209">209</a>.<br /> +<br /> +Andrea del Sarto, <a href="#Page_73">73</a>.<br /> +<br /> +<i>Angeli Laudantes</i>, <a href="#Page_260">260</a>.<br /> +<br /> +Angers, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>.<br /> +<br /> +Angivillier, Count of, <a href="#Page_131">131</a>, <a href="#Page_133">133</a>, +<a href="#Page_137">137</a>.<br /> +<br /> +<i>Annunciation, The</i>, <a href="#Page_61">61</a>.<br /> +<br /> +Antin, Duke d’, <a href="#Page_128">128</a>, <a href="#Page_130">130</a>, +<a href="#Page_131">131</a>, <a href="#Page_148">148</a>.<br /> +<br /> +<i>Antony and Cleopatra</i>, <a href="#Page_80">80</a>, <a href="#Page_110">110</a>, +<a href="#Page_151">151</a>, <a href="#Page_187">187</a>, +<a href="#Page_210">210</a>, <a href="#Page_222">222</a>.<br /> +<br /> +<i>Apocalypse</i>, <a href="#Page_23">23</a>, <a href="#Page_25">25</a>, +<a href="#Page_30">30</a>, <a href="#Page_45">45</a>, +<a href="#Page_217">217</a>.<br /> +<br /> +Apprentices, <a href="#Page_5">5</a>.<br /> +<br /> +Architectural detail, <a href="#Page_177">177-179</a>.<br /> +<br /> +<i>Armide</i>, <a href="#Page_130">130</a>.<br /> +<br /> +Arras, <a href="#Page_28">28</a>, <a href="#Page_32">32</a>, +<a href="#Page_34">34</a>, <a href="#Page_38">38</a>, +<a href="#Page_47">47</a>, <a href="#Page_48">48</a>, +<a href="#Page_51">51</a>, <a href="#Page_54">54</a>, +<a href="#Page_66">66</a>, <a href="#Page_90">90</a>, +<a href="#Page_106">106</a>, <a href="#Page_129">129</a>, +<a href="#Page_163">163</a>, <a href="#Page_176">176</a>, +<a href="#Page_203">203</a>, <a href="#Page_229">229</a>.<br /> +<br /> +Arazzeria Medicea, <a href="#Page_84">84</a>.<br /> +<br /> +Artemisia, <a href="#Page_93">93</a>, <a href="#Page_94">94</a>.<br /> +<br /> +Artois, <a href="#Page_32">32</a>, <a href="#Page_34">34</a>, <a href="#Page_163">163</a>.<br /> +<br /> +Aubusson, <a href="#Page_150">150</a>, <a href="#Page_152">152-158</a>.<br /> +<br /> +Audran, Claude, <a href="#Page_122">122-124</a>, <a href="#Page_126">126-128</a>, +<a href="#Page_132">132</a>.<br /> +<br /> +Audran, Jean, <a href="#Page_138">138</a>.<br /> +<br /> +<i>Aurora</i>, <a href="#Page_254">254</a>.</p> + +<p class="index"><a name="B" id="B"></a> +Babylon, <a href="#Page_18">18</a>.<br /> +<br /> +Bacchiacca, <a href="#Page_76">76</a>, <a href="#Page_223">223</a>.<br /> +<br /> +Backgrounds, <a href="#Page_185">185</a>.<br /> +<br /> +<i>Baillée des Roses</i>, <a href="#Page_42">42</a>, <a href="#Page_176">176</a>, +<a href="#Page_181">181</a>.<br /> +<br /> +Bajazet, <a href="#Page_35">35</a>.<br /> +<br /> +Barberini, <a href="#Page_87">87</a>, <a href="#Page_88">88</a>, +<a href="#Page_131">131</a>, <a href="#Page_208">208</a>.<br /> +<br /> +Basse lisse, <a href="#Page_3">3</a>, <a href="#Page_193">193</a>, +<a href="#Page_227">227</a>.<br /> +<br /> +Bataille, Nicolas, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>, +<a href="#Page_217">217</a>.<br /> +<br /> +Baudry, Paul, <a href="#Page_254">254</a>.<br /> +<br /> +Baumgarten, <a href="#Page_232">232</a>, <a href="#Page_238">238</a>, +<a href="#Page_239">239</a>, <a href="#Page_262">262</a>.<br /> +<br /> +Bayeux Tapestry, <a href="#Page_21">21</a>, <a href="#Page_241">241-248</a>.<br /> +<br /> +Beauvais, <a href="#Page_4">4</a>, <a href="#Page_121">121</a>, +<a href="#Page_135">135</a>, <a href="#Page_145">145-153</a>, +<a href="#Page_154">154</a>, <a href="#Page_163">163</a>, +<a href="#Page_256">256</a>.<br /> +<br /> +Beaux Art, École des, <a href="#Page_204">204</a>.<br /> +<br /> +Béhagle, Philip, <a href="#Page_147">147</a>, <a href="#Page_148">148</a>, +<a href="#Page_257">257</a>.<br /> +<br /> +Belle, Augustin, <a href="#Page_138">138</a>.<br /> +<br /> +Bellegarde, <a href="#Page_157">157</a>.<br /> +<br /> +Berne, Cathedral of, <a href="#Page_37">37</a>, <a href="#Page_53">53</a>.<br /> +<br /> +Bernini, <a href="#Page_10">10</a>.<br /> +<br /> +<span class='pagenum'><a name="Page_268" id="Page_268">[Pg 268]</a></span> +Berthélemy, <a href="#Page_141">141</a>.<br /> +<br /> +Besnier, <a href="#Page_152">152</a>.<br /> +<br /> +Bible, influence of, <a href="#Page_130">130</a>.<br /> +<br /> +Bièvre, <a href="#Page_105">105</a>, <a href="#Page_106">106</a>, +<a href="#Page_107">107</a>.<br /> +<br /> +Blamard, Louis, <a href="#Page_99">99</a>, <a href="#Page_103">103</a>.<br /> +<br /> +Blumenthal collection, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, +<a href="#Page_78">78</a>, <a href="#Page_196">196</a>, +<a href="#Page_205">205</a>.<br /> +<br /> +Bobbin, <a href="#Page_4">4</a>.<br /> +<br /> +<i>Book of Hours</i>, <a href="#Page_41">41</a>.<br /> +<br /> +Borders, <a href="#Page_132">132</a>, <a href="#Page_147">147</a>, +<a href="#Page_158">158</a>, <a href="#Page_169">169</a>, +<a href="#Page_170">170</a>, <a href="#Page_172">172</a>, +<a href="#Page_173">173</a>, <a href="#Page_188">188-190</a>, +<a href="#Page_201">201-215</a>.<br /> +<br /> +Boston Museum of Fine Arts, <a href="#Page_15">15</a>, <a href="#Page_46">46</a>, +<a href="#Page_56">56</a>, <a href="#Page_238">238</a>.<br /> +<br /> +Botticelli, <a href="#Page_180">180</a>.<br /> +<br /> +Boucher, <a href="#Page_131">131</a>, <a href="#Page_132">132</a>, +<a href="#Page_135">135</a>, <a href="#Page_141">141</a>, +<a href="#Page_151">151</a>.<br /> +<br /> +Boulle, <a href="#Page_107">107</a>.<br /> +<br /> +Bourg, Maurice du, <a href="#Page_93">93</a>, <a href="#Page_94">94</a>, +<a href="#Page_95">95</a>, <a href="#Page_96">96</a>.<br /> +<br /> +Broche, <a href="#Page_4">4</a>, <a href="#Page_223">223</a>, +<a href="#Page_227">227</a>, <a href="#Page_228">228</a>, +<a href="#Page_229">229</a>.<br /> +<br /> +Bruges, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>, +<a href="#Page_221">221</a>.<br /> +<br /> +Brussels, <a href="#Page_7">7</a>, <a href="#Page_9">9</a>, +<a href="#Page_10">10</a>, <a href="#Page_29">29</a>, +<a href="#Page_38">38</a>, <a href="#Page_48">48</a>, +<a href="#Page_54">54</a>, <a href="#Page_55">55</a>, +<a href="#Page_57">57</a>, <a href="#Page_64">64</a>, +<a href="#Page_66">66</a>, <a href="#Page_68">68-72</a>, +<a href="#Page_76">76</a>, <a href="#Page_78">78</a>, +<a href="#Page_90">90</a>, <a href="#Page_111">111</a>, +<a href="#Page_129">129</a>, <a href="#Page_141">141</a>, +<a href="#Page_163">163</a>, <a href="#Page_194">194</a>, +<a href="#Page_197">197</a>, <a href="#Page_216">216</a>, +<a href="#Page_218">218</a>, <a href="#Page_219">219</a>, +<a href="#Page_221">221</a>, <a href="#Page_229">229</a>.<br /> +<br /> +Brussels Mark, <a href="#Page_217">217</a>.<br /> +<br /> +Burgundian tapestry, <a href="#Page_37">37</a>, <a href="#Page_45">45</a>, +<a href="#Page_160">160</a>, <a href="#Page_174">174</a>.<br /> +<br /> +Burgundy, Dukes of, <a href="#Page_22">22</a>, <a href="#Page_33">33</a>, +<a href="#Page_34">34</a>, <a href="#Page_36">36</a>, +<a href="#Page_38">38</a>, <a href="#Page_39">39</a>, +<a href="#Page_46">46</a>, <a href="#Page_47">47</a>, +<a href="#Page_48">48</a>, <a href="#Page_51">51</a>.<br /> +<br /> +Burne-Jones, <a href="#Page_258">258</a>, <a href="#Page_259">259</a>.</p> + +<p class="index"><a name="C" id="C"></a> +Caffieri, <a href="#Page_107">107</a>.<br /> +<br /> +Carron, Antoine, <a href="#Page_94">94</a>.<br /> +<br /> +Carthaginians, <a href="#Page_19">19</a>.<br /> +<br /> +Cartoons, <a href="#Page_56">56</a>, <a href="#Page_151">151</a>, +<a href="#Page_155">155</a>, <a href="#Page_173">173</a>, +<a href="#Page_176">176</a>, <a href="#Page_231">231</a>, +<a href="#Page_255">255</a>.<br /> +<br /> +Cartouche, <a href="#Page_207">207</a>.<br /> +<br /> +Casanova, <a href="#Page_151">151</a>.<br /> +<br /> +Cellini, Benvenuto, <a href="#Page_7">7</a>.<br /> +<br /> +<i>Charity</i>, <a href="#Page_254">254</a>.<br /> +<br /> +Charles I, <a href="#Page_167">167</a>, <a href="#Page_168">168</a>, +<a href="#Page_170">170</a>, <a href="#Page_171">171</a>.<br /> +<br /> +Charles V, <a href="#Page_32">32</a>.<br /> +<br /> +Charles V, Emperor, <a href="#Page_62">62</a>, <a href="#Page_75">75</a>, +<a href="#Page_82">82</a>, <a href="#Page_83">83</a>, +<a href="#Page_220">220</a>.<br /> +<br /> +Charles VI, <a href="#Page_29">29</a>.<br /> +<br /> +Charles VII, <a href="#Page_42">42</a>.<br /> +<br /> +Charles VIII, <a href="#Page_48">48</a>.<br /> +<br /> +Charles le Téméraire, <a href="#Page_36">36</a>, +<a href="#Page_45">45</a>, <a href="#Page_47">47</a>, +<a href="#Page_51">51</a>, <a href="#Page_66">66</a>.<br /> +<br /> +Chef d’atelier, <a href="#Page_5">5</a>.<br /> +<br /> +Chicago Institute of Art, <a href="#Page_47">47</a>, <a href="#Page_78">78</a>, +<a href="#Page_221">221</a>.<br /> +<br /> +China, <a href="#Page_18">18</a>.<br /> +<br /> +Circe, <a href="#Page_19">19</a>.<br /> +<br /> +Clein, or Cleyn, Francis, <a href="#Page_166">166</a>, <a href="#Page_169">169</a>, +<a href="#Page_170">170</a>, <a href="#Page_171">171</a>.<br /> +<br /> +Cluny Museum of Paris, <a href="#Page_44">44</a>, <a href="#Page_54">54</a>.<br /> +<br /> +Colbert, <a href="#Page_99">99</a>, <a href="#Page_102">102</a>, +<a href="#Page_103">103</a>, <a href="#Page_107">107</a>, +<a href="#Page_108">108</a>, <a href="#Page_109">109</a>, +<a href="#Page_116">116</a>, <a href="#Page_117">117</a>, +<a href="#Page_118">118</a>, <a href="#Page_121">121</a>, +<a href="#Page_145">145</a>, <a href="#Page_155">155</a>, +<a href="#Page_156">156</a>.<br /> +<br /> +Colours, <a href="#Page_191">191-193</a>, <a href="#Page_210">210</a>, +<a href="#Page_211">211</a>, <a href="#Page_233">233-236</a>.<br /> +<br /> +Comans, Charles de, <a href="#Page_222">222</a>.<br /> +<br /> +Comans, or Coomans, Marc, <a href="#Page_95">95-97</a>, <a href="#Page_107">107</a>, +<a href="#Page_165">165</a>, <a href="#Page_166">166</a>, +<a href="#Page_231">231</a>.<br /> +<br /> +<i>Condemnation of Suppers and Banquets, The</i>, <a href="#Page_51">51</a>.<br /> +<br /> +<i>Conquest of Tunis</i>, <a href="#Page_75">75</a>, <a href="#Page_220">220</a>.<br /> +<br /> +<i>Constantine, History of</i>, <a href="#Page_112">112</a>.<br /> +<br /> +Copies, <a href="#Page_197">197-200</a>.<br /> +<br /> +Coptic, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>.<br /> +<br /> +Cornelisz, Lucas, <a href="#Page_82">82</a>.<br /> +<br /> +Correggio, <a href="#Page_209">209</a>.<br /> +<br /> +Cortona, Pietro di, <a href="#Page_87">87</a>.<br /> +<br /> +<span class='pagenum'><a name="Page_269" id="Page_269">[Pg 269]</a></span> +Cosimo I, Duke of Tuscany, <a href="#Page_84">84</a>, <a href="#Page_85">85</a>.<br /> +<br /> +Cosmati brothers, <a href="#Page_178">178</a>.<br /> +<br /> +Costumes, <a href="#Page_181">181-183</a>.<br /> +<br /> +Cotte, Jules Robert de, <a href="#Page_122">122</a>, <a href="#Page_129">129</a>, +<a href="#Page_131">131</a>.<br /> +<br /> +Coypel, Antoine, <a href="#Page_130">130</a>.<br /> +<br /> +Coypel, Charles, <a href="#Page_12">12</a>, <a href="#Page_127">127</a>, +<a href="#Page_128">128</a>, <a href="#Page_130">130</a>, +<a href="#Page_132">132</a>, <a href="#Page_150">150</a>.<br /> +<br /> +Cozette, <a href="#Page_132">132</a>.<br /> +<br /> +Crane, Richard, <a href="#Page_171">171</a>.<br /> +<br /> +Crane, Sir Francis, <a href="#Page_165">165</a>, <a href="#Page_167">167</a>, +<a href="#Page_168">168</a>, <a href="#Page_170">170</a>, +<a href="#Page_171">171</a>, <a href="#Page_223">223</a>.<br /> +<br /> +Crane, Walter, <a href="#Page_259">259</a>.<br /> +<br /> +Crusades, <a href="#Page_19">19</a>, <a href="#Page_24">24</a>.<br /> +<br /> +<i>Cupid and Psyche</i>, <a href="#Page_132">132</a>.</p> + +<p class="index"><a name="D" id="D"></a> +David, <a href="#Page_136">136</a>, <a href="#Page_140">140</a>, +<a href="#Page_142">142</a>, <a href="#Page_143">143</a>, +<a href="#Page_144">144</a>.<br /> +<br /> +<i>David Instructing Solomon, etc.</i>, <a href="#Page_259">259</a>.<br /> +<br /> +Dearle, H., <a href="#Page_260">260</a>.<br /> +<br /> +Delacroix, Jean, <a href="#Page_109">109</a>.<br /> +<br /> +Devonshire, Duke of, <a href="#Page_46">46</a>.<br /> +<br /> +<i>Diana, History of</i>, <a href="#Page_92">92</a>.<br /> +<br /> +Directing artist, <a href="#Page_5">5</a>.<br /> +<br /> +Director, <a href="#Page_4">4</a>.<br /> +<br /> +Directory, <a href="#Page_139">139</a>, <a href="#Page_142">142</a>.<br /> +<br /> +<i>Don Quixote</i>, <a href="#Page_127">127</a>, <a href="#Page_132">132</a>, +<a href="#Page_133">133</a>, <a href="#Page_152">152</a>.<br /> +<br /> +Dosso, Battista, <a href="#Page_82">82</a>.<br /> +<br /> +Dourdin, <a href="#Page_30">30</a>.<br /> +<br /> +Ducal Palace at Nancy, tapestry room of, <a href="#Page_51">51</a>, +<a href="#Page_65">65</a>.<br /> +<br /> +Du Mons, Jean Joseph, <a href="#Page_158">158</a>.<br /> +<br /> +Dupont, Pierre, <a href="#Page_161">161</a>.<br /> +<br /> +Dye, scarlet, of the Gobelin brothers, <a href="#Page_106">106</a>.<br /> +<br /> +Dyes, <a href="#Page_6">6</a>, <a href="#Page_218">218</a>, <a href="#Page_233">233</a>, +<a href="#Page_234">234</a>.<br /> +<br /> +Dyes at Aubusson, <a href="#Page_156">156</a>.</p> + +<p class="index"><a name="E" id="E"></a> +Edward the Confessor, <a href="#Page_260">260</a>.<br /> +<br /> +Egypt, <a href="#Page_18">18</a>, <a href="#Page_27">27</a>.<br /> +<br /> +Egyptian drawing, <a href="#Page_15">15</a>.<br /> +<br /> +Egyptian loom, <a href="#Page_16">16</a>.<br /> +<br /> +Egyptian weaving, <a href="#Page_16">16</a>.<br /> +<br /> +Egyptian work, <a href="#Page_7">7</a>.<br /> +<br /> +Eighteenth Century, <a href="#Page_76">76</a>, <a href="#Page_123">123</a>, +<a href="#Page_152">152</a>, <a href="#Page_158">158</a>, +<a href="#Page_180">180</a>, <a href="#Page_185">185</a>, +<a href="#Page_187">187</a>, <a href="#Page_190">190</a>, +<a href="#Page_211">211</a>, <a href="#Page_222">222</a>, +<a href="#Page_236">236</a>, <a href="#Page_257">257-261</a>.<br /> +<br /> +Eleventh Century, <a href="#Page_23">23</a>.<br /> +<br /> +Elizabeth, Queen, <a href="#Page_164">164</a>.<br /> +<br /> +<i>Enfants Jardiniers</i>, <a href="#Page_74">74</a>.<br /> +<br /> +Enghien, <a href="#Page_103">103</a>, <a href="#Page_221">221</a>, +<a href="#Page_222">222</a>.<br /> +<br /> +England, <a href="#Page_54">54</a>, <a href="#Page_223">223</a>.<br /> +<br /> +Ercole II (d’Este), <a href="#Page_82">82-84</a>.<br /> +<br /> +Este, d’, <a href="#Page_82">82-84</a>, <a href="#Page_91">91</a>, +<a href="#Page_223">223</a>.<br /> +<br /> +<i>Esther and Ahasuerus</i>, <a href="#Page_190">190</a>.<br /> +<br /> +Europe, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>.</p> + +<p class="index"><a name="F" id="F"></a> +<i>Fables of La Fontaine</i>, <a href="#Page_149">149-152</a>.<br /> +<br /> +Felletin, <a href="#Page_157">157</a>.<br /> +<br /> +Ferrara, <a href="#Page_82">82</a>, <a href="#Page_83">83</a>, +<a href="#Page_223">223</a>.<br /> +<br /> +Ffoulke collection, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>, +<a href="#Page_131">131</a>.<br /> +<br /> +Fifteenth Century, <a href="#Page_22">22</a>, <a href="#Page_27">27</a>, +<a href="#Page_46">46</a>, <a href="#Page_51">51</a>, +<a href="#Page_54">54</a>, <a href="#Page_58">58</a>, +<a href="#Page_81">81</a>, <a href="#Page_106">106</a>, +<a href="#Page_160">160</a>, <a href="#Page_163">163</a>, +<a href="#Page_176">176</a>, <a href="#Page_183">183</a>, +<a href="#Page_184">184</a>, <a href="#Page_196">196</a>, +<a href="#Page_202">202</a>.<br /> +<br /> +Filleul, <a href="#Page_148">148</a>.<br /> +<br /> +Flanders, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, +<a href="#Page_28">28</a>, <a href="#Page_54">54</a>, +<a href="#Page_68">68</a>, <a href="#Page_110">110</a>, +<a href="#Page_121">121</a>, <a href="#Page_150">150</a>, +<a href="#Page_163">163</a>, <a href="#Page_169">169</a>, +<a href="#Page_176">176</a>, <a href="#Page_208">208</a>.<br /> +<br /> +Flemish tapestry, <a href="#Page_9">9</a>, <a href="#Page_79">79</a>.<br /> +<br /> +Fleur-de-lis, use of, <a href="#Page_38">38</a>, <a href="#Page_222">222</a>.<br /> +<br /> +Florence factory, <a href="#Page_223">223</a>.<br /> +<br /> +Flowers, use of, <a href="#Page_52">52</a>, <a href="#Page_180">180</a>, +<a href="#Page_181">181</a>.<br /> +<br /> +Flute, <a href="#Page_4">4</a>, <a href="#Page_227">227</a>, +<a href="#Page_228">228</a>, <a href="#Page_229">229</a>.<br /> +<br /> +Fontainebleau, <a href="#Page_91">91</a>, <a href="#Page_92">92</a>.<br /> +<br /> +<span class='pagenum'><a name="Page_270" id="Page_270">[Pg 270]</a></span> +Foucquet, <a href="#Page_100">100-105</a>.<br /> +<br /> +Fouquet, Jean, <a href="#Page_42">42</a>.<br /> +<br /> +Fourteenth Century, <a href="#Page_25">25</a>, <a href="#Page_27">27</a>, +<a href="#Page_30">30</a>, <a href="#Page_106">106</a>, +<a href="#Page_176">176</a>, <a href="#Page_183">183</a>.<br /> +<br /> +France, <a href="#Page_10">10</a>, <a href="#Page_28">28</a>, +<a href="#Page_54">54</a>, <a href="#Page_90">90</a>, +<a href="#Page_110">110</a>, <a href="#Page_163">163</a>, +<a href="#Page_176">176</a>, <a href="#Page_252">252-257</a>.<br /> +<br /> +Francis I, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>.<br /> +<br /> +French terms, <a href="#Page_4">4</a>.<br /> +<br /> +Furniture, <a href="#Page_133">133</a>, <a href="#Page_134">134</a>, +<a href="#Page_135">135</a>, <a href="#Page_146">146</a>, +<a href="#Page_149">149</a>, <a href="#Page_152">152</a>, +<a href="#Page_159">159</a>, <a href="#Page_162">162</a>.</p> + +<p class="index"><a name="G" id="G"></a> +Galloon, <a href="#Page_173">173</a>, <a href="#Page_201">201</a>, +<a href="#Page_204">204</a>, <a href="#Page_219">219</a>, +<a href="#Page_221">221</a>.<br /> +<br /> +Genoa, <a href="#Page_89">89</a>.<br /> +<br /> +Germany, <a href="#Page_54">54</a>, <a href="#Page_160">160</a>.<br /> +<br /> +Geubels, Jacques, <a href="#Page_79">79</a>, <a href="#Page_221">221</a>.<br /> +<br /> +Ghent, <a href="#Page_66">66</a>.<br /> +<br /> +Giotto, <a href="#Page_27">27</a>, <a href="#Page_216">216</a>.<br /> +<br /> +Giulio Romano, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, +<a href="#Page_84">84</a>, <a href="#Page_93">93</a>, +<a href="#Page_118">118</a>.<br /> +<br /> +Gobelin, Jean and Philibert, <a href="#Page_105">105</a>, <a href="#Page_106">106</a>.<br /> +<br /> +Gobelins, <a href="#Page_10">10</a>, <a href="#Page_30">30</a>, +<a href="#Page_90">90</a>, <a href="#Page_93">93</a>, +<a href="#Page_99">99</a>, <a href="#Page_103">103-107</a>, +<a href="#Page_109">109</a>, <a href="#Page_111">111</a>, +<a href="#Page_112">112</a>, <a href="#Page_115">115-122</a>, +<a href="#Page_128">128-131</a>, <a href="#Page_133">133</a>, +<a href="#Page_135">135</a>, <a href="#Page_137">137-145</a>, +<a href="#Page_154">154</a>, <a href="#Page_159">159</a>, +<a href="#Page_161">161</a>, <a href="#Page_162">162</a>, +<a href="#Page_203">203</a>, <a href="#Page_205">205</a>, +<a href="#Page_222">222</a>, <a href="#Page_236">236</a>, +<a href="#Page_252">252</a>.<br /> +<br /> +Gobelins Museum (Paris), <a href="#Page_92">92</a>, <a href="#Page_99">99</a>, +<a href="#Page_252">252</a>.<br /> +<br /> +Gold, use of, <a href="#Page_6">6</a>.<br /> +<br /> +Gonnor (Duchess), <a href="#Page_21">21</a>.<br /> +<br /> +Gonzaga, <a href="#Page_61">61</a>, <a href="#Page_81">81</a>.<br /> +<br /> +<i>Goose Girl, The</i>, <a href="#Page_259">259</a>.<br /> +<br /> +Gothic border, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>.<br /> +<br /> +Gothic columns, use of, <a href="#Page_39">39</a>, <a href="#Page_52">52</a>, +<a href="#Page_177">177</a>, <a href="#Page_178">178</a>.<br /> +<br /> +Gothic drawing, <a href="#Page_174">174-177</a>.<br /> +<br /> +Gothic flowers, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>.<br /> +<br /> +Gothic period, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, +<a href="#Page_16">16</a>, <a href="#Page_52">52</a>, +<a href="#Page_69">69</a>, <a href="#Page_188">188</a>, +<a href="#Page_192">192</a>.<br /> +<br /> +Gothic style, <a href="#Page_5">5</a>, <a href="#Page_27">27</a>, +<a href="#Page_53">53</a>, <a href="#Page_66">66</a>.<br /> +<br /> +Greece, <a href="#Page_18">18</a>, <a href="#Page_27">27</a>.<br /> +<br /> +Greek drawing, <a href="#Page_15">15</a>.<br /> +<br /> +Greek influence, <a href="#Page_186">186</a>.<br /> +<br /> +<i>Grotesque Months</i>, <a href="#Page_76">76</a>, <a href="#Page_127">127</a>.<br /> +<br /> +Guildhall, <a href="#Page_7">7</a>.<br /> +<br /> +Guilds, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>.</p> + +<p class="index"><a name="H" id="H"></a> +Halberstadt, Cathedral at, <a href="#Page_23">23</a>.<br /> +<br /> +Hallé, <a href="#Page_131">131</a>.<br /> +<br /> +Hardwick Hall tapestries, <a href="#Page_46">46</a>.<br /> +<br /> +Harriman, Mrs. E. H., <a href="#Page_263">263</a>.<br /> +<br /> +Haute lisse, <a href="#Page_3">3</a>, <a href="#Page_193">193</a>, +<a href="#Page_194">194</a>, <a href="#Page_227">227</a>.<br /> +<br /> +Helen, <a href="#Page_19">19</a>, <a href="#Page_21">21</a>.<br /> +<br /> +Helly, <a href="#Page_35">35</a>.<br /> +<br /> +Henri II, <a href="#Page_92">92</a>.<br /> +<br /> +Henri IV, <a href="#Page_10">10</a>, <a href="#Page_94">94</a>, +<a href="#Page_95">95</a>, <a href="#Page_96">96</a>, +<a href="#Page_97">97</a>, <a href="#Page_98">98</a>, +<a href="#Page_107">107</a>, <a href="#Page_146">146</a>, +<a href="#Page_160">160</a>, <a href="#Page_161">161</a>, +<a href="#Page_164">164</a>, <a href="#Page_165">165</a>, +<a href="#Page_212">212</a>.<br /> +<br /> +Henry V, <a href="#Page_31">31</a>.<br /> +<br /> +Henry VIII, <a href="#Page_164">164</a>, <a href="#Page_251">251</a>.<br /> +<br /> +<i>Hero and Leander, History of</i>, <a href="#Page_169">169</a>.<br /> +<br /> +<i>Herse and Mercury</i>, <a href="#Page_205">205</a>.<br /> +<br /> +Herter, <a href="#Page_238">238</a>, <a href="#Page_239">239</a>, +<a href="#Page_263">263</a>.<br /> +<br /> +High-loom, <a href="#Page_15">15</a>, <a href="#Page_18">18</a>.<br /> +<br /> +High-warp, <a href="#Page_3">3</a>, <a href="#Page_16">16</a>, +<a href="#Page_19">19</a>, <a href="#Page_27">27</a>, +<a href="#Page_29">29</a>, <a href="#Page_95">95</a>, +<a href="#Page_109">109</a>, <a href="#Page_157">157</a>, +<a href="#Page_193">193</a>, <a href="#Page_227">227</a>, +<a href="#Page_228">228</a>, <a href="#Page_229">229</a>.<br /> +<br /> +Hinart, Louis, <a href="#Page_146">146</a>, <a href="#Page_147">147</a>.<br /> +<br /> +Hiss, Philip, <a href="#Page_170">170</a>, <a href="#Page_224">224</a>.<br /> +<br /> +<i>History of Alexander</i>, <a href="#Page_115">115</a>, +<a href="#Page_172">172</a>, <a href="#Page_197">197</a>.<br /> +<br /> +<i>History of Constantine</i>, <a href="#Page_112">112</a>.<br /> +<br /> +<i>History of Esther</i>, <a href="#Page_131">131</a>, <a href="#Page_132">132</a>.<br /> +<br /> +<i>History of Gideon</i>, <a href="#Page_36">36</a>.<br /> +<br /> +<span class='pagenum'><a name="Page_271" id="Page_271">[Pg 271]</a></span> +<i>History of Hero and Leander</i>, <a href="#Page_169">169</a>.<br /> +<br /> +<i>History of Meleager</i>, <a href="#Page_112">112</a>.<br /> +<br /> +<i>History of the King</i>, <a href="#Page_112">112</a>, <a href="#Page_113">113</a>, +<a href="#Page_129">129</a>, <a href="#Page_222">222</a>.<br /> +<br /> +<i>Holy Grail, The</i>, <a href="#Page_258">258</a>.<br /> +<br /> +<i>Horrors of the Seven Deadly Sins, The</i>, <a href="#Page_51">51</a>.<br /> +<br /> +<i>Hunt of Meleager</i>, <a href="#Page_99">99</a>.<br /> +<br /> +<i>Hunts of Louis XV</i>, <a href="#Page_130">130</a>, <a href="#Page_188">188</a>.</p> + +<p class="index"><a name="I" id="I"></a> +Identifications, <a href="#Page_172">172-200</a>.<br /> +<br /> +Iliad, influence of, <a href="#Page_130">130</a>.<br /> +<br /> +India, <a href="#Page_18">18</a>.<br /> +<br /> +Italy, <a href="#Page_6">6</a>, <a href="#Page_10">10</a>, +<a href="#Page_54">54</a>, <a href="#Page_71">71</a>, +<a href="#Page_81">81</a>, <a href="#Page_86">86</a>, +<a href="#Page_110">110</a>, <a href="#Page_152">152</a>, +<a href="#Page_168">168</a>, <a href="#Page_208">208</a>, +<a href="#Page_223">223</a>.</p> + +<p class="index"><a name="J" id="J"></a> +James I, <a href="#Page_164">164-167</a>.<br /> +<br /> +Jans, Jean, <a href="#Page_109">109</a>, <a href="#Page_126">126</a>.<br /> +<br /> +John, Revelation of, <a href="#Page_23">23</a>.<br /> +<br /> +John without Fear, <a href="#Page_36">36</a>, <a href="#Page_45">45</a>.<br /> +<br /> +Jouvenet, <a href="#Page_130">130</a>.<br /> +<br /> +<i>Judgment of Paris, The</i>, <a href="#Page_119">119</a>.<br /> +<br /> +Jumeau, Pierre le, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>.</p> + +<p class="index"><a name="K" id="K"></a> +Karcher, John, <a href="#Page_82">82</a>.<br /> +<br /> +Karcher, Nicholas, <a href="#Page_76">76</a>, <a href="#Page_82">82</a>, +<a href="#Page_84">84</a>, <a href="#Page_85">85</a>, +<a href="#Page_223">223</a>.<br /> +<br /> +<i>Kingdom of Heaven, The</i>, <a href="#Page_59">59</a>.<br /> +<br /> +King’s Works, <a href="#Page_171">171</a>.</p> + +<p class="index"><a name="L" id="L"></a> +<i>Lady and the Unicorn, The</i>, <a href="#Page_44">44</a>, +<a href="#Page_54">54</a>, <a href="#Page_175">175</a>, +<a href="#Page_181">181</a>, <a href="#Page_203">203</a>.<br /> +<br /> +Lancaster, Duke of, <a href="#Page_33">33</a>.<br /> +<br /> +La Marche, <a href="#Page_157">157</a>, <a href="#Page_158">158</a>.<br /> +<br /> +La Planche, Raphael de, <a href="#Page_96">96</a>, <a href="#Page_165">165</a>, +<a href="#Page_166">166</a>.<br /> +<br /> +Laurent, Henri, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, +<a href="#Page_109">109</a>.<br /> +<br /> +Lebrun, <a href="#Page_74">74</a>, <a href="#Page_99">99</a>, +<a href="#Page_103">103</a>, <a href="#Page_104">104</a>, +<a href="#Page_107">107</a>, <a href="#Page_109">109-120</a>, +<a href="#Page_188">188</a>, <a href="#Page_203">203</a>, +<a href="#Page_209">209</a>, <a href="#Page_211">211</a>, +<a href="#Page_212">212</a>, <a href="#Page_213">213</a>.<br /> +<br /> +Lefèvre (or Lefebvre), <a href="#Page_98">98</a>, +<a href="#Page_109">109</a>, <a href="#Page_126">126</a>, +<a href="#Page_222">222</a>, <a href="#Page_223">223</a>.<br /> +<br /> +Leipzig, <a href="#Page_152">152</a>.<br /> +<br /> +Leleu, <a href="#Page_105">105</a>.<br /> +<br /> +Leo X, Pope, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>, +<a href="#Page_86">86</a>.<br /> +<br /> +Leonardo da Vinci, <a href="#Page_90">90</a>.<br /> +<br /> +Le Pape, <a href="#Page_147">147</a>.<br /> +<br /> +Leprince, <a href="#Page_151">151</a>.<br /> +<br /> +Lerambert, Henri, <a href="#Page_94">94</a>, <a href="#Page_211">211</a>.<br /> +<br /> +Lettering, <a href="#Page_183">183-184</a>, <a href="#Page_203">203</a>.<br /> +<br /> +Leyniers, Nicolas, <a href="#Page_221">221</a>.<br /> +<br /> +Liége, tapestries of, <a href="#Page_48">48</a>.<br /> +<br /> +<i>Life of Marie de Medici</i>, <a href="#Page_197">197</a>.<br /> +<br /> +<i>Life of the King</i>, <a href="#Page_114">114</a>, <a href="#Page_144">144</a>, +<a href="#Page_188">188</a>.<br /> +<br /> +Lisse, <a href="#Page_3">3</a>, <a href="#Page_193">193</a>.<br /> +<br /> +Loches, church of, <a href="#Page_41">41</a>.<br /> +<br /> +London, <a href="#Page_165">165</a>.<br /> +<br /> +“Long wool” (<i>longue laine</i>), <a href="#Page_160">160</a>.<br /> +<br /> +Looms, <a href="#Page_3">3</a>, <a href="#Page_226">226-230</a>.<br /> +<br /> +Lorenzo the Magnificent, <a href="#Page_86">86</a>.<br /> +<br /> +Louis XI, <a href="#Page_36">36</a>, <a href="#Page_47">47</a>, +<a href="#Page_48">48</a>, <a href="#Page_50">50</a>, +<a href="#Page_54">54</a>.<br /> +<br /> +Louis XII, <a href="#Page_48">48</a>.<br /> +<br /> +Louis XIII, <a href="#Page_98">98</a>.<br /> +<br /> +Louis XIV, <a href="#Page_10">10</a>, <a href="#Page_97">97-107</a>, +<a href="#Page_117">117</a>, <a href="#Page_118">118</a>, +<a href="#Page_122">122</a>, <a href="#Page_129">129</a>, +<a href="#Page_145">145</a>, <a href="#Page_155">155-157</a>, +<a href="#Page_161">161</a>, <a href="#Page_188">188</a>, +<a href="#Page_203">203</a>, <a href="#Page_211">211</a>, +<a href="#Page_212">212</a>.<br /> +<br /> +Louis XV, <a href="#Page_127">127</a>, <a href="#Page_128">128</a>, +<a href="#Page_129">129</a>, <a href="#Page_132">132</a>, +<a href="#Page_133">133</a>, <a href="#Page_135">135</a>, +<a href="#Page_136">136</a>, <a href="#Page_150">150</a>, +<a href="#Page_162">162</a>, <a href="#Page_191">191</a>, +<a href="#Page_205">205</a>, <a href="#Page_213">213</a>.<br /> +<br /> +Louis XVI, <a href="#Page_133">133</a>, <a href="#Page_136">136</a>, +<a href="#Page_137">137</a>, <a href="#Page_152">152</a>, +<a href="#Page_162">162</a>.<br /> +<br /> +Louvois, <a href="#Page_116">116-121</a>.<br /> +<br /> +Louvre, <a href="#Page_97">97</a>, <a href="#Page_108">108</a>, +<a href="#Page_109">109</a>, <a href="#Page_115">115</a>, +<a href="#Page_160">160</a>, <a href="#Page_161">161</a>.<br /> +<br /> +<i>Loves of the Gods</i>, <a href="#Page_132">132</a>.<br /> +<br /> +<span class='pagenum'><a name="Page_272" id="Page_272">[Pg 272]</a></span> +Low-warp, <a href="#Page_3">3</a>, <a href="#Page_78">78</a>, +<a href="#Page_109">109</a>, <a href="#Page_114">114</a>, +<a href="#Page_147">147</a>, <a href="#Page_157">157</a>, +<a href="#Page_158">158</a>, <a href="#Page_193">193</a>, +<a href="#Page_227">227</a>, <a href="#Page_228">228</a>, +<a href="#Page_230">230</a>.</p> + +<p class="index"><a name="M" id="M"></a> +Maecht, Philip de, <a href="#Page_166">166</a>, <a href="#Page_170">170</a>, +<a href="#Page_223">223</a>, <a href="#Page_224">224</a>.<br /> +<br /> +Maincy, factory of. <i>See</i> <a href="#Vaux"><b>Vaux</b></a>.<br /> +<br /> +Maintenon, Mme. de, <a href="#Page_118">118</a>, <a href="#Page_122">122</a>, +<a href="#Page_124">124</a>.<br /> +<br /> +Mangelschot, <a href="#Page_138">138</a>.<br /> +<br /> +Mantegna, Andrea, <a href="#Page_61">61</a>, <a href="#Page_73">73</a>, +<a href="#Page_81">81</a>, <a href="#Page_171">171</a>.<br /> +<br /> +Manufactory, Royal (Aubusson), <a href="#Page_156">156</a>.<br /> +<br /> +Marie Antoinette, <a href="#Page_133">133</a>, <a href="#Page_137">137</a>, +<a href="#Page_152">152</a>.<br /> +<br /> +<i>Marie de Medici, Life of</i>, <a href="#Page_197">197</a>.<br /> +<br /> +Marie Thérèse, <a href="#Page_118">118</a>.<br /> +<br /> +Marks, <a href="#Page_216">216-224</a>.<br /> +<br /> +Martel, Charles, <a href="#Page_154">154</a>, <a href="#Page_155">155</a>.<br /> +<br /> +Mary’s Chamber at Holyrood, <a href="#Page_65">65</a>.<br /> +<br /> +Master-weaver, <a href="#Page_6">6</a>.<br /> +<br /> +Matilda (Queen), <a href="#Page_21">21</a>, <a href="#Page_242">242</a>, +<a href="#Page_245">245</a>.<br /> +<br /> +<i>Mausolus and Artemisia</i>, <a href="#Page_93">93</a>.<br /> +<br /> +Mazarin, Cardinal, <a href="#Page_59">59</a>, <a href="#Page_100">100</a>.<br /> +<br /> +Mazarin tapestry, <a href="#Page_56">56</a>, <a href="#Page_196">196</a>.<br /> +<br /> +Medici, <a href="#Page_84">84</a>, <a href="#Page_92">92</a>, +<a href="#Page_94">94</a>.<br /> +<br /> +<i>Meleager and Atalanta</i>, <a href="#Page_222">222</a>.<br /> +<br /> +Memling, <a href="#Page_55">55</a>.<br /> +<br /> +Mercier, Pierre, <a href="#Page_157">157</a>.<br /> +<br /> +<i>Mercury</i>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, +<a href="#Page_78">78</a>, <a href="#Page_196">196</a>.<br /> +<br /> +Merton Abbey, <a href="#Page_252">252</a>, <a href="#Page_257">257-261</a>.<br /> +<br /> +Metropolitan Museum of Art, <a href="#Page_15">15</a>, <a href="#Page_40">40</a>, +<a href="#Page_42">42</a>, <a href="#Page_46">46</a>, +<a href="#Page_52">52</a>, <a href="#Page_58">58</a>, +<a href="#Page_59">59</a>, <a href="#Page_76">76</a>, +<a href="#Page_80">80</a>, <a href="#Page_162">162</a>, +<a href="#Page_170">170</a>, <a href="#Page_174">174</a>, +<a href="#Page_176">176</a>, <a href="#Page_187">187</a>, +<a href="#Page_210">210</a>, <a href="#Page_238">238</a>.<br /> +<br /> +Meulen, François de la, <a href="#Page_114">114</a>.<br /> +<br /> +Michael Angelo, <a href="#Page_84">84</a>.<br /> +<br /> +Micou, <a href="#Page_148">148</a>.<br /> +<br /> +Middle Ages, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, +<a href="#Page_7">7</a>, <a href="#Page_19">19</a>, +<a href="#Page_21">21</a>, <a href="#Page_27">27</a>, +<a href="#Page_42">42</a>, <a href="#Page_201">201</a>.<br /> +<br /> +Mignard, Pierre, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>, +<a href="#Page_121">121</a>.<br /> +<br /> +Millefleurs, <a href="#Page_4">4</a>, <a href="#Page_13">13</a>.<br /> +<br /> +Missals, <a href="#Page_5">5</a>.<br /> +<br /> +Monasteries, influence of, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>.<br /> +<br /> +Montespan, Mme. de, <a href="#Page_118">118</a>, <a href="#Page_131">131</a>, +<a href="#Page_148">148</a>.<br /> +<br /> +Montezert, Pierre de, <a href="#Page_158">158</a>.<br /> +<br /> +<i>Months, The</i>, <a href="#Page_112">112</a>, <a href="#Page_133">133</a>, +<a href="#Page_197">197</a>, <a href="#Page_212">212</a>.<br /> +<br /> +Morgan, J. P., <a href="#Page_40">40</a>, <a href="#Page_56">56</a>, +<a href="#Page_59">59</a>, <a href="#Page_128">128</a>, +<a href="#Page_196">196</a>, <a href="#Page_250">250</a>.<br /> +<br /> +Morris, William, <a href="#Page_257">257-261</a>.<br /> +<br /> +Mortlake, <a href="#Page_163">163-171</a>, <a href="#Page_197">197</a>, +<a href="#Page_223">223</a>.<br /> +<br /> +Mozin, Jean Baptiste, <a href="#Page_109">109</a>.<br /> +<br /> +<i>Muses</i>, <a href="#Page_104">104</a>, <a href="#Page_141">141</a>.<br /> +<br /> +Museums, Boston Fine Arts, <a href="#Page_15">15</a>, <a href="#Page_46">46</a>, +<a href="#Page_56">56</a>, <a href="#Page_238">238</a>;<br /> +<span class="in1">Chicago Institute of Art, <a href="#Page_47">47</a>, +<a href="#Page_78">78</a>, <a href="#Page_221">221</a>;</span><br /> +<span class="in1">Cluny, <a href="#Page_44">44</a>, <a href="#Page_54">54</a>;</span><br /> +<span class="in1">Gobelins (Paris), <a href="#Page_92">92</a>, +<a href="#Page_99">99</a>, <a href="#Page_252">252</a>;</span><br /> +<span class="in1">Metropolitan (New York), <a href="#Page_15">15</a>, +<a href="#Page_40">40</a>, <a href="#Page_42">42</a>, +<a href="#Page_52">52</a>, <a href="#Page_58">58</a>, +<a href="#Page_59">59</a>, <a href="#Page_76">76</a>, +<a href="#Page_80">80</a>, <a href="#Page_162">162</a>, +<a href="#Page_170">170</a>, <a href="#Page_174">174</a>, +<a href="#Page_176">176</a>, <a href="#Page_187">187</a>, +<a href="#Page_210">210</a>, <a href="#Page_238">238</a>;</span><br /> +<span class="in1">Nancy, <a href="#Page_37">37</a>.</span><br /> +<br /> +<i>Mysteries of the Life and Death of Jesus Christ, The</i>, <a href="#Page_87">87</a>, +<a href="#Page_208">208</a>.</p> + +<p class="index"><a name="N" id="N"></a> +Nancy, Museum of, <a href="#Page_37">37</a>.<br /> +<br /> +Nantes, Edict of; its effect, <a href="#Page_95">95</a>, <a href="#Page_118">118</a>, +<a href="#Page_157">157</a>.<br /> +<br /> +Napoleon, <a href="#Page_136">136</a>, <a href="#Page_142">142</a>, +<a href="#Page_143">143</a>, <a href="#Page_144">144</a>, +<a href="#Page_208">208</a>.<br /> +<br /> +<i>Napoleon Crossing the Alps</i>, <a href="#Page_144">144</a>.<br /> +<br /> +Natoire, Charles, <a href="#Page_151">151</a>.<br /> +<br /> +Neilson, <a href="#Page_132">132</a>.<br /> +<br /> +Nineteenth Century, <a href="#Page_255">255</a>.<br /> +<br /> +Notre Dame, <a href="#Page_21">21</a>.</p> + +<p class="index"><a name="O" id="O"></a> +<span class='pagenum'><a name="Page_273" id="Page_273">[Pg 273]</a></span> +Otho, Count of Burgundy, <a href="#Page_32">32</a>.<br /> +<br /> +Oudenarde, <a href="#Page_221">221</a>.<br /> +<br /> +Oudry, <a href="#Page_131">131</a>, <a href="#Page_148">148-152</a>, +<a href="#Page_257">257</a>.</p> + +<p class="index"><a name="P" id="P"></a> +Pannemaker, Wilhelm de, <a href="#Page_62">62</a>, +<a href="#Page_75">75</a>, <a href="#Page_220">220</a>.<br /> +<br /> +Paris, <a href="#Page_10">10</a>, <a href="#Page_28">28</a>, +<a href="#Page_29">29</a>, <a href="#Page_30">30</a>, +<a href="#Page_47">47</a>, <a href="#Page_51">51</a>, +<a href="#Page_90">90</a>, <a href="#Page_98">98</a>, +<a href="#Page_132">132</a>, <a href="#Page_163">163</a>, +<a href="#Page_222">222</a>, <a href="#Page_229">229</a>.<br /> +<br /> +Parrish, Maxfield, <a href="#Page_264">264</a>.<br /> +<br /> +Parrocel, Charles, <a href="#Page_130">130</a>.<br /> +<br /> +<i>Passing of Venus, The</i>, <a href="#Page_259">259</a>.<br /> +<br /> +Pendleton, Charlotte, <a href="#Page_235">235</a>.<br /> +<br /> +Penelope, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>, +<a href="#Page_21">21</a>, <a href="#Page_227">227</a>.<br /> +<br /> +Pepersack, Daniel, <a href="#Page_99">99</a>.<br /> +<br /> +Percier, <a href="#Page_143">143</a>.<br /> +<br /> +“<i>Perse, à la façon de, ou du Levant</i>,” +<a href="#Page_160">160</a>.<br /> +<br /> +Persia, <a href="#Page_19">19</a>.<br /> +<br /> +Personages, <a href="#Page_4">4</a>.<br /> +<br /> +Perspective, <a href="#Page_175">175-177</a>.<br /> +<br /> +Pharaohs, <a href="#Page_18">18</a>, <a href="#Page_57">57</a>.<br /> +<br /> +Philip the Good, <a href="#Page_36">36</a>.<br /> +<br /> +Philip the Hardy, <a href="#Page_22">22</a>, <a href="#Page_29">29</a>, +<a href="#Page_33">33</a>, <a href="#Page_34">34</a>, +<a href="#Page_35">35</a>, <a href="#Page_45">45</a>.<br /> +<br /> +Philippe (Regent), <a href="#Page_122">122</a>, <a href="#Page_128">128</a>, +<a href="#Page_134">134</a>, <a href="#Page_148">148</a>, +<a href="#Page_236">236</a>.<br /> +<br /> +Pickering, Sir Gilbert, <a href="#Page_171">171</a>.<br /> +<br /> +Pius X, Pope, <a href="#Page_9">9</a>.<br /> +<br /> +Planche, François de la, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, +<a href="#Page_97">97</a>, <a href="#Page_107">107</a>.<br /> +<br /> +Poitiers, <a href="#Page_23">23</a>, <a href="#Page_154">154</a>, +<a href="#Page_155">155</a>.<br /> +<br /> +Poitou, Count of, <a href="#Page_23">23</a>.<br /> +<br /> +<i>Portières des Dieux</i>, <a href="#Page_126">126</a>.<br /> +<br /> +Portraits, <a href="#Page_133">133</a>, <a href="#Page_140">140</a>, +<a href="#Page_143">143</a>, <a href="#Page_162">162</a>, +<a href="#Page_253">253</a>.<br /> +<br /> +<i>Presentation in the Temple, The</i>, <a href="#Page_30">30</a>.</p> + +<p class="index"><a name="Q" id="Q"></a> +Quedlimburg Hanging, <a href="#Page_25">25</a>.<br /> +<br /> +Quentin Matsys, <a href="#Page_58">58</a>, <a href="#Page_59">59</a>.</p> + +<p class="index"><a name="R" id="R"></a> +Raphael, <a href="#Page_9">9</a>, <a href="#Page_64">64</a>, +<a href="#Page_67">67</a>, <a href="#Page_69">69</a>, +<a href="#Page_70">70</a>, <a href="#Page_71">71</a>, +<a href="#Page_79">79</a>, <a href="#Page_84">84</a>, +<a href="#Page_118">118</a>, <a href="#Page_119">119</a>, +<a href="#Page_145">145</a>, <a href="#Page_169">169</a>, +<a href="#Page_187">187</a>, <a href="#Page_189">189</a>, +<a href="#Page_205">205</a>, <a href="#Page_207">207</a>, +<a href="#Page_214">214</a>, <a href="#Page_216">216</a>, +<a href="#Page_221">221</a>.<br /> +<br /> +Ravaillac, <a href="#Page_97">97</a>.<br /> +<br /> +Renaissance, influence of, <a href="#Page_9">9</a>, <a href="#Page_53">53</a>, +<a href="#Page_61">61</a>, <a href="#Page_67">67</a>, +<a href="#Page_68">68</a>, <a href="#Page_69">69</a>, +<a href="#Page_70">70</a>, <a href="#Page_77">77</a>, +<a href="#Page_78">78</a>, <a href="#Page_174">174</a>, +<a href="#Page_178">178</a>, <a href="#Page_182">182</a>, +<a href="#Page_184">184</a>, <a href="#Page_186">186</a>, +<a href="#Page_187">187</a>, <a href="#Page_188">188</a>, +<a href="#Page_189">189</a>, <a href="#Page_191">191</a>, +<a href="#Page_192">192</a>.<br /> +<br /> +<i>Renommés, Les</i>, <a href="#Page_111">111</a>.<br /> +<br /> +Repairs, <a href="#Page_237">237-240</a>.<br /> +<br /> +Revolution, French, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, +<a href="#Page_139">139</a>, <a href="#Page_140">140</a>, +<a href="#Page_142">142</a>, <a href="#Page_152">152</a>.<br /> +<br /> +<i>Reward of Virtue, The</i>, <a href="#Page_51">51</a>.<br /> +<br /> +Rheims, <a href="#Page_99">99</a>, <a href="#Page_155">155</a>.<br /> +<br /> +Richelieu, <a href="#Page_99">99</a>.<br /> +<br /> +Riesner, <a href="#Page_107">107</a>.<br /> +<br /> +Riviera, Giacomo della, <a href="#Page_87">87</a>.<br /> +<br /> +Rococo, <a href="#Page_128">128</a>.<br /> +<br /> +Roman influence, <a href="#Page_186">186</a>.<br /> +<br /> +Romanelli, <a href="#Page_87">87</a>, <a href="#Page_88">88</a>, +<a href="#Page_130">130</a>.<br /> +<br /> +Romano, Giulio, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, +<a href="#Page_84">84</a>, <a href="#Page_93">93</a>, +<a href="#Page_118">118</a>.<br /> +<br /> +Rome, <a href="#Page_18">18</a>, <a href="#Page_27">27</a>.<br /> +<br /> +Rome, Jean de, or Jan von Room, <a href="#Page_56">56</a>, <a href="#Page_58">58</a>, +<a href="#Page_59">59</a>, <a href="#Page_216">216</a>.<br /> +<br /> +Rost, John, <a href="#Page_76">76</a>, <a href="#Page_84">84</a>, +<a href="#Page_85">85</a>, <a href="#Page_223">223</a>.<br /> +<br /> +Rouen, <a href="#Page_21">21</a>.<br /> +<br /> +Royal Collection, Madrid, <a href="#Page_187">187</a>.<br /> +<br /> +<i>Royal Hunts, The</i>, <a href="#Page_130">130</a>, <a href="#Page_188">188</a>.<br /> +<br /> +<i>Royal Residences, The</i>, <a href="#Page_112">112</a>, <a href="#Page_197">197</a>, +<a href="#Page_203">203</a>, <a href="#Page_212">212</a>.<br /> +<br /> +Rubens, <a href="#Page_79">79</a>, <a href="#Page_104">104</a>, +<a href="#Page_110">110</a>, <a href="#Page_111">111</a>, +<a href="#Page_112">112</a>, <a href="#Page_169">169</a>, +<a href="#Page_187">187</a>, <a href="#Page_209">209</a>, +<a href="#Page_210">210</a>, <a href="#Page_211">211</a>, +<a href="#Page_214">214</a>.<br /> +<br /> +<span class='pagenum'><a name="Page_274" id="Page_274">[Pg 274]</a></span> +Ryerson collection, <a href="#Page_59">59</a>, <a href="#Page_60">60</a>, +<a href="#Page_61">61</a>.<br /> +<br /> +Ryswick, Peace of, <a href="#Page_121">121</a>.</p> + +<p class="index"><a name="S" id="S"></a> +<i>Sack of Jerusalem, The</i>, <a href="#Page_45">45</a>, <a href="#Page_176">176</a>.<br /> +<br /> +<i>Sacraments, The</i>, <a href="#Page_38">38</a>, <a href="#Page_46">46</a>, +<a href="#Page_52">52</a>, <a href="#Page_174">174</a>, +<a href="#Page_176">176</a>, <a href="#Page_192">192</a>.<br /> +<br /> +<i>Sacred and Profane Love</i>, <a href="#Page_254">254</a>.<br /> +<br /> +St. Denis, abbey of, <a href="#Page_22">22</a>.<br /> +<br /> +St. Florent, Abbot of, <a href="#Page_23">23</a>.<br /> +<br /> +St. Germain, <a href="#Page_109">109</a>.<br /> +<br /> +St. John the Divine, Cathedral of, <a href="#Page_87">87</a>, +<a href="#Page_88">88</a>, <a href="#Page_208">208</a>.<br /> +<br /> +St. Marceau, <a href="#Page_97">97</a>.<br /> +<br /> +St. Merri, <a href="#Page_95">95</a>.<br /> +<br /> +Saracens, <a href="#Page_28">28</a>, <a href="#Page_154">154</a>, +<a href="#Page_155">155</a>, <a href="#Page_178">178</a>.<br /> +<br /> +Sarrazinois, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, +<a href="#Page_47">47</a>.<br /> +<br /> +Saumur, <a href="#Page_20">20</a>.<br /> +<br /> +Savonnerie, <a href="#Page_97">97</a>, <a href="#Page_159">159-162</a>.<br /> +<br /> +<i>Seasons, The</i>, <a href="#Page_132">132</a>.<br /> +<br /> +<i>Seven Cardinal Virtues, The</i>, <a href="#Page_34">34</a>.<br /> +<br /> +<i>Seven Cardinal Vices, The</i>, <a href="#Page_34">34</a>.<br /> +<br /> +<i>Seven Deadly Sins, The</i>, <a href="#Page_6">6</a>, <a href="#Page_250">250</a>.<br /> +<br /> +Seventeenth Century, <a href="#Page_10">10</a>, <a href="#Page_76">76</a>, +<a href="#Page_86">86</a>, <a href="#Page_96">96</a>, +<a href="#Page_99">99</a>, <a href="#Page_123">123</a>, +<a href="#Page_158">158</a>, <a href="#Page_160">160</a>, +<a href="#Page_163">163</a>, <a href="#Page_180">180</a>, +<a href="#Page_185">185</a>, <a href="#Page_187">187</a>, +<a href="#Page_194">194</a>, <a href="#Page_207">207</a>, +<a href="#Page_208">208</a>, <a href="#Page_211">211</a>.<br /> +<br /> +Sevigné, Mme. de, <a href="#Page_101">101</a>, <a href="#Page_103">103</a>.<br /> +<br /> +Sforza Castle, <a href="#Page_90">90</a>.<br /> +<br /> +Shaw, Byram, <a href="#Page_260">260</a>.<br /> +<br /> +Shuttle, <a href="#Page_4">4</a>.<br /> +<br /> +<i>Siege of Calais</i>, <a href="#Page_141">141</a>.<br /> +<br /> +Silver, use of, <a href="#Page_6">6</a>.<br /> +<br /> +Sixteenth Century, <a href="#Page_29">29</a>, <a href="#Page_54">54</a>, +<a href="#Page_56">56</a>, <a href="#Page_58">58</a>, +<a href="#Page_62">62</a>, <a href="#Page_73">73</a>, +<a href="#Page_74">74</a>, <a href="#Page_79">79</a>, +<a href="#Page_163">163</a>, <a href="#Page_183">183</a>, +<a href="#Page_187">187</a>, <a href="#Page_221">221</a>, +<a href="#Page_223">223</a>.<br /> +<br /> +Sorel, Agnes, <a href="#Page_41">41</a>.<br /> +<br /> +Spain, <a href="#Page_54">54</a>.<br /> +<br /> +Spitzer, collection of Baron, <a href="#Page_59">59</a>, <a href="#Page_60">60</a>, +<a href="#Page_61">61</a>.<br /> +<br /> +<i>Spring</i>, <a href="#Page_180">180</a>.<br /> +<br /> +Stockholm, <a href="#Page_152">152</a>.<br /> +<br /> +<i>Story of Christ, The</i>, <a href="#Page_99">99</a>.<br /> +<br /> +“Stromaturgie, La,” <a href="#Page_161">161</a>.<br /> +<br /> +Stradano, <a href="#Page_85">85</a>.<br /> +<br /> +Sully, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, +<a href="#Page_164">164</a>.<br /> +<br /> +Sumner, Howard, <a href="#Page_260">260</a>.</p> + +<p class="index"><a name="T" id="T"></a> +Tapissiers, <a href="#Page_4">4</a>, <a href="#Page_5">5</a>, +<a href="#Page_228">228</a>.<br /> +<br /> +Tenth Century, <a href="#Page_20">20</a>, <a href="#Page_22">22</a>.<br /> +<br /> +Tessier, Louis, <a href="#Page_135">135</a>.<br /> +<br /> +Thirteenth Century, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>, +<a href="#Page_27">27</a>, <a href="#Page_28">28</a>.<br /> +<br /> +Titian, <a href="#Page_73">73</a>.<br /> +<br /> +Tournelles, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>.<br /> +<br /> +Tours, <a href="#Page_99">99</a>.<br /> +<br /> +<i>Transfiguration, The</i>, <a href="#Page_254">254</a>.<br /> +<br /> +“Très Riches Heures, Les,” <a href="#Page_41">41</a>.<br /> +<br /> +Trinité, Hôpital de la, <a href="#Page_92">92</a>, +<a href="#Page_93">93</a>, <a href="#Page_95">95</a>, +<a href="#Page_97">97</a>, <a href="#Page_109">109</a>.<br /> +<br /> +<i>Triumph of Cæsar, The</i>, <a href="#Page_171">171</a>.<br /> +<br /> +<i>Triumph of Right, The</i>, <a href="#Page_51">51</a>.<br /> +<br /> +<i>Triumphs of the Gods</i>, <a href="#Page_74">74</a>.<br /> +<br /> +<i>Troy, History of</i>, <a href="#Page_81">81</a>.<br /> +<br /> +Troy, J. F. de, <a href="#Page_131">131</a>.<br /> +<br /> +<i>Truth Blindfolded</i>, <a href="#Page_260">260</a>.<br /> +<br /> +Tuileries, <a href="#Page_97">97</a>.<br /> +<br /> +Tuscans, <a href="#Page_27">27</a>.<br /> +<br /> +Twelfth Century, <a href="#Page_23">23</a>, <a href="#Page_28">28</a>.</p> + +<p class="index"><a name="U" id="U"></a> +Urban VIII, History of, <a href="#Page_88">88</a>.<br /> +<br /> +Urbino, Duke Frederick of, <a href="#Page_81">81</a>.</p> + +<p class="index"><a name="V" id="V"></a> +Vallière, Mme. de la, <a href="#Page_118">118</a>.<br /> +<br /> +Van Aelst, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>, +<a href="#Page_86">86</a>, <a href="#Page_220">220</a>, +<a href="#Page_221">221</a>, <a href="#Page_222">222</a>.<br /> +<br /> +<span class='pagenum'><a name="Page_275" id="Page_275">[Pg 275]</a></span> +Van den Strecken, Gerard, <a href="#Page_80">80</a>, <a href="#Page_222">222</a>.<br /> +<br /> +Van der Straaten, Johan, <a href="#Page_85">85</a>.<br /> +<br /> +Van Dyck, <a href="#Page_169">169</a>.<br /> +<br /> +Van Eycks, <a href="#Page_27">27</a>, <a href="#Page_55">55</a>, +<a href="#Page_58">58</a>.<br /> +<br /> +Van Orley, Bernard, <a href="#Page_55">55</a>, <a href="#Page_220">220</a>.<br /> +<br /> +<a name="Vaux" id="Vaux"></a>Vaux, factory of, <a href="#Page_99">99</a>, +<a href="#Page_103">103</a>, <a href="#Page_105">105</a>, +<a href="#Page_111">111</a>, <a href="#Page_112">112</a>.<br /> +<br /> +Venice, <a href="#Page_10">10</a>, <a href="#Page_89">89</a>.<br /> +<br /> +<i>Venus</i>, <a href="#Page_180">180</a>.<br /> +<br /> +Verdure, <a href="#Page_4">4</a>, <a href="#Page_158">158</a>, +<a href="#Page_222">222</a>.<br /> +<br /> +Vermeyen, Jan, <a href="#Page_62">62</a>.<br /> +<br /> +Veronese, Paolo, <a href="#Page_73">73</a>.<br /> +<br /> +Versailles, <a href="#Page_109">109</a>.<br /> +<br /> +<i>Vertumnus and Pomona, The Loves of</i>, <a href="#Page_76">76</a>, +<a href="#Page_78">78</a>, <a href="#Page_220">220</a>.<br /> +<br /> +Vignory, Count of, <a href="#Page_131">131</a>.<br /> +<br /> +<i>Virgin and Saints</i>, <a href="#Page_21">21</a>.<br /> +<br /> +<i>Visit of Louis XIV to the Gobelins</i>, <a href="#Page_113">113</a>.<br /> +<br /> +Von Zedlitz, Anna, <a href="#Page_170">170</a>, <a href="#Page_224">224</a>.<br /> +<br /> +Vouet, Simon, <a href="#Page_211">211</a>.<br /> +<br /> +<i>Vulcan, The Expulsion of</i>, <a href="#Page_170">170</a>, <a href="#Page_224">224</a>.<br /> +<br /> +<i>Vulcan, Story of</i>, <a href="#Page_169">169</a>.</p> + +<p class="index"><a name="W" id="W"></a> +Warp, <a href="#Page_232">232</a>.<br /> +<br /> +Watteau, André, <a href="#Page_126">126</a>, <a href="#Page_188">188</a>.<br /> +<br /> +Wauters, <a href="#Page_87">87</a>.<br /> +<br /> +Weave, <a href="#Page_194">194-196</a>.<br /> +<br /> +Weavers, <a href="#Page_5">5</a>.<br /> +<br /> +Webb, Philip, <a href="#Page_260">260</a>.<br /> +<br /> +William the Conqueror, <a href="#Page_242">242</a>.<br /> +<br /> +Williamsbridge, <a href="#Page_262">262</a>.<br /> +<br /> +Winterhalter, <a href="#Page_253">253</a>.<br /> +<br /> +Woolsey, Cardinal, <a href="#Page_250">250</a>.</p> + +<p class="index" style="padding-bottom: 3em;"><a name="Z" id="Z"></a> +Zègre, Jean, <a href="#Page_103">103</a>.</p> + + + +<div class="bbox"> +<p><b>Transcriber's Note</b></p> + +<p>Minor typographic errors of spelling, punctuation and hyphenation have +been repaired. Archaic and variable spelling has been preserved as printed.</p> + +<p>The following errors in facing page number references have been repaired:</p> + +<div class="amends"> +<p>Page <a href="#Page_61">61</a>—plate reference to page 81 amended to 82.</p> + +<p>Page <a href="#Page_76">76</a>—plate references for the "Vertumnus and Pomona" series amended +from 39 through 42 to 72 through 75.</p> +</div> + +<p>Alphabetic links have been added to the index for ease of navigation.</p> +</div> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Tapestry Book, by Helen Churchill Candee + +*** END OF THIS PROJECT GUTENBERG EBOOK THE TAPESTRY BOOK *** + +***** This file should be named 26151-h.htm or 26151-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/6/1/5/26151/ + +Produced by Eileen Gormly, Alicia Williams (who did the +scanning, image prep, and OCR), Sam W. and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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