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diff --git a/57518-8.txt b/57518-0.txt index 302d380..c8c4caa 100644 --- a/57518-8.txt +++ b/57518-0.txt @@ -1,33 +1,7 @@ -The Project Gutenberg EBook of Catalogue of the Retrospective Loan -Exhibition of European Tapestries, by Phyllis Ackerman - -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/license - - -Title: Catalogue of the Retrospective Loan Exhibition of European Tapestries - -Author: Phyllis Ackerman - -Contributor: J. Nilsen Laurvik - -Release Date: July 16, 2018 [EBook #57518] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK CATALOGUE *** - +*** START OF THE PROJECT GUTENBERG EBOOK 57518 *** -Produced by Jane Robins and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) @@ -166,10 +140,10 @@ of the Fontainebleau ateliers, as well as unusually fine specimens of the relatively scarce examples of the Spanish and Russian looms. My chief concern in organizing this exhibition has been to make it -exemplify, first, the history of tapestry, and, second, its æsthetic +exemplify, first, the history of tapestry, and, second, its æsthetic qualities as these have appeared during the different periods of its changing and varying development, which, like the art of painting, had its -naïve, primitive beginnings, its glorious culmination, and its decline. +naïve, primitive beginnings, its glorious culmination, and its decline. Therefore, every piece has been selected both to represent a distinct and significant type in the chronology of the art and to illustrate the artistic merits of that type, and all the tapestries shown are of the @@ -220,9 +194,9 @@ these are the natural consequence of a comparative study of art, and these and kindred reasons are the impelling causes prompting one to exhibit, not only tapestries, but rugs and textiles of all kinds, in an art museum and to give them the same serious study one would accord a Leonardo, a Giotto, -a Rembrandt. Æsthetically and racially, they are no less revealing and +a Rembrandt. Æsthetically and racially, they are no less revealing and frequently more interesting in that they are the products of the earliest -expressions of those æsthetic impulses the manifestation of which has +expressions of those æsthetic impulses the manifestation of which has come to be called art; nor are they less authentic and expressive because communicated with the force and directness of the primitive loom, which give to all its products a certain character and worth rarely equaled by @@ -602,7 +576,7 @@ of the variety and magnificence of their designs and the splendor and opulence of their color. Thus the Gothic designers both appreciated and employed to the full all -of the æsthetic conditions of their art; yet they did not do this from +of the æsthetic conditions of their art; yet they did not do this from any theoretical comprehension of the medium. The supremacy of Gothic tapestry rests on a broad basis. It is the final product of one of the most vital and creative epochs in the history of art; its designers @@ -790,7 +764,7 @@ and blended colors, the charm of the unaccustomed and the quaint, the interest of the unfamiliar costumes, the literary flavor of old romantic times--even discounting these, they are still inherently superior. To be sure, they are rarely pretty and are sometimes frankly ugly, but with -a tonic ugliness which possesses the deepest of all æsthetic merits, +a tonic ugliness which possesses the deepest of all æsthetic merits, stimulating vitality. They have verve, energy, a pungent vividness that sharply reminds the beholder that he is alive. Their angular emphatic silhouettes and pure, highly saturated, abruptly contrasted colors catch @@ -842,13 +816,13 @@ Brussels, in Germany was scattered through many towns, primarily, however, those of south Germany and Switzerland. And, too, while the designs for the French and Flemish pieces were specially made by manuscript illuminators, painters, or professional cartoon designers, some of whom, -like Maître Philippe (cf. Nos. 17-19), conducted great studios, for the +like Maître Philippe (cf. Nos. 17-19), conducted great studios, for the German pieces the weavers themselves adapted the figures from one of the woodcuts that were the popular art of the German people or from some book illustration. So while the French and Flemish tapestries reached great heights of skill and luxury, and really were a great art, the German -tapestry remained naïve and simple and most of its artistic value is the -product of that very naïveté. +tapestry remained naïve and simple and most of its artistic value is the +product of that very naïveté. Toward the close of the XVth century a change begins to appear in the character of tapestry design. More and more often paintings are exactly @@ -952,9 +926,9 @@ Paris. The workmen were still predominantly Flemish, but again their work was unmistakably French (cf. No. 38). In Trinity Hospital looms had been maintained since the middle of the XVIth century. In the gallery of the Louvre looms were set up about 1607. And the third and most important -shop was established by Marc de Comans and François de la Planche at +shop was established by Marc de Comans and François de la Planche at the invitation of the king. This was most important, because it later -was moved to the Bièvre River, where the Gobelins family had its old +was moved to the Bièvre River, where the Gobelins family had its old dye-works, and it eventually became the great state manufactory. Thereafter for the next two centuries the looms of Flanders and France @@ -986,7 +960,7 @@ massing, the more dispersed lights and shades. The grotesques of France, especially in the XVIIIth century, often controlled the random fancy popularized among the Flemish weavers by introducing a central idea, a goddess above whom they could group the proper attributes (cf. No. 36), or -a court fête (cf. No. 59). And when the French used metal thread it was to +a court fête (cf. No. 59). And when the French used metal thread it was to enrich a limited space rather than to weight a whole tapestry. In a way the opulence of the Flemish was better adapted to the medium. Certainly it produced some very beautiful tapestries. But the refinement of the French @@ -1103,8 +1077,8 @@ apparently was an _entrepreneur_ rather than a weaver; Pieter Van Aelst, who was so renowned that the cartoons of Raphael were first entrusted to him; William Pannemaker, another Brussels man, who had supreme taste and skill, and his relative Pierre, almost as skilful; Marc Comans and -François de la Planche, the Flemings who set up the looms in Paris that -developed into the Gobelins (cf. No. 38); Jean Lefébvre, who worked first +François de la Planche, the Flemings who set up the looms in Paris that +developed into the Gobelins (cf. No. 38); Jean Lefébvre, who worked first in the gallery of the Louvre and then had his studio in the Gobelins (cf. Nos. 39, 40); the Van der Beurchts, of Brussels (cf. Nos. 42, 56), and Leyniers (cf. Nos. 26, 27), and Cozette, most famous weaver of the @@ -1194,13 +1168,13 @@ _Chicago Art Institute, Gothic Exhibition_, 1921.] [Sidenote: Lent by _P. W. French & Company_.] -The piece maintains a high level of æsthetic expression. The religious +The piece maintains a high level of æsthetic expression. The religious emotion is intensely felt and is adequately conveyed in the wistful sadness of the Virgin's face and the expectant suspense of her poised body. The portico seems removed from reality and flooded by a direct heavenly light, in its shining whiteness contrasting with the deep blue-green background. This tapestry by virtue of its intense and elevated -feeling, purified by æsthetic calm and by its exceptional decorative +feeling, purified by æsthetic calm and by its exceptional decorative vividness, ranks with the very great masterpieces of the graphic arts. @@ -1241,8 +1215,8 @@ and attractive personalities. [Sidenote: Illustrated: -_La Renaissance de l'Art français_, 1921, p. 104; _Burlington_, vol. 38, -opp. p. 171. _DeMotte, Les Tapisseries gothiques_, Deuxième Série.] +_La Renaissance de l'Art français_, 1921, p. 104; _Burlington_, vol. 38, +opp. p. 171. _DeMotte, Les Tapisseries gothiques_, Deuxième Série.] These exceedingly rare pieces mark the great wave of naturalism that began sweeping over Europe about 1350 and they exemplify strikingly one @@ -1261,7 +1235,7 @@ never again to be found in tapestry. This is one of the few tapestries that have been improved by age. Time has spread over it a slight gray bloom that seems to remove it from the actual -world, giving it the isolation that is so important a factor in æsthetic +world, giving it the isolation that is so important a factor in æsthetic effect; yet the depth and strength of the colors have not been weakened, for we interpret the grayness as a fine veil through which the colors shine with their original purity. @@ -1304,13 +1278,13 @@ Oak-trees, rose-vines, and blossoming orange-trees in the grass._ This tapestry belongs to a small and very interesting group, all evidently the work of one designer. The three famous _Conversations Galantes_ (long -erroneously called the _Baillée des Roses_) in the Metropolitan Museum +erroneously called the _Baillée des Roses_) in the Metropolitan Museum are by the same man, as are the four panels of the _History of Lohengrin_ in Saint Catherine's Church, Cracow, the fifth fragmentary panel of the -series being in the Musée Industrielle, Cracow. A fragment from the same +series being in the Musée Industrielle, Cracow. A fragment from the same designer showing a party of hunters is in the Church of Notre Dame de Saumur de Nantilly, and another fragment depicting a combat is in the -Musée des Arts Decoratifs. Three small fragments--one with a single figure +Musée des Arts Decoratifs. Three small fragments--one with a single figure of a young man with a swan, like the Metropolitan pieces, on a striped ground, another showing a king reading in a portico very similar to the portico of the _Annunciation_, and the third showing a group of people @@ -1318,7 +1292,7 @@ centered about a king--were in the Heilbronner Collection. Schmitz points out[1] a connection between the three Metropolitan pieces and the series of seven pieces depicting the life of Saint Peter in the -Beauvais Cathedral, with an eighth piece in the Cluny Musée, and it is +Beauvais Cathedral, with an eighth piece in the Cluny Musée, and it is quite evident that the cartoons are the work of the same man. But whereas the other pieces all have the same characteristics in the weaving, this series shows a somewhat different technique in such details as the outline @@ -1331,7 +1305,7 @@ Grenier of Tournai in 1462. There can be no reasonable doubt that the set in Saint Catherine's Church is the same, for in this set the knight is quite apparently modeled after Duke Philip himself, judging from the portraits of him in both the _Romance of Gerard de Rousillon_ (Vienna -Hof-bibliothèque) and in the _History of Haynaut_ (Bibliothèque Royale, +Hof-bibliothèque) and in the _History of Haynaut_ (Bibliothèque Royale, Brussels). Schmitz asserts that it is almost certainly useless to seek the author @@ -1410,7 +1384,7 @@ FLANDERS, MIDDLE XV CENTURY _Wool._ H. 10 _ft._ 9 _in._ - W. 17 _ft._ 5½ _in._ + W. 17 _ft._ 5½ _in._ ] THE VINTAGE: _This piece was probably originally one of a series of the @@ -1457,9 +1431,9 @@ emphasis of the vertical lines give the design great clarity and strength. Loysot Lyedet was working for the Dukes of Burgundy in 1461. He died about 1468. Among the most famous of his illustrations are those - of the _History of Charles Martel_ (Bibliothèque Royale, Brussels) - _History of Alexander_ (Bibliothèque Nationale, Paris) and the - _Roman History_ (Bibliothèque de l'Arsenal, Paris.) + of the _History of Charles Martel_ (Bibliothèque Royale, Brussels) + _History of Alexander_ (Bibliothèque Nationale, Paris) and the + _Roman History_ (Bibliothèque de l'Arsenal, Paris.) [Sidenote: 6] @@ -1497,7 +1471,7 @@ school. In weaving many of the figures the warp is curved to follow the contours. -The naïve directness and unassuming sincerity of the piece give it great +The naïve directness and unassuming sincerity of the piece give it great interest. @@ -1517,7 +1491,7 @@ black armor, rides into the thickest tumult of a furious battle; with sword in his right hand, he skillfully parries the thrust of a huge lance, while with the other hand he deals a swinging backhand blow that smites an enemy footman into insensibility. His next opponent, obviously bewildered -and frightened, has half-turned to flee. The whole apparatus of mediæval +and frightened, has half-turned to flee. The whole apparatus of mediæval combat is shown in intense and crowded action. The piece is incomplete._ This tapestry illustrates one of the favorite stories of the Middle Ages, @@ -1540,7 +1514,7 @@ taste of his clients. This piece illustrates his earliest manner. In the succeeding decades he is more and more affected by the Renaissance and the Italian influence, until his latest pieces (cf. No. 21) are quite unlike these first designs. At the close of the century he began to collaborate -with Maître Philippe, evidently a younger man, who had had Italian +with Maître Philippe, evidently a younger man, who had had Italian instruction and was less restrained by early Gothic training (cf. Nos. 17-19). @@ -1585,7 +1559,7 @@ the _Wars of Troy_, on which there are some documents. This tapestry presents with extraordinary vividness the fury, din, excessive effort, hot excitement, and blinding confusion of crowded -hand-to-hand conflicts that marked mediæval warfare. It must have been +hand-to-hand conflicts that marked mediæval warfare. It must have been conceived and rendered by an eye-witness who knew how to select and assemble the raw facts of the situation with such honesty and directness that an overwhelming impression of force and tumult is created, and it was @@ -1681,12 +1655,12 @@ shield, evidently of the Rigaut family. In the corners the shield of Rigaut and of another family. The tapestry was evidently made to celebrate a marriage, the corner shields signifying the joining of the families, an oblique reference being intended in the pairing of the shepherds and -shepherdesses. A scroll in the center bears the inscription "Par Içi Passe +shepherdesses. A scroll in the center bears the inscription "Par Içi Passe Rigaut."_ [Sidenote: Lent by _P. W. French & Company_.] -The naïveté both of the characterization and of the drawing that +The naïveté both of the characterization and of the drawing that emphasizes the structural and silhouette character of the figures contributes greatly to the charm of this piece. The clean, sharp rendering of the millefleurs enhances the decorative effect. The piece is probably @@ -1777,7 +1751,7 @@ young peasant girl is gathering a basket of grapes._ Such peasant scenes as this were much in demand during the XVth century. A piece very similar both in general spirit and in detailed drawing and -facial types is in the Musée des Arts Decoratifs. In this two lords are +facial types is in the Musée des Arts Decoratifs. In this two lords are watching a large group of woodcutters. [Sidenote: Formerly in the De Zolte Collection.] @@ -1816,7 +1790,7 @@ FLANDERS, FIRST QUARTER XVI CENTURY No. 15: H. 10 _ft._ 9 _in._ - W. 7 _ft._ 3½ _in._ + W. 7 _ft._ 3½ _in._ No. 16: H. 11 _ft._ @@ -1948,8 +1922,8 @@ right_. [Sidenote: _The Last Judgment_ was formerly in the Evora Palace, Portugal, and is illustrated from the Louvre example in _Migeon, Les Arts de Tissu_, -p. 220; in part, in _E. Mâle, L'Art religieux de la fin du Moyen Age en -France_, p. 501; _Burlington_, vol. 20, p. 9; _Figaro Illustré_, 1911.] +p. 220; in part, in _E. Mâle, L'Art religieux de la fin du Moyen Age en +France_, p. 501; _Burlington_, vol. 20, p. 9; _Figaro Illustré_, 1911.] _The third piece_ (_No._ 19) _shows the full scene of the Last Judgment with a personage who seems to be Philip in one corner and in the other @@ -1967,7 +1941,7 @@ WOL and on the border of the robe of the last Apostle at Christ's left the letters RIM DACI BAPTISTA ORADI._ [Sidenote: _The Circumcision and Assumption_ is illustrated in _Demotte, -Les Tapisseries gothiques_, Première Série, pl. 39.] +Les Tapisseries gothiques_, Première Série, pl. 39.] Seven other large tapestries very closely related to these are known. They represent various episodes involving Christ and numerous allegorical @@ -1981,13 +1955,13 @@ Hampton Court. The series is closely related also to the _Life of the Virgin_ set in the Royal Collection at Madrid, and also the _Presentation in the Temple_ of the Martin le Roy Collection. The cartoons are clearly the work of -Maître Philippe, and the weaving was evidently done in Flanders, probably +Maître Philippe, and the weaving was evidently done in Flanders, probably in Brussels, about 1510. Marquet de Vasselot suggests that the cartoons of the Martin le Roy piece and of the Madrid series were done after a -second master under the influence of Gerard David.[16] Destrée, following +second master under the influence of Gerard David.[16] Destrée, following Wauters, suggests Jean de Bruxelles, known author of the cartoon for the -_Communion of Herkenbald_, another Maître Philippe piece, to which he -sees a resemblance,[17] and Thièry repeats the claim, but on far-fetched +_Communion of Herkenbald_, another Maître Philippe piece, to which he +sees a resemblance,[17] and Thièry repeats the claim, but on far-fetched evidence.[18] Certainly the types are very close to those of Gerard David. Some of the @@ -2038,7 +2012,7 @@ to the Court of Love tapestries that were so often woven at this time._ [Sidenote: Lent by _P. W. French & Company_.] The cartoon, like those of the _Court of Love_ scenes, is the work of the -studio of Maître Philippe. Jean Van Room probably collaborated, as his +studio of Maître Philippe. Jean Van Room probably collaborated, as his signature appears on a very similar tapestry of _David and Bathsheba_ in the Royal Spanish Collection.[23] As in that tapestry, the elegantly dressed persons are quite typical of the prosperous burghers of the time @@ -2059,7 +2033,7 @@ BRUSSELS, EARLY XVI CENTURY [Sidenote: Barberini Collection; Ffoulke Collection. Illustrated: _Ffoulke Collection_, opp. p. 43. Exhibited: _Exposition d'Art ancien bruxellois, -Brussels_, 1905, No. XXI. Illustrated: _Destrée, Catalogue of same_, pl. +Brussels_, 1905, No. XXI. Illustrated: _Destrée, Catalogue of same_, pl. XXIV.] THE TRIUMPH OF DAVID: _David carrying the head of Goliath on his sword @@ -2068,8 +2042,8 @@ horseback. In the background a hilly landscape with the tents of the Hebrews. A narrow floral border._ The cartoon was painted by Jean Van Room, his signature appearing on -another piece[24] of the same series in the Musée du Cinquantenaire, -Brussels. Maître Philippe must have collaborated with him in this work, +another piece[24] of the same series in the Musée du Cinquantenaire, +Brussels. Maître Philippe must have collaborated with him in this work, for a strong Italian influence is evident which appears only in the Van Room tapestries that have had Philippe's assistance. @@ -2089,8 +2063,8 @@ SWITZERLAND, EARLY XVI CENTURY [Sidenote: _Wool._ - H. 4 _ft._ 3½ _in._ - W. 7 _ft._ 9½ _in._ + H. 4 _ft._ 3½ _in._ + W. 7 _ft._ 9½ _in._ ] TWO PAIRS OF LOVERS: _Two pairs of lovers are pictured against a @@ -2120,8 +2094,8 @@ red, in addition to the black for the outlines. [Sidenote: Lent by _Wildenstein & Co._] -The work is thoroughly naïve, but it has the strong appeal of genuineness -and directness common to naïve designs and shows a strong feeling for +The work is thoroughly naïve, but it has the strong appeal of genuineness +and directness common to naïve designs and shows a strong feeling for decorative quality. @@ -2166,7 +2140,7 @@ the _Fruits of War_, make a total of thirty-five pieces in the complete history, one of the largest sequences ever attempted in tapestry. [Sidenote: Illustrated: _Hauser y Menet, Los Tapices de la Corona de -España_, vol. 2, pl. 93; _Burlington_, 1916, pp. 58-66, in connection with +España_, vol. 2, pl. 93; _Burlington_, 1916, pp. 58-66, in connection with article by George Leland Hunter, _Scipio Tapestries Now in America_.] The cartoons have been woven a number of times and examples have been @@ -2229,7 +2203,7 @@ wages._ [Sidenote: Illustrated: -_Hauser y Menet, Los Tapices de la Corona de España_, vol. 2, pls. 119, +_Hauser y Menet, Los Tapices de la Corona de España_, vol. 2, pls. 119, 121.] These two pieces, showing the moment of greatest triumph and the ultimate @@ -2344,7 +2318,7 @@ FLANDERS, XVI CENTURY W. 12 _ft._ 9 _in._ ] -VERDURE: _In the center a château surrounded by a moat on which swans and +VERDURE: _In the center a château surrounded by a moat on which swans and ducks swim about. At the left fishermen on the bank and a hunter with his dogs. On the right mounted hunters chasing rabbits through a wood._ @@ -2353,7 +2327,7 @@ dogs. On the right mounted hunters chasing rabbits through a wood._ The high-keyed landscape on a small scale was the Renaissance successor to the Gothic millefleurs. The drawing in this piece is beautifully clean and exact, and the color delightfully and uncommonly varied and vibrant. The -château is so carefully rendered that it is valuable as an architectural +château is so carefully rendered that it is valuable as an architectural record. The piece may have been made by Flemish weavers working in England. @@ -2510,7 +2484,7 @@ the center of both side borders a triangle._ The triangles in the border are the Deltas, the ciphers of Diane de Poitiers, indicating that this piece was woven in the reign of Henry II -for Diane, possibly for the Château d'Anet. +for Diane, possibly for the Château d'Anet. [Sidenote: Lent by _P. W. French & Company_.] @@ -2609,11 +2583,11 @@ figures in camaieux._ [Sidenote: Reproduced: _Guiffrey, Les Gobelins et Beauvais_, p. 15; _Hauser y Menet, Los Tapices -de la Corona de España_, vol. 2, pl. 132.] +de la Corona de España_, vol. 2, pl. 132.] The tapestry is one of the Artemis series designed for Marie de Medici by Toussaint du Breuil. It was woven on the looms which were under the -direction of Marc Comans and François de la Planche, and which later +direction of Marc Comans and François de la Planche, and which later became the Gobelins state manufactory. The cartoons were repeated many times with different borders. Judging by the border, this piece was woven about 1611. @@ -2633,7 +2607,7 @@ period. [Sidenote: Lent by _Jacques Seligmann & Company_.] Toussaint du Breuil (1561-1602) painted decorations in the Pavilions - des Poêles at Fontainebleau, and also in the Galerie des Rois in the + des Poêles at Fontainebleau, and also in the Galerie des Rois in the Louvre. Most of his work has perished. [Sidenote: 39, 40] @@ -2666,9 +2640,9 @@ medallions showing the Judgment of Paris._ [Sidenote: Formerly in the Collection of Lord Lovelace.] -The pieces both signed in the lower right corner--Lefébvre, with the +The pieces both signed in the lower right corner--Lefébvre, with the fleur-de-lis and G. They do not, however, appear on the records of the -Gobelins, so they must have been done by Lefébvre outside of the official +Gobelins, so they must have been done by Lefébvre outside of the official work. [Sidenote: Lent by _William Baumgarten & Company_.] @@ -2692,7 +2666,7 @@ FLANDERS, BEGINNING OF XVII CENTURY W. 13 _ft._ 4 _in._ ] -VERDURE: _A formal garden with fountains and a château in the distance and +VERDURE: _A formal garden with fountains and a château in the distance and various birds in the foreground._ [Sidenote: Lent by _Mrs. C. Templeton Crocker_.] @@ -2727,7 +2701,7 @@ and flowers with corner medallions representing North, East, South, and West. On the lower selvage the Brussels city mark and the signature, I. V. D. BEURCHT._ -[Sidenote: Another example in Musée Impériale des Ecuries, Petrograd, No. +[Sidenote: Another example in Musée Impériale des Ecuries, Petrograd, No. 117.] The piece is one of a set of four representing the four quarters of the @@ -2796,7 +2770,7 @@ Aug. and Vic. Aug. (Pax Augusta and Victoria Augusta)._ [Sidenote: Illustrated: -_Böttiger, Svenska Statins Samling_, vol. 3, pl. XLII.] +_Böttiger, Svenska Statins Samling_, vol. 3, pl. XLII.] The piece is one of a series on the _History of Julius Caesar_, three of which were in the Morgan Collection. It has all the abundance and dramatic @@ -3000,7 +2974,7 @@ Beyond is a glimpse of an open pasture with cows._ The strong and brilliant trees throw into sharp contrast the delicate perfection of the bit of landscape beyond. The nymphs are probably after -Noël Coypel. The use of the red to relieve the general tone of green is +Noël Coypel. The use of the red to relieve the general tone of green is especially successful. @@ -3064,11 +3038,11 @@ BRUSSELS, BEGINNING XVIII CENTURY W. 9 _ft._ 4 _in._ No. 55: - H. 10 _ft._ 3½ _in._ + H. 10 _ft._ 3½ _in._ W. 7 _ft._ 2 _in._ No. 56: - H. 10 _ft._ 4½ _in._ + H. 10 _ft._ 4½ _in._ W. 7 _ft._ 3 _in._ ] @@ -3170,7 +3144,7 @@ key. During the XVIIIth century the cartoon was refined with slight changes. The hand of the old man, for example, was modified to hold a fruit for the child. The piece probably is from the third or fourth weaving. If so, it was done on the horizontal looms in the atelier of -Lefébvre, outside of the official work of the Gobelins.[30] +Lefébvre, outside of the official work of the Gobelins.[30] [Sidenote: Lent by _Wildenstein & Company_.] @@ -3217,11 +3191,11 @@ BEAUVAIS, XVIII CENTURY _Wool and Silk._ No. 60: - H. 15½ _in._ + H. 15½ _in._ W. 19 _in._ No. 61: - H. 15½ _in._ + H. 15½ _in._ W. 19 _in._ ] @@ -3246,7 +3220,7 @@ the tapestry make of rather unpromising subjects beautiful decorations. [Sidenote: Lent by _Maison Jamarin, Paris_.] - Jean Siméon Chardin (1699-1779) studied under Noël Coypel and + Jean Siméon Chardin (1699-1779) studied under Noël Coypel and assisted Jean Baptiste Van Loo in restoring one of the galleries of Fontainebleau. He was admitted to the Academy in 1728. His early work was devoted to still-life subjects principally, his later to @@ -3360,9 +3334,9 @@ PORTRAIT OF LOUIS XV: _This portrait, after a painting by Van Loo made for the Gobelins in_ 1760, _is one of a series of the royal family. It is in the original frame_. -[Sidenote: Illustrated: _Böttiger, Svenska Statins Samling_, vol. 2, -pl. XLI; _Fénaille, Etat général des Tapisseries de la Manufacture des -Gobelins, Dix-huitième Siècle_, 2me Partie, p. 311; as portrait of Louis +[Sidenote: Illustrated: _Böttiger, Svenska Statins Samling_, vol. 2, +pl. XLI; _Fénaille, Etat général des Tapisseries de la Manufacture des +Gobelins, Dix-huitième Siècle_, 2me Partie, p. 311; as portrait of Louis XVI, in _Migeon, Les Arts de Tissu_, p. 335.] While tapestry is not an appropriate medium for portraiture, a portrait is @@ -3402,10 +3376,10 @@ GOBELINS, FIRST HALF XVIII CENTURY ] [Sidenote: Another rendering in the Vienna Collection, No. 253; another in -the Musée Impériale des Ecuries, Petrograd, No. 118.] +the Musée Impériale des Ecuries, Petrograd, No. 118.] THE INDIAN HUNTER: _This tapestry is one of a set of eight illustrating -the New India after designs by François Desportes. The set was first woven +the New India after designs by François Desportes. The set was first woven in 1687._ _This piece has the first type of border used with the series_, _bearing the arms of the king_, _which means that it was woven before_ 1768 _under either Cozette or Neilson_.[32] @@ -3416,7 +3390,7 @@ Indian basket is interesting and rather unexpected. [Sidenote: Lent by _Demotte_.] - François Desportes (1661-1743) studied under Bernaert, a pupil of + François Desportes (1661-1743) studied under Bernaert, a pupil of Snyders. He entered the Academy in 1699 and was made painter to the king. He is famous for his paintings of animals and hunting scenes. @@ -3437,12 +3411,12 @@ carriage, and while some tell the lady's fortune and receive alms others attempt to steal a trunk from the baggage-rack behind._ [Sidenote: Formerly in Collection of Count Polovzoff, Petrograd. Another -example in the Swedish Royal Collection. Illustrated: _Böttiger, Svenska +example in the Swedish Royal Collection. Illustrated: _Böttiger, Svenska Statins Samling_, vol. 3, pl. LXVI.] -The tapestry is one of the series _Les Bohémiens_ by François Casanova, +The tapestry is one of the series _Les Bohémiens_ by François Casanova, and was woven in Beauvais when the factory was under the direction of -André Charlemagne Charron, whose initials it bears in signature. According +André Charlemagne Charron, whose initials it bears in signature. According to the inventories, the series has been woven only twice--once in 1777 for the king, and again in 1799.[33] @@ -3453,7 +3427,7 @@ charming. [Sidenote: Lent by _Jacques Seligmann & Company_.] - François Casanova (1730-1805) went to Italy in 1727 where he studied + François Casanova (1730-1805) went to Italy in 1727 where he studied under Guardi and Francesco Simonini. He returned to France and later studied under Parocel. In 1763 he was received into the Academy and exhibited in the salons until 1783. @@ -3483,7 +3457,7 @@ characteristic Boucher grace adding great beauty to the formal setting. [Sidenote: Lent by _P. W. French & Company_.] - François Boucher (1703-1770) studied with Lemoyne and during that + François Boucher (1703-1770) studied with Lemoyne and during that time painted scenery for the Opera, a work to which he returned in the height of his career (1737-44). In 1734 he became Academician. In 1735 he was appointed head of the Gobelins by Marigny. In 1765 @@ -3491,7 +3465,7 @@ characteristic Boucher grace adding great beauty to the formal setting. In the years between 1740 and 1755 he painted many cartoons for the Beauvais tapestry works. Among his most famous tapestry suites are the _Loves of the Gods_, the _Chinese Hangings_, and the _Italian - Fêtes_. + Fêtes_. [Sidenote: 68] @@ -3510,8 +3484,8 @@ are having their fortune told by another girl. A naked baby clings to her skirts. From one side a goat looks on inquisitively. It is signed F. Boucher and dated._ -[Sidenote: Illustrated: _Fénaille, L'Etat général des Tapisseries de la -Manufacture des Gobelins, Dix-huitième Siècle_, 2me Partie, p. 238.] +[Sidenote: Illustrated: _Fénaille, L'Etat général des Tapisseries de la +Manufacture des Gobelins, Dix-huitième Siècle_, 2me Partie, p. 238.] This is one of a series of cartoons in small size made by Boucher for the Gobelins while he was director. They were very popular and have been woven @@ -3550,7 +3524,7 @@ with the decorative effect depending largely on the flowery encadrement. [Sidenote: Lent by _P. W. French & Company_.] - Jean Honoré Fragonard (1732-1806) studied under Boucher, Greuze, and + Jean Honoré Fragonard (1732-1806) studied under Boucher, Greuze, and Chardin, and is usually considered the successor of Boucher. In 1752 he was given Grand Prize for Painting. He was a favorite painter of Madame Du Barry, for whom he did a great deal of work. @@ -3802,7 +3776,7 @@ lower Cadmus, contending with the dragons._ This is one of a very famous set of tapestries illustrating the _Triumphs of Petrarch_ and a number of other _Triumphs_ invented by French poets in imitation of Petrarch. The cartoons are evidently the product of the -studio of Maître Philippe (cf. Nos. 19, 20), for the heads of several of +studio of Maître Philippe (cf. Nos. 19, 20), for the heads of several of the minor characters are regular models, often repeated in his work. The cartoons were painted and also executed before 1523, because in that year Henry VII bought eight of the set, four of which are still at Hampton @@ -3823,7 +3797,7 @@ be always as impressive as possible. Yet the figures still have some of the stately restraint of the Gothic, and the dispersion of the points of interest, so that the whole textile is equally covered, is a remainder from the Gothic taste. Truly transitional, it represents the final stage -of Maître Philippe's development. +of Maître Philippe's development. [Sidenote: 77] @@ -3916,7 +3890,7 @@ FOOTNOTES: [Footnote 3: _Amberger Catalogue._] -[Footnote 4: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room_, +[Footnote 4: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room_, pp. 23, 24E.] [Footnote 5: _Marquet de Vasselot, Les Emaux Limousin_, No. 8, pl. II.] @@ -3926,16 +3900,16 @@ pp. 23, 24E.] [Footnote 7: _Op. cit._ 49, pl. XVI.] [Footnote 8: _Order for Payment of Philip the Good_, _April_ 4, 1455, -_quoted in Van den Gheyn_, _Chroniques et Conquêtes de Charlemagne_, _by +_quoted in Van den Gheyn_, _Chroniques et Conquêtes de Charlemagne_, _by le Tavernier_, _p._ 11.] [Footnote 9: _See Burlington Magazine_, vol. 20, pp. 247, 309. _D. T. B. Wood, Credo Tapestries._] [Footnote 10: _See Barbier de Montault's inventory in Annales -Archéologiques_, tome 15, pp. 232, 296.] +Archéologiques_, tome 15, pp. 232, 296.] -[Footnote 11: _Van Kalcken, Peintures ecclésiastiques du Moyen Age. Notes +[Footnote 11: _Van Kalcken, Peintures ecclésiastiques du Moyen Age. Notes by Dr. Jan Six._] [Footnote 12: _Op. cit._ p. 1.] @@ -3949,45 +3923,45 @@ Tapestries of the Seven Deadly Sins._] [Footnote 16: _Catalogue of the Collection of Martin le Roy_, vol. 4.] -[Footnote 17: _Destrée, Tapisseries et Sculptures bruxelloises_, p. 8.] +[Footnote 17: _Destrée, Tapisseries et Sculptures bruxelloises_, p. 8.] -[Footnote 18: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room._] +[Footnote 18: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room._] [Footnote 19: _Bodenhauser, Gerard David_, No. 10.] [Footnote 20: _Op. cit._ No. 25a.] -[Footnote 21: _Destrée, Hugo Van der Goes_, opp. p. 48.] +[Footnote 21: _Destrée, Hugo Van der Goes_, opp. p. 48.] [Footnote 22: _Op. cit._, opp. p. 32.] -[Footnote 23: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room_, +[Footnote 23: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room_, p. 28.] -[Footnote 24: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room_, -p. 27. Also, _Destrée and Van den Ven, Les Tapisseries_, No. 17.] +[Footnote 24: _Thièry, Les Inscriptions des Tapisseries de Jean Van Room_, +p. 27. Also, _Destrée and Van den Ven, Les Tapisseries_, No. 17.] [Footnote 25: For illustration, see _Fsoulke Collection_, opp. p. 49.] [Footnote 26: _Thomson, History of Tapestry_, p. 479.] [Footnote 27: For further discussion, see _Gazette des Beaux Arts_, 2me -Période; _Montaiglon, Diane de Poitiers et Son Goût dans les Arts_, t. +Période; _Montaiglon, Diane de Poitiers et Son Goût dans les Arts_, t. XIX, p. 152.] -[Footnote 28: _La Renaissance de l'Art français_, 1921, p. 159 ff.; _E. +[Footnote 28: _La Renaissance de l'Art français_, 1921, p. 159 ff.; _E. Dimier, La Tenture de la Grande Galerie_.] -[Footnote 29: _Fénaille, Etat général des Tapisseries de la Manufacture -des Gobelins, Période Louis XIV_, pp. 337, 341f., 344, 370.] +[Footnote 29: _Fénaille, Etat général des Tapisseries de la Manufacture +des Gobelins, Période Louis XIV_, pp. 337, 341f., 344, 370.] -[Footnote 30: _Fénaille, Etat général des Tapisseries de la Manufacture -des Gobelins, Période Louis XIV_, pp. 337. 343f., 369.] +[Footnote 30: _Fénaille, Etat général des Tapisseries de la Manufacture +des Gobelins, Période Louis XIV_, pp. 337. 343f., 369.] [Footnote 31: _Badin, La Manufacture de la Tapisserie de Beauvais_, p. 11.] -[Footnote 32: _Fénaille, Etat général des Tapisseries de la Manufacture -des Gobelins, Dix-huitième Siècle_, Partie 11, p. 40ff.] +[Footnote 32: _Fénaille, Etat général des Tapisseries de la Manufacture +des Gobelins, Dix-huitième Siècle_, Partie 11, p. 40ff.] [Footnote 33: _Badin, La Manufacture de la Tapisserie de Beauvais_, p. 64.] @@ -4009,7 +3983,7 @@ contractor. Pasquier Grenier Tournai Middle of XVth Century Pieter Van Aelst Brussels XVIth Century Wilhelm Pannemaker Brussels XVIth Century - François Geubels Brussels XVIth Century + François Geubels Brussels XVIth Century Hubert de Mecht Brussels XVIth Century John Karcher Ferrara XVIth Century Nicolas Karcher Ferrara XVIth Century @@ -4023,8 +3997,8 @@ contractor. Everard Leyniers Brussels XVIIth Century Jacques Van der Beurcht Brussels XVIIth Century Marc Comans Paris XVIIth Century - François de la Planche Paris XVIIth Century - Jean Lefébvre Paris XVIIth Century + François de la Planche Paris XVIIth Century + Jean Lefébvre Paris XVIIth Century Jean Jans Paris XVIIth Century Gerard Laurent Paris XVIIth Century Philippe Behagle Beauvais XVIIIth Century @@ -4067,12 +4041,12 @@ _Guiffrey, J. J. L'Histoire de la Tapisserie. Tours_, 1886. A narrative history, now superseded in a number of respects. _Guiffrey, J. J. L'Histoire de la Tapisserie en France_ (_L'Histoire -générale de la Tapisserie_). _Paris_, 1878-85. +générale de la Tapisserie_). _Paris_, 1878-85. A compilation of all the facts available at the time, and still an important fundamental reference work. -_Guiffrey, J. J. Les Tapisseries du XIIe à la fin du XVIe Siècle. Paris, +_Guiffrey, J. J. Les Tapisseries du XIIe à la fin du XVIe Siècle. Paris, n. d._ The most detailed survey of the period, but unfortunately poorly @@ -4084,23 +4058,23 @@ Renaissance. New York_, 1912. An unsystematic assemblage of facts, not all of which are correct, and many of which are irrelevant. -_Migeon, Gaston. Les Arts de Tissu_ (_Troisième Partie_). _Paris_, 1909. +_Migeon, Gaston. Les Arts de Tissu_ (_Troisième Partie_). _Paris_, 1909. A complete and readable account of the history of tapestry, with some excellent interpretations. -_Müntz, Eugène. L'Histoire de la Tapisserie en Italie, en Allemagne, etc._ -(_L'Histoire générale de la Tapisserie_). _Paris_, 1878-85. +_Müntz, Eugène. L'Histoire de la Tapisserie en Italie, en Allemagne, etc._ +(_L'Histoire générale de la Tapisserie_). _Paris_, 1878-85. Similar to Guiffrey's volume in the same series. -_Müntz, Eugène. La Tapisserie. Paris_, 1883. +_Müntz, Eugène. La Tapisserie. Paris_, 1883. A brief presentation of the general history, superseded at some points, but with valuable illuminating interpretations. _Pinchart, A. L'Histoire de la Tapisserie dans les Flandres_ (_L'Histoire -générale de la Tapisserie_). _Paris_, 1878-85. +générale de la Tapisserie_). _Paris_, 1878-85. Similar to the other volumes of the same series. @@ -4122,7 +4096,7 @@ _Schmitz, Herman. Bild-Teppiche. Berlin_, 1919. In addition to the above titles, there are a great number of monographs on various phases of the subject, many of which are excellent. For example: -_Thièry, Les Inscriptions des Tapisseries de Jean Van Room, Louvain_, +_Thièry, Les Inscriptions des Tapisseries de Jean Van Room, Louvain_, 1907, is an able piece of work, a model of exact scholarship. The majority of these monographs are of interest only to the special student. Schmitz refers to the more important of them in his foot-notes. @@ -4338,8 +4312,8 @@ _Every tapestry is listed by its respective catalogue number, and a star | Transcriber Notes: | | | | P. 20. 'the minature' changed to 'the miniature'. | - | Footnote p. 31. 'Chroniques et Conquêtes de Charlemaine' | - | changed to 'Chroniques et Conquêtes Charlemagne'. | + | Footnote p. 31. 'Chroniques et Conquêtes de Charlemaine' | + | changed to 'Chroniques et Conquêtes Charlemagne'. | | P. 60. 'Les Incriptions' changed to 'Les Inscriptions'. | | Corrected various punctuation. | | | @@ -4353,366 +4327,4 @@ _Every tapestry is listed by its respective catalogue number, and a star End of the Project Gutenberg EBook of Catalogue of the Retrospective Loan Exhibition of European Tapestries, by Phyllis Ackerman -*** END OF THIS PROJECT GUTENBERG EBOOK CATALOGUE *** - -***** This file should be named 57518-8.txt or 57518-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/7/5/1/57518/ - -Produced by Jane Robins and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -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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