ADDENDA

Wool.No. 53:H.10ft.7in.W.29ft.No. 54:H.10ft.4in.W.9ft.4in.No. 55:H.10ft.3½in.W.7ft.2in.No. 56:H.10ft.4½in.W.7ft.3in.Formerly in Stowe House.Lent byJacques Seligmann & Company.

THE OPERATIONS OF THE SIEGE OF LILLE:Number53represents the battle of Wynendael Wood.Lord Cobham on horseback with his sword drawn is in the midst of his troops.

Number54shows the burning of Lille.The burning city is seen in the background. Soldiers in the foreground are getting bundles of wood to feed the flames.

Number55shows cavaliers foraging.Soldiers are carrying bundles of hay for their horses and a lamb lies on the ground ready to be carried off.

Number56shows the poisoning of a spy.The cavaliers have just given a glass of poisoned wine to a young woman who is about to drink.

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

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

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

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

57 GOBELINS, MIDDLE XVIII CENTURY (1747-1751)

Wool and Silk.H.11ft.6in.W.8ft.3in.

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

Scene from the History of CleopatraNo. 39

VerdureNo. 41

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

Lent byP. W. French & Company.

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

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

58 GOBELINS, XVII CENTURY

Wool and Silk.H.9ft.4in.W.6ft.8in.Another example in the Vienna Collection, No. 109.Lent byWildenstein & Company.

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

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

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

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

Wool and Silk.H.9ft.8in.W.16ft.5in.Lent byP. W. French & Company.

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

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

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

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

60, 61 BEAUVAIS, XVIII CENTURY

Wool and Silk.No. 60:H.15½in.W.19in.No. 61:H.15½in.W.19in.Lent byMaison Jamarin, Paris.

TWO STILL-LIFE PIECES:In one(No.60)a glass,a napkin,and some vegetables on a table.In the other(No.61)various vegetables about a china dish.

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

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

62 AUBUSSON, MIDDLE XVIII CENTURY

Wool and Silk.H.9ft.8in.W.10ft.9in.

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

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

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

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

Verdure with Dancing NymphsNo. 51

The Conquest of Louis The GreatNo. 52

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

Lent byP. W. French & Company.

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

63 PARIS, XVIII CENTURY

Wool and Silk.Oval;H.28in.W.23in.Lent byJacques Seligmann & Company.

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

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

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

64. GOBELINS, XVIII CENTURY

Wool and Silk.H.25in.W.21in.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, inMigeon, Les Arts de Tissu, p. 335.Lent byP. W. French & Company.

PORTRAIT OF LOUIS XV:This portrait, after a painting by Van Loo made for the Gobelins in1760,is one of a series of the royal family. It is in the original frame.

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

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

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

65 GOBELINS, FIRST HALF XVIII CENTURY

Wool.H.13ft.3in.W.8ft.3in.Another rendering in the Vienna Collection, No. 253; another in the Musée Impériale des Ecuries, Petrograd, No. 118.Lent byDemotte.

THE INDIAN HUNTER:This tapestry is one of a set of eight illustrating the New India after designs by François Desportes. The set was first woven in 1687.This piece has the first type of border used with the series,bearing the arms of the king,which means that it was woven before1768under either Cozette or Neilson.[32]

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

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.

66 BEAUVAIS, XVIII CENTURY (1777)

Wool.H.11ft.1in.W.21ft.3in.Formerly in Collection of Count Polovzoff, Petrograd. Another example in the Swedish Royal Collection. Illustrated:Böttiger, Svenska Statins Samling, vol. 3, pl. LXVI.Lent byJacques Seligmann & Company.

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

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

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

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.

67 BEAUVAIS, XVIII CENTURY (1735-1740)

Wool and Silk.H.11ft.9in.W.14ft.6in.Lent byP. W. French & Company.

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

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

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

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

68 GOBELINS, XVIII CENTURY (1767)

Wool and Silk.H.4ft.11in.W.6ft.6in.Illustrated:Fénaille, L'Etat général des Tapisseries de la Manufacture des Gobelins, Dix-huitième Siècle, 2me Partie, p. 238.Lent byDuveen Brothers.

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

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

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

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

69 AUBUSSON, LATE XVIII CENTURY

Wool and Silk.H.9ft.10in.W.7ft.5in.Lent byP. W. French & Company.

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

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

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.

70 AUBUSSON, LATE XVIII CENTURY

Wool and Silk.H.8ft.10in.W.6ft.6in.Formerly in the Vaffrin Collection, Bordeaux.Lent byWildenstein & Company.

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

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

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

71 AUBUSSON, XVIII CENTURY

Wool.H.9ft.W.5ft.Lent byA. J. Halow.

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

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

72 AUBUSSON, XVIII CENTURY

Wool and Silk.H.4ft.3in.W.3ft.9in.Exhibited:Detroit Museum of Fine Arts, 1919.Lent byDikran K. Kelekian.

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

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

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

73 IMPERIAL RUSSIAN TAPESTRY WORKS, ST. PETERSBURG, 1811

Wool and Silk.H.9ft.4in.W.6ft.7in.Exhibited:Metropolitan Museum, 1912.

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

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

The Poisoning of a SpyNo. 56

The Arms of France and NavarreNo. 67

Illustrated:Hunter, Tapestries, pl. 229; also,Candee, Tapestry Book, opp. p. 133,—but wrongly attributed to the Gobelins.Lent byP. W. French & Company.

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

74 MADRID, LATE XVIII CENTURY

Wool and Silk.H.5ft.W.8ft.Lent byDuveen Brothers.

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

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

The tapestries entered under this heading were receivedtoo late to be entered in their proper orderin the body of the catalogue.

75 BRUSSELS, BEGINNING OF XVI CENTURY

Wool, Silk, Gold.H.9ft.1in.W.7ft.8in.

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

This tapestry, the last of a series illustrating thePassionof Our Lord, was designed in the studio of Bernard Van Orley, and may be the work of Van Orley himself, though there were some of his students and followers who in purity of conception and elevation and sensitiveness of feeling were superior at times to the master himself. The weaving, unsurpassable in technical perfection, may be the work of the Pannemaker looms. The quality of the design and weaving and the lavish use of gold all indicate that this series was made for a great church or a noble family.

Formerly in the Collection of the Duc d'Albe.

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

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

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

Lent byMrs. William H. Crocker.

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

76 BRUSSELS, XVI CENTURY

Wool and Silk.H.15ft.W.19ft.

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

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

Lent byMrs. William H. Crocker.

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

77 FLANDERS, ENGHIEN (?), XVI CENTURY

Wool and Silk.H.5ft.W.6ft.11in.Lent byMrs. William H. Crocker.

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

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

78 FLANDERS, LATE XVII CENTURY

Wool and Silk.H.11ft.8in.W.15ft.Lent byMrs. William H. Crocker.

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

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

79 ANTWERP, LATE XVII CENTURY

Wool and Silk.H.32in.W.24in.Illustrated:Schmitz, Bild-Teppiche, p. 265.Lent byMrs. William H. Crocker.

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

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

FOOTNOTES:[1]Schmitz, Bild-Teppiche, p. 186.[2]Lindner, Der Breslauer Froissart.[3]Amberger Catalogue.[4]Thièry, Les Inscriptions des Tapisseries de Jean Van Room, pp. 23, 24E.[5]Marquet de Vasselot, Les Emaux Limousin, No. 8, pl. II.[6]Op. cit.29, pl. X.[7]Op. cit.49, pl. XVI.[8]Order for Payment of Philip the Good,April4, 1455,quoted in Van den Gheyn,Chroniques et Conquêtes de Charlemagne,by le Tavernier,p.11.[9]See Burlington Magazine, vol. 20, pp. 247, 309.D. T. B. Wood, Credo Tapestries.[10]See Barbier de Montault's inventory in Annales Archéologiques, tome 15, pp. 232, 296.[11]Van Kalcken, Peintures ecclésiastiques du Moyen Age. Notes by Dr. Jan Six.[12]Op. cit.p. 1.[13]Op. cit.p. 3.[14]Op. cit.p. 15.[15]Burlington Magazine, vol. 20, p. 220.D. T. B. Wood, Tapestries of the Seven Deadly Sins.[16]Catalogue of the Collection of Martin le Roy, vol. 4.[17]Destrée, Tapisseries et Sculptures bruxelloises, p. 8.[18]Thièry, Les Inscriptions des Tapisseries de Jean Van Room.[19]Bodenhauser, Gerard David, No. 10.[20]Op. cit.No. 25a.[21]Destrée, Hugo Van der Goes, opp. p. 48.[22]Op. cit., opp. p. 32.[23]Thièry, Les Inscriptions des Tapisseries de Jean Van Room, p. 28.[24]Thièry, Les Inscriptions des Tapisseries de Jean Van Room, p. 27. Also,Destrée and Van den Ven, Les Tapisseries, No. 17.[25]For illustration, seeFsoulke Collection, opp. p. 49.[26]Thomson, History of Tapestry, p. 479.[27]For further discussion, seeGazette des Beaux Arts, 2me Période;Montaiglon, Diane de Poitiers et Son Goût dans les Arts, t. XIX, p. 152.[28]La Renaissance de l'Art français, 1921, p. 159 ff.;E. Dimier, La Tenture de la Grande Galerie.[29]Fénaille, Etat général des Tapisseries de la Manufacture des Gobelins, Période Louis XIV, pp. 337, 341f., 344, 370.[30]Fénaille, Etat général des Tapisseries de la Manufacture des Gobelins, Période Louis XIV, pp. 337. 343f., 369.[31]Badin, La Manufacture de la Tapisserie de Beauvais, p. 11.[32]Fénaille, Etat général des Tapisseries de la Manufacture des Gobelins, Dix-huitième Siècle, Partie 11, p. 40ff.[33]Badin, La Manufacture de la Tapisserie de Beauvais, p. 64.[34]Badin, La Manufacture de la Tapisserie de Beauvais, p. 75.

[1]Schmitz, Bild-Teppiche, p. 186.

[2]Lindner, Der Breslauer Froissart.

[3]Amberger Catalogue.

[4]Thièry, Les Inscriptions des Tapisseries de Jean Van Room, pp. 23, 24E.

[5]Marquet de Vasselot, Les Emaux Limousin, No. 8, pl. II.

[6]Op. cit.29, pl. X.

[7]Op. cit.49, pl. XVI.

[8]Order for Payment of Philip the Good,April4, 1455,quoted in Van den Gheyn,Chroniques et Conquêtes de Charlemagne,by le Tavernier,p.11.

[9]See Burlington Magazine, vol. 20, pp. 247, 309.D. T. B. Wood, Credo Tapestries.

[10]See Barbier de Montault's inventory in Annales Archéologiques, tome 15, pp. 232, 296.

[11]Van Kalcken, Peintures ecclésiastiques du Moyen Age. Notes by Dr. Jan Six.

[12]Op. cit.p. 1.

[13]Op. cit.p. 3.

[14]Op. cit.p. 15.

[15]Burlington Magazine, vol. 20, p. 220.D. T. B. Wood, Tapestries of the Seven Deadly Sins.

[16]Catalogue of the Collection of Martin le Roy, vol. 4.

[17]Destrée, Tapisseries et Sculptures bruxelloises, p. 8.

[18]Thièry, Les Inscriptions des Tapisseries de Jean Van Room.

[19]Bodenhauser, Gerard David, No. 10.

[20]Op. cit.No. 25a.

[21]Destrée, Hugo Van der Goes, opp. p. 48.

[22]Op. cit., opp. p. 32.

[23]Thièry, Les Inscriptions des Tapisseries de Jean Van Room, p. 28.

[24]Thièry, Les Inscriptions des Tapisseries de Jean Van Room, p. 27. Also,Destrée and Van den Ven, Les Tapisseries, No. 17.

[25]For illustration, seeFsoulke Collection, opp. p. 49.

[26]Thomson, History of Tapestry, p. 479.

[27]For further discussion, seeGazette des Beaux Arts, 2me Période;Montaiglon, Diane de Poitiers et Son Goût dans les Arts, t. XIX, p. 152.

[28]La Renaissance de l'Art français, 1921, p. 159 ff.;E. Dimier, La Tenture de la Grande Galerie.

[29]Fénaille, Etat général des Tapisseries de la Manufacture des Gobelins, Période Louis XIV, pp. 337, 341f., 344, 370.

[30]Fénaille, Etat général des Tapisseries de la Manufacture des Gobelins, Période Louis XIV, pp. 337. 343f., 369.

[31]Badin, La Manufacture de la Tapisserie de Beauvais, p. 11.

[32]Fénaille, Etat général des Tapisseries de la Manufacture des Gobelins, Dix-huitième Siècle, Partie 11, p. 40ff.

[33]Badin, La Manufacture de la Tapisserie de Beauvais, p. 64.

[34]Badin, La Manufacture de la Tapisserie de Beauvais, p. 75.

The following is a list of the most prominent weavers. Such men as Sir Francis Crane, of Mortlake, and Delorme, of Fontainebleau, have not been included because they were only administrators. It is possible that Grenier was not a weaver, though he may have been both weaver and contractor.

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