FROM THE LIBRARY OF Cdtween C^Jf^r oilier Sf cJnc. 720 FIFTH AVE. NEW YORK Digitized by tlie Internet Arcliive in 2015 littps://arcliive.org/details/exliibitionoftapeOOsain THE CITY ART MUSEUM, ST. LOUIS ADMINISTRATIVE BOARD OF CONTROL WILLIAM K. BIXBY President SAMUEL L. SHERER Vice-President DANIEL CATLIN DAVID R. FRANCIS MAX KOTANY WILLIAM H, LEE EDWARD MALLINCKRODT CHARLES P. PETTUS THOMAS H. WEST R. A. HOLLAND Director MADELEINE BORGGRAEFE Secretary CHARLES PERCY DAVIS Curator SPECIAL EXHIBITION CATALOGUE Series of 1916; No. 7 EXHIBITION OF TAPESTRIES INCLUDING EARLY COPTIC AND CHINESE WEAVING A XV CENTURY COPE AND CHASUBLE AND SMALL COLLECTION OF PERSIAN POTTERY . CITY ART MUSEUM ^ST. LOUIS MARCH 19, 1916 THE importance of applied art in the every-day life of a people can scarcely be over-estimated, touching, as it does, every phase of activity. In adding to the collections of the City Art Museum, numerous examples of ceramics, textiles and metal work of the best periods, the management of the Museum gives recognition to this fact. Tlie present exhibition of tapestries is a continuation of this effort to stimulate a greater appreciation of applied art. The weaving and plaiting of rude textiles w^as one of the early accomplishments of primi- tive man, and the production of that sort of textile with designs woven in the body of the cloth, which we call tapestry, also originated at an early date. The literature of classical antiquity contains many references to tapestry and tapestry weaving. Thus, in Homer's Iliad, Helen of Troy wove tapestry, as did also Penelope and Andromache; and in Ovid's Metamorphosis, it was a contest in tapestry weaving between Athena and Arachne which resulted in the transformation of the latter. Unfortunately, however, nothing but a few comparatively insignificant fragments remain of the work of ancient times. Some interesting specimens of primitive tapestry may be seen in the collection of Coptic textiles recently acquired by the Museum. But the earliest picture tapestry which has been preserved, the famous Apocalypse set in the Cathedral at Angers, dates only from the fourteenth century. The splendor of this tapestry gives a good indication of the development of the art in the thirteenth and fourteenth centuries in Europe. Most of the tapestries that have survived until modern times are not earlier than the fifteenth century, and the great majority were woven at much later dates. Flanders was the center of the tapestry industry in the fifteenth century, and the magnificent Flemish pieces of this period, in simple Gothic style, are most highly prized. During the sixteenth century, the Gothic treatment of the design was gradually superseded by the Renaissance style, and in the seventeenth century a 5 Baroque style came into favor. During these same centuries the vicissitudes of war and conquest resulted in the shifting of the center of the tapestry industry from Flanders to France. Here, in the eighteenth century the Beauvais Tapestry Works and the Gobelin factory produced many works of importance, but they scarcely deserve to rank with the products of an earlier age. A knowledge and appreciation of tapestries is of the greatest importance because of the insight which they give into the life and art of past epochs. Upon their soft and pleasing surfaces are portrayed religious, legendary and historical scenes with a vividness which enables the spectator to reconstruct in fancy the pomp and pageantry of the past. From the earliest times, tapestry weavers have almost invariably relied upon contempo- rary artists for their compositions, and hence in the product of their looms may be traced the gradual evolution of successive periods of art. The rich ornamentation in which most tapestries abound is equally characteristic of the period in which the fabric was woven and is an unfailing source of inspiration for modern decorators and designers. The collection now on view should be visited and carefully studied, not once, but repeatedly; for a true appreciation of the beauty of tapestry can not be gained by a study of catalogues and handbooks alone — the tapestries themselves in all their splendor of color, design and texture should be studied at every opportunity. 6 CATALOGUE 1. THE PROPHECY OF NATHAN, ii feet lo by 21 feet 5, a late Gothic tapestry woven in Brussels at the beginning of the sixteenth century. This tapestry is a masterpiece. It is the best that could be accomplished by the most skillful weavers in the Golden Age of tapestry. It is an object lesson in the use of hatchings, and is unsurpassed in texture by any tapestry. It pictures in three scenes the events in the Story of David and Bathsheba that are described in II Samuel, chapters 1 1 and 12 — in the upper left corner David giving to Bathsheba's husband Uriah the letter that instructed Joab to place Uriah in the forefront of the battle, and then retire from him, that he "may be smitten and die;" in the upper right corner, Uriah delivering the letter to Joab ; in the body of the tapestry, David and Bathsheba standing on a platform before a throne, peni- tently with folded hands, while Nathan below, with right hand warningly upraised, prophesies: "The sword shall never depart from thine house; because thou hast despised me, and has taken the wife of Uriah the Hittite to be thy wife." Very interesting is this splendid tapestry to compare wnth the set of ten picturing the Story of David and Bathsheba, in the Cluny Museum, said to have been woven for the French King, which afterward belonged to the Duke of York, to Marquis Spinola, and to the Serra family of Genoa. The Cluny tapestries are three feet higher than the one before us, but in no way superior as regards weave, composition or design. Indeed, were it not for the difference in height and the fact that the events of the tapestry are elsewhere covered in the Cluny set, one might almost at first sight suspect it to be a part of the set. But while the faces and evidently the models for the personages are similar and similarly treated, the garments, particularly of David, are different, and there are numerous other minor differences. The Renaissance influence is stronger in the throne of the tapestry before us than in any of the Cluny set save one. The tapestry is said to have been formerly in the Royal Spanish Collection, and after that in the Chateau de Vierville in Calvados. Lent by Mr. Edward A , Faust, 2. DEATH OF PHAETHON, lo feet 9 by 9 feet 4. It will be remembered that Phaethon, having persuaded his father, the Sun God, to allow him for one day to drive the chariot of the sun, was unable to restrain his excitable steeds in their fiery course, and, swerving from the right path, threatened to burn and destroy the entire world, when Jupiter hastened to the rescue, and saved the universe by sacrificing the life of Phaethon. Lent by P, W , French & Co. 3. THE RECEPTION OF PARIS BY HELEN, 11 feet 3 by 9 feet 2, a companion piece to No. 2. A fascinating eighteenth century tapestry w^oven in Aubusson ; one of a set of five designed by Huet, that has been in a private residence in Greece for over a century. There are furniture coverings to match. The effect of the drapery that frames the top like a lambrequin is exceedingly good. Lent by P. fV, French ^ Co. 4. WOMAN AT THE TENT, a sixteenth century Flemish tapestry, 9 feet 1 1 by 9 feet 8. This tapestry, woven early in the sixteenth century with a texture that is delightfully Gothic of an earlier type, show^s both Gothic and Renaissance influence. Perhaps the salamander is that of Francis I, and perhaps the queen mother is looking over his armor before his being knighted, or later when he is in captivity; but that is mere speculation. The tiles with fleur-de-lis and other symbols afford interesting opportunity for interpretation. Lent by P, W, French £if Co, 5. SOPHONISBA AND MASINISSA, 17 feet 4 by 11 feet 6. A typical Brussels Baroque tapestry of the first half of the seventeenth century, picturing the meeting of Masinissa and Sophonisba after the capture of her palace, her husband and the capital city of their Numidian kingdom, by Masinissa. The inscription in the cartouche in the middle of the top border reads: SOPHONISBA, MASINISSAE. IN. GENVA. PROCVMBIT (Sophonisba falls at the knees of Masinissa). Her pleading was so effective that Masinissa forgot his duties as the ally of Scipio and the Roman people, fell in love w^ith her on the spot, and married her immediately. Later being authoritatively advised by Scipio to repudiate her, he sent her a cup of poison with the message that, no longer being able to protect her, he thus kept his promise to save her from becoming a Roman captive. Sophonisba is said to have drained the cup without hesitation, remarking as she did so that she w^ould have preferred not to have her wedding and her funeral occur on the same day. The original Rubens' color sketch of this tapestry is in the Detroit Museum. Lent by P. W, French & Co. 9 6. JOSEPH SOLD BY HIS BROTHERS, 20 feet 8 by 1 1 feet 9. A splendid Renaissance tapestry, dating from the first half of the sixteenth century and signed with the Brussels mark and the monogram of an unidentified master. The colors are exquisite and the borders are rich. The scene illustrated is the sale of Joseph to the Ishmaelites by his brothers, as told in chapter 37 of the Book of Genesis: ''And it came to pass, when Joseph was come unto his brethen, that they stripped Joseph out of his coat, his coat of many colors that was on him ; ''And they took him, and cast him into a pit: and the pit was empty, there was no water in it. Lent by P. W, French & Co. 7. AHAB AND JEHOSHAPHAT, 17 feet 2 by 11 feet 8. A rich and impressive Renaissance tapestry that pictures a Bible story. That this story is, the Latin caption in the top border makes clear. It is verse 10 of chapter 22 of I Kings, and in the English version reads: "And Ahab the king of Israel, and Jehoshaphat the king of Judah, set each on his throne, having put on their robes ; and all the prophets prophesied before them." The two crowned and sceptered kings are seated on the right of the tapestry, the identity of Ahab being marked by the letters ACHAP that appear on his right sleeve, while the letters lOSAPHAT appear on the border of Jehoshaphat's mantle, draping his left knee. The prophet in the foreground, whose left hand grasps a huge trident, is Zedekiah wnth the letters GEDKIA upon his hat, while just behind him stands Micaiah, with MUCH on the bottom border of his robe. In the center of the scene, between prophets and kings, but a little in the background, with her name upon her gown, stands Ahab's beautiful wife, whose wickedness has made Jezebel a word to shudder at. Zedekiah and the rest of the four hundred prophets prophesied as Ahab wished. Micaiah opposed him and was sent to prison. But Micaiah's prophecy came true, and Ahab was killed in battle against the King of Syria. The city that backgrounds the scene is Samaria. This tapestry is one of a set of four from the famous Somzee collection that was sold in Brussels in 1901. It was woven in Brussels in the third quarter of the sixteenth century, and has the Brussels mark, two 11 B's, on each side of a shield, woven into the bottom selvage. The weaver's monogram, that has suffered at the hands of time and of the repairer, was originall}^ formed of the letters CR. Lent by P. W, French & Co. 8 and 9. TWO RENAISSANCE TAPESTRIES, depicting battle scenes, each 12 feet by 11 feet. The two tapestries herewith brought to notice are especially gratifying to the artist's eye. Their coloring is satisfying to the highest degree. Soft and delicately toned in pastel colors to combine with masses of rich blues and reds adroitly displayed in the dress of the figures. Grecian conflicts in Persia were popular tapestry sub- jects in the time of the Renaissance, and, as in the tapestries being considered, they gave fine opportunity for the complicated scenes and infinitude of planes that delight us now. In the foreground a sparse number of prominent figures play their earnest and tragic parts. In one tapestry a supplicant pleads with a w^arrior to don his discarded armor lying on the ground and come to the assistance of the king who in his battle- tent awaits with hopeful anxiety his decision. The figures are nobly drawn, especially those of the young warrior and the queenly woman beside him whose attitude shows her strong desire to influence him. The foreground is occupied with the happy display of foliage that invariably fills unused spaces in tapestries of this type. A botanist could name every leaf in all this infinite variety of leaves, with such loving care are they represented. The pred- ecessor of this leafage was the flower-starred field of Gothic work. Beyond this is the enchanting maze of the middle distance, leading by happy advance to the far heights and the serenity of the heavens. On the left are grouped the tents of the army, those decorative shelters which accompanied all European con- flicts between the thirteenth and sixteenth centuries. In the decorative confusion are to be distinguished many soldiers miassed together with shields and spears, a high-prowed galley floating on an insufficient stream, also loaded with eager men of arms, and a long pontoon bridge over which is being drawn a car in which reposes a person of high importance. From the winding stream of the far-reaching valley approaches a procession of camels, while trees and castles dot the ever-rising heights. It is the childish ingenuousness of these backgrounds that so delight us. They are the fairy-land picture books for grow^n- 13 ups. Into their intricacies we are never tired of gazing. If real life palls with its "demnition grind" of Dickens' description, how happy can one be in straying through the umbrageous paths, in wandering among the active folk, in straying far among the hills of the enchanted world of the tapestry background. At the time these hangings were woven, about 1550, Italian artists were drawing the cartoons. The Flemings were, how- ever, the weavers. Much freedom was given the weaver who was himself a minor artist. Thus it happens that while the figures of importance were Italian, the Flemish weavers set in their own backgrounds. This explains the naivete of the designs in which we so delight. The weavers of that time had freshness of imagination that produced an infinite variety of background and seemed to play with the designs as children play with toys. The second tapestry has as subject a fierce battle beginning with the surprise of the enemy's camp. The grouping is admi- rable and the masses arranged by an artist of ability. Foreground shades into middle distance, and that into the horizon, without obvious tricks in the change of planes. Superb trees of rich foliage are used, not to separate groups — a common subterfuge — but only to calm the confusion that might arise from too much detail of background. The larger figures at the right depict the death of a general on his fallen horse. The figure of his vengeful slayer is one of superb force and the scene full of vigor and of decorative value. The borders of these two hangings show the fineness of the weave, as well does the infinite detail of the background. Bor- ders, at the time these were woven, had grown greatly in width since Gothic days. The meandering string of flowers or jewels gave way to wider floral design, though still Gothic. But with the Renaissance came the accenting of the border and the increase of its width. The increased width was a natural consequence of the change in furniture styles which brought in many high pieces concealing the lower part of the tapestry, To raise the pictures the border was widened. But the most potent reason for increase of width was the exuberance of the artist of the Renaissance w^hose fertility of decorative invention impelled him to seek space to cover with his drawings. It became the fashion to divide the border into scenes and to fill the space between them with an exquisite mass of flowers, fruit and grotesques. On such a scheme are the borders of these two tapestries made. Being of the same set, the borders are alike, as was the custom. 14 At top and bottom and on the sides are rural scenes unre- lated to the cartoon of the tapestr}^ These tiny scenes are in themselves sufficient design for an entire hanging. They are charming miniatures which may be enjoyed at leisure. Unhappily, this idea has been used to their detriment. Many old tapestries have until very recent times been stripped of their borders that these scenes might cover a chair or cushion. Fortunately, such mutilation is stopped by the increase of value on bordered tapestries. Besides the four miniature scenes in the border, a heroic figure occupies each corner. Justice in one. Wisdom in another, with male figures of War and Victory in the upper corners. Besides these are set two repeated figures of female virtues. All these charming miniatures are united to form a flowing whole by the gracious forms of flowers and grotesques. As for their coloring, it makes the eyes sparkle and the lips smile to behold its blended softness. Lent by P. W , French Sff Co, 10. SEVENTEENTH CENTURY FLEMISH COAT OF ARMS TAPESTRY, 9 feet by 8 feet 10. Flemish armorial tapestry with two figures holding a Coat of Arms of the period ; woven in Brussels in the middle of the seventeenth century by Francis van der Hecke, whose signature appears in the upper right-hand corner, and who was assisted by van der Bruggen. This tapestry is a splendid example of an armorial tapestry, which were used very frequently as portieres in door- ways. The coat of arms has not as yet been deciphered and undoubtedly is of a distinguished family of the epoch. It is interesting to note the different quarters in the arms repeated in the corners of the beautiful border of fruits and flowers. This tapestry is also signed with B B around a shield which denotes the mark of Brussels. Marks of this kind were put on tapestries made at Brussels by an edict issued in 1528 by the great Emperor Charles V. Lent by P. W . French & Co. 11. ARCHDUKE ALBERT AND ISABELLA, 14 feet 3 by 1 1 feet 4. One of a series of four Flemish tapestries woven at Brussels about the middle of the sixteenth century. These tapestries appear to illustrate events of historical importance in the lives of the personages in whose honor they were woven. The quaint backgrounds of hills and dales, dotted with villages, houses, and, sometimes, fortresses, are all alive with figures displaying great activity, but the coloring, of quiet tone, is so harmoniously blended that the attention is not distracted from the important personages, who, clothed in the rich and sumptu- 15 Seventeenth Century Flemish Coat of Arms Lent by P. IV. French & Co. ous court costumes of the reign of Charles V, occupy the foregrounds. This tapestry pictures a nobleman arrayed in magnificent court robes with an attendant, in conference with men and women, evidently picturing attendants of his lordship's estate. In the background are pictured various pursuits of people in the forest, and in the upper left-hand corner there is a small panel picturing a king and queen with attendants dining. The Flemish red, green with yellow high lights, and dark blue colors that predominate in this series, have all become wonderfully softened and mellowed. Nothing has faded, but every color has been lowered in tone and harmonized. Great artists did their best, and time perfected their work. The borders consist of rich designs on a background of reddish brown. There are flowers, leaves and fruits tied with ribbons in bouquets upon the trunk of a palm tree. From the corners of the bottom borders spring bunches of palm leaves tied with ribbons and ringed with ropes of flowers. In some of the lower borders are two birds. Lent by P. W . French ^ Co, 12. EIGHTEENTH CENTURY FLEMISH TAPES- TRY, II feet lo by 21 feet 5, woven from a design by Teniers, and is without doubt one of the most splendid examples by this master. The scene of rustic festivities under the trees in front of a tavern. The weaving is by members of the Leynier family of tapestry weavers, and from the date, presumabh^ Urbain assisted by Daniel who worked in the Eighteenth Century. The colors are well preserved and show great brilliancy and warmth in the figures and trees of the foreground ; a large proportion of the field of this tapestry is the foliage, handled with great vigor, and a fine bit of delicate gradation in blue and gray distance, shows underneath the strong verdure and atones for the intense realism of the subject and its treatment. The border is the conventional one of its period, having the effect of gold frame in rich yellows, reds and wine color. Lent by P, W, French & Co, 13. ROLAND, 12 feet by 21 feet 6. An eighteenth century tapestry from the Royal Manufactory of the Gobelins, after a cartoon painted by Charles Coypel in 1733. The story depicted by this tapestry deals with the famous Paladin Roland, who, leaving the army of Charlemagne to start in search of the lovely Angelique, returns to find her wedded to Medor, a young Saracen Prince whom the capricious Princess had found wounded under the walls of Paris. Although bent on return- ing to her kingdom of Cathay, she tarries and tends him ; her 17 kindness develops into love, and upon his recovery she marries him. The w^edding festivities are still in progress when Roland returns. He falls at Angelique's feet in dismay, to w^hich suc- ceeds the violent despair which forms the theme of Ariosto's grand epic poem, ''Orland f'urioso." Groups of spectators stand around a tree reading and commenting upon the following inscriptions cut in the bark of the trunk: ''Angelique a donne son coeur, Medor en est vain- queur," — "Angelica has given her heart, Medor has won it;" and ''Que Medor est heureux Angelique a comble ses voeux," — "How happy Medor is, Angelica has crowned his wishes." This magnificent tapestry was according to records begun in 1784 under the direction of James Neilson and completed in 1789 under the supervision of Cozette fils, when it was conveyed to Prince Potenkin, in whose family it remained until it was acquired by its present owners. This tapestry bears the signature of the painter Charles Coypel, whose cartoon signed and dated 1733 is now in the Palace of Compiegne. A panel illustrating the same subject, and ordered by Louis XV, forms a part of the collection in the Musee du Louvre; another, which was given by the king to the Paravicini family of Genoa, is now in the collection of Baron Henri de Rothschild. Lent by Messrs. Duveen Brothers, fJ a4>.^ftd-+S. SUMMER and AUTUMN, each 8 feet by 7 feet 6. A pair of tapestries, designed at the beginning of the eighteenth century, toward the end of the reign of Louis XIV, by Claude Audran, and woven at the Gobelins on high warp looms, about 1725, by LeFevre, whose initials appear in the lower right corner of the panel inside the woven frame. Thej^ are part of a set of eight, or rather a portion of the two sets of four constituting the set of eight. The first set of four pictures the seasons. Spring, Summer, Autumn, Winter, under the guise of Venus, Ceres, Bacchus and Saturn ; the second set of four pictures the elements. Earth, Air, Fire and Water, under the guise of Diana, Juno, Jupiter and Neptune. They belong ornamentally to what may be called the French Gro- tesque type, inspired by the two-centuries-earlier Grotesque style of Raphael and his pupils, and of the Italian Renaissance. ^^enl by Messrs, Dumen Brothers, > 19 14 Summer Lent by Messrs. Dii^een Brothers 16. LE MUSICIEN, 9 feet 5 by 8 feet. An old eighteenth century tapestry with border after a design by Le Prince, a famous cartoonist who flourished during the middle of the eighteenth century, and designed for the Beauvais factory. The subject, ''Le Musicien," was probably executed during 1769, and formed a part of a set of six panels entitled ''Les Jeux Russiens." Lent by Messrs. Duveen Brothers, 17. VISIT OF APOLLO TO DAPHNE, 11 feet 8 by II feet II. A Brussels tapestry of the seventeenth century, depicting the visit of Apollo to Daphne who was changed into a laurel at the moment of her capture by him. Lent by Messrs, Duveen Brothers. 18. VISIT OF PARIS TO VENUS, 11 feet 2 by 12 feet 6. Companion piece to No. 17. Both of these pieces are typically beautiful specimens of tapestry work of this period with ''petits personages." Paris was the second son of Priam and of Hecuba, and the husband of Oenone. It was he who abducted Helen, the wife of Menelaus, and who gave the apple of discord to Venus, which choice aroused the ire of Juno and Minerva against Troy. The cartoon represents the presentation. Lent by Messrs. Duveen Brothers. | JB. LA DISEUSE DE BONNE AVENTURE, 11 feet by H 1 1 feet. A panel of eighteenth century Beauvais tapestry after a design by Francois Boucher (i 703-1 770). J^ent by Messrs. Duveen Bro filers. 20. VISIT OF MERCURY TO THE COURT OF VENUS, II feet 2 by 10 feet 6. An old Brussels tapestry panel with border. Woven during the latter part of the seventeenth century. Lent by Messrs. Duveen Brothers. 21. GOTHIC VERDURE TAPESTRY, 9 feet 9 by 13 feet. Large leaves, fruits and flowers in blues, greens and ecrus. Lent by Mr. Dikran G. Kelekian. 22. BIRTH OF THE VIRGIN MARY, 12 feet by 11 feet 4. Renaissance tapestry. Lent by Mr. Dikran G. Kelekian. 23. JUDGMENT OF PARIS, 13 feet 3 by 9 feet 4. Renaissance tapestry, borders of fruits and flowers. Lent by Mr. Dikran G. Kelekian. 21 Visit of Apollo to Daphne Lent by Messrs. Duveen Brothers 24. FLEMISH TAPESTRY, 9 feet 7 by 7 feet 8. Depicts two figures, a young man and woman quaintly dressed, with castanets in their hands, dancing among trees and flowers. In the distance a castle and mountains. Lent by Mr, Dikran G, Kelekian, 25. GROTESQUE RENAISSANCE TAPESTRY, 8 feet 6 by 1 1 feet 6, probably early seventeenth century Flemish. A pergola in the center, made up of light pillars, scrolls, masks, vines, festoons, tripods and other details, supported by satyrs, projects over a fish pond in the foreground, around which are animals, birds, reptiles and flowers. Behind the pergola, a boar hunt is depicted in which figures mounted and on foot take part; back of them a plaisance in a landscape. The border contains seated allegorical figures in architectural set- tings, with panels of fruit, flowers and vegetables, bands of blue and white, with masks, vases, termes, etc. Its prevailing tones are cool, blue and green predominating; by the fading of its dyes, a few rich reds and dark blues are left in con- spicuous spots, but the effect is harmonious, and the border is entirely consistent. Property of the City Art Museum, 26. CHINESE TAPESTRY, a temple hanging, delicately woven, said to date from the seventeenth century. On a faded yellowish gray ground is shown a temple among high rocks surrounded by waves. In the foreground, growing from the rocks, are old pine trees, a peach tree in fruit and a bamboo. Two white cranes, emblems of longevity, are under the pines. Certain colors have faded out leaving light blues and greens and dark outlines on the faded silk. Property of the City Art Aluseum, 27. A collection of fifty fragments of Egypto-Roman, Coptic and Saracenic textiles, of periods extending from the first to the tenth century. Property of the City Art Museum, 28 and 29. COPE AND CHASUBLE, Spanish, late fifteenth century. Red and gold ground brocade enriched with gold tinsel and woven in a pomegranate design, a favorite pattern for the rich textiles of the fifteenth century. The orphrey and capuchon are marvelous examples of embroidery in design and execution. They are ascribed to the famous embroiderers of Toledo. The embroideries on the cope repre- sent the Adoration of the Magi, the Presentation in the 23 19 La Disfusf. df Boxnf Avenjure Lent hy Messrs. Dii^veen RrotJiers Temple, the Assumption, the Nativity, the Annunciation, and the Meeting of St. Anne and St. Joachim. The embroideries on the back of the chasuble represent the Crucifixion, Christ in the Garden and the Betrayal. The subject of the embroidery on the capuchon is the Trinity. The cope is one of the most beautifid of ecclesiastical vestments. It is a processional mantle or cloak Vv^orn over the other vestments. The chasuble is a vestment, usually richly ornamented, worn by the celebrant at the Mass or Eucharist. Both the chasuble and the cope are ornamented with orphreys, borders or cross-shaped bands of decoration. The subjects are commonly scenes from the life of Christ, representations of saints, usually the apostles or patron saints of the particidar church for which the vestments were made. The capuchon is the simulated hood forming part of the cope. Le nt by P. W , French & Co. 30. SULTANABAD BOWL, with fox in center, decorated in blue, gray and white. Twelfth to thirteenth century. Lc/it by Air. Dikran G. Kelekian. 31. SULTANABAD BOWL, with fawn in center, decorated in greenish turquoise, dark blue, gray and white. Twelfth to thirteenth centur) . Lent by AL . Dikran G. Kelekian. 32. RHAGES BOWL, turquoise blue with black ornamen- tation. Twelfth to thirteenth century. Le/it by i\L\ Dikrdii G. Kelekian. 33. SULTANABAD BOWL, with small bird in center, decorated in blue, black, gray and white. Twelfth to thirteenth century. Lent by Mr. Dikran G. Kelekian. 34. SULTANABAD BOWL, with hare in center. Twelfth to thirteenth century. Lent by AL\ Dikran G. Kelekian. 35. SULTANABAD BOWL, with liare in center, decorated in fawn color and white. Twelfth to thirteenth century. Lent by x\L'. Dikran G. Kelekian. 36. RHAGES BOWL, decorated in pale gold luster with touches of pale blue. In the center a hare. Twelfth to thirteenth century. Lent by A/r. Dikran G. Kelekian. 25 37. RHAGES LUSTER BOWL, ruby luster. In the interior various figures of women. A band of Cufic inscription at the rim. Twelfth to thirteenth century. Lent by Mr, Dikran G. Kelekian, 38. SMALL RHAGES BOWL. Turquoise blue ground decorated in polychrome. Across the center a band of griffins and on either side a group of three female figures. Twelfth to thirteenth century. Lent by Mr. Dikran G. Kelekian, 39. RHAGES BOWL. Polychrome, with figures of women. Twelfth to thirteenth century. Lent by Mr, Dikran G, Kelekian. 27 1l GETTY RESEARCH INSTITUTE 3 3125 01378 0578