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THE FFOULKE 
 COLLECTION OF 
 TAPESTRIES 
 
 ARRANGED BY 
 CHARLE S M’ FFOULKE 
 
 NEW YORK 
 PRIVATELY PRINTED 
 MCMXIII 
 
Copyright, 1913 
 by 
 
 Frederic Fairchild Sherman 
 
 THE GETTY CE 
 LIBRARY 
 
CHARLES MATHER FFOULKE 
 
CHARLES MATHER FFOULKE 
 
 HARLES MATHER FFOULKE was born 
 July 25, 1841, in Quakertown, Bucks County, 
 Pennsylvania. His native town was an early 
 settlement of Friends, made under tbe guidance 
 of William Penn. Edward Ffoulke, tbe first 
 American of tbe name, came from ales and 
 iiS settled in Gwynedd in 1698; and Hugb, bis son, 
 went to Quakertown in 1712, receiving a grant of land from Jobn, 
 a brother of William Penn. Tbe portion of tbe land on wbicb tbe 
 old homestead stands is still owned by tbe family. Edward Ffoulke 
 wrote bis name as bis ancestors bad done, with tbe two f 's, but bis 
 descendants, for tbe sake of convenience, gradually dropped one f ; 
 later some members of tbe Ffoulke family, including tbe subject of 
 this sketch, resumed tbe old spelling. 
 
 Benjamin Green Foulke, tbe fifth generation from Hugb, in 1837 
 married Jane Mather. Of their six children, Charles Mather, tbe 
 second son, is tbe subject of this sketch. He and bis brother. Job 
 Roberts, were nearly of tbe same age and were closely attached to 
 each other through life. 
 
 Charles was a pupil in tbe Friends school, at Quakertown, until 
 be was sixteen years old. He thus passed bis boyhood, attending 
 school, going regularly to tbe service in tbe Friends’ Meeting House, 
 working on tbe farm, studying and reading by candledight late into 
 tbe night. Tbe effect of this association with tbe Friends no doubt 
 left its impress in purity of thought and action, and in self restraint, 
 quiet dignity and endurance, wbicb bis life exempfified in a marked 
 degree. 
 
 He then attended boarding school one year at Gwynedd, and afi 
 terwards went to tbe Friends Central High School in Philadelphia. 
 Aaron B. Ivins, a severe, although brilKant, master was in charge of 
 
 5 
 
tills school. Here the ambitious, studious and welbread country hoy 
 advanced rapidly in the absorption of knowledge. He had a reten= 
 tive memory and never lost what he acquired. 
 
 Directly after leaving school, impelled by his interest in the beaus 
 ties of nature, he studied the native flowers and birds, and contribz 
 uted forty articles, entitled “Rambling Notes of a Florist,” to the 
 Germantown Telegraph. 
 
 In i860 he was made principal of the Friends School in Quakers 
 town. The fact that he filled this position acceptably at the age of 
 nineteen, when many of his pupils were older than he, is strong 
 proof of his merits. 
 
 Benjamin G. Foulke, who was a conveyancer and a director in 
 the Doylestown Bank, had entrusted to him by the North Pennsyls 
 vania Railroad the problem of securing its right of way through the 
 farms of Dutch settlers. His son Charles participated with him in 
 making surveys and in the preparation of deeds for this important 
 work. 
 
 When Fort Sumter fell, April 14, 1861, it was a hitter disappoints 
 ment to Charles Ffoulke that the tenets of the Friends and the exs 
 press commands of his father prevented his joining the Union army. 
 
 In the autumn of 1861 he took advantage of a good business ops 
 portunity to undertake, with Mr. Henry C. Davis, a venture into 
 the wool business. This venture was enormously successful. In a 
 few years there was a further combination, and in 1869 the parts 
 nership was continued under the name of Davis and Ffoulke. 
 
 For ten years he was actively engaged in this business career. 
 His work was not the dull routine of the office. From the first, as 
 the buyer of the firm, he went west to obtain wool from the great 
 farms and ranches where the sheep were raised. His labors carried 
 him from the Mississippi river to the Pacific coast. Traveling in 
 those days, in that part of the country, was not accomplished in 
 comfortable Pullman coaches and fast automobiles with luxurious 
 hotels as resting places. The communication between ranches was 
 occasionally by the old stage coach, most frequently on horseback, 
 or in buckboard. Rest was secured in some wayside inn, shanty or 
 tent, and sometimes on the open prairie. It was necessary to carry 
 large sums of money, usually in a concealed belt, as banks and 
 checks were not available and cash was required. This added much 
 
 6 
 
to the excitement and danger of his journeys. For protection and 
 company he often rode with the ranchmen and cowboys, and the 
 quaintness, breadth of view, honesty, courage and innate poetry of 
 many of them were a source of interest and pleasure to him. 
 
 Mr.Ffoulke’s business career of ten years was phenomenal when 
 we consider his previous life of a student, devoted to literature. His 
 mental trend, energy and capacity brought to bear upon business 
 problems soon made him master of details as well as of the more 
 important and greater principles ; these, combined with his insight 
 into character, his judgment of men and his honesty in dealing, gave 
 him large credit and success in his business ventures. 
 
 This life, carried on through fair weather and storm, in danger and 
 trial, under much mental strain, was too great a demand even upon 
 his fine physique. At that time he contracted rheumatic gout, with 
 which he battled nobly for the rest of his life. On this account he 
 found it necessary to give up his business in 1872. He then sailed for 
 Europe. 
 
 It was during the year 1872 that an event in his life occurred 
 which had a most important influence over his future career as an 
 art lover and connoisseur. In December he married Sarah Cush? 
 ing of New York. Miss Cushing was descended from Judge Abel 
 Cushing of Boston, and was the daughter of Horace Cushing. 
 When a child Miss Cushing was thrown into an artistic atmos? 
 phere, and was placed in the studio of Mr. Lazarus, a noted portrait 
 painter of that period, with the intention of preparing for an artist’s 
 career. She was an orphan, traveling in Europe with an aunt and 
 uncle, when she married Mr. Ffoulke. The young wife, with her 
 knowledge, her enthusiastic love and admiration of the old masters, 
 naturally opened up a new world to the young student and business 
 man. They lingered and studied on the canals in fairylike Venice, 
 in the great galleries of Florence, and among the inspiring churches 
 of Rome, seeing the art treasures of the Old World. He did not rest 
 content until he had gained a thorough knowledge of the great 
 masters, imbibing information of their fives and the qualities of their 
 work. At the same time he acquired a good working knowledge of 
 French, German and Italian. 
 
 Thus for two years theyjourneyed through Europe, Mr. Ffoulke 
 making a systematic study of the fine arts, and keeping a journal of 
 
 7 
 
his impressions of what they saw in France, Germany, Italy and 
 England. 
 
 They returned to America in 1874, and resided in Philadelphia, 
 where Mr. Ffoulke for another ten years devoted his energies to 
 business. 
 
 But the seed planted in 1872 had been maturing. Upon his first 
 visit to Europe he had felt that he was not justified in acquiring the 
 art treasures he coveted and had confined his purchases to bronzes 
 and small objects of vertu. The call of art and the desire to have as 
 his own some of its treasures became so insistent that, in July of 
 1884, he went to Europe, with the intention of devoting himself to 
 this study for several years. 
 
 His family, consisting of his wife and children, Horace Cushing, 
 Helen Seagrave, Gladys and Gwendoline, made their home in Nice, 
 France. Here they spent the winter months, traveling and studying 
 during the summer. His knowledge was sorted and sifted through 
 his intercourse with distinguished and brilliant foreigners, with 
 whom he was thrown as a member of the club, “Cercle Mediter* 
 ranee." The earthquake, which was felt along the Riviera in 1887, 
 strongly manifested itself in Nice. This, while having no apparent 
 effect upon his life, was one of the unknown events leading to great 
 results, as it caused the Ffoulkes to remove from Nice to Florence, 
 Italy, where in the Tapestry Museum, his art knowledge began to 
 specialize upon tapestries. Mrs. Ffoulke’s desire to purchase tapes* 
 tries from a friend before leaving Nice, was another apparently 
 trivial event leading to his life work. 
 
 His wish to please his wife led him into a systematic and thor* 
 ough study of this branch of the fine arts. He spent a great part of 
 his time in the museum, where a large collection of tapestries was 
 arranged in chronological order, an arrangement best adapted for 
 the study of variations in periods and manufactures. Form and 
 color had always appealed to his imagination and in nothing was 
 this expressed more subtly than in the soft harmonious textiles 
 which he found so artistically displayed in this museum. History 
 had always appealed to his intellect, and each tapestry had some* 
 thing interesting to unfold, either in the traditions of the gods, in the 
 stories of the Bible or in the facts of history. Mankind had always 
 been one of his interests and therefore tapestries, where hints on the 
 
 8 
 
costumes, manners and customs of many peoples and periods were 
 to be found, especially appealed to Kim. 
 
 The love of tapestries soon became a serious study and an absorb* 
 mg interest, which grew, flourished and remained dominant to the 
 end of his life. 
 
 It was at this time that he became a friend of the Italian Court 
 painter. Professor Michels Gordigiani, and through him made the 
 acquaintance of Giuseppe Salvadori, an enthusiastic collector and 
 marvelous repairer of textiles. His association with Mr. Salvadori 
 and his own study widened his experience and gave him a thorough 
 knowledge of the materials, looms, colors and methods of weaving 
 at different periods. 
 
 His art studies and his growing reputation gave him access to 
 many homes in Paris, where he acquired a knowledge of that coun* 
 try’s artistic expression in textiles, but his preference for the Flem* 
 ish weaves remained steadfast. 
 
 In Munich he made his first valuable purchase, a set of Flemish 
 tapestries, historically important and rich in gold and silver. 
 
 In 1888 Mr. Ffoulke’s improved health permitted him to return 
 to America, and, on account of its beauty and cosmopolitan society, 
 he selected Washington as his residence. 
 
 He went to France to see the tapestries and textiles brought to* 
 gether by the French Exposition in 1889, and remained for some 
 months in Europe, going to Italy late in the summer. 
 
 He had not succeeded in securing a set that his ideals demanded, 
 but his desire was about to be realized, for while in Rome he was 
 presented by a friend to the Princess Barberini and was offered an 
 opportunity to examine the great Barberini collection of tapestries, 
 many pieces of which had been stored for over thirty years. Every 
 courtesy was extended to Mr. Ffoulke in order that he might make 
 a careful study of these tapestries. The series depicting “Dido and 
 Aeneas,” and “Judith and Holofernes” pleased him best, and he 
 made an effort to obtain them. He soon found that the Barberini 
 family would part with the collection only as a whole. The oppor* 
 tunity to acquire these art treasures — an opportunity not presented 
 once in many lifetimes — combined with the charm and artistic quali* 
 ties of the collection, overcame his fear of being rash and he pur* 
 chased the entire collection of one hundred and thirty*five pieces. 
 
 9 
 
These tapestries are among the most notable in the world. They 
 were designed by celebrated artists, and are harmonious in color and 
 accurate in drawing. Woven in the best looms, their workmanship 
 displays the highest skill, their beautiful colors are from the most 
 lasting dyes and the web and woof of the best materials. Luca Hob 
 stenio describes in a rare manuscript, preserved in the family ar? 
 chives, the tapestries which Louis XIII presented to Cardinal Bar? 
 berini when the Cardinal was attending the Court of France as am? 
 bassador from Pope Urban VIII to the convention on the peace 
 of Europe. 
 
 The larger number of these tapestries are of the Flemish, French 
 and Roman schools. Many are signed by the master weaver, and 
 some have the name of the artist who prepared the cartoons. Among 
 the weavers of these tapestries are the noted names of Willem de 
 Pannemaker, Henri Rydams and Everard Leyniers ; others are from 
 the ateliers of the Gobelins and Aubusson. When Urban VIII was 
 upon the papal throne, a manufactory of tapestries was established 
 in the Barberini palace. In this factory, about 1630, was woven the 
 “Dido and Aeneas” series. Before the collection left Italy the tap? 
 estries were stamped by the government and had affixed to them 
 the seal of the Royal Galleries of the Uffizi as grand (highest grade) 
 objects of art. 
 
 This collection was too great even for the large gallery Mr. 
 Ffoulke had prepared for them in V/ ashington, and he gave a few of 
 his friends in this country the opportunity of acquiring some of the 
 series. They were quick to avail themselves of his offer. The “Dido 
 and Aeneas” series and “Judith and Holofernes” series were sent to 
 Washington. The largest set, illustrating the life of Christ, was 
 obtained for the Cathedral of Saint John the Divine by Mrs. Eliza? 
 beth U. Coles of New York, who considered it a privilege to present 
 this work of art to the new Episcopal cathedral. This series of twelve 
 pieces was hung in the spring of 1911 around the chancel just above 
 the high altar in the completed choir of the cathedral. 
 
 This acquisition of Mr. Ffoulke’s and the knowledge and good 
 judgment he had displayed in his other purchases, made him a noted 
 man among collectors and writers on textiles as well as with direc? 
 tors of tapestry works and art museums. 
 
 The association with these men on his numerous trips to Europe 
 
 10 
 
during the twenty years’ residence in W ashington, together with 
 their respect for his opinion and advice, added materially to his 
 enjoyment of life. He spent much time in Paris, making intimate 
 friends of Gerspach, Director-General of the Gobelins, and of Jules 
 Guiffrey, who succeeded him, both writers of note, the latter au- 
 thor of “The History of French Tapestries;” of Fenaille, author of 
 “Tapestries of Gobelins Manufacture,” of EugeneMiintz, guardian 
 of the Beaux-Arts Library and author of “Italian Tapestries;” and 
 of Alphonse W auters, member of the Royal Academy of Belgium 
 and author of “The History of Brussels Tapestries.” Letters from 
 many of these authors attest their high appreciation of Mr. Ffoulke’s 
 labors and knowledge on the subject in which they were so much 
 interested. 
 
 When he was the guest of honor at a dinner given in Paris by the 
 Director of the Gobelins, Mr. Ffoulke defended Americans against 
 the charge of poor appreciation of art by relating how, during the 
 French Revolution, Mr. Sadler, an American, learning that the 
 French Directory were burning tapestries to secure the gold and 
 silver threads, offered to purchase five of the pieces so as to preserve 
 an art treasure, but hatred for the nobles prevented him from ac- 
 complishing his purpose. 
 
 Association with men who were writing, or who had written, 
 on the tapestries of their respective countries, naturally brought to 
 his mind the need of a work in English on this subject, to educate 
 our people and to arouse their enthusiasm for one of the noblest and 
 most stately forms of decoration. In 1892 he determined to write such 
 a work, hoping to bring it out simultaneously with that of Fenaille on 
 the Gobelins. Entering upon this great undertaking with his usual 
 zeal, energy and intelligence, he proposed a work in three volumes : 
 first, “The History of Tapestries from the Early Copts to the Pres- 
 ent Day;” second, “AFull Description of the Barberini Tapestries;” 
 third, “A Description of the Art in the United States and Famous 
 Tapestries Owned in this Country.” Although he worked zealously 
 for seven or eight years collecting materials, and in writing many 
 sections of this truly monumental work, it was never completed. 
 A large part of it while in manuscript was accidentally destroyed. He 
 bravely started again, and left many of his notes, completed descrip- 
 tions and criticisms among his papers at his death. These descriptions 
 
guided by tbe monographs and lectures left by him have been pre? 
 pared with intelligent care by his wife to be published in the present 
 work. He published monographs on the “Judith and Holofernes,” 
 the “ Dido and Aeneas,” and the “Life of Christ” series. 
 
 He delivered many lectures upon the subject in Washington, 
 Chicago, Boston and Philadelphia, as well as talking to small audi? 
 ences in private houses. In these lectures he condensed a vast amount 
 of information, relating to the weaves, the styles of periods and coun? 
 tries, the methods of making cartoons, the noted weavers, and the 
 interesting history of individual tapestries. 
 
 In his efforts to give the people this educative pleasure he was 
 generous in loaning his tapestries for public exhibitions, as at the 
 Cosmos Club, and the Corcoran Gallery ofArt, where noted exhibi? 
 tions were held, composed largely of selected examples from his 
 collections. 
 
 His social life in Washington was full of pleasure to him and his 
 friends. His brilliant mind, long study, extensive travel, and world? 
 wide association with intellectual and artistic people, gave those 
 with whom he had personal relations both pleasure and profit. He 
 was for a number of years President of the Chevy Chase Club of 
 W ashington, and a member of the Metropolitan and Cosmos Clubs. 
 
 Men of letters, noted artists, and people of culture found their 
 way to his tapestry room, whether they lived in Washington, 
 came from other cities, or were visiting our country from Europe. 
 
 Here, too, Mrs. Sherwood gave her charming talks during two 
 winters, and the National Art Society held many of its meetings. 
 
 He was also most generous in throwing it open to art societies 
 when meeting in the capital. In this way the American Institute of 
 Architects and the Architectural League of America were tendered 
 receptions. This was much to their advantage and improvement, as 
 no other room existed in this country so admirably decorated. 
 
 He was most earnestly active in his efforts to secure the entry 
 of art treasures free of duty and with Kate Field, Mrs. Calvin Brice, 
 and others, made zealous attempts to have this measure for the edu? 
 cative good of our country made a law. Although they were not 
 successful at this time their efforts had effect as one of the levers 
 which secured the needed legislation for our people in a recent act 
 of Congress. 
 
 12 
 
In 1904, much broken in health, Mr. Ffoulke again went abroad 
 with his wife, daughter, and youngest son. After spending some 
 time in France and Italy, they wintered in Egypt. This was his 
 first visit to the land of the earliest civilization and, although suffers 
 ing and weak, he enjoyed his journey on the Nile. He was delighted 
 with the unexcelled opportunity to see and study in the Gizeh 
 Museum the wonderfully fine old Egyptian weaves which were 
 executed on principles similar to those used in the Gobelins at the 
 present day. These fragments of quaintly and beautifully decorated 
 linen garments, still holding their bright colors, are the earliest exists 
 ing examples of weaving, being more than three thousand years old. 
 
 It was during this last journey in Europe that, at the request of 
 the King of Belgium, some of Mr. Ffoulke’s Flemish tapestries were 
 loaned for the Exposition in Brussels (1905), where they were highly 
 appreciated, and their owner was shown much courteous attention. 
 
 Before returning to America in 1905, Mr. Ffoulke added materis 
 ally to his already great collection, by purchases made in France 
 and Italy. 
 
 Having thoroughly studied the subject, he realized that France 
 reaped enormous profits from her art industries. He was anxious, 
 therefore, that America should in time rival her in this respect, as 
 he felt that his countrymen were equally capable, provided they 
 could have the advantage of equal education on the same lines. For 
 this reason, he not only greatly desired to see important Industrial 
 Art Schools established in America, but he strenuously urged the 
 necessity of obtaining beautiful artworks from the Old World as an 
 important factor in the imagination of the student and the elevation 
 of his taste. Wuh this object in view, he took an earnest interest in 
 the National Society of the Fine Arts, a local organization formed in 
 Washington in 1905. He was tendered and accepted the Presi? 
 dency of this society in 1906, and immediately took an active part 
 in its efforts to interest the people in matters of beauty. His energy 
 and executive ability, knowledge of art, and endearing social qualk 
 ties, made him a strong factor in the city’s development in accords 
 ance with the Park Commission plans. He forcefully aided in such 
 undertakings as parking the open Rock Creek Valley, locating 
 appropriately the Grant monument, and securing a National Fine 
 Arts Commission. He also assisted the local society in exhibitions. 
 
 
V/ithout him the society could not have held its very important 
 tapestry display in the Corcoran Gallery of Art. He encouraged 
 lectures on all branches of art and architecture. Although the society 
 was national in name from its form of constitution, it was local in 
 effect. It was his ambition to extend its principles and have associa* 
 tions from all parts of our broad, country join in fostering a love and 
 appreciation of the fine arts. He remembered that on July 28, 
 1892, a charter was granted by Congress to a small body of enthus 
 siastic people to establish a National Academy of Art. Among the 
 charter members were Kate Field, Arthur McArthur, Charles M. 
 Ffoulke, Mrs. Levi P. Morton, Mrs. Phoebe Hearst, James J. Hill, 
 and Mrs. Bellamy Storer. The charter was broad and under it many 
 things could be accomplished. In 1908 Mr. Ffoulke determined to 
 bring this society again into action, and by correspondence with the 
 small number of charter members living, it was agreed to meet and 
 elect new members. This was done and in the new organization 
 Elihu Root, Henry Cabot Lodge, Henry Walters, J. P. Morgan, 
 Charles L. Freer, F. D. Millet, A. J. Parsons and V/. E. Curtis were 
 among the number who took an active part with Mr. Ffoulke in res 
 viving this association. The charter allowed only Regents as mem? 
 bers, and one of the first steps of the Academy, in accordance with 
 Mr. Ffoulke’s ideas, was to organize a Federation of Fine Arts, corns 
 posed of chapters, in which all societies with artistic aspirations, 
 whether of architecture, painting, sculpture, civic improvement 
 leagues, or landscape, were invited to join. The following letter to 
 Mr. Root tells of the scope of this organization: 
 
 “The WLite House, Washington. 
 
 April 30, 1908. 
 
 My dear Mr. Root : 
 
 I am gratified to know that you are taking an active interest 
 in the movement to organize a National Federation of Art, and 
 shall watch the progress of the movement with sympathy. I shall 
 do all I can to promote it because such an organization can be 
 made very effective for good. It will encourage our native artists ; 
 it will aid in the establishment of galleries and schools of art; it 
 will promote municipal art leagues, and village improvement 
 associations ; it will encourage higher standards of architecture 
 
 14 
 
for our public edifices, our business blocks, and our homes; also 
 do much to educate the public taste. 
 
 I am glad to learn that it is proposed to hold a convention in 
 W ashington and you may count on me to do my share in making 
 it a success. 
 
 V ery sincerely yours, 
 
 (Signed) Theodore Roosevelt. 
 
 Hon. Elihu Root, 
 
 Secretary of State.” 
 
 The Federation was successfully organized in Washington, May 
 15, 1909, just a month after Mr. Ffoulke's death at the Hotel Mar? 
 quis, New York, April 14, where he had gone for treatment. 
 
 His efforts in this field were successful, as the Federation is grow? 
 ing in power and usefulness, and through its influence uplifting the 
 people in culture and morals and realizing his dream of leading all to 
 a knowledge of art. 
 
 It was in working with him as an architect on changes in his 
 house in order to adequately display tapestries, and in the organiza? 
 tion of these societies for the public good that I was thrown inti? 
 mately with him. 
 
 Descended from sturdy W elsh ancestry, whose crest was a wolf’s 
 head, and whose motto was “Unconquerable,” he overcame suffer? 
 ing, surmounted difficulties, and did not succumb to family sorrows ; 
 his spirit, his energy and mind were “unconquerable.” Mr. Ffoulke's 
 later life was a remarkable illustration of the power of mind over 
 matter — an inspiration to the strong, and an encouragement to the 
 weak. Although harassed with pain, lame and often physically 
 helpless, he not only did not neglect his chosen work, but he took 
 the initiative, and followed it in the minutest detail. For him suffer? 
 ing and infirmities apparently did not exist. Forceful and influential, 
 his opinions were respected and widely sought by those efficient in 
 mechanical detail; by those astute, quick and aggressive in business 
 enterprises, and by those conspicuous in social, artistic and scien? 
 tific circles. 
 
 His cheerfulness, unselfishness and quick sympathy endeared 
 him to the hearts of many, while his honesty and intolerance of 
 
 *5 
 
wrong won for Kim the confidence and respect of all, and associa? 
 tion with him must remain a lasting remembrance with everyone 
 fortunate enough to have been among his intimates. 
 
 Glenn Brown, F. A. I. A. 
 
 16 
 
INTRODUCTION 
 
f 
 
INTRODUCTION 
 
 HE textile arts are as old as civilization itself. From the 
 time man was able to model a vessel of clay be became 
 desirous of embellishing it; also tbe first clotb wbicb tbe 
 band of woman produced was decorated. Ornaments of 
 various colors, regularly arranged, appeared on looms simultane? 
 ously witb tbe foundation itself, wbicb was tbus varied; there 
 were also embroideries on linen and canvas, but for want of ex? 
 amples and precise texts, tbe origin of tapestry proper can not be 
 determined. 
 
 Let us define it: Tapestry is a fabric of many colors representing a 
 definite subject — a “story,” in fact — made of threads rolled on a chain 
 stretched horizontally or vertically on either a low? or high?warp 
 loom. Tbe result is tbe same, whichever process is followed; prefer? 
 ence was given to one or tbe other during certain periods and in 
 certain manufactories merely for technical reasons, and tbe use con? 
 tinued through habit or for tbe sake of tradition; it is practically 
 impossible to distinguish tbe two kinds of tapestries, and we can 
 appreciate them perfectly without considering this question. 
 
 No proofs of tbe existence of tapestry weavers in Paris or in tbe 
 north of France can be found in tbe archives before tbe end of tbe 
 XIII and tbe beginning of tbe XIV century. Tbe term “arazzi,” 
 wbicb tbe Italians have always applied, and still do, to tapestries, 
 seems to prove that in this line tbe productions of Arras, tbe capital 
 of Artois, were at least tbe best, if not tbe earliest. Tbe plains of tbe 
 basin of tbe Scheldt were ever tbe country of wool and clotb. From 
 tbe Roman period weaving flourished here and stuffs were exported ; 
 Arras itself, from tbe XII century on, was a center of wealth and 
 culture. Tbe Greeks attributed tbe invention of artistic weaving to 
 Pallas Athena. If, following their example, we spoke mytbologi? 
 cally, we could attribute tbe origin of tapestries to tbe Countess 
 
Mahaut of Artois, who ruled from 1302 till 1327; without doubt, sbe 
 favored and encouraged tbe development of tbis industry, indigenous 
 to ber country, and it is certainly due to ber tbat Arras bad tbe 
 honor of giving it its name. 
 
 A painting or a fresco images directly tbe spontaneous tbougbt 
 of a creator; sucb work is masculine. Tapestry compared to paints 
 ing, wbicb it imitates, is feminine. It is tbe re-execution, tbe transla- 
 tion, tbe interpretation of tbe tbougbt. Tbe light wbicb tapestries 
 absorb adds mellowness to tbe luster of their soft textures, wbicb 
 are often enriched by silk, gold and silver. Nothing equals tbe charm 
 of their exquisite tones, and tbe attractiveness of their colors, both 
 magnificent and delicate, like tbe flowers wbicb furnish so many 
 of their splendid borders with motives infinitely various and rich. 
 “Tapestries are better than paintings, they seem to me to be their 
 dream,” says tbe “Journal des Goncourt,” an impression of an artist 
 who is struck with admiration by tbe delicate faded colors, and 
 whose eyes are soothed by textures shot with moonbeams like tbe 
 robes of fairies. 
 
 Tbe celebrated tapestries of Arras are far removed from tbe press 
 ent. Although tapestries have deservedly tbe reputation of longer 
 lives than paintings, and with ordinary care will last hundreds of 
 years, tbe earlier productions were roughly bandied and passed 
 through numerous vicissitudes, and many of them, though still 
 delightful, are like withered flowers and obscure music, visions 
 wbicb fade and vanish. Of all tbe tapestries wbicb existed, a corns 
 paratively small number have withstood destruction, due to many 
 causes : tbe use of these fragile tissues wbicb were continually transs 
 ported, bandied, bung up and taken down; accidental losses; and 
 carelessness and stupidity . We have a striking example of tbe latter 
 in tbe fact tbat during tbe Directory hundreds of tapestries were 
 burned on account of tbe monarchical emblems on them, or in order 
 to extract from them threads of precious metal. 
 
 If we seek tapestries of Arras, we must acknowledge tbat there 
 exist none whose origin we can determine with entire certainty. 
 Tbe authenticity of tbe remarkable banging belonging to tbe Cathe- 
 dral of Tournay, “Tbe Life of St. Fiat and St. Eleuthere” is based 
 on an inscription, no longer apparent, mentioned by an author of 
 tbe XVII century. 
 
 20 
 
W e know of but two tapestries of the north of France which date 
 certainly from the XIV century, a period which nevertheless was 
 most productive, and these are not even of the first half One is the 
 Presentation of Jesus at the Temple” in the Musee du Cinquan? 
 tenaire at Brussels, the other is the immense hanging, the “Apoc? 
 alypse” in the Cathedral of Angers. We know who ordered this 
 tapestry, Duke Louis of Anjou, one of the four sons of King John, all 
 of whom were great admirers of art ; when it was woven, about 1 380 ; 
 who furnished the cartoons (something rarely mentioned in docu? 
 ments), John of Bruges, painter of Charles V, brother of the Duke; 
 and who executed the work, Nicolas Bataille, a famous Parisian 
 tapestry weaver. There are few pieces of relatively recent times 
 about which so much is known as of this venerable ancestor of storied 
 tapestries. 
 
 Of real tapestries in Europe older than these there are only a few 
 German specimens whose origin cannot be determined. It seems 
 as if Nuremberg must have been the most important center. 
 
 The XV century produced a large number of tapestries, especially 
 in the industrious countries governed by the Dukes of Burgundy, 
 who were extremely rich and splendordoving. Besides Arras, the 
 principal manufacturing centers were Lille and Audenarde in Flan* 
 ders ; (Bruges exported many more than it produced) ; Valenciennes, 
 Mons, Enghien in Hainaut, Brussels in Brabant, and Tournay, a 
 French settlement in Flanders. Arras was in the lead until 1477, 
 when it was taken by Louis XI and its artistic industry ruined. 
 
 In the beginning tapestries were movable decorations, used to 
 adorn bare walls, to divide the large feudal halls, to cover doors, to 
 drape over beds, to decorate the tents of the nobility in times of war, 
 and to ornament the exteriors of houses on festival days. As tapes? 
 tries were often floating in the wind, it was necessary to multiply 
 the figures on them, to pile them up beyond all necessity of composi? 
 tion and to the sacrifice of clearness in order that, no matter how 
 many folds there were, or how the cloth fell, the eye might always 
 be delighted by the view of a large number of rich costumes. 
 
 Subsequently, when furnishings grew less rare and more stable, 
 it became customary to hang tapestries permanently, and thus to 
 replace frescoes in the northern countries where wall paintings were 
 rare, with the huge framed pictures in wool which they became; large 
 
 21 
 
grounds now appeared showing much detail according to the taste of 
 the Flemish painters; attention was paid to atmosphere and per* 
 spective without giving them exaggerated importance, and the 
 figures were logically grouped. 
 
 The authors of cartoons who were painters, generally specialists, 
 but painters nevertheless, no longer felt the necessity of treating 
 tapestries differently from paintings; at the same time they com 
 served their decorative characters hy the use of clear, bright and 
 luminous colors and by the conspicuous grouping of large figures ; 
 they aimed at a general effect which would appeal more to the eye 
 than the mind and avoided using the obscure lines and subtle grada* 
 tions of oil painting. 
 
 Whether we think of tapestries as floating or fastened to the wall, 
 both conceptions are legitimate and gave birth to splendid works, 
 perfect of their kind; the decline came only when weavers in wool 
 began servilely to copy easel pieces; when it was forgotten that 
 tapestries were intended as decorations to he viewed from a dis* 
 tance; and when the shades of wool were infinitely multiplied, 
 whereas, in the past, twenty colors had been sufficient to the weavers 
 of the best periods to produce unequalled masterpieces. 
 
 W e do not propose in this introduction to write even summarily 
 a complete history of tapestry. After remarking on its origin and 
 character we wish only to place in this article the series and pieces 
 which make up the large and rich collection chosen with such taste 
 and discernment, in the short time of twenty years, hy Mr. Charles 
 M. Ffoulke, whose name will always he connected with this group 
 of historically and artistically interesting tapestries. 
 
 Although a large number of tapestries are mentioned in the XV 
 century inventories, and although it is known that at this period 
 many ateliers were in existence, especially in France and Italy, the 
 majority of which were originally connected with Flanders, never* 
 theless, pieces to which fixed dates can be assigned before 1500 are 
 very rare. 
 
 It is moreover difficult to determine without the aid of documents 
 whether a tapestry belongs to the end of the XV or the beginning 
 of the XVI century. At this period the ateliers of Brussels were at 
 their height; they were considered among the most important even 
 during the reign of Philippe le Beau. Under the influence of the 
 
 22 
 
Italian renaissance they added nobleness and purity of design, 
 beautiful figures and graceful grouping to tbeir Gothic traditions, 
 decorative arrangement, and great simplicity of color effects. Under 
 tbe reigns of Phihppe le Beau and Charles V, Brussels ecKpsed all 
 other towns by her activity in this line, and in the number and skill 
 of her weavers whose works were everywhere sought after, espe- 
 cially in southern countries, where storied tapestries were imported 
 as articles of great luxury and ostentation. Spain, then at the summit 
 of her political and financial glory, absorbed large quantities of them, 
 but only a small number, of which little is known, is preserved in 
 her rich royal collection and in her churches. 'When Leo X desired 
 tapestries made for the Vatican after cartoons by Raphael, he en- 
 trusted the work to the most famous Brussels master of the time, 
 Peter van Aelst, who accomplished the work of weaving the famous 
 hangings, the “Acts of the Apostles,” in four years, from 1515 
 to 1519. 
 
 Several splendid pieces which are chronologically at the head of 
 the Ffoulke collection belong to different years, which can be deter? 
 mined only with difficulty, of this periodof the pre-eminence of Brus- 
 sels tapestries. The huge tapestry, the “Triumph of David,” hears 
 besides the mark of Brussels, that of an unknown weaver. The com? 
 position, full of life and movement, the delightful and picturesque 
 details, all indicate that the author of the cartoon was an able master 
 of the period when the art of Mabuse and Van Orley prevailed in 
 Flanders. The pages have small escutcheons, some of which hear 
 the double imperial eagle on their shoulder-straps. The top border 
 also contains escutcheons hearing curiously on a gold ground six 
 silver lilies. This border has kept much of the simplicity of the nar- 
 row floral borders of the end of the Gothic period, while that of the 
 tapestry, “Curius Dentatus,”is already larger, and complicated with 
 figures in the Italian style. The main composition,which is beauti- 
 fully arranged, exhibits a classical influence, while the background 
 by a curious mixture shows, set in a Flemish landscape, a pastoral 
 subject — sheep shearing — in accordance with the first month of 
 summer, which is indicated by the sign of Cancer inserted in the 
 border. This beautiful Brussels tapestry belonged to a series of 
 “Months,” a subject frequently entrusted to tapestry weavers. 
 
 The most famous of these series is the one traditionally known as 
 
 2 3 
 
the “Months of Lucas,” because Lucas van Leyden was formerly 
 believed to be the author of it. The Ffoulke collection contains no 
 less than five pieces of that illustrious set of bangings, “April” and 
 music, “May” and high pole shooting, “September” and the sowing 
 season, “October” and vintage time, and “December” with skating. 
 They are delightful pictures, where realistic observation is mingled 
 with poetic charm, particularly captivating in the figures of the 
 female musicians who sing of April and spring. Who is the author 
 of the cartoons ? He is closely related to Bernard van Orley, if it is 
 not be himself. This Brussels master rose to the first rank in decora? 
 tive arts whether of tapestry or stained glass. The masterpieces of 
 tapestry attributed to him with quasi?certainty, “les Belles Chasses ” 
 of Maximilian in the Louvre, the “Battle of Pavia” in the Museum 
 of Naples, and the “History of Abraham” at Hampton Court, show 
 unmistakable affinity with the set of “Months.” 
 
 One of the pieces of the Ffoulke collection, “September,” bears 
 the authentic mark of the Brussels weaver, Willem de Panne? 
 maker. This de Pannemaker belongs to the second generation of a 
 family famous in the history of magnificent tapestries from the XVI 
 to the XVIII century. The first generation is represented by Peter, 
 tapestry weaver for Margaret of Austria, who governed Flanders. 
 Wfllem worked for Mary of Hungary, who succeeded Margaret ; 
 from 1549 till 1554 he executed for Charles V the “Conquest of 
 Tunis” after Vermeyen; in 1562 he sold the “Apocalypse” to Philip 
 II. A series of the “Seven Deadly Sins” hears his mark. These three 
 important works form part of the royal collections at Madrid. 
 
 Another piece has an unidentified mark. The register of the 
 marks of Brussels tapestries is unfortunately lost, hut it is evident 
 that all five pieces are of the same period and are almost contem? 
 porary with the creation of the original cartoons. 
 
 The “Months of Lucas” had such persistent success that numer? 
 ous reproductions and adaptations of them were made during at 
 least two centuries. The Ffoulke collection shows this in three pieces 
 executed at the Gobelins as late as the XVIII century. 
 
 We place in the same period and in the same center of art the 
 five tapestries representing scenes in the lives of a king and queen, 
 and known as the “Archdukes Albert and Isabella” series; unfortu? 
 nately the two different monograms of weavers which appear on 
 
 24 
 
the two pieces bearing tbe mark of Brussels cannot be identified. 
 Tbe grace of tbe women’s figures, tbe beauty of tbe draperies and 
 ornaments, tbe whole composition, still relatively simple in its rich? 
 ness, and tbe admirable borders combine to make of these tapestries 
 a most precious set. 
 
 Willem de Pannemaker’s mark is found on one of tbe two tap? 
 estries representing battles, designed by some Romanesque painter 
 of tbe time of Peter Coeck and Michel van Coxcyen who executed 
 cartoons for weavers. Tbe border of this first piece, which is divided 
 into compartments, the subject, the composition, the costumes and 
 the general effect, all lead one to compare it with that of the series 
 containing four scenes of the “Trojan War,” with marks of Brussels 
 and two unknown monograms. Borders of this sort, very large and 
 varied, and divided into a series of secondary complicated subjects, 
 lose their functions in the excessive importance given them, but they 
 are interesting for their variety of detail which harmonizes with the 
 complexity of the extremely crowded main composition. A border 
 of the same style frames the “Hunting Scene” with its charming 
 landscape, and the two tapestries, the “Companions of Proserpine” 
 and “Vertumnus and Pomona,” are likewise enclosed. 
 
 Decorative phantasy is shown in the two quaint pieces, the 
 “Loves of Vertumnus and Pomona,” very similar to the import* 
 ant tapestries at Madrid and which conform in symmetry and style 
 with the rule of classic gardens, and in the series of four pieces, with 
 fluted columns, surrounded by a curious border containing the birds 
 of the air above, animals of the earth on each side, and the fishes of 
 the sea below, producing an effect almost Japanese. 
 
 Belonging to Brabant of the XVI century (only the interpretation 
 of the unknown monograms could give us exact dates) are four series 
 in whose compositions the important figures are much Italianized ; 
 two pieces of the “History of Joseph;” four pieces with Biblical 
 subjects after Vermeyen, of which two represent the “History of 
 Abraham” and two a different subject, the “ History of Ahab;” two 
 pieces forming the “History of Hezekiah;” and six pieces of great 
 interest which illustrate the “History of Moses and Aaron.” It is 
 difficult to class this series chronologically. However, we believe 
 that it approaches nearer the end of the pre*Rubensian age than the 
 beginning of the Romanesque. The two monograms with which 
 
 2 5 
 
they are signed refer to two different Brussels manufactories, which, 
 it seems impossible to determine. The drawing shows great care ; the 
 composition is skillful ; and the expressions of the faces are well ren? 
 de red. The work appears to be that of an Italian master, influenced 
 by Raphael. But this influence was felt in Flanders as well as in 
 Italy, and certain details of the landscape reveal northern nature. 
 
 We consider the execution of models by artists foreign to the 
 center of weaving, in which we have an illustrious example in the 
 “Acts of the Apostles,” to have been rather an exception and one 
 which never gave very good results — even in the case of the famous 
 hangings of the Vatican. 
 
 Apeculiarity of this epoch is apparent in the four abovesmentioned 
 series — the lower border is much broader than the upper one. 
 
 The great series, the “History of Diana,” was woven at the very 
 end of the century in the ateliers of Jacques Geubels and Jean Raes, 
 as is shown by the double monograms appearing with the mark of 
 Brussels on seven of the eight pieces. The border is related to that of 
 the “Loves of Vertumnus and Pomona.” The cartoon appears to be 
 a composite picture. Under the influence of the Italians this style 
 was followed a little everywhere in the north. The cartoons are 
 attributed to Toussaint Dubreuil, who painted at Fontainebleau and 
 in the Louvre under Henry IV, who worked for the Parisian tapestry 
 weavers, and who is especially mentioned in welbknown inventories 
 as the author of a “History of Diana.” At that time Fontainebleau 
 attracted a great many Flemish men. They had copiously imitated 
 Primatico and Rosso ; later, in return, they held an important place 
 in the second school of Fontainebleau. 
 
 An example of this reciprocal influence seems to appear in the 
 four pieces of the set which represent scenes of aristocratic life, 
 showing chateaux, gardens, and architectural landscapes, where 
 people are boating, shooting, talking or playing musical instruments 
 (“Chateau and Garden Scenes”). The four tapestries are evidently 
 part of the same set,which is proved by the similar bordering, light 
 and delicate, notwithstanding the fact that they are somewhat com; 
 plicated, and yet two of them were woven in Brussels by Jacques 
 Geubels, while the other two were executed in Paris, probably in 
 the atelier founded in the Faubourg Saint Germain by Raphael de la 
 Planche, son of one of the Flemish founders of the first Gobelins, and 
 
 26 
 
one of whose monograms may appear here (also in “Rinaldo and Ar* 
 mida” following). The cartoons of these tapestries probably issued 
 from Flanders and seem to show French rather than Italian taste. 
 
 We have now arrived at the beginning of the XVII century, a 
 period of transition, to which undoubtedly belong the Brussels tapes* 
 try, “Vertumnus andPomona,”and the unsigned religious tapestries, 
 “ Scenes from the Life of Our Saviour,” with architectural borders, 
 which we should like to connect with the Francks of Antwerp. The 
 monogram of Jacques Geuhels appears again on the sixteen panels 
 representing the virtues. 
 
 Under the influence of Rubens’ predominating genius, all sumptu* 
 ous arts developed with new vigor. The large essentially decorative 
 compositions of the great Flemish master were admirably suitable 
 for translation into tapestry ; moreover he executed several sets espe* 
 cially for that purpose, the “Triumph of the Church,” the “History 
 of Constantine,” the “History of Decius,” and the “History of 
 Achilles,” of which the Ffoulke collection contains two pieces. 
 
 Generally eight compositions of this set are numerated, of which 
 there exist sketches, cartoons and tapestries in incomplete series ; one 
 of the afore*mentioned two pieces gives us a ninth subject, “Thetis 
 with the Little Achilles Consulting the Oracle.” Ten was the origi* 
 nal number, for at the death of Rubens there existed in his house a set 
 of hangings of this subject containing ten pieces. Rubens worked on 
 the “History of Achilles” between 1630 and 1635. 
 
 In looking at the “Wrath of Achilles” one cannot help noticing 
 the similarity between tapestries after Rubens and paintings by him, 
 and realizing that between truly decorative pictures by that great 
 Flemish artist, such as those in the gallery of Marie de Medicis in 
 the Louvre, and tapestries after Rubens, there is no appreciable 
 difference. 
 
 Energy and the expressive power of the gestures are as strik* 
 ingly apparent here as in one of Rubens’ paintings. The action of 
 Achilles, who, while on the point of drawing his sword and stabbing 
 Agamemnon, feels himself suddenly seized by the hair and there* 
 fore hesitates at the moment when he recognizes Pallas, and the 
 wrath of Agamemnon, whom the Greek chiefs can barely subdue, 
 all compose a dramatic whole in Rubens’ distinctive style. The 
 decorative character appears in the architectural border composed of 
 
 2 7 
 
caryatides connected with the subject — blind Fury with a torch and 
 Discord entwined with serpents — winged cherubs who support the 
 cartouche with its heavy garlands, and a chained lion which sym= 
 bolizes Achilles held in restraint by the goddess of Wisdom. 
 
 Jean van Leefdael signed in full the tapestry, ‘Achilles and Aga= 
 memnon," and the other piece hears the initials of Gerard van den 
 Stricken. Jean van Leefdael, father of Willem, was a Brussels 
 tapestry weaver; he executed in 1644 a “History of Scipio.” Gerard 
 van den Stricken wove the “History of Constantine” after Rubens. 
 
 Flemish, post^Rubensian tapestries are splendidly represented in 
 the Ffoulke collection by the eight sumptuous pieces which compose 
 the “Judith and Holofernes” series. The set is complete, just as it 
 was when owned by Cardinal Carlo Barberini, nephew of Urban 
 VIII . It is a series of welbarr anged compositions with figures grouped 
 majestically, as in the “Reception of the Spoils,” or gracefully, as in 
 the “Toilet of Judith.” The borders with their architectural orna* 
 ments, their conch=shells, their heavy garlands of fruit, and their 
 cherubs supporting cartouches are highly characteristic of the pe* 
 riod. Instead of the name of the author of the cartoons, an artist of 
 worth, certainly influenced by Rubens, the full signatures of the 
 weavers appear, that of Everard Leyniers on four pieces and that 
 of Henri Rydams on four. The Leyniers occupied an important 
 position in the tapestry art of Brussels for nearly two centuries and 
 a half. Everard Leyniers held first rank in his art at Brussels in the 
 middle of the XVII century. He lived from 1597 till 1680 and raised, 
 during his long career, the reputation of his family to its greatest 
 height. The Rydams were sometimes associated with the Leyniers 
 in the same work ; we have here an instance of it. It is impossible to 
 say whether this Henri Rydams is the one who lived until 1671, or 
 his son, whose first name was also Henri. However, the “Judith 
 and Holofernes” are among the most perfect series of this period. 
 The Leyniers family possessed traditional secrets of dyeing. This 
 is apparent in their delicate, harmonious colors of excellent pres? 
 ervation. 
 
 To the same period, and more closely related to the style Rubens 
 loved — a style characterized by large figures and whose vogue lasted 
 for a long while — belong the grandiose figures of the “Surrender of 
 a King,” fragments of a mutilated whole, the “Lictor” and the piece 
 
 28 
 
representing the “History of Paulus Emilius” with its two lateral 
 borders of rich, and varied motives and its uninterpreted monogram 
 of a Brussels weaver. 
 
 “Diana Wolf Hunting” and tbe “ Kneeling W^ arrior” are of tlie 
 same time, while the tapestry, “Vertumnus Disguised as an Old 
 Woman and Pomona, "with its rich and harmonious border, already 
 shows a different taste, approaching nearer to the XVIII century. 
 This subject, beloved by all admirers of tapestry, appears here for 
 the fourth time ; it is taken from Ovid’s 1 1 Metamorphoses,” and was, 
 so to speak, the golden legend of cartoonists. 
 
 Also approaching the XVIII century are the “Goddess Abum 
 dance”and especially “Cleopatra and Mark Antony,” a truly classic 
 cal tapestry with its setting, half park, half palace, and its theatrical 
 grouping of figures who seem to play a tragedy as it was played 
 towards the end of the reign of Louis XIV. Two subjects of greater 
 familiarity, closely related to each other, the “Triumph of Bacchus” 
 and the “Vintage Scene,” terminate with most graceful and skillful 
 compositions the imposing series of Flemish tapestries of the Ffoulke 
 collection. 
 
 Let us here mention as a supplement the peculiar tapestry, “King 
 Solomon and the ^ueen of Sheba.” Its distinctive character betrays 
 its German origin. From the beginning of the art of tapestry weav* 
 ing, Germany alone escaped the influence of Flanders and the north 
 of France. Its productions, of an archaic or near^archaic character, 
 are distinguished by a peculiar taste, but not by graceful forms or 
 fineness of texture. 
 
 Tapestry weaving in France had declined greatly since the brib 
 liant period of its origin. During the XV and XVI centuries the art 
 vegetated, or developed in obscurity, and its history has been very 
 poorly unraveled. It is natural that the great fame of the Flemish 
 weavers was responsible for the habit of confounding under the 
 name Flemish many tapestries preserved in the French provinces. 
 In the XVII century the renewal of tapestry weaving in France 
 was undertaken by the kings. In place of the independent ateliers 
 existing at that time, they substituted manufactories maintained or 
 assisted by them. 
 
 Francis I had already founded an atelier at Fontainebleau, Henry 
 II subsidized the atelier of the “Hopital delaTrinite”in the rue Saint 
 
 2 9 
 
Denis in Paris, and his widow, Catherine de Medicis, regarded this 
 establishment with particular solicitude. It is difficult to tell whether 
 her artistic taste, or her sorrowas an inconsolable widow, determined 
 most the interest which she took in the series, the “ History of Arte* 
 misia.’ ’ This series dates as far hack as 1565 and the cartoons, at least 
 some of them, were created by Antoine Caron, Henri Lerambert 
 and others. They were used for nearly a century, favored by the 
 widowhood of Marie de Medicis, who renewed their actuality. 
 That of Anne of Austria could have given the subject a new luster, 
 but no series referring to this queen is known. 
 
 There are twenty*seven or twenty*eight tapestries, of four differ* 
 ent series, of the “ History of Artemisia” in the “Mobilier National” 
 in Paris. There were originally four or five times as many. “Arte* 
 misia” was much in demand. There is also a partial set of them 
 without royal monograms in the palace at Munich. 
 
 The Ffoulke collection contains no less than ten pieces of these 
 illustrious tapestries belonging to two different series, eight with the 
 arms and monogram of Louis XIII and two with the monogram of 
 his mother, Marie de Medicis. They all bear the marks of the royal 
 ateliers of Paris, which had multiplied under Henry IV. The tapestry 
 mark, which is seen on all the pieces, appears on four pieces of the 
 “History of Diana,” likewise woven in Paris and belonging to the 
 Crown of Spain. 
 
 Besides that of the “Charite,” there was a manufactory, directed 
 by Dubout and Laurent, which was installed in the building of the 
 religious order of the Jesuits, and, in 1607, in the large gallery of the 
 Louvre. But the most important one, which eclipsed all others, was 
 founded in the first years of the XVII century, on the hanks of the 
 Bievre in the faubourg Saint Marcel, near an old dyer’s shop estab* 
 lished in the XV century by the Gobelin family. 
 
 It was the first manufactory called the Gobelins ; its founders were 
 two Flemish men, known by the Frenchified and ncble*sounding 
 names of Marc de Comans and Francois de la Planche, and who 
 were no doubt known in their own country as Marcus Coomans and 
 Frans van der Plancke. Their commission, a very curious one as 
 regards economic history, dates from 1607. The system, which 
 established a mixture of liberal and protectional measures, was un* 
 doubtedly the one best adapted to the conditions of work then exist* 
 
mg, for tkis first manufactory enjoyed great prosperity for a long 
 while, and the fame of the Gobelins does not at all date, as has often 
 been said, from the time of Louis XIII, Colbert, and Le Brun. 
 
 This house gave its name to tapestry in general, to all tapestries 
 of all periods, and one hears it applied with surprise in Germany 
 retrospectively to tapestries of the XV century; the Italians, at least, 
 when they call such hangings “ arazzi,” although they have nothing 
 to do with the town of Arras, have chosen a name contemporary 
 with their origin. 
 
 If the weavers of that time had taken the pains, as they did some? 
 times, to insert on the galons of their pieces the mark of their manu? 
 factory, beside that of Paris, the confused references of old inven? 
 tories could be understood, and it would he easy to recognize which 
 of the French productions of the XVII century belong to the Louvre, 
 which to the early Gobelins, which to their branches at Amiens and 
 Tours, and which to the manufactory established by Raphael de la 
 Planche, son of Francois, in the faubourg Saint Germain in 1 634 . The 
 weavers’ marks, frequently those of obscure workmen, whose per? 
 sonality is unrecognizable in the complete work which they finish 
 but do not create, can rarely be identified and do not lead to much. 
 
 The series of “Aminta” bears the mark of Paris and the weavers’ 
 monogram. The model, without doubt, comes from Italy by way of 
 Fontainebleau, like Tasso’s then famous pastoral, and might well be 
 attributed, we think, to Laurent Guyot, painter to the King, espe? 
 cially occupied in executing cartoons for tapestries. 
 
 There is a series of “Rinaldo and Armida” after Simon Vouet, 
 mentioned in the inventory of the 11 Mobilier de la Couronne.” We 
 know that he executed for the Louvre manufactory cartoons of two 
 pieces of great decorative splendor. Other works of Simon Vouet 
 are in existence, or are thought to be recognized, which accord sufh? 
 ciently with the superb series of" " Rinaldo and Armida” in ten pieces 
 in the Ffoulke collection. This series is doubtless the reproduction 
 without the royal arms of the set belonging to the Crown. The letter 
 R appears next to the mark of Paris. “It must be,” says M. Marquet 
 de Vasselot in his catalogue of the collection of Martin le Roy, “the 
 initial of Raphael de la Planche, who probably used it to distinguish 
 the works of his manufactory, for at that time Charles and Alexan? 
 dre de Comans were accustomed to place in the borders of their 
 
tapestries the letters C C and A C after the P and the fleur*de*lis.” 
 
 The tapestries of “Coriolanus” belong to the same group. It is 
 worth noting that there exists in the Garde*Meuble part of a set of 
 “Coriolanus” which was woven in the Tours manufactory, an off* 
 spring of the Gobelins, which received orders from Cardinal de 
 Richelieu. 
 
 The isolated panel of “Rinaldo and Armada” must he classed in 
 the same category. 
 
 The ateliers founded under Henry IV had varied fortunes through 
 different periods, doubtless according to circumstances and to the 
 ability of their directors. Tapestry was greatly appreciated by 
 wealthy amateurs. The art interested Richelieu; Mazarin was fond 
 of it and possessed a collection of three hundred and fifty pieces. Fou* 
 quet bought all the tapestries he was able to and wanted to have a 
 manufactory of his own near his stately residence at Vaux. 
 
 In 1647, Mazarin invited the Parisian director of the manufactory 
 of Florence, Pierre Lefevre, to come to Paris. Three years later he 
 returned to Italy, and was replaced by his son, Jean Lefevre, who 
 was later “ chefd’atelier” at the Gobelins. The “ Concert by the God 
 Pan” is attributed to him by comparison with other pieces. Italian 
 influence predominates in it as well as in the figures of children in 
 the border of the piece representing “Armida.” 
 
 Under Louis XIV the entire activity of the royal tapestry 
 weavers was concentrated in the Gobelins establishment, which 
 received in 1667 the title of “Royal Manufactory of the Crown 
 Furniture.” It had to do no longer with tapestries alone, hut every* 
 thing connected with the furnishing of the royal residence had to he 
 made here, under the absolute direction of an artist who was, so to 
 speak, the Louis XIV of painting, Charles Le Brun, a man of action, 
 intelligent and extremely prolific,a severe andimperious supervisor, 
 and the creator or inspirer of a decorative style entirely in accord* 
 ance with the taste for imposing grandeur, majesty and pompous 
 elegance in which Louis XIV delighted and reveled. 
 
 Such was the dictatorial authority of Le Brun that the various 
 artists that he employed had to conform their temperaments to his 
 taste and methods. Therefore, without the aid of documents, it is 
 impossible to discover, among the immense quantity of decorative 
 creations hearing his name, which work is his own and which that 
 
 3 2 
 
of His collaborators. He is tbe conductor of an orchestra, and bis 
 musicians must follow but one course : to submerge tbeir personality 
 in tbe whole in order to produce complete harmony. Such was tbe 
 will of Le Brun, in accordance with that of Louis XIV and Colbert, 
 superintendent of tbe “Batiments de Roi,” who organized and 
 watched over the Gobelins, with the idea of producing a natural 
 artistic industry superior to any in existence elsewhere. The Gobe? 
 lins of LouisXIV attracted many Flemish weavers to the detriment 
 of Flemish industry, which definitely lost standing. They were 
 absorbed by French discipline, which utilized their professional 
 qualities. 
 
 The magnificent portieres with the arms of Colbert, stately in de? 
 sign and splendid in color, belong to the Gobelins of the time of Le 
 Brun ; also the fragment of “ History of Alexander,"’ a favorite sub? 
 ject in which the exploits of LouisXIV were often symbolized; the 
 graceful fragment of one of the pieces of the series of 1,1 Diana and 
 Endymion,”and the three pieces of tbe “History of Meleager,” which 
 were nevertheless executed in a Flemish atelier, as is shown by a 
 signature already seen on the “History of Achilles” after Rubens. 
 
 The death of Le Brun in 1690 ended the most glorious period of 
 the Gobelins. They prospered in later years, or at least produced 
 charming works after Claude Audr an, Antoine Coypel, Jean Fran? 
 9ois deTroy, Jeaurat and Boucher. The “Recruiting Officer,” after 
 Jeaurat, is a lovely genre piece which recalls Chardin. The border, 
 an imitation of a carved wooden frame according to the prevailing 
 fashion, is noteworthy for its delicate grace. 
 
 The Duke Leopold of Lorraine attracted weavers from theGobe? 
 lins, and installed them at Malgrange, near Nancy, in order that 
 they might produce tapestries for his personal use. The“Triumphal 
 March of Charles V” was woven there and formed the principal 
 piece in a series illustrating events during the reign of the above? 
 mentioned monarch. It is a composition extremely brilliant and 
 full of action, with a superb setting. For magnificence and beauty it 
 ranks first in the Ffoulke collection. 
 
 A specimen which is closely allied to Boucher is the “Toilet of 
 V enus,” woven in the Beauvais ateliers. The founding of this royal 
 manufactory closely followed that of the Gobelins. It was also the 
 work of Colbert and recruited most of its workmen from Flanders. 
 
 33 
 
The height of its prosperity was reached under the superintendence 
 of the Flemish man, Philippe Behagle (1684=1704) and under that of 
 the painter, J. B. Oudry (1734=1755). “The Gypsies” is a charming 
 Beauvais tapestry in the style of Casanova, who seems to evoke a 
 stage = setting with actors; likewise “ Rinaldo in the Garden of Ar= 
 mida” and the “Children Gardeners, "which characterize the work 
 of Berain who gave his name to a decorative formula. But the most 
 important piece is one which was woven for Cardinal de Rohan, 
 “Achilles Wounded by Paris,” admirable for its composition and 
 setting as well as for its beautiful drawing and expressions of the 
 different faces. The author of the cartoon, according to M. Fenaille, 
 is Houasse, who worked under Le Brun. 
 
 The origin of the manufactory of Aubusson in la Marche is un= 
 known and it is very difficult to identify its tapestries. The Ffoulke 
 collection contains four “verdures” in the Chinese style with the 
 inscriptions, “Aubusson.” We should also attribute to it two Louis 
 XV portieres, the “Pastoral Scenes” and the “Marine, "after Joseph 
 Vernet, which belongs to the XIX century. 
 
 In seeking , amidst great difficulties , the origin of tapestries in Italy, 
 one finds at every step evidence of the important roles the Flemish 
 weavers played in this art, since its origin in the XV century. Even 
 in the classical country of fresco painting, the art of weaving was 
 greatly developed. There were numerous manufactories, more or 
 less permanent, during the XV century at Mantua, Venice, Siena, 
 Rome, Perugia, Urhino, Florence, Bologna, Milan and Ferrara. But 
 none of their products have been preserved. Of the XVI century 
 there are in existence only the set of “Months” of the Trivulce 
 family, woven in Vigevano, and some sets from Ferrara, besides the 
 products of the Medici manufactory in Florence, which was under 
 the superintendence of Flemish men, as were nearly all the other 
 manufactories in Italy up to that time. 
 
 The best Italian tapestries of the XVII century are of Roman 
 make. About 1625 Cardinal Francesco Barberini, nephew of Pope 
 Urban VIII, ordered a careful inquiry to he made in the principal 
 centers of production in both Flanders and France concerning the 
 methods and processes of dyeing. The result was the foundation of 
 a manufactory at Rome in 1630, under the direction of Jacopo della 
 Riviera, employing as principal weavers the Frenchman, Antoine, 
 
 34 
 
and the Flemish man, Michel. The popular decorator of this time 
 was Pietro de Cortona, whose celebrated ceiling is preserved in the 
 Barherini Palace. 
 
 The most famous series woven in the Barherini manufactory is 
 that of the “Life of Christ,” which entered the Ffoulke collection in 
 1899 and which now adorns the Episcopal cathedral of New York. 
 It consists of twelve pieces with beautifully emblazoned borders, and 
 contains the signature of the director of the manufactory ; the date 
 1652 appears on the twelfth, which represents a most curious sub* 
 ject, the map of the Holy Land. 
 
 The author of the cartoons of this important series is without 
 doubt Jean Francis Romanelli, a pupil of Pietro de Cortona, favored 
 by Cardinal Francesco Barherini. He was an able and expeditious 
 painter, full of inspiration, who excelled in decoration by the intellk 
 gent effects and charming harmony of colors which he produced. 
 When the Barherini were banished, at the death of Urban VIII in 
 1644, Cardinal Francesco Barherini retired to Paris and received 
 the hospitality of Mazarin. He had Romanelli come and decorate 
 the large gallery of the Hotel Tuheuf, since annexed to the palace 
 of the National Library. Romanelli also worked in the Hotel Lam* 
 hert and later in the Louvre. He also received many orders at Rome, 
 and died in Viterha, his native town, in 1662. 
 
 We again find this skillful and prolific decorator displaying all 
 his ability in another important set, the “History of Dido and 
 Aeneas,” in eight pieces. These bear the signature of a Flemish 
 tapestry weaver — Flemish at least by birth — M.Wauters, and the 
 third piece hears also that of the author of the cartoons. The ease of 
 the compositions and the gracefulness of the delicate feminine figures 
 are especially remarkable, as well as the happy distribution of 
 “values” and tones. The armorial bees of the Barherini reappear on 
 the five pieces of the Apollo series. The landscapes in “grand style,” 
 which are of predominant importance here, reveal the author of 
 the cartoons, who undoubtedly is Nicolas Poussin. 
 
 The emblem of the Barherini is also again to be found on the first 
 five pieces of the “History of Constantine,” the cartoons of which 
 are by Romanelli and painters connected with him, while the sixth 
 piece, which is added to this series, is part of the “Constantine” set, 
 executed in Paris after cartoons by Rubens. 
 
 35 
 
The last of the Italian sets is composed of three pieces, the 
 “Venus and Aeneas” series, which gives us an example of the style 
 of the Medici manufactory in the XVII century, when it was dk 
 rected by Pierre Lefevre, who has been already mentioned. 
 
 The study of the history of tapestries is surrounded by many 
 difficulties. The majority of tapestries have perished through age 
 or been destroyed because of their threads of precious metals. Those 
 which remain are widely dispersed; a large quantity is held by 
 private individuals and still used as decorations. Nothing is better ; 
 but that often prevents us from seeing them, or at least studying 
 them at leisure. Many pieces in churches, castles, and even museums 
 are sacrificed to the convenience of arrangement, kept stored away, 
 badly folded, if not mutilated, and exposed in a poor light only on cer* 
 tain feast days. Spain, for instance, which absorbed so many Flemish 
 tapestries, hides, so to speak, those that remain in the darkness of its 
 churches, or in depositories, where they are hardly accessible and 
 not catalogued. The public collections in which are gathered many 
 pieces of different periods and of different places, such as the “Gab 
 leria degli Arazzi” in Florence, and the “Musee des Gobelins,” now 
 closed for several years pending the erection of a new building, are 
 very rare. 
 
 Other obstacles make a rigorous study difficult. Tapestries exist 
 generally in series, the hangings forming a set of pictures which 
 show the development of the same story. The Ffoulke collection is 
 especially rich in containing many series. But isolated pieces are 
 often met with, separated from their companion pieces, and more 
 difficult to identify and classify. Also compositions created dur= 
 ing a certain period, or in a certain center, were sometimes again 
 pressed into service by foreign and later tapestry ateliers, accommo? 
 dated to the prevailing taste, and altered and joined to borders not 
 made for them. To judge correctly the true value of a tapestry one 
 should he able to compare the duplicates, and then give most serk 
 ous attention to the original example, or the one which most nearly 
 approaches the original. 
 
 We are nearly always wanting in definite data, which to be 
 complete should specify the date, the author of the model, and the 
 director of the ateliers. The author of the cartoon, the true artistic 
 creator of the tapestry, frequently remains in obscurity. Marks, 
 
 36 
 
when they can he understood, tell us only of the interpreter, the 
 translator into tapestry of the idea of the master of the work ; the 
 person designated by the monogram might he a real artist, for in the 
 best periods tapestries were freely interpreted, to what extent we 
 are little able to determine ; or he might he but a simple artisan of 
 no consequence, or even the head of a commercial house. Add to 
 this the obscurity and the inaccuracy of sources, the indefiniteness 
 of descriptions, much abridged, in inventories, and one can under* 
 stand that the scientific knowledge of the art of tapestry is still sur* 
 rounded by many uncertainties. 
 
 We have dreamed of a vast “corpus” which would record all 
 Flemish tapestries, speak only of them, or begin with them, for the 
 productions of Flanders would be well worthy of this honor, on ac* 
 count of their importance, their perfections, their antiquity and their 
 universal influence. It would be necessary to hunt them out where* 
 ever they might be, and to obtain excellent colored reproductions ; 
 to go everywhere, to see them all with experienced eyes, and to 
 compare all with a flawless memory. Some day, perhaps, this analy* 
 sis, and this delicate and complex enterprise may be accomplished. 
 Among permanent or ephemeral collections towards which the in* 
 vestigator will first turn his attention, the vast “ensemble” grouped 
 by Mr. Ffoulke will occupy an important place on account of the ex* 
 ceptional beauty of a number of the pieces and the variety of choice. 
 
 The reader of the catalogue, compiled from notes and information 
 gathered by Mr. Ffoulke himself, will find in this introduction ex* 
 planatory data which will help him to understand it, without en* 
 abling him, naturally, to settle definitely the many questions which 
 each piece may bring up. 
 
 Although the catalogue gives him an excellent conception of the 
 tapestries, it can convey no idea of their delicate and sumptuous 
 richness. In order to realize their beauty he should see them. Even 
 without knowledge of the period, weaver, subjects represented or 
 historical circumstances, his vision would be delighted with the 
 charmingly exquisite tints and splendid masses of color in these 
 pieces which constitute a heritage from the best centuries of art 
 Europe has ever known. 
 
 Ernest V erlant, 
 
 Directeur general des Beaux* Arts a Bruxelles. 
 
 37 
 

 
 
FLEMISH TAPESTRIES 
 


 
 
 
 
 
 
 
 > 
 
 
 
TRIUMPH OF DAVID 
 Height, 13 ft., 9 in. Width, 22 ft., 1 in. 
 
 Mark B^B Signed 
 
 T HIS tapestry was woven in Flanders early in the XVI century 
 and possesses many Gothic attributes. 
 
 Near the center of the foreground David, leaning slightly back* 
 ward, supports the head of Goliath upon his sword. In front of him a 
 crowd of singers, dancers and musicians with divers instruments of 
 music in their hands presses forward through the arch of a building. 
 
 King Saul, riding a superbly caparisoned horse, is the main figure 
 in the left foreground. Jonathan, with the upright baton of a corns 
 mander, rides directly behind him, and the generals of his army 
 follow on horses rich with trappings. The two pages walking on 
 the right and left of Saul are prominent in their short tunics and 
 large bouffant sleeves of silver-grey, and long red hose. One raises 
 his left hand to stop the advance of the musicians, while the other 
 motions the followers of the King to halt. 
 
 The figures are all a little under life size and are clothed in the 
 most sumptuous XVI century costumes in which the peculiar deep 
 rich red of that period predominates. The background is occupied 
 by a fort built upon a rocky hill. Beyond rise the walls and towers 
 of the temples of Ekron. A little to the left are the tents of the 
 Hebrews. In the left second plane Saul stands at the entrance of his 
 tent, while Abner, the captain of the hosts, enthusiastically pre- 
 sents David carrying Goliath’s head. 
 
 The wealth of imagery, power, feeling and dignity expressed in 
 this composition, as well as the marvelous grouping, drawing and 
 coloring prove that the cartoon was executed by a great master. 
 That there is no record of his name is much to be regretted. The 
 name of the one who executed the tapestry is also unknown, as it is 
 signed with a symbol instead of a monogram. 
 
 The border, as is usual in Gothic and early XVI century tapes- 
 tries, is comparatively narrow, and is composed of flowers, fruits 
 and leaves, apparently tied to a baton with red and blue ribbons. In 
 the upper part of the border are two shields with the white Flies 
 of France upon a yellow ground. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 43 
 
CURIUS DENTATUS 
 Height, 13 ft., 10 in. Width, 19 ft., 6 in. 
 
 Mark JOB 
 
 T HIS remarkable tapestry was woven in Flanders at the begins 
 ning of tbe XVI century. In it we see tbe sunset of tbe Gotbic 
 period and tbe sunrise of tbe Flemish Renaissance. While tbe artist 
 weavers were yielding to tbe influences of tbe Renaissance they were 
 still inspired by Gotbic traditions, and as a result have presented us 
 with a decorative tapestry of tbe highest order. 
 
 Curius Dentatus, a celebrated Roman general, is represented in 
 tbe act of refusing tbe gifts of tbe Samnite ambassadors. He stands 
 in tbe central foreground, bolding in bis left band a number of long 
 tournament lances. He wears a superb headspiece surmounted by 
 a winged griffin and a number of ostrich plumes, a suit of Roman 
 armor richly decorated, and a long blue mantle which falls from bis 
 shoulders to tbe ground. In tbe left foreground are five personages, 
 three of whom are on their knees. In tbe right foreground are two 
 kneefing men and two standing women. Tbe members of tbe no* 
 bility, in attitudes of earnest supplication, all wear rich garments 
 befitting their rank. Tbe background represents a pastoral scene in 
 which a flock of sheep is being driven towards two women who 
 are shearing. A medallion in tbe sky represents a shepherdess bolds 
 ing a sheep in her lap and surrounded by clouds. 
 
 In tbe coloring of this tapestry tbe Gotbic red with high lights in 
 yellow is conspicuous in tbe garments; green and dark blue are also 
 used ; and these colors have all been wonderfully blended by tbe pros 
 cess of batching, a method of shading for which Flanders was pars 
 ticularly famous at that period. 
 
 Tbe borders are a bewildering confusion of children, satyrs, fruits 
 and flowers. Tbe color scheme of tbe tapestry is faithfully carried 
 out in tbe variegated flowers and fruits. 
 
 In tbe center of tbe top border is tbe sign of tbe zodiac standing 
 for tbe month of June. In tbe center of tbe bottom border on a 
 Gotbic red ground is tbe inscription : 
 
 QVAMVIS INNVMERAS 
 CVRIVS. DEVICERAT. VRBES 
 MVNERA DESPEXIT. 
 
 GLORIA. SOLA SATIS. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 44 
 

 
 
 
 
 % 
 
THE LOVES OF VERTUMNUS AND POMONA 
 Illustrated in two tapestries 
 
 I 
 
 Height, ii ft., 3 in. Width, 16 ft., io in. 
 
 II 
 
 Height, ii ft., 9 in. Width, n ft., o in. 
 
 T HESE tapestries were woven in Brussels about the middle of the 
 XVI century and rank among connoisseurs as important speck 
 mens of that period. A similar subject to the larger piece, but sur? 
 rounded by a different border, is in the palace of the Escurial in Spain. 
 It has been frequently illustrated and spoken of in the highest terms 
 by Lacordaire and Darcel. 
 
 In the illustration of the first tapestry, Pomona stands at the ex* 
 treme right, and Vertumnus at the extreme left. The former wears a 
 brocade skirt and tunic. A scarf falls over her left arm to the ground 
 and in her right hand she carries a sickle. Vertumnus wears a short 
 richly embroidered tunic which leaves neck, arms and knees bare. 
 He carries a rake over his left shoulder. The figures stand beneath 
 an arbor luxuriant with grapes and leaves. The supports of the 
 three arches which comprise the arbor consist each of four cary? 
 atides or termini which rest upon high carved bases. Of the two 
 termini which face outward, one has the features of a man and the 
 other those of a woman. Above them a pointed roof rests upon the 
 Ionic capitals which they support. In the center space, between 
 the termini, stands a richly decorated vase filled with variegated 
 flowers and leaves. 
 
 Two turkeys, male and female, occupy the center of the fore? 
 ground, and are surrounded by leaves of various plants, all carefully 
 and correctly drawn. In the background, an okbfashioned Italian 
 garden, laid out with great regularity, stretches into the distance. 
 A fountain plays in the center, and on the right and left are long 
 walks sheltered by arbors. 
 
 The border is composed of a beautiful design of conventionalized 
 foliage interspersed with satyrs, bacchantes and fauns. In one of 
 the upper corners is a winged female bust, in the other an intricate 
 
 49 
 
design of leaves, and in tlie two lower corners squatting satyrs. In 
 the center of both top and bottom borders is a pedestal bearing the 
 armless bust of a satyr supported on both sides by satyrs, bacchantes 
 and fauns. In the center of each lateral border stands the full length 
 figure of a faun bolding a scythe. The whole effect is very graceful 
 and pleasing. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Now in the possession of Bayard Thayer, Esq. 
 
THE MONTHS OF LUCAS 
 
 i 
 
 APRIL 
 
 Height, ioft., 3 in. Width, n ft., ioin. 
 
 Mark BUS Signed 
 
 II 
 
 MAY 
 
 Height, io ft., 8 in. W r idth, 13 ft., 9 in. 
 
 Mark 108 
 
 III 
 
 SEPTEMBER 
 
 Height, 10 ft., 8 in. Whdth, 11 ft., 9 in. 
 
 Signed ^ 
 
 IV 
 
 OCTOBER 
 
 Height, 10 ft., 5 in. V/idth, 11 ft., o in. 
 
 V 
 
 DECEMBER 
 
 Height, 10 ft., 4 in. Width, 12 ft., 7 in. 
 
 Mark BUB 
 
 Probably no tapestries have had as great a world^wide reputation 
 and popularity as the series known as the “Months of Lucas.” 
 
 The fird set, twelve in number, was made for the infant Ferdinand 
 of Portugal, and was so greatly admired that an order soon followed 
 for the royal house of France. Threads of gold and silver were 
 lavishly used in the weaving. Unfortunately, in 1797, these beauti* 
 ful examples of Flemish art were burned in order to extrad: the 
 precious metals they contained. 
 
 5 1 
 
Several series were made beside that mentioned above, but no 
 complete one is known to exist today, and fortunate indeed is the 
 individual who can count one or more of the subjects among his 
 art treasures. These five pieces of the Barberini Collection were 
 probably purchased by Cardinal Francis Barberini in 1625, and 
 were executed in Brussels, near the middle of the XVI century, 
 under Willem de Pannemaker, one of the most celebrated master 
 weavers of that time. His monogram appears on the right-hand 
 galon of one of them, an unknown monogram on another, and the 
 mark of Brussels on others. 
 
 The designs of the twelve months were for a long time attributed 
 to Lucas von Leyden, and, although he is not now considered by 
 competent judges to be the author of them, they will undoubtedly 
 always be known as the “Months of Lucas,” for in all important 
 works on tapestries they are so designated. 
 
 The subjects all picture the out-of-door life of nobles and peasants, 
 and the costumes, which are of the era of Charles V, display much 
 wealth of color. 
 
 April is illustrated by a landscape which contains, on the right, 
 a field where sheep are grazing, and on the left, a broad river. Seated 
 on its flower-strewn bank is a group of five persons, evidently of the 
 nobility. 
 
 May-day sports are joyously portrayed in the next piece. Archers 
 are aiming their arrows at a bush raised high upon a pole, spectators 
 are seated in the foreground, and on the left are, apparently, the grand 
 seigneur of the country and his wife, mounted upon richly capari- 
 soned horses. 
 
 September exhibits a farm where laborers are sowing seed and 
 ploughing. In the foreground six peasants are busy with sacks of 
 grain. 
 
 In the middle plane of the tapestry representing October the peas- 
 ants are occupied in trampling the grapes for wine. On the right a 
 grape arbor forms the background for the group seated upon the 
 grass and occupied in tasting wine. Behind them a servant holds 
 out a plate of fruit, and a cavalier is making advances to a young 
 maid. In the left foreground two little boys are playing with grapes. 
 
 The last month of the year is designated by a merry skating scene ; 
 apart from the ice and skaters, the cold clouds, the trees almost bereft 
 
 5 2 
 
of foliage, and the white hills, all proclaim a winter scene. In the 
 midst of the December landscape, near the center of the tapestry, 
 stands a large chateau ; in front of it, on the frozen pond, are many 
 peasants skating. The cavaliers and ladies in the foreground are evi? 
 dently amusing themselves by watching the scene. Standing upon 
 the left, and most conspicuous among the groups, is a stately couple, 
 richly costumed. 
 
 Barherini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Nowin the possession of Mrs. E. H. Harriman. 
 
 53 
 
APRIL 
 
 Height, io ft., 3 in. "Width, n ft., io in. 
 
 Mark EU3 Signed 
 
 O N the left, in the foreground of this tapestry, stands a lady play? 
 
 ing upon a mandolin. Around her neck is a coral necklace, and 
 she wears a dark red velvet cap and a red dress with pale blue 
 sleeves. The gracefully seated chatelaine holds a wreath in her 
 right hand; she also has a red velvet cap. Her light blue dress is 
 lined with red and covered with a rich design. Between her and 
 the lady playing upon a cithara, on the left, are seen the head and 
 shoulders of a cavalier, who with his right hand seems to he keeping 
 time to the music. In front of this group a kneeling lady is gathering 
 flowers ; over a red petticoat she wears a green skirt, and her elaho? 
 rate sleeves are slashed over violet linings. In the field on the 
 right, where sheep are grazing, stand a shepherd and shepherdess 
 accompanied by their dog. The field reaches hack to a group of 
 houses, beyond which are green trees and blue hills. In the left 
 central plane is a fine chateau ; a river flows close to its walls, and 
 upon it is a boat containing five people. The principal personages 
 are well drawn, gracefully posed and superbly costumed. In the 
 French National Museum is preserved a copy of this subject, woven 
 for the Princess of Conti at the Gobelins, nearly one hundred and 
 fifty years later. 
 
 In the center of the top border of this tapestry is the sign of the 
 zodiac for April with the word written below it. In a round cars 
 touche in the right upper corner is the head of a Grecian woman, 
 and in a similar cartouche in the left corner, the profile of a man 
 wearing a helmet. In the corners of the bottom border are round 
 cartouches on which are pictured children playing different games. 
 All the cartouches are in grisaille. Attached to each corner motive 
 are the forepaws of a Hon and a mask of its head in pale yellow. 
 Each lion’s head holds in its mouth a ring to which is fastened a long 
 baton of oak leaves upon which are tied groups of flowers, fruits and 
 leaves, animated with various birds. 
 
 The borders of the other four tapestries are like the one here 
 described, each having its own sign of the zodiac. There is a slight 
 difference in the drawings of the heads in the upper corners, and the 
 games of the children in the lower ones. They are very beautiful 
 and have rarely been equalled in richness and variety of motives. 
 Now in the possession of Mrs. E. H. Harriman. 
 
 54 
 

 
 
 
 
 
 
 
 
 
 
 
 
 / 
 
 
THE TROJAN WAR 
 
 i 
 
 SINON OUTWITTING KING PRIAM 
 Height, io ft., io in. Width, 8 ft., 8 in. 
 
 Mark BUS Signed / jc 
 
 II 
 
 BATTLE OF THE SHIPS AND DEATH OF 
 
 PATROCLUS 
 
 Height, io ft., n in. Width, 12 ft., 8 in. 
 
 Mark BUB Signed 5 HJ 
 
 III 
 
 DESTRUCTION OF TROY AND FLIGHT OF AENEAS 
 Height, 10 ft., 11 in. Width, 17 ft., 1 in. 
 
 Mark BUB Signed 5 BJ 
 
 IV 
 
 DEPARTURE OF THE GREEKS WITH PRISONERS 
 
 AND BOOTY 
 
 Height, 10 ft., 11 in. Width, 15 ft., 1 in. 
 
 Signed 5 HJ 
 
 These tapestries, almost entirely of silk, were woven in Flanders 
 in the XVI century. The weaver’s monogram is woven in the 
 lower part of the right-hand galon of all hut one of them, and on 
 three of them in the bottom galon is the mark of Brussels. In no 
 other part of the world were tapestries like these ever woven. They 
 are remarkable for their wonderful borders of many independent 
 panels, each of which is a picture in itself, for their exquisite land- 
 scapes, for the vigor and power of their battle scenes, and for the 
 delicacy and luster of the colors used in the costumes, flags and tents. 
 
 57 
 
They are Flemish Renaissance productions of extraordinary quality 
 and beauty, and in no museums in Europe are to he found tapestries 
 of the same era that can outrival them. 
 
 The first one of the series is illustrated and fully described. The 
 second portrays the battle between the Greeks and Trojans, in which 
 the latter were victorious and Patroclus slain. 
 
 In the background are the Grecian tents and beyond them the 
 ships of war, some of them in flames. The entire tapestry is filled 
 with desperate, fighting men. The opposing forces wear helmets, 
 cuirasses, tunics and buskins, so much alike both in character and 
 coloring that it is difficult to distinguish Greek from Trojan. 
 
 The third and largest tapestry illustrates the flight of the Trojans 
 from their city. 
 
 In the far background the light bluish mountain tops pierce a rose 
 sky, the nearer hills are crowned with buildings, and Grecian ships 
 lie at anchor just outside the city walls. Some buildings are on fire. 
 On a large platform in front of the circular marble temple of Minerva 
 stands the huge and fabled wooden horse, from the interior of which 
 Greeks are descending ; on the right of the temple they are entering 
 the city through a large breach in the walls, and on the left they climb 
 the steps of the palace. Among the many who are trying to escape 
 from their foes, Aeneas carrying his father on his hack, holding his 
 son by the hand and followed by his wife, is seen in the left fore? 
 ground. Pyrrhus carries a sack of treasure on his shoulder and 
 leads away Andromache, while on the extreme right Cassandra is 
 being led away by two Greeks. 
 
 The last piece reveals distant mountain peaks behind Mount Ida, 
 whose summit is crowned by a chateau and whose slopes are covered 
 with trees. The last Trojan prisoners are leaving the palace of the 
 King, and between the palace and the sea some Trojans are making 
 a last desperate attack upon the Greeks. In the foreground two 
 Greeks force Queen Hecuba towards the shore. At the extreme 
 right a Grecian warrior carries over his shoulder a sack of treasure. 
 Behind him Cassandra struggles in the arms of her captor in the 
 midst of a crowd of soldiers laden with arms and booty. 
 
 In the coloring of these tapestries, delicate tones and shades of 
 blue, green, rose and yellow have been used. The yellow predomk 
 nates, and a delicious effect of luster and warmth has been produced. 
 
 58 
 
Undimmed by the passing centuries, they have gathered from them 
 a softer light, and therefore additional beauty. 
 
 The beautiful Flemish Renaissance borders are divided into minias 
 ture panels of exquisite loveliness. Each panel contains an allegory 
 ical figure seated beneath an arbor covered with flowers or leaves 
 and supported upon termini or held up by children. Little landscape 
 scenes are visible through every arbor. 
 
 In the side borders all the arbors, except those in the upper cor= 
 ners, are surmounted by vases filled with flowers, fruits and leaves. 
 On each side of the vases resting upon the bottom arbors, on top of 
 which are also reclining sirens in light blue and rose draperies, are 
 male figures with baskets of flowers and fruits upon their heads. 
 These figures form the supports of the panels above them. On top 
 of the central arbors recline two children with sofbhued mantles 
 falling gracefully around them. They play upon trumpets and hold 
 a festoon of ribbon over the arbors beneath them. Above them are 
 female figures holding lighted torches in their extended hands, and 
 above the baldaquins extending over the heads of these figures, 
 satyrs hold ribbons, to which are suspended baskets of fruits. 
 
 Between every allegorical and landscape scene in the top and 
 bottom borders is a vase of flowers, fruits and leaves, on each side 
 of which a boy holds the end of a ribbon which forms a festoon in 
 front of the flowers and fruits. The panels in the side borders cons 
 tain the Olympian gods and the signs of the zodiac. Among the 
 allegorical figures in the other panels are Abundance, Faith, Justice, 
 Prudence, Wisdom, Hope and Music. 
 
 The unrivalled exuberance and the variety of the accessory deco* 
 rations in these marvelous borders make it practically impossible to 
 give a detailed description of them. A low soft tone of color prevails 
 throughout and renders them delightfully harmonious with the subs 
 jects they enclose. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 59 
 
I 
 
 SINON OUTWITTING KING PRIAM 
 Height, io ft., io in. Width, 8 ft., 8 in. 
 
 Mark B'vll Signed 
 
 I N this tapestry Sinon, who was left behind hy the Greeks in order 
 that he might persuade the Trojans to draw the wooden horse into 
 their city, stands before King Priam. He is bareheaded, has a short 
 heard, wears blue buskins, a yellow-brown mantle, with designs in 
 blue, and a tunic of pale shades of green and yellow. He emphasizes 
 his words hy arguing with his hands. The King has a long heard. 
 He carries a sceptre, and wears a crown studded with precious 
 stones, a light yellow mantle, a decorated sword, rose buskins, and 
 a superb and lustrous blue robe embroidered in yellow. He appears 
 to he carefully weighing Sinon’s report, and the gesture of his hand 
 indicates that he is cross-questioning him. Five generals or counsel- 
 ors stand behind Priam and all wear costumes in exquisite harmony 
 with that of the King. The landscape background is enlivened hy 
 several interesting details. There is a fine XV century chateau, a 
 beautiful lake, a hunting scene, and a tableau which represents Juno, 
 Minerva and Venus requesting Paris to decide which is entitled to 
 the “Golden Apple.” 
 
 In the top and bottom border of this tapestry the central panel is 
 the same. It represents three women grouped around a basket, the 
 top of which one has lifted, showing a grotesque figure, half-child, 
 half-snake. The middle panel in the left lateral border pictures Mer- 
 cury wearing his winged hat, and the one in the right lateral border 
 pictures Diana. 
 
 Ffoulke Collection, 1889. 
 
 60 
 


 
 
 
TWO RENAISSANCE TAPESTRIES 
 
 i 
 
 BATTLE BETWEEN THE TROOPS OF THE 
 KING OF SPAIN AND THOSE OF THE 
 UNITED NETHERLANDS 
 
 Height, 14 ft., 6 in. Width, 12 ft., 6 in. 
 
 Mark 4 ^ 
 
 II 
 
 THE ARMY ON THE MARCH 
 
 Height, 10 ft., 11 in. Width, 12 ft., 7 in. 
 
 T HESE tapestries rank as museum pieces, and were woven in 
 Flanders, during the last half of the XVI century, in the atelier 
 of Willem de Pannemaker. 
 
 In the center field of the first tapestry, the one illustrated, a 
 troop of cavalry is engaged in combat. In the foreground some 
 warriors fight on foot, and others on horseback, using swords and 
 spears. On the right a warrior in full armor is on the point of transs 
 fixing his fallen antagonist with his spear. The figures are small, 
 the costumes superb, and the entire scene is full of fife , energy and 
 martial power. The foliage is dark green with high fights in yellow. 
 A warm mellow tone pervades the entire composition. 
 
 The border is magnificent and of unusual width. It is divided into 
 many diminutive panels, each panel illustrating a beautiful and 
 independent allegorical scene with a landscape background. 
 
 The second piece represents an immense army, in marching order, 
 wending its way through the defiles of the distant mountains down 
 to the foreground, where the cavalry, in a closely packed column, 
 passes out of sight on the left. Unfortunately this tapestry, although 
 the companion of No. I, is without a border. In coloring and tone 
 they are alike ; the weaving is equally fine in both and the cartoons 
 were designed by the same artist. 
 
 Ffoulke Collection, 1903. 
 
 Now in possession of Felix M. W’arburg, Esq. 
 
HUNTING SCENE 
 Height, 13 ft., 9 in, "Width, 13 ft., 4 in. 
 
 Mark B*v7B 
 
 T HIS beautiful Renaissance tapestry, which dates from the last 
 half of the XVI century, has the merit of being woven under 
 Willem de Pannemaker, one of the most celebrated of the great 
 galaxy of Flemish weavers. 
 
 In the right foreground of the tapestry a huntsman, with a club 
 studded with iron spikes, is in the act of striking a huge turtle. The 
 man wears a blue coat of mail over a tunic of white and gold; near 
 him stands a woman wearing a red dress with high lights in yellow. 
 She has raised her veil or mantle in order to shield her eyes from the 
 scene before her. 
 
 In the left foreground is a hunting scene, and the background is 
 occupied by a landscape garden, which is situated at the foot of a 
 high mountain. There are groups of trees with thick foliage; and 
 the leaves and flora of the foreground are rendered with all the 
 minuteness and precision which characterized the attention given 
 to them at this period. 
 
 The crowning glory of the composition is its border, which is 
 extremely wide, and is composed of a series of panel pictures of alle* 
 gorical subjects, each a delightful little tapestry in itself. The blue* 
 green of the main subject, with its yellow light and touches of red, 
 is repeated in the border, so that the entire piece seems bathed in 
 a warm yellow light. Although this tapestry is unsigned it formed, 
 with the two preceding Renaissance tapestries, part of a series 
 having the same borders, coloring and texture, and undoubtedly was 
 woven in the same atelier. 
 
 Ffoulke Collection, 1903. 
 
 Now in the possession of Mrs. E. H. Harriman. 
 
 66 
 

 
 
 
 J 
 

 
 
 
 
 
TWO RENAISSANCE TAPESTRIES 
 
 i 
 
 THE COMPANIONS OF PROSERPINE 
 Height, io ft., ii in. Width, 12 ft., 7 in. 
 
 Signed DP 
 II 
 
 VERTUMNUS AND POMONA. HUNTING SCENE 
 Height, 11 ft., 5 in. Width, 8 ft., 4 in. 
 
 Signed J 
 
 T HESE tapestries were woven in Brussels about the close of the 
 XVI century. The first one hears an unknown signature, and 
 the second is signed by Jacques Geubels, one of the best known and 
 most skillful master weavers of his day. 
 
 The tapestries are somewhat unusual on account of the totally 
 different character of their dual compositions. 
 
 In the center plane of the first tapestry a number of ladies and 
 gentlemen, partly on foot and partly on horseback, hunt with fab 
 cons and dogs. In the left foreground three women, the compan- 
 ions of Proserpine, are grouped around a basket of flowers. The 
 attitude and features of the one standing plainly depict grief and 
 dismay. 
 
 The scene in the right-hand upper corner of the main composi- 
 tion shows Pluto, with his unwilling captive, seated in his chariot 
 drawn by two horses, whirling through the air. 
 
 The perspective features of the tapestry are excellent, and the 
 eye can wander a long distance, from the ducks swimming in the 
 pool in the immediate foreground, past the hunting party, through 
 the garden, and over the hills to the distant mountains. 
 
 In the smaller tapestry, of which an illustration is given, two well- 
 drawn and richly costumed figures, representing Vertumnus and 
 Pomona, engaged in earnest conversation, occupy the immediate 
 foreground. The woman stands upon the right with one arm raised. 
 She wears a richly brocaded skirt with an over -dress of blue and 
 red stripes. A red coat, with designs in white, hangs over one arm 
 
and shoulder. The man heside her has a tunic of blue and yellow and 
 a rich red mantle with pale blue figures flows from his shoulders. 
 
 In the center field a huntsman shoots at the ducks which swim 
 upon the stream that winds around an island covered with trees. 
 Another huntsman holds three dogs in leash. Behind the island, foots 
 hills covered with trees rise one above another, until they melt into 
 the range of mountains in the far background. 
 
 The foliage in these tapestries is of a soft and delicate green, 
 with high lights in yellow. These are the dominant colors in both 
 pieces, but their effect is brightened by touches of red and blue in 
 the costumes. 
 
 The borders are so rich in design that space will not permit of 
 their description in detail. In the center of the top borders, enclosed 
 in a cartouche, Apollo rides in a chariot drawn by four horses. In 
 the center of the bottom borders sylvan scenes are enclosed in cars 
 touches, decorated similarly to those of the top borders. In the four 
 corners are apocryphal and allegorical figures. Miniature pictures, 
 enclosed in cartouches, occupy the centers of the lateral borders. 
 
 The spaces between the cartouches and the figures in the four 
 corners of the borders are filled with small cherubs, birds, flowers, 
 fruits, etc. On account of the greater width of the first tapestry, its 
 top and bottom borders contain female figures on the right and left 
 of the cartouches, which are not found in the second tapestry. 
 
 Ffoulke Collection, 1891. 
 
 Now in the possession of the Antiquarians of the Art Institute 
 of Chicago. 
 
 7 2 
 
FOUR BIBLICAL SUBJECTS 
 
 Cartoons by Jan Cornelisz. Vermeyen. 
 
 I 
 
 THE CIRCUMCISION OF ISAAC 
 
 ISACEM DIVINVS ABRAHAM CONCIDERE IVSSIT 
 EX VETERVM LEGE AC RELLIGIONNE PATRVM. 
 
 Height, ii ft., 9 in. Wklth, 13 ft., 2 in. 
 
 Mark B'v’O 
 
 II 
 
 REBECCA GIVING DRINK TO ABRAHAM'S 
 AMBASSADOR 
 
 HIC SERVO OCVRRES ABRAE REBECCA PEITTAM 
 PREBET POTVRO SEDVLA FONTIS AQVAM 
 
 Height, 12 ft., o in. Width, 11 ft., o in. 
 
 Signed J 
 
 III 
 
 THE FALSE PROPHET PREDICTING VICTORY 
 
 TO KING AHAB 
 
 SEDERVNT REGES VNVSQVISQVE IN SOLIO SVO 
 VESTlTl CVLTV REGIO ET IN CONSPECTV 
 EORVM PROPHETABANT VNIVERSI PROPHETE 
 
 Height, 11 ft., 8 in. Width, 17 ft., 5 in. 
 
 Mark 15^9 Signed & 
 
 IV 
 
 THE DEATH OF AHAB 
 
 VIR QVIDAM IN INCERTVM SAGITTAM 
 DIRIGENS CASV PERCVSSIT REGEM ISRAEL 
 INTER PVLMONEM ET STOMACHVM 
 
 Height, ii ft., 8 in. Width, 15 ft., 2 in. 
 
 MarkB^O Signed ck 
 
 These four Flemish tapestries were woven about the middle of 
 the XVI century. They formed parts of the celebrated Somzee 
 
 73 
 
art collection, one of the largest and most varied ever made by a 
 private individual, and one particularly rick in Gothic and XVI 
 century tapestries. The collection was sold in Brussels in May, 
 1901. In tbe catalogue published at that time there is a description 
 of these four tapestries and illustrations of three of them. Their 
 numbers in the catalogue are 542, 543, 545 and 546. 
 
 The names woven in the garments, the unusual colors in the 
 costumes of the principal personages in the main composition, and 
 the mythological character of the figures in the borders are very 
 attractive features. That they were woven from the cartoons of the 
 celebrated court painter of Charles V, who drew the designs for 
 the series of tapestries known as the “Conquest of Tunis,” adds 
 much to their value and interest. 
 
 In the first tapestry, Abraham, clothed in a magnificent costume, 
 occupies the center foreground. The infant Isaac is presented to 
 him by a relative, and the nurse kneels on the opposite side. Behind 
 this group stand a man and a woman. In the right center plane 
 Sarah is represented in bed, and one of two nurses holds the infant 
 in her arms. In the left center plane Sarah scolds Isaac and Ishmael 
 for quarreling. 
 
 The second piece shows Rebecca, on the right, ascending the 
 steps of a well, while Abraham’s ambassador receives from her a 
 pitcher of water. One of his companions is in the act of taking 
 from a chest a rich collar of gold and precious stones, and behind 
 him stands one of the escort in armor, holding a lance in his right 
 hand. From behind a mass of rocks crowned with trees, a man leads 
 a heavily laden camel. The personages, like those in the first taps 
 estry, are clothed in ancient costumes, and in both pieces the colors 
 of the background, soft blues, greens and yellows, harmonize won* 
 derfully with the more intense shades of the costumes. 
 
 Of the third subject, representing the false prophet predicting 
 victory for King Ahab in the coming battle with the King of Syria, 
 an illustration and a full description are given. 
 
 The battle between the Israelites and Syrians is portrayed in the 
 last tapestry. In the left foreground a soldier, with uncovered head, 
 sword in hand and shield suspended from his neck, walks toward 
 an archer on horseback, who is accompanied by a soldier wearing a 
 lion’s skin upon his head. In the left second plane a Syrian archer 
 
 74 
 
is in the act of drawing his how, and behind him the Syrian hosts 
 reach far hack into the distance. In the center of the plane a soldier 
 has overcome his adversary, and raised his arm for the fatal blow. 
 Directly behind them rides Jehoshaphat, at the head of his troops. 
 In the background, on the extreme right. King Ahab, mortally 
 wounded, is being driven in his chariot from the field. The figures 
 in the last two tapestries wear Roman costumes. The coloring is 
 harmonious and similar to the first pieces. All are woven in silk 
 and wool. 
 
 The borders of the series are identical in coloring and general 
 design, but the first pair differs materially from the second in the 
 arrangement and grouping of the figures. 
 
 In the center of each top border of the Abraham series, upon a 
 blue ground, is a Latin inscription describing the subject of the taps 
 estry. In the center of the bottom borders is the reclining figure of 
 a sleeping man who holds a vase of flowers and leaves. In the cen= 
 ter of each side border is the graceful figure of a woman, who holds 
 in her extended hands a light blue ribbon, which falls in a loop below 
 her waist. In the left-hand lower corner is the figure of a woman, 
 half reclining upon an antique car, with an infant at her breast. In 
 the right-hand lower corner is also the figure of a woman reclining 
 upon a car, with a child playing at her knees. Between the male 
 and female figures are festoons of flowers, fruits and leaves. In the 
 upper corners bunches of leaves and fruits are tied to a baton with 
 ribbons. The decorative band on each side of these borders, which 
 is composed of a baton entwined with convolvulus upon a rose 
 ground, is an artistic addition to them. All the colors in the main 
 compositions are repeated in the borders. 
 
 Somzee Collection. 
 
 Ffoulke Collection, 1901. 
 
 75 
 
Ill 
 
 THE FALSE PROPHET PREDICTING VICTORY 
 
 TO KING AHAB 
 
 SEDERVNT reges vnvsqvisqve in solio svo 
 
 VESTlTl CVLTV REGIO ET IN CONSPECTV 
 EORVM PROPHETABANT VNIVERSI PROPHETE 
 
 Height, ii ft., 8 in. Width, 17 ft., 5 in. 
 
 Mark BUS Signed A 
 
 T HE subject of this tapestry is taken from I Kings, xxii : 12. In 
 the foreground, on the right, Ahab and Jehoshapbat, each wears 
 ing his crown and carrying his sceptre, and clothed in his robes of 
 state, are sitting just outside the city gates. Behind them stand two 
 warriors armed with halberds. A little to the left of Ahab is Queen 
 Jezebel, with two of her maids in attendance. The false prophet, 
 Zedekiah, accompanied by a little hoy, earnestly addresses the kings. 
 He wears a cap upon his head, has a long heard and red mantle, 
 and carries a staff in his left hand. Directly hack of him, Micaiah, 
 the prophet of the Lord, raises his hand in protest. In the rear the 
 other prophets are crowded closely together. The background is 
 occupied, on the right, by the gate of the city, extending from which 
 are the walls and battlements. In the hilly landscape are several 
 chateaux, and on the extreme left are the soldiers ready for combat 
 against the Syrians. 
 
 In the center of the top border of each of the Ahab tapestries is a 
 Latin inscription describing the subject of the tapestry. In the cen? 
 ter of each bottom border, to the right and left of a vase filled with 
 fruit and flowers, are the sitting figures of a bearded man and a grace? 
 ful woman. In the center of each side border these two figures are 
 again seen in close proximity, balanced between baskets of fruit 
 and leaves. In the left?hand lower corner a female figure is seated 
 in a car drawn by two grotesque camels. Upon her raised right 
 hand is perched a bird of gorgeous plumage. A similar figure occu? 
 pies the right?hand corner, with a car drawn by two attractive 
 children. In each of the upper corners is the standing figure of a 
 woman with extended arms, holding a ribbon which falls in a loop 
 below her waist. The band on each side of the borders is composed 
 of a baton entwined with leaves. 
 
 Ffoulke Collection, 1901. 
 
 76 
 

 
 
THE DIANA SERIES 
 
 Cartoons by Du Breuil 
 
 I 
 
 DIANA STRINGING HER BOW 
 Height, 13 ft., 6 in. Width, 10 ft., 11 in. 
 
 Mark BUB Signed f R an 
 
 II 
 
 DIANA WOUNDING A SATYR 
 Height, 13 ft., 5 in. Width, 17 ft., 2 in. 
 
 Mark BUB Signed | R an 
 
 hi 
 
 A MAID LACING THE SANDALS OF DIANA 
 Height, 13 ft., 3 in. Width, 19 ft., 5 in. 
 
 Mark BUB Signed | R and £ 
 
 IV 
 
 DIANA WITH AN INFANT UPON HER KNEES 
 Height, 13 ft., 7 in. Width, 13 ft., o in. 
 
 Mark BUB Signed | R and £ 
 
 V 
 
 TWO WOMEN FLEEING FROM A DRAGON 
 Height, 13 ft., 6 in. Wulth, 13 ft., 2 in. 
 
 Mark BUB Signed | R and £ 
 
 VI 
 
 A WARRIOR KILLING A DRAGON 
 Height, 13 ft., 6 in. WTith, 15 ft., 4 in. 
 
 Mark BUB Signed | R and £ 
 
 79 
 
VII 
 
 A MAN AND A WOMAN WALKING IN A GARDEN 
 Height, 13 ft., 5 in. Width, 15 ft., 2 in. 
 
 Mark BUB Signed f R and £ 
 
 VIII 
 
 A MAN AND A WOMAN SITTING IN AN ARBOR 
 Height, 9 ft., o in. V/idth, 6 ft., 3 in. 
 
 These tapestries were woven in Brussels about the close of the 
 XVI century, in the ateliers of Jacques Geubels and Jean Raes, who 
 justly ranked among the most skillful master weavers of their time. 
 The mark of Brussels in Brabant is woven in the bottom galon of 
 each piece, and the monograms of the weavers in the right?hand 
 upright galon ; that of Raes in the top, and that of Geubels in the 
 bottom part. 
 
 In the MSS. XLVIII in Vol. 14 1, preserved in the Barberini 
 library, they are mentioned as having been “presented by the most 
 Christian King Louis XIII of France to Cardinal Barberini, Legate 
 to France 1625.” 
 
 Until recently the linings of these tapestries bore the stamped 
 monogram of Cardinal Franfois Barberini and also that of Cardinal 
 Antonio Barberini, hut, becoming too tender with age to support 
 the weight of the tapestries, they were removed, and replaced by 
 modern material. 
 
 In the first tapestry, Diana, facing the spectator, strings her how. 
 Her imposing figure is grandly drawn, and she is magnificently at* 
 tired in a gown of striped and lustrous silk, over which is draped a 
 mantle of changeable colors, embroidered with varied and peculiar 
 designs. The crescent gleams above her forehead and a quiver of 
 arrows is at her back. Two handsome dogs are nearby, and a few of 
 her nymphs are bathing in a stream which flows through the middle 
 plane. 
 
 In the next piece Diana lowers her how, and turns her face from 
 a bearded satyr whom she has wounded with an arrow. A fright? 
 ened hare watches her movements from its hiding place, and in the 
 background is a palace with a group of people in front of it. 
 
 80 
 
In the third tapestry Diana sits upon a mossy mound at the base 
 of a tree near a stream. Her quiver of arrows lies upon the ground 
 near her, and a kneeling maid is in the act of lacing her sandals. The 
 banks of the stream, which flows down through the center, are 
 lined with trees. 
 
 Diana is seen in the fourth tapestry seated upon a reddish-brown 
 rug, beneath a canopy which is stretched between columns sup- 
 porting the crumbling arches of an ancient temple. The canopy is 
 weighed down in the middle by the hide of a leopard whose head 
 and paws hang over its edge. 
 
 In the right field is a rushing stream, and in the background are 
 mountains with ruined temples on their summits. The little child 
 in the arms of Diana recalls the legend that she not only punished 
 mothers who abandoned their children but succored their offspring. 
 
 In the fifth tapestry two women flee from a dragon, who rears, 
 and threatens them with his savage claws. The following one 
 pictures a majestic warrior who has mortally wounded the dragon, 
 which now lies harmless at the feet of an attendant. 
 
 A garden forms the setting of the seventh tapestry, where a man 
 and woman are walking together engaged in earnest conversation. 
 His arm is around her waist and he wears, over a brown-red tunic, 
 a rich yellow mantle, while she is clad in a beautiful green tunic 
 over a robe of orange with designs in red. 
 
 The last tapestry, representing only two figures, a man and a wo- 
 man sitting side by side, is without a border and has been reduced 
 from its original size. Seven pieces only were included in the 
 Barberini series, although inventories suggest eight original tapes- 
 tries. Some years ago an eighth one was discovered, and, although 
 bereft of its border, was purchased and joined to the series. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Now in the possession of Larz Anderson, Esq. 
 
 81 
 
II 
 
 DIANA WOUNDING A SATYR 
 
 Height, 13 ft., 5 in. Width, 17 ft., 2 in. 
 
 Mark B^ 7 B Signed | R and £ 
 
 D IANA stands directly in the center of the tapestry, dressed in 
 the same costume in which she is pictured in all the other pieces, 
 a blue robe and richly embroidered mantle. Sandals are upon her 
 feet, the crescent shines above her forehead; she carries a quiver 
 of arrows upon her back, and in her right hand her bow. Upon the 
 right, at the foot of a tree, is the falling figure of a satyr. An arrow 
 shot from Diana’s bow pierces his side. His right arm is raised and 
 he supports himself with his left. A hare, half hidden by leaves, is 
 in the foreground, and on the extreme left are some broken bits of 
 architecture with lizards creeping in and out between them. 
 
 In the background on the left, upon a hill, are the ruins of a palace 
 with some people and dogs in front. On the right a church and 
 other buildings nestle among the trees. The distant view of forest 
 and water, the nearby foliage and the vines and leaves are minutely 
 and carefully drawn and woven in soft, delicate and harmonious 
 greens. Diana’s costume gives to the tapestry the needed touch of 
 rich warm color. 
 
 The border consists of a beautiful design in sepia upon a deep red 
 background. It is composed of con ventionalized foliage interspersed 
 with satyrs, bacchantes and fauns. In the two upper corners are 
 winged female busts, and in the two lower corners, squatting satyrs. 
 In the center of both top and bottom borders is a pedestal bearing 
 the armless bust of a satyr, supported on both sides by satyrs, bac* 
 chantes and fauns. The whole effect is exceedingly rich and striking. 
 Now in the possession of Larz Anderson, Esq. 
 
 82 
 
jT\.JT 
 

 
 
 
VI 
 
 A WARRIOR KILLING A DRAGON 
 
 Height, 13 ft., 6 in. Width 15 ft., 4 in. 
 
 Mark Signed and £ 
 
 N EAR the center of the tapestry stands a warrior wearing upon 
 his head a plumed helmet. Over his richly decorated coat of 
 mail is a cloak, and he carries a quiver of arrows upon his back. His 
 right hand clasps his bow, and he looks toward the dragon which he 
 has just wounded. Its dying agonies have been developed with 
 much ability, particularly the despairing eyes, stiffening tail, and 
 gigantic wings still outstretched in a last effort to escape. 
 
 An attendant withdraws one of the arrows which has penetrated 
 into the dragon’s body beneath the upraised wing. 
 
 The beginning of the fight is delineated in the central plane to the 
 right. A river spanned by a bridge of masonry is on the left, and the 
 ruins of an antique building crown the hilltop in the distant hack? 
 ground. The two men in this tapestry are well drawn and finely 
 posed, and exhibit energy and movement. The colors in the costume 
 of the warrior are similar to those in that of Diana. The coloring 
 of the landscape is the same as in all the other pieces of the series. 
 There are no strong hues except those used in the costumes. Every? 
 where else the tones are warm and dark. 
 
 The border of this tapestry is alike in design and color to those 
 surrounding the other pieces. 
 
 Now in the possession of Larz Anderson, Esq. 
 
 87 
 
THE ARCHDUKES 
 ALBERT AND ISABELLA SERIES* 
 
 i 
 
 ISABELLA RECEIVING A MESSAGE 
 
 Height, 13 ft., 9 in. Width, 15 ft., 6 in. 
 
 II 
 
 ALBERT PRESENTING A CAPTURED KNIGHT 
 
 TO ISABELLA 
 
 Height, 13 ft., 9 in. Width, 15 ft., 5 in. 
 
 III 
 
 ALBERT PRESENTING A SWORD TO THE 
 CHIEF OF THE ARMY 
 
 Height, 13 ft., 7 in. Width, 15 ft., 3 in. 
 
 Mark BUB Signed ^ 
 
 IV 
 
 ALBERT PROMISING TO BE GODFATHER 
 TO A NOBLEMAN’S CHILD 
 
 Height, 13 ft., 7 in. V/idth, 19 ft., 8 in. 
 
 Mark BUB Signed 
 
 V 
 
 ALBERT RECEIVING A HARE FROM A HUNTSMAN 
 
 Height, 13 ft., 7 in. W r idth, 15 ft., o in. 
 
 This series of five tapestries was woven in Brussels near the 
 middle of the XVI century.* The monogram of the weaver appears 
 in the right-hand upright galon of one or two. On the backs of the 
 
 * The date of the weaving of these tapestries has been lately placed by excellent authority more than half 
 a century before the reign of the Archdukes Albert and Isabella (1598). The monogram on the third piece, 
 while unknown, appears on other tapestries of the XVI century. Unfortunately no history of this series before 
 it came into the possession of the Barberini family is obtainable. It may have been owned at one time by 
 Albert and Isabella, which would in a measure account for the title under which the tapestries have long been 
 well known. 
 
 88 
 
old linings, in black letters, was traced the monogram of Cardinal 
 Francois Barberini and tbe word “GIRO.” Unfortunately tbe 
 meaning of this word is unknown. 
 
 These tapestries appear to illustrate events of historical import 
 tance in the lives of the personages in whose honor they were 
 woven. The quaint backgrounds of hills and dales, dotted with vil= 
 lages, houses and, sometimes, fortresses, are all alive with figures 
 displaying great activity, but the coloring, of a quiet tone, is so 
 harmoniously blended that the attention is not distracted from the 
 important personages, who, clothed in the rich and sumptuous court 
 costumes of the reign of Charles V, occupy the foregrounds. 
 
 In the first and second tapestries Isabella, arrayed in magnificent 
 court robes, and surrounded by her maids of honor, is the central 
 feature. In the third, Albert, also in the brilliant court costume of 
 his era, is surrounded by his knights. In the fourth, where he has 
 just issued from his palace accompanied by two courtiers and a page, 
 he wears the same costume as in the previous piece. Two kneeling 
 women are in front of him, one holding an infant in her arms. A 
 priest and a knight are standing near. In the last tapestry, a youths 
 fill prince, attired in a sumptuous costume and attended by two 
 retainers, is in the act of receiving a hare from a gamekeeper who 
 is followed by a page with whip in hand, and dog in leash. 
 
 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. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Now in the possession of Mrs. John Lowell Gardner. 
 
 A duplicate of No. I remains in the Ffoulke Collection. 
 
 89 
 
I 
 
 ISABELLA RECEIVING A MESSAGE 
 
 Height, 13 ft., 9 in. Width, 15 ft., 6 in. 
 
 I N the first tapestry, of which the illustration is given, Isabella is 
 represented, a little to the left, standing upon a dais, and holding a 
 sceptre in her right hand; her left hand is extended towards a knight 
 who kneels at her feet. She wears a magnificent gown beautifully 
 embroidered in arabesque designs, with color effects in red, brown, 
 and green. One of the three maids of honor stationed behind her 
 holds the long blue train which falls from her shoulders. In the rear, 
 stand a man and woman engaged in earnest conversation. 
 
 The kneeling knight is booted and spurred, and wears a picture 
 esque costume. He delivers his message with uncovered head and 
 extended arms, and holds his plumed hat in his left hand. Behind 
 him a soldier holds his horse and is evidently telling the story of 
 their journey to the knight on the right, who listens with marked 
 attention. The near center field is occupied by an ornamental 
 column; to the left rise the walls of a palace. The towers of a dis* 
 tant city loom up in the far background, and somewhat nearer, 
 cavalry and infantry cross the bridge which spans a stream that 
 meanders through the center field. 
 
 There is a duplicate of this tapestry, and it is not known why 
 two pieces of the same subject should have been retained in the 
 Barberini Collection, unless one piece was copied in order that all 
 the wall spaces of some room in the palace might be covered with 
 the tapestries of one series. 
 
 The duplicate of this tapestry remains in the Ffoulke Collection. 
 
 90 
 

 
 . 
 
 
 

 
 
 
JOSEPH AND HIS BRETHREN 
 
 i 
 
 JOSEPH'S BRETHREN SELLING HIM TO THE 
 
 ISHMAELITES 
 
 Height, ii ft., 4 in. Width, 17 ft., 6 in. 
 
 Mark BUS Signed im!l> 
 
 II 
 
 JOSEPH RULER OVER ALL THE LAND OF EGYPT 
 Height, 11 ft., 6 in. Width, 20 ft., 8 in. 
 
 Mark BUI Signed 1 M 
 
 T HESE tapestries were woven in Flanders during the first half 
 of the XVI century, under one of the great master weavers of 
 that time. Weavers’ marks are on both tapestries, hut the mono? 
 grams differ. The figures in these two pieces are well drawn, and 
 gracefully posed, and the costumes rich and warm in color. The 
 compositions are full of life and movement and at the same time 
 dignified and impressive. 
 
 The weaving of the tapestries and of the beautiful Raphaelesque 
 borders has been most carefully done, every little detail having re? 
 ceived the same attention as the more important parts. 
 
 The first piece shows Joseph being lifted from the pit in order 
 that his brothers may sell him to the Ishmaelite, who is in the act 
 of paying Judah the price agreed upon. Both are well?built, fine? 
 looking men. Seven of the brothers participate in the sale of Joseph. 
 Four others are engaged in dipping his coat of many colors in the 
 blood of a goat, and in the distance Reuben walks away. Behind 
 the Ishmaelite are two men and camels. Three sheep occupy the 
 left foreground. 
 
 The tapestry illustrated is in marked contrast to the first, for in it 
 Joseph is represented at the height of his glory and power ; he stands 
 in a chariot, a gold chain about his neck and the baton of a ruler in his 
 right hand. He wears, over his pale green tunic, a violet mantle, and 
 is attended by several trumpeters and a bodyguard, consisting of a 
 mounted officer and some foot soldiers carrying standards. A winged 
 
 95 
 
goddess holds a crown of laurel above bim witb one band, and in 
 tbe other carries a palm branch, emblems of Fame and Peace. People 
 in tbe rear “bow tbe knee,” as was commanded by Pharaoh. An 
 officer and a lady stand on tbe right of tbe chariot. Tbe former wears 
 a plumed helmet, a rose tunic, and blue-green mantle, and tbe latter 
 a straw-colored robe witb long sleeves, and coat of pale red. These 
 two figures look as if they might be tbe portraits of those who 
 ordered tbe tapestries. Tbe woman and child seated at their feet 
 are Italian in type and character. In tbe right foreground a tur- 
 baned Egyptian is in earnest conversation witb an officer in Roman 
 costume. In tbe second plane Joseph superintends tbe men binding 
 sheaves of grain and loading tkein on wagons. Further in tbe rear be 
 receives bis brothers. 
 
 There are many features in tbe borders of these tapestries which 
 remind one strongly of Raphael’s great works in tbe Vatican. Tbe 
 foundation upon which tbe motives are placed is a dark reddish 
 brown, shading to ivory in tbe high lights. In tbe top borders vari- 
 ous birds are perched among tbe several festoons of flowers, fruits 
 and leaves, which are separated by grotesque masks, some witb red 
 and others witb blue draperies. Blue and red ribbons extend from 
 tbe masks and flutter over tbe festoons. In tbe center of tbe bottom 
 borders is a rectangular cartouche highly colored. It encloses within 
 a rose-tinted drapery tbe figure of a woman representing Gentleness, 
 in tbe first tapestry, and Wisdom, in tbe second. On each side of this 
 cartouche are festoons of flowers, fruits and leaves, witb ribbons 
 fastening them together and birds in their midst. In tbe lower cor- 
 ners of tbe borders are satyr beads witb drapery beneath them, and 
 above them, in tbe lateral borders, vases filled witb flowers. These 
 vases of fruits or flowers rise tier upon tier, until they unite witb 
 tbe motives of tbe top border. In tbe center of each lateral border 
 tbe uniformity of tbe general design is broken by tbe well-drawn 
 bead of a man, on tbe blue rim of whose bat stand two birds, while 
 from tbe crown rises a bouquet of palm leaves and blue irises. Tbe 
 borders, like others of tbe period, are narrower at tbe top. In order 
 to appreciate tbe wealth of detail they contain, much careful study 
 would be required. 
 
 Prince Rospigliosi, Rome. 
 
 Ffoulke Collection, 1904. 
 
 96 
 
FLEMISH RENAISSANCE SERIES 
 
 i 
 
 ARBOR ON FOUR COLUMNS, AND A NEGRO 
 Height, ii ft., 5 in. "Width, 8 ft., 5 in. 
 
 II 
 
 ARBOR ON FOUR COLUMNS, AND A GARDENER 
 Height, 11 ft., 5 in. Width, 8 ft., 6 in. 
 
 Mark B^B 
 
 III 
 
 ARBOR ON FIVE COLUMNS, AND TWO WOMEN 
 Height, 11 ft., 5 in. Wddth, 10 ft., 8 in. 
 
 MarkB'CD Signed 
 
 IV 
 
 ARBOR ON FOUR COLUMNS, AND TWO WOMEN 
 Height, 11 ft., 3 in. Wddth, 6 ft., 11 in. 
 
 These tapestries, which were woven in Flanders near the close 
 of the XVI century, are almost entirely of silk. One of them hears 
 the Brussels mark and the monogram of the weaver. 
 
 They are purely decorative, with lovely landscape scenes com 
 taining chateaux and villages, and are animated with birds and 
 animals of many kinds. 
 
 The predominant tone is a delicate yellow into which light blues 
 and greens dissolve with exquisite harmony. The borders in tone 
 and coloring are the same as the tapestries ; at the top they repre? 
 sent the sky and the birds of the air; at the sides, landscapes and 
 animals; at the bottom, the sea and fishes. 
 
 Gambarra Palace, Venice. 
 
 Ffoulke Collection, 1904. 
 
 Now in the possession of Larz Anderson, Esq. 
 
 97 
 
I 
 
 ARBOR ON FOUR COLUMNS, AND A NEGRO 
 Height, ii ft., 5 in. Width, 8 ft., 5 in. 
 
 I N this tapestry four fluted columns with Corinthian capitals sup= 
 port an arbor covered with grapes and leaves. On the light blue 
 platform, inlaid with variously tinted triangles, which supports the 
 columns, stands a vase decorated with a winged head, and handles 
 of grotesque figures, and filled with delicately toned flowers and 
 leaves. In the right foreground stands a negro, who holds a spear in 
 his right hand, and wears a red mantle over a tunic of blue with 
 designs in yellow. In the distant background a castle crowns a hill, 
 and high mountains rise beyond. 
 
 All the tapestries of the series are alike in architectural design, 
 and the composition of their borders. Unfortunately the left-hand 
 border of the fourth tapestry is missing. 
 
 Now in the possession of Larz Anderson, Esq. 
 
 98 
 

 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
SCENES IN THE LIFE OF KING HEZEKIAH 
 
 i 
 
 KING HEZEKIAH SACRIFICING BEFORE THE 
 ALTAR OF THE LORD 
 Height, n ft., 8 in. Width, 15 ft., 1 in. 
 
 MarkBtJi Signed tM 
 II 
 
 THE ANGEL OF THE LORD SMITING THE 
 ASSYRIAN CAPTAINS 
 Height, 11 ft., 8 in. Width, 15 ft., 1 in. 
 
 MarkB^B Signed CAS) 
 
 T HESE tapestries were woven in Flanders during the second 
 half of the XVI century. The illustration given of the first 
 tapestry represents King Hezekiah, wearing a blue mantle, standing 
 with his left hand extended towards the high altar and his right to= 
 wards the Hebrews who are bringing sheep and lambs for sacrifice. 
 In the bottom of his tunic are woven the letters ESECHIAH. Two 
 priests, one wearing a blue, and the other a red tunic, stand at the 
 altar; the one on the left holds a lamb ready for sacrifice. Behind 
 the king are two rulers of the city, and three musicians blowing 
 their horns. A kneeling man, in the act of killing a ram, occupies 
 the right foreground; and a kneeling woman, holding a basket of 
 fruit, the left. 
 
 The second tapestry represents the battle against the Assyrians. 
 In the distance are tents and warriors. Upon the battlefield, strewn 
 with the slain, two officers are engaged in deadly combat, while 
 above their heads the Angel of the Lord with flaming sword rushes 
 upon the Assyrians. This tapestry was, presumably, restored in 
 France, for in the mark, which is not entirely original, there appears 
 a fleur^dedis between the two B s. 
 
 The costumes in both tapestries are woven in those rich, warm 
 and lustrous colors for which the Flemish weavers were famous, 
 deep greens, with yellow lights ; dark blues, with sky-blue lights; 
 and reds with rosy lights. 
 
 The borders are composed of flowers, fruits and leaves, and repeat 
 the colors of the main compositions in a very artistic and decorative 
 manner. 
 
 Ffoulke Collection, 1904. 
 
 Now in the possession of Donna Josephine del Drago. 
 
 103 
 
CHATEAU AND GARDEN SCENES 
 
 i 
 
 MUSIC 
 
 Height, 15 ft., o in. Width, 13 ft., 10 in. 
 
 Mark 1^73 Signed 
 
 II 
 
 BOATING AND HUNTING 
 Height, 15 ft., o in. V/idth, 11 ft., 4 in. 
 
 Mark P ^ Signed Jj) 
 
 III 
 
 THE FOUNTAIN 
 Height, 15 ft., o in. Width, 12 ft., 8 in. 
 
 MarkP^ Signed 0 
 
 IV 
 
 GARDENS 
 
 Height, 15 ft., o in. Width, 14 ft., 2 in. 
 
 Mark BU 3 Signed £ 
 
 These four tapestries originally belonged to Cardinal Antonio 
 Barberini, nephew of Pope Urban VIII and Grand Prior of 
 France. He died in France, 1671, and left directions in his will that 
 his tapestries should he sent to Rome and incorporated in the collec- 
 tion of the Barberini family. The first and fourth pieces were 
 woven early in the XVII century in the atelier of Jacques Geubels 
 at Brussels. His monogram appears on the right-hand galon of each, 
 and the mark of Brussels on the bottom. The second and third were 
 woven nearer the middle of the XVII century in Paris by Raphael 
 de la Planche, who left the Gobelins after the death of his father and 
 established himself in the faubourg Saint Germain in 1634. Both 
 bear the monogram of de la Planche and the P and fleur-de-lis of 
 France. 
 
It is not known why two of this series were executed in Brussels 
 and two in Paris, but it is presumed that tbe Grand Prior bought tbe 
 two Flemish pieces of Geubels, and, desiring more of tbe same style 
 and character, ordered them woven by de la Planche in Paris, where 
 he was residing. 
 
 Each tapestry represents a chateau in the background, a garden 
 in the center plane, and in the foreground, the family of the proprie? 
 tor, amusing itself beneath an immense arbor supported by cary= 
 atides. Of the first tapestry an illustration and full description are 
 given. In the second, the arbor spanning the upper plane is supported 
 by four caryatides, and is covered by a grapevine. There is a stream 
 in the foreground, and three people, on its further bank, are watching 
 a boat, occupied by four people, as it glides by. On the nearer shore 
 a huntsman has raised his cross-bow in order to shoot a hare, while 
 his dog pursues it. 
 
 In the third, the arbor is supported by eight caryatides and is 
 covered by vines of the lemon instead of the grape. From the cha= 
 teau in the background a wide path stretches down through the 
 French garden to a beautiful fountain in the foreground. There are 
 a number of small figures, courtiers and ladies, amusing themselves, 
 two gardeners, and a couple of dogs at play. 
 
 In the last tapestry the arbor, supported by four caryatides, is cov= 
 ered by vines, and has the figure of an eagle in the center at the top. 
 Three couples are promenading in the garden, and two women 
 are engaged in watering the plants and flowers. In the foreground 
 a gamekeeper holds a dog in leash; the master and mistress of the 
 chateau walk toward the spectator, and a couple, seated on the 
 ground near them, play with a dog. 
 
 This series has very attractive decorative qualities and is highly 
 interesting on account of the natural way in which it illustrates the 
 homes, gardens and out^of door amusements of the old European 
 nobility. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Now in the possession of Mrs. John Lowell Gardner. 
 
I 
 
 MUSIC 
 
 Height, 15 ft., o in. 'Width, 13 ft., 10 in. 
 
 Mark 8^78 Signed £ 
 
 I N this tapestry an arhor, filling the whole upper plane, is divided 
 into three sections, supported by eight caryatides, and all standing 
 upon pedestals, six of which are female and two male. The central 
 opening is rounded at the top and the other two are pointed. The 
 summits of all are crowned hy vases of flowers. There are also vases 
 of flowers at the points where these arches intersect each other. 
 
 The entire central plan is occupied hy a small chateau, and an ex* 
 tensive French garden, partially surrounded hy an arhor. A fountain 
 plays in the center of the garden. In the foreground, beneath the 
 middle arch, a man playing upon a guitar is seated near a woman, 
 who, while caressing a dog upon her lap, listens attentively. A secs 
 ond couple, arm in arm, approach through the left-hand opening, 
 and a hunter with falcon and game-bag, and two dogs, approaches 
 through the right-hand opening. A peacock and a peahen strut 
 among the flowers. The costumes worn in all the tapestries are of 
 the era of Henry IV. 
 
 The prevailing colors are soft yellows and greens, with some 
 brighter touches in the costumes. 
 
 In the center of each top and bottom border is a vase of flowers, 
 upon each side of which are festoons of leaves, flowers and fruits, 
 reaching from the center to the corners, and attached at both ends 
 by reddish colored ribbons. The motive in each bottom corner con- 
 sists of a vase of flowers and leaves, and that in each top corner, of 
 a pendant bouquet of fruit and leaves. The motives of the lateral 
 borders consist of three bouquet holders of architectural design, 
 from each of which springs or falls a cascade of leaves, flowers and 
 fruit. The foundation color of the border is a soft yellow, toned by 
 age. The motives are alike in the borders of all the tapestries, but 
 there is a slight difference in drawing and treatment between the 
 Flemish and French ones. 
 
 Now in the possession of Mrs. John Lowell Gardner. 
 
 106 
 

 
 
 
 
 I 
 
 
 
 
FLEMISH RENAISSANCE PANELS 
 Height, 6 ft., 9 in. Width, 2 ft., 7 in. 
 
 Mark BE Signed J 
 
 T HESE sixteen pieces, illustrating four different designs, were 
 woven in the early part of the XVII century under Jacques 
 Geuhels and Jean Raes. The monogram of the former appears on 
 one of them. 
 
 In the first design the dignified figure of a woman stands beneath 
 an arch of green stone-work from which swings a small baldaquin. 
 She wears a head-dress ornamented with a crescent, a red robe and 
 green mantle, and holds her hands in a protecting manner over the 
 four little children grouped at her feet. Two cherubs cling to the 
 pedestal upon which she and the children are posed and from which 
 swing two inverted bouquets of flowers, grapes and leaves. Beneath 
 the tiny festoon of variegated volutes which drops behind her head 
 is the woven word foecunditas. 
 
 In the second design a woman with folded arms stands beneath 
 the stone arch and baldaquin. A bird is perched upon her shoulder 
 and an animal is at her side. Behind her and just above her feet are 
 the woven words bona, ritas. hi other respects this panel is alike 
 in style, character, and accessory decorations of cherubs, grapes, 
 and leaves, to the preceding one, and is in complete harmony with it. 
 
 In the third design a woman stands beneath an arch of stone- work 
 with swinging baldaquin similar to the one already described. She 
 carries a lamb in her arms and beneath her feet is woven the word 
 mansueTvdo. In the base of this panel is the bust of a woman with 
 vari-colored wings, rising from an ornamental tripod and holding 
 red ribbons in her extended hands. The side decorations of these 
 tripods are winged busts holding small pots above their heads. 
 
 In the fourth design the woman standing beneath the stone arch 
 and baldaquin has large bouffant sleeves. Near her is a cock. Be- 
 neath her feet is woven the word zelotypia. The base of this panel 
 is similar in style and character to the third design. All the panels 
 are alike in texture and coloring, yet there is a charming variety 
 in their details which adds much to their beauty and artistic im- 
 portance. 
 
 Foulke Collection, 1893. 
 
 Five are now in the possession of Mrs. E. H. Harriman. 
 
 Three are owned by Eugene Hewlett, Esq. 
 
 Four by Mrs. F. T. Bradbury. 
 
THE MOSES AND AARON SERIES 
 
 i 
 
 MOSES AND ZIPPORAH 
 Height, 13 ft., 10 in. Width, 13 ft., 1 in. 
 Mark Signed ^ 
 
 II 
 
 MOSES INFORMING AARON OF GOD’S 
 MESSAGE TO PHARAOH 
 
 Height, 13 ft., 10 in. Width, 17 ft., o in. 
 
 Mark iOJ Signed ^ 
 
 III 
 
 MOSES AND AARON INSTITUTING THE FEAST 
 
 OF THE PASSOVER 
 
 Height, 14 ft., 1 in. Width, 17 ft., o in. 
 
 Mark 
 
 IV 
 
 GATHERING MANNA. MOSES DIRECTING AARON 
 TO KEEP AN OMER OF IT 
 
 Height, 14 ft., 1 in. Wulth, 17 ft., 4 in. 
 
 Signed ^ 
 
 V 
 
 JOSHUA DEFEATING AMALEK. BATTLE IN 
 
 REPHIDIM 
 
 Height, 13 ft., 10 in. WHth, 20 ft., 8 in. 
 
 Mark B^ 7 B Signed ^ 
 
 112 
 
VI 
 
 MOSES RECEIVING THE TABLETS OF STONE 
 ON MOUNT SINAI 
 
 Height, 13 ft., 11 in. Width, 14 ft., 1 in. 
 Mark BUB Signed 
 
 These tapestries were woven in Brussels during the first half of 
 the XVI century. A monogram attributed to Pierre Van Aelst 
 appears on three of them. He also wove, from Raphael's cartoons, 
 the celebrated series of the “Acts of the Apostles.” In the Moses 
 and Aaron tapestries the successful grouping of the noble and dignk 
 fied figures and their earnest and expressive faces prove that the 
 cartoons from which they were woven were executed by a skillful 
 and able master. 
 
 In the foreground of the first tapestry Moses and Zipporah 
 approach each other, the former carrying two lambs in his arms. 
 He is a finedooking man and wears a rich costume of blue with red 
 collar, over which is a red mantle. Zipporah wears a rose^colored 
 dress and green mantle. A rosescolored veil partly covers her hair 
 and falls over her left shoulder. In the left background is a Flemish 
 house, and near it a well with an oldTashioned bucket, by the side 
 of which two women are standing. 
 
 The second and third tapestries are illustrated and full descrip= 
 tions are given. The fourth represents the gathering of manna. In 
 the right foreground stands the magnificent figure of Moses carrying 
 his rod in his left hand and with his right extended in benediction. 
 His pale red mantle is gracefully draped over his blue tunic. On the 
 left, facing him, stands Aaron with right hand extended. He wears 
 a red turban, veil and a bluesgreen tunic. Near them a man and 
 a woman are filling a copperscolored amphora with manna, and in 
 the center field eleven men and women are gathering manna. In 
 the background are the tents of the Hebrews, a long range of hills 
 and several clumps of trees. 
 
 The battle of Rephidim is most successfully portrayed in the fifth 
 tapestry, where the hand-to-hand struggle of the contending forces 
 is very realistic. The commander of the Hebrew forces, Joshua, is 
 
 *This same mark appears upon a “Life of Abraham” (Vienna) and upon a “History of Ulysses” 
 (Hardwicke Hall, England). 
 
 n 3 
 
the prominent figure on the left. He is clad in armor and wears a 
 steel helmet. His sword is raised above his head and with his left 
 hand he holds back the arm of Amalek, whom he is forcing to the 
 ground. Fighting warriors are everywhere and wounded men lie 
 upon the ground. In the center field a standard hearer pushes for? 
 ward with a large waving flag. On the left, near the top of the 
 tapestry, Moses, Aaron and Hur kneel beside a stone altar. The 
 hands of Moses which are uplifted in prayer, are supported by 
 Aaron and Hur. 
 
 In the last of the series the Creator is represented floating upon a 
 cloud, with His right hand pointing to the tablets of stone which are 
 held by two winged angels and bear the following inscriptions : 
 
 V N V HABE 
 
 CRE AS 
 
 DE IN 
 
 DEVM HONO 
 
 XX 
 
 NEC PAREM 
 
 IV ES 
 
 RES 
 N ANE 
 
 The Creator is represented as fulbbearded, with benign features, 
 and He wears a red robe and a blue mantle. Moses, with outstretched 
 hands, kneels before the vision and gazes upward in rapt ecstacy. 
 In the right second plane he appears again as having descended 
 from Mount Sinai and holding the tablets of stone in his hand. His 
 descent is watched by Aaron and Hur. In front of them are a few 
 sheep, and behind them a number of Hebrew men and women dance 
 around the golden calf. 
 
 The colors in these tapestries are soft and warm, and shade into 
 each other with that harmony for which the early Flemish tapes* 
 tries were famous. The Gothic reds, high lights in yellow, and skill* 
 ful hatching of the colors plainly indicate the era in which these 
 tapestries were woven and the country of their origin. 
 
 In all the tapestries the rich borders repeat the colors used in the 
 subjects they enclose. In the top borders, which are not more than 
 half the width of the side and bottom borders, are hunches of flowers. 
 
fruits and leaves, attacked at intervals witk blue and red rikkons to 
 a rope woven of laurel leaves. 
 
 An allegorical figure occupies tke center of eack bottom border 
 and female figures seated upon small decorated cars occupy tke 
 lower corners. Tke center subjects differ in eack tapestry; tkose in 
 tke corners vary but slightly. In tke top of eack lateral border is a 
 standing female figure, bolding in extended bands a blue ribbon witk 
 tasselled ends, wbicb falls in a loop below tke waist line. In drawing 
 these figures are all alike but the colors of their robes vary. 
 
 Between the above-mentioned motives in the lateral and bottom 
 borders are bouquets of flowers, fruits and leaves. In the bottom of 
 some of the lateral borders are birds, apparently intended for pelicans. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
II 
 
 MOSES INFORMING AARON OF GOD’S 
 MESSAGE TO PHARAOH 
 
 Height, 13 ft., 10 in. Width, 17 ft., o in. 
 
 Mark t> 0 <J . Signed ^ 
 
 I N the left foreground, before a well, stands the imposing figure of 
 Aaron listening with rapt and fearful attention to the message of 
 Moses. He wears a full heard, and in the fashion of ancient Egypt, a 
 turhan of red velvet, from which a veil of orange yellow falls to his 
 shoulders, a green tunic showing yellow lights, and red hoots striped 
 with yellow. The figure of Moses, even more impressive than that 
 of Aaron, occupies the center of the tapestry. He holds his rod in his 
 left hand and extends his right with emphatic earnestness. He has 
 light curling hair and heard, and wears a blue tunic with light red 
 collar apparently embroidered in silver. A red mantle, draped over 
 his right shoulder, is tucked into a cord at his waist; his sandals and 
 leggings are blue. 
 
 In the left center plane are four men grouped around a pile of 
 stones on which are placed provisions. Behind Moses and Aaron 
 are two men engaged in a heated argument. In the right second 
 plane two couples express their delight at meeting by kissing each 
 other. They evidently are intended to represent Moses and Aaron 
 greeting their wives who bend their knees before them. In the right 
 background are some sheep and tents before which four women are 
 seated and two men standing. 
 
 Ffoulke Collection, 1889. 
 
 116 
 

 <Uaj>moJL 
 
 
 
 r*ter r*r%r r-),'* 
 
 .'4 f *r • r* r * r r7. ; 
 
9 
 
 
Ill 
 
 MOSES AND AARON INSTITUTING THE FEAST 
 OF THE PASSOVER 
 
 Height, 14 ft., 1 in. Width, 17 ft., 3 in. 
 
 Mark BUB 
 
 T HE inauguration of this feast is being held in the loggia of a mag* 
 nificent temple. The walls indicate malachite with grotesque de* 
 signs in yellow. The shaft of the column in the foreground appears 
 to he of Oriental alabaster with the base in malachite. The floor is 
 a mosaic of beautiful marbles. 
 
 On the extreme left the high priest, Aaron, bends over the figure 
 of Moses and blesses him. 
 
 Moses kneels, with bowed head and hands crossed upon his breast, 
 before a table with bronze dragon feet and covered by a white cloth 
 having a pale blue design. A quarter of a lamb in a silver dish and 
 bread and wine are on the table. The costume of Moses, in drawing 
 and color, is the same in this tapestry as in all the others, but that of 
 Aaron is richer. His robe of pale yellow with fine embroidery is 
 partly covered by a long blue mantle. 
 
 The wife of Moses stands directly behind him. She has a light 
 blue dress and green mantle. Descending the stairs on the left of the 
 column is the figure of a man richly clad and holding in his hand a 
 platter of lamb. 
 
 Behind him three servitors are busily engaged. 
 
 Through the arches on the left one has a glimpse of an attractive 
 landscape. 
 
 Ffoulke Collection, 1889. 
 
 121 
 
SCENES IN THE LIFE OF OUR SAVIOUR 
 
 i 
 
 OUR SAVIOUR BEFORE CAIAPHAS 
 Height, 6 ft., 6 in. Width, 7 ft .,7 in. 
 
 II 
 
 OUR SAVIOUR BEFORE PILATE 
 Height, 6 ft., 6 in. Width, 7 ft., 7 in. 
 
 T HESE tapestries, judging from the style of borders <^nd car* 
 touches, were woven in Flanders early in the XVII century 
 from cartoons painted by an artist of an earlier era. They are deeply 
 interesting on account of the sacred story they relate. 
 
 In each tapestry there are eleven figures, all skillfully posed and 
 grouped, and wearing costumes of much richness and color. The 
 manner in which the lights and shadows have been handled ; the 
 deep greens with golden lights ; Gothic reds with rose lights ; and the 
 luminous blues used in the costumes produce an effect that reminds 
 one strongly of the stainedsglass windows of old Munich. 
 
 In that of “Our Saviour Before Caiaphas” the illustration shows 
 Christ bareheaded and barefooted, with his hands hound together 
 by a strong cord, clothed in a white garment and standing in a noble 
 and dignified attitude before the high priest. Caiaphas, seated upon 
 a throne, wears priestly robes and has a mitre upon his head. He is 
 attended by three priests, and is listening attentively to the words of 
 his fatherfindaw, Annas, who stands at his left. Officers wearing 
 helmets guard Christ on his right and left. One of them holds the 
 end of the cord which binds Our Lord, and has his left hand raised 
 to strike. In the rear are four soldiers carrying halberds. 
 
 The top and bottom borders resemble mouldings, and in the cen* 
 ter of each is a cartouche. The side borders represent marble cob 
 umns with Corinthian capitals. 
 
 The second tapestry represents Christ clothed and hound, as in 
 the first one, and standing before Pilate, officers holding him on the 
 right and left, and four soldiers in the rear. Pilate stands on a dais 
 at the left, holding in his hand the long reed he was urged to give 
 Christ in mockery. Three priests by their gestures seem to cry, 
 “Crucify him.” 
 
 The colors of the tapestries are repeated in the cartouches of the 
 borders, which are alike in both pieces. 
 
 Ffoulke Collection, 1903. 
 
 122 
 
POMONA AND VERTUMNUS 
 
 Height, ii ft., 5 in. Width, 18 ft., 6 in. 
 
 Mark BTB 
 
 T HIS highly decorative tapestry was woven in Flanders during 
 the early part of the XVII century. It represents Vertumnus 
 keeping his promise to Pomona to lead a rural life upon her consent? 
 ing to marry him. 
 
 In the left foreground, the goddess sits in deep contemplation 
 upon a mound rising in front of some trees. She wears a long ivory? 
 colored robe, and a magnificent mantle, imitating XV century hro? 
 cade of changeable colors and ornamented with precious stones. 
 She carries a sickle in her right hand and poses her left on a bouquet 
 of richly colored fruit which fills the cornucopia at her side. In the 
 central foreground, Vertumnus, wearing an ivory?colored tunic and 
 short red breeches, carries a basket of fruit towards her. A peacock 
 stands behind him, while a smaller one is perched on a stump he? 
 hind the goddess. 
 
 On the right second plane, a man is loading a basket of fruit on a 
 camel which is lying down. 
 
 In the background rises a superb temple, built of varicolored 
 marble and decorated with bronze plaques. On the balcony, which 
 is supported by alabaster columns, and in the loggia and garden are 
 several persons engaged in different occupations. Beyond can be 
 seen the interior of the temple. A flight of steps leads up from the 
 stream, which runs through the whole plane, to the garden, which 
 is enclosed on either side by arbors of grapevines supported on 
 termini. 
 
 In the color scheme yellow has been so largely and skillfully used 
 that a warm mellow light seems to pervade the entire tapestry. 
 
 The borders are composed of many kinds of fruits, flowers and 
 leaves, of varying colors, which combine to form a general effect of 
 extreme richness. 
 
 Ffoulke Collection, 1904. 
 
 127 
 
TWO TAPESTRIES REPRESENTING 
 SCENES IN THE LIFE OF ACHILLES 
 
 Cartoons by P. P. Rubens. 
 
 I 
 
 THETIS PRESENTING ACHILLES TO THE 
 HIGH PRIEST 
 
 Height, 13 ft., 7 in. Width, 15 ft., 4 in. 
 
 Mark BUB Signed C.V.D.S. 
 
 II 
 
 ACHILLES AND AGAMEMNON 
 Height, 13 ft., 6 in. Width, 13 ft., o in. 
 
 Mark BUB Signed I. V. LEEFDAEL 
 
 T HESE tapestries were made in Flanders early in the second 
 half of the XVII century, and are signed by Van den Stricken 
 and Jean Van Leefdael. They were woven in the same atelier as 
 the “ Cleopatra and Mark Antony” series, which is now in the 
 Metropolitan Museum in New York. They are enriched with 
 threads of gold and silver and are excellent specimens of decora? 
 tive art, with colossal figures, well drawn, and full of vigor and 
 character. 
 
 They are particularly interesting from the fact that they were 
 woven from cartoons painted by Rubens for Charles I of England. 
 At the time of Rubens’ death his inventory mentioned ten car? 
 toons executed for the Achilles series. However, but eight could 
 be found, and this number only was mentioned in the inventory of 
 his father ?in?law, who died three years later. In addition, the fact 
 that there are but eight subjects among the two sets of Achilles 
 tapestries now to be found in Brussels and Lille has led to the gen? 
 eral belief in Europe that two of the cartoons were never executed. 
 
 “Thetis Presenting Achilles to the High Priest,” evidently the 
 second of the series, is unquestionably from one of the two cartoons 
 which has been missing for two hundred years. The illustration 
 shows Thetis on the right, with one hand upon the head of her son, 
 
 128 
 

 
 
 
 
Achilles, and a golden vase in the other. The high priest, on the left, is 
 arrayed in rich ceremonial robes, and attended by two acolytes, each 
 hearing a flaming lamp. He is a very imposing figure as he stands 
 before the altar upon which the sacrificial fire is burning. 
 
 The second tapestry , 1 ‘Achilles and Agamemnon, ” represents the 
 latter seated, and gazing savagely at Achilles, who, standing on the 
 steps leading to the throne, is in the act of drawing his sword. 
 Above him is the figure of Minerva, arrived in haste with the coim 
 mand of the gods for him not to strike. On the right, beside the 
 throne, stand three counselors of Agamemnon. The restraining 
 hand of the wise Nestor rests upon that of Agamemnon. In the 
 central foreground a large angry lion is chained to the plinth. 
 
 In the two partial sets now existing in Europe the borders are 
 composed of fruits and flowers, but in the first series executed for 
 Charles I, of which these tapestries formed a part, they are quite 
 different, the lateral borders having pagan deities posed as caryatides, 
 and supporting a cornice decorated with festoons of fruits and 
 flowers held up by cherubs. In the first tapestry the caryatides 
 represent Minerva and Hercules, the deities to whom the child was 
 dedicated. In the top border of this piece is a cartouche enclosing the 
 following inscription: 
 
 ACHILLES PVER 
 A. MATRE ADDVCrtVR. 
 
 AD ORA CVLVM. 
 
 In the second tapestry is a similarly enclosed inscription : 
 
 ABSTINET A 
 
 FERRO AEACIDES 
 RETINENTE MINERVA. 
 
 Ffoulke Collection. 
 
 Now in the possession of George Robert White, Esq., and by 
 him loaned to the Boston Museum of Fine Arts. 
 
Fragments From 
 
 THE SURRENDER OF A KING 
 
 Height, 6 ft., 9 in. V/idth, 2 ft., 7 in. 
 
 T HESE four panels originally formed part of a superb tapestry 
 wbicb was woven in Flanders about 1650. It was taken to 
 Peru by a Spaniard, wbo on bis death?bed presented it to a cburcb. 
 It was brought to the United States by the Peruvian Commissioners 
 to the Chicago Exposition in 1893. 
 
 Unfortunately it bad been so neglected that some parts of it were 
 beyond repair. The uninjured parts have been preserved in four 
 panels, of wbicb the illustration gives the first two. 
 
 The first one represents an athletic looking man, crowned and 
 wearing a full beard. He carries no weapons, but wears a red cub 
 rass over a blue tunic and rich red mantle. He stands upon an inlaid 
 marble floor and the landscape background is seen just above bis 
 right shoulder. His face shows grief and bis attitude humiliation as 
 be walks towards the figure in the fourth panel, an aged man with 
 a crown and long beard, wearing a blue cuirass and red man tie, wbo 
 stands at the doorway of bis tent ready to receive bis vanquished foe. 
 
 The second panel shows two pages wbo attend the dethroned 
 king and stand directly behind him. The one in the foreground 
 wears a blue robe with yellow fringe and carries the helmet of bis 
 master, wbicb is decorated with short red feathers and one long 
 white one. His companion is nearly bidden by the king’s red robe, 
 bis bead and feet only being visible. The warrior wbo stands be? 
 bind the pages wears a helmet and blue tunic and carries a spear. 
 The landscape is part of that seen in the first panel. 
 
 In the third panel is the fulklength figure of a man without a 
 beard, and wearing a green turban with a yellow band. A green 
 mantle nearly covers him, but bis short sword is visible on the left 
 side. Just above bis right shoulder is the bearded face of a warrior 
 beneath a helmet with nodding plumes. The background is a yellow 
 curtain with red fringe, the same as seen in the fourth panel. 
 
 The colors are all strong, rich and warm, the figures well?drawn, 
 and the faces full of character and expression. 
 
 Peruvian Commissioners to the Chicago Exposition. 
 
 Ffoulke Collection, 1893. 
 
 U 2 
 

THE JUDITH AND HOLOFERNES SERIES 
 
 i 
 
 KING NEBUCHADNEZZAR SENDS HOLOFERNES, 
 THE CHIEF CAPTAIN OF HIS ARMY, 
 AGAINST ISRAEL 
 
 Height, 13 ft., 9 in. V/idth, 12 ft., 3 in. 
 
 Mark BUI Signed E. Leyniers. 
 
 II 
 
 ACHIOR, THE LEADER OF THE AMMONITES, 
 WHILE EXPOUNDING THE POWER OF 
 THE GOD OF ISRAEL, IS ARRESTED 
 BY ORDER OF HOLOFERNES 
 
 Height, 13 ft., 3 in. V/idth, 13 ft., 9 in. 
 
 Mark BUB Signed H. Rydams. 
 
 III 
 
 THE WIDOW JUDITH WEIGHS THE VIRTUES AND 
 THE SINS OF THE PEOPLE; WHEN THE LATTER 
 ARE HEAVIER, ISRAEL IS PUNISHED 
 
 Height, 13 ft., 10 in. \Vidth, 16 ft., 3 in. 
 
 Mark BUB Signed H. Rydams. 
 
 IV 
 
 THE MOST BEAUTIFUL JUDITH ARRAYS HERSELF 
 IN GARMENTS OF GLADNESS, IN ORDER 
 THAT SHE MAY FREE BETHULIA 
 FROM DESTRUCTION 
 
 Height, 13 ft., 4 in. Width, 12 ft., 1 in. 
 
 Mark BUB Signed E. Leyniers. 
 
V 
 
 JUDITH, IN THE GUISE OF A FUGITIVE, CUN, 
 NINGLY DECEIVES HOLOFERNES, AND 
 PROMISES HIM A SPECIOUS 
 VICTORY 
 
 Height, 13 ft., 9 in. V/idth, 13 ft., 3 in. 
 
 Mark B^ 7 I Signed H. Rydams. 
 
 VI 
 
 HOLOFERNES, WHILE DRUNKEN, IS DEPRIVED OF 
 HIS HEAD BY JUDITH, WHO THUS 
 SAVES ISRAEL 
 
 Height, 13 ft., 6 in. V/idth, 15 ft., 2 in. 
 
 Mark B ^71 Signed E. Leyniers. 
 
 VII 
 
 JUDITH, VICTRESS, DISPLAYS THE HEAD OF 
 HOLOFERNES TO THE PEOPLE, WHO 
 PRAISE THE GOD OF ISRAEL 
 
 Height, 13 ft., 5 in. Width, 17 ft., 8 in. 
 
 Mark B^ 7 B Signed H. Rydams. 
 
 VIII 
 
 THE GOD OF ISRAEL ROUTS THE ARMY OF 
 HOLOFERNES, AND TREASURES ARE 
 GIVEN TO JUDITH 
 
 Height, 13 ft., 6 in. V/idth, 19 ft., 7 in. 
 
 Mark B^B Signed E. Leyniers. 
 
 The titles of these tapestries are translated from the Latin inscrip, 
 tions occupying the central space in the top border of each tapestry. 
 
 They were woven in Brussels, early in the second half of the 
 XVII century, in the united ateliers of two of the most celebrated 
 
 136 
 
families of tapestry weavers that Flanders ever produced. In tke 
 inventory of Cardinal Carlo Barberini's tapestries, dated Octoker, 
 1695, tkey are mentioned as “ Series woven in silk and wool repre- 
 senting tke kistory of Juditk — eigkt tapestries.” 
 
 At tke request of tke Belgian Government tkey were sent to 
 Belgium in May, 1910, and formed part of tke Exposition of Flemisk 
 Art of tke XVII century, keld in Brussels during tkat summer. 
 
 Tke sukjects are full of sentiment, and tke personages strong in 
 ckaracter, well-drawn, and magnificently costumed. Juditk and 
 Holofernes are personified witk a surprising fideHty to tke Apoc- 
 rypkal record of tkeir ckaracters and acts. 
 
 Tke tapestries are remarkable for tke artistic treatment of tke 
 subjects; for tke karmony of coloring, wkick is in a wonderful state 
 of preservation; and for tkeir fine decorative qualities. Tkey are 
 splendid specimens of Flemisk art, for tkey were woven at a time 
 wken Flanders stoutly maintained ker struggle for leadership witk 
 France, and before tke wiser laws and better pay of tke French 
 monarcks robbed Flanders of ker best weavers and ended ker three 
 centuries of proud pre-eminence as tke greatest and grandest center 
 of tapestry weaving in tke world. 
 
 Tke titles describe tke tapestries so clearly and concisely tkat it 
 seems unnecessary to enter into a detailed account of each subject. 
 Tke eigkt pieces very vividly portray tke principal events in Judith’s 
 tragic and triumphal career, and in gazing at them one almost feels 
 tke presence of tke living woman who so bravely risked more than 
 life for tke welfare of ker people. 
 
 Illustrations and full descriptions are given of tke fourth and 
 eighth tapeStries. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 *37 
 
IV 
 
 IVDITH PVLCHERRIMA INDVIT SE VESTIBVS 
 IV C VNDITATIS SVAE VT BETHVLIAM 
 AB EXCIDIO LIBERET 
 
 Height, 13 ft., 4 in. Width, 12 ft., 1 in. 
 
 Mark Signed E. Leyniers 
 
 T HIS tapestry represents Judith being arrayed by her maids in a 
 magnificent toilet of white satin. She stands in front of a table 
 and gazes into a mirror which re^ls upon it, and which she holds in 
 place with her left hand. A kneeling maid fastens a bracelet upon 
 her right wridt; another spreads a rich rose-colored mantle over 
 her shoulders; a third takes a brown robe outofache^l; and Mar ah, 
 who is to accompany her to the camp of the Assyrian general, 
 carries a salver and ewer. On the floor is a brazier containing curb 
 ing tongs. The draped curtain of the background throws out in fine 
 relief the vase of flowers, the mirror and the black jewel case with 
 its open drawer and half revealed pearl necklace. The table-cover 
 is laden with rich Oriental embroidery, and adds much to the warmth 
 and color of the piece. 
 
 The border is an integral part of the tapestry and an important 
 artistic feature. In the center of the top border is a cartouche con- 
 taining the Latin inscription. The upper part is decorated with the 
 head of a satyr and the lower part with dolphins. To the right and 
 left of the cartouche are landing eagles with extended wings, and 
 fruits and flowers. In the center of the bottom border is a cartouche 
 enclosing a miniature mythological subjedt. To the right and left 
 are winged cherubs, and beyond them fruits and leaves. In the 
 center of the side borders, a cartouche encloses a blue £tone, above 
 which is a shell, and beneath which are dolphins’ heads. Above and 
 below are bouquets of fruits and flowers. In the four corners are 
 cartouches enclosing the mask of a satyr. 
 
 Ffoulke Collection, 1889. 
 
 138 
 

 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 \ 
 
 
VIII 
 
 DEVS ISRAELIS EXERCITVM HOLOFERNIS FVNDIT, 
 ET MVNERA IVDITH DANTVR 
 
 Height, 13 ft., 6 in. Width, 19 ft., 7 in. 
 
 Mark Signed E. Leyniers 
 
 T HE eighth tapestry represents Judith attended hy four maids 
 standing upon a platform outside the walls of Bethulia with 
 Oz-ias, Charmis, Chahris and their body-guard on her left. Marah 
 stands behind her. At the feet of Judith are piled treasures from the 
 camps of Holofernes. Men are climbing the hill, heavily laden with 
 spoils from the defeated army, and in the background the Jewish 
 army is seen pursuing the panic-stricken Assyrians. 
 
 Judith wears a robe of white satin and an embroidered mantle 
 lined with delicate rose ; Charmis has a turban ornamented with 
 precious stones and a green mantle. Ozias’s robe is of an old-rose 
 tint, while Achior wears a helmet ornamented with ostrich feath- 
 ers and is enveloped in a dark blue cloak. 
 
 The borders of all the eight tapestries are the same. 
 
 Ffoulke Collection, 1889. 
 
 ! 4 3 
 
PAULUS EMILIUS 
 Height, 9 ft., ii in. V^idth, n ft., o in. 
 
 Mark BUB Signed^ 
 
 T HIS tapestry was originally one of a series of four, illustrating 
 events in the life of a Roman general. They were woven in 
 Flanders during the third quarter of the XVII century, and were 
 impressive specimens of the productions of the Flemish looms of that 
 period. The other three are no longer in existence, and this one has 
 lost its top and bottom borders. It hears the monogram of the weaver. 
 
 Paulus Emilius stands on the extreme left of the tapestry, and 
 carries a palm branch in his raised left hand ; he wears a blue Roman 
 costume and a reddbrown mantle, which is clasped upon his right 
 shoulder, and falls behind him. He is accompanied by five women. 
 The one by his side carries a wreath in her left hand, and with the 
 other, leads the child, who walks between them. Her dress is a red 
 tunic over a skirt embroidered with fleurssdeslis. Only the heads 
 of the two women behind the general are visible. Leading the pros 
 cession are the graceful figures of two young girls ; the one wearing 
 a blue tunic, holds high above her head a wreath, and, with her left 
 arm around her companion, seems to be urging her forward. In 
 the distance is a galley riding upon the waters, and on the shores are 
 crowds of people. The scene evidently celebrates the victorious res 
 turn of Paulus Emilius from the Macedonian war. 
 
 The heroic figures are skillfully drawn, and the wells preserved 
 colors are slightly softened by the hand of time. 
 
 The original side borders of the tapestry alone remain. In the 
 center of each cartouche is a dove, with head downward, upon a 
 blue ground; above and below are fruits, flowers and leaves massed 
 in such profusion that no background is visible. The top and hots 
 tom borders are narrow, and of an egg and dart pattern. 
 
 The coloring of the side borders is the same as that of the main 
 composition. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 144 
 

 
 
 
 
 

 
 
 
 
THE LICTOR PANEL 
 
 Height, 8 ft., 9 in. Width, 3 ft., 4 in. 
 
 T HE subject of one of the large pieces of the Paulus Emilius series, 
 of which mention is made in a previous description, represented 
 that general entreating King Perseus to rise. 
 
 It showed the Roman hero clad in a sumptuous rohe stepping 
 forth from his tent, with hoth hands outstretched towards Perseus, 
 who knelt at his feet. Lictors and armed Roman soldiers stood 
 around, and their tents were seen in the distance. The illustration 
 shows a fragment of this tapestry and represents a stately Roman 
 lictor in a rich costume, with his attendant just behind him. He 
 wears a superb helmet with nodding plumes, and his strong athletic 
 figure is clothed in the traditional Roman costume, the prevailing 
 color of which is dull yellow. A mantle of greenish blue is fastened 
 with a jeweled clasp on his right shoulder and falls behind him to the 
 ground. His right hand rests upon his bundle of fascis. In the tap* 
 estry he stood quietly observant and vigilant, by the side of his gen* 
 eral’s tent, ready to act in his defence if necessary. The richly em* 
 hroidered green velvet hangings of the royal tent form an admirable 
 background for his imposing figure. 
 
 The Paulus Emilius series, as previously stated, was woven in 
 the third quarter of the XVII century. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 J 49 
 
THE MELEAGER 
 AND ATALANTA SERIES 
 
 Cartoons by Charles Le Brun 
 Mark E'vy’B Signed G.V. D. Stricken 
 
 I 
 
 MELEAGER PRESENTS ATALANTA WITH THE 
 HEAD OF THE CALEDONIAN BOAR 
 Height, ii ft., 4 in. WHth, io ft., i in. 
 
 II 
 
 MELEAGER ATTACKS AND KILLS HIS UNCLE 
 Height, ii ft., 4 in. Width, io ft., 7 in. 
 
 III 
 
 THE MOTHER OF MELEAGER THRUSTS THE FATAL 
 BRAND INTO THE FIRE 
 Height, 11 ft., 5 in. Width, 7 ft., 10 in. 
 
 Among the tapestries executed at the Royal Manufactory of 
 Gobelins under Charles Le Brun between the years 1663 and 1690 
 was a series of eight pieces, woven with wool and gold threads, 
 for the Duke of Orleans. Engravings from the cartoons of these 
 subjects are in the National Library at Paris, and two of the original 
 paintings executed by Le Brun are in the Louvre. 
 
 Standard authorities on Flemish tapestries state that the cartoons 
 designed by Le Brun were sent into Flanders to be interpreted in a 
 replica series for the Count of Artois, a member of the royal family 
 of France. 
 
 The fineness of the tissue, the wealth of gold and silver threads 
 used in the three tapestries here described, the fact that they were 
 woven in Brussels under Gerard Van den Stricken before 1677 hrom 
 cartoons that in subjects and borders are identical with the engrave 
 ings made from Le Brun’s cartoons now in the National Library at 
 Paris, are strong proofs that they originally formed part of the series 
 executed for the Count of Artois. 
 
 15 ° 
 
Tke composition of eack subject is strong, lifelike, and full of ac* 
 tion, tke personages well drawn and skillfully grouped and tke soft 
 and dekcate colors admirably selected and karmoniously blended. 
 Tke tapestries are of tke finest quality and best possible workman^ 
 skip and are very beautiful interpretations of tke celebrated car? 
 toons from wkick tkey were woven about tke middle of tke XVII 
 century. 
 
 Tke first piece represents Meleager partly kneeling upon tke body 
 of tke Caledonian boar as ke offers its kead to Atalanta. In kis left 
 kand ke kolds uprigkt a skort and keavy sword. Atalanta is seated 
 beneatk a tree, under a drapery suspended from its branckes. Ske 
 extends ker rigkt kand towards Meleager, tke otker rests upon 
 ker bow. 
 
 Bekind ker stand tkree of ker maids, and at ker rigkt a young 
 kuntress witk a quiver at ker back skows unmistakable joy at tke 
 konor skown to ker mistress. Tkree of Atalanta’s dogs are on 
 ker left. 
 
 Tke jealous uncles of Meleager, kaving assailed Atalanta and 
 robbed ker of ker tropky, excited tke anger of tkeir nepkew, and 
 tke second tapestry skows kim fiercely attacking kis relatives. 
 Meleager kas overtaken tkem at tke edge of a forest, and success* 
 fully struggles to recover tke boar’s kead of wkick tkey kad deprived 
 Atalanta. One of kis uncles lies mortally wounded upon tke ground. 
 Tke otker, astride kis body, vainly endeavors to retain possession of 
 tke tropky wkick Meleager kas seized. Atalanta witk korror* 
 stricken countenance flies from tke scene. 
 
 An illustration is given witk tke description of tke tkird tapestry. 
 
 Ffoulke Collection, 1891. 
 
 Now in tke possession of Bayard Tkayer, Esq. 
 
Ill 
 
 THE MOTHER OF MELEAGER 
 THRUSTS THE FATAL BRAND INTO THE FIRE 
 
 Height, ii ft., 5111. Width, 7 ft., 10 in. 
 
 T HE Queen Althea, who had heen promised by the Fates that 
 her son Meleager would live as long as she preserved the brand 
 of wood which she had snatched from the fire on the day of his birth, 
 was infuriated when she heard that her brothers had heen slain by 
 the hand of her son, and anxious to avenge their death, she took the 
 fateful brand from its hiding place and prepared to destroy it. 
 
 A little to the right of the center of the tapestry stands the full 
 length figure of Althea. She raises her mantle to shield her eyes 
 from her unnatural act as she places the brand upon the fire, which 
 burns upon a sacrificial altar supported by three legs with claw feet, 
 and placed in front of a column surmounted by the bust of a scowling 
 satyr. The avenging goddess, Tisiphone, whose head, with hair 
 entwined with serpents, appears amid the smoke, has seized the 
 wrist of the Queen in order to prevent her from withdrawing the 
 brand from the flames. 
 
 The glorious borders which surround this piece and the other 
 subjects of the series are chefs d’oeuvre of the immortal period of 
 Le Brun. 
 
 Flowers, fruits and leaves, swords, spears, hows, quivers of ar- 
 rows, horns, helmets, plumes, five and dead game, dogs, birds, urns 
 and brands, are represented in a composite border of remarkable ar- 
 tistic purity and beauty. The trophies of the chase are mingled with 
 the emblems of both happiness and despair. 
 
 In the right-hand bottom corner is a cartouche with the head of 
 Medusa, in the opposite corner the cartouche contains a firebrand 
 and chain lightning. In the center of the top border is a vase and in 
 the center of the bottom border, a dog. The first and second tapes- 
 tries are larger, and in the center of their top borders is a quiver of 
 arrows surmounted by cooing doves and flanked by hooded falcons. 
 The center of the bottom borders is occupied by a large hoar’s head. 
 Now in the possession of Bayard Thayer, Esq. 
 
 152 
 

 
 
 
 

THE GODDESS FLORA AND HER MAIDS 
 
 Height, ii ft., 8 in. Width, 16 ft., 5 in. 
 
 T HIS tapestry was originally one of a set of four that were 
 woven in Flanders, near the close of the XVII century. A 
 sylvan landscape forms the setting for this mythological scene. On 
 the right, against a background of dense foliage, the goddess Flora is 
 seated by the side of a fountain. She is a graceful, stately woman, 
 clad in a robe of light yellow, shading into brown, and sprinkled 
 with stars. Her arms and neck are bare save for the jewels she 
 wears. Her fair hair is loosely caught hack on the left side by a 
 hunch of flowers and leaves. At her feet two of her maidens are 
 engaged in arranging flowers. One wears a gokbembroidered 
 Venetian dress and blue mantle; the other a blue skirt and white 
 bodice. In the middle plane. Zephyr, a youth with effeminate fea? 
 tures, leans against a fine old oak. He is crowned with flowers 
 and wears a dark orange?brown mantle. At his left are seated 
 two maidens. Flora seems to he gazing at Zephyr with such deep 
 thoughtfulness that she does not heed the cry of the maiden, who, 
 having been bitten by a snake, is running towards her with her 
 arms extended in fright and her beautiful features expressing the 
 utmost alarm. The folds of the dark blue robe and breeze^blown 
 mantle of this graceful figure are most artistically rendered. 
 
 The maiden at the extreme left, who has dropped her flowers and 
 raised her robe to avoid the viper, is also extremely well drawn. 
 The tapestry is full of sentiment and feeling, and the attitudes of the 
 figures accentuate the character of the emotions written on their 
 features. 
 
 In the floral border is repeated, with consummate skill, every 
 tone and shade of the landscape background, flowers and costumes 
 of the tapestry. There are rich red poppies, various colored roses, 
 white lilies and other flowers, also apples and grapes bound together 
 with blue ribbons, and here and there, small eagles and bright parrots. 
 Ffoulke Collection, 1904. 
 
 Now in the possession of Cornelius K. G. Billings, Esq. 
 
THE GODDESS DIANA WOLF HUNTING 
 Height, 7 ft., 8 in. Width, 9 ft., 5 in. 
 
 T HIS interesting tapestry which has no border was woven in 
 Flanders during the last quarter of the XVII century. The 
 goddess wears a magnificent red robe looped above the right knee 
 by a clasp of precious stones. She is wonderfully well drawn and 
 her pose, which is that of an archer who has just let fly the arrow 
 from the bow, is most truthfully and gracefully rendered. In front 
 of her the hounds seem to be actually running and leaping. One 
 wolf has been thrown down by the nearest hound, who is on the 
 point of fixing his teeth in its neck. The other still runs with his 
 head in air, but the moment of his capture is near. 
 
 The dense green foliage forms an admirable background for the 
 figure of the goddess, bringing out in clear relief her rich red robe, 
 and also the blue and yellow feathers of the arrows which one sees 
 in their quiver just above her left hand. 
 
 Ffoulke Collection, 1904. 
 
 Now in the possession of Gutzen Borglum, Esq. 
 
 158 
 

 
WARRIOR KNEELING AT THE ENTRANCE 
 
 OF A TEMPLE 
 
 Height, 7 ft., 6 in. Width, 4 ft., 8 in. 
 
 T HIS highly decorative tapestry was woven in Flanders during 
 the last half of the XVII century. 
 
 It represents the figure of a warrior with uncovered head, kneel* 
 ing in an attitude of devotion. He wears a Roman costume, and 
 over it a gracefully draped, rich red mantle. His plumed helmet is 
 held by a youthful attendant in a blue surcoat, who stands behind 
 him. 
 
 The male and female termini, which constitute the side borders, 
 support an entablature from which swings a festoon of richly cob 
 ored flowers of several varieties. 
 
 By the aid of the light blue background the artist weavers have 
 clearly and beautifully illustrated the entrance to a temple, for the 
 festoon appears to swing in mid-air; the termini and the entablature 
 to stand out from the landscape, and the kneeling warrior and stand* 
 ing attendant to gaze at some figure or shrine within. 
 
 This tapestry was probably part of a series and apparently made 
 to fit a certain space, as it is not a fragment, but complete with origi* 
 nal border. 
 
 Ffoulke Collection, 1893. 
 
 163 
 
VERTUMNUS DISGUISED AS AN OLD WOMAN 
 MAKING LOVE TO POMONA 
 
 Height, ii ft., 3 in. Width, 7 ft., 1 in. 
 
 T HIS tapestry was woven in Flanders near the close of the XVII 
 century. Pomona, a rural nymph, noted for her beauty and 
 ability in cultivating the fruits of trees and vines, is surprised in the 
 act of gathering a hunch of grapes, by Vertumnus, who, in the guise 
 of an ancient crone, pleads his love. Pomona wears pearls in her 
 hair, golden chains upon her arms, and a flowing yellow*striped 
 robe of green, which deepens in the shadows to a violet^brown. She 
 has turned her head, not unwillingly, towards Vertumnus, whose 
 attitude, gesture and expression show that he is addressing her with 
 all the eloquence at his command. A light grey hood with designs in 
 blue covers his head and shoulders, and an orange^brown mantle 
 falls over a robe of deep violet. In his right hand he carries a staff. 
 
 The border of this tapestry is full of detail and rich in color. 
 V/ith great harmony the color scheme of the tapestry is repeated 
 in the various leaves, fruits, flowers and gaily feathered parrots, all 
 intertwined and bound together by knots of blue ribbon. 
 
 Ffoulke Collection, 1904. 
 
 Now in the possession of Arthur Curtiss James, Esq. 
 
 164 
 

 

 
 
 
THE GODDESS ABUNDANCE 
 
 Height, 9 ft., 5 in. Width, 6 ft., i in. 
 
 T HIS handsome panel was woven in Flanders near the end of the 
 XVII century. In the far background rises a lofty mountain, 
 and on the top of a cliff to the left is an arbor supported by termini 
 and covered with grapevines. Beneath this arbor is a table laden 
 with fruit, around which several persons are gathered. The woman 
 carrying above her head a plate of fruit is an accessory symbol of 
 the main composition, as is also the group in the middle plane, which 
 consists of a man with a cornucopia, riding on the shoulders of a 
 horned satyr, accompanied by a woman with a welbfilled sack in 
 her arms and a man who labors under the weight of a large amphora. 
 On the extreme right a covered bridge with arches spans the stream 
 which runs between the cliff and the mountain. 
 
 In the foreground are two stately, well drawn and richly cos= 
 turned women representing the goddess Abundance and her corns 
 panion. The former is crowned with a hand of wheatdieads fastened 
 to her hair by a diadem of precious stones. She wears over her light 
 blue robe a magnificent brocade mantle, the border of which is 
 edged with pearls and decorated with jewels. 
 
 The goddess, with left hand outstretched, leans slightly towards 
 her companion, who gazes at her with an air of reverence, and 
 gently touches her mantle. The maiden wears a long, light yellow 
 tunic over a damask brocade skirt, and a dark blue mantle, with 
 bands of reddish hue, which floats from her right shoulder. 
 
 The sentiment and feeling expressed in the general treatment, 
 and the landscape and accessory symbolic scenes, unite with the 
 stateliness and richness of the main composition to form an exs 
 tremely interesting and decorative tapestry. 
 
 Ffoulke Collection, 1904. 
 
 Now in the possession of Cornelius K. G. Billings, Esq. 
 
 169 
 
CLEOPATRA AND MARK ANTONY 
 
 Height, 7 ft., ii in. Width, 13 ft., 2 in. 
 
 T HIS tapestry, woven in Flanders during the last halfof the XVII 
 century, has noborder. It contains eleven small personages and 
 three animals. The scene is laid near the sea at the palace of the queen 
 of Egypt. In the background a large ship rides at anchor and a couple 
 of vessels approach the coast. In the left foreground are some trees, 
 a hog, a dog and a lion. In the right foreground are two maids of 
 honor in robes of blue and red; one holds a pitcher and salver, and 
 near her stands a richly wrought amphora. 
 
 Cleopatra, in regal robes, sits upon a richly ornamented throne, 
 under a red canopy, at the entrance of her palace. 
 
 Leaning forward, she extends over the head of Mark Antony, 
 who stands below her, the sceptre or wand of protection, while with 
 inclined head he drinks from the goblet of wine offered him by three 
 maids of honor standing at the foot of the dais. A woman in the rear, 
 with left arm raised toward her queen and head turned in the 
 direction of the two officers who have accompanied Mark Antony, 
 calls their attention to the clemency of Cleopatra. These officers, 
 and also their leader, wear their helmets and armor, and all three 
 have thrown around them bright mantles of blue or red, which are 
 most gracefully draped. 
 
 The sumptuous palace with its balustrades and fluted columns is 
 a fine piece of architectural design. All personages are well drawn, 
 gracefully posed and admirably grouped. Wliile the flesh tints have 
 unfortunately faded, the rich colors in the classical costumes and 
 throne draperies are well preserved, and give the tapestry a brib 
 liantly decorative effect. 
 
 Ffoulke Collection. 
 

 
 
 
 
 
 
 
 
 
TRIUMPH OF BACCHUS 
 
 Height, 6 ft., 5 in. Width, 15 ft., 7 in. 
 
 T HAT this tapestry was woven in Flanders, about the close of 
 the XVII century, is evident from the excellence of the draw? 
 ing, character of the foliage, tone of the reds, and above all from the 
 hatching of the colors or manner of blending one shade into another. 
 
 Against a background, composed of a fine old chateau standing 
 in a park, the trees and foliage of the foreground as well as the col? 
 umns of a palace on the extreme right stand out in strong relief. 
 There are ten small figures in the tapestry. The important figure is 
 that of young Bacchus. He is crowned with grape leaves and holds 
 a goblet of wine in his right hand. He is aided in keeping his seat 
 upon the goat he is riding by two chubby children. In the rear 
 walks a little fellow carrying a flaming standard. In front of the 
 goat a dancing hoy plays upon cymbals. The leader of the proces? 
 sion is a hoy, who has tumbled to the ground with two bronze 
 pitchers, and who is followed by two dancing satyrs with tambour? 
 ine and flute. A child in a red tunic has climbed the tree on the left 
 to a point where he commands a good view of the scene, and a 
 young satyr is rapidly following him. In the right foreground is a 
 fountain, surmounted by the figure of Mercury, standing upon a 
 winged hall. 
 
 The grace, life and joyous movements of the little people are ex? 
 tremely attractive and the combination of the many tones of green, 
 brightened here and there with touches of red, makes this tapestry 
 a very restful one to the eyes. 
 
 The tapestry is surrounded by a narrow hand?like border. 
 Ffoulke Collection, 1892. 
 
VINTAGE SCENE 
 
 Height, 8 ft., 8 in. V/idth, 14 ft., 10 in. 
 
 T HIS tapestry is very similar in color and design to that entitled, 
 “Triumph of Bacchus,” and like it was woven in Flanders near 
 the end of the XVII century. 
 
 In the left foreground a stalk of sunflowers grows before a large 
 urn placed on a pedestal, and three hoys trample grapes in a huge vats 
 like cask from which wine flows into a large bronze bowl. A fourth 
 hoy drinks from a flask, a fifth dips some wine out from the howl, 
 while a sixth is about to lift a large bunch of grapes. In the middle 
 foreground, a little girl and a young satyr carry vines, laden with 
 grapes, toward the cask. In the right foreground a boy sits in the 
 crotch of a tree, plucking grapes ; another, who stands on the ground 
 does likewise, and a third loads them into baskets on the back of a 
 goat. In the background is an old chateau, and on the right-hand 
 side of a pathway leading into the distance, are several fountains, 
 pools and waterfalls. 
 
 The background of deepstoned foliage throws out in fine relief 
 the small figures, and the varying colors of their scanty costumes 
 give a piquant attraction to the highly interesting and picturesque 
 scene. The life and movement in the whole composition are very 
 apparent, as are also the excellent perspective qualities, the naturals 
 ness of the foliage, the beauty of the drawing, posing and grouping, 
 and the deep interest manifested by the actors in their various parts. 
 
 The border, which harmonizes in color with the main composis 
 tion, is composed of twisted leaves interspersed with flowers. 
 Ffoulke Collection, 1892. 
 
 Now in the possession of David Warfield, Esq. 
 
 176 
 

 
 
 
 
 
 
KING SOLOMON RECEIVING THE QUEEN OF SHEBA 
 Height, 9 ft., 9 in. Width, 7 ft., 8 in. 
 
 T HIS tapestry was woven in Germany about A. D. 1660. King 
 Solomon is represented as a fulbbearded man carrying a seeps 
 tre and seated upon a throne chair under a portico which opens upon 
 a garden. He wears a turban surmounted by a crown and a gold 
 chain, with pendant Maltese cross, suspended from his neck. He 
 also wears a loose blue coat over a yellow robe, embroidered around 
 the bottom in blue. Behind him stands an officer of his guard, Queen 
 Sheba kneels before him and holds out to him a vessel of gold. She 
 wears a crown, a veil, and a yellow costume with blue sleeves which 
 are ornamented with precious stones. She is attended by two maids 
 ofhonor , one of whom carries a parrot and the other a vessel of gold. 
 
 In the bottom border is a repetition of the same subject. King 
 Solomon here receives the Queen in a garden. He wears a crown, 
 carries a sceptre, and is attended by five men. The Queen kneels be* 
 fore him, and presents a rich vessel. She is attended by four maids 
 of honor, one of whom stands by a large sack filled with gold pieces. 
 In the center of the top border is a figure playing upon a harp, on the 
 right and left of which are kneeling children with outstretched hands. 
 A knight with lance and shield occupies each upper corner, and a 
 small figure of the King the center of each lateral border ; all inters 
 vening spaces are filled with designs of fruits, flowers and leaves. 
 
 This tapestry is interesting on account of its primitive character 
 and German origin. The quaint figures, the fanciful accessories, 
 placed as the versatile ideas of the artist dictated, and the peculiar 
 character of the borders unite in forming a most entertaining corns 
 position. 
 
 Dinghy Castle, England. 
 
 Ffoulke Collection, 1904. 
 
 181 
 

 
 
 
 
FRENCH TAPESTRIES 
 

 
 
THE ARTEMISIA SERIES 
 
 Cartoons by Henry Lerambert 
 
 I 
 
 ARTEMISIA AND HER SON KNEELING AT THE 
 SACRIFICIAL ALTAR 
 
 Height, 13 ft., 4 in. Width, 15 ft., 9 in. 
 
 Mark P ^ Signed and W 
 
 II 
 
 DIGNITARIES OF ARTEMISIA’S HOUSEHOLD 
 CARRYING PRESENTS 
 
 Height, 13 ft., 4 in. W r idth, 13 ft., 10 in. 
 
 Mark ^ P Signed jlj and W 
 
 III 
 
 THE READING OF PETITIONS BEFORE THE 
 STATUE OF JUSTICE 
 
 Height, 13 ft., 4 in. Width, 19 ft., 10 in. 
 
 Mark P ^ Signed and W 
 
 IV 
 
 ARTEMISIA DISTRIBUTING REWARDS TO 
 
 SOLDIERS 
 
 Height, 13 ft., 4 in. Wddth, 19 ft., 10 in. 
 
 Mark ^ Signed ^ and 
 
 V 
 
 ARTEMISIA SUPERINTENDING THE RIDING 
 LESSON OF HER SON 
 
 Height, 13 ft., 4 in. W^idth, 19 ft., 8 in. 
 Signed ^ 
 
 i8 5 
 
VI 
 
 THE MIMIC WAR 
 Height, 13 ft., 5 in. Width, 20 ft., 2 in. 
 
 Mark P * 4 “ Signed and fij 
 
 VII 
 
 THE YOUNG PRINCE STUDYING MATHEMATICS 
 
 AND GEOGRAPHY 
 
 Height, 13 ft., 6 in. Width, 21 ft., 7 in. 
 
 Mark P Signed (Ij and W 
 
 VIII 
 
 THE ASSEMBLING OF THE ARTISTS BEFORE 
 
 ARTEMISIA 
 
 Height, 13 ft., 5 in. V/idth, 10 ft., 3 in. 
 
 Mark P * 4 * Signed [stj and W 
 
 IX 
 
 ARTEMISIA REWARDING THE ARTISTS WHO 
 ASSISTED IN DESIGNING AND ERECTING 
 THE MONUMENT TO MAUSOLUS 
 
 Height, 15 ft., 4 in. Width, 12 ft., 7 in. 
 
 Mark P *4 Signed fij 
 
 X 
 
 THE COLOSSUS OF RHODES 
 Height, 15 ft., 6 in. Width, 22 ft., 2 in. 
 
 Mark P * 4 * Signed {|j 
 
 This series of the Artemisia tapestries which is of great historical 
 interest, was presented by LouisXIII to Cardinal Francois Barberini, 
 Papal Legate to France in 1625, as is shown by records in the Bar? 
 berini library. The initials F. B. are stamped on the linings of some 
 
 186 
 
of the pieces, and the initials of a member of tbe Colonna family on 
 tbe lining of one, indicating that it was included in tbe dot of Donna 
 Cornelia Barberini wbo married Don Julius Colonna. All ten were 
 woven in tbe royal ateliers of Paris, organized by Henry IV, under 
 tbe supervision of Francis de la Plancbe and Marc de Comans, as 
 shown by tbe P and fieur*de*Hs in tbe bottom galon and tbe monos 
 gram ^ probably composed of tbe initials of tbe joint Christian 
 names of tbe artist weavers. Some of tbe tapestries bear also tbe 
 monograms of those wbo assisted in weaving them. Tbe Constant 
 tine series in tbe Garde*Meuble of Paris bears tbe same mark. 
 
 Ordered by a ruler of France, and woven in a royal atelier accord* 
 ing to tbe methods of tbe best epoch, tbe series Artemisia constitutes 
 a work of art of tbe first order. Mr. Gerspach states that while be 
 was Director*General at tbe GobeHns be was in tbe habit of taking 
 tbe artists charged with tbe design and execution of a proposed tapes* 
 try, also tbe master weaver and journeymen, before a piece of tbe 
 Artemisia exhibited in tbe museum, and then saying, “This is an 
 example of a perfect type of superb and decorative tapestries.” He 
 also adds “that tbe sobriety in tbe colors has a primordial quality 
 which gives to tbe work an aspect of force and sincerity.” Tbe 
 weaving has been done with free colors, that is, without using two 
 threads of different colors to give tbe effect of a third, and to this fact 
 must be attributed tbe remarkable preservation of tbe colors. 
 
 Tbe suggestion of tbe series Artemisia originated with Sieur 
 Nicolas Houel. In tbe National Library in Paris is a book by 
 Houel in which be records bis reasons for composing certain son* 
 nets to Catherine de Medicis and urges that her history should be 
 immortalized in textile painting. In bis address to tbe Queen be 
 says, “The chief end of my work has been to represent you as Arte* 
 misia, and to show tbe resemblance between her era and ours.” He 
 compared Henry II with Mausolus, Catherine with Artemisia, 
 Charles IX with Lygdamis, and tbe victories over tbe French rebels 
 with tbe war against tbe Rhodians. Antoine Caron, assisted by tbe 
 best artists in France, painted tbe earKest cartoons for tbe Arte* 
 misia series. They consisted of thirty mine models exemplifying tbe 
 grief of Catherine at tbe death of Henry II, and illustrating subse* 
 quent events in her career. All tbe subjects have been engraved, 
 but not half of them were translated into tapestries. 
 
 187 
 
Marie de Medicis, like her relative who preceded her upon the 
 throne of France, was passionately fond of the sumptuous arts, and 
 followed Catherine de Medicis’ example in vigorously supporting 
 the royal ateliers of tapestry weaving, and like Catherine, also 
 left behind her a monument of her grief at the loss of her illustrious 
 consort and of her devotion to her children, in other series of Arte* 
 misia tapestries. The same subjects, somewhat modified in the 
 cartoons by Leramhert, were used, hut they were surrounded by 
 entirely different borders. During the reign of five succeeding so vers 
 eigns of France, the series Artemisia received the unusual honor of 
 being repeatedly chosen for reproduction in the royal ateliers, and 
 between the years 1570 and 1660 ten series were woven, illustrating 
 queens of France as Artemisia. 
 
 Of the eightysfour Artemisia tapestries owned by the French 
 Government in 1715 only twentyseight exist today. Twenty sthree 
 were destroyed during the Reign of Terror, and as there is no trace 
 of the other thirtysthree, it is probable that they were among the six 
 hundred and thirtysseven tapestries burned by the Commune in 1871 . 
 
 The twentyseight pieces in the GardesMeuble are unfortunately 
 parts of six different sets, therefore the larger of the two series here 
 described is the most complete and important now in existence. 
 
 In the first tapestry a high priest sacrifices a hull upon an altar, 
 which is placed upon the threshold of a temple. Near him stands an 
 assistant, and before the altar kneel the Queen and Charles IX, 
 their hands clasped in prayer. Behind them are a number of cour* 
 tiers, and on their left stand a few servitors or spectators. Six little 
 choristers, in groups of three, chant the service from the hooks held 
 in their hands. There is a priest in the right foreground and in the 
 background a butcher leads a hull to slaughter. Artemisia wears an 
 embroidered robe and long veil and her son a rich costume. 
 
 In the next piece six dignitaries of the court are represented bears 
 ing away the gifts they have received from Artemisia. Two carry 
 upon a stretcher, covered by an embroidered cloth, several handsome 
 pieces, another, who holds aloft a rich vase, is in deep shadow, while 
 the one on his right, carrying on his shoulder a ewer, stands out in 
 strong relief, and is the prominent feature in the composition. Behind 
 him stand two other figures. Water, a fortified castle, and a bridge 
 occupy the background. 
 
 188 
 
The third tapestry pictures a concourse of people assembled in 
 front of a statue of Justice to listen to the reading of a petition hy the 
 herald on horseback. Behind him are four trumpeters likewise on 
 horseback. The banner on the nearest trumpet hears the cipher of 
 Louis XIII surmounted by a crown. At the base of the statue stand 
 the Dauphin and his tutor. The edifice in the background probably 
 represents the tomb of Mausolus. 
 
 In the fourth piece Artemisia appears, seated upon a dais in the 
 open air, distributing presents to some of the officers of her army. 
 She wears the head-piece and body armor of Minerva with a long 
 veil falling from the helmet. With her right hand she takes a trinket 
 from the large platter, held by a servitor kneeling behind her, and 
 with her left bestows a gift upon the officer standing in front of her. 
 Behind him are a group of officers dressed and armed as Romans. In 
 the foreground are a quantity of costly vessels, and on the extreme 
 left stand the guards of the Queen. In the middle plane is the palace, 
 in front of which are two camels and a number of mounted cavaliers. 
 In the background is a view of the city. 
 
 Artemisia is represented in the fifth tapestry as deeply interested 
 in the riding lesson given to the Prince. She wears a crown and 
 carries the baton of sovereignty. Her veil fastened to her crown 
 trails to the ground behind her. The Prince, also crowned, wears 
 a superb costume, and rides a richly caparisoned pony whose head 
 is decorated with gayly colored feathers. The grand equerry is near 
 him, also mounted upon a steed with nodding plumes fastened to his 
 headgear. In the right foreground is a colossal statue of Hercules. 
 Four men-at-arms guard the Queen and near her are a few courtiers. 
 On the ground below the esplanade stand a troop of cavalry. The 
 whole center background is filled by a huge amphitheatre drawn 
 to face the palace; on the seats are spectators watching knights 
 tilting in the arena. 
 
 An illustration and full description are given of the sixth tapestry. 
 
 The seventh represents the Prince and two companions seated at 
 a table. Two instructors stand near him, and an assistant leans on 
 a corner of the table and points with his pen at the part of the book 
 from which the lesson is drawn. A group of three persons occupies 
 the right foreground, and a large dog lies at full length upon the mar- 
 ble floor behind them. Several persons occupy the loggia. The 
 
 189 
 
architectural background is well executed, and charming vistas are 
 seen through the somher openings of the palace windows. 
 
 In the eighth tapestry three savants are conferring in front of the 
 entrance to a conventional garden, which is flanked on the further 
 side hy two chapels. The three men, crowned with laurel, wear 
 gracefully draped togas over long rohes corded at the waist, and 
 form a nohle and imposing group. 
 
 The subjects of both the following tapestries illustrate part of the 
 same story as the preceding eight, hut are enclosed in entirely differ? 
 ent borders, are enriched with gold and silver threads, and hear a 
 different royal monogram. 
 
 Artemisia, in the ninth tapestry, rewards the successful artists, 
 who stand in line along a corridor leading to the apartment in which 
 the main scene is laid. The ^ueen wears a crown and costume 
 heavily enriched with gold and is attended hy four maids of honor, 
 one of whom carries her train. The second artist in line seems 
 already to have been rewarded, hut the first seems to hesitate 
 between the piece he holds and one Artemisia extends towards 
 him. The somher architectural background is an admirable foil to 
 the warm colors of the picturesque costumes. 
 
 An illustration and description are given of the last tapestry. 
 
 In the center of each top border of eight of these tapestries is a 
 cartouche enclosing the arms of France and Navarre. These arms 
 consist of the lilies of France on a dark blue ground, and the crossed 
 chains of Navarre on a rose ground. They are surmounted hy the 
 royal crown, and encircled by the collar of the order of St. Michael, 
 as well as that of the Holy Spirit with its pendant cross. In the cen? 
 ter of the bottom border is a cartouche which encloses, upon a dark 
 blue ground, two crossed batons of sovereignty upon which rests the 
 cipher of Louis XIII encircled hy a ribbon. To the right and left of 
 the cartouches in both top and bottom borders are arabesque designs 
 ornamented with birds. 
 
 In the center of each lateral border is a cartouche enclosing, upon 
 a blue ground, a cameo head below a basket of flowers. A dove is 
 perched on the top of each of the lateral cartouches, and pecks at the 
 bouquet of leaves and fruit which hangs hy ribbons from the car? 
 touches of the upper corners, which, like those in the bottom corners, 
 enclose an arabesque design. Upon these lower corner cartouches 
 
 190 
 
perch parrots, pecking at the bouquet of leaves and fruit suspended 
 hy ribbons from the cartouches of the lateral borders. 
 
 The borders of the two last tapestries of the series differ greatly 
 from the others. The central cartouche in each top border encloses 
 an oval space of blue and white, and that in the lower border the 
 monogram of Marie de Medicis and four batons of royalty tied 
 together by a ribbon, upon a dark blue ground. Both cartouches are 
 flanked by children’s beads. To the right and left of these beads, in 
 both top and bottom borders of the larger tapestry, are oval cars 
 touches enclosing miniature trophies and prisoners of war in relief 
 upon a gold ground. In each of the four corners of both tapestries is 
 a mask on a green ground; sprays springing from it into the top and 
 side borders enclose the beads of satyrs. In the center of each lateral 
 border is a rectangular cartouche which encloses the monogram of 
 Marie de Medicis, interlaced with the caduceus by a ribbon on a 
 dark blue ground. Above and below are oval cartouches, each of 
 which encloses an allegorical figure in refief upon a gold ground. 
 
 In the narrower tapestry the cartouches decorated with the pics 
 tures of the prisoners are suppressed. 
 
 The cartouches and motives in all of the ten borders are attached 
 to the tapestry frames and stand out in such bold relief from their 
 very dark background that they appear to be banging in space. 
 Gerspacb speaks of these borders as chefs d’oeuvre. He considers 
 them superior to those after Le Brun, as be says, “They satisfies 
 torily carry out the functions of a border, which is to isolate the 
 subject without attracting too strongly the attention.” 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Mrs. Phoebe A. Hearst, 1896. 
 
 Now in the possession of John R. McLean, Esq. 
 
VI 
 
 THE MIMIC WAR 
 
 Height, 13 ft., 5 in. Width, 20 ft., 2 in. 
 
 Mark P ^ Signed ^ 
 
 I N the center of the tapestry a fort surrounded hy water is being 
 attacked. In the left center plane a boatload of besiegers with their 
 standard hearers have advanced to the walls of the fort, and a large 
 troop of infantry, led hy an officer carrying the white flag of the 
 Bourbons, is crossing a bridge above their heads. In the foreground 
 three knights on horseback and several on foot engage the besieged. 
 A couple of men?at?arms on each of the opposing sides are standing 
 in a moat, ready to fight there. The Prince and his governor sur? 
 vey the maneuvers from a position of advantage behind a parapet 
 on the walls of a ruin. That it is a sham battle contrived to give the 
 Prince lessons in military tactics is shown hy the peaceable con? 
 test in the right background, where some soldiers are shooting at a 
 mark while a number of spectators watch them. 
 
 The entire composition is remarkably full of spirit, life and action, 
 and its merits grow more pronounced under critical examination, for 
 the weavers have not only illustrated the sham battle with such sue? 
 cess that one almost fancies it areal one, but have interpreted all the 
 minor features with rare skill and judgment. 
 
 Now in the possession of John R. McLean, Esq. 
 
 192 
 

 
 
 
X 
 
 THE COLOSSUS OF RHODES 
 Height, 15 ft., 6 in. Width, 22 ft., 2 in. 
 
 Mark P Signed ^ 
 
 I N this tapestry, which represents the subjugation of the Rhodians 
 by the Carians under Artemisia, the majestic Colossus stands in 
 grand relief astride the entrance to the celebrated harbor. He car? 
 ries a staff in one hand and a bow in the other. 
 
 The statue appears to stand quite in the open, with the harbor, 
 several boats, the quay filled with people, the buildings of the city, 
 and the distant hills, all behind it. The perspective effect is height? 
 ened by the shape of the harbor, and by the long stretch of coast line 
 with architectural motives at different points. On the right is a grand 
 viewof the open sea on which ride two galleys filled with armed men. 
 Three galleys filled with soldiers have already entered the harbor, 
 while a fourth, the stern decorated with the head of a wild boar, is 
 just passing between the piers which support the Colossus. The 
 figure of Artemisia dominates all others in the boat. She wears a 
 helmet, is armed with a gorget and dagger and carries a shield deco? 
 rated with the head of Medusa. As in other scenes, a veil falls from 
 her helmet. The figure behind her may be intended for that of her 
 son. A red banner flies at the stern and ivy branches entwine the 
 mast. 
 
 The high lights in many parts of this tapestry and also in the ninth 
 piece were woven in gold, hut as the threads used were rarely pure 
 gold, but made of silver gilded with the more precious metal, in many 
 instances time has worn away the gold and exposed the silver, as on 
 the figure of the Colossus. 
 
 Now in the possession of John R. McLean, Esq. 
 
 197 
 
THE CORIOLANUS SERIES 
 
 i 
 
 COMINIUS CROWNING CAIUS MARCIUS AND 
 NAMING HIM CORIOLANUS 
 
 Height, 12 ft., 2 in. 'Width, 12 ft., 10 in. 
 
 Mark P ^ Signed ^ 
 
 II 
 
 CORIOLANUS SUMMONED BEFORE THE TRIBUNES 
 Height, 12 ft., 3 in. 'Width, 18 ft., 7 in. 
 
 Mark P # P 
 
 III 
 
 CORIOLANUS CONDEMNED TO PERPETUAL 
 
 BANISHMENT 
 
 Height, 12 ft., o in. Wddth, 7 ft., 5 in. 
 
 IV 
 
 CORIOLANUS BIDDING FAREWELL TO HIS 
 MOTHER, WIFE AND CHILDREN 
 
 Height, 12 ft., 1 in. Width, 14 ft., o in. 
 
 Mark P ^ Signed ^ 
 
 V 
 
 ASSASSINATION OF CORIOLANUS 
 Height, 12 ft., 3 in. 'Width, 10 ft., 10 in. 
 
 This series was woven during the first half of the XVII century, 
 at the early Gobelins manufactory in Paris, under the supervision 
 of one of the most skillful directors of that hand of weavers who, at 
 the request of Henry IV, deserted Flanders in the hope of receiving 
 better pay in France. It hears the same mark and a monogram simk 
 lar to that on one of the Artemisia sets in the Garde=Meuble at Paris. 
 The tapestries were presented by Louis XIII to Cardinal Francis 
 Barberini, Papal Legate at the French Court in 1625. 
 
 198 
 
The story of Coriolanus’s military triumphs and subsequent down? 
 fall is graphically described in these five pieces. In the first, Caius 
 Marcius, with uncovered head, and clad in armor, stands before the 
 Consul Cominius, who, also in armor, and wearing his helmet and 
 long official mantle, steps down from the palace and placing an ivy 
 wreath upon the head of the young hero, gives him the name of 
 Coriolanus. Officers and soldiers stand around, and in the hacks 
 ground, before the city walls of Carioli, Romans and V olscians are 
 furiously fighting. 
 
 In the second, Coriolanus, arrayed in full armor, stands in the 
 Forum before the tribunes; his patrician friends are gathered behind 
 him, and the plebeians crowd close to the balustrade which bars their 
 entrance to the building. The members of the tribune are seated or 
 standing upon a raised platform on the right. The richly carved mar? 
 hie columns of the Forum and the inlaid floor are admirably rendered. 
 
 Instead of defending himself against his accusers, Coriolanus 
 showed such contempt for the people, that they became furious, 
 and, in the third tapestry, the scene of his condemnation by the 
 tribune is portrayed. They first ordered him thrown from theTar? 
 peian Rock, hut this decree was ameliorated to “ perpetual banish? 
 ment.” 
 
 After bidding farewell to his family, as illustrated in the fourth 
 piece, Coriolanus went directly to the Volscian nation and offered 
 to lead its armies against Rome. This he did so successfully that 
 Tullus, the Volscian ruler, became envious and, assisted by others, 
 assassinated him as he was leaving the Senate Chamber. This act 
 is vividly portrayed in the fifth tapestry. Tullus has seized Coriolan? 
 us by the right shoulder and plunges a dagger into his body. A con? 
 federate holds him by the left shoulder and prepares to strike him 
 with a similar weapon; another starts forward with a drawn 
 sword, while a fourth bars the way with an extended spear; others 
 stand behind. In the background lies the Volscian city, the people 
 moving to and fro upon its streets. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Now in the possession of Mrs. Phoebe A. Hearst. 
 
 *99 
 
IV 
 
 CORIOL ANUS BIDDING FAREWELL TO HIS 
 MOTHER, WIFE AND CHILDREN 
 
 Height, 12 ft., i in. Width, 14 ft., o in. 
 
 Mark P *£* Signed $ 
 
 I N this tapestry the principal personages are grouped on the left, 
 at the entrance of a marble palace, whose architectural features 
 extend into the background. Coriolanus, wearing the same suit of 
 armor as pictured in the second tapestry, is in the act of parting from 
 his family. His right hand clasps that of his wife who stands directly 
 in front of him. She is dressed in the usual Roman costume of that 
 period. A mantle is suspended from her shoulders and a veil falls 
 hack from her hair. One of her two sons clings to her tunic, as if 
 frightened, while the other, with hands clasped together, looks into 
 his father’s face. Both children have hare arms and legs and wear 
 short white tunics. Close behind this group stands the mother of 
 Coriolanus and in the doorway are seen the heads of three women. 
 The group of Romans on the right, clad in armor and wearing their 
 cloaks, represent the patrician friends of Coriolanus waiting to escort 
 him to the city gates. Three tribunes stand at the balustrade of the 
 palace and, in the background, cavalry are seen both within and 
 without the courtyard gateway. 
 
 The border of this tapestry is the same as those of the four others 
 of this series. 
 
 The principal motives are two mouldings, which are partly dark 
 and partly light, one half upon a blue foundation and the other half 
 upon a foundation almost in grisaille. In the center of both top and 
 bottom borders are small pictures of two knights on horseback. 
 Cartouches enclosing medallions, upon which are full length figures, 
 occupy the four corners and centers of the lateral borders. At the 
 terminations of the cartouches are female heads. There is great 
 wealth of color, which is most harmoniously blended. 
 
 Now in the possession of Mrs. Phoebe A. Hearst. 
 
 200 
 

 
 
 
 
THE RINALDO AND ARMIDA SERIES 
 
 i 
 
 ARMIDA BEARS RINALDO AWAY IN HER ARMS 
 Height, 14 ft., 9 in. WHth, 10 ft., 5 in. 
 
 Mark and Signature P^R 
 
 II 
 
 ARMIDA CARRIES RINALDO TO HER 
 ENCHANTED CAR 
 
 Height, 14 ft., 9 in. Width, 14 ft., 3 in. 
 
 Mark and Signature P 
 
 III 
 
 CARLO AND UBALDO AT THE FOUNTAIN 
 
 OF LAUGHTER 
 
 Height, 14 ft., 9 in. Width, 12 ft., 7 in. 
 
 Mark and Signature R 
 
 IV 
 
 RINALDO IN THE GARDEN OF ARMIDA’S PALACE 
 Height, 14 ft., 11 in. Width, 16 ft., 5 in. 
 
 Mark and Signature P ^ R 
 
 V 
 
 RINALDO SEES HIS IMAGE UPON THE 
 DIAMOND SHIELD 
 
 Height, 14 ft., 11 in. W^idth, 12 ft., 8 in. 
 
 Mark and Signature R ( % 3 
 
 203 
 
VI 
 
 RINALDO SAILS AWAY FROM THE MAGIC ISLAND 
 Height, 14 ft., 9 in. Width, 10 ft., 6 in. 
 
 Mark and Signature P R 
 
 VII 
 
 ARMIDA LEAVES THE MAGIC ISLAND 
 Height, 15 ft., 1 in. Width, 6 ft., 3 in. 
 
 Mark and Signature P R 
 
 VIII 
 
 ARMIDA INVOKING THE POWERS OF MAGIC 
 Height, 15 ft., 1 in. Width, 7 ft., 8 in. 
 
 Mark and Signature P ^ R 
 
 IX 
 
 ARMIDA FLEEING FROM THE FIELD OF BATTLE 
 Height, 14 ft., 11 in. Width, 6 ft., 1 in. 
 
 Signed R 
 
 X 
 
 RINALDO PREVENTING THE SUICIDE OF ARMIDA 
 Height, 14 ft., 8 in. V/idth, 10 ft., 4 in. 
 
 Mark and Signature P R 
 
 These tapestries were woven in one of the royal ateliers that 
 were subsidized under Henry IV and given the right to use as a 
 mark the letter P and fleur*de*lis of France. Presumably this series 
 issued from the early Gobelins manufactory or the one started by 
 Raphael de la Planche after he left the Gobelins in 1634. They are 
 signed by him with the letter R. Simon Vouet was one of the chief 
 designers at this time, and as there formerly existed in the Garde* 
 Meuble at Paris certain tapestries after him which represented parts 
 
 204 
 
of the same history, and had borders containing some of tbe motives 
 prominent in tbe borders of these tapestries, with tbe additionof tbe 
 royal arms, tbe conclusion is naturally reached that be painted tbe 
 cartoons for this series, which was presented by Louis XIII to tbe 
 Cardinal Barberini while tbe latter was papal legate to France in 1625. 
 
 A manuscript in tbe Barberini Library contains an inventory 
 which mentions tbe Rinaldo and Armida tapestries, and several 
 other series, as having been presented to tbe Cardinal by tbe King. 
 In a later inventory made for Cardinal Carlo Barberini in 1695, they 
 are inscribed as “Arras de Rinaldo, 10 pieces.” 
 
 Tbe story of Rinaldo and Armida told in Torquato Tasso’s “Jeru? 
 salem Delivered” is vividly illustrated in this magnificent series. 
 
 For tbe subject of tbe first tapestry tbe artist has chosen tbe 
 moment when Armida, having thrown Rinaldo into a magic sleep 
 upon an enchanted island, looks down upon him with eyes changing 
 from bate to love. Tbe band bolding a dagger becomes useless, as 
 Cupid speeds an arrow toward her heart. 
 
 She also appears as a winged being in a cloud upheld by cherubs 
 and bearing away tbe unconscious Paladin in her arms. 
 
 In tbe second piece, Armida, having decked her sleeping victim 
 with a garland of flowers, is in tbe act of placing him in her enchanted 
 car. In this task she is assisted by one of her maidens and by two 
 cherubs, while a third, poised like a bird above tbe group, scatters 
 flowers upon tbe Paladin. Facing tbe sea stand two spirited horses 
 richly caparisoned and ready for tbe celestial flight. 
 
 Armida wears a richly embroidered mantle and tbe attendant 
 nymph carries a huge sunflower. 
 
 Carlo and Ubaldo’s search for Rinaldo and their finding of him in 
 Armida’s beautiful garden is pictured in tbe third and fourth tapes? 
 tries, of which full descriptions and illustrations are given. 
 
 Having waited for tbe moment when be was alone, these two 
 friends appear suddenly before Rinaldo and bold before him tbe dia? 
 mond shield as shown in tbe fifth tapestry. Rinaldo reclines upon 
 tbe grass with tbe mirror of Armida at bis side; bis bands are raised 
 in astonishment, and be gazes with shame and regret at bis reflected 
 image in tbe shield held by Carlo. In bis right band Ubaldo bolds 
 aloft tbe golden wand, and extending bis left towards tbe Paladin, 
 makes an appeal to bis honor and welbknown valor. 
 
 205 
 
All three knights are strong athletic men and wear rich costumes. 
 
 Rinaldo having been persuaded to flee from the magic influences 
 which surround him, the sixth tapestry shows him standing in a boat 
 between Carlo and Ubaldo. Armida lies unconscious on the shore, 
 while the boat seems to glide away quietly upon the water. The 
 right hands of Rinaldo and Ubaldo are raised with gestures of diss 
 may and all three are gazing sadly at the griefistricken and deserted 
 princess. 
 
 Armida, with feelings of bitterness and hate, causes her palace 
 and gardens to he destroyed, and mounts her car, intent on venge* 
 ance. In the seventh tapestry the artist has posed her gracefully 
 in her tiny car adorned with female figures, but as this piece was made 
 for a narrow place, only the hind quarters of the horses are visible. 
 The colors of the car and Armida’s costume blend so harmoniously 
 with the landscape background that they almost appear to melt 
 into it. 
 
 The eighth tapestry pictures Armida practicing the incantations 
 with which she hoped to bring misfortune to her former lover. The 
 magnificent figure of the sorceress is almost faultless in design, and is 
 clothed in a superb costume. Standing in a graceful attitude, with 
 her left arm raised above her head, she recites the incantation, and 
 points with her wizard’s wand to the open book, which lies upon the 
 ground at her feet. Fire is spouting from the earth, and the wind 
 blows dense smoke into the forest. The effect is rich and imposing, 
 and one rarely sees a tapestry composed of a single personage that 
 possesses equal artistic merit. 
 
 When the Christian and Pagan armies met, and Armida saw the 
 latter, which she had tried to aid by her magic art, defeated and 
 scattered, and knew that Rinaldo had slain the knights she had sent 
 against him, she also turned and fled. The ninth tapestry shows the 
 sorceress, mounted upon a spirited horse, galloping from the battle 
 field, while the little god Cupid follows her and whips her with the 
 scourge of scorn. 
 
 The last tapestry shows that Armida found a quiet spot and there 
 attempted to end her life. She is seated upon a grassy knoll, and 
 having taken an arrow from the quiver at her side, is on the point 
 of plunging it into her bosom when Rinaldo, who kneels behind her, 
 seizes her hand and prevents the tragedy. The cherub, who hovers 
 
 206 
 
above tbem, with a palm branch in bis band, beautifully illustrates 
 tbe peace wbicb bas been estabHsbed between tbeir warring hearts. 
 
 Wliile tbe general effect of tbe borders of tbe tapestries is remarks 
 able for tbe finished unity and harmony of tbeir component parts, 
 there are frequent variations in tbe details of tbe architectural designs. 
 
 Tbe cartouche in tbe center of tbe top border encloses an allegorb 
 cal figure, and is supported by two winged cherubs, each bolding in 
 one band a spray of oak leaves, and in tbe other a palm branch ; bes 
 neatb tbem swing two bouquets of fruit and leaves. Tbe cartouche 
 in tbe center of tbe bottom border also encloses an allegorical figure. 
 It is crowned with a helmet and plumes, and above it are four flags 
 and two rams’ beads. It is supported by two winged cherubs, who 
 bold a festoon of leaves gracefully suspended between tbem. In each 
 upper corner of tbe borders there is a winged female figure bolding 
 two pastoral horns, and in each bottom corner there are satyrs plays 
 ing andwrestkng together. A cherub, wearing branches of oak leaves 
 across bis shoulder, is seated upon each of tbe lateral cartouches 
 wbicb enclose medaHions of allegorical female figures. 
 
 All tbe cartouches, and all tbe figures as well as tbe floral and 
 other ornamentations are in grisaille, and are connected by graceful 
 arabesque designs woven upon a rich blue background. Tbe extends 
 ing of tbe cartouches of tbe top and bottom borders into tbe tapestries 
 adds much to tbe richness and beauty of tbe general effect. 
 
 Three of tbe tapestries were intended for narrow places and were 
 v/oven without side borders. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Now in tbe possession of Mrs. Hamilton McK. Twombly. 
 
 207 
 
Ill 
 
 CARLO AND UBALDO AT THE FOUNTAIN 
 
 OF LAUGHTER 
 
 Height, 14 ft., 9 in. Width, 14 ft., 3 in. 
 
 Mark and Signature ^ R 
 
 T HE figure of Ubaldo is on the left, and he holds his wand over 
 the head of the siren who stands in the fountain before him. By 
 his side, and somewhat in shadow, is Carlo, who raises the diamond 
 shield in defense against the siren’s charms. Both warriors wear 
 coats of mail; rich mantles are draped about them, and sandals are 
 upon their feet. They have heavily decorated helmets with nodding 
 plumes. In front of them is a marble fountain, from which water 
 splashes into a basin, where two sirens are playing, one of whom 
 turns towards the intruders of the garden. She stands knee?deep 
 in water, her right hand outstretched, and the left holding her mans 
 tie. Behind her, quite in shadow, is another graceful figure. Trees 
 form the background of this attractive scene. 
 
 At the foot of a large old tree is a banquet table upon which is a 
 rich service of plate and glass. 
 
 The composition is skillfully rendered and the colors in this piece, 
 as well as in all the others, are most harmoniously blended. 
 
 Now in the possession of Mrs. Hamilton McK. Twombly. 
 
 208 
 

 
 
 

 
 
 
 ( 
 
 / 
 
2 2 
 
IV 
 
 RINALDO IN THE GARDEN OF ARMIDA’S PALACE 
 Height, 14 ft., 11 in. 'Width, 16 ft., 5 in. 
 
 Mark and Signature P R 
 
 T HE superb background scene of marble pillars, arches and stats 
 ues, gives this tapestry remarkable perspective qualities. In the 
 left foreground, partly bidden by trees, stand Carlo and Ubaldo. One 
 has both bands raised in astonishment at the sight that meets bis gaze, 
 and the other, while grasping the trunk of a dead tree, leans earnestly 
 forward. On the extreme right, Rinaldo reclines gracefully upon 
 the ground, and with bis right band bolds a mirror, into which 
 Armida gazes as she kneels beside him and adorns her hair with a 
 string of pearls. A cherub approaches the pair with bis scarf full of 
 flowers; another steps into the pool of water to fill bis shell, while a 
 third carries a beautiful necklace towards Armida. Two ducks 
 swim in the pool ; another with outstretched wings leaves the water, 
 and two small birds perch upon a twig near by. In the central hacks 
 ground is the portico of a palace with two rows of marble columns. 
 The marble entrance to the garden is just beyond and through the 
 arch there is a glimpse of distant foliage. 
 
 Artistically this tapestry is the most important of the series. 
 Now in the possession of Mrs. Hamilton McK. Twombly. 
 
 213 
 
RINALDO AND ARMIDA 
 Height, 4 ft., 6 in. Width, 5 ft., 7 in. 
 
 T HIS panel, which has a frameslike border, is part of one of the 
 tapestries of a series illustrating the story of Rinaldo and 
 Armida. It was woven at the royal manufactory during the reign 
 of Louis XIII, under de Comans and de la Planche, who were sums 
 moned from Flanders by Henry IV, and by him given titles of nos 
 hility and extraordinary rights and privileges in order that they 
 might he induced to teach the French the art of tapestry weaving 
 according to Flemish methods. 
 
 The portico, shown in the illustration, represents a part of the 
 palace built by enchantment on the island of Teneriffe, at the corns 
 mand ofArmida, a Saracen sorceress, who entangled Rinaldo in her 
 toils in order that she might deprive the Crusaders of his prowess in 
 their battles. In the foreground is the figure of Armida, seated, and 
 occupied in arranging a string of pearls about her head, as she gazes 
 into a mirror held by Rinaldo, who reclines beside her. A cherub 
 holds in his extended hands a necklace of gold, and another one lifts 
 a chain from the red box which stands between them. 
 
 The reddish violet columns of the portico, the rich curtain of 
 variegated colors hanging above the group, the dark trunks of the 
 trees, the deep blues, greens and reds in the leaves and flowers form 
 an admirable foil to the flesh tints of the lovers and the cherubs. 
 The peculiar shade of red in the flowers is evidence that this piece 
 was woven in the early part of the XVII century when the Flem* 
 ish weavers were still influenced by the Gothic traditions of their 
 native land. 
 
 Ffoulke Collection. 
 
 214 
 

 
 
 / 
 
 
THE AMINTA SERIES 
 
 i 
 
 SYLVIA CHARMS AWAY THE PAIN OF THE BEE 
 STING FROM THE CHEEK OF PHYLLIS IN 
 THE PRESENCE OF AMINTA 
 
 Height, io ft., io in. Width, 10 ft., 4 in. 
 
 II 
 
 DAPHNE ATTEMPTS TO CONVINCE SYLVIA THAT 
 TO THE FEMININE HEART LOVE IS A NECES= 
 SITY, AND BEGS HER TO FORGIVE 
 AMINTA 
 
 Height, 10 ft., 8 in. Width, 8 ft., 3 in. 
 
 III 
 
 DAPHNE AND TIRSIS DECIDE TO MAKE ANOTHER 
 ATTEMPT TO SOFTEN SYLVIA'S HEART 
 TOWARDS AMINTA 
 
 Height, 10 ft., 8 in. Width, 7 ft., 8 in. 
 
 IV 
 
 RESCUE OF SYLVIA BY AMINTA AND TIRSIS, 
 AND FLIGHT OF THE SATYR 
 
 Height, 10 ft., 8 in. Width, 12 ft., o in. 
 
 V 
 
 SYLVIA AND NERINE HUNTING WITH TWO DOGS 
 
 Height, 10 ft., 11 in. Width, 9 ft., 8 in. 
 
 2I 7 
 
VI 
 
 DAPHNE PREVENTS THE SUICIDE OF AMINTA. 
 NERINE STATES HER BELIEF IN SYLVIAS 
 DEATH, AND AS PROOF THEREOF 
 
 SHOWS HER VEIL AND JAVE* 
 
 LIN WHICH SHE HAS 
 FOUND 
 
 Height, io ft., io in. Width, 12 ft., 3 in. 
 
 VII 
 
 DESPAIR OF SYLVIA WHEN SHE LEARNS FROM 
 ERGASTE THAT AMINTA, ON HEARING THE 
 REPORT OF HER DEATH, HAS THROWN 
 HIMSELF FROM A PRECIPICE 
 
 Height, 10 ft., 8 in. Width, 14 ft., 6 in. 
 
 VIII 
 
 SYLVIA, IN THE PRESENCE OF DAPHNE, NERINE, 
 TIRSIS, ERGASTE, ELPHIN AND OTHERS, 
 CHARMS THE UNCONSCIOUS AMINTA 
 BACK TO LIFE 
 
 Height, 10 ft., 11 in. fWidth, 16 ft., 10 in. 
 
 This series was woven very early in the XVII century in the 
 ateliers of Marc de Comans and Francois de la Planche, who res 
 
 9 
 
 ceived their contracts in 1607 from Henry IV and were ordered to 
 sign their works executed in Paris with P — fleur*dedis, “Lily of 
 France.” These tapestries were either purchased by Cardinal Frans 
 cois Barberini while legate at the French Court in 1625, or presented 
 to him at that time by Louis XIII. They are mentioned in the manus 
 scripts of the Barberini family, Vol. XLVIII, pages 72 to 77, and also 
 in the inventory of its tapestries compiled in 1695. 
 
 The subjects are taken from Tasso’s pastoral drama, entitled 
 “Aminta,” which had a wonderful success, particularly in France, 
 when it was published in 1573. Tasso is the creator of the singular 
 
 218 
 
world here portrayed, where personages of the most different com 
 ditions are brought together, shepherds, shepherdesses, nymphs, 
 goddesses, satyrs, poets, and magicians, all uniting in one common 
 preoccupation, love. 
 
 In the first tapestry the heart of the shepherd Amin ta is inflamed 
 by love as he sees the nymph Sylvia suck poison from the cheek of 
 Phyllis, who has been stung by a bee; but Sylvia proudly rejected 
 his love and the second tapestry shows Daphne earnestly endeavors 
 ing to persuade her to relent. As Daphne failed in her attempt, she 
 is next seen plotting with Tirsis how to soften Sylvia’s heart. In the 
 fourth tapestry Aminta and Tirsis have rushed to the rescue of 
 Sylvia and Daphne, who have been surprised by a satyr. The fifth 
 piece shows Sylvia and Nerine hunting with two dogs. Then comes 
 the startling scene where Nerine tells of the probable death of Syb 
 via ; this is followed by one in which Sylvia mourns Aminta’s death, 
 for Ergaste tells her that the shepherd, hearing that she had been 
 killed, rushed away into the forest, and flung himself down into a 
 deep chasm. Such devotion deeply touches Sylvia, and in the last 
 tapestry, of which an illustration and full description are given, the 
 rough course of Aminta’s love finds its happy ending. 
 
 Some, or all, of the subjects are signed, and are marked with a P 
 and fleur^dedis, hut, as the edges of the tapestries are now covered 
 by wooden mouldings, it has been impossible to properly assign the 
 marks. 
 
 Bar her ini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Now in the possession of Mrs. Hamilton McK. Twomhly. 
 
 219 
 
VI 
 
 DAPHNE PREVENTS THE SUICIDE OF AMINTA 
 Height, ioft., ioin. V/idth, 12 ft., 10 in. 
 
 I N the group of three on the left, Aminta is seated at the foot of a tree, 
 his long staff rests against his bended knee, and in his right hand 
 he holds a dagger. Daphne stands directly behind him; she has seized 
 his hand and is bending towards him, while close to her is seen Tirsis, 
 arrived in such haste that his mantle is still lifted above his head by 
 the breeze. On the right is the running figure of Nerine, who, with 
 her right arm outstretched, points towards the forest. The scene 
 vividly illustrates that part of the poem which describes the prob* 
 able fate of Sylvia. 
 
 In the middle of the top and bottom borders, as well as in each of 
 the four corners, there is a cartouche with a medallion center, enclos* 
 ing upon a blue ground, a how, a quiver of arrows, and two lighted 
 torches tied together with cords having tassels after the style of those 
 borne on the escutcheon of Anne of Brittany. The cartouche in the 
 top border only is supported by two cherubs. The rest of the decora* 
 tion in both top and bottom borders consists of vases of flowers with 
 cornucopias on either side. The lateral borders have, in the center, 
 cartouches with rose*colored medallions containing the figure of the 
 god Hymen holding a lighted torch in each hand. A cherub in gri* 
 saille is seated upon each of these lateral cartouches and holds a vase 
 of flowers upon his head. Beneath, a basket of flowers is suspended 
 by a ribbon, and a bouquet of flowers rises from each bottom corner. 
 The borders in all the other tapestries of the series are exactly like 
 that of the sixth tapestry, except that in the second and third there are 
 no cornucopias in the top and bottom borders, only vases of flowers. 
 
 The dark, or black background of this unusual border throws all 
 the ornamentation into relief. The baskets of flowers seem to hang 
 in space, and the cornucopias protrude into the open. This border 
 has its counterpart among the treasures of the Gobelins where it 
 surrounds a tapestry representing the “Hunt of Meleager.” 
 
 Now in the possession of Mrs. Hamilton McK. Twombly. 
 
 220 
 

 
 
 
 

 
 
 
 
 
 t 
 
VIII 
 
 SYLVIA CHARMS THE UNCONSCIOUS AMINTA 
 
 BACK TO LIFE 
 
 Height, io ft., ii in. Width, 16 ft., io in. 
 
 U PON a bed of leaves, at the foot of a group of rocks and trees, lies 
 the unconscious form of Aminta. The body is foreshortened 
 and the head is towards the center of the foreground. On the left are 
 Tirsis and Ergaste and three shepherds with their long staffs. All 
 are simply dressed and four are bareheaded. On the extreme right. 
 Daphne and Nerine, with gestures of astonishment, listen to Elphin, 
 who tells how Aminta in falling had been caught in a thick mass 
 of vines, which gave way slowly, so that he was not dead, hut only 
 bruised and unconscious. Sylvia stands in the center, bending over 
 Aminta. With her right hand holding his left, and using words of 
 endearment, she recalls him to life and love. 
 
 This tapestry and all the others of the series are surprisingly well 
 preserved both in color and tissue, as their quality and artistic worth 
 made them too valuable for ordinary uses and reserved them for 
 especial occasions of pomp and ceremony. The fact that they were 
 woven under the direction of de Comans and de la Planche adds 
 much to their value. Jules Guiffrey writes, in his “History of French 
 Tapestry,” that he considers “the products of these ateliers compare 
 able for the perfection of their execution with the most faultless and 
 the most vaunted of the time of Le Brun and Colbert.” 
 
 These are unquestioned chefs d'oeuvre of the early Gobelins, and 
 possess all those decorative attributes which constitute the great 
 superiority of early productions over those of more modern times. 
 Now in the possession of Mrs. Hamilton McK. Twombly. 
 
 225 
 
CONCERT BY THE GOD PAN 
 
 Height, 7 ft., 7 in. Width, 9 ft., 5 in. 
 
 T HIS tapestry was woven about the middle of the XVII century 
 in the atelier of Jean Lefevre. It is almost exclusively of silk 
 interwoven with gold threads. 
 
 Behind a balustrade are thirteen figures, satyrs, nymphs and 
 children, represented at halfilength. One satyr hears a basket of 
 fruit; two others carry instruments of music, while Pan plays upon 
 his pastoral pipe; two nymphs follow the music with scroll and 
 hook, another carries a basket of fruit, and a fourth drops a hunch of 
 plums into a cup held by one of the two children. On the extreme 
 right a nymph leans upon the balustrade. In the center, one of the 
 satyrs bends forward as a nymph directly behind him places her 
 hand upon his shoulder. Some flowers rest upon the balustrade; 
 behind rise three columns. On the right, in the landscape backs 
 ground, is a large unfinished building of antique design. The cos* 
 tumes are classical. 
 
 The border is ornamented with termini representing Dianas of 
 Ephesus, cupids, sitting dogs, foliage, and emblems of unusual graces 
 fulness, which appear in relief upon a groundwork of yellow silk 
 threads of brilliant richness. 
 
 The composition of the subject surrounded by this exquisite border 
 is admirable, and the commingling of the swarthy coloring of the 
 satyrs and lovely fairness of the nymphs is most effectively and 
 skillfully treated. 
 
 In the collection of Baron Spitzer were three tapestries, woven 
 under Lefevre, entitled “ Bacchanalian Scenes.” These subjects are 
 surrounded by borders similar in coloring, design and arrangement 
 of details to the one here described and illustrated. Indeed, so alike 
 are all four tapestries in quality, workmanship, prevailing colors, 
 and artistic importance, as well as in size, and general posing of the 
 halfilength figures of satyrs and nymphs above a balustrade, that in all 
 probability they formed part of a series of five or more compositions. 
 
 Eugene Muntz, in his work entitled “La Tapisserie,” gives on 
 page 263 an illustration of a piece called “The Toilet of a Princess” 
 by Lefevre, also in the Spitzer collection, and of the same style and 
 character as the “Concert by the God Pan.” 
 
 226 
 

 
 
 ■ 
 
 
 
 
 
 
The high praise he gives to the former tapestry might he bestowed 
 with equal justice upon the latter. The two pieces are alike in techs 
 nique, skillful blending of tones, and that harmonious coloring in 
 which Paris excelled during the XVII century. Both subjects are 
 chefs d’oeuvre of Lefevre, and the “Concert by the God Pan” is ens 
 titled to play the same artistic role in America that Eugene Muntz 
 and others have awarded the “Toilet of a Princess” in France. 
 
 Ffoulke Collection, 1891. 
 
 Now in the possession of Mrs. Phoebe A. Hearst. 
 
THE ARMIDA PANEL 
 Height, io ft., 6 in. Width, 4 ft., 8 in. 
 
 A CCORDING to M. E. Gerspach, director of the Gobelins 
 from 1885 to 1893, this exquisite piece was woven at that 
 establishment during the second half of the XVII century, and 
 is evidently the combined work of Jean Jans and Jean Lefevre, two 
 celebrated rival weavers. It is possible that the panel is a fragment 
 of a much larger tapestry and adapted to the beautiful border which 
 encloses it. 
 
 In the main composition the trees, herbage, and flesh tints pos= 
 sess the individual characteristics of Jans. The border, while shows 
 ing the same fineness of weave, is of a different character. Lefevre 
 was celebrated for the skill with which he delineated children and 
 cherubs, and his style showed that it was greatly influenced by 
 Italian art, the result of his long residence in that country. An illus* 
 tration of a similar border by him is given in “ La Tapisserie,” by 
 Eugene Miintz. 
 
 The subject which is here illustrated is drawn from that part of 
 Tasso’s “Jerusalem Delivered” which dwells upon the action of 
 Armida after the destruction of her palace, subsequent to Rinaldo’s 
 return to the Crusaders’ army. Between the trees, on the edge of a 
 forest, is seen the head of a horse, and the half figure of a finedooking 
 woman who carries a cruse. The shades and tones of the varied 
 green foliage are excellent. 
 
 The motives of the attractive border are developed upon a lumf 
 nous, light yellow foundation, which brings them out in delightful 
 relief. In each of the top corners are two cherubs. The one reclin* 
 ing in the top border clasps his arms around the one who, with his 
 foot resting in the crotch of a tree, stands in the side border. Beneath 
 the standing cherub, in each lateral border, are two pelicans whose 
 feet rest upon a green urn, the stem of which is adorned with three 
 infant heads. Still lower, an amphora stands upon a pedestal, which 
 is supported upon a green column, like old bronze. In front of this 
 column a cherub is posed upon a pedestal. In the bottom border are 
 two heraldic eagles, one on either side of a central decoration en* 
 twined with leaves. 
 
 Ffoulke Collection, 1904. 
 
 230 
 

 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 # 
 
 « 
 
THE ARMS OF COLBERT 
 Height, 9 ft., 5 in. Width, 6 ft., 8 in. 
 
 Cartoons hy Charles Le Brun. 
 
 T HESE two portieres, which are alike in design, coloring and 
 size, were woven at the Royal Gobelins during the reign of 
 Louis XIV for Jean Baptiste Colbert, the famous Finance Minister 
 who was the prime mover in the creation of the present Gobelins 
 (1662), and styled by Voltaire “the founder of commerce and pros 
 tector of all arts.” 
 
 These tapestries, which are identical, illustrate the armorial bear? 
 ings of the minister. In the center a serpent is drawn upon an oval 
 cartouche which rests upon a shield. Above the shield the crown 
 of Colbert is supported hy winged cherubs, and from the lower part 
 of it, on the right and left, spring cornucopias of fruits and flowers. 
 A full length female figure stands on each side of the cartouche ; one 
 with the right hand, and the other with the left, gracefully lift the 
 folds of a yellow curtain high above their heads. The winged figure 
 represents France with her emblem, a Gallic cock; the other. Power 
 with a sword to enforce her decrees, and a lioness at her feet to dis; 
 cern her enemies. Blue, red and yellow are combined with much 
 effect and brilliancy in the costumes of the female figures. 
 
 The border is of a conventional design and consists of alternate 
 hunches of oak and laurel leaves tied together with knots of ribbon. 
 The curtain, which forms the background of the tapestry, is suss 
 pended from the inner moulding or edge of the border; and a vase 
 springs from the center of the moulding of the bottom border. 
 Ffoulke Collection, 1904. 
 
A FRAGMENT OF 
 
 THE ENTRY OF ALEXANDER INTO BABYLON 
 Height, 12 ft., 5 in. Width, 3 ft., 5 in. 
 
 Cartoon hy Charles Le Brun. 
 
 T HIS piece, without border, represents two warriors seated upon 
 their horses ; between their helmets appears the figure of a char* 
 ioteer in a car, holding the reins of horses hidden from sight. Behind 
 him are seen the heads of warriors, and in the distance, tents. The 
 trunk of a huge tree rises on the left. 
 
 Charles Le Brun, the great purveyor of cartoons for the Royal 
 Gobelins establishment, painted four pictures, illustrating scenes in 
 the war between Alexander the Great and Darius, King of Persia. 
 Engravings of these paintings are in the National Library in Paris. 
 
 By order of Louis XIV the four paintings were interpreted into 
 warp and woof at the Gobelins, and all bore the arms of France. 
 
 This panel is a fragment of the most sumptuous tapestry in the 
 series, for it illustrates a grand and impressive pageant, surpassing 
 in splendor even those accorded later to Rome’s successful generals. 
 
 From this panel one can form some idea of the grandeur of the 
 entire composition, which represented the army in gala attire; 
 horses richly caparisoned; highly polished armor reflecting the 
 light; chariots containing booty; and flies of foot soldiers ; all led by 
 the youthful Grecian hero. 
 
 This beautiful fragment is a work of art to he highly treasured 
 on account of its historical associations, as well as for its rich colors 
 ing, masterly drawing and skillful execution. 
 
 Ffoulke Collection, 1904. 
 
 Now in the possession of Cornelius K. G. Billings, Esq. 
 
 236 
 

 
 * 
 
THE SLEEPING ENDYMION 
 
 Height, 5 ft., 7 in. Width, 4 ft., 3 in. 
 
 T HIS charming panel is a fragment from a tapestry entitled, 
 l,< ‘ Diana and Endymion,” which was woven during the latter 
 part of the XVII century at the Gobelins, then under the direction 
 of Jans the second. 
 
 Endymion lies asleep upon the hank of a stream, his partly nude 
 and graceful figure in an attitude of perfect repose. 
 
 A huntress of Diana, accompanied by three dogs, one of which 
 she holds in leash, is standing near, gazing intently at him. 
 
 Both figures are extremely well drawn, and the colors are in an 
 unusually good state of preservation. 
 
 In the tapestry of which this once formed a part, Diana sits upon 
 the opposite hank of the stream, surrounded by four of her maidens 
 who are engaged in completing her toilet while she gazes with 
 admiration and delight at the beautiful and all unconscious Em 
 dymion. Above flies the little god Cupid with how and arrow, mak* 
 ing ready for the fatal shot. The greens in the landscape background 
 make an admirable foil for the delicate flesh tints of the actors in this 
 sylvan scene. 
 
 The tapestry is surrounded by a framedike border of conventions 
 alized leaves. 
 
 Ffoulke Collection, 1905. 
 
 241 
 
THE MONTHS OF LUCAS 
 
 i 
 
 MAY DAY SPORTS-MAY 
 Height, io ft., 3 in. Width, 15 ft., 3 in. 
 
 Signed AUDRAN 
 
 II 
 
 SHEEP SHEARING SCENE-JUNE 
 Height, 10 ft., 3 in. Width, 13 ft., 8 in. 
 
 Signed AUDRAN 
 
 III 
 
 LUNCH AND VINTAGE SCENE-OCTOBER 
 Height, 10 ft., 1 in. Width, 10 ft., 7 in. 
 
 Signed AUDRAN (restored) 
 
 The royal set of tapestries of the “Months of Lucas,” made in 
 Flanders about the middle of the XVI century, after models ascribed 
 to Lucas von Leyden, created such a furore and made such a lasting 
 impression upon the cultured world that they were reproduced 
 several times in the Gobelins manufactory between the end of the 
 XVII and the beginning of the XTVIII century. 
 
 The Flemish series which served as models were burned under 
 the “Reign of Terror” to obtain the gold and silver that had been 
 used in them. There were many different heads of the weaving 
 department during the time these subjects were reproduced, and 
 those executed under each master possess the distinguishing char; 
 acteristics of his epoch. The reproduced sets often varied in number 
 and dimensions, and were always surrounded by entirely different 
 borders. 
 
 These three tapestries were woven at the Gobelins under Audran 
 during the reign of Louis XV. They illustrate the out;of; door life 
 and amusements of nobles and peasants, and their costumes are of 
 the era of Francis I. 
 
 242 
 
Of the first piece, “May,” an illustration and full description are 
 given. 
 
 The “Sheep Shearing Scene— June,” represents a farm where 
 the people in the foreground are busily engaged with the sheep. A 
 man and woman on the right are bringing food and drink to the 
 shearers, and a shepherd carries a sheep in his arms as he walks 
 towards three women. The one nearest to him holds up her shears; 
 another is occupied with a standing sheep, while the third has one 
 upon her lap ; at her feet is a basket, and two sheep are on her left. 
 Two children are at play upon the ground. On the path behind, at 
 the extreme left, a couple are passing, the man holding a dog in 
 leash. Groups of people occupy the center field. 
 
 A tapestry signed by Audran, and like this one in character, 
 drawing and general effect, hut with a different border, which hears 
 the arms of the Count of Toulouse, is in the French National Cob 
 lection, and is considered one of its greatest treasures in textile art. 
 
 In the far background of the “Lunch and Vintage Scene — Octo? 
 her,” rises a rugged mountain; the field between it and the middle 
 plane is filled with trees and grape arbors. In the right center field 
 peasants are busy making wine. In the left foreground a finedook? 
 ing man and woman sit at the foot of an arbor covered by a grapes 
 vine ; behind them stands an old woman in red. With her left hand 
 she offers to the couple a plate of fruit. In the center foreground, a 
 cavalier is paying his attentions to a young maid who holds a basket 
 of fruit. Two children are playing with grapes. 
 
 In Maurice Fenaille’s work on tapestries he gives an illustras 
 tion of a tapestry in the Dresden Royal Palace which is like the one 
 here described with the exception of the border, which is entirely 
 different. 
 
 Part of the sky and a portion of the foreground of this tapestry 
 have been restored. The original signature of Audran is inserted 
 in the renewed turf. 
 
 Ffoulke Collection. 
 
 243 
 
I 
 
 MAY DAY SPORTS-MAY 
 Height, io ft., 3 in. Width, 15 ft., 3 in. 
 
 Signed AUDRAN 
 
 T HIS tapestry pictures a most vivacious scene. An archery tours 
 nament is in progress, and the contestants are aiming at a hush 
 placed upon a high pole. In the foreground are a number of people 
 seated upon the ground and watching the game. Upon the extreme 
 right, seated upon their horses, the seigneur of the country and his 
 wife gaze upon the scene. He wears a blue tunic and a violetshlue 
 hat lined with red, and is mounted upon a white Arabian horse, while 
 she is superbly dressed in red damask and rides a Spanish jennet, 
 whose trappings are most elaborate. Behind them is an attractive 
 couple mounted upon a patient horse. In front of them a man and a 
 woman are engaged in an absorbing conversation. The man’s left 
 arm rests upon a large drum. A small hoy with arrows in both 
 hands, and followed by a dog, runs towards them. In the left fore* 
 ground sits a group of three ; the man, who wears a heliotrope cos* 
 tume and red cap, has turned his head away from the main scene; 
 the woman, clad in a blue robe, exhibits marked surprise ; and the 
 child, half startled, half interested, seeks protection in her arms. 
 The pale yellow and green landscape forms an excellent hacks 
 ground for the brilliant colors of the main composition. 
 
 The border imitates a carved and gilded frame, and shows a des 
 sign that was used only during the reign of Louis XV. The borders 
 of the other two pieces are composed of ornamental cartouches and 
 conventionalized leaves, apparently turned around a baton, in the 
 usual style of the Gobelins borders of that epoch. 
 
 Ffoulke Collection. 
 
 244 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
THE RECRUITING OFFICER 
 Height, 9 ft., 2 in. Width, 6 ft., 6 in. 
 
 Cartoon hy Etienne Jeaurat. 
 
 Woven under Michel Audran. 
 
 T HIS tapestry was woven at the Gobelins about the year 1750. 
 
 The scene is laid in front of a country tavern hearing the sign 
 of a flask and the motto, “A La Bouteille.” 
 
 The recruiting officer, in his military coat of blue, turned hack 
 with red, is the central figure. He is touching glasses with one of the 
 three persons seated before him at a rustic table formed of hoards 
 and barrels. 
 
 The colors of the uniform appear again, in softened shades, in the 
 dress of a mendicant standing at the extreme right. A woman pres 
 paring vegetables is seated at the left. In the shadow of the door? 
 way a maid is cutting bread for a waiting pilgrim. From an open 
 window a young girl looks down with interest upon the scene. 
 
 The coloring of the tapestry is particularly characteristic of the 
 Gobelins at this period in its flesh tints and rich and mellow tone. 
 
 It would he impossible to combine in one composition, in a more 
 interesting and artistic manner, the giving of bread in one scene ; 
 the unnoticed appeal for alms in another; attention to household 
 duties, and reflective listening in a third ; curious, and one may say 
 inquiring attention in a fourth; all aiding in the development of a 
 welblaid plan and in its effects in the main scene. The manner of 
 treating the composition, and the clever portrayal of the varied exs 
 pressions of the faces are very characteristic of Jeaurat. 
 
 The border carries out harmoniously the color scheme of the taps 
 estry, and is composed of ornamental cartouches and conventions 
 alized leaves that imitate carved and gilded wood. Delicately tinted 
 leaves and flowers encircling a baton are included in the border, 
 following a design in great favor at the Gobelins manufacture. 
 Ffoulke Collection, 1904. 
 
TRIUMPHAL MARCH OF CHARLES V 
 Height, 12 ft., 6 in. Width, 22 ft., 3 in. 
 
 T HIS tapestry was woven in the first quarter of the XVIII cen* 
 tury at Malgrange, near Nancy, by weavers from the Gobelins. 
 It is a historical fact that men from this establishment were permits 
 ted by the French Government, at the request of Duke Leopold of 
 Lorraine, to accept service with Charles Mittee of Malgrange, for 
 the purpose of weaving a series of tapestries to illustrate and per* 
 petuate some of the principal events in the life of the Duke’s great 
 ancestor, Charles V of Germany and Spain. 
 
 The scene represents a procession in which Charles V is naturally 
 the dominant figure. He sits enthroned upon a dais which rests 
 upon a gilded car drawn by four horses, harnessed abreast, and led 
 by two servitors. Four female figures, representing the four quar= 
 ters of the globe, are seated upon the lower step of the dais. In the 
 allegorical group, Europe holds a crown and a miniature chapel; three 
 other crowns and two sceptres lie beside her upon the rich carpet 
 covering the platform of the car. Asia holds a basket of flowers in 
 her lap and swings an incense burner. America, a dark Indian girl 
 crowned with feathers, carries a bow in her uplifted hand. Africa, 
 represented as a negress with her head decorated with the trunk 
 and tusks of an elephant, is in deep shadow in the background . 
 
 The goddess of Fame, with wings extended, rides the cloud be? 
 hind the Emperor and holds a wreath of laurel above his head. He 
 is escorted by a large and magnificent cavalcade whose white horse? 
 are richly caparisoned. From the bend of a distant hill his courtiers 
 ride forward and sweep majestically across the entire front of the 
 tapestry, passing around a fountain on the right. With fluttering 
 flags and sounding trumpets, they cross in front of the terrace of 
 the palace where the Empress stands, surrounded by her court, and 
 disappear behind the left wing of the palace. 
 
 The wools and silks with which this tapestry was woven were 
 dyed under the direction of Van den Kerchove, possibly the most 
 successful superintendent who was ever employed in the dyeing 
 department of the Gobelins. His clear blue is seen in the robe of 
 Europe and in the costume of the attendant holding the farther 
 horse of the car; his brilliant green, in the flowing mantle of the 
 
 250 
 

 
near attendant ; and his deep rich red in the costume of Charles V, 
 and in the plumes and mantles of his escort. The white horses are 
 wonderfully shaded, and, in the distance, melt away in the grey of 
 the palace on the right, and into the neutral green of the distant hills 
 on the left. In the joyous life, action, and brilliant color of this piece 
 the artist has struck the keynote of triumph with no uncertain hand. 
 Cartoonist and weaver have produced a chef d’oeuvre of textile 
 painting which is probably unrivalled in America. 
 
 The border is woven to represent a picture frame. In the four 
 corners are scroll effects around a shell, all differing slightly in de- 
 sign. In the lower right-hand corner is plainly seen a “G” which may 
 be intended to stand for “Gobelins.” The heraldic designs in the 
 top, bottom and side borders bear the crowns of a duke, a marquis, 
 a count, and a baron. The color is a deep yellow which shades into 
 orange. 
 
 Ffoulke Collection, 1891. 
 
JACOB AND LABAN 
 Height, 9 ft., 6 in. Width, 9 ft., 10 in. 
 
 T HIS tapestry, woven in France during the reign of Louis XIV, 
 exhibits so many characteristics of the Gobelins manufactory 
 that presumably it was either woven there, or executed by weavers 
 of that noted atelier, sent to fulfill some special order in the provinces. 
 The cartoon is of an earlier period, and its drawing reminds one so 
 strongly of Raphael’s style and manner, that while one would hesk 
 tate to attribute it to that great master, it is undoubtedly of his 
 school and from the brush of a not unworthy pupil. 
 
 Jacob, having asked permission of Laban to return to his own 
 country, is on the eve of departure. He stands in front of Laban 
 with right arm raised and points to the unseen flocks with which 
 he has enriched Laban by his twenty^one years of service. He 
 wears a light blue velvet tunic with gold embroidery, and a rich red 
 mantle decorated with designs in yellow and lined with the latter 
 color. On the left is Laban, his pose showing plainly his regret at 
 his sondndaw’s departure. He is clothed in a rose tunic and yellow 
 mantle of V enetian Renaissance velvet with designs in red. Behind 
 him his wife is in the act of saying farewell to their daughter, 
 Rachel. The mother wears a yellow robe and a long violet scarf falls 
 from her head over her shoulders. Rachel has a robe of oranges 
 yellow and a green mantle which falls from her left shoulder to her 
 feet, showing the lining of yellow with designs in red and violet. In 
 the right foreground a servitor in a blue costume, with legs and 
 arms hare, is loading a camel, of which only the head and forelegs 
 are visible. 
 
 The flesh tints are admirable and they, together with the colors 
 in the costumes, have preserved their original tones with extraors 
 dinary endurance. The soft and delicate blues, greens and yellows 
 in the landscape background accentuate in a remarkable manner the 
 magnificent coloring of the costumes. 
 
 In the attractive border surrounding the tapestry, vases and fes* 
 toons of flowers, parrots, and other birds, are gracefully mingled 
 with an arabesque design enclosed in a narrow moulding. 
 
 Ffoulke Collection, 1904. 
 
 Now in the possession of Cornelius K. G. Billings, Esq. 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 ; :.,; -f - ' ' v i* ’• ; ;_' ." .'_' . .... 
 
TWO MYTHOLOGICAL SUBJECTS 
 
 i 
 
 SEARCHING FOR HIDDEN TREASURES 
 Height, i o ft., 6 in. Width, 9 ft., 3 in. 
 
 II 
 
 APOLLO AND THE MUSES 
 Height, 10 ft., o in. Width, 9 ft., 3 in. 
 
 T HESE tapestries are of French weave, and the presence of gold 
 and silver threads in some of the costumes shows them to he of 
 an earlier period than the framedike borders which surround them. 
 
 The illustration, which is that of the first tapestry, shows a 
 prophetess in the presence of a queen, superintending the search for 
 some hidden treasure at a spot where large trees have grown up 
 amid the ruins of a temple. The queen is seated upon a mossy 
 hank; she wears a crown and a goldendiued robe, carries a sceptre 
 in her left hand and points with her right forefinger to a written 
 scroll. A maid of honor kneels behind her. Another maid of honor 
 stands at the queen’s right. She holds a divining instrument in her 
 left hand and points upward with her right. The principal persons 
 age is the prophetess who directs the man lifting a block of marble. 
 She wears a blue robe under a rose^colored mantle which sweeps 
 the ground, and leans upon a page who with his left hand raises the 
 folds of her dress. 
 
 The second piece pictures five of the Muses listening to a lyrical 
 solo by Apollo who sits upon a grassy knoll in front of a temple 
 dedicated to himself. He wears a chaplet of ivy leaves and a loosely 
 folded dark blue mantle. The Muses are grouped on the same knoll, 
 lower down, by the side of a tiny waterfall. In the foreground are 
 large trees and birds flying against the blue sky; in the distance is a 
 stream of water, and beyond, undulating hills. 
 
 Both tapestries are from the same atelier, and probably are the 
 work of the same hand. The dark foliage of the trees, contrasting 
 admirably with the rich colors in the costumes of the small and 
 decorative figures, makes these two pieces very attractive and 
 pleasing. 
 
 The borders are alike and very narrow. They imitate the con* 
 ventional frame of gilded carved wood. 
 
 Ffoulke Collection. 
 
 259 
 
THE TOILET OF VENUS 
 Height, 9 ft., 6 in. Width, 7 ft., 9 in. 
 
 T HIS tapestry was woven at the Beauvais ateliers during the 
 reign of Louis XV and is from a cartoon of the Boucher school. 
 Venus, in her car, attended hy the gods. Hymen and Cupid, and 
 her emblematic turtle-doves, has just descended in a hank of clouds. 
 Having alighted upon a grassy mound, adorned with flowers, over 
 which she has thrown her rich red mantle, she steps into a stream 
 of water, which, laden and scented with flowers, flows from the urn 
 of a river nymph. A little Cupid presents her with the golden apple. 
 
 The cloud which brought V enus to the earth floats away in the 
 distance, and melts into the soft green of the landscape background. 
 
 The tones of this tapestry are very soft and delicate, the mantle 
 and roses giving the only pronounced hits of color. It is a veritable 
 work of art in composition, drawing, coloring and execution. 
 
 A similar tapestry, hut with a different subject, exists in the Garde- 
 Meuble of Paris. 
 
 The tapestry is surrounded by a frame-like border of convention- 
 alized foliage and other characteristic designs. 
 
 Ffoulke Collection. 
 

 
 

THE GYPSIES 
 
 Height, 9 ft., 7 in. Width, 8 ft., 8 in. 
 
 T HIS XVIII century French tapestry was probably woven dur- 
 ing the minority of Louis XV under the regency of the Duke 
 of Orleans. The character of the composition, fineness of the point, 
 atmospheric clearness, rendering of the landscape, and the figures 
 and faces of the personages, lead to the conclusion that it was woven 
 by Beauvais weavers during the hours they were free to work for 
 their own benefit. 
 
 The scene is laid in a deep gorge. On the left is a rocky hill with 
 precipitous sides and crowned by a couple of trees ; on the right is a 
 mountain surmounted by the ruins of a castle in front of which are 
 herders and their sheep. Down the side of the mountain tumbles a 
 waterfall which ends in a brook below. The gorge opens on the 
 charming vista of fertile plains and distant mountains, whose peaks 
 are lost in clouds. The eight figures in the foreground are all small 
 and well drawn. A fortune-teller on the right reads the palm of a 
 forester. A barefooted hoy holding a bird stands at his left. In the 
 center walks a woman with a basket on her arm and a long stick in 
 her hand. Of the three women on the left, one is partially hidden 
 by a mother who holds an infant upon her lap and a tall gypsy who 
 stands eating an apple before a tranquil donkey. 
 
 All the women wear head-coverings, and the reds, blues and 
 yellows of their garments fight up pleasantly the green tone of the 
 tapestry. 
 
 The border is composed of conventionalized foliage upon a lus- 
 trous blue ground. It is rococo in style and character, with its 
 corners imitating shells, and is an exceedingly appropriate frame for 
 the picturesque and interesting gypsy scene. 
 
 Ffoulke Collection, 1904. 
 
 265 
 
RINALDO IN THE GARDEN OF ARMIDA 
 Height, 9 ft., 3 in. 'Width, io ft., 2 in. 
 
 Cartoon by Louis de Bologne and Collaborators. 
 
 Mark# Signed ACC. BEAUVAIS 
 
 T HE subject of this tapestry is taken from Tasso’s “Jerusalem 
 DeUvered.” It was woven in the Royal Beauvais establish* 
 ment under Cbarron about the middle of the XVIII century. 
 
 In the background a series of marble arches encircle the garden, 
 and beneath one of them stand Carlo and Ubaldo, who have come 
 in quest of Rinaldo. Carlo carries the wand which protects them 
 from the wiles of the sirens playing in the pool of water nearby; 
 and Ubaldo holds the shield of Rinaldo upon which was graven the 
 great deeds of his ancestors and himself. 
 
 In the foreground, Rinaldo, with a garland of flowers around his 
 waist, reclines in the lap of Armida, and holds before her a mirror. 
 Several winged cherubs sport with his armor, and one holds aloft 
 his spear, to which Cupid’s quiver is attached; the latter stands in 
 front of the lovers with empty bow; above them hovers the little 
 god Hymen, holding in his left hand a torch, and in his right a bunch 
 of flowers. 
 
 The Paladin wears a red tunic beneath pliant and scaled body 
 armor, and over this a rich brown mantle. Armida wears a white 
 robe, blue mantle and ivory*tinted veil. 
 
 The rich costumes, and the gay plumage of the peacock perched 
 upon a tree at the right, stand out in pleasant relief upon a ground 
 of soft green foliage. 
 
 The artists have given their talents full play in this composition. 
 Nature appears in one of her most charming moods, the architec* 
 tural background is effective and impressive, and the beautiful fig* 
 ures full of life and movement. 
 
 The narrow border contains a design of conventionalized leaves 
 imitating the carved and gilded wood of a picture frame. This style 
 began to supersede the ancient decorative borders about 1736. 
 Ffoulke Collection, 1904. 
 
 266 
 

 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
TWO BERAIN PANELS 
 
 Height, 2 ft., 9 in. Width, 3 ft., 4 in. 
 
 T HE great popularity of illustrating children as gardeners ex= 
 tended through a period of three hundred years. The idea 
 seems to have originated with Jules Romain in the XVI century; 
 was extensively carried out by Charles Le Brun in the XVII ; and 
 finally adopted in the XVIII century by Jean Berain, with whom 
 the idea of introducing children as actors as well as gardeners in 
 small panels apparently originated. 
 
 These panels, designed by Berain, were woven at Beauvais dur* 
 ing the reign of Louis XV. The illustration shows the half kneeling 
 figure of a chubby, bright^eyed hoy, in the act of cutting a branch of 
 flowers and leaves with a pair of shears which he holds with both 
 hands. His arms and feet are bare. His curling hair is partly hidden 
 by a cap. His short trousers are red, and over a white shirt he wears 
 a red striped jacket. His feet rest upon a baton, on the right and left 
 of which are scrolls of conventionalized leaves. From a design 
 above his head are suspended, in front of and behind him, festoons of 
 flowers and leaves which are caught up by delicate scroll designs. 
 The whole is enclosed by four corners of a frame design, which are 
 connected at the bottom only, and by a frameslike strip of convene 
 tionalized leaf stalks which practically constitutes the border. 
 
 The companion piece pictures a similar hoy in the costume of an 
 actor. His face is in profile, and he holds a mask before it with his 
 right hand, while his left rests upon a scroll of leaves. The charac* 
 ter of the design is the same as that in the illustrated panel. 
 
 The children in their red costumes and the accessories of flowers 
 and leaves stand out in beautiful relief upon the exquisite yellow 
 background. Both pieces are charming examples of Berain's best 
 work, and of the Beauvais ateliers. 
 
 Ffoulke Collection. 
 
ACHILLES MORTALLY WOUNDED BY PARIS 
 
 Cartoon by Houasse 
 Height, io ft., 9 in. Width, 24 ft., 6 in. 
 
 T HIS tapestry was woven after a model by Houasse, between 
 1730 and 1740 in the Royal Beauvais ateliers, France, for Car* 
 dinal de Rohan. Unfortunately the border of this piece was cut off 
 about thirty years ago, but enough of the Cardinal’s armorial bear* 
 ings remain to show, on an ermine background, part of his coat* 
 of arms, part of a sword, and part of a marechal’s baton crossed; the 
 red tassels of a cardinal’s hat ; and the star and dove of the princely 
 Order of the Holy Spirit. 
 
 A little to the left of the center of the tapestry Achilles stands at 
 the altar, upon which a fire burns, ready to solemnize his marriage 
 with Polyxena. He wears a helmet with red*purple plumes, silvers 
 colored cuirass, pale yellow tunic, red mantle and light blue breeches. 
 He is accompanied by his suite and escorted by a troop of his Myr* 
 midons. Polyxena arrayed in lustrous white satin, rose mantle and 
 pearl ornaments, stands beside him. She is attended by two maids 
 of honor in white veils and yellow robes, and by two young girls, 
 one of whom holds up her mantle. In the rear of this group stand 
 King Priam, Queen Hecuba and their suite. The King wears his 
 crown, has a ruby red mantle, and with one hand grasps his beard. 
 Hecuba has a pale yellow mantle with designs in red. On the ex? 
 treme right the glorious figure of Apollo, draped in a rose mantle, 
 floats upon a cloud. His head is illuminated by the golden effulgence 
 of his emblem as god of the sun. He carries a bow, and a quiver of 
 arrows rests at his side upon the cloud. He hovers above Paris and 
 directs his aim. The latter, a swarthy man, wearing a dark red pa* 
 nache, steel helmet, mantle and cuirass, with bent figure, leans for* 
 ward and shoots from his bow the arrow which is seen in Achilles’ 
 heel. Paris is partly hidden by a large fluted column, and fully con* 
 cealed by the arts of Apollo from the troop of Myrmidons, who ap* 
 pear unaware of the mortal wound given to their chief. Deiphobus, 
 wearing a pale violet mantle, appears to support the falling Achilles, 
 but he grasps the hero’s mantle, sword hilt and right arm in order to 
 prevent him from defending himself. Behind these two stands the 
 
 272 
 
' 
 
 , 
 
 
 
 
white*haired and white*bearded Ulysses, bis eyes expressing tbe 
 deepest woe; witb one band be grasps bis rose*colored mantle, and tbe 
 other is extended in despair. Achilles’ son, Pyrrhus, is on bis father’s 
 right and wears a pale yellow panache. A kneeKng man at tbe bead 
 of tbe Myrmidons has cast down bis spear and, witb face bidden be* 
 bind bis bands clasped upon bis knee, gives way to bis grief. 
 
 Tbe setting of this tragedy is a large palatial ball witb fluted violet* 
 tinted columns draped in red. Tbe architectural background brings 
 out in fine rekef tbe rich costumes of tbe actors in tbe scene. Tbe airy 
 figure of Apollo is most beautifully and skillfully rendered, while all 
 tbe other personages are well drawn and their characteristics clever* 
 ly portrayed. It is difficult to conceive bow such a variety of motions 
 could be so successfully interpreted in a single tapestry, or bow 
 such a variety of colors could be so successfully woven therein. 
 
 Baron Jules Francbetti, 1870. 
 
 Ffoulke Collection, 1904. 
 
 2 75 
 
TWO MYTHOLOGICAL SCENES 
 
 i 
 
 VENUS ATTENDED BY SEA NYMPHS 
 Height, ii ft., 8 in. Width, 8 ft., 6 in. 
 
 Mark ]}l|f J) 
 
 II 
 
 JUPITER AND JUNO WITNESSING THE MARRIAGE OF 
 
 CUPID AND PSYCHE 
 
 Height, ii ft., 8 in. Width, 8 ft., 6 in. 
 
 Mark BWB 
 
 T HESE tapestries were woven in France during the latter part of 
 the reign of Louis XIV. Each hears a unique and original mark 
 woven into the subject of the tapestry. The fleursde^lis proves the 
 French origin, hut it is not known which atelier is designated by the 
 B’s. The threads of warp and woof are very fine; the compositions 
 well managed, with good perspective results and pleasing decorative 
 effects. 
 
 The illustration, which is that of the first tapestry, represents 
 Venus standing upon a large shell which rests upon the water. She 
 wears a pale yellow robe and a light blue scarf floats about her. One 
 sea nymph gracefully reclines at her feet, and two others swim be* 
 side the shell, accompanied by dolphins, while a swimming man 
 appears to pull the shell towards the open sea. In the right fores 
 ground a man rides a sea-horse. Further back are three small female 
 figures, one of which sits upon a dolphin’s back and plays upon a 
 lyre. A rocky promontory with trees growing at the top forms the 
 background, where, on the right of it, sky and sea meet in the dis* 
 tance in soft tints of blue and silver. 
 
 In the foreground of the second piece Cupid and Psyche stand 
 with hands clasped across an altar, upon which burns a fire and be* 
 hind which is Hymen with a lighted torch. Cupid has his quiver 
 upon his back and wears a red mantle, while Psyche is clad in pale 
 blue with a mantle of red and orange. Juno, attended by her peacock, 
 
 276 
 

 
 
is seated upon a rock watching the scene, while Jupiter, with his at* 
 tributes, rides upon a cloud in the background. In the left middle 
 plane Neptune, in his chariot drawn by two horses, and attended by 
 a couple of servitors, rides toward the shore. The coloring of sky 
 and sea shows the same blue with silver lights as the companion 
 piece. 
 
 The borders of both tapestries imitate carved frames. 
 
 Ffoulke Collection. 
 
PASTORAL SCENES 
 
 i 
 
 SPORTSMAN SHOOTING BIRDS 
 Height, 9 ft., o inches. Width, io ft., o in. 
 
 II 
 
 THE WATERING TROUGH 
 Height, 7 ft., 9 in. Width, 5 ft., 4 in. ^ 
 
 III 
 
 THE HUNTSMEN 
 Height, 9 ft., 3 in. Width, 5 ft., 9 in. 
 
 IV 
 
 CHASING THE WILD BOAR 
 Height, 9 ft., 3 in. Width, 6 ft., 6 in. 
 
 V 
 
 RESTING BY THE BROOK 
 Height, 9 ft., 3 in. Width, 3 ft., 10 in. 
 
 VI 
 
 GARDEN SCENE 
 Height, 7 ft., 9 in. Width, 9 ft., 10 in. 
 
 These tapestries were woven in the royal ateliers at Aubusson, 
 France, during the reign of Louis XV, the period when the ateliers 
 were under royal patronage and at the zenith of their success. They 
 possess all those decorative qualities for which the tapestries that 
 were woven in these ateliers have always been celebrated. 
 
 In the first tapestry a man standing near a small shooting lodge is 
 taking aim with his gun at a bird flying in the air. A pony, with 
 saddle and bridle, is near, and through the branches of the trees can 
 be seen the turret of a castle. 
 
 280 
 
In the second, two women stand by the side of a large stone 
 trough, into which water flows from a pipe several feet above it. 
 One holds in her left hand a pitcher ; behind her is a cow with large 
 horns and a shepherdess with a flock of sheep. Tall trees with lux= 
 uriant foliage occupy all the upper portion of the tapestry; through 
 their branches a distant mountain is visible. 
 
 Two men with guns, a woman and a child occupy the foreground 
 of the third piece. One man, who leans forward with hands clasped 
 together and gun held loosely in the bend of his arm, appears to be 
 asleep. His companion, who holds his gun with the muzzle downs 
 ward, stands in front of the woman who is seated on the bank of a 
 stream with her child leaning upon her lap. A dog is in the act of 
 drinking from the stream. Trees with trunks reaching to the top of 
 the tapestry surround them. 
 
 In the foreground of the fifth tapestry, at the foot of a large tree, 
 are two people. They are resting on the bank of a stream, and one 
 is apparently putting on a stocking. In the background are impose 
 ing antique buildings. 
 
 The fourth and sixth tapestries are illustrated and more fully de* 
 scribed. 
 
 Ffoulke Collection. 
 
 I now in the possession of J. R. Ffoulke, Esq. 
 
 II, III and IV now in the possession of Cornelius K. G. Billings, 
 
 now in the possession of Dr. A. Canfield. 
 
 VI now in the possession of Ludwig Dreyfuss, Esq. 
 
 281 
 
IV 
 
 CHASING THE WILD BOAR 
 Height, 9 ft. Width, 6 ft., 6 in. 
 
 T HE foreground in this piece is occupied by two men on horses 
 hack, a wild hoar and a couple of dogs. The horse on the right 
 gallops forward, while his rider attacks the boar with a weapon 
 held in his right hand; only the hacks of the other horse and man are 
 visible, but the latter also attacks the boar as he rides past. Both 
 dogs are rushing in front of the animal and barking. Large trees are 
 on the right, and in the background, half hidden by dense foliage, 
 stand a church and farm house. The men wear red coats, and their 
 costumes, like those worn by the personages in the other five taps 
 estries, are of the time of Louis XV. The colors of the costumes 
 stand out in pleasant contrast against the surrounding green of the 
 landscape, and add much to the decorative effect of this tapestry. 
 
 The border is the same in design and color as those which surs 
 round the other tapestries of this series. 
 
 Now in the possession of Cornelius K. G. Billings, Esq. 
 
 282 
 

 
 
 
 

 
 
 
 
 
 

 
 
 'jp** r*r^ w ^ ^ ^ hf .H 
 
 ji. 
 
 
VI 
 
 GARDEN SCENE 
 
 I N the foreground of this piece a man, and a woman who wears a 
 yellow dress over a blue skirt with a touch of red at the bodice, 
 are seated at the foot of a large tree on the hank of a stream. A grace? 
 ful girl bends forward just behind them. In the left center plane is a 
 picturesque bridge which leads to a large and imposing chateau sur? 
 rounded by trees. On the right are ruins of an old castle. Back of 
 the large tree, whose spreading branches occupy much space in 
 the tapestry, is another tree, and in the immediate foreground many 
 plants whose leaves are all distinctly and carefully drawn. 
 
 The architectural features have been managed with much skill; 
 they appear to mould into and form, as they should, an integral part 
 of the background scene, and are shaded and toned into entire har? 
 mony with the landscape. The foliage is woven in deliciously soft 
 and delicate tones ; there are no vivid colors or violent contrasts. 
 
 The border of this tapestry is the same as those surrounding the 
 other five pieces. It resembles a carved frame decorated at reg lar 
 intervals with bouquets of flowers and leaves. The border designs 
 varied little at Aubusson during the time of Louis XV and their style 
 can easily he recognized. 
 
 Now in the possession of Ludwig Dreyfuss, Esq. 
 
 287 
 
FOUR ROYAL AUBUSSON PANELS 
 
 i 
 
 A CHINESE GARDEN 
 Height, 7 ft., 8 in. Width, 4 ft., 8 in. 
 
 II 
 
 FLOWERS AND LEAVES WITH PAGODA AND BRIDGE 
 Height, 7 ft., 8 in. Width, 5 ft., 9 in. 
 
 Signed AVBVSSON. 
 
 III 
 
 A ROPE OF LEAVES AND FLOWERS AND SMALL 
 
 PAGODA 
 
 Height, 7 ft., 8 in. Width, 5 ft., 9 in. 
 
 Signed AVBVSSON 
 
 IV 
 
 LEAVES WITH LARGE BIRD AND DISTANT PAGODA 
 Height, 7 ft., 8 in. Width, 4 ft., 8 in. 
 
 Signed M.R.D. AVBVSSON 
 
 These four panels were woven in the Royal Aubusson atelier 
 during the reign of Louis XIV and are purely decorative, being 
 without figures, and of the kind known in France as 1 Verdures.” 
 The cartoons were drawn by an artist who, with French skill, has 
 modified Chinese decorative effects to suit the taste of his country? 
 men. In this difficult task, so often tried by the artists of his day, 
 he has succeeded wonderfully well and the panels are most effective 
 and pleasing. 
 
 From the upper left?hand corner of the first tapestry extends the 
 bough of a tree thickly covered by foliage; on the rightdiand side 
 stands a hush of luxuriant growth, in the center of which a bird of 
 paradise is resting. 
 
 The illustrations given show in the second piece a mass of leaves 
 and flowers, rising, like a tree, up through the center of the tapestry, 
 with a pagoda crowning a hill on the right, and a bridge spanning a 
 stream on the left. In the third a treedike mass of flowers and leaves 
 
 288 
 
AVBVSSOM 
 

 
 
 
 
 
 
occupies nearly the entire space, the only other objects being a diss 
 tant hill and pagoda on the right. The fourth panel, which is signed 
 by the initials of the weaver, has a stunted tree in the center, and a 
 large and curious bird in the foreground. On the left a small house 
 stands upon a rock. The foliage in all four pieces is olivesgreen with 
 deep yellow lights, interspersed with red flowers. The background, 
 mellowed by age, is almost ecru in color. 
 
 Although green is the predominating color, the soft yellow high 
 lights and the ecru background, combine in giving a most delightful 
 amber tone to these panels. All the tapestries are surrounded by 
 framedike borders which are composed of conventionalized tamcok 
 ored leaves, with red flowers between them, upon a ground of delis 
 cate green. 
 
 Ffoulke Collection. 
 
 IV is now in the possession of James R. Sheffield, Esq. 
 
 291 
 
TWO LOUIS XV PORTIERES 
 Height, 9 ft., 2 in. Width, 5 ft., 2 in. 
 
 T HESE panels were woven in the Royal Aubusson ateliers dur; 
 
 ing the reign of Louis XV. The one illustrated represents a gars 
 den scene. In the foreground are two female figures. The one on the 
 right is clad in a laced bodice and a blue petticoat over which a pink 
 skirt is looped. She carries on her head a basket of fruit which she 
 holds in place with her left hand. The other wears a long, loose, 
 flowing robe of a reddish tint. A broad red hand confines her hair, 
 and elaborately laced sandals are upon her feet. With a waterings 
 pot held with both hands she sprinkles a broadslea fed plant which is 
 just in front of her. Howering plants in pots are on her right and 
 left. In the background green trees rise above a garden enclosed by a 
 lattice fence ; broad steps lead down to the level where the women 
 stand. Directly behind them are two trees. 
 
 The companion piece also contains two figures in the foreground. 
 On the right a barefooted maid, clad in a rosestinted robe and yellows 
 brown mantle, carries a basket of flowers and fruit upon her head. 
 She is gazing at a kneeling satyr wearing a crown of leaves and 
 flowing white robe who is plucking grapes from a large pendant 
 hunch. The landscape background is prettily framed by two trees, 
 one of which is on the right, and the other on the left, of the fores 
 ground. A grapevine, from which hang luscious grapes, twines 
 around the trunk and branches of the tree on the left, and unites at 
 the top of the tapestry the branches of both trees. In the foreground, 
 behind the girl, is an immense yellow pumpkin, and just above it a 
 plant with big blooming roses. 
 
 These panels were woven originally to he used as portieres and 
 while their tone of color is rather soft and delicate, they are ex; 
 tremely decorative. The frameslike borders are decorated all around 
 at regular places with bouquets of flowers and leaves. 
 
 Ffoulke Collection. 
 
 Now in the possession of Arthur Curtiss James, Esq. 
 
 292 
 

 
 
 
 
 
A MARINE AND HARBOR VIEW 
 
 Height, 9 ft., 6 in. Width, io ft., 3 in. 
 
 T HIS tapestry was woven without a border in the early part of 
 the XIX century in the Royal Aubusson ateliers after a model 
 by Vernet, the celebrated marine painter. 
 
 It contains nine figures in the foreground, and several more in the 
 center field. Some ships are entering from the offing, and a large 
 boat is taking on cargo and passengers at the wharf. A woman and 
 child sit in the stern of the boat. A man rolls a barrel into its place. 
 Another gazes over the side of the boat. Behind the man holding 
 the boat to the wharf are two figures, one sitting and the other 
 standing with a long pipe in his hand. On the steps leading down 
 to the water are two men engaged in earnest conversation. In front 
 of them is a large dog. 
 
 In the right middle plane is an architectural gateway, which 
 looks more like the entrance to a palace than to a warehouse. 
 
 There are few marine tapestries in existence, and this one is un? 
 usually attractive. The perspective features are excellent, for be= 
 yond the harbor one can follow the coast line to the lighthouse and 
 distant sea. The picturesque boats and ships appear to be actually 
 moving, and the vivacious scene in the foreground is cleverly and 
 truthfully rendered. The green of the foliage, the blue of the water, 
 and the red in the costumes of the figures, combine in making this 
 tapestry particularly bright and decorative. 
 
 Ffoulke Collection. 
 
 Now in the possession of Arthur Curtiss James, Esq. 
 

 
 
 
ITALIAN TAPESTRIES 
 

 
 
 
 
THE LIFE OF CHRIST SERIES 
 
 Cartoons by Jean Francois Romanelli 
 
 I 
 
 THE ANNUNCIATION 
 Height, 15 ft., 8 in. Width, 13 ft.. Sin. 
 
 Signed IAC. D.L. RIV. 
 
 II 
 
 ADORATION OF THE SHEPHERDS 
 Height, 15 ft., 8 in. Width, 13 ft., 8 in. 
 
 Signed IAC. D.L. RIV. 
 
 III 
 
 ADORATION OF THE MAGI 
 Height, 15 ft., 8 in. Width, 13 ft., 4 in. 
 
 IV 
 
 THE FLIGHT INTO EGYPT, WITH THE INSCRIPTION 
 AEGYPTVS SANCTIFICATA 
 
 Height, 15 ft., 8 in. Width, 17 ft., o in. 
 
 Signed IAC. D.L. RIV. 
 
 V 
 
 THE BAPTISM OF CHRIST 
 Height, 15 ft., 7 in. Width, 13 ft., 5 in. 
 
 Dated MDCLI. Signed IAC. D.L. RIV. 
 
 VI 
 
 THE TRANSFIGURATION 
 Height, 15 ft., 6 in. Width, 12 ft., 1 in. 
 
 Signed IAC. D.L. RIV. 
 
 301 
 
VII 
 
 THE LAST SUPPER 
 Height, 15 ft., 8 in. 'Width, 17 ft., 3 in. 
 
 Signed IAC. D.L. RIV. 
 
 VIII 
 
 THE MOUNT OF OLIVES (THE PASSION) 
 Height, 15 ft., 8 in. "Width, 13 ft., 4 in. 
 
 Signed I.A.C. D. L.R.V. 
 
 IX 
 
 THE CRUCIFIXION 
 Height, 15 ft., 6 in. V/idth, 12 ft., 10 in. 
 
 Signed I.A.C. D.L. R.I.V. 
 
 X 
 
 THE RESURRECTION 
 Height, 15 ft., 8 in. W’idth, 13 ft., 8 in. 
 
 XI 
 
 GIVING THE KEYS TO ST. PETER 
 Height, 15 ft., 8 in. Width, 17 ft., 2 in. 
 
 XII 
 
 MAP OF THE HOLY LAND 
 Height, 15 ft., 8 in. WTlth, 19 ft., 1 in. 
 
 Dated MDCLII Signed IAC. DL. RIV. 
 
 Baldinucci informs us that Cardinal Francois Barberini gave 
 Romanelli an order to paint cartoons for a series of tapestries destined 
 to cover the walls of the throne*room in the Barberini palace, where 
 the ceiling had been painted by Pietro da Cortona. 
 
 The subjects selected by Romanelli, and approved by the Cardb 
 nal, were “Scenes from The Life of Christ,” and Jacopo della Riviera 
 was charged with the translation of these cartoons into tapestries. 
 All the pieces except the third, tenth and eleventh are signed by an 
 abbreviation of his name. 
 
 302 
 
In the inventory of the tapestries owned by Cardinal Carlo Bar* 
 berini in 1695 this series is mentioned as “Series without gold, repre? 
 senting the Life of Christ, twelve tapestries.” 
 
 Mgr. Barbier de Montault in his work on “Roman Tapestries” 
 published in 1879, gi ves much information regarding this noted 
 series, and furnishes a list of the subjects, which is the same as here 
 given. Both Eugene Muntz, and Jules Guiffrey, in their works on taps 
 estries, emphasize the importance of these pieces and give their titles. 
 They were woven in the Barherini Palace and an effort was made 
 to obtain the cool effects of Italian frescoes instead of the richness and 
 warmth of Flemish tapestries. The reds, blues and greens, which are 
 the prominent colors, are bright and a little hard; the same tones 
 are repeated in the elaborate and interesting borders. 
 
 In the four corners of all the borders of these tapestries are car? 
 touches enclosing three bees, the emblem of the Barherini family, 
 encircled by a wreath. In the middle of the top borders of all except 
 the fourth and twelfth are cartouches with medallion centers, en? 
 closing in the first, second, fifth, sixth, eighth and eleventh, the 
 picture of an old Roman plough to which two bees are harnessed, 
 while a third drives them. In the third, seventh, ninth and tenth, 
 the medallion centers enclose a representation of the sun rising above 
 the sea. In the middle of the top borders of the fourth and twelfth 
 tapestries the medallion wreaths are supported by winged cherubs. 
 In the former the wreath encircles the words aegyptvs sanctificata, 
 and in the latter the words terra sancta. In these two tapestries 
 similar medallions and cherubs occupy the center of the bottom 
 borders. In the fourth the wreath encircles a scene in Egypt, and 
 in the twelfth the walled city of Jerusalem. In the center of the side 
 borders the cartouches contain representations of wayside chapels. 
 
 In the middle of the bottom borders of all the other tapestries the 
 cartouche with medallion center encloses a female figure with two 
 infants representing Charity. In the center of their lateral borders 
 a cartouche encloses the figure of Faith on the left, and that of Hope 
 on the right. The interstices between the cartouches are occupied 
 by entwined olive branches knotted with ribbons. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Acquired by Mrs. Elizabeth U. Coles in 1891 and presented by 
 her to the Cathedral of St. John the Divine, in New York City. 
 
 3°3 
 
VII 
 
 THE LAST SUPPER 
 Height, 15 ft., 8 in. Width, 17 ft., 3 in. 
 
 Signed I. A.C. D.L. R.I.V. 
 
 T HIS tapestry represents Christ seated at a table over which a 
 white cloth is spread. Six of his disciples sit on his right and six 
 upon his left. The artist has chosen the moment when the disciples 
 1 'Began every one of them to say unto him, 'Lord, is it I?’” John sits 
 at his right. Peter in the left foreground raises his left hand in pros 
 test. The face of Judas is not seen, for he turns away as Christ with 
 his right hand uplifted, and holding a piece of the bread which he 
 has just broken, gazes intently at him. Christ wears the usual flows 
 ing robe and there is a halo about his head. On the table is bread and 
 a goblet of wine. On the floor stand a ewer and basin. 
 
 It is evident that fervent faith guided the brush of Romanelli, 
 and the hroche of Riviera, otherwise they could not have expressed 
 so feelingly the humility of Mary in the presence of the angel; the 
 homage of the Magi; the faith and trust in repose, during the flight 
 into Egypt; the fervor of John and the abnegation of Our Saviour in 
 the baptism; the bewilderment of the disciples and the glory of 
 Christ in the transfiguration; their vehement protests and Christ’s 
 sadness in the Last Supper; the temptation of Christ and the tender? 
 ness of the ministering angels in the Passion ; the resignation of Our 
 Saviour, the devotion of the Marys in the Crucifixion; and the glori? 
 ous triumph of the Resurrection. 
 
 Acquired by Mrs. Elizabeth U. Coles in 1891 and presented by 
 her to the Cathedral of St. John the Divine, in New York City. 
 
k'slfe&t' 
 

 
 
 
 
 

 
 I 
 
XII 
 
 MAP OF THE HOLY LAND 
 
 Height, 15 ft., 8 in. Width, 19 ft., 1 in. 
 
 Dated MDCLII Signed IAC. DL. RIV 
 
 T HE twelfth tapestry hears the same signature as the others, and 
 the date of manufacture, 1652. The borders of the fourth tapes* 
 try and this one of the map are alike, and have been previously 
 described. 
 
 As it represents no scene in the Life of Christ it is not included 
 in the lists of Montault, Muntz, and Guiffrey, still as it pictures the 
 country in which these scenes were enacted, and is counted with 
 the others in the Barberini inventory, it seems strange that they 
 made no mention of it. 
 
 There are few tapestry maps now in existence, and this one is 
 unusually well preserved and curiously interesting. It is confusing 
 because it is not oriented in the regular manner. The north lies 
 towards the lower left*hand corner as is shown by the indicator in 
 the lower right*hand corner. There are mountains, plains, rivers, 
 tents, forts, villages and trees shown upon its surface. Jerusalem is 
 conspicuous from the space it occupies and the indication of its city 
 walls. The name is written in large letters above. A little higher 
 to the right of the Holy City the word “Bethlehem” is written over 
 a small cluster of buildings. Towards the top “Decapolis” stands 
 out in large letters and near the bottom “Galilaea.” “Phoenice” is 
 written across the hills and plains at the extreme left. The entire 
 map is dotted with the written names of more or less important 
 towns and villages. 
 
 Acquired by Mrs. Elizabeth U. Coles in 1891 and presented by 
 her to the Cathedral of St. John the Divine, in New York City. 
 
THE APOLLO SERIES 
 
 Cartoons by Nicolas Poussin. 
 
 I 
 
 LATONA WITH HER CHILDREN, 
 
 APOLLO AND DIANA 
 Height, 13 ft., 6 in. Width, 15 ft., 6 in. 
 
 II 
 
 DAPHNE FLYING FROM APOLLO 
 Height, 13 ft., 4 in. Width, 15 ft., 6 in. 
 
 III 
 
 APOLLO GUARDING THE HERD OF LAOMEDON 
 Height, 13 ft., 4 in. V/idth, 15 ft., 3 in. 
 
 IV 
 
 APOLLO AND THE NINE MUSES > ^ 
 Height, 13 ft., 8 in. Width, 8 ft., 11 in. 
 
 V 
 
 APOLLO AND ATTENDANTS FLAYING MARSYAS 
 Height, 13 ft., 6 in. Width, 15 ft., 4 in. 
 
 This series was woven about 1636, under the supervision of 
 Jacopo della Riviera or his son?in?law, after the cartoons of Nicolas 
 Poussin, in the atelier for the manufacture of tapestries established 
 in the Barberini palace by Cardinal Francois Barberini and presum? 
 ably for the personal use of the latter, as the borders bear his coat? 
 of?arms. 
 
 The five tapestries represent episodes in the life of Apollo; the set? 
 ting is always a landscape with fine old trees in the foreground, and 
 plains and distant hills in the background. The foliage is clothed in 
 the green of summer and nature is quiet and serene, all the action 
 
 3 IQ 
 
being centered in tbe personages, whose figures are small and corns 
 paratively unimportant. 
 
 There are no bright colors in any of tbe pieces. 
 
 Although all the standard works on Italian tapestry state that 
 Poussin furnished the cartoons for some of the tapestries manufac? 
 tured in the Barberini palace, no others exist in the collection which 
 could possibly have been executed from his cartoons. In this series 
 one recognizes with pleasure and delight the characteristic features 
 of his paintings. 
 
 The distant mountains tinted with blue and white, the nearer 
 hills, topped here and there hy a chateau, monastery, or farm house, 
 the foliage, the running water, and the personages all show the indk 
 vidual style of this great artist. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Now in the possession of Mrs. Hamilton McK. Twombly. 
 
II 
 
 DAPHNE FLYING FROM APOLLO 
 Height, 13 ft., 4 in. Width, 15 ft., 6 in. 
 
 T HE second tapestry is here illustrated. It represents the maiden 
 at the moment when Apollo extends his hand to seize her and 
 she is metamorphosed into a laurel tree ; her uplifted arms are turns 
 ing into branches and her hair bristles with foliage. On the other 
 side of the river sits Peneus, her father, one arm resting upon an urn 
 from which flows a stream of water, and holding a staff in his left 
 hand. He has heard his daughter’s cry for help, and instantly granted 
 her prayer. Large trees are in the foreground and an old building 
 stands upon a hill in the distance. 
 
 The borders form magnificently decorative frames for these 
 quiet landscapes, and in them we find just the amount of color 
 necessary to redeem the subjects they enclose from the monotony 
 of green. 
 
 In the top border of each is a cartouche enclosing the laughing 
 face of Bacchus, encircled by garlands and festoons of flowers and 
 leaves. To the right and left of the head of Bacchus are two cornu* 
 copias separated by large shells. In the bottom border is a cartouche 
 with a medallion center supported by two young satyrs. The medal* 
 lion encloses three bees, the emblem of the Barberini family, encir* 
 cled by a wreath. To the right and left of the satyrs are piles of fruit 
 attached to their shoulders by ribbons. In the lateral borders are 
 caryatides with the heads of women. Each of these, entwined 
 with a garland, holds upon its head a vase filled with flowers and 
 stands upon a pedestal ornamented with sphinxes and heads of rams. 
 Now in the possession of Mrs. Hamilton McK. Twombly. 
 
 3 12 
 

 
THE DIDO AND AENEAS SERIES 
 
 Cartoons by Jean Francois Romanelli. 
 
 I 
 
 INTERVIEW BETWEEN VENUS AND AENEAS 
 Height, 13 ft., 6 in. Width, 10 ft., 8 in. 
 
 II 
 
 CUPID IN THE GUISE OF ASCANIUS PRESENTING 
 THE GIFTS OF AENEAS TO DIDO 
 
 Height, 13 ft., 9 in. Width, 20 ft., 10 in. 
 
 Signed M. Wauters. 
 
 III 
 
 DIDO SACRIFICING TO JUNO ^ 
 Height, 13 ft., 7 in. Width, 15 ft., 3 in. 
 
 Signed J . F. Romanellus . * M . W r auter s . 
 
 IV 
 
 DIDO SHOWING AENEAS PLANS FOR THE 
 FORTIFICATIONS OF CARTHAGE 
 
 Height, 13 ft., 8 in. Width, 18 ft., 6 in. 
 
 Signed M. V/. 
 
 V 
 
 DIDO AND AENEAS PURSUED BY CUPID AND 
 HYMEN SEEKING SHELTER FROM 
 THE STORM 
 
 Height, 13 ft., 8 in. Whdth, 13 ft., 9 in. 
 
 Signed M. Wauters. 
 
 * Romanelli in signing his works used the Latin spelling of his name. 
 
 3*5 
 
VI 
 
 MERCURY NOTIFYING AENEAS THAT JUPITER 
 COMMANDS HIM TO LEAVE CARTHAGE 
 
 / 
 
 Height, 13 ft., 3 in. Width, 11 ft., o in. 
 
 Signed M. W’auters. 
 
 VII 
 
 PARTING OF DIDO AND AENEAS 
 Height, 13 ft., 3 in. Width, 13 ft., o in. 
 
 Signed M. Whuters. 
 
 VIII 
 
 DEATH OF DIDO 
 Height, 13 ft., 5 in. W^idth, 15 ft., 4 in. 
 
 Signed M. Wauters. 
 
 This series was woven hy M. W'auters, between the years 1635 
 and 1645, * n t ^ ie Barherini Palace at Rome, after cartoons hy Jean 
 Francois Romanelli. The third tapestry only hears the signature 
 of the cartoonist, but all except the first are signed hy the master 
 weaver. 
 
 In the inventory of tapestries owned hy Cardinal Carlo Barherini 
 in 1695, they are mentioned as “Series woven in silk and wool, repre* 
 senting the history of Dido and Aeneas, designed hy Romanellus, 
 eight tapestries.” 
 
 The large number in the series, the fineness of their texture, the 
 absorbing story which they illustrate, their strong and graceful 
 compositions, the nobility of the prominent personages, the life, 
 sentiment and movement expressed, the architectural effect of 
 their rich borders, and their historical importance, combine in plac* 
 ing them in the highest rank of Italian tapestries. They recall few 
 Flemish traditions, as they were designed hy an Italian artist, and 
 executed hy a weaver who was probably horn in Italy, although of 
 Flemish ancestry. Cardinal Francois Barherini, when he ordered 
 
 316 
 
them, desired these tapestries to illustrate Italian skies and atmos* 
 phere, and to express the taste and feeling of the Latin race. 
 
 The combined efforts of cartoonist and weaver have resulted in 
 producing the effect of the grand old frescoes of their day, bereft of 
 all hard lines, and clothed with a brilliancy, warmth, softness and 
 durability which must ever be denied to wall paintings. 
 
 The story of Dido and Aeneas, from the moment the shipwrecked 
 hero, directed by Venus, finds his way to Carthage, until the hour 
 of his departure and Dido’s tragic death, is wonderfully expressed. 
 The artist has been inspired by Virgil’s “Aeneid,” and from the 
 poet’s descriptions planned his drawings. 
 
 Aeneas, with his companion, Achates, is met in the woods by 
 Venus disguised as a Spartan maid, who directs them where to find 
 Dido’s palace. Here they are royally welcomed and a banquet is 
 spread in their honor. Dido, happy in the love of Aeneas, offers 
 sacrifices to Juno in order that she may appease that jealous god^ 
 dess ; then, lest Aeneas may grow weary and long again for the clash 
 of arms. Dido interests him in the plans for the fortifications of the 
 city. Standing between him and the architects, she points to the 
 plans, which are held by a kneeling servant, while around them 
 workmen are busily employed. 
 
 Next comes the scene where, driven by the storm. Dido and 
 Aeneas seek shelter in a cave, to which they have been directed by 
 the gods Cupid and Hymen. Mercury is sent at Jupiter's command 
 with orders for Aeneas to leave Carthage without delay, that he may 
 fulfil his destiny. So the hour comes when farewells are said upon 
 the seashore ; the ships are being made ready for departure ; the sister 
 and nurse of Dido look upon the scene from a distance; and the two 
 lovers stand alone in the foreground. 
 
 After the sailing of the fleet, Dido left alone, collects the armor, 
 clothing and sword of Aeneas and causes them to be placed upon a 
 pile of oak and pine which she orders lighted; she then mounts the 
 pile, and seizing the Trojan’s sword plunges it into her heart, and dies 
 in the presence of her despairing companions. Above Dido’s head 
 is the goddess Iris bearing away a lock of hair to Proserpine. In the 
 distance the Trojan fleet puts out to sea. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 3*7 
 
II 
 
 CUPID IN THE GUISE OF ASCANIUS PRESENTING 
 THE GIFTS OF AENEAS TO DIDO 
 
 Height, 13 ft., 9 in. Width, 20 ft., 10 in. 
 
 Signed M. Wauters. 
 
 T HIS tapestry represents a banquet being served in a marble ball 
 of Dido’s palace. Aeneas, who has been given the seat of honor, 
 wears a blue tunic, light blue body armor, with scales and pale yeb 
 low pendants, and a dark red mantle. On bis left sits the queen ; she 
 is crowned and wears a blue robe and pale yellow mantle. Her bands 
 are outstretched in pleased surprise at the beautiful objects presented 
 to her by the supposed Ascanius kneeling at her feet. Behind the boy 
 stands Achates. A mantle falls over bis armor and in bis right band 
 be carries a spear. 
 
 A number of maidens are actively preparing the feast, and in the 
 foreground are several officers seated upon the marble floor. 
 
 The weavers have interpreted with great success the columns, 
 pilasters and draperies of the palace, and the costumes of the various 
 individuals. The excellence of the grouping and posing of the princk 
 pal personages, of the servitors preparing the feast, and of the officers 
 reclining near the base of the throne deserves much praise. 
 
 Red, blue and yellow, the predominating colors in this tapestry, 
 are apparent in the others of the series, as Dido and Aeneas wear the 
 same costumes in all. 
 
 Ffoulke Collection, 1889. 
 
 318 
 

 
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Ill 
 
 DIDO SACRIFICING TO JUNO 
 
 Height, 13 ft., 7 in. Width, 15 ft., 3 in. 
 
 Signed J . F. Romanellus . M . W auters . 
 
 T HE third tapestry illustrates Dido sacrificing in the temple dedk 
 cated to Juno. The gilded bronze statue of Juno with her emblem, 
 the peacock, is visible on the left ; a woman kneels at the foot of the 
 pedestal, which is surrounded by the columns of the temple. Before 
 the altar in front of the temple stands Dido, crowned, and wearing 
 a blue robe and yellow mantle, as in the previous illustration. With 
 her right hand she feeds the altar with Sahaean smoke. She is 
 attended by two maids of honor, and an acolyte stands at her side. 
 The temple butcher kneels before the slaughtered heifer, which lies 
 at the foot of the altar with a garland of flowers around its neck. An 
 attendant stands on the left holding a basin. Three priests stand be* 
 hind the altar; all wear chaplets, showing they are consecrated to 
 the worship of Juno. 
 
 The borders are alike in all the tapestries. In the center of each 
 top border is a dark blue motive, to the right and left of which are 
 cherubs playing with ribbons and reclining upon festoons of leaves 
 and flowers. The side borders represent twisted marble columns 
 with Corinthian capitals. They are entwined with ropes of exquis* 
 itely colored flowers. On the pedestals of the columns are the heads 
 of women crowned with wreaths of leaves. In the center of each 
 bottom border is a helmet decorated with blue ostrich feathers, a 
 bow, a sword, and two shields, over which is thrown red drapery. 
 To the right and left are dolphins holding in their mouths dark blue 
 shells. 
 
 Ffoulke Collection, 1889. 
 
 3 2 3 
 
CONSTANTINE THE GREAT 
 
 i - 
 
 CONSTANTINE SLAYING A HON 
 Height, 16 ft., o in. Width, 9 ft., 6 in. 
 Signed IAC. D.L. RIV. 
 
 II 
 
 CONSTANTINE CONTEMPLATING THE 
 FLAMING CROSS IN THE SKY 
 
 Height, 16 ft., o in. V/idth, 11 ft., 3 in. 
 
 Cartoon hy Jean Francois Romanelli. Signed IAC. D. RIV. 
 
 III ✓ 
 
 CONSTANTINE DESTROYING IDOLS AND REPLAG 
 ING THEM WITH CHRISTIAN STATUES 
 
 Height, 15 ft., 10 in. Width, 12 ft., 2 in. 
 
 Cartoon hy Cortona. Signed IAC. D. L. RIV. 
 
 IV ✓ 
 
 NAVAL BATTLE BETWEEN THE FLEETS OF 
 CONSTANTINE AND LICINIUS 
 
 Height, 16 ft., 4 in. Width, 23 ft., o in. 
 
 Cartoon hy Charles Neapolitan. Signed IAC. D.L. RIV. 
 
 V / 
 
 CONSTANTINE BURNING THE CREED OF 
 THE ARYANS AT NICAEA 
 
 Height, 15 ft., 10 in. Width, 14 ft., 10 in. 
 
 Cartoon by Jean Franfois Romanelli. Signed IAC. D. RIV. 
 
 VI ^ 
 
 CONSTANTINE SUPERINTENDING THE CONSTRUG 
 TION OF CONSTANTINOPLE 
 
 Height, 15 ft., 10 in. Width 15 ft., 7 in. 
 
 Cartoon by Peter Paul Rubens. Mark P ^ Signed j|j I T 
 
The first five of these tapestries were woven between the years 
 1634 and 1644 in the Barherini palace at Rome ; the sixth waswoven 
 at the Gobelins about 1620. They are enumerated in the inventory 
 of Barherini tapestries dated October 25th, 1695. Woven under the 
 direction of Jacopo della Riviera, and enriched with threads of gold 
 and silver, they are magnificent specimens of the skill of this noted 
 weaver. The cartoons were all executed by celebrated artists, and 
 those designed for the third, fourth and fifth tapestries are still pre* 
 served in the Barherini palace. The first tapestry, whose cartoon is 
 attributed by some to Romanelli and by others to Cortona, never had 
 any lateral borders, having been woven originally for a narrow 
 space. 
 
 It represents Constantine, wearing a costume richly laden with 
 gold and silver threads, in the act of slaying a lion by plunging a 
 sword through its mouth and neck; he stands in an arena before the 
 eyes of several excited soldiers, who, leaning over a fence, manifest 
 the deepest interest in the scene. 
 
 In the second tapestry, Constantine, crowned with a laurel 
 wreath, stands upon an elevated platform contemplating the cross 
 in gold, which is evidently invisible to the soldiers about him. In the 
 third tapestry Constantine is attended by two priests, an acolyte 
 hearing a huge cross, and two servitors. Under his direction the 
 latter are placing the image of a Catholic prelate upon the pedestal 
 from which a pagan deity has been deposed. Constantine has his 
 foot upon a broken idol. His costume and those of the priests are 
 magnificent and richly interwoven with gold and silver. It is doubts 
 ful if Cortona ever produced anything finer than his cartoon for this 
 tapestry. 
 
 In the fifth tapestry Constantine is seen thrusting the Creed of 
 the Aryans into a fire which burns in a brazier held by a kneeling 
 servitor. He is crowned with laurel, and wears a mantle and cos* 
 tume woven in gold and silver. A prelate stands next to the Emperor 
 and there is a cowled monk in the group that surrounds him. 
 
 Illustrations and full descriptions are given of the fourth and sixth 
 tapestries. 
 
 Barherini Collection. 
 
 Ffoulke Collection, 1889. 
 
 Now in the possession of John R. McLean, Esq. 
 
 3 2 5 
 
IV 
 
 NAVAL BATTLE BETWEEN THE FLEETS OF 
 CONSTANTINE AND LICINIUS 
 
 Height, 16 ft., 4 in. Width, 23 ft., o in. 
 
 Cartoon hy Charles Neapolitan. Signed IAC. DL. RIV. 
 
 T HIS tapestry, the cartoon of which was executed hy a talented 
 pupil of Romanelli, represents the celebrated naval battle be* 
 tween the fleet of Constantine under the command of his son, Cris* 
 pus, and that of Licinius under Admiral Amandus. 
 
 All the standards of Constantine are crowned with the cross; his 
 ships are on the left, their prows carved with the heads of wild hoars. 
 The ships of Licinius are upon the right and their figurebieads are 
 lions. Both sides display the eagle, as all are Romans fighting for the 
 supremacy of rival emperors. 
 
 All the ships are crowded with fighting men clad in armor. The 
 one in the right foreground is sinking, and three warriors are swims 
 ming from it towards the one on the left, where their enemies are 
 eager to destroy them. It is a powerful illustration of a terrific 
 struggle. All the soldiers are superb specimens of fighting men and 
 strong emotions are portrayed in their faces. That the Admiral has 
 given up the struggle is easily seen from the despair shown in his 
 features and gestures. Every part has been well conceived and 
 developed, from the costumes, rich in gold and silver, the robing 
 smoke, agitated water and sinking ships, to the drowning and fights 
 ing warriors. 
 
 In the center of the top border of this tapestry is a rose cartouche, 
 which encloses a medallion of flowers encircling the letters ^ in 
 gold. To the right and left of the central decorations are the busts 
 of sphinxes and hunches of palm sprigs, also cornucopias of fruits, 
 flowers and leaves, all intertwined with blue scarfs having knotted 
 and tasseled ends. 
 
 In the center of the bottom border is a similarly shaded cartouche, 
 which encloses two branches of laurel upon a gold ground. On 
 either side of the cartouche are scrolls and cornucopias of fruits and 
 flowers. In each of the four corners is a polychrome cartouche, two 
 of which enclose heads of men, and two, heads of women. In the 
 
 326 
 

 
 
 
center of each of the lateral borders is a cartouche enclosing an 
 escutcheon emblazoned with a golden Barberini bee upon a blue 
 ground. The princely crown of the family rests upon the top of the 
 cartouche, and from its center spring two palm branches. They are 
 tied with blue ribbons, and encircle a bunch of flowers suspended by 
 blue ribbons from the decoration in the upper corners. Beneath the 
 cartouche hangs a bouquet of flowers, two palm branches and two 
 trumpets, also interwoven with blue ribbon, and gold and silver 
 threads. 
 
 Now in the possession of John R. McLean, Esq. 
 
VI 
 
 CONSTANTINE SUPERINTENDING THE CON, 
 STRUCTION OF CONSTANTINOPLE 
 
 Height, 15 ft., 10 in. Width, 15 ft., 7 in. 
 
 Cartoon hy Peter Paul Rubens 
 
 Mark P Signed^ IT 
 
 T HIS tapestry originally formed part of a set of seven, made at the 
 Royal ateliers under de la Planche, and presented hy Louis XIII 
 to Cardinal Barberini in 1625. The titles of the other six are all men, 
 tioned in the Barberini inventory of 1695, and with them the sub, 
 jects of the five pieces woven in the Barberini ateliers, by order of 
 the Cardinal, to enlarge the series and more thoroughly illustrate 
 the history of Constantine the Great. It is a great misfortune that, 
 with the exception of the one here illustrated, all of those presented 
 to the Cardinal by the King have disappeared; no trace of them can 
 be found, although diligent search has been made. 
 
 In this piece, Constantine stands upon the right, crowned with 
 laurel, and wearing an imperial mantle interwoven with gold and 
 silver threads. A large eagle rides the air above him holding a 
 laurel wreath in its beak. Behind the Emperor stands one of his 
 suite, and, in front, the kneeling architect points with a pair of com, 
 passes to the plan held up for inspection by his assistant. Constan, 
 tine indicates by a movement of his hand the place where the work 
 shall be done and the architect, by pointing in the same direction, 
 signifies that he understands. Three men are at work upon columns 
 and pedestals that He upon the ground. In the background is a glimpse 
 of Byzantium, the Sea of Marmora and the hills along the Bosphorus. 
 
 It is a powerful, welbgrouped composition, in which all the colors 
 are well preserved, including the flesh tints, which have lost little of 
 their original strength. The fame of Rubens, who painted the car? 
 toon, and the reputation of the establishment in which the tapestry 
 was woven, cause it to rank among the most celebrated pieces pro, 
 duced during the reign of Louis XIII. 
 
 The borders of the other five tapestries, previously described, are 
 copies from the one surrounding this piece; the only difference being 
 that here, in the lateral borders, are the arms of France and Navarre 
 
 33 ° 
 

 
 
 
 
 
 
encircled by tbe Order of tbe Holy Spirit witb its pendant cross, and 
 surmounted by tbe royal crown of France, and in tbe cartoucbe of 
 tbe bottom border an eagle spreads its wings and bolds a serpent in 
 its beak. 
 
 In 1910, France lent to tbe Exposition at Brussels a series of Com 
 stan tine, executed by de la Plancbe from Rubens's cartoons. Among 
 tbe subjects there was an exact counterpart of tbe tapestry and 
 border bere described. 
 
 Now in tbe possession of Jobn R. McLean, Esq. 
 
 333 
 
VENUS AND AENEAS SERIES 
 
 i 
 
 JUPITER APPEARING BEFORE VENUS 
 Height, 12 ft., io in. Width, io ft., 4 in. 
 
 Signed ' 111 1 P. Fevre 
 
 II 
 
 VENUS ESCORTING AENEAS FROM TROY 
 Height, 12 ft., 11 in. Width, 8 ft., 4 in. 
 
 III 
 
 DEPARTURE OF AENEAS FROM CARTHAGE 
 Height, 12 ft., 10 in. Width, 10 ft., 5 in. 
 
 These tapestries were woven about 1630 in the ateliers of the 
 Medici family at Florence. 
 
 The ateliers flourished for about two hundred years and were one 
 of the sources of their enormous wealth. 
 
 There are very few Florentine tapestries in the palaces and mu* 
 seums of Europe, and none to he found in the hands of dealers. 
 
 The cartoonists and weavers in Italy always sought to give to their 
 works the appearance of frescoes. Thus in essential characteristics 
 they differed materially from Flemish productions of the same pe* 
 riod. The fresco effect is very marked in this series, both in drawing 
 and in the harmonious combination of soft and delicate colors. 
 
 The first tapestry, “Jupiter Appearing Before Venus," of which 
 the illustration is given, hears the signature of the weaver, P. Fevre, 
 preceded by a red hall, an emblem of the Medici. It represents Jupiter 
 crowned with a laurel wreath, forked lightning in his hand, seated 
 upon a cloud and wearing a dark rose mantle. He is accompanied 
 by Mars, wearing a helmet and carrying a shield, and by Mercury, 
 his winged cap upon his head. Upon the ground just below them 
 stand Venus and Flora. Their costumes are of dark rose and yellow* 
 brown garments over white. Flora carries a spear and is crowned 
 with a wreath. 
 
 334 
 

 
Jupiter informs them that if Aeneas leaves Troy and sails for Italy 
 kis Hfe will ke spared. 
 
 Tke second skows Venus escorting Aeneas from ill-fated Troy; 
 ske wears a green roke ; ke, a klue tunic, rose mantle, and plumed 
 kat. In kis left kand ke carries a bunck of okve leaves, and in kis rigkt 
 band a drawn sword. In tke background one sees tke flames of burn? 
 ing Troy. 
 
 Tke tkird pictures Dido, witk a dagger pressed to ker keart, lean? 
 ing over tke parapet of a fortress in tke background, wkile Aeneas 
 and kis warriors prepare to enter tke skip wkick is to carry tkem 
 from Cartkage. Tke kelmet of Aeneas is adorned witk yellow 
 ostrick featkers, and ke wears a flowing rose mantle over a tunic 
 of blue decorated witk yellow. 
 
 Tke borders of tke first and tkird tapestries are alike in character 
 and motives. Tke colors used in tke garments of tke figures are 
 repeated in tke warlike attributes, and in tke shells and cartouches 
 of wkick tke borders are mainly composed. Near tke top of each 
 lateral border, in these two tapestries, is a crown above a pair of 
 trumpets, crossed over two flags wkick vary in color. 
 
 In tke lateral borders of tke second tapestry there is a marked 
 change in design, but not in character. Large drums, battle axes and 
 swords are prominent; on tke left side, near tke top, is tke open 
 crown and sceptre of tke Dukes of Tuscany, and on tke right side, 
 near tke bottom, tke same crown witk an arch. 
 
 Barberini Collection. 
 
 Ffoulke Collection, 1889. 
 
 337 
 

 
 
INDEX 
 
 PAGE 
 
 Charles Mather Ffoulke Frontispiece 
 
 Charles Mather Ffoulke, By Glenn Brown, F. A. I. A. . 5 
 
 Introduction, By Ernest Verlant, Directeur general des 
 
 Beaux? Arts a Bruxelles 19 
 
 FLEMISH TAPESTRIES 
 
 Archdukes Albert and Isabella Series, The 88 
 
 I Isabella Receiving a Message (Plate) 90 
 
 II Albert Presenting a Captured Knigbt to Isabella . 89 
 
 III Albert Presenting a Sword to tbe Chief of tbe Army 89 
 
 IV Albert Promising to be Godfather to a Nobleman’s 
 
 Child 89 
 
 V Albert Receiving a Hare from a Huntsman ... 89 
 
 Biblical Subjects, Four . 73 
 
 I Tbe Circumcision of Isaac 74 
 
 II Rebecca Giving Drink to Abraham’s Ambassador . 74 
 
 III Tbe False Prophet Predicting Victory to King Abab 
 
 (Plate) 76 
 
 IV The Death of Ahab 75 
 
 Chateau and Garden Scenes 104 
 
 I Music (Plate) , . . . 106 
 
 II Boating and Hunting 105 
 
 III The Fountain 105 
 
 IV Gardens 105 
 
 Cleopatra and Mark Antony (Plate) 170 
 
 Curius Dentatus (Plate) 44 
 
 Diana Series, The 79 
 
 I Diana Stringing Her Bow 80 
 
 II Diana Wounding a Satyr (Plate) 82 
 
 III A Maid Lacing the Sandals of Diana 81 
 
 IV Diana With an Infant Upon Her Knees .... 81 
 
 V Two Women Fleeing From a Dragon .... 81 
 
 VI A Warrior Killing a Dragon (Plate) 87 
 
 339 
 
VII A Man and a Woman Walking in a Garden . 81 
 
 VIII A Man and a Woman Sitting in an Arbor ... 81 
 
 Flemish Renaissance Series 9 7 
 
 I Arbor on Four Columns, and a Negro (Plate) . . 98 
 
 II Arbor on Four Columns, and a Gardener .... 97 
 
 III Arbor on Five Columns, and Two Women ... 97 
 
 IV Arbor on Four Columns, and Two Women ... 97 
 
 Goddess Abundance, Tbe (Plate) 169 
 
 Goddess Diana V/ olf Hunting, Tbe (Plate) 158 
 
 Goddess Flora and Her Maids, Tbe (Plate) 157 
 
 Joseph and His Brethren 9^ 
 
 I Joseph’s Brethren Selling Him to tbe IsbmaeHtes . . 95 
 
 II Joseph Ruler Over All tbe Land of Egypt (Plate) . 9 5 
 
 Judith and Holofernes Series, The 135 
 
 I King Nebuchadnezzar Sends Holofernes, tbe Chief 
 
 Captain of His Army, Against Israel . . . . 135 
 
 II Acbior, tbe Leader of tbe Ammonites, WLile Ex* 
 
 pounding tbe Power of tbe God of Israel, Is Ars 
 rested by tbe Order of Holofernes 135 
 
 III TheWHow Judith Weighs tbe Virtues and tbe Sins 
 
 of tbe People; W^ben tbe Latter Are Heavier, Israel 
 Is Punished 135 
 
 IV Tbe Most Beautiful Judith Arrays Herself in Gar* 
 
 ments of Gladness, in Order that She May Free 
 
 Betbuba from Destruction (Plate) 138 
 
 V Judith, in tbe Guise of a Fugitive, Cunningly Deceives 
 
 Holofernes, and Promises Him a Specious Victory 136 
 
 VI Holofernes, WLile Drunken, is Deprived of His Head 
 
 by Judith, Wlio Thus Saves Israel 136 
 
 VII Judith, Victress, Displays tbe Head of Holofernes to 
 
 to tbe People, V/ho Praise tbe God of Israel . . 136 
 VIII Tbe God of Israel Routs tbe Army of Holofernes, and 
 
 Treasures are Given to Judith (Plate) .... 143 
 
 King Solomon Receiving tbe Queen of Sheba (Plate) . . 181 
 
 Lictor Panel, Tbe (Plate) 149 
 
 Loves of Vertumnus and Pomona, Tbe (Plate) .... 49 
 
 340 
 
Meleager and Atalanta Series, The 150 
 
 I Meleager Presents Atalanta with the Head of theCale* 
 
 donian Boar 1 5 1 
 
 II Meleager Attacks and Kills His Uncle 1 51 
 
 III The Mother of Meleager Thrusts the Fatal Brand into 
 
 the Fire (Plate) . . • 152 
 
 Months of Lucas, The 51 
 
 I April (Plate) 54 
 
 II May 52 
 
 III September 52 
 
 IV October 52 
 
 V December 52 
 
 Moses and Aaron Series, The 112 
 
 I Moses and Zipporah 1 1 3 
 
 II Moses Informing Aaron of God’s Message to Pharaoh 
 
 (Plate) 116 
 
 III Moses and Aaron Instituting the Feast of the Pass* 
 
 over (Plate) 121 
 
 IV Gathering Manna. Moses Directing Aaron to Keep 
 
 an Omer of It 1 1 3 
 
 V Joshua Defeating Amelek. Battle in Rephidim . . 113 
 
 VI Moses Receiving the Tablets of Stone on Mount Sinai 1 14 
 
 Panels, Flemish Renaissance (Plate) ...... 1 1 1 
 
 Paulus Emilius (Plate) 144 
 
 Pomona and Vertumnus (Plate) 127 
 
 Renaissance Tapestries, Two 65 
 
 I Battle Between the Troops of the King of Spain and 
 
 Those of the United Netherlands (Plate) ... 65 
 
 II The Army on the March 65 
 
 Hunting Scene (Plate) 66 
 
 Renaissance Tapestries, Two 71 
 
 I The Companions of Proserpine 71 
 
 II Vertumnus and Pomona. Hunting Scene (Plate) . 71 
 
 Scenes in the Life of King Hezekiah 103 
 
 I King Hezekiah Sacrificing before the Altar of the 
 
 Lord (Plate) 103 
 
 34 1 
 
II The Angel of the Lord Smiting the Assyrian Captains 103 
 
 Scenes in the Life of Our Saviour 122 
 
 I Our Saviour Before Caiaphas (Plate) 122 
 
 II Our Saviour Before Pilate 122 
 
 Surrender of a King. The, Fragments from (Plate) . . . 132 
 
 Tapestries Representing Scenes in the Life of Achilles, Two i 28 
 I Thetis Presenting Achilles to the High Priest (Plate) 1 28 
 
 II Achilles and Agamemnon 1 3 1 
 
 Triumph of Bacchus (Plate) 175 
 
 Triumph of David (Plate) 43 
 
 Trojan War, The 57 
 
 I Sinon Outwitting King Priam (Plate) 60 
 
 II Battle of the Ships and Death of Patroclus ... 58 
 
 III Destruction of Troy and Flight of Aeneas ... 58 
 
 IV Departure of the Greeks with Prisoners and Booty, 58 
 Vertumnus Disguised as an Old Woman Making Love to 
 
 Pomona (Plate) 164 
 
 Vintage Scene (Plate) 176 
 
 Warrior Kneeling at the Entrance of a Temple (Plate) . . 163 
 
 FRENCH TAPESTRIES 
 
 Achilles Mortally Wounded by Paris (Plate) 272 
 
 Aminta Series, The 217 
 
 I Sylvia Charms Away the Pain of the Bee Sting from 
 
 the Cheek of Phyllis in the Presence of Aminta . 219 
 
 II Daphne Attempts to Convince Sylvia that to the 
 
 Feminine Heart Love is a Necessity, and Begs Her 
 to Forgive Aminta 219 
 
 III Daphne and T ir sis Decide to Make Another Attempt 
 
 to Soften Sylvia’s Heart Towards Aminta . . 219 
 
 IV Rescue of Sylvia by Aminta and Tirsis, and Flight of 
 
 the Satyr 219 
 
 V Sylvia and Nerine Hunting Wdth Two Dogs . . 219 
 
 VI Daphne Prevents the Suicide of Aminta. Nerine 
 States Her Belief in Sylvia’s Death, and as Proof 
 Thereof Shows Her Veil and Javelin which She 
 has Found (Plate) 220 
 
 342 
 
VII Despair of Sylvia when She Learns from Ergaste that 
 Aminta, on Hearing the Report of Her Death, has 
 
 Thrown Himself from a Precipice 219 
 
 VIII Sylvia, in the Presence of Daphne, Nerine, Tirsis, 
 Ergaste, Elphin and Others, Charms the Uncon? 
 scious Aminta Back to Life (Plate) 225 
 
 Armida Panel, The (Plate) 230 
 
 Arms of Colbert, The (Plate) 235 
 
 Artemisia Series, The 185 
 
 I Artemisia and Her Son Kneeling at the Sacrificial 
 
 Altar 188 
 
 II Dignitaries of Artemisia’s Household Carrying Pres? 
 
 ents 188 
 
 III The Reading of Petitions Before the Statue of Justice, 189 
 
 IV Artemisia Distributing Rewards to Soldiers . . . 189 
 
 V Artemisia Superintending the Fading Lesson of Her 
 
 Son 189 
 
 VI The Mimic War (Plate) 192 
 
 VII The Young Prince Studying Mathematics andGeog? 
 
 raphy 189 
 
 VIII The Assembling of the Artists Before Artemisia . 190 
 
 IX Artemisia Rewarding the Artists Who Assisted in 
 Designing and Erecting the Monument to Mau? 
 
 solus 190 
 
 X The Colossus of Rhodes (Plate) 197 
 
 Berain Panels, Two 271 
 
 I The Boy Gardener (Plate) 271 
 
 II The Boy Actor 271 
 
 Coriolanus Series, The 198 
 
 I Cominius Crowning Caius Marcius and Naming 
 
 Him Coriolanus 199 
 
 II Coriolanus Summoned Before the Tribunes . . . 199 
 
 III Coriolanus Condemned to Perpetual Banishment . 199 
 
 IV Coriolanus Bidding Farewell to His Mother, Wife and 
 
 Children (Plate) 200 
 
 V Assassination of Coriolanus 199 
 
 343 
 
Concert by tbe God Pan (Plate) 226 
 
 Entry of Alexander into Babylon, Tbe . A Fragment of (Plate) 236 
 
 Gypsies, Tbe (Plate) 265 
 
 Jacob and Laban (Plate) 254 
 
 Louis XV Portieres, Two 292 
 
 I Garden Scene (Plate) 292 
 
 II Maid and Satyr 292 
 
 Marine and Harbor View, A (Plate) 297 
 
 Months of Lucas 242 
 
 I May Day Sports — May (Plate) 244 
 
 II Sbeep Shearing Scene— June 243 
 
 III Luncb and Vintage Scene — October 243 
 
 Mythological Scenes, Two 276 
 
 I Venus Attended by Sea Nymphs (Plate) .... 276 
 
 II Jupiter and Juno Witnessing tbe Marriage of Cupid 
 
 and Psyche 276 
 
 Mythological Subjects, Two 259 
 
 I Searching for Hidden Treasure (Plate) . . . . 259 
 
 II Apollo and tbe Muses 259 
 
 Pastoral Scenes 280 
 
 I Sportsman Shooting Birds 280 
 
 II Tbe Watering Trough 281 
 
 III Tbe Huntsman 281 
 
 IV Chasing tbe Wild Boar (Plate) 282 
 
 V Resting by tbe Brook 28 1 
 
 VI Garden Scene (Plate) 287 
 
 Recruiting Officer, Tbe (Plate) 249 
 
 Rinaldo and Armida Panel (Plate) 214 
 
 Rinaldo and Armida Series, The 203 
 
 I Armida Bears Rinaldo Away in Her Arms . . . 205 
 
 II Armida Carries Rinaldo to Her Enchanted Car . . 205 
 
 III Carlo and Ubaldo at tbe Fountain of Laughter (Plate) 208 
 
 IV Rinaldo in tbe Garden of Axmida’s Palace (Plate) . 213 
 
 V Rinaldo Sees His Image Upon tbe Diamond Shield . 205 
 
 VI Rinaldo Sails Away from tbe Magic Island . . . 206 
 
 VII Armida Leaves tbe Magic Island 206 
 
 344 
 
VIII Armida Invoking the Powers of Magic .... 206 
 
 IX Armida Fleeing from the Field of Battle .... 206 
 
 X Rinaldo Preventing the Suicide of Armida . . . 206 
 
 Rinaldo in the Garden of Armida (Plate) 266 
 
 Royal Aubusson Panels, Four 288 
 
 I A Chinese Garden 288 
 
 II Flowers and Leaves with Pagoda and Bridge (Plate) 288 
 
 III A Rope of Leaves and Flowers and Small Pagoda 
 
 (Plate) 288 
 
 IV Leaves with Large Bird and Distant Pagoda . . . 291 
 
 Sleeping Endymion, The (Plate) 241 
 
 Toilet of Venus, The (Plate) 260 
 
 Triumphal March of Charles V (Plate) 250 
 
 ITALIAN TAPESTRIES 
 
 Apollo Series, The 310 
 
 I Latona with Her Children, Apollo and Diana . . 310 
 
 II Daphne Flying from Apollo (Plate) 312 
 
 III Apollo Guarding the Herd of Laomedon . . . . 310 
 
 IV Apollo and the Nine Muses 310 
 
 V Apollo and Attendants Flaying Marsyas . . . . 310 
 
 Constantine The Great 324 
 
 I Constantine Slaying a Lion 325 
 
 II Constantine Contemplating the Flaming Cross in the 
 
 Shy 325 
 
 III Constantine Destroying Idols and Replacing Them 
 
 with Christian Statues 325 
 
 IV Naval Battle Between the Fleets of Constantine and 
 
 Licinius (Plate) 326 
 
 V Constantine Burning the Creed of the Aryans at NL 
 
 caea 325 
 
 VI Constantine Superintending the Construction of Con* 
 
 stan tinople (Plate) 330 
 
 Dido and Aeneas Series, The 315 
 
 I Interview Between Venus and Aeneas . . . . 317 
 
 II Cupid in the Guise of Ascanius Presenting the Gifts 
 
 of Aeneas to Dido (Plate) 318 
 
 345 
 
III Dido Sacrificing to Juno (Plate) 323 
 
 IV Dido Showing Aeneas Plans for the Fortifications of 
 
 Carthage 317 
 
 V Dido and Aeneas Pursued hy Cupid and Hymen 
 
 Seeking Shelter from the Storm 317 
 
 VI Mercury Notifying Aeneas that Jupiter Commands 
 
 Him to Leave Carthage 317 
 
 VII Parting of Dido and Aeneas 317 
 
 VIII Death of Dido 317 
 
 Life of Christ Series, The 301 
 
 I The Annunciation 303 
 
 II Adoration of the Shepherds 303 
 
 III Adoration of the Magi 303 
 
 IV The Flight into Egypt, with the Inscription Aegyptus 
 
 Santificata 303 
 
 V The Baptism of Christ 303 
 
 VI The Transfiguration 303 
 
 VII The Last Supper (Plate) 304 
 
 VIII The Mount of Olives (The Passion) 303 
 
 IX The Crucifixion 303 
 
 X The Resurrection 303 
 
 XI Giving the Keys to St. Peter 303 
 
 XII Map of the Holy Land (Plate) 309 
 
 V enus and Aeneas Series 334 
 
 I Jupiter Appearing Before Venus (Plate) .... 334 
 
 II Venus Escorting Aeneas from Troy 337 
 
 III Departure of Aeneas from Carthage 337 
 
 346 
 
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