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As I have already informed you in my former letters, I have been waiting to examine documents at the Archives of the Palace of Madrid, hoping to find some information relating to the tapestries there, to illustrate the photographs which have been bought for the Kensington Museum. I am sorry, however, to say that I have met with nothing of importance, for although the tapestries of the Royal Collection are constantly mentioned in the inventories drawn up at the death of the different Spanish monarchs, they are only described and measured, but nothing is said of the place or date of their manufacture. Finding this to be the case, I wrote to the keeper of the Archives of Simancas, and have received some extracts of docu- ments, which, although of greater interest than anything to be met with at the Palace, are by no means as full in detail as I should - wish. I will, however, add what I have been able to collect from other sources and likely to be of interest. The collection of tapestries at the Palace of Madrid may be con- sidered the most numerous and the richest in Europe. It is com- posed of more than 1,000 examples of different kinds. The oldest of the specimens belonged to Ferdinand and Isabella, to Philip le bel and the Emperor Charles the Fifth; next to these rank those of the kings of the house of Austria and the Spanish Bourbon kings, ending with the tapestrie made in the present century at the manufacture still working at Madrid, which is said to have been founded in 1582 by Philip the Second. These tapestries are kept in the vaults of the Palace, they are well looked after ; unfortunately in some instances, from their having been so long folded, some of the faces have been injured. No catalogue has ever been published of them, nor have they ever been described by any author. Some of these tapestries are arranged on state occasions round the gallery of the Palace, and a few months ago permissign was granted for the first time for a selection to be made and photo- graphed. These are the photographs, 131 in number, now for- warded to Kensington. These tapestries are woven in worsted, silk and gold, or silver thread. Each photograph is numbered and has an inscription in French explaining the subject it represents. The white line at the lower part represents the metre, and serves as a scale to determine the exact measure of the tapestry. 37234. 2 The earliest tapestries of this collection are the following 23: Six representing the History of the Virgin. Nos. 524 to 529. Four of the History of St. John the Baptist. Nos. 463, 464, 530, 531. Five.of the Passion of our Lord. Nos. 488 to 492. Three, the History of David and Bathsheba. Nos. 485 to 487. Three, Allegories of Honour and Virtue. Nos. 521 to 523. One, the Mass of St. Gregory. No. 538. One, the Funeral of Turnus. No. 539, Among the documents at Simancas there is a list of the effects belonging to Queen Isabella Castolica. From the "Libros generales de la Camara," No. 9, folio 18, it appears that orders were given to pay lMatias de Guirla, in 1503-1504, a ;native of Flanders, 245,797 maravedises for some tapestries, part of whichrepresent the "Passion of our Lord." Series No. 530, 531. I find it stated in the same document that Queen Isabella gave one of these tapestries to her mistress. in Latin, Doia Beatriz Galind'o. The six tapestries representing the Life of the Virgin, Nomd 524 to 529, and two, others of the Life of St. John the Baptist, Nos. 463, 464, 530, 531, have been attributed by the photo. grapher to Van Eyck without foundation. I have asked M. Laurent if he had any reason for this, but he tells me it is simply his own judgment. The five tapestries of the Passion of our Lord are also at- tributed by him to Roger Van der Weyden. The photographer has no reason for this, but it certainly is the case that many of the types represented are not unlike those in the pictures by Van der Weyden at the Madrid Gallery. It may be affirmed that all these twenty-three tapestries possess the characteristics of the pupils of Hubert and John Van Eyck, who painted in the second half of the 15th century, and the cartoons were undoubtedly painted at this period, The series of tapestries entitled The Virtues and Vices, Nos. "511 to 520, are nine in number ; there is another photograph of the portrait of a man, taken on a larger scale from No. 511. This portrait, owing to the word Author which appears on one side, has been considered to. represent the artist who drew the cartoon of these tapestries. I do not believe that this is exact, for this personage is represented writing in a book and not painting, and the accessories of books, etc., the absence of palette, pencils and colours surrounding this figure, confirm the idea of his being an author and not a painter. It seems highly probable that some well-known writer of allegories has been represented, and not the painter of the cartoons. -In Spain, however, this figure has been considered to represent Roger Van der Weyden, and it certainly bears some resemblance to his portrait engraved by Wieri. The earliest document I have found in which these tapestries are mentioned is an inventory (Archives of Simancas, Legajo 3, folio 10,)._which was drawn up by orders of Queen Isabella while 3 at Seville. Only one of these tapestries is alluded to, No. 511. Others of this same series are also mentioned in documents of Simancas as belonging to Queen Joanna, and afterwards to the Empress Isabella, the wife of Charles the Fifth, who died in 1504. I think that these tapestries were a present froin the Emperor Maximilian the First, in 1496, on the occasion of the marriage of his son Philip le bel to Dona Joanna. In one of these tapestries, No. 520, there are shields with the arms of the Empeior Maxi- milian. These tapestries are called in Spanish documents panos de Ras, cloths of Arras. I can find no mention of the author of these cartoons. It may be easier to ascertain it at the Kensington Museum, where there are so many photographs of contemporary artists, and a com- parative study may be made. I have no means of doing this, and can only suggest the names of Matsys and Memmling as the most important painters of 1490-1496, when the cartoons were probably painted. My opinion leads me to consider them by Quentin Matsys, as Diirer and other painters of renown had not yet acquired the reputation or importance which they did later on. The series of tapestries representing the Apocalypsis are eight. There are nine photographs, one of them is a detail, Nos. 429 to 437. The grandeur of these compositions, the size of the tapestries, and the treatment of the subject render them the most important of this collection. The earliest mention I have met of these tapestries is a document at Siinancas, in whidh their size is given, and they are described under this epigraph, Legajo 98, folio 48. " Description of the tapestries of Saint John's Apocalypsis, which are made of thread of gold, silver, silk and worsted. His Majesty Charles the Fifth ordered them to be bought from Dirick of Mulenare, and Gaspar Van Utreqfe." This document is not dated, but is inside a bundle of papers of the year 1553, and probably was written the same year. The names of Gaspar of Utrecht and Dirick of Mulenare appear to be those of the weavers. The formula of "His Majesty ordered to be bought from them. " these tapestries " proves them to have been recently bought or at most of 20 or 30 years previous to this date (1553). These tapestries did not therefore belong to Dofia Margarita of Austria, or Dofia. Maria de Hungria, but were bought directly by the Emperor. These indications are certainly vague, but as so little is to be found to illustrate the subject, it is necessary to make conjectures upon them. These tapestries were most probably woven about -the years 1530 to 1540, and the cartoons painted some years before. Their general character and details confirm this ; the figures are less stiff than is'usual in the works of the good Flemish painters of the 15th century, and in the architectonic details, the architectn:e of the Renaissance of the 16th century is copied, so that these cartoons must undoubtedly have been painted from 1520 to 1530. 4 The only important Flemish painters of that date were Roger Van der Weyden the younger, Bernard Van Orley, Quentin Matsys, and Mabuse. I consider that the cartoons of these tapes- tries must be attributed to one of these painters. Van der Weyden and Van Orley met with constant patronage at the Spanish Court of the Low Countries, and I think the cartoons were painted by the first of these artists, who was still alive in 1538, for several of the types are like others which constantly occur in his pictures. The Capital Sins comprehend seven photographs, Nos. 469 to 475. These tapestries are described in an inventory at Si- mancas of the effects belonging to Doia Maria of Hungary, a sister of the Emperor Charles the Fifth, and appointed by him governor of the Low Countries in 1526. Doia Margarita died in Spain in 1558. They may have been made for this lady, or she may have inherited them from her aunt, Dona Margarita of Austria, a daughter of Maximilian, who was also a governor of these provinces in 1507, and a great patroness of the artists of her time. I do not think it impossible to offer a reasonable conjecture as to the author of these cartoons. The phantasy of the composition, the rigidity and dryness of design are characteristics of the Flemish school, but many of the figures are copied from Raphael, a direct Italian influence is visible, and there are many details reminding one of Albert Dnrer, especially in the harnesses and reticular ornamentation of the trappings of the horses. The painter who represented in Belgium better than in any other country these eclectic characters was Bernard Van Orley, 1471-1541, after his journey to Italy, where he went to study and copy Raphael. Van Orley was painter in ordinary to the two princesses already mentioned, Dona Margarita and Dona Maria, and was much patronised by them both. T. T. Altmeyer says in his "Marguerite " d'Autriche, sa vie, sa politique, sa cour," Liege, 1840, p. 184 : " il fut un dp ceu dont elle aimait le plus le genie. Il composa " pour elle un grande nombre de cartons d'apres lesquels furent " tissus les riches tapis qui ornerent son palais." Kugler says that Van Orley helped Raphael to paint his famous cartoons, and on his return superintended their manu- facture at Arras. I think therefore that Bernard Vail Orley may be considered the author of the series of tapestries at Madrid representing the Seven Capital Sins. The tapestries which represent the Foundation of Rome are six, Nos. 493 to 498, and are among the finest in this collection. I find no mention of them at Simancas, and the descriptions which appear of them in the inventories at the Palace are very unimportant. The figures are Flemish and Italian in style, and the design is purer than is generally met with in Flemish painters of the first half of -the 16th century. Some writers on art attribute these characteristics to Mabuse, but the works I have seen by him are not of sufficient importance to be compared to these tapestries. It will be seen in the photograph No. 494 that there 5 are two figureson horseback, which are exact copies from Raphael's " Lo spasimo," at the Madrid 'Gallery. These figures were probably copied from the engraving by Marco Antonio. Raphael painted this picture about the year 1516. The tapestries must therefore be considered of a later date. The History of Alexander the Great forms a series of 11 tapestries, Nos. 452 to 462. I have found no mention of these anywhere. The cartoons were certainly painted in the first half of the 16th century ; the general composition and borders are very fine, and in the style of the Flemish school of the begin- ning of that century. The drawing is often incorrect, and the figures in the foreground short and thick. I do not think these cartoons can be attributed to any of the great contemporary masters. Three series follow these, of which I find no mention at Simancas. Las Poesias, five tapestries, Nos. 480 to 484. Las Esferas, four tapestries, Nos. 465 to 468, and Pomona and Vertumno, 10 tapestries, Nos. 499 to 508. These tapestries are all of the 16th century. The Muses (Las Poesias) and The Spheres (Las Esferas) are the best. They are full of remini- scences of Italian art, and many of the figures are taken from well-known pictures. These sets are badly named. 'The amours of Pomona and Vertumno are tapestries of a purely decorative style ; the figures are simply accessories, and they are full of instances of bad drawing. Th6 tapestries called the " Temptations of St. Anthony " are four, Nos. 532-535. They are copied from paintings on panel which existed in Spain by the Flemish artist Jeronimo Van Arken-Bosch, El Bosco, who died in 1536. The figures are larger than in the pictures, but even so they are too small for effect. Little is, known of the biography of this painter, although several Spanish authors of the 16th century speak with great praise of his pictures, as if he were very popular in Spain. In no other country are so many specimens of this master to be mete with as at Madrid and the Escorial, and this has led some writers on art to suppose that he lived in Spain, although there is no foundation for this report. As a painter of a fantastic style, although bordering on extravagance, he has been unrivalled. The Acts of the Apostles consist of nine tapestries, Nos. 438 to 446. They are reproductions of the seven celebrated cartoons by Raphael, at the Kensington Museum, and of two others repre- senting the Conversion of St. Paul, No. 446, and the Martyrdom of St. Stephen, No. 442. One tapestry is wanting to complete this series, Paul in the Prison of Philippi, which, as it is a much smaller size, may probably be at the "garde meuble" of the Palace. It is difficult to say. without better information than I have been able to meet with, if these tapestries are among those which were copied from the cartoons themselves. I have found no contemporary document to illustrate this. The inventories at the Palace in which they are described are of the latter 6 years of the 17th century, and no mention is made of their place of manufacture. These descriptions often refer to two other sets of tapestries, also at the Palace, which are reproductions of a later date without character or beauty of any kind. The preser- vation of these tapestries is good, but the colours are much faded, owing to their constant exhibition on state occasions at the Palace. The borders are very fine, and they are different to those at the Vatican. The lower border in those at Rome contains-subjects relating to the centre composition, while in the tapestries at Madrid the allegories are continued from the sides, and in some instances mythological figures are introduced. This series is considered traditionally in Spain to belong to those which were first made. The doubt *is whether only two sets were made; as. the Rev. W. Gunn affirms in his " Cartonesia," (London, 1831,) and whether the-second set belonged to Henry the Eighth, and was afterwards bought by the Spanish Ambassador, Don Alonso de Cardenas, at the death of Charles the First, and whether the set bought then is the same which was bought by Mr. Tupper from the Duke of Alba, and is now in England ; or whether it is the one at the Palace at Madrid. The History of Noah is comprised in four tapestries, Nos. 476 to 479. -The cartoons from which they are copied are decidedly Italian in style, and possess a very high artistic merit. Although they appear to have been painted at the time ofRaphael, I do not think they can be by any of his pupils, but rather by some artist of the intermediate schools, as Baltasar Peruzzi, or others of the same period. They were probably woven at the looms of the Flemish weaver Van der Somme. Altmeyer mentions in his account of the art objects belonging to Charles the Fifth at his Palace at Bruxelles, "les pieces de fines tapisseries de Gabriel "1de Somme lesquelles representoient de plaisantes chasses et " volleries, bergiers et bequillions, ou l'histoire de Perseus, l'histoire de Noe." "Marguerite d'Autriche," p. 176. Tbe coats of arms on these tapestries are those of the Kings of Spain. The tapestries representing the' History of St. Paul include five photographs, Nos. 447 to 451. I have not found any docu- ments at Simancas to illustrate this series. The cartoons appear to have been painted by a Flemaish painter, who had been influenced by Raphael, for his manner has been copied in several instances, although in not a very satisfactory manner. The most probable painter of these cartoons' is Michael Van Coxcie, who always imitated Raphael, without however comprehen ding his genius. Coxcie was patronised by Philip the Second, and lived many years in Spain. The tapestries of the " Conquest of Tunis," by Charles the Fifth, are twelve. 13 photographs represent them, Nos. 416 to 428. One of them is a detail on a larger scale. The cartoons for these tapestries were painted by John Cornelius Vermeyen, . known by the name of El Mayo, El Barbudo, and Barbalunga, on account 9f his beard which almost. reached his feet. Charles . the Fifth distinguished him on several occasions, and took 7 'him with him to Tunis in 1535. Vermeyen embarked with him from Barcelona. Ile drew there the plans and sketches represented in these tapestries. His own portrait often appears, although with a smaller beard than in his portrait engraved by Wieri. Don Luis of Portugal, the Emperor's brother-in-law, and a great number of Spanish and Italian noblemen accompanied the Emperor on this expedition. On the sides of these tapestries there are long inscriptions in Spanish giving a detailed explana. tion of the events of the campaign. The original cartoons exist at the Garde Meuble of Vienna. Dr. Waagen saw one of them there. I do not know of any other paintings by this artist existing anywhere. Those which were at Brussels have disappeared, and twelve interesting paintings by him, one of them a view of London, which were at the Palace of the Pardo, were burnt there in 1608. These tapestries were woven at Lille by William Pannemaker, from 1549 to 1554 ; more information will be found concerning them in JuTes Hondoy's pamphlet, "Tapisseries representant la " conquete du Royaulme de Thunes par l'Empereur Charles Quint." 8vo.: Lille, 1873. They were copied from the cartoons already referred to; mention is made of them in the inventories of this time. Some authors think that the original series are in Germany, but if there is a set there, they must be reproductions of a later date. There are two copies of these tapestries also at the Palace; they are not so fine. Part of them were woven in Seville in 1732, and part 'at the Manufactory of Sta. Isabel at Madrid from 1734 to 1744. The campaigns of Archduke Albert consist of seven tapestries, Nos. 540 to 546. The Archduke Albert was. Governor of Flanders in James the First's time, and these military events took place at the end of the 16th century. The cartoons must be of the beginning of the 17th century. In a life of the arch- duke (Cologne, 1693) by an anonymous writer, it appears that he patronized the Dutch painter Otho Van Veen. It is possible that t-e -cartoons were painted by this artist, who died eight or nine years after the archduke. Two photographs remain to complete the 131 of this collection, No. 509 Shepherds by Teniers, No. 510 Ainerva by T. Amiconi, a Venetian painter who came to Spain in 1-747 and died soon afterwards. Both these tapestries were made at Madrid, at the manufactory of Sta. Barbara, at the end of the last century. I am, Sir, Your obedient servant, The Director, (Signed) JUAN F. RIAo. South Kensington Museum. LONDON: Printed by GEORGE E. EYRE and WILLIAM SPOTTISWOQLE, Printers to the Queen's most Excellent Majesty. For Her Majesty's Stationery Office. [6163.-350.-8/75.] UNIERS90 OF MICHIGAN AEG 9 1929 DO NOT REMOVE OR MUTILATE CARDS f xa".