-"-it# // lJUj: io YALE UNIVERSITY LIBRARY Bought with the income of the D. NEWTON BARNEY FUND tgtstafcttjufuii. mmru&at V oiimrtU-afrnrrdfa brtuTsiuimi AJrt^wplanjVrfifunllmr • I lato auffi toftijmllr'tiii oumrmlpffirafojtMnr • 1 JOlS ^tsau^tfisfiJVmanf jtott^&iJ Wfantf ■ p falomo la bjutir bymim vtato partdWljaiitaural 7* VV vnj Gothic Tapestry. Circa 1500. 9 ft. by 10 ft.Tapestry Panel. The Adoration of the Infant Jesus. Flemish. Date about 1510. Reproduced from a Water-colour Drawing by W. G. Thomson.A HISTORY OF dfaifr fcj 2 3 TAPESTRY From the Earliest Times until Present Day the By W. G. THOMSON Examiner in Art '9 a-f With four flates tn colour, and numerous illustrations black and white BREADALBANE GOBELINS. A set of three silk Gobelins, to wlncli an interesting history is given, will be sold at Messrs. Puttick and Simpson's next Friday. They make one lot of the Breadalbane tapestries, and come from Taymouth Castle in Perthshire. It would appear that they are three of the very few recorded portieres woven at the Gobelins to match the well-known Don Quixote tapestries, for which Charles Coypel made designs between 1714 and 1751, and were begun in Audran's atelier in January, 1755, and finished in the following October. The. passed out of the Royal possession, it is believed, through having been chosen instead of, or exchanged for, a Savonnerie carpet due to the Marquis de Marigny, Madame de Pompadour's brother. No information is available a® to liow they came to Taymouth. Don Quixote tapestries, of which between two and three hundred were made from Coypel's twenty-eight scenes, are now widespread beyond France Our own and the Swedish Royal collections own .examples, others belong to the Duke of Rutland, at Belvoir, and there are some in America. The Breadalbane tapestries catalogued run in all to seven lots, and,follow the John William of Llandudno property, a well-known au> y> 4 6 12 Page 19 Facing page 22 26 28 30 32 ») >> 38 52 » » 54 66 w > M j W >1 ft o> £ CD Eh a3 3 ° ^ I W ft & <4-1 2 5 0 £ £ w > a3 oT ^ PI H pi e3 a> Fh p> o c3 ft ca 0 fl a; a> 0 CO a) FH iH >5 rO cc CJ Hd 8 1—1 cd ■e & O ST ft M so OH . fc, 2 - -2flj £ q ■2e3 O g ) . C S3 g-g| § ® S™ >ri -M J CO ^ +3 I _ Cj g 01 fe fe isa a> v r ft ce ^ -U CC 03 ^ » ti n ° ^^^ 2 es q 9 b s; eo S HH 0 02 . C CO <& 3 ft 03 O 0) an ce -03 <« 1—1 ^ m (-1 ^ jo (N c "S n M ^ § S 53 ^ 05 ® © 9 ^ rS ® 00 30 J 5Jx Illustrations Scenes from a Romance, the Victoria and Albert Museum ....... Facing page 146 Taking the Veil, the Victoria and Albert Museum . „ „ 148 The Tudor-Rose Tapestry at Winchester College . „ „ 174 The Hardwicke Hunting Tapestries (No. 1). Colour „ „ 176 The Hardwicke Hunting Tapestries (No. 2). Colour „ „ 182 A Badge of King Henry VIII, Hampton Court Palace........Page 185 The Seven Deadly Sins, Hampton Court Palace . Facing page 186 The Death of Hercules, Hampton Court Palace . „ ,, 190 Suzanna and the Elders, the Victoria and Albert Museum .......„„ 192 The Adoration of the Eternal Father. Colour . ,, ,, 196 The Three Fates, the Victoria and Albert Museum „ ,, 198 The Rural Occupations of the Months, the Victoria and Albert Museum . . . . . „ „ 202 The Triumph of Fame, the Victoria and Albert Museum .......„„ 204 Historical and Allegorical Figures, Hampton Court Palace ..... „ „ 206 The Triumph of Avarice . . . . . „ „ 208 The Death of Ananias, Cartoon by Raphael . ,, ,, 212 The Death of Ananias, Tapestry in the Vatican . „ ,, 214 Tobit and the Angel, Bisham Abbey . ,, ,, 218 The Marriage of Tobit, Bisham Abbey . „ ,, 222 The Resurrection of Our Lord . . . . „ „ 224 Mercy restraining Justice from smiting sinful Man, the Victoria and Albert Museum . . . „ ,, 226 Pastoral Scene—the game of Forfeits, the Victoria and Albert Museum .....„„ 234 The Life of St. William . „ „ 240Illustrations XI The Life of St. William (detail) .... St. Ambrose, the Victoria and Albert Museum Children Playing ...... Design by Giulio Romano, for " Children Playing " The Deposition from the Cross, Florence The Triumph of Time, Hampton Court Palace The Arms and Devices of Henry VIII, Hampton Court Palace ...... The Separation of Abraham and Lot, and Abraham buying the Field of Ephron, Hampton Court Palace ....... The Return of Tobit, Bisham Abbey . The Arms of the See of York, with the Motto of Cardinal Wolsey, Hampton Court Palace Verdure with Animals, the Victoria and Albert Museum ....... Map of Middlesex, etc., the Bodleian Library, Oxford The History of the Armada—the Galleon of De Valdez taken by Sir Francis Drake, and the Engagement off the Isle of Wight . Portrait of Sir Francis Crane, Thorndon Hall, Brentwood ........ Vulcan and Venus, the Victoria and Albert Museum Hero and Leander, the Royal Collection of Sweden The Months, Windsor Castle, and a Landscape, the Royal Collection of Sweden .... Vulcan and Venus—the Forge of Vulcan, the Royal Collection of Sweden . ... Royal Portraits ..... Indo-Chinese Scenes, Glemham Hall Settee, Glemham Hall ..... Facing page 242 244 246 250 252 256 266 » 270 „ 272 » 274 „ 276 282 >9 i) „ 284 „ 298 304 „ 308 j ? »> 314 318 324 342 346xii Illustrations Abraham's Sacrifice, Hampton Court Palace ; and the Departure of Tobit..... Facing page 356 The Story of Esther, the Victoria and Albert Museum „ „ 362 Romance or Allegory, Hampton Court Palace „ „ 378 The Departure of Tobit, Bisham Abbey . . „ „ 382 The Virgin and Child, Madrid Museum, and the Adoration of the Eternal Father, Saragossa Cathedral........ „ 388 Entry of Louis XIV. into Dunkirk, the Garde-Meuble, Paris......... „ 430 Ornamental Details from the Gobelins Tapestries of the Seasons ......„,, 434 Chair with Beauvais Tapestry, the Victoria and Albert Museum ......,,,, 436 The Visitation, after Ghirlandaio, the Victoria and Albert Museum . ,, ,, 444 Portrait of Philippus Cettomai ....,,„ 452 The History of Alexander—Alexander and the Wife of Darius, and the Battle of the Granicus, Hampton Court Palace . . . ,, ,, 454 Alexander and Diogenes, Hampton Court Palace . ,, ,, 458 Ornamental Tapestry, the Victoria and Albert Museum .......,,„ 460 " Angeli Laudantes," the Victoria and Albert Museum .......,, „ 462 The Vision of the Holy Grail • . . „ „ 464 The Star of Bethlehem . . . . „ „ 466 The Building of the Temple . . „ „ 470PREFACE THE new impulse given to the study and cultivation of the Applied Arts is one of the most hopeful signs of the present times for the future of Art in general, and with this movement there has arisen a popular desire for full information regarding the history and technique of the Arts and Crafts. Several of these, for instance, Embroidery and Pottery, have been explained fully and well in various textbooks : others have been altogether neglected, and in this latter class is Tapestry. Notwithstanding the keen and growing interest in Tapestries, and the fact that they constitute most precious acquisitions to the Art Collector, there has been, hitherto, no textbook of exclusively English production to explain them. In France, many good and trustworthy books on Tapestry were published about 1880, but in all these the history of English Tapestry is very inadequate, being limited to a few extracts from the Calendar of State Papers, and well-known references from English authors. The amount of research accomplished since their publication has to some extent rendered their information obsolete. For the present volume the writer has freely used the documents stored in our National Archives, those in the British Museum, etc., and also documents in private possession. The result has been the discovery of manufactories never chronicled in books on Tapestry, fuller xiiixiv Preface information about those already known, and much fresh material relating to Tapestries in general. To this has been added the results of the latest research concerning Continental manufactories and Tapestries. The subject is one of universal interest. It appeals to the poetic, artistic, historical and archaeological elements in our nature ; and to the romantic, most of all. Very few are the masterpieces of literature that hold no reference to it, while, in many, minute descriptions are devoted to it. Tapestry is mentioned in the Bible, the Homeric Epic and many other classics, the Sagas of the Northern lands, and the Romances of mediaeval and modern writers. In many instances the " Arras " plays an important part in the episode, as in the scene of the death of Polonius in " Hamlet." It is with the Romantic Period that we naturally associate Tapestry, and the quaint titles and descriptions of hangings in the ancient inventories preserve a faint echo of it. At the present time Tapestry is prized for its aesthetic qualities, and but seldom is it found fulfilling its original purpose as a useful article of furniture suspended a few feet from the wall, as in the scene already cited from " Hamlet." The records of Tapestry-making provide many facts that throw curious and significant sidelights on history. The following pages chronicle many instances where great national events have been commemorated by woven representations; for example, the Defeat of the Armada, or the Victories of the Duke of Marlborough. The most astute Sovereigns and Princes often paved the way to negotiations and treaties by bestowing a gift of costly hangings to render complaisant the mind of the recipient.Preface xv Recently the President of the French Republic, in the name of the nation, sent a wedding gift of a Gobelins Tapestry to the daughter of the President of the United States of America. Further, the Gothic Tapestries are invaluable historical evidence of the costume, architecture, furniture, etc.,in use at the time when they were designed; for in these even the classic heroes, such as Julius Caesar, are attired in the prevailing Gothic taste. As part of the artistic education the study of Tapestry is most important. The panels are full of suggestions to designers in all branches of the Applied Arts. The decorative value of the figure compositions has long been appreciated, and many eminent artists have sought inspiration from the older school of Gothic Tapestries. The Cartoons of Raphael, that inexhaustible lesson in the composition of line and mass, were from the first destined to be woven in Tapestry, and his pupils were quick to follow the precedent of the master in providing designs for the material. The increasing demand for Tapestries, and the high prices paid for them, have made the acquisition of technical and historical knowledge invaluable to collectors, connoisseurs, and dealers, and the ascertained origin and history of a Tapestry increases its price to a very great degree. To these, the chapter on Tapestry marks, the various inventories, and the Sale Catalogue of the Royal Tapestries (1649-53) will be found useful. It is our privilege here to return thanks for many favours received during the preparation of this book. For their great kindness in allowing reproductions of their Tapestries to appear herein, we beg to thank :—xvi Preface HIS MAJESTY THE KING, with the Lord Chamberlain and the First Commissioner of H.M. Works, etc., in connexion with the Tapestries of Hampton Court Palace. Also, the Duke of Devonshire K.G., the Marquess of Cholmondeley, Viscount Iveagh, Baron Petre, Sir Henry Vansittart-Neale K.C.B., R. Eden Dickson Esq., George Salting Esq., J. Pierpont Morgan Esq., J. H. Fitzhenry Esq., F. B. Palmer Esq., David M. Currie Esq., the Director of the Victoria and. Albert Museum, the Warden and Fellows of Winchester College, the Bodley Librarian, Oxford, and Messrs. Morris & Co., London—to Guy Francis Laking Esq., M.V.O., F.S.A., and Dr. John Bottiger for permission to reproduce English Tapestries from their respective books—to Lieut.-Col. C. B. C. Lyons and Miss Gemmell for the use of private photographs, and to the Misses Hunter for permission to publish a water colour drawing. In connexion with the literary matter we beg to thank C. E. Newton Robinson Esq. for kindly allowing extracts to be made from a manuscript in his possession, Cuthbert Headlam Esq., Miss Tann and Mr. Paulson Townsend—finally, the courteous staffs of the Public Record Office, the Library, British Museum, the Victoria and Albert Museum, the Librarian of the House of Lords, the authors of previous books on the subject, and of articles published in the transactions of learned societies at home and abroad. With the assistance of these this book has been compiled. W. G. THOMSON. South Kensington, November, 1906. THE RENDEZVOUS rFHE STAG HOLDING THE HOUNDS AT THE ROCKS OF TRANCHART.A BURGUNDIAN TAPESTRY PANEL—A Lady and four Attendants kneel before a King, who stands in meditation in front of a throne. The king's advisers stand on cither side, and in the background a young Prince and Princess, the latter bearing a casket, approach the assembly. Early X V I. Century. CHAPTER I PRE-CHRISTIAN TAPESTRY THE art of weaving is one of the great Arts which Nature by means of instinct or by inculcation of the imitative faculty has taught Mankind : the spider weaves, and one species of bird has been named, not without reason, the " Weaver-Bird." The craft is of so great antiquity and so general in its range over the earth that any enquiry as to its origin can be but useless, and any theory but hypothetic. Savage races, only a step above the brute creation, have practised it from time immemorable, and the most cultured nations have vied with each other in its exercise. At the present time one of the most valuable assets of a nation is its capability to produce woven materials. The first step has probably been basket-weaving. The savage in plaiting wattles or straw-like fibres found that some supporting rod was desirable to keep the parallel wands in due relation one to another, and thus a frame or rudimentary loom was improvised : when woollen or linen thread came into use more elaborate appliances were invented and shuttle-weaving was evolved and established. This simple shuttlework represents the craft in an elementary form : in tapestry-weaving it is but little more advanced in development. In both processes there are only two elements employed,— the warp and woof, the upright and horizontal threads H.T. I IPre-Christian Tapestry which generally cross each other at right angles. The difference is, that whereas in a piece of shuttle-woven material, in its simplest form, the vertical and horizontal threads are equally apparent, in tapestry-weaving the weft or horizontal thread is pressed down so as to envelop completely and conceal the warp or vertical threads. In tapestry-weaving a frame or loom is necessary. Upon it a series of threads parallel to one another pass from a cylinder at the top of the frame to another at the bottom. These threads are styled the warp or chain. In the high loom the warp is vertical: in the low or table loom, horizontal. A shuttle, spindle, or bobbin filled with thread is passed behind each alternate string of the warp from right to left. This thread of the shuttle is the weft or woof. In its passage the shuttle leaves a thread of weft through the warp, depositing in front of each alternate thread a tiny dot of weft. On its return journey from left to right the shuttle passes in front of those threads it formerly passed behind, and they in turn are covered as the first were. The two threads of weft are now pressed down by a comb-like instrument until they form an almost even line across the warp. Repeat the operation several times, and a cloth is formed in which the weft completely conceals the warp, which is the foundation of the fabric. By altering the colour of the weft and by using certain and particular threads of the warp, the weaver reproduces the lines and masses of the design in the tapestry fabric. (Fig. i.) The word " Tapestry" has been applied to embroideries, carpets, curtains, cushions and general upholstery. The embroidery at Bayeux is described to-day 2Pre-Christian Tapestry as " The Bayeux Tapestry." There is really nothing radically inaccurate in the inclusion of such hangings in the term " Tapestry" ; but in the interests of clearness it is imperative to restrict the use of the term. By " Tapestry" therefore one means a fabric woven after the manner described above, and in general intended to serve as a hanging, but the test lies in the anatomy more than the function of the object. Embroidery is needlework applied to an already existing foundation : the whole consists of two materials. Tapestry is woven, and forms one material. Weaving on a frame or loom was practised in the Stone Age. An example of this rudimentary art is the piece of coarse flaxen material found in the debris of a lake dwelling in Switzerland. The open texture of this, perhaps the oldest, specimen of cloth extant, suggests a piece of darning or plaited work. Fragments were found in Yorkshire, in a stone coffin, which are somewhat similar in texture, and we may also include some complete dresses of the Bronze Age found at Troenhoi, near Kol-ding in Jutland. Of tapestry-weaving, almost as primitive, we find evidences of production in all parts of the globe, and amongst peoples so situated in relation to each other as to have no possibility of inter-communication. The ancient Egyptians, Peruvians, natives of Borneo, Greeks, Chinese and Romans are but a few who have left such evidences. (Fig. 2.) Egypt is the land of records of antique times, and in Egypt the first indications of this kind are found. In the hypogeum at Beni-Hassan, about 3000 years before 3Pre-Christian Tapestry Christ, there is depicted on the wall a loom for weaving, and two women are represented at the occupation. The loom is extremely simple, but it has all the essential parts of the modern high tapestry loom, viz. the rollers, crossbars, regulator, etc. There is an illustration of a later kind of loom in a painting at Thebes B.C. 1600,— which is slightly different. (Fig. 5.) The tutelary goddess of Egyptian weaving was Neith, who is represented with a shuttle-symbol on her head. Isis and Nepthys wore garments for Osiris. In general the weavers of ancient Egypt were women ; in the loom from Beni-Hassan this is evident. The early workshops were well organized. There was a master weaver or manager with his staff, who had complete control, and apprentices were taken at a lower rate of pay. Relating thereto, M. Maspero has made known to us an interesting document. It is the complaint of an Egyptian matron, that her daughter who had finished her apprenticeship had not yet received the pay of the fully-qualified worker, to which she was now entitled.1 A scribe of the twelfth dynasty has set forth the burden of woe of a weaver of that period. " The weaver in the interior of the house is more unfortunate than a woman. His knees are at the height of his heart. He breathes no fresh air. If for a single day he cannot make the regulation quantity of cloth he is tied to the loom like the lotus of the marsh. It is only by giving presents of bread to the keeper of the door that he is allowed to see the light of day."2 1 M. Dupont-Auberville, L'ornement des Tissus, pp. 4, 5. 2 M. G. Maspero, Histoire ancienne des Peuples de V Orient, p. 124. 4Fig. 4- Fig 2. Ancient Peruvian Tapestry. Fig. 3. Ancient Gieek (about 400 BC.) Fig. 4. Ancient Greek (about 400 B.C.) THE VICTORIA AND ALBERT MUSEUM. THE HERMITAGE, ST. PETERSBURG. THE HERMITAGE, ST. PETERSBURG.OF THE FOUR CONTINENTS By Gerald Peemans. EUROPE, ONE t DUKE OF CUMBERLAND'S TAPESTRIES. Total £13,650. The large company that gathered at Messrs. Christie's yesterday for the sale of a number of tapestries from the collection of' the late Duke of Brunswick-Luneberg (formerly the Duko of Cumberland) included several well-known Continental buyers, as well as most of the prominent English buyers. The most important lot were the three early. 16th Century Flemish panels, illustrating scones from the story of Apollo, Daphne, and Diana, which brought £3,570 (Pollak); an early 18th Century panel, catalogued as "Old English" (opinions seemed to. differ), woven with a trellis-work archway, flowers, and Cupids, bearing the initiafe of the weaver, "L. F., " £3,150 (Fabre, of Faris); a set of four Brussels panels, with subjects allegorical of the Continents, signed G. Peemans, .£2,940 (II. ,J. Simmons) ; a set of three panels, with the Brussels mark and signer] P. Van den Ilccke, depicting the "History of Psyche," £2,782 10s. (Speef-man Bros.); and a single panel, also Brussels illustrating the Battle of Issus between Alexander and the Persians, signed V. Leyniers D.L., £1,207 10s. (Colonel Lowther). The total for this collection was £13,650. From anonymous sources came a set of five Gobelins panels, woven with scenes from the conquest of Flanders by Louis XIV. after ?fnl"Sm:y17a\1 der Meulen' which itched ' , (Dighton); a pair of early 16th Cenfcurv panels, illustrating Solomon instructing Iliram irnemI?T1° and Solomon's Idolatrous Feast, £1,627 10s (H. J. Simmons); a Beauvais panel fe™ -1 P®st°ral. scene after Boucher; £2,<-30 (Founes, of Paris); and an early 18th Sm P(Ule1' depleting a market ^cene, 4,1,260 (Amor). AN ENGLISH GARDEN TAPESTRY OF THE EARLY EIGHTEENTH CENTURY.Pre-Christian Tapestry The examples of ancient Egyptian weavings are of linen. Wool was used for secular purposes, as Herodotus bears witness when he describes the outer garment of white wool which was laid aside before entering the temple. Wool, as an animal product, was considered impure by the Egyptians : linen on the other hand, as well as cotton, was vegetable and cleanly. Their preference for linen is shown in the wrappings of the dead, it being less liable to decomposition, while wool was not only subject to decay, but, being animal, was supposed to engender worms. There is a tradition that the ancient Egyptians used gold and silver in weaving. (Wilkinson, Ancient Egyptians.) The tapestry weaving of ancient Egypt is represented by three fragments in the Museum of Egyptian Antiquities at Cairo. The discovery and exploration of the tomb of Thoutmosis IV by Mr. Davies with Mr. Howard Carter and Mr. Percy E. Newberry, in February 1903, brought these venerable specimens to our knowledge. They are of coarse texture according to the standard by which ancient Egyptian weavings are classified, but by comparison with western tapestries they are extremely fine. The most ancient measures about in. by if in., and has probably formed part of a robe. It, as the others, is of white linen, tapestry woven, with hieroglyphics of the Kfl-name of Thoutmosis III, Men-kheper-Ra 1503-1449 B.C. or thereabout, a king of the eighteenth dynasty. He was the father of Amenothes II. The Ka was a kind of second self, a separate entity or astral body, and the Ka of each king of Egypt had its special 5Pre-Christian Tapestry name. This piece is numbered 46528 in the Museum Catalogue.1 The second fragment is No. 46527, and is also of white linen with hieroglyphics. It measures about 7J-in. by 3J in. The third (Catalogue number, 46526) is larger, measuring 11J in. in height by i6f in length, and is'incomplete at the top and the bottom. A narrow border is placed along the left-hand edge, and another along the right-hand edge. That of the left consists of a repeating pattern of alternate lotus-flowers and buds, beautifully rendered in red, blue and green linen threads, on a ground that was once white. The pattern is of exquisite delicacy in design, and execution. On the right hand side the border consists of a double row of alternate truncated discs on red and blue. Between these borders lies a field of white tapestry upon which is a diaper of lotus flowers in blue and red, alternating with papyrus inflorescences in blue, red, brown and yellow, outlined in black. On the lower part of the field, to the left, the diaper-pattern gives place to the prenomen of Amenothes II in a cartouche, supported by uraei worked in blue, brown, black, red and yellow, the one on the left wearing the red crown of Lower Egypt, the other the white crown, red-outlined, denoting the sovereignty of Upper Egypt. Above the cartouche are hieroglyphics giving the titles of the king. Amenothes or Amen-hetep II, eighteenth dynasty, was king of Upper and Lower Egypt from about 1449 1 Catalogue general des Antiquites de l'egypte. Vol. xv. The Tomb of Thoutmdsis IV. By Howard Carter and Percy E. Newberry, 1904. Pp. 143-44. 6One of a set of eight exceptionally fine Beauvais Tapestries of Boucher designs, 10 ft. 8 in. high, |Pre-Christian Tapestry to 1423 B.C., and chronicles of his victories in Asia decorate the walls of the temples at Amada and Karnak. He was the father of Thoutmosis IV, who succeeded him. These examples are of extreme importance in the history of tapestry-weaving. Bearing the cartouche and attributes of Amenothes II, and the Ka name of Thoutmosis III, their date is nearly 1500 years before Christ, and about 1100 years more ancient than the oldest tapestry weavings known before the discovery. These are some fragments dating from about 400 B.C., found in the Crimea, and now preserved in the Hermitage, St. Petersburg. The superb workmanship proves that tapestry weaving was in a high state of perfection in the reign of Thoutmosis III, and the technique shown by the specimens is most interesting. The texture is very fine, the warp strings numbering about sixty in the space of one inch. In the larger pieces these run vertically as one reads the hieroglyphics—in the smallest horizontally— in all three they are looser in some parts than in others, to which the warp owes its undulative appearance. The weft is appreciably thicker than the warp, and the delicacy with which floral and other forms are rendered leaves no doubt that an upright loom was used. This is confirmed by the fact that the patterns are exactly the same on both sides of the fabric, there being no " passings " or ends of threads visible, and probably the weaver sat in front of the loom instead of behind it. The warp bears traces of having been relaxed or tightened at will in places where its direction would aid the execution of the design—as in weaving the 7Pre-Christian Tapestry- vulture in the smallest fragment, where the strings have been relaxed and forced into a curve to enable the wing, etc., to be more easily rendered. A loom in which the warp strings are kept taut by a series of weights at the foot, instead of being fastened to a cylinder, would admit of this technique. This was the principle of the Scandinavian and Greek looms; one of the latter is represented on a vase, designed about 500 B.C. found at Chuisi. In the smallest piece, the execution of the human forearm in one of the hieroglyphics resembles that of needlework in appearance, but more likely it has been woven by a method common in Coptic work—that of the usage of a " ressaut " or free shuttle or shuttles. Another characteristic of Coptic weaving is that the weft, ceasing to be at right angles to the warp, crosses it obliquely to express a curved form. This has been the method employed in executing the semi-circular arch forms on the hieroglyphics, the weaving proceeding from a nucleus at the middle of the base, the form being built up by concentric layers of weft threads. There are also peculiarities in the weaving of the bull, in the smallest fragment. With the exception of these instances there is but little difference in the technique of these antique fragments and latter-day methods. We can see, in the spaces between contiguous warps bearing weft threads of different colours, the crossing stitch at intervals, which at that period as in the present was necessary to prevent the fabric coming apart. The colours are red, blue (a beautiful turquoise), green, yellow, brown, black, and a grey inclining to green. Of 8Pre-Christian Tapestry these the reds and blues are very bright still. The browns and blacks have perished, leaving the warp-strings bare, except here and there where particles adhere. The white is now a stained-ivory colour. The people of Israel when they wandered through the desert in preparation for the Land of Promise did not forget an art so familiar to them in their former home. We may infer that their method of weaving was identical with the Egyptian, and that upon looms similar to those pictured in Egyptian art the ten curtains of the tabernacle were woven, as set forth in Exodus xxvi. " Moreover, thou shalt make the tabernacle with ten curtains of fine twined linen, and blue, and purple, and scarlet: with cherubims of cunning work shalt thou make them. The length of one curtain shall be eight and twenty cubits, and the breadth of one curtain four cubits : and every one of the curtains shall have one measure. The five curtains shall be coupled together one to another ; and other five curtains shall be coupled one to another. And thou shalt make loops of blue upon the edge of the one curtain, from the selvedge in the coupling ; and likewise shalt thou make in the uttermost edge of another curtain, in the coupling of the second. Fifty loops shalt thou make in the one curtain, and fifty loops shalt thou make in the edge of the curtain that is in the coupling of the second, that the loops may take hold one of another. And thou shalt make fifty taches of gold, and couple the curtains together with the taches ; and it shall be one tabernacle." And the Vail: " And thou shalt make a vail of blue, and purple, and scarlet, and fine twined linen, of cunning work : with cherubims shall it be made. And thou shalt hang it upon four pillars of shittim-wood overlaid with gold: their hooks shall be of gold, upon the four sockets of silver. And thou shalt hang up the vail under the taches, that thou mayest bring in thither within the vail the ark of the testimony : and the vail shall divide unto you between the holy place and the most holy." It is evident that the "cunning work" lay in the weaving of the figures of cherubims, and that the hangings were of tapestry as the phrase is not used in the specification of the hanging for the door of the tent, which was "of blue and purple, and scarlet, and fine twined linen, wrought with needlework." 9-Pre-Christian Tapestry There is but little doubt that of tapestry also were the hangings at the feast given by King Ahasuerus unto all the people that were present in Shushan the palace. The fabrics are described in Esther i. 6 :— " Where were white, green, and blue hangings, fastened with cords of fine linen and purple to silver rings and pillars of marble." Again in Proverbs vii. 16 :— " I have decked my bed with coverings of tapestry, with carved works, with fine linen of Egypt." From these quotations it will be seen that tapestry held a high place in the estimation of the ancient Jews : they used it in their most solemn religious observances, on occasions of royal festivity or pomp, and for domestic purposes, such as bed coverings, etc. Tapestry was made and much prized by the ancient Greeks. The Parthenon, according to one of the most eminent authorities (M. de Ronchaud) was furnished with hangings of this material, which in Greece was manufactured of various substances and textures, according to the purpose to which it was to be applied. The manufacture was both professional and domestic, and as in the case of the Egyptians the weavers were, for the greater part, women. In M. de Ronchaud's delightful book he describes some of the workshops, conducted by societies of young girls who had each a particular portion of the work allotted to her, as " nests " of happy young girls who sang as they wove. A famous manufactory existed in Cyprus, and the names of two leading craftsmen are preserved to us. They were " Acetas " and " Helicon."1 1 M. de Ronchaud, La Tapisserie dans VAntiquiU, p. 34. 10Pre-Christian Tapestry As a domestic occupation tapestry-weaving formed an important and even essential part of the education of Greek maidenhood; the instances of such employment are everywhere manifest in literature and history. Curiously enough, this was not the case in Persia. When Alexander the Great visited the mother of Darius he presented her with some rich vestures, and suggested that she might make her grandchildren proficient in the art of weaving these. At this the royal lady felt insulted and deeply hurt, as it was considered ignominious by the Persian women to work in wool. Hearing of her misapprehension, Alexander again waited on her, and in the gentlest and most respectful terms told the illustrious captive that, far from meaning any offence, the custom of his own country had misled him, and that the vestments he had offered were not only a present from his royal sisters, but the work of their own hands. With the Greek conquests of India, Persia, and Egypt, their liking for luxurious surroundings became inordinate, and the accounts of their rich hangings and furnishings almost reach the limit of credibility. Persia especially, where the art appears to have been a purely professional one, must have proved a treasure-house to them. The Homeric poems have exquisite descriptions of this favourite employment of Greek womanhood. It was their custom to use the finest weavings and embroideries at the obsequies of the honoured dead for whom these wrappings were woven (while the beloved was yet alive) by a near relation. It was considered a slight to the departed to be buried without such a gar- nPre-Christian Tapestry ment and a dishonour to fail to supply one. Thus it happened that the object of Penelope's famous labour was a shroud. Pending the return of Ulysses, she would listen to no suitor until she had completed the vestment she was weaving. To gain time she unravelled by night the portion she had worked by day. (Fig. 6.) " Did not the sun, thro' heav'n's wide azure roll'd For three long years, the royal fraud behold ? While she laborious in delusion spread The spacious loom, and mix'd the various thread ; Where as to life the wond'rous figures rise, Thus spoke the inventive Queen with artful sighs. ' Tho' cold in death Ulysses breathes no more. Cease yet a while to urge the bridal hour ; Cease, 'till to great Laertes I bequeath A task of grief, his ornaments of death. Lest when the Fates his royal ashes claim, The Grecian matrons taint my spotless fame ; When he, whom living mighty realms obey'd, Shall want in death a shroud to grace his shade.' Thus she : at once the gen'rous train complies, Nor fraud mistrusts in virtue's fair disguise. The work she ply'd but studious of delay, By night revers'd the labours of the day." Odyssey, Book 2. Andromache was weaving in secret the same kind of vestment for Hector at the time of his death :— " Pensive she ply'd the melancholy loom, A growing work employ'd her secret hours, Confus'dly gay with intermingled flow'rs." Iliad, Book 22. When Iris is sent to call Helen of Troy to behold the combat between Menelaus and Paris :— " Her in the palace at her loom she found ; The golden web her own sld story crown'd, The Trojan wars she weav'd (herself the prize). And the dire triumphs of her fatal eyes." Iliad, Book 3. In a work attributed to Aristotle, " De Mirabilibus Auscultationibus/' it is recorded that there was made for Alcisthenes of Sybaris a piece of stuff of such magni- 12Pre-Christian Tapestry ficence that it was considered worthy of being exhibited at the feast of the Lacedemonian Juno. It was there admired more than all the other objects, and was of purple colour, in size about 22 feet square, with ornamentation of figures worked in the weaving. The upper part represented the sacred animals of the Susians, the lower those of the Persians : in the middle were Zeus, Hera, Themis, Athene, Apollo and Aphrodite, while at the ends Alcisthenes and the emblem of Sybaris were twice reproduced. This tapestry afterwards came into the possession of Dionysius the Elder, who sold it to the Carthaginians for 120 talents—an enormous sum, equivalent to £26,400 of our money. From Greek looms came the venerable specimens of tapestry that are now exhibited in the Museum of the Hermitage, St. Petersburg. The Imperial Commission in the course of its investigations found these pieces of ancient dress material in the Tomb of the Seven Brothers, at Tembriouck in the province of Kouban. Kouban on the north-east shore of the Black Sea was anciently a Greek settlement, and the tomb dates from the third or fourth century before Christ. Of primary importance then are the fragments of tapestry-woven material that its investigation revealed. One of these pieces, supposed to have formed part of a head-dress, is ornamented with a diaper or powdering of ducks on a reddish ground having a border of stags' heads disposed upside down to the diaper. The pattern is the same on both sides as in ordinary tapestry. Another piece, part of a covering or hanging, consists of a series of bands, plain ones alternating with others having a floral orna- 13Pre-Christian Tapestry ment. (Figs. 3 & 4.) We have an illustration of the kind of loom upon which these textiles were woven. It is taken from a Greek vase, about 500 B.C., representing Penelope at her loom. It differs slightly in principle from the Egyptian one from Beni-Hassan. With the Greeks the material was woven from the top downwards and there was no cylindrical attachment at the foot, the warps being kept perpendicular by a series of weights —a principle we find in Scandinavian weaving. (Fig. 6.) With the Romans, as with the Greeks, tapestries were valued as necessary articles of furniture, and later as objects of luxurious art. The Roman, at first severe and simple in his tastes, developed, as wealth increased, a luxury which more than equalled that of his Grecian predecessor. The art of tapestry weaving does not appear to have been professionally practised to any great extent in Rome ; the hangings were imported from abroad. Babylon, Egypt, Persia, India, and even the distant provinces of barbaric Gaul sent woven hangings to Rome. In later times the fashion fluctuated, embroidery superseding tapestry, then again, as Martial writes :— \ " Haec tibi Mephitis tellus dat munera : victa est Pectine Niliaco jam Babylonis acus." Babylon, famous for its embroideries and weavings, covered its walls upon occasion with the richest materials. Pliny tells us how some of the hangings made there were sold in Rome in the last years of the Republic for a sum equal to £640 of our money and two hundred years afterwards Nero bought the set for no less than £16,000. The same emperor caused a velarium to be 14Pre-Christian Tapestry made which represented the sky with Apollo driving his chariot, for one of the theatres at Rome. We read also of a purple curtain adorned with inwoven representations of Britons, and literature of the period is full of descriptions of such weavings. Under the Republican rule, and during the early period of the Empire, weaving in Rome was done by the women slaves of the house, who worked under the i ' supervision of the matron. They were expected to produce not only material sufficient for household requirements but enough to provide a profit to the master, who sold the surplus quantity in the public market. The most instructive and interesting description of ancient tapestry weaving is that given by Ovid, where he describes a veritable duel, fought with looms as weapons, by the goddess Pallas and Arachne. The latter was a very famous lady weaver, whose dexterity and pride in her work so aroused the anger of the goddess tutelary of the craft, that she challenged her mortal rival to face defeat in a weaving contest. Here is Ovid's account, translated by Mr. Croxall:— " Straight to their Posts appointed both repair, And fix their threaded Looms with equal care ; Around the solid Beam the Web is ty'd, While hollow Canes the parting Warp divide ; Thro' which with nimble Flight the Shuttles play, And for the Woof prepare a ready way ; The Woof and Warp unite, press'd by the toothy Slay. Thus both their Mantles button'd to their Breast, Their skilful fingers ply with willing Haste, And work with Pleasure"; while they chear the Eye With glowing Purple of the Tyrian Dye : Or justly intermixing Shades with Light, Their Colourings insensibly uuite. As when a Show'r transpierc'd with'Sunny Rays Its mighty Arch along the Heav'n displays ; 15Pre-Christian Tapestry From whence a thousand different Colours rise, Whose fine Transition cheats the clearest Eyes; So like the intermingl'd Shading seems, And only differs in the last Extremes. The Threads of Gold both artfully dispose. And as each Part in just Proportion rose. Some antic Fable in their Work disclose. Pallas in Figures wrought the heav'nly Pow'rs, And Mars's Hill among th' Athenian Tow'rs. On lofty Thrones twice six Celestials sate, Jove in the midst, and held their warm Debate ; The Subject weighty, and well known to Fame, From whom the City should receive its Name. Each God by proper Features was exprest, Jove with a majestic Mien excell'd the rest. His three-fork'd mace the dewy Sea-god shook And looking sternly, smote the ragged Rock ; When from the Stone leapt forth a spiritely Steed, And Neptune claims the City for the Deed. Herself she blazons with a glitt'ring Spear, And crested Helm that veil'd her braided Hair With Shield and scaly Breast-plate, Implements of War. Struck with her pointed Lance the teeming Earth Seem'd to produce a new surprising Birth; When, from the Glebe, the pledge of Conquest sprung, A Tree pale green with fairest Olives hung. And then, to let her giddy Rival learn What just Rewards such Boldness was to earn, Four trials at each Corner had their Part, Design'd in Miniature, and touch'd with Art. Haemus in one, and Rhodopi of Thrace, Transform'd to Mountains, fill'd the foremost Place; Who claim'd the Titles of the Gods above. And vainly used the Epithets of Jove. Another shew'd, where the Pigmaean Dame, Profaning Juno's venerable Name, Turn'd to an airy Crane, descends from far, And with her Pigmy Subjects wages War. In a third Part, the Rage of Heav'n's great Queen, Display'd on proud Antigond was seen | Who with presumptuous ^Boldness dar'd to vye, For Beauty, with the Empress of the Sky, Ah ! what avails her ancient Princely ;Race, Her Sire a King and Troy her native Place ? Now to a noisy Stork transform'd, she flies, And with her whiten'd Pinions cleaves the skies. And in the last remaining Part was drawn Poor Cinyras, that seemed to weep in stone; Clasping the Temple Steps, he sadly mourned 16Pre-Christian Tapestry His lovely Daughters, now to Maxble turn'd. With her own Tree the finish'd piece is crown'd, And Wreaths of peaceful Olive, all the work surround.' Metamorphoses, vi. Arachne, choosing for subject the " Frailties of the Gods " pictured with marvellous skill such instances as Jove and Europa, Asteria, Leda, Aegina, Mnemosyne, Jove as the Satyr, Danae's shower, and Amphitryon, etc., all with proper landscape accessories. She showed also the loves of Phoebus, Bacchus, and Saturn, while :— " Fresh Flow'rs which Twists of Ivy intervene, Mingling a running Foliage, close the next Design. Pallas was so overcome with vexation at the success of a work not inferior to her own, and incensed beyond control at her rival's deliberate insult in selecting for subject the " weaknesses of the Gods," that she belaboured the hapless Arachne with a shuttle until she had rendered her insensible. The goddess then changed Arachne to a spider to weave evermore. The above description is so lucid that it is undoubtedly of a tapestry which the poet had seen, and it gives an invaluable idea of the subject, style, and treatment of these hangings in Roman times. From references in Claudian and others, in later ti mes, embroidery appears to have usurped the place of tapestry. The Scandinavian races practised the art from the most remote times. Bartholinus relates that it was much cultivated by the ancient Icelanders who wove the history of their champions and giants in tapestry.1 In the " Elder Edda " there occurs a reference to these woven pictures :— " I will give to thee, Gudrun, Gold to be glad with 1 Antiquit. Dan., Lib. i. 9, p. 51. H.T. 17 2Pre-Christian Tapestry All the great wealth Of thy father gone from us, Rings 'of red gold And the great hall of Lodver, And all fair hangings left By the king late fallen. Maids of the Huns Woven pictures to make, And work fair in gold Till thou deem'st thyself glad." (Ancient Lay of Gudrun.) — Volsunga Saga. (Magnusson and Morris.) The form of loom used in the Northern regions until a short time ago was closely akin in principle to that of Penelope. (Fig. 6). That is to say, the warps were kept perpendicular by a series of weights attached to their ends, instead of the strings being tied to a roller at the foot. The comb for pressing down the weft was an instrument shaped like a sword blade : a similar tool was used by the ancient Peruvians. Such a loom, once used in the Faroe Islands, is to be seen in Bergen Museum, and the Museum of Christiania possesses several specimens. It is impossible to pass over the grim picture of the working of this Scandinavian loom which occurs in the Nial Saga, it presents such a lurid contrast to Ovid's description of the weaving contest between Pallas and Arachne. " In the North of Caithness, Darad came up to a rock, having seen several figures approach and disappear in it. In this rock there was an opening through which he saw wild women weaving, and singing as they wove. And the weights of the loom he beheld were human heads—the heads of heroes: of entrails were the warps and woofs: swords were the shuttles: and for a comb they had arrows. Now as they sang their awful song, the words dinned in his ears and became understandable. They sang that they were Valkyrias and that the web they were weaving was the web of Darad. As the song ceased they tore in pieces the work they had done, and departed as they had come, some going North and some going South." Thus the grim Scandinavian compares with [the Roman ! 18CHAPTER II LATER EGYPTIAN OR COPTIC TAPESTRIES HUS far the early history of tapestry has been constructed from the accounts of ancient scribes and poets, the subjects painted in contemporary decorations, and examination of the few ancient specimens that yet remain with us. The century preceding the dawn of Christianity has left more examples, and as time advances specimens are multiplied. From these it is possible to ascertain the nature and construction of the material, the styles and development of its ornamentation, the purposes for which it was utilized, and to some extent the popularity to which it attained from the beginning of the Christian Era until the twelfth century. 'Within a comparatively recent period the caves and sandy cemeteries of Egypt have yielded up innumerable garments and fabrics, which in a soil less preservative would have perished long ago. In 1884 M. Maspero, the famous Egyptologist and Oriental scholar, now director of the Museum at Cairo, announced to the world the discovery of innumerable relics of art work in the ancient necropolis of Akhmim-Panopolis in Upper Egypt. Since that date similar discoveries have been made in other districts, and the burial grounds of Denderah, Antinoe, the Fayoum, Erment, etc., have proved veritable treasure-houses ofLater Egyptian or Coptic Tapestries Graeco-Roman, Byzantine, and early Mahommedan art. The dead were buried in the clothes fitted to them during life, and here and there a garment is found bearing the marks of wear and tear. The most common of these is the shirt or tunic, woven in one piece of stuff with an aperture in the middle through which the head and neck of the wearer were passed. The material is generally linen ornamented with bands and panels tapestry-woven in silk or wool. In addition to fabrics, utensils of symbolic meaning, ornaments, tools, etc., are found with the dead. Brought again into the light of day from gloomy cavern or sandy grave, these garments, stained and discoloured though they be, enable us to picture, with absolute certainty as to costume, the guise in which the people of Egypt walked on the earth when the Faith was yet in its infancy, and probably to them unknown. And in these garments of Akhmim, far distant from Rome or Judea, it is possible to trace the first evidences of the new faith as it finds expression in woven ornamentation. It is dominant everywhere during the Byzantine period, becoming repulsive in the latter stages of that style, and then is lost in the seventh century when the Mohammedan conquerors swept through the land, and everywhere set their sign on art. A few centuries later, tapestry-weaving becomes eclipsed by embroidering and the weaving of brocades, etc. Formerly the districts in which these clothes were found were ancient Hellenic settlements, and when the Greek power had waned Rome claimed the provinces for her own. The Egyptians, as the last chapter demonstrates, were the most skilful weavers in ancient times; 20Later Egyptian or Coptic Tapestries and to their lineal descendants—the Copts—the practice of the craft became almost a hereditary instinct. They had woven the garments, etc., of their Persian or Greek conquerors : they did the same for their Roman masters, adopting freely that distinctive national style, for there is but little of recognizable Egyptian design in these weavings. Occasionally in the Roman and Christian ornamentation there are examples of atavism in the reversion to some ancient Egyptian symbol used as an element in design; but in general the work is carried out to the letter and in the spirit of the art of the ruling power. In the last Christian period, when that influence became weakened and debased, a characteristic Coptic style took its place, a style in which natural forms were outraged, and the only palliatives were lurid colouring and fine texture. But, if the design in the best periods of Coptic weaving be exclusively foreign, the technique in the finished work is unmistakably national, and there are few examples that do not bear the impress of the Copt. The tunics, etc., are for the greater part woven in the simplest shuttlework fashion, but are ornamented by inwoven bands, panels, or diapers of tapestry-weaving. This treatment is not exclusively Coptic, it is common in old work where tapestry was used as a dress-material, as in Peru. The fabric was begun in ordinary shuttle-weaving and carried on until the weaver desired to introduce a tapestry panel. At that point he changed the weft or threads in the shuttle, and working with two or more of the warp threads combined as one he proceeded with his tapestry weaving, beating down this 21Later Egyptian or Coptic Tapestries new weft with the comb. The ordinary shuttle weaving was continued to right and left of the insertion, and when the tapestry panel was completed the warp threads were divided into their original number, the plain weaving being proceeded with along the width of the loom. Such a method was delightfully simple and effective, for the inwoven panel or band being generally of wool or silk is slightly raised above the surface of the shuttle-woven linen that surrounds it. A simple upright loom or frame was used, and the workman seated in front might dispense with the " lisses" or cords used in pulling the distant warps towards him. This would produce a very pliant fabric, the warps being kept loose enough to permit the passing of the shuttle. Some of the later specimens of these inserted panels have been executed by another method, that of drawn-thread work, a tambour-frame taking the place of the loom ; but, whatever the method of production may be, the resulting material is the same. The chief characteristic feature in Coptic weaving is the extreme development of the principle of the free shuttle or spindle, or as the French call it the "ressaut" or, more familiarly, the " Crapaud1 The Western tapestry-weavers kept their weft threads fairly perpendicular to the warps. Occasionally in rounding a leaf, etc., these to a slight extent take the direction of the form, but generally a rounded form is indicated in part by a series of " steps " or " ladders " in mass. The Copt did not bind himself by these formal methods, and carried the opposite principle to the extreme. He made his weft wander in any direction he wished, diago- 1 Gerspach, Les Tapisseries Coptes, p. 6. 22Later Egyptian or Coptic Tapestries nally to the warp if he willed it, till sometimes weft and warp become almost parallel. He built up his mass form first, then his flying shuttle jumped from point to point, quite indifferent to the relative positions of warp and weft. This is the method pursued in those intricate geometric patterns traced in white outline on a dark purple ground, which at the first glance give the impression of a needlework execution to any one who is unacquainted with the capacity of the weaver's tools. The curious procedure is carried to such excess that the outlining weft forms almost a framing to the mass it encloses. This free shuttle-work had been a heritage from the ancient Egyptians, for in one of the fragments now in the Museum at Cairo there are instances where two of these shuttles have been used, and in the semicircular forms the weft travels round the shape. Apart from the above-cited peculiarities Coptic tapestry-weaving is very similar to mediaeval or even modern work in appearance. There are the little holes in the fabric where a change of colour comes parallel to the warp, and the intercrossing stitches when it is of considerable extent. In general the texture is finer than that met with in most of the mediaeval tapestries, but sometimes it is quite as coarse as 16 to 19 warps in the space of one inch. In some specimens, in all the periods of Coptic weaving, the fineness of texture is unrivalled. This is the case with linen or wool-weaving as well as silk, for the Egyptian linen and wool were spun as fine as silk. The Byssus weavings held in such repute among the Greeks may well have been something akin to the finest weaving in the ornamentations of these faded grave-clothes. 23Later Egyptian or Coptic Tapestries As the land of Egypt is far distant from Athens or from Rome, a considerable time must elapse before any change in the capitals could have an influence there. It is not till late in the fourth century that expression (in ornament) of the Christian religion may be looked for. Up to that date we find innumerable garments with exclusively pagan decoration, and Roman art was past its best period at the time when the greater part of these specimens was designed and put upon the loom. It is very rarely that a piece of Coptic weaving of purely Greek designing is met with : there is one very fine specimen, a collar for a tunic, in the Victoria and Albert Museum. (Fig. 10.) It is unfortunate that the garment of which it formed part is missing, for the rounded shape of the collar suggests a robe of different cut from that of the common ones, with the horizontal slit for the head and neck of the wearer. The design is carried out in dark purple wool and ecru linen thread upon a linen warp. The drawing of the anthemion ornament has all the spirit and free rendering of such detail in Greek art. The chequer pattern in the upper part has a certain barbarous richness, in pleasing contrast to the almost fragile elegance and grace of the honeysuckle below, and this effect is emphasized by the plain dark band that separates them. So faithfully has the Copt followed the letter and especially the spirit of his model that, had the collar been found elsewhere than in Egypt, it would have been attributed to Greek workmanship. But the technique of the weaving gives a clue to the maker; the needlework effect caused by the free shuttle is here too. 24Later Egyptian or Coptic Tapestries The white outlines of the bands, instead of having their curves indicated by series of " stair-steps," are boldly executed with the " CrapaudThe white veins in the interior of the anthemion pattern are done by the same agency, so upon this collar the Copt has set his mark. The owner of the garment had been laid to rest in it sometime in the first century before the coming of Our Lord, which makes it one of the most ancient pieces of Coptic tapestry yet discovered. The antique feeling is very strong in panels n and 12, and in the first an Assyrian influence is manifest in the wavy border and the inner framing with its cone ornamentation. These two panels belong to a distinct school. There is in these a feature not met with in the examples before mentioned, i.e. the ground or framing of the panels has been woven, not with dark or light thread alone, but with alternate stitches of dark and light. Where this feature occurs in the cone border it gives relief to the inner panel, which unfortunately is badly mutilated, but enough remains to show that the spirit of the model has been fully interpreted by the Copt. The more complete figure is described as Mercury, and the torn figure is evidently a woman, perhaps Psyche. No. 12 is a lesson in design, even to a master. With a circle, an oddly-drawn wild beast, and a few leaves and stems, the designers of this period contrived an arrangement at once graceful, artistic and decorative. Both these fragments are of very fine texture in warp and weft. The drawing is playful, the Greek freedom and litheness is not yet supplanted by the firm rigid lines and massing of the later style. 25Later Egyptian or Coptic Tapestries The next example is perhaps later, but is certainly one of the most interesting in the collection in the Victoria and Albert Museum. It is difficult to classify : the Egyptian and ' Roman elements are so equally balanced. The ancient symbol of Osiris and Isis has here its antique shape—the oval, and it is curiously powdered or jewelled with spots of different colour. Inside the disc is a skeleton-like head with great piercing eyes, eyebrows, nose and mouth. Spots on the cheek are intended for carnation tints. Over the head is a cap, with what appears to be a debased rendering of snakes, serpents on the head were anciently a symbol belonging to monarchs. The corners of the panel are occupied by four vases, from which spring leaves, etc.; and the whole is contained within a plain narrow band separating it from an undulating stem-and-leaf border. The colours are sombre, few, and simple. It is deplorable that this most interesting example is in such a dilapidated condition. It recalls memories of ancient Egypt, and the symbol yet retains its pagan impressive-ness, which is lost when it is met with again, in conjunction with Christian emblems. (Fig. 13.) The Copts served their Roman masters in the same faithful spirit. The Roman tunic was in the first period very simple, being in most cases ornamented with plain bands in one colour, either red-brown, brownish-purple, or black. When a little ornamentation was attempted, it was merely an outline of ecru threads that traced geometric forms,—spirals, zigzags, etc., on a dark ground; a simple, graceful and pleasing effect. Some of the works of the best Roman period are splen- 26Coptic Tapestries (Figs, n and 12). THE VICTORIA AND ALBERT MUSEUM.Later Egyptian or Coptic Tapestries didly decorative, and especially admirable is the rendering of the hunting panel. (Fig. 8.) In the centre an elliptical panel contains a horseman (somewhat damaged) evidently in the act of launching a spear at one of the wild beasts that look so fierce or apprehensive of attack, according to whether they are advancing or retreating. Everything in this panel is full of movement, and the draperies are floating in the air. The branches of foliage are skilfully designed to break up the white ground, and it is remarkable how their curves follow the outline of the neighbouring mass—a treatment which gives this panel the feeling of a mosaic. Sometimes, instead of an inwoven decoration of tapestry, the makers used an applique, which is not so successful; the effect is clumsy and suggestive of clouting. By themselves some of the ornaments used in this fashion are exceedingly beautiful, for example the ducks in the centre of the oval. The ivy leaves surrounding them are beautifully massed in an enclosing band, shaped like a leaf. The ornament as a whole is bold and effective, of the colour of deep purple and ecru, the purple being wool, the ecru linen. (Fig. 15.) In these oval ornaments there is immense variety. Fig. 14 is of another kind, a simple leaf, veined and subdivided with a curious conventional stem, strongly suggestive of the handle of a mirror. Note also the small panel from a tunic found at Akhmim. It is a splendid example of the detail in Egypto-Roman work, and represents some carnivorous beast killing a goat or gazelle. (Fig. 18.) In Greek art there are similar renderings of this subject; but a more interesting comparison is to be 27Later Egyptian or Coptic Tapestries found in a group of hunting and hunted animals which is displayed on the wall of a tomb at Thebes. In addition to dress ornaments and decorative panels of uncertain use, fragments of mural tapestries have been unearthed. These, when entire, must have been of fairly large dimensions, but as the existing fragments are very rare, and mostly naturalistic in treatment, the classification of them is extremely difficult. One of the largest is the piece showing birds among foliage, in the Victoria and Albert Museum. It is a powerful piece of decoration, the chief feature being a series of horizontal bands containing large birds of gorgeous plumage on a cherry-colour ground. These bands are separated by strips of foliage and fruit, while the lower part of the hanging is decorated by bands of leaf form and ornament (see fig. 7), and lower still is a beautiful border containing reddish flowers of six petals surrounded by leaves and what appears to be seed or fruit. The birds are large, when considered in relation to the foliage, and there is no clue to the age of the specimen. The original colour must have equalled that of the richest Persian examples, if indeed the spirit of the work be not Persian. The warp runs vertically, and the weaving is in technique similar to modern work, the lower border suggesting the characteristic tapestry border of the early sixteenth century. More naturalistic still is the portion of another hanging, also in the Victoria and Albert Museum. (Fig. 9.) Here are stems and leaves, sturdy in growth, and harmonious in colour, with fruit-form suggestive of the pomegranate: there is but little to distinguish it from 28Kit; 15 Fig 14. Coptic Tapestries. II IK VICTORIA AND ALBERT MUSEUM.Later Egyptian or Coptic Tapestries an early Flemish hanging. In both the warp is horizontal, but in the Coptic example the warps are undu-latory in the extreme, and the leaves bear a thin outline of dark brown or black, while the fabric as a whole is very flexible. It is to be hoped that future discoveries will throw some light upon the origin and period of the school which produced these remarkable specimens of a decorative art inspired seemingly by pure love of nature. There is the spirit of the renaissance in them, the maker of them has broken away from the trammels of tradition, and trusted to nature only. It thus affords a great contrast to Coptic weaving of the latter part of the Byzantine style. There are also woven portraits of the Roman period, such as the head of a lady (fig. 16), with a disc or nimbus. It must have been an excellent likeness, the drawing is firm, the modelling, softened by time, is very effective still, and the flesh colour is beautiful. It is remarkable that in the lighter shadows and in the half tones a grey-blue tint is used—a comparatively modern technique. Again, the hair in general is dark brown or black, with lighter tints in brown, but where it rests on the shoulders in a horizontal position the lights are more grey— another natural truth. The subject must have been a lady of high rank: a golden tiara or jewelled circlet rests on her brow, rich ornaments hang from the ears, and a brooch, or pendant, appears in front of the neck. The band that frames the composition is of red and orange, the background is almost black, the disc, or nimbus is pale green-grey. The dress is of flesh colour, and the panel as a whole is a magnificent decoration, 29Later Egyptian or Coptic Tapestries bold and strbng almost to fierceness, yet most artistic: it is a splendid piece of craftsmanship. The disc 01 nimbus is stated to have been introduced about the time of Constantine, and this portrait may date from that period, though it shows no signs of decadence. The Christian period in Egypt may be considered as beginning about the time of the conversion of Constantine, but it did not reach full recognition until the edict of Theodosius I., (379 a.d.), established it as the State religion. In many garments woven before the fifth century Christian symbols, such as the cross, are found, but as these were also pagan emblems they cannot be regarded as certificates that the wearer was a Christian. Some may have been used as tokens by which one believer might privily recognize another in times of persecution, and the garment being buried with him would bear witness to his religion. This may have been so, in relation to the cross that is woven on the shoulder of a tunic. (Fig. 17.) Otherwise, the decoration is frankly pagan, fierce animals chase each other up and down the narrow bands on the front, back and sleeves ; four warriors are represented with shields on the breast of the garment, while a similar group adorns the back. In the narrow bands on the shoulders are two small circles; the one on the right contains a four-petalled flower, that on the left a cross. This cross, exhibited as it is upon the shoulder, would be almost overpowered by its pagan surroundings, and while fulfilling its original purpose could not be denounced as Christian, as the cross was a decorative element in the art of pagan Rome. It is significant 30Later Egyptian or Coptic Tapestries too that the ornament on the corresponding space is different, in view of the fact that repetition is here almost a law. As a piece of decoration this tunic is not so fine as those of the best Roman period. The freedom of decorative line is less apparent, rigidity takes its place, the drapery is no longer swaying in the air and the figures are less proportionate, while the firm yet delicate drawing of the classic period has degenerated. In a similar garment a cross is shown on the neck in front, and the figure drawing is debased, rigid lines are the rule, and the curves have lost their delicate sweep to become tortuous or broken. Later, ornament becomes of more importance than figures. A characteristic example of the Byzantine period in Coptic weaving is shown on page 19 a series of trees under arches, with bands containing symbolic fishes, leaf-forms, etc. It is a beautiful example of decoration in dark purple wool upon ecru linen, one of the finest specimens of its period. Very fine also are the patterns traced in white on a dark ground, in some cases with a lace-like effect, as in fig. 20. Symbolism in the Byzantine period becomes a powerful agent in design; even in this little panel there are evidences of it—the vine border, and the four vases with water-like forms issuing from them—these are said to be emblematic of the four rivers of paradise. A form frequently met with in different stages of Coptic work is the oval tree, generally represented springing from a pot, but this example has been mutilated. (Fig. 19.) It is of interest to note here that the interlacing branches outline a cross, which is enhanced by a rude rendering of a bunch 31Later Egyptian or Coptic Tapestries of grapes in the centre. This oval form of tree may have been a legacy from the ancient Egyptians, as there are examples of it in wall paintings in the hypogeum at Beni-Hassan and also at Thebes. There, too, the vine was trained into a semi-circular form. In the fore-given examples the design has been excellent, the drawing tolerably firm and expressive, and the colour simple and harmonious. Under Christian influence a change takes place: the Copt becomes more and more his own designer. At first the change was but slight. A panel such as fig. 8 was reproduced with comparatively little difference. It is still spirited, although the drawing is less free and accurate, the animals are more strongly enclosed by the surrounding bands or branches, the pagan hunter becomes a saint, such as St. George, a crocodile being introduced, and the bands or branches of foliage throw off a greater number of twigs and leaves. Then a cramping tendency begins to be felt, and symbolism is evident everywhere. Subjects such as the basket with the loaves, the fishes, the dove as the soul incarnate rising to heaven or drinking from a cup (the water of eternal life), the eagle meaning courage, the lion power, etc., are to be found everywhere, even in the borders enclosed in a framework of stems. The purple panels, upon which were traced, as by a spider, simple geometric or ornamental forms, become over-patterned, and design is bewildering complexity. Crosses are found in every pattern, and are formed by floriated lines, by interlacing octagons, etc., or by rosettes. The Copt was especially fond of polygonal forms, as the 32Fig. 19. Fig 20 Fig. 21. Coptic Tapestries. THE VICTORIA AND ALBERT MUSEUM.Later Egyptian or Coptic Tapestries intersections gave the form of the cross. The figure drawing has lost all the strength and grace of the Roman period, mal-proportion is the rule, knowledge of detail is lost, and the drapery becomes rigid. Colour begins to be more assertive as drawing deteriorates, and, symbolism developing, nature grows less and less important. At length individual form is lost in religious preoccupation, and the human figure, animal form, and even architecture become grotesque and painful to look upon. Fig. 21 is a characteristic example of this latter phase. At the top is a priest in the attitude of prayer as practised in the fifth century, the hands uplifted. Imagination recoils from the attempt to identify the form below, it^may be an animal or a temple. Below this are two grotesque figures, suggestive of primitive dolls, and lowest of all is a figure with uplifted hands as if pushing a cloth off the head. It may represent the dead rising from the grave and pushing off the shroud. In this stage repeats of figures are common, and a dark outline is sometimes used to separate the various colours. These are bright scarlet, blue, green, and yellow, and by this treatment they become lurid, but it is the lurid colour of decaying nature. However great the religious fervour, it had forsaken or forgotten nature as a guide to expression, and the result of the departure is before us. " The effective vitality of the religious conception," writes Mr. Ruskin, " can be traced only through the effort of trembling hands, and strange pleasures of untaught eyes; and the beauty of the dream can no more be found in the first symbols by which it is expressed than a child's idea of fairyland h.T. 33 3Later Egyptian or Coptic Tapestries can be gathered from its pencil scrawl, or a girl's love for her broken doll explained by the^defaced features." So it may have been with the Coptic Christians in the beginning, but the development of their art was in a direction that led away from nature, so beauty and truth forsook it. Coptic tapestry did not benefit much by the use of silk. Very rarely is it met with in early specimens, and its general introduction did not take place until the sixth century, when art was in decadence, and imitation of weaving by means of printed cotton and embroidery had begun to'supplant it. The latter is specially applicable to the ornamentation of rich, storiated dresses, such as those in fashion at Rome in the fourth century, and gorgeous beyond comparison those garments must have been. The venerable Austerius, Bishop of Amasia, denounced the dresses of his time. In one of his homilies he censures' " the frivolous and haughty people who bear the gospels on their mantles instead of in their hearts. When men appear in the streets thus dressed the passers-by look at them as at painted walls. Their clothes are pictures, which the little children point out to each other. Here are panthers and bears : there, rocks, woods, and huntsmen. The most saintly wear likenesses of Christ, His disciples, and His miracles, here, we see the marriage of Galilee and the pots of wine, there, the paralytic carrying his bed, the sinner at the feet of Jesus, or Lazarus raised from the dead." That there was cause for the censure of the good Austerius is beyond doubt, and an instance is given of a Christian senator who possessed a robe decorated with no less than 600 figures, representing all the principal scenes 34Later Egyptian or Coptic Tapestries in the history of Our Lord. There are descriptions of these garments being decorated with pearls and precious stones, but none are extant, as the nature of the materials naturally excited the cupidity of any conqueror. The seventh century brought with it great changes in Egyptian art-work. The Persians again asserted their influence, but their government was short. In the year of the Hegira 18 (corresponding to Anno Domini 639) the Mahommedans, led by Amr, the general of the Kaliph Omar, rushed into Egypt. Owing to dissensions and doctrinal disputes between rival sects of Coptic Christians little opposition was offered, and in eighteen months, Alexandria, the capital, one of the chief cities of theworld, was in the hands of the Mussulmans. At first the new religion was severe and simple in its tastes. As Mr. Ruskin. writes: " The religious passion is nearly always vividest when the art is weakest; and the technical skill only reaches its deliberate splendour when the ecstasy which gave it birth has passed away for ever."1 So it may have been in the early years of Mahommedanism when its devotees kept the injunction that the works of God were not to be imitated by His own creatures, and heeded the judgment that those who attired themselves in silk were to have no part in the future life. But this asceticism was not permanent. " The irresistible enthusiasm, that earnest and disinterested zeal of the companions of Mahommed, was in a great measure lost before the first generation passed away. In the fruitful valleys of Damascus and Bassora, the Arabs of the desert forgot their abstemious 1 Queen of the Air, p. 112. 35Later Egyptian or Coptic Tapestries habits. Rich from the tributes of an enslaved people the Mahommedan sovereigns knew no employment of riches but in sensual luxury, and paid the price of voluptuous indulgence in the relaxation of their strength and energy. . . Such is the outline of Saracenic history for three centuries after Mahommed : one age of glorious conquest; a second of stationary but rather precarious greatness : a third of rapid decline."1 From very early times Mahommedan art seemed to set at defiance the commandments against the imitation of natural things and the use of silk in articles of dress. The latter precept was cleverly evaded : it applied only to garments, and by weaving silk upon a linen or woollen warp the follower of the prophet considered that as these entered into the composition of the fabric it could not be denounced as silken, no matter how rich the silk weft might be. Silk alone may have been used for the many carpets and hangings decorated with portraits, human figures, animals, flowers, and landscapes in silk, silver and gold, that are described as belonging to the early Mahommedan potentates. The penalty for imitating natural objects was visited upon the maker thereof, not upon the user, so the faithful permitted themselves to acquire those unholy things provided that they were made by the infidel, and special privileges were given by the Mahommedans to the people of the Book " as they are termed in the Koran. Under that term the Christians, Jews, Magians, and Sabians were permitted to redeem their adherence to their ancient law by the payment of tribute and other 1 Hallam, History of Europe during the Middle Ages, pp. 390-393. 36Later Egyptian or Coptic Tapestries marks of humiliation and servitude.1 It is most probable, therefore, that the Copts were the weavers of the magnificent robes of Saracenic pattern, fragments of which are plentiful in some Egyptian cemeteries, indeed many of them bear debased Coptic renderings of animal form. Egypt appears to have been a gigantic manufactory for woven tapestry and textiles in general, besides embroidery, and Teunis, Alexandria, Damietta, Sehata, Touneh, and Misr were renowned in this branch of commerce. The Victoria and Albert Museum possesses fragments of extraordinary interest, woven in the late tenth or early eleventh century. One - bears the name of El Hakim El Mansur (996-1020 a.d.) one of the Fatimy Kaliphs, and founder of that curious sect known to us as the Druses. The body of the fabric is of blue linen, of a texture approaching to muslin in fineness, and the decoration consists of bands of debased animal form disposed in panels within a border. Above and below the band a long inscription is placed. The workmanship of the tapestry-woven silk band is excellent, and the texture of the fabric is microscopic. The quiet deep blue of the linen, the shimmer of the golden silk letters on the dark blue background, the light golden-greens of the band with its forms sharply outlined in brown give faint echo of the splendour that has been. Ebn Khaldoun, a medieval writer, states that since the time of the Ommiades Kaliphs it was customary in the principal dynasties to maintain a weaving establishment within the palace.2 This institution was called the Tiraz, and the name was applied to the rich fabrics 1 Hallam, History of Europe during the Middle Ages, p. 388. 8 M. Francisque-Michel, Recherches sur le commerce, la fabrication et I'usage des ttoffes de soie, d'or, et d'argent.....pendant le moyen-dge, vol. i. p. 75. 37Later Egyptian or Coptic Tapestries woven therein, and into which inscriptions with the name of the sultan or sovereign were woven. Only he, and such personages of high official rank as he deemed worthy of the honour, were permitted to wear the cloth of the Tiraz. The inscription consisted of an invocation, the name of the sovereign, and sometimes the date. Throughout the Mahommedan empire this custom was practised, and a Saracenic writer describing in glowing terms the weaving shops of Almeria states that no less than 800 looms were at work on the Tiraz work, the expensive material upon which the names of sultans or princes were inscribed. Several pieces of Tiraz, in addition to the one described above, are in the Victoria and Albert Museum. One bears the name of the magnificent Kaliph, A1 Mus-tansir B'illah. It is of fine linen with two bands of tapestry-woven silk. The bands are alike in pattern, but the lower one has an inscription in Kufic characters above and below it: " In the name of God, the Merciful, the Gracious. There is no God but God. Muhammad is the prophet of God. Ali the vicar of God, prayer. . . el Mustansir b'illah, Commander of the faithful, blessing of God be on his (noble) and pure ancestors and his descendants to come." (Fig. 23.) He was Kaliph of Egypt from about 1036 to 1095, but a rebellion took place about 1067, and the usurper Nazir-ed-doulah occupied the throne for a few years. On the fall of Mustansir his palace at Cairo was looted by the victors, and an inventory of part of the kaliph's property was made by one of the witnesses. The treasury was discovered by some of the house-servants, who entered a chamber in which was a great number 38Later Egyptian or Coptic Tapestries closets, each having a separate approach. There they found 2000 hangings of damask and other materials embroidered in gold, which had never been used, and representing all kinds of subjects. Some of red damask enriched with gold, and of the most perfect workmanship, represented parks in which elephants were assembled, the ground in these was not gilded. They took from one of the magazines 3000 pieces of red damask edged with white, several complete tents with their couches, cushions, curtains, flooring, carpets and all necessary furniture; an immense quantity of tapestries, fabrics of Kalmoun and Dabik, with silken textiles of every kind and colour, of inestimable value; a number of mats embroidered with gold and silver representing the figures of elephants, birds, and all sorts of animals. Among a number of gold-wrought silk tapestries, of all sizes and colours, about one thousand pieces were devoted to the representation of the succession of the various dynasties, with portraits of the kings and men-of-note. Above each figure was an inscription giving the name of the personage, the time in which he lived, and his principal actions. Fakhr-al-Arab received as his share a large piece of silk material of Toster the ground of which was blue, tinted with a great variety of colours and woven with gold. It had been made to the order of Moezzli-din-Allah in 964 a.d. It was woven at Kairouan and represented the earth with its mountains, seas, rivers, and cities, especially the sacred ones of Mecca and Medina. Even the roads were indicated, and the names of places were woven in threads of gold, silver and silk. Tadj-al-Molouk, with other precious goods, received a tent of red satin woven with gold, of inestimable value, 39Later Egyptian or Coptic Tapestries that had been made for the Kaliph Molawakkel, and also a carpet of Damas for which he refused iooo dinars1 Another item was 200,000 pieces of armour. Similar instances of Oriental splendour are afforded by descriptions of the courts of the Sassanide monarchs of Persia, the Kaliphs of Bagdad, and the good Kaliph Haroun-al-Rashid of Algeria with others, not to mention the victorious Saladin of later date. It is more profitable now to turn westwards and examine the records of weaving. To sum up. The greater part of the tapestries of the Coptic period, as yet in our possession, is dress material or applied to decorate garments. The hangings are few and fragmentary. In its technique, under Graeco-Roman influences the craftsmanship is perfect, the drawing is bold and correct, the colours somewhat limited but harmonious, while the design is excellent. In the early Christian period the drawing and design become debased, while the colour is gorgeous. The panels for the greater part are woven so as to show the warps vertical when finished, and the use of the free shuttle is characteristic. In the Mahommedan period this latter peculiarity is not so apparent. The work shows exquisite appreciation of colour, drawing, and decorative effect. It consists largely of bands or strips, daintily minute, with or without lettering, sometimes with mock Arabic inscriptions, and occasionally a strap work pattern such as fig. 22 is used. Perfect in colour, gossamer-like in its silken and linen texture of exquisite fineness, need we wonder that in the twelfth and thirteenth centuries specimens of it brought westwards were attributed to the powers of enchanters and fairies ? 1 Quatremdre de Quincy, Mimoires gSographiques et historiques sur I'Egypts et sur quelques contrSes voisines. Vol. ii, pp. 376-78. 40CHAPTER III TAPESTRY IN EUROPE UNTIL THE 14th CENTURY FROM very early times the inhabitants of '[Western Europe were renowned for their woven fabrics. Pliny, in his Nat. Hist., Book viii., p. 74, states that the weavers of Gaul rivalled those of Babylon and Alexandria. Of the Gallic peoples, the Atrebates were most famous as weavers, and their speciality was the production of saies, a term originally applied to a kind of robe, but later used to denote the cloth of which the garment was made. The red saies of Atrebatum were in great demand in Rome, and the chief decoration of these consisted of stripes, chequers, or lozenge-patterns. Cornelius Nepos gives an instance of some Indian merchants being wrecked on the coast of Germany—to-day the Netherlands—proving that in those times there were commerce and communication between the sea-coasts of East and West. In other parts of Gaul there seems to be scant evidence of organized manufacture. The women of the family spun the wool and wove the cloth for the chieftain or for the king : the rich man's household included artisans in the necessary industries. It is true there are reports of workshops or colleges of industry in Marseilles and other maritime towns in the South of France as early as the fifth century,1 but professional craftsmen 1 Charles Louandre, Les A rts Somptuaires, Costumes des Gallo-Romains. Paris, 1859- 41Tapestry in Europe until the 14th Century working under organized corporations do not appear to have existed elsewhere. In the early years of Christian Rome the churches and basilicas were decorated with the same zeal as that evinced by the Pagan Romans in decorating the Imperial palaces. This fashion extended itself to the provincial churches and monasteries, and the custom has never been discontinued. But after a while Rome degenerated rapidly, and in the West of Europe her grip lost its firmness. The inevitable catastrophe followed : towards the end of the fifth century Western civilization was annihilated by the irresistible valour and numerical strength of the warlike nations of Northern Europe. Vandals, Suevi, Visigoths, Burgundians and Ostrogoths swept down upon the Roman possessions, and the enfeebled power of the City of the Seven Hills was engulfed by the barbaric wave. The devastation, plundering, and the internecine wars among the northern victors played havoc with the already decaying arts and literature of the Romans. The Goths, glorying in their manly valour and strength of body, regarded with contempt luxurious and unnecessary arts that had not protected their votaries from spoliation and insult. That was in the beginning of the movement, but when the Goths settled down in the fertile valleys of Spain and France, to mix their blood with that of the natives and to become heads of many a noble line, comfortable surroundings and even luxury began to be prized by them. Art, eclipsed at that time, remains veiled in an obscurity for a few centuries that all effort is unable to pierce. The torrent of brute force had swept away commerce 42Tapestry in Europe until the 14th Century and manufacture. Some rude specimens of the weaver's craft are attributed to this epoch such as the tapestry-woven clavus found by M. Blanchet in the old church of Provence, and published in his excellent work, Notices sur quelques Tissus Antiques (pp. 23-4, pi. xiv.). Judging from the splendid reproduction therein, the panel is veiy coarse, and has a certain affinity to Coptic work. It may be Western work, but the workmanship is so gross that it is impossible to ascertain whether the horseman wears a helmet, a cap, or rides bareheaded. The proportions are nearly as bad as those of the Coptic period in its most absurd stage. Truly, it is no credit to Western design or craftsmanship. Tradition hands down an interesting story of the revival of art. The Northern invaders had derived from their pagan beliefs a superstitious reverence for the priesthood, its powers, and even its property. Gradually the church became the sanctuary, the place of refuge, and in unsettled times the storehouse, for literature, art-work, and even money. It became customary for the great nobles to give property to the church, or to deposit valuables therein before entering upon military expeditions or long journeys. This fashion constituted the religious bodies protectors of the fine arts, and it is averred that the liberal arts rallied and developed within the shelter of these monasteries. The Merovingian period in France must have been very rich in works of art, as is shown by the jewellery and goldsmiths' work yet extant. These may have been made in workshops fostered by the monastic houses, and accounts of the furniture of the churches of the period give evidence 43Tapestry in Europe until the 14th Century of their immense wealth. In 630 a.d. the church of St. Denis was rebuilt by Dagobert the Great, and the decoration consisted of the most precious marbles, bronze gates, vases of gold, etc., including magnificent draperies.1 There is nothing to indicate whether these hangings were true tapestries or mere embroideries, and similar instances of looseness in description by ancient scribes have made research inconclusive and unsatisfactory. Tapestry weaving is indistinguishable from other methods of weaving and embroidery, and it becomes impossible to ascertain the nature of the material of these old hangings. Therefore, accounts of these must be received with caution, but not necessarily with discredit. One of the earliest traditions is the legendary origin of the manufacture of tapestry at Aubusson. When, in 1664, Colbert, the all-powerful minister of Louis XIV., asked the citizens of Aubusson for an account of the origin and history of their famous industry, they stated " that the establishment had been from time immemorial, no person knowing the first institution of it." The legend is that after Charles Martel, by one victorious battle, turned back the tide of Saracenic invasion between Tours and Poitiers in 732, some of the vanquished prisoners scattered in the district settled down to practise and teach the art of tapestry weaving, which since then has been continuously carried on.2 This was an article of faith with the Parisian tapissiers in 1632. 1 Le Chanoine Van Drival, Les Tapissenes d'Arras, p. 55. 2 M. C. Perathon, Notice sur les manufactures de Tapisseries d'Aubusson de Felletin et de Bellegarde, 1862, pp. 16 and 18. 44Tapestry in Europe until the 14th Century Another tradition connects the Middle-age weavers of Arras with the ancient Gauls of the tribe of Atre-bates. Atrebatum is the Latin cognomen of Arras, and the legend is that tapestries have been woven there from the time of Pliny till the sixteenth century, or nearly so. During the ravages of the Normans a great number of the Arras weavers emigrated to Beauvais, where they obtained protection to practise their calling until the times were more settled. In the ninth century they returned to Arras and formed a colony between that town and the Abbey of St. Vaast, under the protection of which they remained for successive centuries.1 It is chronicled that in the year 795, Radon, eleventh Abbot of St. Vaast, was engaged in the great undertaking of reconstructing and decorating the church of the abbey. He employed gold and silver as well as works of art in its ornamentation, and with the latter the chronicler makes especial mention of the magnificent tapestries.2 The Carticulaire of the same abbey, written by Guimann or Wiemann in the tirtie of Abbot Martin the first (1155-88), gives an inventory of treasures such as crosses, precious stones, golden chalices, and a multitude of other costly objects. To these are added the bodies and relics of saints, and a considerable number of tapestries.3 The importance of Arras in connec-tion with tapestries is constantly thrust into notice. Even before Artois became a Burgundian possession the native rulers encouraged and protected the industry to the 1 Van Drival, Les Tapisseries d'Arras, p. 52. 2 M. Ghesquidre, Acta sanctorum Belgii, vol. ii. p. 27. 3 Van Drival, Les Tapisseries d'Arras, p. 33. 45Tapestry in Europe until the 14th Century- best of their power. Robert II. gave a charter to the operatives, and caused a hall to be built at the back of the Abbey of St. Vaast to serve as a sale room. That hall is mentioned in an official letter dated 1250 and it is mentioned again in 1333. During the ninth and tenth centuries all the records are relative to the making of tapestries in monastic houses. As early as 840, St. Angelm of Norway, Bishop of Auxerre, ordered many tapestries to be made for the decoration of his church.1 In the following century it is stated that the Abbey of Saint Florent of Saumur had become a manufactory of vast quantities of stuffs, especially tapestries which were woven by the monks.2 About the year 985, Abbot Robert the second ordered a large quantity of woven furnishings such as wall-hangings, curtains, carpets, cushions, etc. Special mention is made of two large pieces of tapestry. One of these, in which silk was used, was a vestment to be worn on occasions of high festival: one was ornamented with lions on a red background, the other with elephants. Another monastery had, in the eleventh century, developed its industry to such extent that the fame of its work had spread as far as Italy. This was the monastery of Poitiers, and ^the productions included woven portraits of kings or emperors, but doubtless the greater part were of scriptural subjects. An interesting correspondence has been preserved in connection with the manufactory, and the writers are Leo, an Italian bishop, and Guillaume, Count of Poitou. In the year 1025, 1 M. Jubinal, Recherches sur Vusage et I'origine des Tapisseries d Personnages, 1840. p. 13. 2 Ibid. 46Tapestry in Europe until the 14th Century- Leo writes to Guillaume, ordering a " tapetum mira-bile," and Guillaume in reply desires information as to the size of the article required. The Latin is very quaint:— Leo: "Mitte mihi mulam mirabilem et fraenum pretiosum, et tapetum mir-abile, pro quo te rogavi ante sex annos. Amen dico tibi; non perdes mercedem tuam, et quidquid volueris dabo tibi." Guillaume : " Mulam quam rogasti non possum ad praesens tibi mittere, quia non habeo talem qualem ad opus tuum vellem, nec reperitur in nostris partibus mula cornuta, vel quae tres caudas habeat vel quinquae pedes, vel allia hujus modi, ut congrue possis dicere mirabilem. Mittam vero tibi quam sitius potero, unam optimam ex melioribus quas reperire possim in nostra patria, cum fraeno pretioso. Caeterum tapetum tibi possem mittere nisi fuissem oblitis quantae longitudinis et latitudinis jam dudum requisisti. Rememora ergo, precor, quam longum et latum esse velis, et mittetur tibi," etc.1 Matthew of Loudon, Abbot of Saumur in 1133, had two hangings made for the choir of his church, where they were displayed on high festivals. The ornamentation of both tapestries consisted of scenes taken from the Apocalypse, one of the subjects being the twenty-four Elders with citharas and viols. The nave of the church upon these occasions was richly decorated with hangings of profane subjects—strange to say—such as lions, centaurs and the hunt of wild beasts.2 All the records bear witness to the fact that the practice of weaving and embroidering was almost universal in the monasteries. In the pursuit of these crafts the monks found an unfailing source of pleasant occupation and of profit. From the monastery or convent the usage spread to the feudal castle with its high and gloomy walls, showing in the interior the stones of which it was built. Taught probably by the sisters of the convent, the lady of the castle with her maidens passed 1 Jubinal, Recherches sur rusage et I'origine des Tapisseries & Personnages, p. 15, Ed. 1840 3 Ibid, p. 14. 47Tapestry in Europe until the 14th Century her time in weaving or embroidering the scenes from Holy Writ, or the half-miraculous adventures of romance, or stories of contemporary times. During the long absences of the husband on military expeditions, the wife naturally found occupation akin to that of Penelope of the Greeks. These instances, however, are not comparable with the productions of the church-fostered workshops, which must have been extensive. Towards the end of the twelfth century the power and wealth of the Church reached its highest point. Half the land of England belonged to the religious bodies, and on the Continent their wealth was even greater in proportion. Can we wonder, then., that the best handicraft was carried on under the shelter of the monasteries, and that the records are almost exclusively devoted to enumerations of church hangings ? Before the eleventh century commercial intercourse with the far East was but fitful and inconsiderable, and there was probably no organised manufacture to feed it. Venice traded with Constant- 1 inople, as did Amalfi, but the setaansactions appear by all accounts to have been illicit and therefore inconsiderable in extent. Then came the Crusades, carrying a surging mass of Europeans eastward, with constant going and returning, for a hundred years or more. The effect of the movement was noticeable everywhere. The wealth and luxury experienced in the East created new tastes in the returned knights, and precious fabrics which they carried home gave new ideas and, perhaps^ stimulus to the Western craftsmen. Poetry sprang into life again in visible form in the time of the troubadours, from the middle of the twelfth until the end of the 48Tapestry in Europe until the 14th Century thirteenth century. The land was full of the pageant of brave knights and fair ladies : the spirit of chivalry was at its best in the age of romance. Under its influence the power and wealth of the Church retrograded, and possibly the industries it had sheltered broke away at this time to establish themselves as professional bodies or trade corporations. It is well to remember, however, that even before the tenth century the weavers of Germany were free craftsmen; but these were the first. The keen desire of the sovereigns and principal nobles for ostentatious display of costly hangings provided the craftsmen with patronage sufficient to make them independent of the shelter afforded by their parent church. So the amateur craftsman became a professional, and the new demand influenced the nature of the production. Mythology began to compete with sacred history as a source of subjects, and the formal and impressive Romanesque style began to give place to the semi-naturalistic Gothic. The restraint of traditional treatment being once broken, the new spirit wanted but development to carry it to the height it attained to in the succeeding centuries. This movement was more rapid in France and England than in Germany, where the Romanesque influence struggled longer. As time went on the craftsmen formed themselves into corporations by which they worked under rules of their own, and which enabled them to secure privileges from the magistrates of the town to which they belonged, such as prohibiting the labour of any worker who was not a member of the corporation. In France the trade corporations existed from early times : those in Paris H.T. 49 4Tapestry in Europe until the 14th Century were under the control of the Provost. In the time of Louis IX. this Provost was named Etienne Boileau, or Boyleaux. He was, by all accounts, an excellent functionary, fulfilling his duties with justice and energy. He established police, regulated and moderated taxes, and divided the merchants and artisans into various organised bodies, giving them the statutes and rules set forth in the " Livre des metiers d'Etienne Boileau." When disorder was rife in the city, and the police force (sixty in number all told) were unable to assert authority, the trade companies volunteered to provide a " trade watch" which was organised about 1254. In I277, Boileau's Book of Trades, reference is made to a company of " Tapissiers Sarazinois " and in 1295 to " Tapissiers Nostrez The statutes of the " Tapissiers Sarazinois " ordain that they must use woollen thread only, tow was forbidden ; they must have but one apprentice at a time : women were not allowed to practise the craft on account of its painful or arduous labour, and working by artificial light was forbidden. It is supposed that the work was similar to that of making the shaggy carpets woven to-day, or to embroidery. The " Tapissiers Nostrez" were of lower order. Four years' apprenticeship was sufficient, and the masters were allowed two apprentices and assistants. It is probable they were weavers of serge and other cloths. With these two corporations there was incorporated, in 1302, a third, under the title of " Tapissiers de la haute lisseThese were not allowed to work in the town of Paris until they were charged on oath, and sworn in to hold and keep all the laws of the ordinance governing the " Corporation of Tapissiers " 50Tapestry in Europe until the 14th Century The one feature that distinguished the Tapissiers of the High Loom, as far as can be judged, lay in the nature of the loom, which was upright, arguing that that employed by the other tapissiers was horizontal, or what is termed " Basse lisse." The information as to the nature of the work they did is most meagre, and there are no means of knowing to what extent it differed in result from that of the two other bodies. The use of a high loom could not in itself have been a new invention, although it may have been an innovation in Paris. It was perfectly understood and utilized by the peoples of high antiquity, and there is little reason to doubt that the method of its working had ever been forgotten or fallen into disuse with some nations in the West. It was doubtless a familiar object in the homes of the Northern hordes, who swept down on Western Europe in the end of the fifth century. The loom of the Val-kurias, described in the Nial Saga (see page 18) was plainly an upright loom, with a series of weights instead of a lower cylinder or rod. The Nial Saga is an old story, transcribed somewhere in the eleventh century ; so the principle of the vertical loom must have been made use of at a period considerably antecedent to that time. In the Icelandic Museum at Copenhagen there is an excellent specimen of the upright loom, showing the warp weighted with stones, and in recent times it was a common object in the homes of the peasantry in Norway. Had the method been unknown to the inhabitants of Western Europe in the fifth century, their conquerors would assuredly have brought the knowledge of it to them long before the time of the Crusades. It 51Tapestry in Europe until the 14th Century may have gone out of fashion in the thirteenth century in France as it did in the course of the sixteenth in Flanders, but the practice was never universally lost. Its especial mention, therefore, in the " Livre des Metiers " is not evidence that it had not been used formerly, or that its method was uncommon at the time; it simply means the first record of High Loom Tapissiers as a trade corporation. To the research of the late M. Eugene Miintz we owe the earliest mention of the tapestry worker. In a comprehensive article in L'Art, June, 1882, he published the fact that somewhere between 1164 and 1200, Megin-wart of Weltinburch, styled " tapetiarius," with his two " fratueles " Gerwich and Chounrad, appear as witnesses of a deed concerning the convent of Schefftlar in Bavaria. The same article states that in 1177 " Fredericus, tapifex de familia ecclesiae " makes appearance at an-• other convent, that of Chiemsee, and " Aschwin tape-ciarius " at that of Weihenstephan between 1182 and 1197. There is a tendency to attribute the earliest example of Western tapestry to German manufacture. This consists of three fragments now deposited in the Museums of Lyons and Nuremberg, and the Victoria and Albert Museum. Discovered by Canon Bock in the old church of Saint Gereon at Cologne, these pieces are of extraordinary interest, and have received intense scrutiny from experts in the textile arts. The pattern is a piece of simple repetition. The chief feature is a circular band enclosing animals—a bull, a griffin, and a bird. The background has a foundation pattern of triangles upon which is placed ornament of Byzantine style. A 52Fragment of European Tapestry. ml, Ceniury. Found in St. Gereon's Church, Cologne. Drawing showing its primary arrangement.Tapestry in Europe until the 14th Century border encloses the whole, and consists of floriated bands issuing from grotesque masks. The animals show a certain Oriental influence, rather strongly marked; but otherwise the style, especially in the border, is distinctively Western, and may belong to the latter half of the eleventh century. The warp of the textile is extremely wavy and loose, but wear and tear have wrought so much injury that it is difficult to estimate what may have been its pristine appearance when its colours perhaps rivalled those of the cathedral windows. Indeed, the border suggests that of a leaded window, and confirms the theory that the designer found inspiration for the medallions in some fabric brought from the East, surrounding these with a background and border of his own making. As a specimen of tapestry, that of St. Gereon's stands alone. Centuries must pass before a tapestry containing exclusively conventional forms is met with again. Another specimen of early tapestry weaving of German origin exists in the cathedral of Halberstadt, and is supposed to have been woven in the twelfth century, or even earlier.1 The design is in the pre-Gothic taste, but where there is no evidence of an organised workshop it is unsafe to attribute a tapestry to the date to which the design belongs. The hangings—there are two—are of great length and of little height. A piece of this proportion was more conveniently executed in convents and private houses, for the simple reason that a tapestry being woven endwise, the loom need only be slightly 1 See the excellent description of tapestry at Halberstadt by M. Eugene Soil in the Bulletin of the Glide de St. Thomas et de St. Luc, vol. vii., pp. 409-11. 53Tapestry in Europe until the 14th Century wider than the height of the panel. Space was always a consideration, for few of the medieval rooms were very high, and however long the hanging might be, the room need not be very high or veiy wide. In a convent or monastery inspiration for design might be found in old illuminated manuscripts, reproduced on a larger scale. In the fourteenth century Parisian school, and also in the designs of weavings of Arras, this proportion is still evident, only a little less extreme. The proportions of the walls the hangings were intended to decorate may have been responsible for this characteristic shape, but tradition may also have influenced it. The tapestries of Halberstadt were hung above the stalls of the choir, and represent subjects from the Old and New Testaments, such as the life of Abraham and of Jacob, Christ and the Apostles, with St. George and the Dragon, Cato, Seneca, and probably Charlemagne (Kug-ler).1 The most interesting is perhaps the life of Abraham, his meeting with the three angels, and the repast given to them, Isaac carrying his sacrificial logs, and the interposing angel. There is great beauty in the conventional renderings of trees; but the effect is perhaps marred by the intensity of the high lights, a characteristic that exists in fifteenth century German work. In the Anglo-Saxon homestead the most important room was the hall or common apartment, and the walls of it were draped with tapestry called in the Anglo-Saxon tongue " Wah hroegel" or " Wah-riftthat is, wall-clothing. These are described in the seventh century as being of purple and other colours, and were 1 Eugene Miintz, La Tapisserie, English Edition, p. 80. 54Tapestry in Europe until the 14th Century frequently enriched with figures and scenes from the histories of heroes. The finer ones were probably-reserved for special occasions and were much prized by the owners. They are mentioned in wills, and were often bestowed as gifts.1 Some of the early English tapestries represented contemporary life, as that presented in the tenth century by the widowed Countess of Northumberland to Ely cathedral. It was a pictorial record of the life and deeds of her husband. Ingulph states that Egelric II., Abbot of Croyland, bestowed on the church many hangings, some of silk, some ornamented with birds wrought in gold and sewed on, others with birds woven into the stuff. Before the year 992 he gave " two large foot-cloths woven with Hons to be laid out before the altar on great festivals, and two shorter ones trailed all over with flowers, for the feast days of the apostles."2 Many such gifts were bestowed on the churches of Exeter and St. Albans. The inventory of the treasury of the cathedral of Exeter written in 1327 enumerates many hangings of earlier date. Bishop Leofric, who was ordained in the year 1050 and died in 1072, presented many cloths, especially palls, one being entered as " 1 palla cum papegays." The example was followed by his successors. One of these, Bishop John, 1186-1191, gave " 4 bancaria strata strangulata," and a large tapestry of fretted pattern, " Tape turn magnum fretta-lum." Under the heading " Bancaria " are two " good with divers arms, one large and long " ; but the most 1 Wright, Domestic Manners and Sentiments in England during the Middle-Ages, pp. 19-20. » Rock, Textile Fabrics, S.K.M. Handbook, pp. 80 and 103. Ed. 1876. 55Tapestry in Europe until the 14th Century important item is under the same title: " Unam Tapetum magnum Anglicanum frettalum de dono Wil-lielmi de Potton " : a large English tapestry of fretted pattern. Bishop Robert Blondy, 1245-1257, bestowed a " Tapetum ad coopierendum tumbam suam."1 The Carticulaire of the Abbey of St. Vaast records that there were made at Arras divers pieces of tapestry representing all the life of St. Alban, premier martyr of England, and that these were given to the monastery in the time of Abbot Richard, 1088-1119.2 It is stated by Matthew Paris that early in the twelfth century Geoffrey, Abbot of St. Albans, ordered three reredoses to be made for his church. One was figured with the discovery of the body of St. Alban, the second the parable of the man who fell among thieves, and the third the prodigal son.3 The exportation of English wool to Flanders and its return in a manufactured state explains the extensive commercial relations of the two countries. Special privileges were accorded to foreign merchants and others engaged in this commerce, which was a source of great profit to both countries. Throughout the thirteenth century the surname " d'Arras" is frequently met with in the records, in the form of letters patent conferring upon the recipients the right to travel and sell their wares in England. Not only London was visited by them but the larger provincial towns as well,, and a few extended the field of their operations into Scotland. Thus, in 1224, King Henry III. com- 1 Oliver, Lives of the Bishops of Exeter: History of the Cathedral, etc., pp. 316-17. 2 Van Drival, Tapisseries, p. 35. 3 Rock, Textile Fabrics, S.K.M. Handbook, Ed. 1876, p. 96. 56Tapestry in Europe until the 14th Century mands, on behalf of Jacquelin, a merchant of Arras, that he may safely and securely pass through his dominions to parts beyond seas with his merchandise and chattels. A similar protection is accorded him at the hands of the King of Scotland.1 In 1230, there is registered one Francis d'Arras, and instances might be multiplied.2 These men, who seem to have dealt in woollen goods, may have traded in hangings : there are many parallel cases later, where the title " Merchant of Paris," or " Merchant of Arras" was the term used to denote a merchant-weaver or dealer in tapestries. Flanders was the great centre of weaving, and the finer cloths brought into England were doubtless made in the Flemish land. In 1265, Matthew of Westminster exclaims: " O Anglia! naves Tharsis. . . Tibi de tua materia vestes preciosas, tua textrix, Flandria texuit."3 while Henry of Huntingdon bears evidence that in his time all the tapestries imported into England came from Arras.4 The last statement bears a reservation on the face of it, it deals with imported tapestries only. There were tapissiers in England in the time of Henry III. (1216-1272). A parchment deed in Latin, without date, but of this reign (one of its seals, in green wax, with a very faint impression yet remaining) states that John de Abendone, Plumber, with the consent of Alice his wife " and for their common business " grants to William, son of John of Walingforde, Tapiser (Tapinatori), a tenement lying between that of Peter Farthing and 1 Cal. of Documents relating to Scotland, vol. i. p. 156. No. 880. 2 Cal. Close Rolls, Henry III, vol. 1227-1231, p. 304. 3 Flores historiarum (put together about 1400). Lond. 1570, pp. 340-1. 4 Van Drival, Les Tapisseries d'Arras, p. 77. 57Tapestry in Europe until the 14th Century that which belonged to Osbert Cully in the parish of St. Michael; he paying yearly to the fee-fermors of the burgh of Walingforde 12of silver, and to the grantor one clove at Easter, 10 shillings sterling having been paid beforehand. A later and similar document, undated and somewhat torn, but probably of 50 Hen. III. (the oblong seal in green wax " Willelmus Tapinator" with a flower for device, broken in the middle, is still attached to the document) bears witness that William Tapiser conveys to John de Luchius the tenement before mentioned as being conveyed to him by John de Abendone, Plumber, upon the same terms as to money-rent and the clove to be paid yearly. These documents belong to the corporation of the ancient town of Wallingford and are published by the Historical Manuscripts Commission. (Report 6, p. 586.) In the Wardrobe Papers of Henry III. for 1236-1237, Friar Geoffrey accounts for four cloths of Arras for the espousals of the countesses of Chester, Pembroke, Roogie, and Richard de Clare.1 It is stated that 16 cloths of Arresta were bought and delivered to Peter Grimbaud to offer with the body of the King's sister, the late Queen of Scotland, price each cloth 11s. 6d.—£9 4s.— and four silk cloths woven with gold, delivered to the said Peter to be offered in Cathedrals, Churches, and Abbeys with the said Queen's body, price of each 355—£10 10s.2 In the next reign, that of Edward I. (1272-1307) a document dealing with the employment and duties of the officers of the royal household proves that 1 Calendar of Documents relating to Scotland, vol. i., p. 238. No. 1310, p. 238. * Ibid. p. 238. No. 1510. 58Tapestry in Europe until the 14th Century hangings of tapestry were then used. One of the duties of the royal chamberlain, as shown in the document, was to make sure that the chambers were adorned with hangings, " Ut camerae tapetis et banqueriis ornentur."1 There was a host of traders rejoicing in the appellation " d'Arras " in the time of Edward I. In 1274 there is an acknowledgment of money owing to Matthew de Araz by Wybert de Araz who is styled " citizen of London."2 There are also mentioned Robert de Araz, merchant, 1274,3 and William de Arace, merchant, 1280,4 with many others. To an acknowledgment of debt we owe another early record of an English tapissier. The document is dated June 11,1274, and gives a list of names inclusive of Robert de Araz, Richard de Paris(-ius), Philip le Tailleur, Theobald the horse-merchant, Peter the Goldsmith, Ralph le Tapiter, and others, who acknowledge that they owe Lucasius Natal' and their fellow merchants of Lucca 1200 marks, to be levied on default of payment, of their goods and chattels in the city of London.6 Tapiter was, a form of Tapetiarius : another form was Tapener, and is found in a document of ten years' later date. This is dated from Winchester, October 4, 1285, and is an order to the Treasurer and Barons of the Exchequer to cause the following to be acquitted of 105. . . . William le guantier, Walter le Tapener and 1 Jubinal, Le Moyen Age et la Renaissance. Section "Tapestries." * Cal. Close Rolls. Ed. I. vol. 1274-9, p. 131. 3 Ibid. p. 122. 4 Ibid. vol. 1279-88, p. 49. • Ibid. vol. 1272-9, p. 123. 59Tapestry in Europe until the 14th Century Adam Doget ... at which they were amerced before the justices of the bench and the judges appointed for the custody of the Jews, because they had not Geoffrey Gascelyn, as the King has pardoned them at the instance of Joan, late wife of the said Geoffrey.1 The rent-roll in Latin of the Hospital of St. John the Baptist, in Winchester, for the year 1294, shows in the " Rents in Wingharestrete " an entry in the name of one " Sewald le Tapenyr " (Tapestrer).2 1 Cal. Close Rolls. Ed. I. vol. 1279-88, p. 340. 2 Historical Manuscripts Commission, Report 6, p. 596CHAPTER IV THE PARISIAN TAPESTRY WORKSHOPS IN THE 14th CENTURY IN the year 1302 ten " Tapissiers de la haulte lisse " were admitted into the corporation of Tapissiers in Paris, as described in Chapter III. After this date it is the rule to find that hangings of the most valuable kind are described as " de haute lisse" in France and Flanders, but in England the term is most uncommon, if indeed it was ever used. There is reason, therefore, in regarding these ten artisans of the High Loom as weavers of the finer kind of tapestry, and the fact of their incorporation in 1302 does not necessarily mean that the method of weaving was an innovation. Their names were :—Andriet de Crequi, Nicolas le Barbier, Philippot fieux, Remy le Deschargeur, Guillaume and Jehannot, brothers of the said Philippot, Pierre Du Castel, Guillaume le Vasseur, Raoul 1'Anglais, and Raoul Sterne.1 Of these men nothing but the names and the fact of their incorporation remain, but one of them was notably English or of English parentage. It must have been their successors who carried the Parisian industry to a high point of perfection in the last quarter of the fourteenth century, and the references to Parisian 1 Bon.de Boyer de Sainte-Suzanne, Notes d'un Curieux sur les Tapisseries Hssies de haute ou basse lisse, p. 49. 6lThe Parisian Tapestry Workshops in the 14th Century tapissiers throughout the century point to the fact that a considerable quantity of hangings emanated from the capital. Robert II., Count of Artois, killed in 1302, was succeeded by his daughter Mahaut, wife of Othon IV., Count of Burgundy. She had residences in Arras and Paris, and appears to have afforded an example as patroness of the fine arts to her successors the Dukes of Burgundy. In a memorandum of expenses incurred by this lady in the year 1309 are the items, " Draps vermeilles " and a " Drap laine ouvree de divers figuresetc., bought of Jehan, " tapissier ParisienIn a mandate of the 2nd July 1313 the Countess orders her receiver " de faire faire six tapis d Arras." This is the first record of a tapestry being made at Arras. The hostel of Robert of Artois, son of the Countess, was draped with the first tapestry specified as being woven on a high loom " five draps worked in high loom fashion."1 In the first half of the fourteenth century the documents relating to tapestry weaving are few. Some of the weavers whose names have come down to us are the following :—Jehan Bouilli d'Arras, Jehan de Conde de Paris (1314), Denis le Sergent, Nicolas de Chiele (1315), Jehan de Meaux, tapissier Parisien (1316), Jehan de Crequi (1317), Jehan Hucquedieu, tapissier sarazinois, Jehan de Telu (1324), a tapissier at Valenciennes (1325), Jehan Herene, St. Omer (1327), and Nicolas de Reims in 1328. Henri Legran sold, in. 1330, 12 tapestries to the countess of Flanders, and 1 M. le Chanoine Dehaisnes, La Tapisserie de haute lisse & Arras avant le XV'. sibcle, p. 2. 1879. 62The Parisian Tapestry Workshops in the 14th Century the " Tapissier de Valenchiennes" supplied several chambers of tapestry for the hostel of the counts of Flanders. There is evidence of a tapestry of indubitable Arras workmanship when Yolande de Bar, Lady of Cassel, paid 20 livres, six sous Parisian, for a tapestry made at Arras.1 In 1347 Amaury de Goire sold a History of the Old Testament to the Duke of Normandy, and in 1368 Charles V. of France bought the Quest of the Graal from Huchon Berthelemi.2 The term " tapissier " as used above does not necessarily imply that the person so designated was a simple weaver. He may have owned looms and have worked at the craft, but on the other hand he may have been merely a contractor or merchant. The immense quantities of hangings furnished by some of the so-called " Tapissiers" make it impossible for one workshop to have been the sole means of production, and it is by no means uncommon to find the person described in one document as " Tapissier " receiving the appellation of " Marchand " in another. A " Chamber " of tapestries meant the tapestry furnishings for a chamber, and generally comprised a canopy, a dossier or head-board, a bed-coverlet, and sometimes six curtains or wall tapestries. In the royal accounts in the reign of King John (1350-1364) are entries of the purchase of tapestries from three merchants or weavers. Their names were Clement le magon, Jehan du Tramblay, and Philippe Dogier.3 The hangings appear to have been ornamental 1 M. Jules Guifirey, Histoire de la Tapisserie, pp. 25, 26. 2 Jubinal, Recherches sur I'usage, etc., de Tapisseries & Personnages, pp. 30, 31. 3 M. L. Douet-d'Arcq, Comptes de VArgenterie des roi<> de France au XIV• siicle, pp. 114, no, 116, etc. 63The Parisian Tapestry Workshops in the 14th Century or heraldic in design, and 239 were delivered within the space of four years. It is on record that the streets in London town were hung with tapestries representing battles when this same King, John of France passed through it, more as the honoured guest than as the prisoner of war of Edward the Black Prince. The King was held to ransom, and in Paris in the year 1363 the council of the trades met to consider how the money was to be raised for that purpose. The representative members of the corporation of Tapissiers were Nicolas Bataille, Etienne Muette and Henri Hardi.1 The first name is that of the only master weaver of his time whose work (at least a most important specimen of it) has survived until the present day. This is the set of; tapestries decorated with scenes from the Apocalypse, now belonging to the cathedral of Angers. In 1363 Bataille must have been one of the chief tapissiers in the city of Paris, and one of his early dealings was the sale of six tapestries of Arras work to the Duke of Burgundy in 1373 as a tapissier sarazinois.2 His next appearance is in the capacity of valet-de-chambre to Louis I., Duke of Anjou, an office somewhat analogous to that of our " Royal Tradesmen " of the present day. He sold in 1376 to his patron a high loom tapestry of the History of Hector, for which 1000 francs were paid, and mention is made of another representing the seven complexions,i.e. temperaments. By this time he was famous at home and 1 M. Guiffrey, Histoire gSnirale de la Tapisserie ; Tapi'sseries franpaises, p. 11. 2 R6union des Societes des Beaux-Arts des departements. MSmoires iii.-iv.; Le Chanoine ''Dehaisnes, La Tapisserie de haute lisse & Arras avant le XV' si&cle. pp. 125-39- 64The Parisian Tapestry Workshops in the 14th Century abroad. The Count of Savoy, Amadeus VI., ordered in the same year two chambers of tapestry, 18 pieces in all, decorated with eagles and knots, the latter the emblem of the Count.1 But the records of Bataille's transactions are of but slight importance in comparison with the masterpiece preserved in the cathedral of Angers. Its history, wonderfully complete, is as follows :— Louis I., Duke of Anjou, requested his brother King Charles V. of France to lend him an illuminated manuscript, representing the visions of the Apocalypse, to serve as a guide and source of inspiration to the artist he had commissioned to draw the large models for a set of tapestries representing that subject. This artist was Hennequin or Jehan of Bruges, painter-in-ordinary and valet-de-chambre to the king. M. Jules Guiffrey discovered in the register of the treasury of the Dukes of Anjou the following significant notices :— " A Nicolas Bataille, sur la fagon de deux draps de tapisserie k I'histoire de VApocalice, qu'ilafaiz pour monsieur le due, par le mandement rendu ci-dessus en la prouchaine partie et quictance du dit Nicolas donnee le septi£me jour d'avril 1377, i.ooo franz." " A Hennequin de Bruges, peintre du Roy, notre seigneur, sur ce qui lui peut ou pourra estre deu a cause des pourtraiteures et patrons par lui faiz pour les ditz tappiz a listoire de I'Apocalice, par mandement du dit notre seigneur le lieutenant, donne le derrenier jour de janvier 1377 et quictance du d. Hennequin de Bruges donne le vingt huitiSme du dit mois, 50 franz." " A Nicolas Bataille, tapissier de Paris, sur la somme de 3,000 franz, qu'il doit avoir de mond seigneur, par marchie fait pour lui faire trois tappis de listoire de I'Apocalice rendus dedens Noel 1379, par mandement du dit mons. le due donne le 9 juin l'an dessus diet et quictance du dit Nicolas, donne le 16 jour du de mois, 300 franz." What were at that time called " pourtraiteures et patrons" we, of the present day, stye " Cartoons." 1 Memoires de la Societe de l'Histoire de Paris et de l'lsle de France. M. Guiffrey, Nicolas Bataille, sa vie, son ceuvre et sa famille, p. 268, etc. H.T. 65 5The Parisian Tapestry Workshops in the 14th Century By the discovery of the above documents M. Guiffrey has proved the date of manufacture, the name of the draughtsman—we know his source of inspiration— the name of the master-weaver, and the price paid for the work, which represents in spending value a sum seventy times greater now than in 1379. It is also ascertained that the two pieces first delivered were the veritable work of Bataille (" qu'il a faiz "), and in the last entry he is styled " tapissier de Paris." The tapestry was designed for the decoration of the Chateau d'Angers where it was first hung. The initial letter of Louis I. of Anjou interlaced with that of his wife Marie of Brittany are woven into the piece fourth in the sequence of the story. He died in 1384, and was succeeded by Louis II. who married Yolande of Aragon in 1400, and her initial, the letter Y, appears in certain parts of the series. She, dying in 1442, bequeathed the tapestry to her son Rene, King of Sicily, etc., and Duke of Anjou, who treated it with great care, removing it elsewhere during the restoration of the chateau. In 1476 his tapissier and valet-de-chambre, Guillaume Cessault, took it to Bauge where it was repaired and kept in order for a certain sum annually. Rene had promised to bequeath the hangings to the cathedral of Angers, and he kept his word. In 1480 the custodians received six pieces of the Apocalypse—six pieces only, although the testator clearly specifies " the tapestry containing all the figures and visions of the Apocalypse The seventh hanging was presented ten years later by Anne of France, Duchess of Bourbon and Auvergne, the daughter of Louis XI. How it came to be in her 66The Sky with Angels. After M. Johannis. " Weep Not" THE APOCALYPSE IN THE CATHEDRAL OF ANGERS.The Parisian Tapestry Workshops in the 14th Century possession has not been clearly established : the deed of gift alludes to it as " the tapestry that we had in our house." It may have been lent for some purpose and forgotten. The tapestry was repaired in 1495 by Jacques Godebille, at that time it was hung in the nave and transepts of the cathedral. Later restorations were made in 1714. About the middle of the eighteenth century a heavy calamity overtook it and most of the Gothic furnishings of the cathedral. The interior of the building was stripped of these, and all the glorious works of the Romanesque and Gothic periods were literally thrown into the streets, and replaced by objects in the prevailing taste of the time. The tapestries were displaced and ordered to be disposed of by public sale. The state of artistic appreciation may be realized from the fact that at the sale the tapestry of the Apocalypse failed to secure a bid. During the Revolution, when some gold and silver wrought tapestries belonging to the cathedral were burned, to obtain the scant metals they contained, the Apocalypse was ignored. It had been used in the greenhouse of the Abbey of St. Serge to protect the orange trees from the cold. From thence it was conveyed to the Bishop's house and hung in a room that served as a public library, where Mgr. Mon-tault discovered it in 1803. Pieces of it had served many ignoble purposes, parts being. cut up for bed-rugs, etc. In 1843 it found an admirer in Mgr. Ange-bault, who succeeded in purchasing the greater part of it at the price of 300 francs. All honour is due to M. l'Abbe Joubert, honorary chanoine of the cathedral, who with self-sacrifice and zeal set about the task of 67The Parisian Tapestry Workshops in the 14th Century collecting and arranging the various portions. His work has been worthily carried on by his successor, M. l'Abbe Machefer, and by the savant M. de Farcy, to whom we owe the history of the Tapestry as it is ably set forth in his magnificent monograph of the cathedral of Angers. To both the writer is deeply indebted for much valuable information that has enabled him to compile this description of the tapestry. The set was composed of seven hangings. Five of these were set out in fifteen pictures, while the other two were probably smaller. A description of one of the larger may serve as typical of all. On the extreme left a large figure of a man is seated at a reading-desk meditating on the visions of the Apocalypse. It probably illustrates the text " Blessed is he that readeth, and they that hear the words of this prophecy, and keep those things that are written therein : for the time is at hand" (Rev. i. 3). He rests in a Gothic niche with a canopy, from which spring tall slender pinnacles : two angels appear on the right and left displaying standards with the arms of Lorraine and Anjou respectively. This is the first picture on the hanging, and it occupies the whole height of the tapestry. The remaining pictures, fourteen in number, are disposed in two bands, one above the other, stretching ;from left to right. Under each picture there was formerly an inscription relative to the subject. Above the upper series of pictures is a band of sky, cloud-broken, and sometimes showing stars in the blue. In it, at intervals, angels are seen playing musical instruments, and displaying scrolls or coats-of-arms. This 68The Parisian Tapestry Workshops in the 14th Century band is one of the most beautiful renderings ever made by the hand of man, and as the top displays heaven and its people, so the lower part below the second row of pictures shows the green earth—a flowery mead, with rabbits and small animals. On the background of the niche containing the personage reading, butterflies are seen mounting to the heavens : their wings are decorated with the arms of Anjou and Brittany. The backgrounds of the pictures are arranged alternately blue and red in colour, in chequer-board fashion—a red above, a blue below, a blue above, and so on. These backgrounds are sometimes plain, sometimes broken up by trees and foliage, often ornamented by geometric figures and serpentine foliage, and occasionally powdered with initials. Upon this background the figures stand forth boldly without much shading, recalling forcibly the illuminations and stained glass windows of the time. There is no crowding, nor filling in with mere accessory figures. The persons necessary to illustrate the incident are the sole actors, hence the feeling throughout the tapestries is a simple and yet sweet severity, which enhances the stern dignity of the subject. The artistic character of the tapestries is, to quote the words of the Abbe Machefer, " grandeur and simplicity "; and those who have seen the wonderful work displayed in the cathedral can but echo the words. The light-toned framework in which the scenes are enclosed ranges in colour from greyish-ivory to brownish-yellow, harmonising so well with the colour of the cathedral roof and walls as to suggest that the hanging was an integral part of the edifice. The ancient windows 69The Parisian Tapestry Workshops in the 14th Century find a softened counterpart to their colours in the tapestry pictures, while here and there the sunshine throws a flood of diffused parti-coloured light on the hangings, discovering old and imparting new beauties. Thus glorious still, after the vicissitudes of 500 years, what must have been the effect of these hangings when they had but lately left the loom! One's mind travels back in awe-stricken admiration and reverence to the mighty artist-craftsmen of the fourteenth century, whose aim was " grandeur and simplicity." There are still in the great hall of the Chateau of Angers the iron hooks that once supported the tapestry, and with the aid of these and the size of wall space M. de Farcy has estimated that the original size of the set of hangings when placed together must have been 144 metres in length by about 5j metres in height: in English, about 156 yards by nearly six. There remains rather more than two-thirds of this length, and the hangings have shrunk to about 14 ft. in height. Some seventy scenes are still extant, with debris of others. There are also fragments of the inscriptions—white letters with red capitals on a background of brown. The fourth and fifth hangings in the order of storiation are complete, from the others panels are missing. The excellent restorations carried on under the able direction of the learned M. de Farcy and M. l'Abbe Machefer have been a source of admiration to all, the dilapidated portions being renovated with such skill that it is impossible, even for one versed in the process, to distinguish the new work from the old. There has long been an element of uncertainty about 70The Parisian Tapestry Workshops in the 14th Century these tapestries, arising from the fact that heraldic and other evidence of later date than the fourteenth century is apparent in them. The initial Y of Yolande of Aragon, married to Louis II. of Anjou in 1400, appears in the background, and the fact that the seventh piece was presented by Anne, Duchess of Bourbon in 1490, has led to the theory that the series, begun in 1376, was not finished until 1490. Now the will of Rene, made in 1474, makes it clear that the bequest comprised " all the figures and visions of the Apocalypse," and about 1480 the chanoines of the cathedral received six hangings only. The one given by Anne Duchess of Bourbon must have been included in the bequest. Thanks to M. Guiffrey, it is proved that five of these hangings were undertaken from 1376 to Christmas 1379, and after that date the register of the treasury of the Dukes of Anjou is non-extant. A hundred years would seem a long time to wait for two hangings, if five had been undertaken in three years. The seven, complete, were in the possession of the ducal family in 1474 when Rene made his testament. It is likely that Bataille pushed the work forward with his characteristic energy; and, had the records not perished, there would have been documentary evidence of its completion a year or two later. The initials of Yolande may easily have been inserted in her time, and this alteration of armorial bearings, etc., was a not uncommon practice, and recalls an instance cited by the late M. Eugene Miintz (La Tapisserie, English Edition 1885, p. 113). In 1399 Francesco Gonzaga, Commander of Mantua, sent a hanging to Paris—where similar work had already been done 71The Parisian Tapestry Workshops in the 14th Century for him—in order to have the armorial bearings of Bohemia substituted for those of the Visconti. If this idea be not adopted, part only of the tapestries can be attributed to Nicolas Bataille; and the hangings are so much the same in style and weaving that it is impossible to determine the pieces woven later. Moreover, the tapestries of the fifteenth century are widely different in character from those of the Apocalypse. The Apocalypse is woven of wool throughout, with the exception of a little silver thread in one of the armorial bearings shown on the wings of a butterfly. The texture is of medium quality and the fabric soft and pliable. A curious feature is that in some parts there are no ends of threads visible on the back. The colours have been formerly very brilliant, if but few—there are not more than thirty dyes in the seven hangings. The making of the Apocalypse was but a minor detail in the list of tapestries sold by Bataille, who was evidently more merchant than producer. The first mention of his transactions is in an account of 1374-5 where he was paid, on a mandate of the 23rd September, 1373, the sum of 20 francs for six hangings " d'oeuvre d'Arras." Between 1378 and 1400 he supplied the court with no less than 250 hangings, mostly of a heraldic or ornamental character. His special patron, the Duke of Anjou ordered of him :—A History of Hector, the Life of Our Lady, the Apocalypse, a large silk tapestry and others.1 Philip the Hardy, Duke of Burgundy, bought of Bataille The Romance of the Rose, and a large silk tapestry, etc.2 1 Guiffrey, Tapisseries franpaises, p. 14. 2. Ibid, p. 13. 2 Boyer de Sainte Suzanne, Notes d'un Curieux, etc., p. 119. 72The Parisian Tapestry Workshops in the 14th Century The Duke of Orleans was perhaps the most generous patron of Bataille, and a series of documents in the library of the British Museum bear witness to their many transactions. In January 1391 the Duke ordered a History of Theseus and the Golden Eagle, for which payment was made on the instalment system in sums varying from 30 francs to 1200. In the first document the title given is Duke of Touraine, the others give it as Duke of Orleans, the change of title occurring in 1392. As practically the same form of receipt is given in all, it will suffice to reproduce one. " Sachent tuit que je Colin bataille, tapissier et bourgois de Paris, confesse avoir eu et receu de Jehan Poulain—garde de finances de monseigneur le due de Touraine, la somme de cent frans en deducion et rabat de la somme de xncfs qui m'estoit en deubz po un drap de haultelice de lystoire de Theseus et I'aigle d'or qui mon dit seigneur a fait prendre et achater de moy ledit pris, et dont il m'a appeurtre estre paie par chun mois c fr jusques a fin de paie come il appt g ses ltrs sur ces faictes donn a Paris, le XXVIIIe jour de janvier dern passe. De laquelle some de c fr. dessus dicte je me tieng pour contat et bien paie, et en quitte led. Poulain et tous autres. Donne soubz mon seel le JJmier jour de novembre, l'an mil ccciiij et onze. Vie paieme." (British Museum, Additional Charters, No. 2702). The other charters of similar character are as follows :— No. 2709 dated February 1, 1392, sum 1,200 francs d'or for a large piece. No. 2706 dated December 10, 1392, sum 300 francs d'or for a large piece. No. 2713 dated January 15, 1393, sum 300 francs d'or for a large piece. No. 2717 dated February 6, 1394, sum 300I. Tourn. An order to pay Bataille. No. 2722 dated June 25, 1395, sum 200I. Tourn. Acquittance. The seal, injured, remains. In January 1393 the Duke paid for a piece of high loom work representing the History of Ancois et Izore (Add. Ch. No. 2714), and in 1395 for two pieces of woollen tapestry with a blue ground for the blue chamber of the late Louis (son of the Duke), to place in front of the ushers in the said chamber. (Add. Ch. No. 2729.) In 1396 the Duke paid 1,700 francs for three large hangings :— " Loys, lils de Roy de France, due d'Orliens, etc., k Jehan le Flament, salut. Nous voulons que vous faites delivrer k notre ame varlet de chambre, Nicolas Bataille, marchant et bourgois de Paris la somme de dix sept cens frans pour cause de trois tappis de haultelice, l'un de I'istoire de PentasiUe, tenant quinze aulnes de long et quatre aulnes et un quartier de hault, et un autre tappis de Beauve de Hantonne tenant vint aulnes de long et trois aulnes et demie de hault, et le tiers de I'istoire des enfans Regnault de Montauban et des enfants de Riseus de 73The Parisian Tapestry Workshops in the 14th Century Ripemont, contenant vingt aulnes de long et trois aulnes et demie quartier de hault. Donn6 a Paris, le Ille jour de may, l'an mil CCCIIII11 et xvi. (Add. Ch. No. 2734.) The Duke commissioned Bataille to procure 18 pieces of tapestry bearing his arms (Add. Ch. No. 2741), and silk tapestry of several colours, besides some pieces for the Duchess in the same year (Add. Chs. No. 2743 and 2737). The following year Bataille supplied him with ten pieces of blue tapestry decorated with golden fleur-de-lis and furnishings for a chamber for the Duchess (Add. Chs. No. 2752 and 2757). In Nos. 2738 and 2743 the seal remains. These were insignificant by comparison with a magnificent hanging for the Duke's chapel, for which, with others, 582 francs 8 sous 9 derniers were paid in 1398. Gn it was represented the Tree of Life, with a crucifix and several prophets in the branches of the tree, and beneath all a terrestrial Paradise, with the Virgin, St. John and other saints. " Mandement de Loys, due d'Orliens, etc., a Denis Mariete, argentier, de payer a Nicolas Bataille, tapissier demourant a Paris, 582 francs 8s. 9d. tournois, pour plusieurs chambres de tapisserie par lui fournies et vendues, et pour un tapis de chapelle, de VArbre de Vie, auquel y a un crucifix, et plusieurs prophetes par le branches de l'arbre, et au dessous d'icelui Paradis terrestre, Notre Dame, St. Jean, et autres saints et saintes, lequel tapis le dit due fit acheter, le 4 decembre dernier, pour tendre en sa chapelle et faire son plaisir, 200 ecus. Donne a Paris, le 8 fevrier 1398." (Add. Ch. No. 2772.) In 1399 Bataille delivered two pieces more, one of 74The Parisian Tapestry Workshops in the 14th Century which is of unusual character (it was decorated with pearls on a white ground), while the other was ornamented with a device of beasts and unicorns, and was ordered as a present to Robin le Seneschal, cup-bearer to the Duke. These were of great value, no less than 582 fr. 20s. 9d. tournaise being paid for the two {Add. Ch. No. 2778). In addition to these transactions Bataille supplied the Duke with serges, etc. (Add. Ch. No. 2762); and in one document he is styled valet-de-chambre (see Add. Ch. No. 2734) to the Duke. When the Duke of Orleans and his cousin, the Duke of Anjou, were admitted into the order of knighthood in 1389, King Charles VI. celebrated the event by holding a great tournament at St. Denis. He sought to commemorate it by having the principal scenes woven in a tapestry of the most precious materials, costing about £8,000 of our money. Two merchant-tapissiers were contractors for it—Nicolas (or Colin as he is sometimes styled) Bataille and a confrere of equal importance— Jacques Dourdain of Paris. The hanging was named The Jousts of St. Denis. Contemporary subjects are not common in tapestry at this period, and this one must have been of great difficulty to the executants. The King, the princes of the blood-royal, and noble strangers must have been represented by portraits; and the knights, squires, men-at-arms, standard-bearers, and heralds were probably drawn from life. Such would be the case too with the Queen of Beauty and her attendant train of damsels. The caparisoned horses, the figures in complete armour, standards, etc., would have 75The Parisian Tapestry Workshops in the 14th Century furnished rich accessories. The actions in tilting must have been accurately expressed, for a faulty stroke would meet the expert criticism of the actors. The end of the century witnessed the death of Bataille, whose widow signs his receipts early in the following year (1401).1 His fellow-contractor for the Jousts of St. Denis, Jaques Dordin, Deurdin, or Dourdain, furnished such a great number of the finest hangings to the King and others that there is no doubt he was practically a merchant, and there is record of a quantity of tapestries of Arras workmanship passing through his hands. He was appointed valet-de-chambre to the King, and the list of hangings furnished by him to the nobility gives a good idea of the subjects popular in his time. Some are reminiscent of fairy tales, for example, the History of a king who went to hunt with a great retinue, but losing his followers and horses in the wood, had a marvellous adventure with fairies who sentenced him to be turned into a stag, and the History of Guy of Burgundy.2 The Duke of Burgundy patronised Dourdain to a great extent, buying from this Paris merchant valuable tapestries of Arras workmanship. Some of the sets were :—History of the Golden Apple; the, History of Jourdain—in connection with these he is styled eing altarpieces made by Rifflard Faymal. Jean 104Tapestries of Arras in the 15th Century Oudrie was presented with a tapestry, while hangings for a chamber were sent to the wife of the secretary of the King of France.1 As a gift to Robert, Duke of Albany, the Scottish Regent, John the Fearless sent by the Earl of Bothwell furnishings for a blue chamber with a parsley diaper and on each hanging (there were five) were the figures of a fine woman and little children on a gold-woven background. These were purchased by the Duke from Jean Renaut for the sum of 200 francs. Another tapestry, destined perhaps for a similar purpose, was called pastime and hunting, and was acquired from Jean Walois.2 In 1415 the Emperor Sigismund and King Henry IV. of England sent envoys to Lille to arrange an alliance against France, on which occasion the duke endeavoured to propitiate the monarchs by presenting their representatives with hangings. The Emperor's ambassador received " Lords and Ladies hunting birds " and " children chasing birds " while the Earl of Warwick, who came on behalf of King Henry, was presented with a hanging representing persons and birds? For a gift to the Duke of Guienne eldest son of Charles VI. of France, the Duke of Burgundy ordered a tapestry representing God bestowing the -fleur-de-lis on King Clovis, on behalf of France. This, strange to say, was supplied by a Parisian merchant named Andre Rousseau. In 1416 the Duke patronised another Parisian, Laurent Champion, from whom he 1 Histoire g^nirale de la Tapisserie, Tapisseries flamandes, Alexandre Pin-chart, p. 19. 2 Le Comte de Laborde, Les dues de Bourgogne, vol. i.( p. 96. 3 Histoire g6n6rale de la Tapisserie, Tapisseries flamandes, Alexandre Pin-chart, p. 19. 105Tapestries of Arras in the 15th Century- purchased a splendid "chamber" destined to form part of the trousseau given to his daughter Marie on the occasion of her marriage to the Count of Cleves and de la Marche. John the Fearless purchased armorial and furniture tapestries from various Arras weavers, such as Hugues Walois about 1407, Jean de Capelles, Jacques de Tilloy and Nicaise Coquerel. He had dealings also with Jean Henchin, and the Parisians, Pierre de Beaumetz and Martin de Paris.1 Thus far John the Fearless figures as a patron of art, not for its own sake, but as a means to some political end, or as a necessity in furnishing; he was intensely practical, apparently, if not aesthetic in his tastes. But he was, as M. Pinchart puts it, " well able to appreciate the part played by the immense figured draperies in the representation of grand historic scenes " such as the battle of Roosebeck, and one of his victories now appealed to him as a fit subject for commemoration in like manner. This was the Battle of LiZge, and accordingly several large hangings were ordered from Rifflard Faymal of Arras. The story represented in the tapestry, of which a writer gives a detailed description, began when the inhabitants of Liege rose in rebellion against John of Bavaria, brother-in-law to the Duke of Burgundy. The tapestry showed: the invasion by the duke's army of the country round Liege : the camp : raising the siege of Maestrich invested by the rebels : the ensuing battle at Liege : the rebellious subjects yielding up their ringleaders : and finally the ordinances of the Duke of Burgundy being carried out.2 This took 1 See Laborde, Les dues de Bourgogne, vol. i., pp. 22, 87, etc. 2 Van Drival, Les Tapisseries d'Arras, p. 92. 106Tapestries of Arras in the 15th Century place in 1407, and shows that the Duke made some addition to the magnificent collection of tapestries formed by Philip the Hardy. Of this collection two inventories were made, the first on the death of Philip in 1404, while the second was drawn up in 1420 after the death of John. The Duke of Touraine, in 1416, bought of Jean Walois a green chamber with a "Stag and Boar hunt" in it, worked in gold and silver, one of the few records of the purchase of tapestries in Arras by other clients than the dukes of Burgundy at this time.1 The reign of Jean-sans-peur was brought to an end in 1419, when he was succeeded by Philippe-le-bon, who lived until 1467. The new duke had inherited all the tastes of his grandfather, and during his tenure of the dukedom the prosperity of Arras reached its zenith and began to decline. It is interesting to ascertain the nature and extent of the magnificent collection of tapestries he received in heritage, and the inventory taken in the beginning of his reign (for the Dukes of Burgundy were kings in all but name), is a very important document in the history of tapestry. Assuming that John the Fearless had done very little towards augmenting it, it will be realized what a splendid collection had been accumulated by Philip the Hardy. The inventory was made at Dijon in 1420, and has been published by the Count de Laborde and by M. Alexandre Pinchart, who points out its value as an historical document from many points of view. The tapestries are classified as " Chambers," Saloon 1 Histoire g6n6rale de la Tapisserie, Tapisseries flamandes, Alexandre Pinchart, p. 20. . 107Tapestries of Arras in the 15th Century or Hall Tapestries, Chapel-hangings, Armorial pieces and furniture coverings etc., which are multitudinous and comparatively unimportant. Chambers. One in red of high-loom tapestry woven with gold, on which are represented female figures of Honour, Nobility, Generosity, Simplicity and others, furnished with a canopy ornamented with falcons, a dossier or head-board and bed-cover. A rich chamber of high-loom tapestry of Arras thread called the "Room of little children," furnished with a canopy, head-board and bed-cover all worked in gold and silk, the said head-board and bed-cover strewn with trees and herbage and little children, the top extremities wrought with trails of rose-trees on a red ground, and the said canopy ornamented with a similar trail of rose-trees in full flower on a red ground, without other work, but the cornice-bands of it are ornamented in the same way as the bed-cover and head-board, all in gold and silk. Another rich chamber of high-loom tapestry worked in Arras thread and gold called the " Chamber of the Coronation of Our Lady," furnished with canopy head-board, bed-coverlet, and six hangings, two of which were woven with gold and four without. On each of these are two figures ; the late Duke Anthony of Brabant and Madame his wife with their children, with a cover for a small dosseret. The whole is of Brabant work. One chamber of high-loom tapestry worked with a little gold, furnished with canopy, head-board, and bed-cover with a green ground, called the "Chamber of the Court of Loves," where there are several figures of men and women, with scrolls having amorous inscriptions. Hall Tapestries. Three high-loom tapestries of Arras thread richly worked with gold, called the Tapestry of Fama, worked with several figures attendant on Honour. Two high-loom tapestries, worked each with The Twelve Peers of France, of which one is larger and richer than the other. One high-loom tapestry, worked with Nine Knights and the Nine Amazons in rich gold. One high-loom tapestry worked with the Nine Knights only, woven also with gold. One high-loom tapestry of the Seven Wise Men, worked with gold in several places, and of fine Arras thread. Three high-loom tapestries, finely worked with gold, The History of the Church Militant: on one is seated the Holy Father in majesty, and several cardinals around him, and underneath several princes, who present him with a church: in each of the two other tapestries ten figures of similar work, shields with the arms of France, etc. Eight high-loom tapestries of thread of Arras, worked with The Apocalypse. Six^high-loom tapestries, The Battle of Li&ge, worked in places with gold. Three high-loom tapestries, The Battle of Roosebecque, worked with gold in places. Two tapestries of Jason. 108Tapestries of Arras in the 15th Century A large high-loom tapestry of Regnier worked with gold. A large high-loom tapestry without gold, the Story of William of Normandy, how he conquered England. A large old tapestry of high-loom work, History of Lorens GuSrin, who hunted the wild boar. Two other old tapestries without gold, Florence of Rome. Another tapestry, in bad condition, the History of Youth and Sport, called Hunting the Stag. Another high-loom tapestry, History of Helcanus who lost his lady. Another small tapestry of pastoral life, Shepherds and Shepherdesses making Faggots. A large old tapestry of Brabant, History of Duke Regnault of Montauban, how he vanquished King Dennimont before Angourie. Another old high-loom tapestry of Brabant, Young men and women playing games. A tapestry with gold in places, of the History of Messire Bertrand du Guesclin. A tapestry, made with gold as above. The History of Charlesmagne. A tapestry in two pieces made with gold as above, Semiramus of Babylon. A tapestry, made with gold as above, of Godefroi de Bouillon. A tapestry with a little gold, The pride of the Land named Percival the Gaul. A tapestry with a little gold, Doone de la Roche. A tapestry with a little gold, Shepherds in a park. A high-loom tapestry of Arras thread with herbage and flowers on a red ground, worked in the middle with two seated figures, A Knight and a Lady, and six figures of children in the four corners. Two other high-loom tapestries of a blue ground strewn with double sprays of lilies and other branches, with a chaplet of roses, worked in the centre with a shepherd having the arms of Flanders upon his hat and four sheep at the four corners of the said tapestry. Nine large high-loom tapestries and two smaller worked with gold, of Plovers and Partridges in flight, on which are the figures of the late Duke Jehan and Madame the Duchess, his wife, dressed for riding.1 Tapestry for Chapels. A high-loom tapestry wrought with gold in a few places, of the Coronation of Our Lady, on which are represented the history of the Feasts of Easter, the Ascension, Pentecost and the Coronation. A tapestry worked with gold in a few places, The Sepulchre of our Lord. A tapestry wrought with gold and Arras thread of Saint Anne. A tapestry wrought in gold and fine thread of Arras of The Creed, composed of figures of Apostles and Prophets, in which tapestry is inscribed the scrolls by which the said apostles make all the Creed, and the prophets the rolls containing their prophecies. A rich gold tapestry, The Death of Our Lady. A high-loom tapestry wrought with gold, of small figures'of The Passion of Our Lord, and beyond Veronica and figures of Vespasian, Titus and others, of Brabant make. 1 Subjects not included by M. Pinchart: the Mirror of Rome (three pieces). The Ten Wishes (three pieces), Thamaris the Preuve, or Worthy, and the Carry- ing-off of Ladies. 109Tapestries of Arras in the 15th Century A grand altarpiece, of high-loom work, richly wrought with gold and thread of Arras, having for centre, Our Lord at His sepulchre and several figures of Our Lady, the three Maries and other saints ; at the one side St. John the Baptist, at the other St. Anthony. Another grand altarpiece, but narrower, of gold and thread of Arras, in the middle of which is the Coronation of Our Lady, cherubim and angels around, and a tabernacle with six apostles on one side and six upon the other. Another kind of altarpiece for church drapery, about an aune and half square (Parisian aune) high-loom work, all of silk and gold, on high A Figure of Our Lord seated inmajestya^on a field of clouds, with golden stars, a range of angels below, and under them a cross—at one side a young king kneeling presenting a saint, at the other a queen who presents a virgin. There are many dossiers, etc. Among the hall tapestries there figures one that corresponds with a purchase made by the new duke. It is that of the History of the Church Militant, and the ducal accounts state the purchase in 1420 of three pieces of tapestry made of wool and gold thread with figures of Archbishops, Bishops, and Kings—The Story of the Union of the Holy Church, for which Philip the Good paid 4,000 francs to the heritors of Gui de Ternois.1 For the first twenty years after the accession of Philip the Good the available information regarding the manufacture of tapestry points to Arras as being almost exclusively the centre of production. Of that there can be no doubt. The existing portion of the register of craftsmen in Arras begins in the year 1423, and has been published by M. Alexandre Pinchart and others. It covers the period from 1423 to 1467, and gives the names of 59 high-loom workers. 1423. Pierre Blassel, Jean Coulerier. 1425. Jacques Bertran, Jean Lermite, Gui de Relly, son of Eustace (Tasset), Renaud de Lanlers. 1426. Henri (Hanoten) Godin and his brother, Robicquel, son of Pierre. 1427. Robert de Chervay. 1 Le Comte de Laborde, Les dues de Bourgogne, vol. i., p. 175. noTapestries of Arras in the 15th Century 1428. Bertrand de Lattre, Henri de Bavaincourt, son of Jean, Jean Patequin, Vincent de Bourgogne. 1429. Henri Truye, Bauduin de Choques, Jean Roses. 1430. Andre Pay en, Gilles Beghuin. 1431. Jehan Descamps, called Mauboege, Eustace (Tassaxt) Boucaut. 1432. Louis (Loyet) Truye, son of Noel, Luc Bernart, illegitimate son of Michel, Guillaume Densemont. 1433. Henri le Fiel, Henri Camp, son of Mathieu, Anne de Bommy, widow of Jean Wion, Henri Creppin, illegitimate son of Gilles, Jean Moustoille. 1434. Jean Maulone, son of Renaud. 1435. Pierre Toucquel, son of Pierre. Pierre Testard, son of Pierre. Nicaise Bracquet, son of Mathieu, Henri Lermite, son of Jean, Quentin Sorel, son of Jean, Nicolas le Camus, son of Jacques, Jacques du Mur, son of Simon. Jean le Normans. . 1436. Jean Julien, son of Jean, Haut-lisseur (high-loom worker). 1437. Remi Truye, son of Noel, Haut-lisseur (high-loom worker). 1438. Mathieu Joly, called le Bert. 1439. Aubert de Saint-y-laire. 1440. Demoiselle de Caucourt, widow of Jacques Cosset, high-loom worker. 1443. Nicaise le Personne, Guillaume Bertran. 1446. Gilles Fere, son of the late Jean, high-loom worker. 1448. Jean de Lattre, son of Bertrand, high-loom worker. 1451. Jean Larguette, son of Bauduin, Luc Julyen. 1452. Antoine Coine, son of Pierre. 1454. Nicholas de Gamans, son of John, high-loom worker. 1455. Robert de Fampour, Jean de la Planque, son of Jean, Jacques Destriers. 1460. Brice Despaigne. 1461. Jacques de Dours. 1462. Jean Manloe, son of Jean, Gabriel de Potignyes. 1465. Henride Lannoy. 1467. Jacques Wyon. To this list may b6 added the name of Egidio (Gilles Gremar)who in 1435 was paid the sum of £6 10s. by a mandate of the Scottish King.1 Philip the Good had dealings with many tapestry merchants or weavers in various towns. One remarkable transaction took place in 1423, when he acquired from Jean Arnulphini, a merchant of Lucca, six hangings very richly worked with the History of Our Lady— consisting of scenes representing the Annunciation, Nativity, the Angel appearing to the Shepherds, the Ascen- 1 Exchequer Rolls of Scotland, vol. iv.f p. 620. IllTapestries of Arras in the 15th Century sion of the Virgin, and her Coronation. Splendid hangings they must have been, and an appropriate present for the Pope they were offered to, who was Martin V.1 The Duke, about 1430, received augmentations to his collection, by inheritance. On the occasion of the marriage of his niece with Charles the Infant of Navarre, Philip furnished her with a magnificent trousseau, worthy of her princely family, which was at the time the most powerful perhaps in Europe. The wedding outfit comprised jewels, dishes of gold and silver, linen and altar ornaments, and numerous tapestries, among the latter a chamber of high-loom work enriched with gold. It consisted of a canopy, dossier, bed-cover etc., and was entitled the Court of Loves, having several figures and inscriptions with hangings of the same subject. Another hanging represented a staghunt. Besides these the trousseau comprised other chambers, the particulars concerning which are not specified.2 The vast accumulation of tapestries belonging to the house of Burgundy was now swollen to such an extent that in 1440 Philip ordered a vaulted building of stone to be erected at his residence in Arras, for the purpose of storing his hangings in safety, and guarding them from the effects of fire or damp. He was still buying, not only in Arras, but in Bruges, Tournai, and Brussels. Tournai received some important commissions at his hands, and it was from tapissiers in that town that he ordered a hanging, destined to become one of the most esteemed in the ducal collection, and to 1 Le Comte de Laborde, Les dues de Bourgogne, vol. i., p. 196. 2 Histoire ginirale de la Tapisserie, Tapisseries flamandes, Alexandre Pin-chart, p. 26. 112Tapestries of Arras in the 15th Century figure in the place of honour in the highest ceremonial events in the history of the house of Burgundy. This was the History of Gideon.1 The designs were made by the Duke's court painter, Bauduin de Bailleul, and such was the Duke's admiration for these that he contracted for their return, after use, paying the master-weavers 200 golden crowns for this privilege. For it was then the rule that when the weavers had completed their work, and the tapestries had been delivered to the client, the full-size paintings or drawings from which the weavings had been made became the property of the master-weaver, he being at liberty to reproduce other tapestries from them as often as he desired. It is interesting to note that the parts coloured yellow in these " cartoons" were intended to be reproduced in gold of Venice, while for the white portions silver thread was to be used, except in the flesh. Eugenius IV. was the new Pope, and for his acceptance Philip ordered of a Lombard merchant living in Bruges " the three moral histories of the Pope, the Emperor and the Nobility2 and it was presented to the successor of St. Peter about 1440. Pope Paul also received in his turn a similar gift in 1466. Charles-le-Temeraire, or the Bold, who succeeded his father Philippe in 1467, does not appear to have made many purchases of tapestry in Arras. The records seem to indicate that shortly after the middle of the century the fortunes of Arras were on the decline. The number of names on the roll of tapissiers shows a falling- 1 Le Comte de Laborde, Les dues de Bourgogne, vol. i., p. 397. See also Houdoy, p. 145. 2 Le Comte de Laborde, Les dues de Bourgogne, vol. i., p. 383. H.T. 113 8Tapestries of Arras in the 15th Century off, and neighbouring towns begin to make their competition felt: as when Philip, the late duke, entrusted the execution of his most treasured hanging to the tapestry-weavers of Tournai, instead of those of Arras. Charles the Bold, if he did not patronise the industry to the same extent as his predecessor, was exceedingly fond of tapestries, and appears to have preserved the ducal collection with great care, buying sets of hangings in Brussels, Lille, and elsewhere. Like his grandfather, John the Fearless, his interests lay in military exploits, and his life ended in the greatest catastrophe that ever befell his house. At his marriage in 1468 to the English Princess, Margaret of York, the greatest display of pomp, wealth, luxurious surroundings and pageantry that the century had witnessed took place at Bruges. The priceless heritage of lovely things preserved with such care were exhibited in unexampled profusion, one chronicler stating that never before had so many rich and grand tapestries been seen together. A large wooden hall in the courtyard was richly hung with the History of Gideon and the Golden Fleece. The Great Hall contained the History of the great Battle of Liege: the Hall of the Chamberlains was decorated with the Coronation of King Clovis, the first Christian King of France, the renewal of the Alliance between him and Gondebauty King of Burgundy, and the marriage of King Clovis with the daughter of Gondebauty where a hermit carries to the queen a cloth of azure with three golden fleur-de-lis, which an angel had given him, and he gives it to the queen for her husband King Clovis to use as his arms in place of those he 114Tapestries of Arras in the 15th Century- bore. The Hall before the Chapel was tapestried with the History of Begyue Duke of Beline and Gar in Duke of Lorraine, while another hall contained the History of Esther. The chapel was hung with cloth-of-gold work representing the Passion of Our Lord. The lady's chamber had a chequer of white, green, and red—the colours of the Marguerite. The English witnesses quaintly described the decorations :— " The costers of the said hall of riche arras; marvelous in my mynd the curyous makyng that is in the forsaid arras and is of auncien ystory of the Bible, of famous Gideon, that by the angell of God was commaundid the flees and display hit in baner, and he aunsward the angell and said thou maist be a spirite of the eyre and nott an angell; and maist cause me to offende God : yeve it be soo that thes fleez that thow haste takyn to me wolnott receyve water in tyme of rayne, I woll beleve that thow art an angell of God. And it fortunyd in shorte tyme aftr there fele grett rayne, and the flessez receyvid no wat; but in grett drought his it was moyste : wherethrough the said Gedion trustid that it was the wille of God that he shuld rule the people as more opynlyys shewed in the Bible. . . . The roof of the said hall palye, white and blewe cloth." On the next Thursday a banquet: "and att the saidebanquett iiii ystoriez of Erculez countenaunceing and no speche ; the ystory of the Duckes grett cham-bre was of the marriage of the doughtr. of Kyng Clotte of Fraunce and the Kynge of Burgoyne, and what issue they hadde : right riche arras ; and aftr that other chambrez hanged wt arras silke and tapstre to the noumbre of xxxii chambre."1 In his receptions of ambassadors, visits to neighbouring princes, and in his private life, Charles had around him the tapestries he loved, and when he went on military expeditions he carried hangings to the battle-field. When his army suffered defeat at Granson in 1476 the Swiss and German victors found rich booty in his tent and camp. In the former were armorial hangings of tapestry, jewels, manuscripts, etc. Some of the spoil taken on the occasion is now reverently preserved by the descendants of the victors of Granson, at Berne, and with the Duke of Burgundy's banners 1 Excerpta Historica (Bentley), pp. 234-7. 115Tapestries of Arras in the 15th Century etc., a large armorial hanging is displayed there. In the centre is the ducal coat-of-arms : the larger escutcheon of Burgundy, with the collar of the Order of the Golden Fleece, surmounted by a helmet with fleur-de-lis crest. The mantling is diapered with fleur-de-lis and fusils. In the four corners are fusils or flint-and-steels with sparks of fire, and between the fusils are the two E's tied with cords. The emblems, etc., are relieved with gold and placed on a field of flowers exquisitely and finely worked. A horizontal strip (about one-third of the height) has been torn from the lower part of the hanging ; but enough remains to give an impression of its wonderful beauty and rich decorative effect. There is at Berne another strip of heraldic tapestry bearing the arms of the Burgundian provinces. With these are exhibited in the Historisches Museum a number of hangings consisting of figure subjects : the Histories of Julius Ccesar, Trajan, Duke Herkinbald and a panel representing the Adoration of the Magi. The first-mentioned bears the coat-of-arms of William de la Baume, Lord of Illen, Attalans, and Arconciel; a discovery due to the clever piece of research by Herr Jakob Stammler of Berne and M. Secretan. The former gives details in his book " Der Paramentenschatz im His-torischen Museum zu Bern." He states therein how Louis of Luxembourg, Count of St. Pol, beheaded as a traitor in Paris, December 14, 1475, possessed beautiful tapestries, one set being four hall tapestries, representing the History of Ccesar. When Louis XI. of France and Charles Duke of Burgundy divided the spoil of the traitor, to the latter fell many tapestries. It is reason- 116Tapestries of Arras in the 15th Century ably deduced that the Duke made a present of the History of Cczsar to William de la Baume, who was one of his chief generals, and as the armorial bearings now on the tapestries are sewn on (not woven), the latter had substituted his own for those of Luxembourg. At the outbreak of the Burgundian war the people of Freiburg and Berne plundered the castle of William de la Baume and presumably carried off the tapestries to Lausanne, where they remained until 1536, when they were removed to Berne with the tapestries of the History of Trajan, Herkinbald, and the Adoration of the Magi. These latter hangings beaf the arms of the Marchesi di Saluzzo, and were bequeathed to the cathedral of Lausanne by Bishop Giorgio di Saluzzo in 1461. Of these the most ancient is the Adoration of the Magi, which has a simple and impressive grandeur, due to the absence of overcrowding that became a characteristic of the succeeding Flemish school. The panel is almost a square one : a flowery foreground sustaining the figures of the three wise Kings of the East attired in magnificent apparel, who offer gifts to the Virgin and Child. Beside these stands St. Joseph, a stately old man. To the rear are the horse and ox, and near them an angel bearing a scroll with the inscription " Non redietis ad Heroden." The background to the figures is a battlemented wall and above it many kinds of trees. In the sky two armorial shields are displayed to right and left. Almost as remarkable is a set of the History of Trajan. In the first scene the warrior appears with his knights and men-at-arms, while a woman kneeling 117Tapestries of Arras in the 15th Century before him demands retribution for the death of her son, slain by one of his soldiers. Trajan sentences the soldier to death, and the second episode is the carrying out of the order by decapitation. The foliage of the foreground is of exceeding beauty, and the light and dark tones are skilfully massed in the composition. In the second hanging Pope Gregory is represented praying to God to have clemency on the soul of Trajan for this act of justice, and the following episode is that in which the skull of Trajan is exhibited to Pope Gregory, when by a miracle the lips and tongue of the dead emperor are found to be yet undecayed. The rich robes of the Pope and his cardinals with the interior of the church showing windows of stained glass and an arched roof are beautifully rendered. Another hanging represents a story not so well Itnown—the History of Herkinbald. Duke Herkinbald being sick unto death, ascertaining that his nephew and heir had offered violence to a young girl, orders the immediate execution of the offender. The facts that the duke had such a slight hold on life, and that the criminal was his heir, rendered the order impotent. When his nephew entered the dying man's chamber the Duke raised himself, seized his nephew by the hair, and cut his throat with a knife. As the Duke's last hour approached, the bishop urged him to confess this act of justice as a deadly sin, which the dying man refused to do. In consequence the cleric hesitated in administering the sacrament, when it is recorded that a miracle happened—the sacred elements, by Divine agency, placed themselves in the mouth of the dying Duke. The first 118The History of Trajan. Flemish, 15th Century. The Adoration of the Magi. After M. Jubinal. HISTORISCHES MUSEUM, BERNE.Tapestries of Arras in the 15th Century hanging shows Herkinbald ordering his nephew's death, and executing the sentence: the second, the bishop refusing the sacrament and the miracle taking place. The third series is more numerous and better known, being the History of Julius Ccesar, represented in four large tapestries. 1st. The election of the Triumvirate: Caesar, Pompey, and Crassus; Caesar receives an ambassador and departs for Gaul. 2nd. The battle of Besan£on where he defeats Ariovistus and the Gauls, and lands in Britain. 3rd. Caesar passes the Rubicon ; and a second scene shows the battle of Pharsala. 4th. The triumph of Julius Caesar at Rome, and the hatching of the conspiracy that brought about his death. These tapestries are enriched with gold in places, such as the vestments of the bishop, and the coats-of-Trajan. There are long inscriptions explicative of the episodes rendered : those of the histories of Herkinbald and of Trajan being in Latin, while those of the Ccesar tapestries are in French. The set of the History of Herkinbald is said to have been woven from pictures or weavers' drawings by Roger Van der Weyden. Formerly hung in the great hall of the Hotel-de-Ville of Brussels, these works were entirely destroyed when the town was bombarded in 1695. Fortunately a detailed description of them had been made, and corresponds fairly well with the incidents shown in the tapestry. If this be so, the History of Herkinbald now at Berne may have been made in Brabant, and perhaps the others as well, for the treatment of the accessories such as foliage, etc., is the same in all. 1476 was a disastrous year for Charles-le-T enter aire. A few months after the battle of Granson he was again 119Tapestries of Arras in the 15th Century- defeated by the Swiss, this time at Morat. Then came the catastrophe at Nancy, where the Duke was killed. Seven hangings now in the Museum at Nancy are believed upon traditional report to have formed part of the spoil taken in the Duke's camp on that memorable occasion. There is no local record of this; but whether tradition in this instance be trustworthy or not, and there are doubts, the tapestries are in the style of the latter half of the fifteenth century.1 There are two sets of Burgundian tapestries at Nancy; and the first, " A hasuerus and Esther " is of earlier date than the other, the " Condemnation of Banquet and Souper" The first consists of two scenes, viz., the dismissal of Queen Vashti, and Ahasuerus revising the edict against the Jews: the set is incomplete, there may have been four or six pieces originally. The second set is more complete, and the five pieces which are preserved give a fair impression of the subject. 1st. Dinner gives a feast to " Good Company " and other convivial spirits. 2nd. " Banquet" while receiving the company resolves to smite them with maladies. 3rd. " Banquet" and the maladies attack the guests. 4th. " Experience " orders the arrest of " Souper " and " Banquet." 5th. " Experience]" condemns " Souper " and " Banquet " to death. In relation to this set of tapestry there is interesting matter in the letter of an emissary of the Duke of Burgundy in Vienna, who was keenly alive to anything that might interest his master. He relates, at some length, that he had seen displayed for sale a set of tapestries of the above subject, in six hangings. In the same place he saw two other sets; one of " Youth and 1 See article by M. Pierre Boye in Mimoires, 4 S. iv., p. 128. Societe d'Arch-eologie Lorraine. 120Tapestries of Arras in the 15th Century Age debating at the court of Venus'' in which the figures were richly attired in the costume of Turkey—something very novel—several robes bore inscriptions in the Turkish language, giving the names of the persons and the stories. The third set was the Story of Venus and Honour, and all the tapestries were richly worked with gold.1 The death of Charles-le-Temeraire under the walls of Nancy brought about the ruin of Arras. From the middle of the century the decline of its tapestry-weaving population is apparent in its burgess roll, where, as pointed out by M. Alexandre Pinchart, only thirteen new names are added to the list of master-weavers, from the year 1450 to 1467. The absence of ducal commissions to Arras weavers in the later years of Philip the Good, and during the tenure of Charles the Bold, speaks for itself when it is shown how they patronised the craftsmen of Tournai, Bruges, Brussels and Middleburg in Flanders. The crowning disaster to the workshops of Arras was the capture of the town by King Louis XI. of France in 1477. Marie of Burgundy, daughter of Charles the Bold, was powerless to save the town, which passed into Louis' possession. The taxes and restrictions laid by him upon the unhappy inhabitants caused, in all probability, the better class of weavers to emigrate. The state of affairs in the town became so unsatisfactory that Louis felt compelled to adopt heroic measures. In 1479 he ordered all the men, women, and children in Arras to betake themselves to certain towns, and published a mandate throughout France, commanding the magistrates of each large town to supply a certain 1 Jubinal, Recherches, p. 32. 121Tapestries of Arras in the 15th Century number of > its inhabitants to become citizens in the deserted town. The name of Arras was changed to Franchise. In these circumstances it is unlikely that the better class of French artisans would leave their native cities to fill the silent streets of a foreign town, so it may be inferred that Arras, or Franchise, at this time was populated by the scum of the working class of France. Despite the determined efforts of King Louis to revive the weaving industries, the situation was no better. His successor, Charles VIII., in 1484, accorded permission to the former inhabitants to return to the town, with full restitution of their old rights and privileges; but it was too late to invoke the ancient genius of Arras. After 1477 one weaver only of consequence appears to have worked for any considerable time in the town : he was Jean Villars 1 and is mentioned in connection with a tapestry of Moses in 1491. Thus for the second time the grand centre of the industry was destroyed by brute force: the first, that of Paris, by the English wars and occupation; then that of Arras by the wars of Louis XI. 1 Van Drival, Les Tapisseries d'Arras, p. 140. 122CHAPTER VII TAPESTRY-WEAVING IN THE SMALLER FLEMISH TOWNS, FRANCE, GERMANY, ITALY AND SPAIN, 15th CENTURY THE fall of Arras in 1477 marks the end of the first period in the history of European tapestry, and affords opportunity to consider the extent and quality of productions manufactured elsewhere in the fifteenth century, in Flanders, France, Germany, Italy and England. In comparatively few of the towns of Flanders is there evidence of an organised output, but records of a single workshop are common in many towns, especially in the latter half of the century when the popularity of Arras had waned. Valenciennes was in the fourteenth century a centre of production of some importance, and it maintained its position in the fifteenth. In 1416 the Dauphin, Jean, Duke of Touraine, ordered several armorial hangings from Jean Bresm, a tapissier of Valenciennes.1 Another, of the name of Jean de Florence, was engaged (in 1418-1419) cleaning and repairing several chambers of tapestry for the Duchess (Jacqueline of Bavaria). The descriptions of these are of interest—one, a white chamber, was ornamented with parroquets and figured with damsels playing harps; another was entitled Hunting, 1 Histoire gSnirale de la Tapisseries. Tapisseries flamandes, Alexandre Pin-chart, p. 38. 123Tapestry-weaving in the smaller Flemish Towns while a third represented the Battle of Jerusalem} The competition of Arras may have proved too strong for Valenciennes, which became of more repute as a carpet-producing town. Lille also is mentioned as a tapestry-producing centre in the fourteenth century, and it is supposed that some of the weavers who abandoned Paris came to Lille to ply their vocation. There is evidence in the burgess roll of Lille that one or two tapissiers came from the neighbourhood of Paris; such as Simon Lamoury, son of Jean, 1401, Jean Lamoury 1404, Nicolas de Gres, son of Jean, 1406, Jean de Ransart, son of Jacques, 1407, Jean Filloel 1409, Pierre Beghin, son of Jean de Saint Denis, Antoine Lemectre, son of Adam, born in Paris, both in 1412, and Rogier Desfontaines in 1418. Other tapissiers of Lille are recorded, by the names of Simon de Vinchent 1424, Jacques Lareche 1442, Jean Pickart 1455, Pierre Dalos 1460, Camus, father of Pierre du Jardin, 1468, Jean Calet 1470, in 1479 Pierre du Jardin, and in 1483 Pierart Rasson. It was Camus du Jardin who sold to Charles-le-Temeraire in 1467-1468 some furniture-tapestries.2 Ypres is more famous as the residence of a designer of note for tapestries, than as a manufacturing centre, although there is record of weavers in the town. The designer, Frangois de Wechter, furnished designs for a set of armorial tapestries for the council chamber in the Halles in 1419.3 The authorities did not employ local talent in weaving the hangings, but contracted 1 Le Comte de Laborde, Les dues de Bourgogne, vol. i., p. liv. 2 M. Houdoy, Les Tapisseries . . . La Fabrication Lilloise, pp. 22-30. 3 Les Halles d'Ypres, p. 184, by Alphonse Vandenpeereboom. I24France, Germany, Italy and Spain, 15th Century with a tapissier of Bruges. This arrangement was not carried out, and finally Jean de Fevere of Arras secured the commission. His name recalls the Pierre Fere, Feve, or Fevere who made the tapestries of the Lives of St. Piat and St. Eleuthere in the cathedral of Tournai, as both weavers were of Arras. In 1457 there lived at Ypres another artist of the name of de Wechter— this time Melchior—who may have been a son of Frangois; and he in turn supplied the magistrates with drawings for tapestry for a similar purpose.1 The general impression of the position of Bruges in the fifteenth century in regard to tapestry production is that, though its interests lay more in commerce than in manufacture, some magnificent works of religious subject executed in the finest materials were made there in the end of the fifteenth century and in the beginning of the sixteenth. The school of painters congregated at Bruges—the Van Eycks, Rogier Van der Weyden, Memlinc, Thierry, Bouts, and others—cast an influence over the designs for tapestry that lasted until the genius of Raphael thrust out every style but the Raphaelesque. It is but natural to suppose that in Bruges, gifted with so many master artists, the artistic crafts would be practised with particular excellence; and there is proof that the tapestries made in Bruges were of great reputation and value. It attracted the notice of Philipfie-le-Bon, Duke of Burgundy in 1423, when he ordered several magnificent hangings for presentation to the Pope. In later years when his niece was given in marriage to Charles of Navarre he pur- 1 Histoire ginSrale de la Tapisserie. Tapisseries flamandes, Alexandre Pin-chart, p. 55. 125Tapestry-weaving in the smaller Flemish Towns chased two complete chambers of tapestries, one being of Verdures with birds. He also made purchases of costly hangings in 1441 and 1466. In 1436 the King of Scotland paid £y for tapestry made by " Egidio tapisario" at Bruges1; Queen Isabella of Portugal bought tapestries in Bruges in 1456 for the wedding outfit of her nephew John, who married the daughter of the King of Cyprus. It was at Bruges also that in the year 1478 the Archduke Maximilian and his wife Marie of Burgundy bought of Philip Sellier, merchant of tapestry, the following hangings :—two pieces of the History of the Emperor Maximilian, a church-hanging representing the Three Wise Kings, a smaller piece wrought with gold, and a hanging entitled The story of Absalom. These were destined for presentation to the Lord Chamberlain of England, to serve a political purpose.2 Pierre Le Maestre is mentioned as a weaver in 1429; Nicolas Labye in 1468; and in 1479 Guillaume Moreel, Alard de Maestre and Jean Lancbaert.3 The last named was a ( v£i. viiis. 159Tapestries in England and Scotland, 15th Century xvi^t. xiiis. Item, 1 autre pece d'Arras del fuyte, de vi verg' de longur' et iiii verges de large, en tout xxiiij verges quarrez. II autres peces de mesme la fuyte ch'un cont' viii verg' de longur' et iiii verg' de larg' en tout cont' lxiiii verg' quarrez Item, 1 banker d'Arras, overe de divers' ymages, q commence en l'escriptur Jeovous ayme loialment cont' vi verges quarrez, pris le verge iiis. en tout . . xviiis. Item, ung Lite d'Arras d'or, appelle le Lite de Haukyng, le Conterpoynt cont' xxxii verges quarrez, le Testour d'icell cont' xvi verges quarrez; le Ceel d'icell cont' xx verges quarrez : en tout lxviii verges, pris le verge vis. viiici. ....... xxii^t. xiiis mid. Item, 1 Tapite d'istorie d'un Pavilon', q comence en^ escriptur Cest ystorie fait a remembraunce de noble Vierge Plesance, cont' vii verges iii quarter de longur', et iiii verges de large, en tout xxx verg' quarrez. Item, 1 autre Pece, q comence en scriptur' Jeo ferra mon oysell voler quant vous plerra, cont' vii verg' de longur' et iiii verges de large, en tout xxviii verg' quarr'. Item, 1 autre Pece, q comence en escriptur', Gadene pur vous, cont' vii verges de longur', iiii verges de large, en tout xxviii verges. Item, 1 autre Pece, q comence d'un autre istorie en escriptur', Par ma foy veisi bon destrier cont' vi verges de longur' et iiii verges de large, en tout xxiiii verg' pris le verge l'un ovec 1'autre iiis. en tout des verges quarrez des ditz iiii tapitz cxi verg'. Item, i autre Lite d'or, drap d'Arras, d'un autre ystorie des chees, le Counterpoynt cont' v verges dl de longur', et v verges de large, en tout fxxvii verges di quarrez. Item le Celour d'icell, cont' v verges de longure, et iiii verges de large, en tout xx verges. Item le Testour d'icell Lite cont' iiii verges d! de longur' et iiii verges de large, en tout xviii verges. En tout le Lite cont' lxv verges di quarrez, pris le verge iiiis xiii^t. iis. Item, i Tapite d'Arras d'or, overe d'un Pavilon, et dedeins i gentile Femme garnisant une burse, cont' vii verges de longure et v verges de large, en tout xxxv verg' pris le verg' xs.~l . . . . xvii^t. xs. Item, i veille Tapite d'Arras, saunz ore, q commence en-\ escripture E quaunt jeo fuy fait, cont' vi verges de longur', et iii de large, en tout xviii verg' quarr.' Item i autre veille Tapite del fuyte, escripture Come Theolomou, cont' vi verg' de longur', et iii verg' de large, en tout xviii verg' quarrez. . . . . y vi£i. xiis. Item, i Doser d'icell, q commence en escriptur' apres ceo q a Gamynon, cont' xiii verg' de longur', et iiii vergez de large en tout Iii verges quarrez. La Some, xx en tout, cont» -^tt-xvih verges pris le verge xviiid. 160Tapestries in England and Scotland, 15th Century Item, 1 Doser d'Arras d'or veill, q comence en istorie, Cest emprise de haut nou, cont' en longur' xix verg' xx * et iiii verg' dl de large, en tout tttt- v verges di 1111 quarrez ; pris le verge iis. Item, 1 coster d'Arras d'or, de ix puissances, q comence en istorie Si poez voier en memorie, cont* xiii verg' de longur', etfiiii verges de large, en tout lii vergez quarrez. pris le verg' iis. vid. .... Item, 1 autre Coster d'Arras d'or, de I'istorie de Abraham et Isaak, q comence en l'estorie Cest enfante Isak nome, cont' xv verges de longur', et iii verges] i quarter de large, en tout lxiii verg' iii quarter quarrez, pris le verge iiis. iiiii. ..... Item, 1 autre Coster d'Arras, d'or, q comence en istorie La vie d'Amours, cont' en longur' xix verg', et de xx large iiii verges iii quarter, en tout ^ x verges I quarter quarr', pris le verge vs. ... Item, 1 autre Coster d'Arras d'or, de la V joies deNostre Dame, cont' en longur' xviii verges et iiii verges di xx • de large, en tour-rrrr-i verge quar' pris le verge xs. Item, 1 autre Pece d'Arras d'or, q comence en l'estorie, Chist Roys Gyngebras nomme, cont' xix verg' de longur', et v verges de large, en tout ^xv verg' quarrez ; pris le verge vs. Item, 1 autre grande pece d'Arras, de vii ages, q comence en l'estorie, Jeo fuy natur cont' xxii verges de longure et v verg' i quarter de larg', en tout cxv verg' dl quarr', pris le verg' xiis. ..... Item, 1 autre pece d'Arras d'or, d'estorie de Royes. q' comence Sanctus Lucius, cont' xv verg' de longur', et v verg' di de large, en tout-^-ii verges di quarr.' Item, 1 autre pece de mesme la fuyte. q comence Sanctus Edwardus, cont' en longur* xiiii Jvergez, et de large v verges dt, en tout Ixxvii verges quarr'. En tout, les ditz ii Tapitz cont' clix vergez di quarr', pris le verge viiis. ..... ... Item, 1 autre pece d' Arras d'or, des Apostres, q comence en istorie Credo in Spiritum Sanctum, cont' xiii verges de longur' et v verges de large en tout lxx verg' quarrez. Item, 1 pece d'Arras d'or, q comence en istorie Credo in \ Deum, le primer article y mist, cont' de longur' xviii ^ verges di, et'de large v verges, en tout-^-xii verg' 1111 di quarr'. Les ditz ii Tapites cont', clxii verges dl quarres, pris le verge xxvis. viiid. H.T. l6l \Mi£i. xis. vi£i. xs. x£i. xiis. vid. xxii£i. xis. iiii. x\£i. xs. xxiii^t. xvs. lxix^t. vis. lxiii£i. xvis. ccxvi£i. xiiis. iiiid. IITapestries in England and Scotland, 15th Century xxix£i. iiis. iiii P- regarding it. It was then extant in an abandoned house, formerly the late Lord Anson's, then a Catholic seminary, at Standon, near Puckeridge, Herts. The work was coarse, and the figures did not seem to have been portraits, but the habits were of the period. In one corner 1 Campbell, Materials for a history of the year of Henry VII., vol. ii., pp. 25, 26. 2 Ibid. p. 405. 171Tapestries in England and Scotland, 15th Century Henry VII. and Ferdinand of Spain were conferring amicably on a joint throne. The fragments of decorative tapestries belonging to Winchester College may have belonged to Henry VII. King Henry had dealings with the greatest tapestry-weaver or merchant of his time, and a document shows that the latter had extended his sphere of business from the continent to England. Pasquier Grenier or Gromier had supplied Philip the Good of Burgundy with many costly hangings ; magnificent works they were, woven in gold, silver, silk and the finest wools. The last mention of him in Tournai is in 1472 (he died in 1496), but in i486 he or his agents appear in England under the protection of the King. The document is dated September 22, i486, and runs as follows :—" Safe conduct and protection to Paschal Grenier and John Grenier, merchants of the city of Tournais in France, and permission for them and their servants to bring into England ' pecias panno-rum, clothes of Arras, tapysserie werk and carpets.' " 1 This is the last record of Pasquier or Paschal Grenier as merchant. John, of the same name, may have been a brother or son of the old weaver, who was of advanced years. John Grenier appeared again in March 1488, when he was supplying his English customers with goods from his manufactory in Tournai. This is proved by a letter from King Henry to the Bishop of Exeter, Keeper of the Privy Seal:— " Whereas we of late bought of John Grenier, of the town of Tournay, tapysser. two awterclothes and ix peces of clothes of Arras of th'istorye of Troye, for the which are graunted unto him that he therfor shuld paye no custume nor othre dueties ; we therefore wol and charge you that under oure prive seal beying in youre 1 Campbell, Materials for a History of the Reign of Henry VII., vol. ii., p. 281. 172Tapestries in England and Scotland, 15th Century keping ye doo make oure several letters in due forme to be directed aswel unto the custumers of oure towne and port of Sandewiche, where the said clothes were discharged, willing and charging theym by the same utterly to acquitte and discharge the said John Grenier of alle suche custumes and othre dueties as might be due unto us for the said two awterclothes and xi peces of clothes of Arras as unto the treasourer and barons of oure Exchequier for to geve due allowaunce thereof unto the said custumers and aswel theym as the said John Grenier and alle other utterly discharge and acquitte for ever," etc.1 The Destruction of Troy mentioned above may have been of the same design as the set of that subject commissioned from the Greniers in 1472. The Wars of Troy, treated herein as French tapestry, consists of about eleven pieces, belonging to this period, perhaps about 1470, and may have emanated from the workshops of Tournai. The town was really French until the sixteenth century ^ although surrounded by Burgundian possessions, and therefore the French influence would be probably stronger there than in towns such as Brussels. An item of Royal expenditure in May 1488 was the sum of £180 165. 4d.j " by the hands of a certain merchant of Tournay." 2 Winchester College possesses some fragments of tapestries woven in the second half of the fifteenth century. Two of these are figured with scenes from the History of King David, woven probably in Flanders about 1470. The most interesting fragments are four pieces of a large hanging of ecclesiastical character, which when complete measured about 12 ft. by 10. The design consists of a series of eight vertical strips or " pales " of alternate blue and red: these were ornamented 1 Campbell, Materials for a History of the Reign of Henry VII., vol. ii., p. 281. * Ibid, p 485. Henry VII. patronised London tapestry dealers in 1488 he bought four pieces of arras from Wm. Horwell, of London, for £40 3s. 6d. The accounts of the Great Wardrobe in 1498 show purchases of 15 counterpoints of tapestry, nine counterpoints of verdure, and a great many ells of " arras of Flanders." 173Tapestries in England and Scotland, 15th Century with a diaper of fifteenth century pattern. Upon this field are disposed three horizontal series of eight emblems. On the top row are white roses alternated with the sacred monogram in golden colour. On the second and seventh devices, shields of arms are superimposed— the ground azure, with three crowns one above another. The second row of devices consists of the same monogram, alternating with red and red and white roses. In the centre of this series is the Agnus Dei, with two sprays of roses springing almost horizontally to the left and right, while the Lamb rests on a red rose. The lowest series of devices is similar to that at the top, but of the third series only one of the monograms has been preserved. This tapestry is the oldest survivor of a kind of hanging common in inventories, but very rarely met with. The narrow horizontal strips ornamented with the devices of King Henry VIII., at Hampton Court, have a close affinity to the Winchester tapestry in many ways, and both appear to be of English workmanship. The lettering of the monogram in the latter is in the manner of English scribes of Henry VII.'s time, and the treatment of the roses is characteristic of English embroidery, as also is the superimposition of one emblem by another. The finest tapestries of the fifteenth century in England are^those in Hardwicke Hall, belonging to the Duke of Devonshire, K.G. Fragments of four large hangings were discovered some years ago, and collated under the supervision of Sir C. Purdon Clarke, C.I.E., Director of the Victoria and Albert Museum. Two hangings have been successfully restored, and are again to be seen in Hardwicke Hall; the restoration of the others 174Drawing showing original distribution of the devices, etc., on the Chapel-hanging at Winchester College. The Tapestry, before restoration. English Design, late 15th Century. BY PERMISSION OF THE WARDEN AND FELLOWS.Tapestries in England and Scotland, 15th Century is in progress. The panels are very large, one measuring 37 ft. by 14; the other is slightly less in height : both are illustrative of hunting. In the first the horizon is very high, with distant glimpses of the sea and ships. Towards the centre of the panel a river flows into the sea, and numerous ships and boats are ascending, one of which displays a curious yellow flag with a red cross. Nearer, a boat is being rowed up stream, and in the stern of the vessel a quaint canopy or tent shelters an individual in oriental garb. A castle stands in the middle of the river some distance inland, and towards it the boats are hastening, one being already at anchor on the far side. The castle is in ridiculous proportion to the figures, and is of the same scale as the buildings more distant still. The river which surrounds the castle rises on the extreme left of the panel, where there is a representation of otter-spearing. In the foreground, standing on the river bank, a richly attired nobleman thrusts a double-pronged spear into the otter, which with another spear imbedded in him turns fiercely on this new weapon. On the opposite bank stands the master of the hunt. He wears a blue sleeveless robe, bordered by a band of alternate red and white squares, on which floral sprays are embroidered. He is winding his horn sounding the " Mort," for in his left hand rests a long spear, from the point of which an otter is pendent, while a pack of yelping dogs is congregated below. To the left are groups of lords and ladies, whose figures are relieved by a background of exquisitely rendered foliage, consisting of holly, oak, and a shrub i75Tapestries in England and Scotland, 15th Century with rounded leaves. A little nearer the centre of the panel a man is carrying a ferret, and a lady in a green dress is talking to him. Below in the foreground is a hollow tree-stump, and on the top are five or six pegs which may have sustained a net, such as is used in rabbit-hunting with ferrets. The central portion is occupied by water-fowling.. In the castle moat a swan's nest full of cygnets has been assailed by boys, who have placed a clumsy ladder against it. The parent birds have attacked them, and while one boy struggles with a swan in the water the other is being pushed off the ladder by the second bird. In the foreground a youth removes his stockings to go* to the rescue, while a woman is vigorously beating the swans with a long stick. Beyond the castle two boys are despoiling a heron's nest in a tree, while a female attendant presents one of the brood to a noble lord and lady. Another lady is represented in the act of killing one of the birds with a small baton. It is in the bear hunt, on the right, that the interest is greatest. The central figure is the bear, which stands over a man. This individual lies on his back, his legs almost encircling the brute. He has thrust his scimitar completely through the animal, the point projecting several inches. The sport is taken part in by two Saracens above. They are mounted on camels, and have been throwing javelins, one of which is imbedded in the flank of the bear. One of the Orientals wears a chequered dress of woven cord, strong as armour, over which is a bright blue, sleeveless hunting-robe; he wears a turban and rides barefooted. In the foreground another hunter 176WM "THE HUNTING TAPESTRIES" at Hardwicke Hall, Derbyshire, the property of the Duke of Devonshire. First of the Series. Reproduced from a Water-colour Drawing by W. G. Thomson.Tapestries in England and Scotland, 15th Century menaces the bear with a long spear, while on the extreme right a poor little bear-cub is shuffling off in clumsy-haste, looking backwards at the combat with alarm and dismay. Towards the left a hunter drags the cubs from their den in the rock, and another Saracen stabs them with a sword. Three noble ladies look on the scene with great interest, while an Eastern lady seated on the rocks above is hurling chalk-flints at the bear. Near her noble lords and ladies, clad in the height of fashion, look down at the sport. The second tapestry is devoted to representations of the hunts of the bear and wild boar. The landscape is the border of a forest, with rocks protruding through the green flowery sward. The narrow .strip of sky is cloudy for the greater part, but on the right the cloud layers are broken by a deep rich blue, that becomes paler and more naturalistic towards the left. A continuous belt of foliage stretches across the sky-line, except on the extreme left and right, where there are castellated buildings. It is better in the interest of clearness to describe this tapestry by beginning on the right. The upper corner contains two castles, and from the lower one, situated on the edge of the forest, a party of hunters has descended into the foreground, and is attended by a huntsman on foot. To the left are two ladies, one wearing a green dress with rich floral pattern. Above these figures an attendant dislodges a family of bears from their rocky den, while one of its members is seen beating an undignified retreat in the distance. The cubs are drawn with exquisite skill. A knight mounted on a grey charger rides full tilt at one of the adult bears, H.T. 177 12Tapestries in England and Scotland, 15th Century and has transfixed it with his lance, which has broken in the operation. In the second scene of the bear-hunt a sanguinary combat is in progress. Although its chest be penetrated by the broken spear, the bear is full of fight, savagely clawing and worrying a poor dog that has fallen into its clutches, while a hunter endeavours to give the coup-de-grace by means of a sword-thrust at close quarters. The boar-hunt is introduced by a picture of the animal seated on its haunches. Two dogs attack it in front, and in the rear a hunter endeavours to drive it from cover. In the next scene the boar is a captive led to the slaughter, and the manner of its doing reveals the high training those hunting dogs must have undergone. The prisoner is helpless; his ears are firmly grasped by a dog on either side, while a third from behind urges him on to meet the ready spear of a sportsman in the foreground. Above this scene a lady appears accompanied by two noblemen, all clad in magnificent costume. In the lower corner the dead body of the boar is being disposed of; two huntsmen are about to lift it to the packsaddle of a led horse. Other figures complete the boar-hunt, and to it probably belongs the group of figures in the foreground near the middle of the tapestry, where a brook is spanned by a tiny foot-bridge. A young nobleman stands on the further side, holding in one hand a dog-cord, with the other he grasps an article resembling a small loaf of bread. There is a curious device on his left shoulder and sleeve—a cloud shedding drops of rain or tears. A lady accompanies him: the enormous head-gear and the rich blue dress, with its golden- 178Tapestries in England and Scotland, 15th Century- coloured inscription " Monte le desire," make this figure the most interesting in the tapestry. Following her is a second lady, clad in a magnificent ermine-lined red robe. Another figure, that of a kneeling huntsman, bears the device " A. H." with a floral spray. The fragments of the two tapestries not yet restored consist of representations of falconry, stag-hunting, and fishing with rod and line. There are delightful scenes of rural life, a shepherdess with lambs, etc., and such accessories as mill-sluices, fishponds, etc. Two groups of figures are very significant. They represent the meeting of two lovers on horseback, and later their betrothal or marriage, when they ride off on the same horse. The lady's horse bears trappings marked with the initial " M," and her dress is embroidered with marguerites, which we may accept as indicating her name. This, in conjunction with the other devices, leads to the conclusion that the lady in question is Marguerite of Anjou, Queen of Henry VI. of England. (See the Art Workers' Quarterly, July 1902 and January 1904, for details.) The Western costumes in these tapestries belong to the early fifteenth century period. Some of the- ladies wear magnificent floriated head-dresses. These, descending lower in front than at the sides, leave part of the hair exposed, and this dressed in a peculiar horn-shape is in nearly every case netted, while one of the figures wearing no head-dress has the hair covered with a network of jewels and pearls. The head-dresses have rich patterns of simple design, generally worked in a darker shade of the local colour. In the bear-hunt the coat or protection 179Tapestries in England and Scotland, 15th Century worn by the fighting dogs is curious, but similar articles occur in later tapestries. The plant form is simple in execution, but extremely beautiful in effect. There is little of the ordinary conventional rendering in form or colour. The weaver simply ignored any detail that might cramp his treatment or injure the breadth of effect. The result is that we have the free growth and habit of the holly, oak, orange and other branches. Mass treatment is rigidly adhered to, no outline being used. A yellow leaf is relieved by a light-green one, the light-green by a darker green, the darker green by a very dark blue, and the dark-blue by a brown leaf which has the effect of uniting the whole tree with the ground. To such an extent is this simplicity carried that in most of the leaves the midrib only is indicated. The tree trunks are gnarled, the colours being grey, yellow and brown ; but when the background is dark brown they are executed in the most vivid colours, crimson shaded with blue, and green with crimson—a very rich effect, and, strange to say, unobtrusive, though very powerful and impressive. The technique in rendering flesh is remarkable. The half-tones of the faces are bluish or greenish grey ; the high lights, skin-colour; the cheeks, carnation; the upper lip, crimson, deftly shaded with darker tone; the lower lip paler crimson, with a broad high-light. The nostrils, orifices of the ears, and the eyebrows are of brownish tint, while the outline of the nose is generally brown but occasionally red. The eyes show the pupil, the blue or brown iris with its outer ring, and the white part of the eyeball, often the lightest spot in 180Tapestries in England and Scotland, 15th Century the face. The hands in general exhibit the same careful and systematic method of treatment as the faces. Of human hair there is but little to be seen, but the manes of the horses are rendered in two shades of grey, warm and cold, and a brown, supplemented sometimes by a tawny hue. The tapestries are wool throughout, and the texture is about fifteen warp-threads in the space of one inch. In the front the colours have faded; a warm red has turned creamy white, brilliant crimsons are now faint pinks, ultramarine has become pearly blue, the greens have lost their yellow ingredient, and in the sky a faint blue was once indigo. For the reproductions the colours were copied from the back, where they yet retain much of their pristine splendour. From a careful comparison of the characteristic treatment of these tapestries and others of known Flemish origin there is little doubt but that they were made in Arras or Tournai about the middle of the fifteenth century, probably from cartoons inspired by illuminations of hunting scenes by a French artist, such as the painter of the illuminations in the hunting-book of Gaston de Foix. A large tapestry in St. Mary's Hall, Coventry, represents a King and Queen kneeling with accessory figures. It belongs to the latter half of the fifteenth century, and many ingenious theories have been put forth as to the identity of the figures. In English life in the fifteenth century the importance of tapestry is impossible of overestimation. It was used for furnishings in every-day life, and for indoor and outdoor decorations on occasions of festivity, pomp 181Tapestries in England and Scotland, 15th Century or ceremony. The entrance of Elizabeth, Queen of Henry VII., into London was a brilliant spectacle, as the old historian describes it:—" A1 the strets ther, whiche she shulde passe bye wer clenly dressed and besene with cloth of Tappestrye and Arras ; and some streetes as Chepe, hanged with riche clothes of golde, velvettes and silkes." There is a fine description of a set of tapestries as seen in position at this period, in a poem by Henry Bradshaw who died in 1513. The poem is published in Wart on's English Poetry, and is entitled " The Life of St. Werburgh," and the description in question is part of that of the feast given by Ulfer, King of Mercia, in the hall of the Abbey of Ely, on the occasion of his daughter St. Werburgh taking the veil. 1. Clothes of golde and arras were hanged in the hall, Depainted with pyctures, and hystoryes manyfolde, Well wroughte and craftely with precious stones all Glyterynge as Phebus, and the beaten golde, Lyke an earthly paradyse, pleasaunt to beholde ; As for the sayd moynes, was not them amonge But prayenge in her cell—as done all novice yonge. 2. The story of Adam, there was goodly wrought. And of his wyfe Eve, bytwene them the serpent, How they were deceyved, and to theyr peynes brought : There was Cayn and Abell, offeryng theyr present, (The Sacryfyce of Abell, accepte ful evydent: Tuball and Tubalcain were purtrayed in thatjplace The inventours of musyke, and crafte, by great grace. 3- Noe and his schyppe was made there curyously, Sendynge forthe a raven, whiche never came again ; And how the dove returned, with a^braunche hastely A token of comforte and peace, to man certeyne : Abraham there was, standing Upon the inount playne To offer in sacrifice, Isaac his dere sone, And how the shepe for hym was^offered in'oblacyon. 182"THE HUNTING TAPESTRIES" at Hardwicke Hall, Derbyshire, the property of the Duke of Devonshire. Second of the Series. Reproduced from a Water-colour Drawing by W. G. Thomson.Tapestries in England and Scotland, 15th Century 4- The twelve sons of Jacob, there were in pur tray ture And how into Egypt, yonge Joseph was solde, There was imprisoned, by a false conjectour, After in all Egypte, was ruler (as is tolde), There was in pycture, Moyses wyse and bolde, Our Lorde apperynge, in bushe flammynge as fyre And nothing thereof brent, lefe, tree nor spyre. 5- The ten plagues of Egypt, were well embost The chyldren of Israel, passyng the reed see, Kyng Pharoo drowned, with all his proude hoost, And how tlie two tables at the mounte Synaye Were gyven to Moyses, and ho soon to idolatry The people were prone, and punyshed were therefore ; How Datan and Abyron were full youre, (burnt.) 6. Duke Josue was joyned, after them in pycture, Ledynge the Isrehelytes to the land of promyssyon, And how the said land was divided by mesure To the people of God, by equall sundry porcyon : The judges and bysshops were there every chone, Theyr noble actes and Tryumphes marcyall, Freshly were browdred in these clothes royall. 7- Nexte to the greate lorde, appered fayre and bryght Kynge Saull and David, and prudent Solomon, Reboas succeedynge whiche soone lost his myght, And so to the Machabees, and divers other nacyon, The good Kynge Esechyas and his generacyon, All these sayd storyes, so rychely done and wrought. Belonging to king Wulfer, agayn that tyme were brought. 8. But over the hye desse, in the pryncypall place Where the sayd thre kynges sate crowned all, The best hallynge hanged, as reason was, Whereon were wrought the ix orders angelicall. Dyvyded in thre ierarchyses, not cessynge to call Sanctus, Sanctus, Sanctus, blessed be the Trynite Dominus, Deus Sabaoth, thre persons in one deyte. 183Tapestries in England and Scotland, 15th Century 9. Next in order (en)suynge, sette in goodly purtrayture Was our blessed Lady, flowre of femynyte, With the twelve apostles, echone in his figure, And the foure Evangelystes, wrought most curyously ; Also the Dyscyples of Christ in theyr degre Prechynge and techynge, unto every nacyon The faythtes of holy chyrche, for their salvacyon. 10. Martyrs then folowed, right manifolde : The holy Innocentes, whom Herode had slayne, Blessed Saynt Stephen, the prothomartyr truly, Saynt Laurence, Saynt Vincent, sufferynge great payne ; With many other mo, than here ben now certayne, Of which sayd Martyrs exsample we may take, Paycence to observe, in herte, for Chrystes sake. 11. Confessours approched, right convenient, Fressely embrodred in ryche tysshewe and fyne ; Saynt Nycholas, Saynt Benedycte and his covent, Saynt Jerom, Basylyus and Saynt Augustine, Gregory the great Doctour, Ambrose, and Saynt Martyne: All these were sette in goodly purtrayture. Them to beholde was a heavenly pleasure. 12. Vyrgyns them folowed, crowned with the lyly, Among whome our lady chefe president was ; Some crowned with rooses for their great vyctory; Saynt Katheryne, Saynt Margerette, S. Agathas Saynt Cycyly, S. Agnes, and S. Charytas, Saynt Lucye, S. Wenefryde and Saint Apolyn ; All these were brothered, the clothes of gold within. 13- Upon the other syde of the hall sette were Noble auncyent storye, how the stronge Sampson Subdued his enemyes by his myghty power ; Of Hector of Troye, slayne by false treason ; Of noble Arthur, kynge of this regyon. With many other mo, which it is to longe Playnly to expresse this tyme you amonge. 184CHAPTER IX 15th AND EARLY 16th CENTURY TAPESTRIES HE most prominent characteristic of early hangings is extreme length in proportion to height. The examples at Halberstadt and the Apocalypse of Angers, both woven prior to 1400, bear this out, while a parallel example may be found in the embroidery of Bayeux. They consist of a series of scenes treated with equal importance, so that concealment of one episode does not destroy the general effect of the hanging. They were pieces of furniture pure and simple, and far removed from pictures in wool and silk. There is, generally speaking, no running ornamental border round the whole, but each scene is divided from its neighbour by an architectural feature. The Apocalypse has something approaching to a border in the continuous row of angels and clouds at the top and the strip of flowery meadow at the foot; but these, as one critic has observed, may have been used to demonstrate that the scenes between were prophetic, and that their place was between the heavens and the earth, the sky above, the earth below. The illuminated devotional books with their simple compositions gave the inspiration. The fifteenth century style is less constrained than this, and as time goes on figures become more numerous in the composition, until in the end of the century they 18515th and Early 16th Century tapestries are mingled in " sweet confusion," The influence of the painter of larger pictures overcomes that of the illuminator, and supplants it. It appears to have been an influence merely ; for the tendency to attribute the composition of certain tapestries to the Van Eycks, Roger Van der Weyden, and other masters of the Flemish school, although very plausible, has no foundation in fact, and it is generally tapestries woven sixty or seventy years after the deaths of these masters that are accredited to their design. Exception may be made in the case of the Berne Tapestries, which agree with descriptions of painted cloths by Van der Weyden. Taking some of the tapestries at Berne and the series in Hardwicke Hall with other notable specimens as examples, we may point out characteristics common to all and which do not exist in tapestries woven in the latter years of the century. The length of the early fifteenth century tapestry is greatly in excess of height. The composition is neither dramatic, nor is it formal. A recurring feature is the band of foliage breaking into the sky. All incidents are nearly of equal importance in effect. Suppose a row of men stood in front of the first Hardwicke hanging, the upper part of it would clearly show the subjects : bear-hunting, fowling, and otter-spearing. The treatment of flesh is remarkable in these early tapestries, insomuch that green-and-blue-greys are used as in modern painting in the half-shadows under the eyebrows, nose and lips, between the ear and cheek, and on the forehead. The eyelids, cheeks, upper chin, part of the nose and temples are flesh-colour, while the lips and part of the cheek are crimson and carnation. The eyes 18615th and Early 16th Century Tapestries are broadly treated, showing cornea, iris and pupil, while the nostrils, ear cavities, etc., are brown. Hair is simply treated, in two shades of grey or brown. The treatment of foliage is distinct from that of a later period. The leaves are rendered in mass, no outline is used, a lighter or darker tone of the background gives relief. Water is treated in a realistic way in places, and side by side with this an entirely conventional form of wave or ripple occurs. The same remark applies to the narrow strip of sky seen in these tapestries, but the clouds are more of natural form than of conventional. The foreground is a meadow with flowers, broadly but not finely rendered. The dress patterns are large in scale, and mostly conventional. A distinct change of style begins in the second half of the century, about 1475. The composition becomes more orderly, and consists of groups of figures, separated more or less by foliage or landscape. The groups are generally arranged so as to be read in two horizontal series, one above the other, as in the tapestry of the Seven Deadly Sins at Hampton Court. These groups are of nearly equal importance, although in some cases the upper figures are smaller. The foliage has changed in character, outline is more in use, and the individual leaves are shaded more or less. The treatment of flesh has lost its painter-like method, and is of browner tint throughout. The flowery meadows of the^earlier period have developed into beds of exquisite-;flowers, rendered with unexampled freedom, truth to natural growth, and delicacy. A new decorative feature makes its appearance : this is a surrounding band or border, generally 18715th and Early 16th Century Tapestries of naturally disposed flowers, with little difference between them and those of the foreground. After 1500 a new element comes into the design. The composition tends more to general effect, and a straining towards dramatic force begins to be felt. This is most apparent in the set representing the Triumphs of Petrarch, one of which is dated 1507. It gives a foretaste of the radical change of style in 1515 and onwards by which a complete revolution in design was effected. Tapestries of the first half of the fifteenth century are rare, but of the last quarter of the century a great many exist, and as the style continued to be much the same in character till about 1507, it is impossible to differentiate a late fifteenth century hanging from one made in the early years of the sixteenth. In the Great Watching Chamber in Hampton Court Palace there are three specimens of a very fine set, designed probably about 1480, and executed a little later. They represent the Story of the Seven Deadly Sins. For the sequence of the narrative in the larger hanging, the groups of figures are disposed in an upper and a lower horizontal series, and the story begins in the upper left-hand corner. Seated on a low wall a pair of lovers are fondling ; in the distance is a fountain with two' ladies standing by. The next scene represents the temple of the Cardinal Virtues, a building with arched roof supported by marble columns. In the temple nine female figures are disposed, some wearing crowns, and all attired in rich vestments. Justitia, on the left, is engaged in argument with Fides and Caritas on the right, and the subject of their discussion is cleverly shown by the prominent 18815th and Early 16th Century Tapestries display of a small banner on which is represented a man extending his arms to a female, while in the background are a couch and pillow. The middle group in the upper series of scenes is very fine. Three grave-bearded personages seated on a bench or throne represent the Trinity ; the Father and Holy Spirit bear sceptres and orbs; the Lord Jesus lowers His sceptre indicative of mercy, while the orb is placed under His foot. To the left and right of the Trinity are angels and saints merging into a background of clouds. Four figures in front of the Trinity explain the argument. Pax, bearing a green branch, and Misericordia (pity) plead for mercy on behalf of sinful man, while Veritas reads the indictment and Justitia stands with ready sword. The next group represents man (Homo) attacked by the deadly sins, and suffering grievous injury at their hands. He holds up his hands in supplication : Gula (gluttony) holds him fast: Avari-cia comes near to throttle him : Luxuria launches a javelin at his breast, while a bearded figure inscribed Temtatio blows a horn to urge them on. Rescue is at hand in the person of Spes (hope), who bears a club to disperse the sins. In the next group, on the extreme right, the Three-in-One, the Unity or Deity is throned with crowned figures of Caritas and Humilat on his right and left, while Gratia-Dei is adoring him. Lower Miseria presents a petition with seal attached, Naturia points to her wounded breast, and Misericordia kneels before the throne. This ends the upper series. The lower consists of two groups. That on the left is very fine, and represents Justitia with drawn sword advancing towards sinful man, who falls backwards in terror. The 18915th and Early 16th Century Tapestries retributive hand of Justitia is restrained by Misericordia. Behind Homo, or man, some of the sins are shown, one bears her name Luxuria or sloth. In the next and final scene Homo is shown in an attitude expressive of repentance. He is being admonished by Misericordia, Gratia-Dei bears his cuirass, while Pax to the right holds his helmet. The sermon evidently ends with his installation as a Christian knight. The two figures in the lower corners do not appear to have any connection with the narrative. The one on the left is Jeremie (Jeremiah) with a scroll inscribed with " Asce(n)dit mors p(er) fenestras " (Death is come up into our windows, Jer. ix. 21); that on the right is the figure of Moses, and his text runs : " Redda(m) ulc(i)one(m) hostibusDeut. xxxii. 41 (I will render vengeance to mine enemies). The foliage in this tapestry is very fine, and beautiful flowers spring in the foreground. The border is composed of bands containing a pattern of flowers of naturalistic treatment, with partial repetition. In its present situation in the Great Watching Chamber, the colour of the tapestry looks chalky in the lights, but beautifully balanced. A smaller panel of the set is hung on the same wall, as well as a large one. The smaller represents the Seven Deadly Sins riding on various animals, and its title is woven in Gothic letters in the lower border :— " Per • colum • incipiens • primo • vanum • mortale ■ fit • atque • prophanum. Septem • peccata • sunt • generantur 1 in mundo ■ figuraliter • hie • volantur." A free rendering of the dog-Latin would be : The Seven Mortal Sins are generated in the world, as the canvas, 19015th and Early 16th Century Tapestries ■empty in the beginning, becomes peopled with forms by the loom. The third panel is similar in storiation to the first and about the same size, about 25 feet long by 13 high. Both are of silk and wool, the texture being about fourteen warp-strings to one inch. These three hangings are all that remains of the set of seven purchased by Cardinal Wolsey from Richard Gresham for the Legate's chamber at Hampton Court : Nine peces of hanging of ye Storye of ye 7 Deadlie Synnes, 22 Dec., 13 Hen. VIII. The subject is a common one at this period, and several duplicate hangings are extant, one belongs to the chapter of the cathedral at Burgos, and a panel composed of the lower group in the left corner in the first hanging is in the Victoria and Albert Museum. Part of it is old and in excellent condition, but the larger portion is a restoration with different accessories. There exists in the great hall of Hampton Court Palace a tapestry of a later date (by a few years), coarser in execution, but full of poetic feeling. It represents part of the History of Hercules, the last scenes of his life. " Hercules came to Mount Oeta for the purpose of erecting an altar to Jove. Having no suitable garment to wear, he despatched his servant Lichas to Deianira his wife, to obtain from her his sacrificial tunic. She, being jealous of his amours, sent by the hands of Lichas the fatal tunic of the centaur Nessus. On wearing it the poison of the Lernean Hydra penetrated to the bones of Hercules. Hopelessly incurable he supplicated Jove, presented his bow and arrows to Philoctetes, and erected a funeral pyre upon which he perished." The tapestry 19115th and Early 16th Century Tapestries tells this story very clearly. Lichas is seen speeding from Deianira to Hercules, and then asleep or dead : near the centre is the pyre with the hero kneeling by ; to the right is Philoctetes with the bow and arrows. The whole is explained by the legend in old French :— " Dianira • pour • li • oster • de ■ dun • imunde • la • Chemise • lui • transmist • par • Licas • Quit • mist • a • mort • et • le • plus • preux • du • mond • find • Le • jours • par • ce • malheureux • cas." The weaving technique of this hanging, its curious drawing, and its unique border suggest that it was made in some less efficient centre of production , than any town of Flanders, then in the best period of technical excellence. The border is a pattern of conventional running ornament. An unusual type of tapestry is represented by the Suzanna and the Elders in the Victoria and Albert Museum. The border of this is very wide with armorial shields in each angle. These have been sewn in, the original arms having been cut out. A branching stem with foliage is the dominant feature of the border, and at intervals curious birds are introduced. The panel has a slight framing of architectural character; the marble shafts at the sides have golden-coloured bases and capitals, from which springs a flattened arch adorned with cusp ornaments. A rectangular marble bath occupies the centre of the panel, and upon the farther side the chaste Suzanna is seated. She pours some preparation into the water, and her magnificent robe covers her person to the knees. Her face is beautifully expressive of the character attributed to her. The name " Suzenne " 192 Susanna and the Elders. About 1500. THE VICTORIA AND ALBERT MUSEUM.15th and Early 16th Century Tapestries is inscribed on the edge of the bath. The two elders stand on the extreme right. Their figures look taller than most of those in Flemish art. The space on the left is filled by a marble fountain, the basin of which takes a quatrefoil shape. Into this the water falls from four pipes; on the top is a gold banner with the device of a fleur-de-lis in black. The outer surface of the basin is adorned with gold-coloured ornament of a foiled style, and the tawny-gold colour extends to the four lions upon which the structure is erected. The bath is in the open air, the two-foliaged tree is near it, and at the left upper corner of the panel a maid-servant is passing through a doorway. While the foliage of the trees and their stems is excellent in rendering, the flowers, sparse as they are, do not compare favourably with the finest Flemish work. As a whole the tapestry is highly refined in execution, colour, form and sentiment. There could be no finer rendering of water than that in the fountain or bath, and the effect of flesh-colour where the water ripples over Susannah's feet is perfect. The feeling in this tapestry is of gentle restraint in colour and tone. The composition is not perfect; the fountain looks a misfit, being too large. The greater part of the material of this tapestry is silk, and the weaving is remarkably open in comparison with that of other tapestries of its time. The Adoration of the Eternal Father is a totally different type of Flemish tapestry. The composition of it has been inspired by, if not copied from, some triptych or retable; the panel being divided into three compartments by pillars where the hinges of the triptych h.t. 193 1315th and Early 16th Century Tapestries "would be. The pillars are golden, and thickly encrusted with precious stones. A little above the middle height of the hanging they receive capitals forming supports to figures: that to the right, the Old Testament, blindfolded, with broken lance and riven tablets of the Mosaic law; that on the left, the New Testament, crowned, having a crosier and chalice. In a similar position on the outer border of the hanging are figures of Adam and Eve. Above the figures are elaborate tabernacles with Gothic tracery, and the division is carried up to the top of the panel by the framing. The figures of Adam and Eve are copied from Van Eyck's famous figures in the Ghent altarpiece now at Brussels. They appear to have been common property of the tapestry designers, as four or five existing tapestries are ornamented with them, in most cases with better effect than in the present example. An outer series of golden mouldings with jewels frames the composition. The central compartment contains the figure of the Eternal Father enthroned in majesty in the attitude of the Benediction. To the right and left are angels bearing symbols of peace, mercy and justice, while two on high sustain a drapery behind the head of God. Immediately below the figure are clouds, and below these a vista of distant landscape and trees. The lower half of the compartment is filled by two groups of worshippers : that on the left represents the adoration of the Holy Catholic Church; in the foreground the Pope is kneeling (probably he is Pope Gregory the Great), at his back are figures of cardinals, an archbishop, other ecclesiastics and nuns; the group on the right shows the adoration 19415th and Early 16th Century Tapestries of the Civil powers ; the Emperor (Augustus) kneeling in front, accompanied by a King, knight, merchants, etc. The sides corresponding to the wings of a triptych are each divided into two panels by a flattened arch, the upper division being the smaller. On the left wing, in the upper part, a man is digging, in which exercise he is interrupted by a person of ecclesiastical appearance accompanied by a retinue. In the background a peasant is running through a wood in great alarm. A secret occupation, an alarm, a discovery and an admonition: that is the story as far as we can read it. The composition of the left compartment, in its lower division, is very fine. It represents the Emperor Augustus (Octavianus Caesar) consulting the Tiburtine Sibyl, and an inscribed tablet in the middle puts an end to all doubt of this. In the distance the Sibyl directs the Emperor's attention to a celestial vision of the Virgin and Child. " In the 56th year of his reign Caesar Augustus betook himself to the Capitol in the month of October, which is called Hyperbereteus by the Athenians " (more correctly, the Macedonians). The Capitol stood in the middle of the city. His intention was to find out by divination who would bear his sceptre in the Roman kingdom after his death, and from Pythonia he received this answer: "At God's command an Hebrew Child will descend from the home of the Blessed and take his place in this building. He will be born immaculate, and will be an enemy to our altars." Whereupon Caesar Augustus left the abode of the oracle and built a large altar on an eminence in the Capitol; and upon it in Latin characters he wrote : " Haec ara Filii iQ515th and Early 16th Century Tapestries Dei est: " ff This is the altar of the Son of God/' and the Basilica of Mary ever a Virgin is still standing as Timotheus the chronicler tells us (Grisar, vol. i., p. 197-8). The Emperor, a hale old man, bearing his sceptre, stands in the foreground in the attitude of talking to the Sibyl. The name Octavianus is woven in the framework below. The right-hand division is devoted to the history of Ahasuerus and Esther. At the top a number of people are congregated in a room or closet with shelves. One man bears a staff of office, with which he points upwards to some brightly coloured objects, suggestive of cloths folded on the shelves. On a table various objects connected with festivity are disposed, comprising various vessels, with a knife, fork and spoon. The subject may be the treasure-closet containing the vessels, etc., " diverse one from another" and the hangings " which were white, green and blue," on the occasion when King Ahasuerus made a feast unto all the people that were present in Shusan the palace (Esth. i. 1-5). The lower and larger panel has in its upper portion various scenes from the story, but the grand group consists of the two monarchs seated, with members of the court standing by. Queen Esther, on the left of Ahasuerus, is toying with a pet squirrel, while the King is presenting her with a ring, obviously a sign manual. In her left hand is a cord with a loop at the end, that has been identified as the cord of the Order of the Cordeliere, established in 1498. This may be so, and if so proves that the tapestry was not woven prior to that date. There is, however, occasionally a little danger in applying much 196FLEMISH TAPESTRY, EARLY 16th CENTURY. The property of, J. Pierpont Morgan, Esq. Reproduced from a Water-colour Drawing by Ada and Blanche Hunter.15th and Early 16th Century Tapestries learning to these matters, for the article in question may be simply a means of restricting the liberty of the squirrel, which is free for the moment. In general plan, and in many of its details, this tapestry has identity with the magnificent hanging presented to the Louvre by the late Baron Davillier. In the latter the Virgin and Child occupy the centre ; the left is filled by a representation of Moses striking the rock, while the right is devoted to the piscina probatica. This is an invaluable specimen for study, as the date is given on the hanging: 1485. Of fine texture, the tapestry of the Adoration of the Eternal Father belongs to the most richly decorated style. Every inch of dress material and hangings is ornamented with the utmost elaboration. The ornamentation of the fronts of the dresses includes huge framed jewels ; and whether the eye alights on the golden framework of the panel, the peasant's robe, or the gorgeous cope with its "spina" worn by the Pope, it must fail to find a plain spot. Neither can it escape anywhere from the sparkle of gold and silver thread used with lavish liberality everywhere. The vista of sky has its silver cloud, and threads of silver glitter in the whitened locks of Caesar Augustus. Surely richness of ornament and material could go no farther. Tradition that is probably trustworthy tells that this was one of the tapestries in the collection of Cardinal Mazarin, and was purchased at the sale of his nephew's effects by M. de Villars. In the chateau des Aygalades it was seen by M. Millin early in the nineteenth century. Early in the twentieth century it appeared in the shop 19715th and Early 16th Century Tapestries of a dealer in London, from whom it was purchased by Mr. Pierpont Morgan, and exhibited with part of his collection in the Victoria and Albert Museum. Its general effect at the present day leaves but little to be desired. On the back of the hanging it is well-nigh impossible to study the weaving technique oft the heads, as the thread ends form a thick tangle. A striking contrast to the above is afforded by a tapestry belonging to the chapter of Saragossa. The same cartoon has been used for the greater part of the composition ; but what a change there is in general effect ! Gone are the all-pervading gold and silver threads, and gone too are the jewel-encrusted inner pillars with their figures and tabernacles; plainer rods have taken their places. The figures of Adam and Eve are retained, being accommodated in small panels made higher up on the right and left. The tablets with inscriptions are not reproduced, nor is the gorgeously patterned carpet; in place of it there is a flower-bed, and the panel is framed by bands containing a filling of natural flowers. The composition of the central group remains practically the same, although the angels of mercy and justice are replaced by an angelic host that unites the adoring groups in the foreground with the upper or Divine. The compartments on the left are practically the same in arrangement, but on the right they differ. Esther in the finer tapestry is seated beside Ahasuerus; in the other she kneels before him as he extends the sceptre, while the fine group of three pages is transferred to the other side of the compartment. By comparison of these tapestries and similar cases 198The Three Fates. Flemish, about 1500. THE VICTORIA AND ALBERT MUSEUM.15th and Early 16th Century Tapestries one can deduce that the composition of a tapestry was often at the mercy of the master-weaver. He had favourite figures in stock, such as the Adam and Eve, which he adapted to suit variations in composition. In later times the figures and accessories in Raphael's cartoons were used in the same way. Even at this period it is possible to find figures, such as the kneeling one of Esther, repeated as another character in a subject altogether different. The two examples above described demonstrate how the user of the cartoon could construct with facility two tapestries from it, either of which might have been attributed to the great masters of the school of Bruges. The Adoration of the Infant Jesus, an altarpiece of tapestry measuring some 5 feet in height by 6J in length, is one of the most beautiful and valuable tapestries extant, and belongs to the Victoria and Albert Museum. The infant Christ is portrayed reclining on the lap of His mother Mary, who is seated on a small throne or chair, portions of which protrude to right and left. She is isolated from an almost surrounding series of adoring figures who, although near her, have no contact with her person. This isolation, common in the compositions of sacred art, splendidly expresses the idea that she is of such high degree that the touch of an angel would be pollution. The Holy Infant, as in the majority of Flemish compositions, is wanting in beauty, and is entirely nude. Mary wears the traditional attire of the Madonna, i.e. the red tunic (red meaning love), the blue cloak, blue 19915th and Early 16th Century Tapestries the colour of constancy, and the white head-dress of purity, beneath which her yellow hair descends nearly to the waist. On her left three adoring angels are kneeling, two of them clad in rich copes; the orphrey of the nearer is ornamented with figures of saints in niches: thus are portrayed the celestial worshippers. The corresponding group on the Virgin's right represents adoration of another degree, that of the holy ones of earth. St. Joseph kneels as he raises his hand in adoration of the holy group of Mother and Child. He wears a crimson vestment shot with gold, under which is a yellow tunic lined with blue. Two female saints complete the group, while a richly illuminated Missal or Book of Hours, placed in the flowery foreground by the Virgin's feet, carries out the encircling composition. The four figures behind the Virgin represent the adoration of common folk, the most prominent figure being a peasant playing a kind of bagpipe. In connection with this figure it is interesting to recall a custom of the shepherds in some parts of Italy of piping and singing before the images of the Madonna and Child at Christmastide. The upper corners of this tapestry are filled by beautifully composed groups of angels with landscape background, the left by choral angels, the right by angels playing stringed instruments. The singing group is particularly fine. The nearest angel wears a rich blue cope with jewelled orphrey, and on his back, partly hidden by a wing, appears a magnificent specimen of that most interesting but practically extinct instrument known as the " spilla." It is rarely met with even in pictures, although, according to Mr. Weale, frequently 20015th and Early 16th Century Tapestries mentioned in inventories. The angel of the spilla has here a notable characteristic—he has one wing only; but the composition is so completely satisfying that the eye is not apt to note the omission. The angelic minstrels in this tapestry are reproduced with alterations in a hanging exhibited in the Museum of Lyons. The foreground is a veritable flower-bed. Strawberries, plantains, dandelions, daisies, white nettle and poppies are here reproduced with an exquisite fineness of detail, yet all is duly subordinate to decorative principles. The group of poppies on the left is masterly in execution, and it is difficult to imagine that craftsmanship could be carried farther. The fervent adoration of nature so characteristic of Flemish art is evident in its highest degree in the weaving and arrangement of these common field flowers that possess all the refinement of illumination. In most tapestries of this style there is one thing that authorities in decorative art are inclined to find fault with, i.e., there is not sufficient demarcation between the border and foreground. The outer and inner bands of the border are often greenish or indefinite in colour, and in effect the foreground flowers spread into the border, so that the appearance of inclusion is lost. In this example the maker has realised the relations of border and panel more successfully by using a Teddish colour for the bands of the border in strong contrast to the green herbage. The border is a masterpiece in itself. Upon a background of gold and silver, branches of Provencal rose are woven in the greatest profusion and with the greatest delicacy. The pattern is a repeating one, but so cun- 20115th and Early 16th Century Tapestries ningly devised that its limit is not apparent. Roses,, buds, leaves, stems, and even thorns are wrought with a fineness comparable only to illumination; but the rigorous dominance of the decorative principle, aided by the ribbed surface of the material, never fails to impress the understanding that we are looking at a weaving and not at a picture. A slight irregularity occurs at the outer corners of the tapestry ; the bands belonging to the border have been set back to fit a particular form of frame. This proves that the tapestry was woven to fit a given space, and was a commission from some wealthy client or from the chapter of some cathedral. The extreme fineness in texture of this tapestry and the profusion of gold and silver in its composition are unique. A fine example of Flemish weaving of this period has a texture of about sixteen or seventeen warp strings in the space of one inch : in the Adoration they amount to about twenty-three. The finest silks and wools have been used for the weft, enabling the workman to reproduce the most subtle outline and shading with accuracy. The draperies are lavishly wrought of precious metals, the practice being carried into the sky that has silver clouds; but the earth, where it is seen between the flowers, although golden in hue, is worked in silk and wool. In weaving technique and treatment of detail the method is identical with that of the tapestry of the Adoration of the Eternal Father; the landscape,! especially the trees and flowers in both, might have been woven by the same hand. M. Alexandre Pinchart considered it probable that one was woven in 20215th and Early 16th Century Tapestries Bruges ; if that be so, the other is a product of that locality. Tapestries representing contemporary life are more uncommon, but of greater interest, and less laboured in composition. Two panels in the Victoria and Albert Museum represent rural amusements, etc. Ladies and knights dressed as shepherdesses and rural swains, are playing games of the nature of " forfeits " with woodcutters, hunters, etc., in the distance. In decorative effect these hangings belong more to the fifteenth century than to the sixteenth, but the treatment of some details proclaims them less ancient than their appearance suggests. In the same order may be classed a long narrow band, illustrative of field labours of the latter six months of the year. There are no divisions between the scenes, but in the upper part a white label bears in Gothic characters the name of the month. Of coarse texture, the band has some irregularities in the weaving. In one of the head dresses and in other parts the stitches have been knotted and a pile cut, and it is only in places where such texture would be effective that this has been done. In a playful subject such technical liberties would be permissible, and they occur in German work of the same period. It is deplorable that we do not possess the complete series of twelve months, for the masterly way in which broad humour is expressed by simple means leaves no doubt that the hanging has come from a workshop of repute. A fine effect in decoration is evinced in the panel of the Three Fates in the same museum. In it the 20315th and Early 16th Century Tapestries majestic figures of the three fatal sisters are cast into relief by a deep blue background sown with flowers and adorned with small animals, beast, bird, reptile and butterfly. This tapestry is one of the finest as regards colour. Under the feet of the Fates lies the body of Chastity, whose broken lily is lying beside her. The border, although harmonising in colour and tone, is not the original one, and there is considerable uncertainty as to the former dinlensions of the panel. It is a demonstration how rich and deep effects may be obtained by simple means; three or four shades give the appearance and texture of a deep crimson velvet robe. There is considerable difference in style between the Fates and the well-known set of the Triumphs of Petrarch. In the latter the first deliberate effort to obtain a centralised effect is apparent, giving a foretaste of the element that in 1515 or thereabout was to cause a revolution in style. There is no doubt as to the date of the Triumphs \ one of the set in the Victoria and Albert Museum bears the inscription 1507. The Triumphs immortalised by Petrarch were those of Fame, Chastity, Time, Love, Divinity and Death. Four of these are illustrated by tapestries in England—Fame, one specimen is at Hampton Court and another in the Victoria and Albert Museum; Death or Fate, two at Hampton Court and one in the Victoria and Albert Museum; Chastity, one in the Victoria and Albert Museum; while the Triumph of Time is at Hampton Court. There are Triumphs of Divinity elsewhere, but it is doubtful if they belong to the same series. The tapestry of each Triumph consists of two epi- 20415th and Early 16 th Century Tapestries sodes. The first, on the left of the hanging, shows the car of the vanquished; the second, on the right, is the procession of the victorious power. In all cases the panel is packed with a multitude of figures clothed in rich robes, and all the accessory objects are covered with ornamentation. A running floral border frames each panel in the set at South Kensington ; the border of that at Hampton Court is broken into a series of square and oblong panels, containing flowers, as in some tapestries of the same period in the royal collection at Madrid. Upon the upper and lower borders a series of scrolls with inscriptions explicative of the subject are placed ; the middle one at the top gives the title, with legends in old French to right and left; and the lower border is broken at the middle by a scroll containing a Latin rendering of the old French verses. This practice was not a new one, it occurs in the Wars of Troy (woven about 1470), and in the fifteenth century tapestries, Esther and Ahasuerus at Saragossa. The Triumph of Fame, Renown, or Julius Caesar, is a typical example. On the left the car of Fate or Death bearing the inscription " Cloto. colom. baivlat. net. Lachesis. Atropos. occat." comes into the picture, drawn by four bulls. It has been attacked by Fame, and the " fatal sisters " are overthrown ; Lachesis and Cloto have fallen under the wheels of the car, and at the blast of the trumpet of Fame Atropos falls from her high seat, leaving the bound figure of Chastity on the lower stage of the car. Figures of immortal heroes rise up on the farther side of the car, each inscribed with a 20515th and Early 16th Century Tapestries name such as " Roi Priam, Paris, Hercules, Menela(us), Alexander, Salatino " in Roman lettering. Above the scene is a scroll in Gothic characters :— " La • Mort • mord • tout • mais • clere ■ Renommee, Sur • Mort • triumph • et • la • tient • deprimee Dessoubs • ses • pieds • mais • apres • ses • efiors Fame • suscite • les • haults • fais • de • gens • mors." In the middle of the top border is the title " Second. Triumph de Renommee " and the right-hand side of the tapestry shows the triumphal procession of Fame. In the border above is the legend :— " Qui • par • Virtue • ont • meritee • gloire, Qu'apres • leur • mort • de • leurs • fais • soit • memoire, Indite • fame • neust • jamais ■ cognoisance. De • Letheus • le ■ grant • lac • d'oubliance." The central figure on the car represents Fame, winged, with her trumpet in her hand. She stands upon a pedestal, and the figure of Atropos is bound on the lower stage of the car, which is drawn by four richly caparisoned elephants. A throng, or rather stream, of figures is in attendance ; the men are mostly in martial attire : Julius Caesar, Torquat, Cathon, Martias, Popee le grant, Fabirus Maximus, etc., are some of the immortals represented. The Latin epitome of the French verses is indifferent. The four hangings representing the Triumphs at Hampton Court were purchased by Cardinal Wolsey from the executors of the Bishop of Durham. An example of the Flemish style of the same period is also in Hampton Court palace under the title of the Old Flemish Piece. The floral border has vases, 20615th and Early 16th Century Tapestries ribbons and attachments for swags. The composition is not suggestive of concentrated effect, but the upper groups are smaller than the lower. In the centre of the upper part is an enormous griffin ridden by a Queen who holds a purse in her extended hand, in the other hand is a dagger. Four horsemen in armour approach from the left, and a figure lies prostrate under the claws of the griffin. On the right an angel exhibits a chalice to a club-bearing King, who makes a sign of reverence, and a woman is picking up small round objects from the ground. These resemble cases for enclosing charm-stones, and farther to the right a woman is giving fruit to a child. Below the figure of the angel is that of a turbaned horseman. The lower group on the left consists of a number of soldiers going to the wars, while ladies appear to be persuading them to stay at home. The central group consists of a lady on horseback, with attendants. To the right is a group of three figures; one, bearing an agricultural instrument, is girt with a sword. The figure on the extreme right is a crowned horseman extending an orb in, his left hand, and holding a naked sword in his right. It is interesting to compare this tapestry with one of a set of three in the royal collection at Madrid. The set is entitled Le chemin d'Honneur, and, dating about 1500, is one of the finest of its time. Many of the figures in the tapestry at Hampton Court are taken from one of these panels, but their relation to each other in the composition has been altered. The group containing the griffin comes on the extreme right of the composition in the Madrid tapestry, in which the names of the figures are inwoven. 20715th and Early 16th Century Tapestries The Queen riding the griffin is Avaricia ; the figure under its claws is Mars. The spade-bearer carries a clod on the implement in the Spanish tapestry, and his name is Quintus, while his position is different, as is that of the crowned horseman who is inscribed Alexander. The lady on horseback is Gloria. The malproportion of the horses in the Hampton Court tapestry is about as bad as it can be, and the borrowed figures are much finer than the others. It may have happened that the workshop possessing the cartoon from which the Madrid tapestry was woven used parts of it, and were unable to supply extra figures of the same degree of merit. There are also at Hampton Court various strips of purely ornamental and armorial tapestries. This class of hanging is rare, the earliest being the Tudor rose hangings belonging to Winchester College, described elsewhere. The Hampton Court specimens consist of three, and bear the arms of the see of York, the arms of Cardinal Wolsey, and the arms of Cardinal Wolsey as Archbishop of York. The arms have angels as supporters, and the ornamentation is of an unusual style, resembling that used in illuminating. More charming still is the set of long narrow hangings containing the royal arms in the time of Henry VIII., while at intervals separated by pillars are his badges : the portcullis, fleur-de-lis and Tudor rose, all surmounted by the royal crown. The ground is dark blue, with floriated ornament in lighter colour. Unfortunately the general effect in some of the pieces has been marred by painting, the ground being in a more garish tone ; not only the ground, but the royal arms, etc., have been tampered with. 20815th and Early 16th Century Tapestries Let us hope the damage is not irremediable, and may receive the attention it deserves. A tapestry of Brussels origin is exhibited in the Museum of Antiquities in that city. It represents the History of Herkenbald, and was designed by Jean Van Roome, called Jean Van Brussels; the full-size drawings were made by Philip, a Brussels artist, and the tapestry was executed by a weaver of Brussels named Leo in the year 1513. These tapestries are all in the pre-Raphaelite style. The following chapter deals with the great change in design and treatment and how it came about. Its first effects are evident in a slight degree in the Resurrection of Our Lord, a fine Flemish tapestry, the property of David M. Currie, Esq., London. Of fine material (gold entering into its composition) the panel retains much of the old Flemish spirit and was, probably, woven at or near Brussels about the year 1525. Towards the centre of the panel Our Lord is represented rising from the tomb, beside which are disposed the recumbent figures of the guard. In the distance are groups of the Holy Women etc., and the panel is framed in a rich floral border of the narrow type. To F. B. Palmer, Esq., London, belongs a tapestry of great interest. The subject is the Triumph of Avarice} one of the sixteenth century series of the Seven Deadly Sins. There are three sets of this subject and design (one bearing the mark of Wilhelm de Panne-maker of Brussels) in the royal collection at Madrid. The tapestry measures 24 ft. in length by 14 ft. in height. To the left is the Inferno belching forth fire and smokey H.T. 209 1415th and Early 16th Century Tapestries and from it proceeds the winged figure of Avarice seated on a triumphal car drawn by a griffin. Accompanying it are mythological and allegorical figures on foot and on horseback. Prominent among the latter is King Midas, and on the ground are the mangled remains of victims. An angel from the sky watches and seems about to arrest the progress of the car. The tapestry, woven of gold, silver, silk and fine wools, has an exceptionally beautiful border of flowers and fruit with birds and cherubs. The design of the Seven Deadly Sins is attributed to Bernard Van Orley. 210CHAPTER X TAPESTRY-WEAVING IN THE LOW COUNTRIES IN THE 16th CENTURY IN the sixteenth century the workshops of Flanders eclipsed all competitors in the manufacture of tapestries. Arras had ceased to produce, but in Bruges, Tournai and Brussels an enormous quantity of hangings were made. Unfortunately there is great difficulty in ascertaining to which of these towns any particular tapestry or style of tapestry belongs, unless documentary evidence be procurable or identity in weaving technique to some ascertained example be established. After the year 1528 this uncertainty is restricted somewhat, for in that year the weavers of Brussels adopted a certain mark to distinguish their productions, and in 1544 the practice became universal throughout the Low Countries. But there are a huge quantity of existing hangings, manufactured from 1480 to 1528, that are of uncertain origin. One sees several distinct schools or styles of these, but there is nothing whereby they can be traced to the workshops of any particular town in the Low Countries. Some years ago the general tendency was to attribute most of these tapestries to Brussels; but at the present day the growing knowledge of the lesser centres of manufacture has led to a more discriminating classification. The history of the craft in Brussels in 211Tapestry-weaving in the Low Countries the early years of the century is non-extant: it was in a condition of great prosperity, for contemporary writers state that in every court of Europe hangings of Brussels make were to be found. The most significant evidence of the superiority of the craftsmen in Brussels is that the designs of the greatest artist of his time were entrusted to weavers of that town to be reproduced in tapestry. Pope Leo X. commissioned Raphael to design a set of ten cartoons, of the title of the Acts of the Apostles, to be woven in gold, silver, the finest silks and wools. The chosen subjects were:—the Miraculous Draught of Fishes, Christ's Charge to Peter, Peter and John at the Beautiful Gate of the Temple, the Death of Ananias, the Martyrdom of Stephen, the Conversion of Pauly Elymas the Sorcerer Struck with Blindness, the Sacrifice at Lystra, Paul at Philippi, and Paul Preaching at Athens. They varied in length, but the majority were about 42 ft. long by 15 high, inclusive of borders. Raphael, in preparing these, availed himself of the assistance of Giovanno da Udine and Francesco Penni, and the cartoons were finished in 1515. The Pope selected Peter Van Aelst, a Brussels master-weaver, as being most fit to translate the works of the master into tapestry.1 To Brussels therefore the cartoons were sent, and soon Van Aelst was at work on the tapestries. He had been tapestry-weaver to Philip the Handsome and his son Charles V. of Spain, and was probably the chief weaver of his time in Brussels. In weaving the Acts of the Apostles he had the artistic advice of a Flemish painter, Bernard Van Orley, who if he did not actually 1 M. Eugene Muntz, La Tapisserie, English edition, 1885, p. 189. 212Tapestry-weaving in the Low Countries work in Raphael's studio was a follower of that master. The work went on quickly in those days. In 1519, less than four years from the delivery of the cartoons, Van Aelst presented the tapestries to his papal client. Their reception in Rome was almost wildly enthusiastic, no encomiums were withheld, and Raphael, then nearing the close of his short life, was enabled to behold and admire them. The cartoons, in accordance with Flemish custom, became the property of Van Aelst and remained in Brussels. It seems odd that Leo X. did not purchase them from Van Aelst, but it may be considered that the Pope had already expended about £30,000 of our money upon the commission, and that in the overwhelming sensation produced by their woven counterparts at Rome the drawings had been temporarily forgotten. Not so in Brussels: the reputation of the set in the Vatican excited the desire of possession elsewhere, and in a few years Van Aelst had delivered several similar sets, such as those at Madrid, Berlin, Vienna, Dresden and Loretto. The cartoons, at least seven of them, remained at Brussels, where they came under the notice of Rubens, who advised Charles I. of England, then Prince of Wales, to acquire them for use in the Mortlake manufactory in England. They were taken to England about 1630, and according to some authorities their reproduction resulted in the finest tapestries ever woven in England. The Parliamentary Commissioners, in assessing the effects belonging to the Crown, valued the ^Raphael Cartoons at £300, and in the sale catalogue they are entered as being " now in the use of the Lord Protector." 213Tapestry-weaving in the Low Countries Since that time they have remained in the royal collection. A special gallery was built in Hampton Court palace for their exhibition, but in 1865 they were removed to South Kensington, and are now in the Victoria and Albert Museum. There a roof with coloured glass throws a mellow light upon the cartoons, leading the eyes to rest lightly upon the abundant evidences of mutilation, and bringing out to advantage the tones and colours that, though far from being in the freshness of their pristine state, appear full under these conditions. These cartoons of Raphael differ from the ancient " patrons et pourtraitures" in being executed on paper, consequently each scene is composed of a series of sheets set squarely together. In places where the medium is thin one can trace the preparatory drawing, and the thoroughness of the method is shown by the fact that the base and lower part of a column had been carefully drawn, before the figure standing in front and concealing it had been painted. In dealing with the perspective of buildings, Raphael used several points of vision; but, had scientific correctness been insisted upon, the eye would have been attracted unduly by the series of lines convergent to a single point. In Paul preaching at Athens the architecture already preponderating would have been overwhelmingly so, had the perspective been theoretically perfect, but the master has treated that science as his servant, and the result shows how success-fully. A thing to be noted in these cartoons is the pricking that occurs on all the principal outlines: this may have been done by the Flemish craftsmen in the workshops 214Tapestry-weaving in the Low Countries of Van Aelst. In the course of tear and wear the cartoons have suffered many mishaps, and are now somewhat smaller in area than the tapestries in the Vatican. The original drawings of the borders, with wonderful compositions of multitudinous figures, coats of arms, etc., appear never to have reached England, and seven only of the ten cartoons are extant. Considering the battered condition of these, it is no marvel that the others have become disintegrated, but the reproductions of the Stoning of Stephen, the Conversion of St. Paul, and the St. Paul in his dungeon at Philippi in tapestry are still in the Vatican. In furnishing the gallery in South Kensington the authorities wisely sent an artist, Mr. W. Palin, to Rome, with a commission to paint a full-size replica on cloth of the missing scenes, so one may study the effect of the entire series in one room. The cartoons passed through strange vicissitudes, but in this they were surpassed by the tapestries. One would imagine that in the sacred precinct of the Vatican they would have been secure, and been handed down unimpaired as a sacred legacy through all time. Only two years after their enthusiastic reception in Rome Pope Leo died, and the Raphael tapestries were pawned. Then injury followed insult; some of them were stolen in the sack of Rome in 1527 and badly mutilated. Carried away from Rome, these pieces of the " Arazzi" next appeared at Constantinople, where they were seen by the Constable de Montmorency, who was the means of restoring them to the Vatican. There they remained until the entry of the French troops into Rome in the end of the eighteenth century. Bought by a syndicate 2T5Tapestry-weaving in the Low Countries of dealers the next exhibition of the tapestries was in the Louvre. At length Pope Pius VII. succeeded in purchasing them, and they were reinstalled in the Vatican about 1808.1 In modern opinion, the tapestries of the Acts of the Apostles do not deserve a tithe of the admiration caused by their first appearance in Rome, certainly not an hundredth part of the attention the existing cartoons receive. Nor is this to be wondered at. The type of figures and heads, the composition, manner of shading, amount of detail in landscape and sky, with the elaborate borders of the cartoons, were foreign to the traditionary art of the Flemish weavers, and the marvel is that they succeeded, with the degree of excellence they attained, in the translation. The somewhat heavy Flemish figures of old were generally rendered against a background of verdure or architectural features, in both of which an exuberance of detail provided depth and richness, in which by contrast the sense of heaviness in the figures was lost. Now the Christ's Charge to Peter is little more than an assembly of men projected on a background of light distant landscape and sky. Accepting the fact that the system of using a palette of full-toned and strong colour was based on the old style of complement to a heavy background, one can understand why that cartoon proved so difficult in execution to the Flemish weavers, and a significant fact is shown in the liberty taken by the craftsmen in sprinkling a pattern of fleur-de-lis on the robe of Our Lord. Differences in colour to that in the cartoons also show the light in which the 1 M. A. Wauters, Les Tapisseries bruxelloises, p. 101. 216Tapestry-weaving in the Low Countries weavers viewed the new essay. The beautiful figured borders must have puzzled the old weavers, accustomed as they were to the simple bands of floral forms that framed their compositions. The death of Raphael in 1520 renders it probable that the Acts of the Apostles constituted the only designs he executed for tapestry-weaving, but three sets were for a long time attributed to him, one being Scenes from the Life of Christ, woven by Van Aelst, who was now pontifical tapestry-weaver, in which official capacity he was retained by Clement VII. The cartoons are reported to have been made from fragments of the master's drawings, and the designs of Children Playing are now attributed to Giulio Romano.1 These designs were used as models in the seventeenth century. Of the third set, The Grotesques of Raphael, nothing but the name remains. With the execution of the cartoons of Raphael one of the most rapid changes of style in any art took place in Brussels. Dramatic and pictorially decorative compositions took the place of the old crowded and formal arrangements. Tapestry, without imitating the technique of painting, became as it were a woven picture or fresco in aught else. The excessive richness due to wealth of detail in natural objects such as flowers was discontinued, and with it went the loving treatment of things inanimate. Richness of effect was attempted more by the use of broad spaces worked in gold and \A beautiful drawing by this master is in the possession of George Salting, Esq., by whose kindness we are able to reproduce it. It is undoubtedly one of the small designs from which the cartoons of Children Playing were made. An Italian tapestry of the same subject is in the Salting collection. 217Tapestry-weaving in the Low Countries silver than by elaborate patterns. To be seen to advantage, the new tapestries had to be exhibited in a situation where no tall furniture could interfere with the effect of the composition, and the borders in consequence were enlarged. Despite the fact of the designs being nearly all Italian, the old Flemish feeling lingered in the landscape, foliage and accessories : there are examples, too, where the Flemish style has overpowered the Italian, as in the Apocalypse in the royal collection at Madrid. In England there are examples of the Italian-Flemish style in the History of Abraham at Hampton Court, and the History of Tobit in the royal collection, both woven before 1548. The History of Tobit at Bisham Abbey is of the same date, the work of a Flemish artist under the spell of Raphael, as will be seen by the illustrations. The prosperity of Brussels was at its fullest in the first half of the century, and with prosperity came the use of methods not in accordance with the best traditions of the craft: for example, the colouring by liquid dyes of such features as the lips, cheeks, and flesh parts. Within five years after the completion of the Raphael tapestries these degenerate practices crept in, and were of sufficient importance to require attention in an ordinance promulgated to the workers in 1525. In consequence of numerous complaints, it was ordained that in no tapestry worth more than twelve pence an ell must any manufacturer add to the heads and features by means of liquid substances, nor must any master copy or imitate models already executed by another.1 1 M. Wauters, Les Tapisseries bruxelloises, p. 133. 218Tobit and the Angel. Flemish, Brussels, l6lh Cenlury. THE PROPERTY OF SIR HENRY VANSITTART-NEALE, IC.C.B., Bisham Ahbey.Tapestry-weaving in the Low Countries Against this a declaration made by some of the principal tapissiers must not be overlooked. Jean de Clerck, Guillaume de Kempeneere, Guillaume and Jean Dermoyen, speaking for the corporation, declared officially that Jean Mostinck Van Eidighen (Enghien) had been ten or twelve years tapissier to the King of England (Henry VIII.); and he formally guaranteed that in all his time he had never found a tapestry of Brussels in which faults had been hidden by the use of liquid substances.1 The method of the contractors for providing tapestries is illustrated in a document of 1595. Chrestien de Sauvigny, sieur de Rhosane, ordered some tapestries of Carlier, merchant of tapestry in Antwerp. The latter employed Jacques Geubels of Brussels to weave seven pieces representing a gallery with pillars: Chretien Van Visch of Brussels undertook another part of the order, and distributed the commission among his chief workmen : Pierre Valgendris wove a piece of foliage, and Antoine Aerts two pieces.2 By this method a set of tapestries could be provided in a very short time. In 1528 an edict was promulgated in the interests of the trade in Brussels.3 It rendered an official mark compulsory upon all pieces of greater area than six ells. This mark consisted of a red shield supported by two " B"s, the letters to be lighter in tone than that of the selvage into which they were woven. The number of pieces extant bearing this mark testifies the enormous output of the Brussels workshops. Neither of these proclamations was effective in eradicating the degenerate practices, especially in the provinces; so in 1544 Charles 1 Annales de la Societe d'archeologie de Bruxelles, vol. x., p. 287. * Ibid. vol. xii., p. 221. 3 M. Wauters, Les Tapisseries bruxelloises, p. 133. 219Tapestry-weaving in the Low Countries V. formulated a set of laws to govern the industry in the Low Countries. It was a most drastic measure, applying the regulations of the Brussels corporation to the provincial workshops. The first article forbade the making of tapestries except when conducted under the regulations of a corporation of tapestry-weavers, as in Louvain, Brussels, Antwerp, Bruges, Audenarde, Alost, Enghien, Binche, Lille, Tournai, etc. The quality of materials, when the price of the fabric was to be more than 24 sous an ell, was thus specified: the warp must be of the woollen thread of Lyons, Spain, or Aragon, of spun thread or similar stuff, and all thoroughly clean, while the colours must be of fast dye. Each tapestry must be woven in one piece only. Then comes an extension of the Brussels ordinance of 1528: the master who manufactures or causes a tapestry to be made must have his mark or ensign worked in one of the corners at the base of the said tapestry, and near it such ensigns as the town shall order ; so that by means of these the work shall be known to be of that town, and by that master, etc. These marks had been in use in Brussels since 1528, although it is uncertain if the name of the master was compulsory at the time. Unfortunately the register of such marks in Brussels has been lost, and only a few can be identified. M. Wauters has succeeded in establishing that of Wilhelm de Pannemaker, and he asserts that where in these marks a diagram resembling the figure 4 reversed is found, it means that the piece was woven for a merchant or a weaver who dealt in tapestries. The edict being rigorously enforced must have 220Tapestry-weaving in the Low Countries checked the abuses it aimed at; but, while successful in its main object, it undeniably exercised an adverse influence on the prosperity of the manufacture in the Low Countries : it certainly marks the decline of it. The abuses must have arisen from haste on the part of the weavers in carrying out their numerous commissions, and every makeshift was practised. The ordinance states that each cloth or tapestry should be of one piece. The abuse was, that in order to save time the hanging was woven in portions and these were afterwards pieced together. This method employed a number of weavers on the same hanging, and thereby effected a saving of time. Accustomed to this and other similar practices, the weavers had been able to get through more work, and could contract with their clients at a cheaper rate, than when working under the rules of the ordinance. The effects of these restrictions must have been paralysing to workshops of the cheaper sort, and being in force over all the provinces may have seemed to foreign clients a virtual admission of fraudulent practices. The low or " basse " loom made its appearance felt at this time, giving quicker results and yet in accordance with the ordinance. This haste was the ruin of the finer work of Brussels. Design had deteriorated since the days of Raphael. To complete the debacle, the religious persecutions and strife about 1560 led to emigration of the weavers. England, France and Germany were open to receive them. The encouragement and patronage of the Emperor Maximilian and Philip of Spain were strong factors in the early prosperity of Brussels, and Charles V. of Spain looked keenly after the interests of the industry. Marie, 221Tapestry-weaving in the Low Countries Queen of Hungary, and Governess-General of the Low Countries, was a great patroness of the tapestry-weavers, and her privy purse accounts contain valuable records of matters appertaining to the history of the craft. In 1535 she bought of Guillaume Dermoyen a set of twelve pieces of the History of Hercules, and in the same year Guillaume de Kempenaied furnished her with several small hangings. Jean Pierre died in 1539, while he was engaged on a commission from her. The family of Pannemaker, Henry, John and Wilhelm (the best known name in Brussels in the sixteenth century), merchant weavers, sold her a set of six pieces, The History of Paris Alexander. She had dealings with Petrus Van der Walle, or Peter Van der Val as he is styled in the inventory of Henry VIII. of England. From him she purchased a rich set of seven pieces representing the Seven Deadly Sins. Another merchant who had dealings with Henry VIII., Erasmus Schetz (anglicised Skotte), sold her a History of Chipion Abrican (Scipio Africanus). The Queen died in 1558. Marguerite of Austria had in her service one of the best known designers of tapestry —a Flemish artist—Bernard Van Orley (1471-1541). He was a student of Raphael, and may have worked in his studio. His share in the production of the tapestries of the Acts of the Apostles has already been recorded, and after that commission he was appointed court painter to Marguerite of Austria. He composed for her a great number of cartoons that were executed in tapestry and hung on the walls of her palace. M. Wauters has ascertained that this painter designed the " Hunts of Maximilian " or the " Hunts of Guise," but in these tapestries 222Tapestry-weaving in the Low Countries there is not the slightest trace of his Raphaelite manner. The tapestries are now hung in the palace of Fontaine-bleau, and we cannot do better than repeat M. Darcel's comments on them :— " The tapestry is very compact in pattern, and admirable in execution. Its colouring is composed of eighty-three different tints, which are divided into 22 series, each of them embracing from two to five tones; that is, there are only five modulations of the same blue or of the same yellow-green—the first used in the costumes and harness, the second in the same costumes and the foliage, and two shades of normal yellow and red, the first for the light parts of the whole composition and the second for the coloured parts of the dresses. The few colours mixed one with the other by the weaver so as to produce light and shade are distributed everywhere, giving unity to the whole piece, in which indeed the light is almost entirely yellow. In short, the colours, being the lightest in the chromatic scale, are not only the most durable but give greater brilliancy to the whole." To Bernard Van Orley has been accredited the Entombment of the Alva collection, the History of Abraham at Hampton Court, and the sets known as the Lucas Months, with numerous others. A list of the designers of tapestry of this period would be a long one, in which Italian names would form the vast majority: Giulio Romano is accredited with the designing of a great number of Flemish weavings. There were many styles, and it is impossible to classify the various types of hangings in chronological order. Here are a few :— The Passion of Our Lord, at Madrid, bought in 1503-4. The Triumphs of Petrarch, dated 1507. The Miraculous Statue of Our Lady of Sablon, ordered in 1518. The Acts of the Apostles, finished in 1519. The Battle of Pavia, 1531. The Apocalypse at Madrid, about 1540. Vertumnus and Pomona, about 1545. Conquest of Tunis, woven 1549-54. Victories of the Duke of Alva, about 1570. A few of the better known sets, woven in Brussels in the sixteenth century, were :— The Great History of Scipio, in 22 pieces; Small History of Scipio, 10 pieces; Fructus Belli in eight pieces; Story of Lucrece, Triumphs of Bacchus; Story of Orpheus, Grotesques, Grotesque months, Rape of the Sabines, Combats of the Gods and Titans, 223Tapestry-weaving in the Low Countries History of Romulus and Remus, Story of Moses, Story of Noah, History of Vulcan and Venus, Story of Psyche, Triumphs of the Gods (Mantegna), Sacrifice of Poly-xena, Apollo and Marsyas, Icarus, Perseus and Andromeda, Life of Hercules, History of Tobias, etc. It would be almost impossible to enumerate the titles of works finished about 1504, and to distinguish between those and others of the last few years of the fifteenth century. About the middle of the century a very fine style of verdures was manufactured in the Low Countries. Pillars with grotesque or caryatid figures formed the border to a field of semi-naturalistic or wholly conventional foliage, with here and there an animal wending its way through the thicket of leaves and flowers. This type of design is far removed from the flower-sprinkled verdures of the early part of the century. There is an interesting account of the technical details of the weaving of one of the tapestries above mentioned, viz.: the Conquest of Tunis, now in the royal collection at Madrid. Charles V. of Spain, when he set sail with his army to conquer Tunis, was accompanied by his court painter Jan Vermay or Vermeyen, of Beverwyck near Haarlem. While the campaign was in full operation the artist made notes on the spot, and from these he drew cartoons of immense size, crammed with military details. The weaving of the tapestries was entrusted to William Pannemaker, of Brussels, and the set was carried out regardless of expense, in gold, silver, silk and fine wools. The contract has been reproduced by MM. Wauters and Houdoy, and is instructive. Pannemaker undertook to use the finest silks of Granada for the weft with the finest thread of Lyons. As in 224The Resurrection of Our Lord. Flemish, early 16th Century. THE PROPERTY OF DAVID M. CURRIE, ESQ.Tapestry-weaving in the Low Countries similar cases the client supplied the gold and silver thread. Pannemaker received 559 lb. 1 oz. likewise of silk dyed and spun at Granada, under the supervision of an agent appointed by Charles V. The silks cost 6,637 florins without the agent's expenses, and were dyed in nineteen colours of from three to five shades each, and it is recorded that 160 lb. of silk were spoiled in the attempt to get a particular blue. Pannemaker, on receiving the material, employed seven workmen without intermission upon each hanging, i.e. eighty-four workmen in all. At that rate the weaving was done in a little over five years from the beginning. When a piece was finished he submitted it for approval to the jurors of the craft, who had the power of ordering any alterations they considered fit. The entire set was finished in 1554, and measured 1,244 ells, which at 12 florins per ell cost 14,952 florins. In addition, the artist was to receive a life annuity of 106 florins, if the Emperor was satisfied with the work.1 The following list of Brussels weavers and merchants is necessarily incomplete. 1504. Peter Van Aelst, Acts of the Apostles, History of Troy, History of Noah, Elephants and Giraffes, etc. 1507. Jean Van Hans. 1513. Leo. 1522. Jean de Clerck, Guillaume de Kempeneere, Guillaume and Jean Dermoyen, 1529. Pierre de Pannemaker. 1534. Guillaume de Kempeneere, History of Ypesina, History of Jacob. 1535. Guillaume de Kempenaied, Guillaume Dermoyen, History of Hercules. 1539. Jean Pierre, Vilain, merchant, Petrus Van der Wal, Erasmus Schetz. 1541. Henri and Guillaume de Pannemaker. 1544. Balthazar Van Vlierden. 1545. Franfois Geubels. 1550. Antoine Van Herberghen. 1555. Symon de Parentz. 1 M. Wauters, Les Tapisseries bruxelloises, pp. 75-82. H.T. 225 15Tapestry-weaving in the Low Countries 1557. Estienne Peperman, Loys le Mestre, Henri Van Ouniwreken, Francis Meurtz, Jean Bogaert, Joos Orleur, Pierre Schuere, Gilles Van der Heyden, 1560 Andre Vander Strate of Laeken, near Brussels. 1561. Michel de Vos. 1563. Denis de Bruyne, Jean de Poortere, Jaspar Provoost, Hubert Rumbes- lagere. 1566. Jean de Buck. 1571. Jehan Rigau. 1576. Jean Van Londerseel, Leo Vanden Hecke, Nicolas Vanden Hove, Jacques Leyniers, Hubert de Maecht, Daniel Thienpont, Nicolas Hellinc, Martin Reymbouts. 1584. Josse de Herseele. 1586. Gaspar Van der Bruggen. 1594. Lancelot de Neke. 1596. Jean Geubels. 1596. Chretien de Visch. 1598. Guillaume Tous (age 51), Jacques Tseraerts (65). 1596. Antoine Aerts (age 44), Pierre de Maelsack, (40), Pierre Valgendris.1 Antwerp was in the sixteenth century the great market for tapestries, especially those of Brussels, Ouden-arde and Enghien. There were many fabricants of tapestry living in Antwerp, and inventories such as that of Henrick Van Beringen, tapissier and merchant, give details of tapestries woven in Antwerp. A document published by M. Donnet throws light on the close relations of the manufactures of Brussels and Antwerp. It is a contract between Jean de Buck, tapissier of Brussels, and Jean de Ram, tapissier in Antwerp, and provides the balance sheet of their account in 1566. One of the hangings belonging to Buck represented the History of Solomon, in which Ram had executed all the accessories. Apparently the figure-work was done in Brussels, and the borders, backgrounds, etc., in Antwerp, which was renowned for verdures. Anothef document, published by the same authority, proves that hangings made elsewhere were improved in Antwerp. Daniel Van Bombergen, having ordered 1 For other weavers see M. Wauters, Les Tapisseries bruxelloises. 226Tapestry-weaving in the Low Countries some important tapestries in Brussels and Antwerp, delivered them to some Antwerp tapissiers or agents for the purpose of having them made more perfect. This took place about 1585. In 1563-4 Michel de Vos from Brussels, established in Antwerp, wove landscapes for the city hall. Many weavers from Brussels and Oudenarde emigrated to or had additional workshops in Antwerp in the sixteenth century, and the list of merchants and fabricants is very long. Here are a few names :— 1500. Jean Denys. 1505. J oris Van Lieken. 1516. Henri Van Damme. 1531. Georges Van Lieke, Henri Pypellinck. 1537. Fran?ois de Groote. 1544. Balthazar Van Vlierden. 1549. Adrien Van der Goes, Ulric Hertsteens. 1553. Daniel Thienpont, Jean de Ram, merchant, Pierre Van der Moten, Andre Van Yperen (age 35), Armand Ghestelinck (27), Jacques de Melandere (33), Armand Osten (30), Hans Wittenbrost (25), Jean Van der Moten and Louis Van SpiSre. 1554. Daniel Eggericx. 1582. Caspar Van Zurich. In connection with the hall for the sale of tapestries in Antwerp, the following names of merchants, agents and merchant-weavers occur. Some are of Brussels, Oudenarde and Enghien :— 1555. RaesVan Brecht, Jean de Kempeneere, Henri Van Bernighem, Robert Van Haeften, Antoine Van Coppenhole, Samuel Thienpont, Georges Van der Heede, Armand Spierinck, Pierre Weytes, Jacques Haesevelt, Isaac Van Haester, Jean Van Merhage, Henri Van Haelewyc, Hector Weyns, Pierre Sruddemak, Jean Miredekins, Pierre Vergoes or Van der Goes, Jean Daman, Francois Van Asperen, Jerome Colenaer, Nicolas Pleytinck (age 29), Jean Van Welteren, Troilus de Cryts, Louis Van Wetteren, Antoine Van Berghe, Henrich Pypelinck, Joris Van den Eede, Niclaes de Cantere, Jacob Van den Haesvelde, Isaac Van Asperen. 1556. Marik Vos, Noel Escouilleffore (48), 1558. Georges Blomaert, Bauduin Henrick, Jacques Blomaert, Jacques Haze-velt, Roland Van der Hameyede a painter of cartoons, Josse Rampart. 1559. Pierre Van Opinen. 227Tapestry-weaving in the Low Countries 1561. Jan Van Cuelenbrock. 1563. Thierry Maes, Mathieu Dryckers, Michel de Bosch. 1564. Roland Mussche. 1566. Ambroise and Augustine de Colenaire. 1576. Joos Van Herselle, Amant Vrancx, Francis Spierinck, Jan Van Londer-zeele, Martin Cordier, Philippe Van Mettechoven (age 36), Ghossart Chimay (32), Francois Sweerts (33), merchant, Francois Neve (42), Daniel Steur-bant (29), Francis Van der Steene, Chrestien de Vischer and Nicolas Van Hove (Brussels), Corneille Olivers, Bartholomew Zanoli, Henry Pyn (English agent), Alyt Dielens, wife of Joos Van Heerseels, Leon Van der Hecque, Jacques Leyniers, Hubert de Maecht and Nicolas Hellinc, of Brussels, Nicolas Dobbeleer, Jehan Van der Cammen Philippe Van der Cammen, and Quentyn Flascoen. 1578. Corneille Olivers. 1581. Gilles de Carlier. 1584. Laurent and Daniel Bos, Wynante Rowye, Jean Pels, Adrien Van Oude-naerden, Herman de Huyge, Etienne Sterlippens, Jacques Stalpaert, Josse de Herseele, Antonio Ancelmo, Gilles Hoffman, Henry Vael, Pankuys, Gaspard Charles, Daniel Runtfles, Diego Pardo, Gaspar de la Pena. The last eight were mostly merchants. 1586. Jean de Herzeel, Jean Daniel, Laurent Bosch. 1587. Franijois Sweerts. 1597. Hans Boumans, Samson de Helicort. 1598. Van der Planken, Francis Witspaen.1 The latter half of the fifteenth century witnessed intense activity in the workshops of Tournai. The establishment of the Greniers was in existence in the sixteenth. In 1497 Antoine Grenier supplied the Archbishop of Rouen with hall tapestries, and in 1508 with a large quantity of hangings, when he is styled " merchant of Paris." 2 Jean Grenier furnished the Archduke Philippe-le-beau with some rich tapestries—a History of Banquet in six pieces, Woodcutters, etc.8 Pasquier Grenier died in 1493. Colard Bloyart of Tournai supplied a tapestry of Banquet in 1501. In 1513 the magis- 1 See the Annales de la Society d'archeologie de Bruxelles, vols, viii., ix., x., xi., xii., for a series of articles by M. Fernand Donnet, dealing with the Antwerp manufactories. 2 Memoires de la Societe Historique et Litteraire de Tournai, vol. xxii. ; Les Tapisseries de Tournai, by M. Eugene Soil, p. 35. * M. Houdoy, Les Tapisseries, la fabrication lilloise, p. 142. 228Tapestry-weaving in the Low Countries trates of Tournai ordered a hanging representing the City of Ladies for presentation to Marguerite of Austria, Governess-General of the Low Countries, when she visited Henry VIII. of England who had captured the town.1 In order to please the English King the magistrates bought of Arnould Poissonier a tapestry for presentation to him, and also a History of Caluce to give to Robert Wyftel, one of his councillors.2 The same weaver had sold to the Emperor Maximilian in 1510 eight hangings, having for subject the History of Julius Caesar, a History of People and Wild Beasts, and a chamber of Falconry, etc.8 Jean Deveniens sold twelve pieces of the Twelve Months for presentation to the almoner of Henry VIII., while the English Governor of the town received a History of Hercules, provided by Clement Sara-sin.4 The Earl of Suffolk received a History of Judith. After being under English government for four years, Tournai was restored to France by the treaty of London in 1517. The pestilence broke out in 1513, and nearly half the population perished. In 1519 the council purchased eight pieces of the History of Banquet from the widow of Nicholas Burbur.5 In 1521 Tournai again changed its nationality, being incorporated into the Netherlands, About this time Adrian Lebevre or Lefebure provided a set of the Twelve Months for presentation to General de la Motte. In 1554 Jean Martin sold to the Bishop of Croy a History of Joseph and of Jacob, two pieces of which are yet ex- 1 M. Houdoy, Les Tapisseries, la fabrication lilloise, pp. 139-54. I % Les Tapisseries de Tournai, Soil, loc. cit., pp. 41-2. ' *' 3 M. Houdoy, loc. cit., p. 143. 4 Les Tapisseries de Tournai, Soil, loc. cit., pp. 41-42. 1 Ibid. pp. 42, 43. 229Tapestry-weaving in the Low Countries tant.1 The same client had dealings with Nicolas Rousseau d'Enghien. Tournai became one of the centres of the Reformed faith, and its history a little after the middle of the century is a record of religious persecution. The weavers and other artisans left the town to settle in countries where greater religious latitude was allowed. Three names are recorded later in connection with armorial tapestries : Pierre Drosset dit Martin, 1569-70, Jacques Cassel in 1583, and Pierre de Moulin in 1592.2 Tapestry-making in Bruges was mainly a sixteenth century industry, the corporation of high-loom workers receiving their statutes in the beginning of the year 1506. In the century preceding there were instances of hangings being bought of merchants living in Bruges, but records of weavers are rare. In 1501-3 the authorities of the village of Nieuport paid a painter of Bruges for the drawing and delivery of a tapestry to decorate the municipal hall, and in a similar instance the magistrates of Franc-de-Bruges employed Jean de Louf or Jean Saillie to provide them with armorial pieces.3 By all accounts some of the tapestries acquired in Bruges or in its neighbourhood appear to have been of comparatively small size and rich workmanship. Such was the panel made by Jean Boey for a chapel in the Abbey of Eckhoute in 1525. It was woven in gold, silver and fine silks after the design of the miniaturist, Wilhelm Wellinc.4 In 1529 Antoine Segon, working from the 1 Memoires de la Societe Historique et Litt6raire de Tournai, vol. xxii. M. Soil, Les Tapisseries de Tournai, p. 49. 2 Ibid. p. 58. 3 Histoire gSnirale de la Tapisserie : Tapisseries flamandes, Alexandre Pin-chart, p. 64. 4 Le Beffroi, vol. iii., pp. 232-3. 230Tapestry-weaving in the Low Countries designs of Wilhelm de Hollander^ delivered five foliage pieces to the authorities of Franc-de-Bruges to adorn the great hall of that town. Launcelot Blondeel was the name of another artist, and there is mention of a weaver named Adam Van Riebeke. Most of the tapestry history of Bruges is a record of weavers' names, and may be useful if uninteresting; in addition to the before-mentioned, the following are known :— 1501. Jean Wilde or Sauvage, Laurent de Lamioot and Gilles Steeman. 1506. Josse Van der Veucht and Josse de Moor. 1515. Pierre Steeman. 1517. Adolph Van der Waten. 1518-20. Jean Hannweel. 1520-41. Henri Broucman. 1521. Jean Bataille. 1529. Antoine Segon. 1531. Jean Houssier, Etienne de Formont.1 1532. Jean Schitebroucke, Jean Francq. 1533. Maylin Hesselin. 1534. Jean Loysier. 1535. Jean Strinck. 1527-36. Jean de Smet. 1536. Gilles Truweel, widow Jean Bartaigne, Pierre Vermote, Pierre Compare 1538. Jean Arnouts. 1539. Jean Van Callenberghe. 1540. Jean Allet. 1541-58. Jean Piegousse. 1542. Andre Hanssens. 1545-55. Jean Crayloot. 1547. Corneille Annaert. 1548-51. Pierre Tack or Tacket. 1549. Jean Poulain. 1552. Christolphe Van Dyke. 1557. Pierre Van Huyden. 1576-7. Jacques Crayloot. 1583. Anselme Crayloot.1 Rightly or wrongly,—perhaps the latter, for Brussels has a stronger claim,—it has been the custom to credit to manufactories at Bruges some of the finest hangings made in the first quarter of the sixteenth century, as, 1 Tapisseries fiamandes, pp. 65, 66. 231Tapestry-weaving in the Low Countries for example, the panel representing the Adoration of the Infant Jesus in the Victoria and Albert Museum, and the fine series in the royal collection at Madrid entitled the History of the Virgin; while another is the tapestry of the Adoration of the Eternal Father, formerly in the Chateau des Aygalades, but now in the collection of Mr. Pierpont Morgan. These, as tapestries, are works of supreme excellence, and the design is under the inspiration of the Bruges school of paintipg in the fifteenth century. It is possible to prove by documentary evidence that several hangings yet extant were manufactured at Bruges; for example, the series representing the History of St. Anatoile at Salins. There were originally fourteen hangings, and three have survived; two are in the Museum at Salins, while a third is in the Museum of the Gobelins. The others were burnt in 1793. Their history runs : in 1501 the chapter of St. Anatoile at Salins sent a deputation to Flanders to bespeak a set of tapestries. They finally settled with a lady weaver, Catherine Hassels, wife of Jean de Wilde. Each tapestry had at the foot an inscription explicative of the subject, and on the last tapestry of the series there was in addition a statement that they were made at Bruges, in conformity with custom, in the year 1501. The history of St. Anatoile was related in the following scenes. 1. St. Anatoile takes leave of his parents (the King and Queen of Scotland), to go to study at Constantinople. 2. His disputes with the doctors in that town. 3. He is elected bishop. 4. The Pope confirms his appointment. 5. St. Anatoile preaching; conversion of the 232Tapestry-weaving in the Low Countries Arians. 6. Desiring to become a hermit, he takes leave of the Pope. 7. He bears fire in his hands, etc. 8. Transportation of his body to Salins. 9. His canonization. 10. Miraculous cures at his shrine. 11. His arm untouched by the fire that consumed the town. 12. Miracle of finding the source of water. 13. The delivery of Salins and Dole. 14. The Battle of Dournon.1 In common with other towns, Bruges had a mark for its productions. It consisted of a weaver's spindle, with a Gothic letter B crowned. Several tapestries are known to possess this mark: three pieces, belonging to M. Galantin in 1876, The History of Scipio, having borders with scenes from the Labours of Hercules. In addition to the town mark they are worked with the monogram of the weaver, " J. C." (Jean Crayloot.) A late sixteenth century example with the Bruges mark was exhibited in Paris, 1874, by M. Bellenot. Two tapestries of military subjects are also of Bruges origin, one of a cavalry charge and a city taken by assault, the other a female figure kneeling with her children before the conqueror. The first bears the letters D. R., and upon the second is the letter M.2 Lille. Little is known of the workshops of Lille, except in regard to armorial tapestries. In 1512 and 1524 the municipal authorities bought armorial hangings from Jean Faussart and Gabriel Sauvage respectively, for the decoration of the town hall.* There were about twenty-six workers in 1538,4 and the register of burgesses 1 Tapisseries flamandes, pp. 65, 66. * Ibid. pp. 66, 67. * M. Houdoy, Les Tapisseries, la fabrication lilloise, pp. 44, 43. 4 Ibid. pp. 49, 50. 233Tapestry-weaving in the Low Countries cited by M. Fons. Melicoq gives the names of seven or eight high-loom weavers. Orchies, in the neighbourhood of Lille, was a centre of manufacture. The name of Mathieu Legrand, tapissier of Bethune, appears in connection with the sale of two large tapestries and a cloth (upon each were the armorial bearings of the King of the Romans and our King, with several dogs gnawing bones) to Philip-le-Beau in 1505.1 Two pieces of Orchies manufacture were seized in Tournai in 1535; at that time it was illegal to sell tapestries, made elsewhere, .in that town. Enghien. Early in the sixteenth century this town was well known in connection with the production of tapestries, and tapestries of Enghien are often mentioned in inventories. The corporation received its statutes in 1513. Marguerite of Austria bought many tapestries from the weavers of Enghien. One of these, named Laurent Flaschoen, went to Brussels to receive her orders on one occasion, and delivered several sets to her. She also dealt with Henri van Lacke of Enghien. Here also was established Peter van Aelst, a name famous in Brussels. The name of the tapestry merchant to King Henry VIII. of England, early in the sixteenth century, was John Mustan of Enghien. The tapestries of Enghien could be purchased in Brussels, and it is stated, on the authority of a Brussels tapestry merchant of the period, that the work of Enghien was as good as that of Brussels. There is mention in 1580 of Jean de la Coursteurie, tapissier of Enghien. One of the early Enghien tapestries has been identified. It represents Samson presenting Delilah to his relations, and bears 1 M. Houdoy, Les Tapisseries, la fabrication lilloise, p. 142. 234Tapestry-weaving in the Low Countries the mark of the manufactory of the town—a shield gironne of blue and of red, charged with three croisettes d pied fiche d'or. As in most towns of Flanders, religious persecutions played havoc with the industries of Enghien. (Destree, L'Industrie de la Tapisserie d Enghien.) The manufactory of Oudenarde was of great importance in the latter half of the fifteenth century, and in the sixteenth it produced an immense quantity of hangings. Some details are available from the municipal records of expenditure. In 1515 Guillaume Hoste, a painter, furnished patterns for a hanging and cushion to be woven by Louis de Wulf for the town hall, and in 1536 the municipal authorities bought a framed altar-piece of tapestry from Jacob Colpaert.1 A weaver, Philip Van Home, sold some verdures to the Archduke,2 and it was for hangings of that class that Oudenarde became famous; every house of importance seems to have possessed some verdures of Oudenarde. The industry developed with marvellous rapidity, but, as in other towns, with prosperity came haste in execution, and the employment of faulty materials. A weaver named Adrien Modekind3 delivered a " chamber " of tapestries to the Count of Conde about the year 1544. The religious troubles just after the middle of the century were acute in Oudenarde, and the trials bring a few weavers' names to light, such as Gilles Blommaert, Jacques Ghellyns, Gilles Stichelbant, Adrian Happaert and Gilles Van der Brouch. From reports of their confiscated goods, the 1 Annales de racademie7d'archeologie de Belgique, vol. xiii.: M. Ed. Van Cauwenberghe, Les anciennes Tapisseries d Audenarde, p. 448. 2 M. Houdoy, Les Tapisseries, la fabrication lilloise, p. 142. 3 Van Cauwenberghe, loc. cit., p. 448. 235Tapestry-weaving in the Low Countries subjects were not confined to verdures but were of figures : Histories of Isaac, Alexander the Great, Jacob, David, etc. These hangings belonged to the workshops of Michel Van Orley, Roland Van der Mo ten, Josse Hue-rick and Pierre Backereel. After passing through many trials in those perilous times the town was entered by the Duke of Parma in 1582, when the magistrates presented him with a rich set of tapestries representing the history of Alexander the Great. The set was purchased from Josse de Pape.1 The list of tapissiers in Oudenarde is far from complete. A register of the masters' names, with the distinctive marks they had adopted in conformity with the edict of 1544, was discovered by M. Gateshoot, and has been published several times. The devices are accompanied by the mark of the town in its proper place in the tapestry. It was, in Oudenarde, a curious ornament like a pair of spectacles or the shield of the town. The mark of Pierre Willemets appears on a hanging of St. George Killing the Dragon, belonging to Sir Ponsonby Fane. Pierre de Brauere. Josse Walave. Hubert Stalius. Gilles Mahieus. Arnold Van den Kethele. Pierre Van Rakebosch. Guillaume Van der Capellen. Jean Pontseel. Jean Boogaert. Remi Crupenn. Gilles Moreels. Martin Van der Muelene. Pierre Willemets. Mathieu Van Boereghem. Jacques Van den Broucke. Jean de Bleeckere. Jean de Waghenere. Antoine Van den Neste. Jean Talpaert. Arnould Cobbaut. Thomas Nokerman. Jean de Clynckere. Jean Dervael. Jacques Benne. 1 Histoire gSnSrale de la Tapisserie : Tapisseries flamandes, Alexandre Pinchart. 236Tapestry-weaving in the Low Countries 15 39. Jean Scuddematte, Willem Spigghe, Chretien Lautius, Adrian Mys, Simon Caudyser. 1540. Pierre de Waghenere, Paul Van Coye, Jasper Huevick, Pierre Rombaudt, Pierre de Rycke, Paul de Rycke. 1540-59. Pierre de Carlier. 1541. Pierre Scaepcoman, Pierre Badaen, Pierre Van Meullebruock. 1542. Pierre Splier, Pierre de Mey, Pierre Elyas dit Van Huddeghen, Adrien Modekins. 1546. Conrad Thienpont. 1547-66. Michel Van Orley, Josse Huevick. 1547-52. Josse Weytius, 1551. Gilles de Wendere, Ghislain Maroten. 1552. Conrad Mescoten. 1553. Pierre Van der Moten, Armand Ghestelinck, Jacques de Melandere, Armand Osten, Hans Willebroet, Jean Van der Moten, Louis Van Spiere. 1558. Georges Blommaert, Hilaire Cabiran, Martin de Vroede. 1559. Pierre Robbins, Steven Van Quickelberghe, Josse de Pape, Adrien Blommaert, Gaspard de Moor, Andre Van Ypdre. 1559-66. Antoine Van de Kerchove. 1561. Jan Van Cuelenbrock, Jean Steurbant. 1562. Jan Copenoit, Adrien Van Ypre, Franfois Noitte, Herman de Cordes, Bauduin Huveck, Georges Rombault. 1563. Thierry Maes, Antoine Van Coppenollen, Vandergheynst, Jean Wytens, Antoine Laurent, Jacques de Vos, Arnout Cabellau, Josse Oveling Roger Leerts, Jean de Bock, Arnoud Cebont, Georges Rombaud, Martin de Cordier, Jean de Carlier. 1566. Jacques Blommaert, Gilles Stichelbaut, Jacques Ghelyns, Adrien Hup-paert, Gilles Van den Broecke, Roland Van der Moten, Pierre Backereel, Josse and Jacques de Vries, merchants. 1566-81. Jean Robbins. 1569. Roland Vein den Hove. 1569-1618. Gaspard Robbins. 1579. Pierre Grenier, merchant. 1581. Francois de Neve, Philippe de Carlier. 1581-7. Pasquier Van der Kerchove. 1585. Jean Van den Ecke. 1585-7. Jean de Pape, Jean Van der Kerchove. 1585-1616,. Andre Van den Hende. 1585-1613. Jacques de Moor. 1587-1620. Jacques Ghuys. 1595. Pierre Robbyns, Georges and Arnout Coppenolle. 1596. Fran5ois de Visschere. 1598. Michiel Van der Beck, Jacques de Cassel. 1596-1625. Antoine Robbins. 1600-20. Joris Ghuys. The industry of Valenciennes was but of slight extent in the sixteenth century. The names of some of the 237Tapestry-weaving in the Low Countries weavers remain, such as Cornelius Rose or Rousse, Jean Leclercq, Jacques Carette of Tournai, Eloi de Rys of Orchies, etc. A weaver of the name of Christolphe de Roovere is mentioned in Ypres about the year 1564 in connection with tapestries supplied for the decoration of the municipal hall. Tapestry weaving was common all over the Low Countries in the sixteenth century, and the following towns achieved some distinction in the manufacture, Douai, Ath, Louvain, Alost, Binche, Mons, Grammont, Lessines, Courtrai and Ghent, but details as to the history of their workshops and tapestries are very meagre. 238CHAPTER XI 16th CENTURY—TAPESTRY-WEAVING IN FRANCE, ITALY, GERMANY, SWEDEN, ETC. ALTHOUGH the cathedrals, chateaux and museums throughout the land of France contain extremely rich collections of tapestries of the finest kind produced in the sixteenth century, it must be admitted that comparatively few of these hangings can be proved to be of French manufacture. The facts that the subject of the tapestries is the life of the local saint, and that the coat-of-arms of the donor (a local notability) is woven in the hanging, are not convincing testimonies of its being the production of local artisans, unless backed by documentary evidence. This is the case with the Rohan tapestries in Angers cathedral and elsewhere ; it is impossible to point out differences in style or technique in those, from examples of contemporary Flemish craftsmanship, and there is no written testimony as to their locality of manufacture. In the beginning of the century the Flemish workshops, especially those of Brussels, had practically annihilated foreign competition, and all Europe turned to the Low Countries when seeking to buy tapestry. In some isolated points throughout France the craft was still carried on, and some of the hangings woven under the strain of this terrible competition are equal to the 239Tapestry-weaving in France, Italy, Germany, etc. best works of their time in technique and fineness of texture. The best known example is the altarpiece exhibited in the treasury of the cathedral of Sens. Of very small size, this hanging is indeed a masterpiece, and is worked in gold, silver and fine silk. It was in all probability a present from the Archbishop Tristan de Salazar to his cathedral of Sens. The central group represents the Coronation of the Virgin, and on either side are scenes from history in the Old Testament : that on the left shows Solomon crowning Bathsheba : that on the right, Ahasuerus extending his sceptre to Esther, who kneels before him. There is no doubt that this fine hanging was woven in France. Living under the protection of the powerful prelate mentioned above, in his hostel in Paris in the early years of the sixteenth century, was a certain tapissier of the name of Allardin de Souyn who, as is proved by documentary evidence, contracted for the weaving of altarpieces such as that of Sens, works of small size, costly materials, and sacred subject. The probability is almost a certainty that this weaver was the author of the Coronation in the cathedral of Sens at a date not later than 1519.1 King Francis I. ordered a tapestry representing Leda from Nicolas and Pasquier Mortaigne, weavers, of Paris. It was woven in gold, silver, silk and fine wools. In the year 1555 another tapissier of Paris named Pierre du Larry contracted for the weaving of six hangings, the subjects being the Annunciation, Nativity, Crucifixion, Resurrection, Ascension and the Pentecost. Guillaume 1 M Guiffrey, Tapisseries frangaises, p. 41 240Tapestry-weaving in France, Italy, Germany, etc. de Race also had a workshop in Paris, and these manufactories were evidently capable of producing tapestries of the finest materials, at a time when foreign competition was keenest. In the early part of the century Tours as a tapestry-making town ranks the equal of Paris. Pasquier Mor-taigne worked there before going to Paris in 1519, but the most important workshop of Tours was set up about 1535-40, when the Treasurer of France, Babou de la Bourdaissiere, invited a Flemish weaver, Jean Duval, to settle in Tours. He brought with him his three sons, Marc, Hector and Etienne, who worked with their father until his death in 1552. There were numerous weavers in Tours in the sixteenth century : Rene Gerfault, 1530 ; Guillaume Havart, 1500; Pierre Lambert, 1552-95 ; Nicolas Trouve, 1565-75, with his father and sister ; Nicolas Tievin, 1575 ; Martin Lanmalle, Claude Robelin, 1594; Michel Bouttmotte, 1589-1612 ; Louis Langlois de Paris; Marie Bourget and Marie Estienne, 1580 ; Gerard Cholet, 1592-1600; Bonaventure Haste, 1595 and in 1591 Leonard Lombard from Aubusson. The workshop of the Duvals was apparently carried on by Frangois Duboys, Lemaire, Alexander and Nicolas Motheron. Various existing tapestries are accredited to the craftsmen of Tours, for example : Life of St. William, now in the collection of Lord Iveagh, the Life of St. Saturin and the History of St. Pierre/ in the church of that name in Saumur, also the Battles of Jarnac and St. Denis. The towns of Chatillon, Beauvais, and Rouen are 1 Societe archeologique de Touraine, MSmoires, vol. xliii. M. I'Abbe Basse-boeuf, La manufacture de tapisseries de Tours, p. 257 et seq. H-T- 24I l6Tapestry-weaving in France, Italy, Germany, etc. mentioned in connection with tapestry manufacture, while more definite information is available in regard to Troyes. In 1519 Robert Lestellier made a large hanging representing the Adoration of the Shepherds for the church of the Magdalen, and the further addition was made to the decorations of the same building in 1525 a Life of Urban IV being presented by Claude de Lirey, chanoine.1 Andre and Jean Augeraing worked at Limoges as early as 1502, and in 1542 another weaver named Borde was established there. In Montpelier Nicolas de la Ruelle set up a workshop about the year 1540.2 This century witnessed the establishment of royal workshops in France. Modern research has added very little to the information given by Sauval in his " Histoire de l'antiquites de Paris " regarding the foundation of a manufactory of tapestries in the royal palace of Fontainebleau by King Francis I. About the year 1535 he invited a number of Flemish and Italian tapestry-weavers to pursue their calling in France under his protection. These men, supplemented probably by native workmen, were established in the palace of Fontainebleau under the directorship of Philibert Babou de la Bourdaissiere, superintendent of the royal buildings, and treasurer of France. Sebastian Serlio, an Italian architect, was connected with this manufactory, while the principal designer was also an Italian, the artist Primaticcio, who made a large number of cartoons for the weavers. Cartoons were 1 Boyer de Sainte-Suzanne, Notes d'un Curieux sur tapisseries, etc, p. 297. 2 Ibid. p. 107. 242TAFEL )OC]I A.D. 900_1000. ,N° 3. PL. XXIITapestry-weaving in France, Italy, Germany, etc. made also by artists residing in the palace, who in some cases adapted the compositions of pictures and decorations of the gallery for that purpose. One of the royal accounts, preserved in Felibien's notes, furnishes us with the names of some of these men: Claude Badouin, Luke Romain, Charles Carmoy, Franciscus Cachemus, and Jean-Baptiste Baigneque, with an [Italian, Matteo del Nassaro, who designed the cartoons of a set of hangings, the Story of Acteon and Orpheus. The same document gives the names of the tapissiers :— Jean le Bries, Jean Desbouts, Pierre Philibert, Pasquier Mailly, Jean Tixier, Pierre Blassay, Pierre de Bries, the brothers Solomon and Pierre de Herbaines, Jean Marchay, Nicolas Eustace, Nicolas Gaillard, Louis le Rocher, Claude le Pelle tier, and Jean Souyn, who each received from ten to fifteen livres, ten sous per month. Under Henri IV. the director of the Fontainebleau workshop was Philibert Delorme,1 with whose disgrace and subsequent dismissal the history of the workshop comes to an end. No tapestries, at present, are ascertained to be products of the Fontainebleau works, but a strong probability attaches itself to the attribution of the set of four tapestries, The History of Diana, in the chateau d'Anet, and the Grotesques in the museum of the Gobelins. Another famous manufactory of this period originated in the Hospital of the Trinity. Amongst its other uses the Hopital de la Trinite served as an orphanage where, under royal patronage, children were taught trades, and one of these was tapestry-weaving. In the year 1551 this part of the establishment received parliamentary sanction, and the maintenance of the hospital 1 Francisque-Michel, Recherches, vol. ii., p. 409. 243Tapestry-weaving in France, Italy, Germany, etc. was guaranteed, while the craftsmen and apprentices were accorded special privileges. Sauval, who is responsible for most of this information, states that Du Bourg, one of the master-weavers at the Trinity (where he had been received as an orphan), executed a set of tapestries of Scenes from the Life of Christ from the designs of Henri Lerambert. They were destined for the church of St. Meredic or St. Merri. These hangings were of such excellence that when Henri IV. beheld them he found them so much to his taste that he resolved to reestablish in Paris the manufactory of tapestries that the disorders of the preceding reign had destroyed. In 1597 he commanded Du Bourg and another tapissier named Laurent to repair to Fontainebleau, and he afterwards gave them quarters in a house situated in the Rue St. Antoine ; it had formerly belonged to the Jesuits, and was empty through their expulsion from Paris. The weavers continued to work there under the directorship of Tremblai, a sculptor, and Du Breuil the painter, until the year 1607, when the return of the Jesuits caused the establishment to be transferred to the galleries of the Louvre.1 The parent workshop in the Trinity continued weaving tapestries until well into the seventeenth century. The designers for this manufactory included Henri Lerambert and Antoine Caron, who designed together the cartoons of the History of Mausolus and Artemisia, while to Lerambert alone is attributed the History of Coriolanus, and the Scenes from the Life of Christ, for the church of St. Merri. 1 Francisque-Michel, Recherches, vol. ii., pp. 410, 411. 244Si. Ambrose. Italian, about 1500. THE VICTORIA AND ALBERT MUSEUM.Tapestry-weaving in France, Italy, Germany, etc. The Museum of the Gobelins formerly possessed four pieces of the History of St. Crispin and St. Crispinian, which were woven at the Trinity. One piece is extant: three perished in the fire in 1871, and unfortunately it was upon one of these that the inscription giving the place of manufacture was exhibited. Of the famous tapestries woven by Du Bourg for the church of St. Merri two fragments remain : one a head of Christ at the Gobelins Museum, the other a head of St. Paul in the Cluny. The beginning of the sixteenth century found the manufacture of tapestries in Italy in a state of collapse, brought upon the industries by the long civil wars of the late fifteenth and early sixteenth centuries. When peace came and industries were resumed, a splendid rejuvenation of the craft took place. The wonderful artists of Italy had almost a monopoly of the designing of tapestries woven in Flanders, and Raphael, Giulio Romano, Mantegna, etc., were succeeded by a host of followers. In the accounts of tapestry-weaving in Italy almost every hanging appears to have been designed by a native artist. The Italian workshops, generally speaking, were conducted upon different lines to that of Flanders. Some wealthy nobleman set up an establishment of Flemish workers near his palace, and was practically responsible for their maintenance. He paid for such works as were executed for his palace or for presentation to his friends, but there were no restrictions to hinder the workmen from executing tapestries for other clients. These terms were very favourable to the development of the industry, and ensured success for such manufac- 245Tapestry-weaving in France, Italy, Germany, etc. tories as the Florentine and Ferrarese. At the beginning of the century the only workshop of which record has been made is that of Vigevano, and of it the details are but meagre, consisting principally in the information that the celebrated artist Bramantino (Bartolomeo Suardi) designed a set of hangings of the Months, woven at Vigevano under the directorship of Benedetto of Milan. The client was Marshal Trivulce, and the tapestries are still in existence, being known as the Trivulce Months-1 The history of the workshop is very obscure ; but this is different in the case of the important establishment reopened at Ferrara towards the middle of the century. In the fifteenth century Ferrara was renowned for its tapestries, executed under the patronage of the family of d'Este, and this fact doubtless induced Duke Hercules II. to re-establish the industry by inviting two Flemish craftsmen, Nicholas and John Karcher, to settle in Ferrara. The designers to the manufactory were Battisto Dosso of Ferrara and the Fleming, Lucas Cornelisz, with Guglielmo Boides of Mechlin. From the Ferrara workshop came the History of St. George and St. Maurelius, woven after the cartoons of Garafo and Camillo, with borders by Lucas Cornelisz, and still exhibited on feast days in the cathedral of Ferrara. The cathedral of Como contains a History of the Virgin woven at Ferrara from cartoons by Giuseppe Arcimboldo of Milan. For the house of d'Este the weavers of Ferrara made many hangings, such as the Towns belonging to the house of d'Este, Grotesques, and a series of Horses belonging to the 1 M. Mongeri, Laperseveranza, Eugene Muntz, Tapisseries Italiennes, pp. 44-5. 246THE PROPERTY OF GEORGE SALTING, ESQ.Tapestry-weaving in France, Italy, Germany, etc. reigning prince.1 A set representing Children Playing (the property of Baron Worms) has been attributed to this workshop, and a hanging of this subject in the collection of Mr. George Salting, exhibited in the Victoria and Albert Museum, is probably of Ferrara manufacture. In marked contrast to the Flemish work, this panel is aerial and pearly in tone ; the flesh-colour is light, and the wings of the cupids are beautifully rendered. The imaginative power, with grace, light and refinement of colour, here shows the Italian. The distance recalls that in the Raphael cartoon of " Christ's charge to Peter." The flowers are rendered upon a background of much lighter tone than the Flemings usually employed; and the peculiar green, so marked a feature in Flemish work, of the period, is absent. In fact, the entire scheme of colour is quite different from the usual Flemish one, it is more complex and also more refined. The weak point lies in the border, which is coarse, and its details are out of scale ; but the panel as a whole is a testimony of the excellence of the productions of the Ferrara industry. The Victoria and Albert Museum contains another specimen of Italian-made tapestry, in the small panel containing a portrait of St. Ambrose with mitre and pastoral staff. This is probably earlier in date than Mr. Salting's tapestry, and may have been woven in the Vigevano workshop. The colours are few, but beautifully arranged, a deep powerful blue being dominant; and the treatment of the border is unique. The Ferrara manufactory was short-lived and came 1 Campori, L'Arazzeria esiense. 247Tapestry-weaving in France, Italy, Germany, etc. to an end with the century. It was different with the manufactory of Florence, which is the most famous in the history of tapestry-weaving in Italy. It was styled the " Arazzeria Medici " from the fact that it was founded by Cosmo I. Duke of Tuscany and afterwards Grand-Duke. He began by contracting with two Flemish weavers, John Rost or Rostel, who came from Brussels, and Nicholas Karcher of Ferrara. The terms of the contract are interesting. The weavers received suitable workshops, etc., and were paid 600 golden crowns per year, while no impediment was put in the way of their accepting commissions from clients living elsewhere. The Duke engaged himself to pay for any hangings he ordered. The weavers undertook to set up twenty-four looms, twelve of which were to be in constant employment, and to train apprentices free of charge. This was in the year 1546. Many of the tapestries woven at Florence in the sixteenth century still exist, and many able artists provided designs for the manufactory. Bronzino designed for it, the Story of Joseph, now in the Palazzo Vecchio, Parnassus, Hippocrene, and Marsyas. Francesco Salviati provided the weavers with the cartoons of a Story of Josephy Pharaoh's dream, a history of Lucrece, a pieta} Ecce Homo, etc. The nephew of Bronzino, Alexandro Allori, designed other cartoons. The quantity of hangings produced at the Florentine manufactory was enormous; some idea of the extent of it is given in the list published by M. Conti:— 1557. One panel of the History of Pomona, one of the History of Silvain, and seven of the History of Cybele. 248Tapestry-weaving in France, Italy, Germany, etc. 1559. History of Saturn, History of Solomon, Human Life. 1561. Three pieces of the History of David, two espaliers. 1563. History of the Romans, History of Ahasuerus. 1564. History of Ulysses. 1565. History of Solomon, History of Hercules, History of Florence. 1566. History of Cyrus. 1567. Birth of John the Baptist, Baptism of Christ, six for the Merchants' Corporation. Various hunting pieces, and a continuation of the History of David. 1568. Stag hunt, Bear hunt. 1569. Coverlet with the Medici Arms, St. Joseph holding Jesus, for Giovanno di Francesco Tempi, who also bought the Prayer of St. Agatha, War of Sienna, Rout of the Turks at Ercole, Capture of Port Ercole. 1570. A portiire, Charity, for Giovanno di Francesco Tempi. 1572. History of Clement VII., Justice and Liberality, Time and Minerva, Fortune and Prudence, History of St. Francis for the church of that name in Ferrara. 1574. Two portieres for Antoine Salviati, a border for Girlamo Guidacci, and a Wolf hunt. 1580. History of Venice for Tiepole of Venice. 1583. Adoration of the Magi, the Flight into Egypt. 1585. History of Phaeton, six portieres designed by Allori for Cumes Destu-fligio of Spain. 1586. The Visitation, for a citizen of Bergamo. 1587. History of John the Baptist. 1588. Centaurs. 1589. Portuguese War. 1591. Mule coverings. 1593. An altarpiece and ornaments for Pope Clement VIII. 1593. Altarpiece with the Virgin, Saints, and the Doge of Venice. Alessandro Allori made many designs for the Florentine manufactory, such as History of John the Baptist (1588-90), Portieres (1585), History of Latona, History of Paris, the Nativity and the Adoration of Christ, the Flight into Egypt, (1583), History of Phaeton (1585).1 Another artist known as " II Bachiacca " (Francisco d'Albertino) composed the Twelve Months and the Grotesques now in the Egyptian Museum at Florence. This museum exhibits more productions of the Medici manufactory, amongst others the History of Jos eph Floray Justice delivering Innocence, and in the basilica of St. Mark is a History of St. Mark. The partnership of Rost and Karcher marked the 1 See Conti, Ricerche Storiche sulVArte degli Arazzi in Firenze. 249Tapestry-weaving in France, Italy, Germany, etc. finest period of Florentine tapestry-making. As in Flanders, in Italy the craft became debased towards the end of the sixteenth century, the designs were trivial, and the workmanship feeble. During the last third of the century the output became enormous, as will be seen from the list. The tapestries were executed, for the greater part, from the designs of Stradano, or John Van der Straaten, a Fleming who was appointed official designer to the manufactory. Another Flemish artist, Frederick Sustris, supplied the cartoons for a History of Florence in 1565. There were two workshops originally (Rost and Karcher) and in 1549 ^he weavers Giovanni Stichele (a Fleming) and Francisco Paxino of Florence worked under the directorship of Taney di Niccolo de Medicis. Other weavers were Giovanni di Bastiano Sconditi, and Benedetto di Michele Squilli, and with them Giovanni Tedesco (1555). Pilippodi Jacopo (who made cartoons), Giovanni di Marchionese de Fivizzano, Baldassare di Enrico, Brecon-net of Brussels (1560), Antonio di Giovanni della Parte, or Particini, Bartolommeo di Bartilommeo di Giovanni (1560). Jacopo de Lorenzo Marzappini (1562), and Benedetto di Giovanni della Balestri. Squilli was master workman for a long period, from 1568-87, when he was succeeded by Guasparri di Bartilommeo Papino, who had with him the Flemings, Alberto d'Olbrech and his father in 1577, Cornelius Engelbrecht in 1583, and an artist, Fabrizio Corso.1 These were the principal manufacturing centres in Italy: the others were small and unimportant, for instance that of Mantua, where Signor Bragherello has hunted up names in the city archives—1502-5, Giovanni; 1509-11, Giovanni Francisco; 1512-22, Martino Dursoli; 1538, Giuseppe; 1547-9, Giacomo della Porta, Frederico dei Caletti; 1556, Sigismonde Tambelli, etc.2 Venice is more interesting. Ambrose Spireletti 1 See Conti, Ricerche Storiche sull'Arte degli Arazzi in Firenze. 2 Bragherolli, Sulle Manifatt-ura di Arazzi in Mantova. 250Tapestry-weaving in France, Italy, Germany, etc. worked there in 1562, and in 1564-72 a Fleming named Francisco with a compatriot Caspar Carnes. Another Flemish weaver executed a set of hangings representing the Four Theological Virtues, from designs by Titian, in Venice in the year 1562. Van der Goes set up a workshop in Venice in 1586.1 The Venetian workshops of the sixteenth century are represented in all probability by the " Descent of the Holy Spirit" woven in gold, silver, silk and fine wools, now in the sacristy of the church of Santa Maria del Salute. There are also a hanging of the Doge L. Loredam receiving his ducal cap in the Correr Museum of Venice, and espaliers representing the History of Semele in the ducal palace, that are attributed to local workshops. Venice was more a commercial than a manufacturing city. There is a tradition of tapestry workshops in Genoa. Many of the Flemish refugees from the religious persecutions fled to Germany to ply their calling in peace, but definite information as to the establishment of workshops is rare. A manufactory in Lauingen produced some heraldic hangings, and some specimens in the Museum of Munich are said to have been produced there. These comprise The ancestors of the House of Bavaria, Holy Cities of Palestine, and a Camp? There was also a workshop at Wesel, and several weavers lived in Nuremberg, among others Anthoni Passa, Bassi or Bassa " von Harras" about 1530, and John Mandekins, a Netherlander, in 1592. (Quellenschriften fur Kunstge-schichte und Kunsttechnik, " Niirnberger Ratsverlasse," vol. i., p. 242 et seq., vol. ii., p. 239.) 1 Eugene Miintz, Tapisseries Italiennes, p. 79. 2 M. Miintz, La Tapisserie, English Edition, p. 236. 251Tapestry-weaving in France, Italy, Germany, etc. There were several workshops in Holland in the sixteenth century. Middleburg is noted in 1562, but its development was greatest in the seventeenth century, and the same may be said of Delft. In this town in 1592 Frangois Spierinx, one of the most expert weavers of his time, established himself; he was originally in Antwerp. He executed the History of the Armada for the English Government, working from the cartoons of Cornelius Van Vroom, a painter belonging to Haarlem.1 There are no ascertained facts as to tapestry workshops in Switzerland, but examples such as Dives and Lazarus in the Archaeological Museum of Lille are attributed to Swiss weavers: it is dated 1597, and bears the letters L. V. G. Tapestry-weaving in the Flemish manner is said to have been introduced into Denmark about the year 1522-In 1578 King Frederic II. of Denmark took under his protection a weaver of Antwerp, named Hans Kneiper,2 who executed a set of tapestries representing the ancient Danish kings, to decorate the castle of Kronberg, then in the course of erection. Kneiper had his workshop at Elsinore and afterwards at Slansgerup. Two of £the tapestries still exist, portraits of Kings Eric and Abel. They are covered with Danish inscriptions, and bear the mark B preceded by a crown. The middle of the sixteenth century witnessed the establishment of a royal manufactory of tapestries in Sweden in the reign of Gustavus Vasa. It was in the manner of the Fontainebleau workshops in France. 1 Van de Graft, De tapijtfabrieken der XVIe en XVIIe eeuw. 2 Ibid. p. 94. 252Photograph l>y Ali/iari, Italian, Florence, 16th Century. The Deposition from the Cross (after Salviati). FLORENCE.Tapestry-weaving in France, Italy, Germany, etc. The tapissiers were mostly of foreign origin, but native apprentices were taken. Dr. Botticher gives a complete account of the establishment in his book, " Svenska Statens samling af Valda Tapeter," with interesting details as to the works yet extant. He confidently attributes several tapestries now in the national collection at Stockholm to the manufactory in the royal palace. One of the earlier hangings, The dance of the Peasants, is undeniably of Scandinavian manufacture. The royal manufactory was never a large one : in 1561 it comprised ten weavers, the masters being Nils Eskilson and " Paull the tapissier," who with several of the fraternity died in 1565, the year of the ravages of the pestilence. The establishment may have lingered until the end of the sixteenth century, but very little is known of its later history. 253CHAPTER XII 16th CENTURY—ENGLAND, SCOTLAND AND IRELAND OWARDS the end of the reign of Henry VII. his sister Margaret was married to King James IV. of Scotland, and part of her dowry consisted of three score and fifteen " stikks " of arras lined with canvas. Henry procured these hangings from his chief arras-maker, Cornelius Van Street, a name which suggests that he was a compatriot of the Flemish weavers. The tapestry cost 2s. per stikk, and payment was made by the Keeper of the Royal Wardrobe.1 The inventories made in the beginning of the sixteenth century show that enormous quantities of the finest kind of tapestry were in everyday use in England. The Bishops of Durham and of London had superb collections, embracing " counterfeit" arras as well as the real material, and in the death chamber of the Bishop of St. David's the furnishings included a covering of verdure with birds and lions.2 The collection of Henry VIII. showed specimens bearing the arms of Lord Cromwell, Lord Sandes, Bishop Rothall, etc. The collection of Thomas Cardinal Wolsey was second only to that of the King. Like the latter, he bought tapestries wherever he could lay hands on them, at home or abroad, from 1 Calendar of Documents relating to Scotland, vol. iv., p. 441. 2 Gairdner, Letters and Papers of the reign of Henry VIII., vol. x., p. 173. 25516th Century—England, Scotland and Ireland merchants of the commodity or from private individuals. In 1517 Jean de Seelier, acting under instructions to buy table-napery, etc., for him, writes of the impossibility of purchasing this in Tournai, which might have been accomplished with profit thirty years before, and represents that at Whitsuntide the great fair will be held at Antwerp, where all dealers in these stuffs will meet, and he will see what he can purchase for Wolsey. He also wished to know the required height of tapestry for hall, chamber and gallery, and the sorts wanted, with the price reckoning from eight or nine gros sterling for the least valuable taftisserie-d-Personnages to such price as Wolsey would please to give.1 Wolsey spared no pains or expense in acquiring tapestry for the decoration of his residences, especially the manor of Hampton Court. In the year 1522 he purchased from Richard Gresham twenty-one sets of hangings, comprising 130 pieces for Hampton Court alone, besides others for Westminster. His inventory gives full particulars of these, naming the chambers they were intended for. Here are the titles :— History of\Jacob (10 pieces), Story of Suzanna (8), Story of Judith and Holo-fernes (7), Story of the Seven deadly Sins (9), Story of Solomon (7), Story of Sampson (7), The Nine Worthies (9), Story of Esther (6), Story of Samuel (6), Story of Tobie (5), Story of Our Lady (6), [Story of Moses (4), Story of Tobias (5), Story of Estrogeas (4), Story of the Forlorne Son (7), Story of Estrogeas (5), Story of David (7), Story of Samuel (7), Story of Moses (4), Story of Joseph (5), Story of Emelyk (4).2 The year following he bought many pieces of counterfeit and real arras from the executors of the Bishop of Durham. Among these were the Triumphs of Petrarch, 1 Brewster, Letters and Papers of the reign of Henry VIII., 1517, May 5, Calig. D. vi. 310. 1 Bibliothecae Harleianae, No. 599. 25616th Century—England, Scotland and Ireland consisting of eight pieces including the Triumphs of Time (2); Death (2); Venus and Cupid or Love; Eternity; Renown, Fame, or Julius Caesar, and Chastity. The set of Triumphs now exhibited in Hampton Court palace is all that remains of the eight bought at the sale of the effects of the Bishop of Durham. Three are hung in the great, Watching-Chamber (the Triumphs of Time over Fame, Fame over Death, and Death over Chastity), while a fourth representing the Triumph of Death is hung under the Minstrel Gallery in the Great Hall. It is similar to that in the Watching Chamber. The Triumph of Time as it now hangs measures 26J ft. long by 14 high, and its size given in Cardinal Wolsey's inventory is 9 yards by 4! di, so allowing for a slight loss in selvage the sizes are identical. The Cardinal bought six pieces of counterfeit Triumphs from Richard Gresham ; and of this material, which was probably painted or stained cloth, his collection embraced many examples. Under this heading there are some interesting subjects in the inventory :—A set of ten pieces of lamanto, besides counterpoints of the Romans of the Rose called lamanto ; three pieces of King David " whereof in oon King David sleeth the Gyaunte Golyas." Some of the hangings had curious inscriptions : one having figures in the middle bore the words " 0 ! Pia ! " a second " 0 ! Clemens ! " and the third " 0 ! Dulcis Maria / " then King David playing the harpy after which came a tapestry with a ship at one end with a man and a woman in it, and the final one represented Judas. The Cardinal had a large quantity of verdure tapestries, and he acquired six pieces that " served for the hanging of Durham Hall of inferior days whereof h.t. 257 1716th Century—England, Scotland and Ireland three pieces were of the Story of Hannibale." From the executors of the Bishop of Durham he bought six pieces of counterfeit arras having borders with the arms of " Seynte Cuttebarte and my Lord Rootheall whereof the ffyrste pece hath a king in the myddes of it sytting in a fiavyllion" In the list of verdures are eight pieces " paned white and grene with running branches of Rooses redde and white " and thirteen pieces with lozenges of ' divers colours with Bishop Smyth's arms used for the decoration of the hall at Hampton Court. Another hanging bore the word " Memento1 The inventory of Henry VIII.'s effects shows many tapestries bearing in the border the " late Cardinally armes," some of which were extant in 1649 an(^ l^er. Under King Henry VIII. the royal collection of tapestries reached such proportions that it is safe to presume that at no time did so many hangings lie at the disposal of any individual. The inventory made after his death enumerates and describes over 2,000 pieces of various sorts, of all subjects, and ranging in fineness from gold and silver-wrought altarpieces to coarse verdures. The document has been compiled by various scribes, and while some are most careful in discrimination of the different sorts, others are vague in their terms. There is, for example, no mention of " counterfeit" arras, that figures so prominently in other inventories of the period. Henry VIII. seems to have had a perfect mania for acquiring tapestries by any means that presented itself, and the state papers show numerous references to hang- 1 Bibliothecae Harleianae, No. 599. 25816th Century—England, Scotland and Ireland ings in connection with the Great Wardrobe. One of the most notable features in the political history of the period when attention was concentrated on the Netherlands, was the despatching of agents to Antwerp and elsewhere in the Low Countries on pretence of purchasing-tapestries, but really to acquire political intelligence, and Henry by his agents was well advised of what was going on. Thus, in the " News from Antwerp 26th May, 1539, he is informed that Jerome Sanese is yet there, and has spent 3,000 crowns on tapestry," 1 and on 20th October, 1539, there is first political intelligence, then the information that the treasurer Babo Frenchman (Philibert Babou de la Bourdaissiere, treasurer of France and superintendent of royal buildings) " has been here five or six days under colour of buying tapestries, but he is no man to be here for things of little importance." 2 It is to be remembered, however, that it was Babou who invited Jean Duval, a native of Flanders, to establish a workshop in Tours under his protection. The custom alluded to above, continued until the end of the century, as in 1598, when Charles Paget (uncle to Lord Paget) wrote to Barnes : "I am promised a passport for you by the cardinal under colour that you desire to come to Antwerp to buy tapestry and pictures for the Earl of Essex or some other of account, so when you come you must allege that cause." 3 King Henry's agent in Flanders had instructions to look out for hangings, and in 1538 he wrote: " I have 1 Gairdner, Letters and Papers of the reign of Henry VIII., vol. xiv., Pt. i, p. 472. 1 Ibid. Pt 2, p. 127. 3 Calendar of State Papers, Domestic Series, Addenda 1589-1625, p. 389. 25916th Century—England, Scotland and Ireland made a stay in my hands of 200 ells of goodly tapestry that will cost p the ell, but there hath not byne bought this xx yere eny so good for the price, if you would not bestow so myche send me word by the first. I did wryt unto my lord previe seal of a rich hanging of arras the which Philip Hoby hath seyn, who can make report thereof so that if it pleas yow to help to further the same it shall profit you in buying of tapestry to have it better chepe then the stuffe was bought that it was made of," etc.1 Henry VIII. had numerous transactions with the principal tapestry-dealers of his time. John Musty an, a native of Enghien, was his arras-maker early in the century.2 From Erasmus Skotte (Schetz), who sold many pieces to the Archduchess of Austria, the King bought the History of Tobias in eight hangings enriched with gold. It was formerly at Hampton Court, and one panel at least is yet in the royal collection. He had dealings with Peter Genghem,a dealer from Brussels. Petrus Van der Wall was also patronised by him, and furnished a set of four pieces representing Romulus and Remus for Hampton Court, and a bed " called my Lord Prince his bed." 3 The privy purse expenses show that in July, 1530, the King paid to Roche and Naylinghurst £68 5s. for 58J ells of " arasse," and two years later in May 1532 he " paied to Thomas Assheley s'vnt to my Lady Anne Rocheford for the use of Willm. Reding for xxxii Flemyshe elles of golde aras at xlvis. viiid. the elle : lxxiiii li xiiis. mid."4 1 Record Office. Letters and Papers of Henry VIII., Sect. 130, fol. 53. 2 Walpole, Anecdotes of Painting. 3 Royal MS. 7c. xvi. F. 60: British Museum. 4 Privy Purse Expenses of Henry VIII., pp. 59, 215. 26016th Century—England, Scotland and Ireland Henry received many hangings from the effects of people attainted, and he seems to have taken over Cardinal Wolsey's collection entire. A good many hangings became his property on the dissolution of the monasteries and religious houses in 1539. The Commissioners were instructed to report upon anything that might be acceptable to the King, as the following letter states. It is in connection with the visit to the monastery of Reading : " We find all according to the inventory and certain plate have attained that was conveyed to other houses, and more trust to find. As we were to certify what stuff was meet for the King, there is a chamber hanged with meetly good tapestry, which would hang a mean little chamber in the King's house, and this is all the household stuffe fit to be reserved. There is a chamber hung with six pieces of verdure with fountains, but the ends are foul and greasy, In the church are eight goodly pieces of tapestry, but of no depth, 13 copes, etc. Reed, for the use of the King. Ric. Pollard and John Williams, Commissioners.1" The visiting commissioners must have found many more important and more costly hangings than those seized at Reading, and reserved for the King's use. In the same year the King bought of Richard Gresham (the London merchant who supplied the Cardinal with so many hangings) thirteen pieces of verdures with waterflowers, at 2s. 2d. the ell, with other draperies.2 An inventory taken about 1543 shows a further addition to the royal tapestries by some sets seized as part of the estate of " sondrie persons attainted," but unfortunately it does not supply the names of the persons, nor much detail as to the hangings in question. All the royal palaces were plentifully adorned with the richest tapestries the world could furnish, and yet when theJKing went on journeys he was accompanied 1 Gairdner, Letters and Papers of the reign of Henry VIII., vol. xiv. Pt. 2, pp. 40, 41. * Ibid. p. 194. 26l16th Century—England, Scotland and Ireland by the " Removing Wardrobe/' in which were numerous hangings. A curious side-light is sometimes thrown upon history in connection with these, especially in the letters of the French agent in England, who diligently reported every little movement of the English King. Erom that source we learn that in 1539— " The King, who in some former years has been solitary and pensive, now gives himself up to amusement, going to play every night upon the Thames with harps, chanters and every kind of music and pastime. He evidently delights now in painting and embroidery, having sent to France, Flanders, Italy, ■and elsewhere, for masters of the art and other ministers of pastime. All his people think this a sign of his desire to marry if he should find an agreeable match." 1 Again, the French King was advised of Henry's movements: "The King is furnishing an old abbey; 1,500 workmen day and night, building, painting, and adding tents and pavilions. Besides, he has brought from London his richest tapestry, plate and dress." 2 In 1524, when preparing to receive the King of Scotland, the Privy Council advises the York Commissioners that four cart-loads of hangings, etc., shall be sent down from London to that purpose.3 To preserve his enormous collection in good condition, Henry VIII. kept a large staff of " arras-makers " or menders in constant employment. They belonged to the royal wardrobes at Westminster, Windsor, the Tower, etc. The Augmentation accounts of the Great Wardrobe give a list of the workers, the nature of the work, and the subjects of the tapestries they were engaged upon. The work consisted mainly in repairing and lining the hangings. The names of the workmen are of little importance under these circumstances, and the majority of names are English. The Augmentation 1 Gairdner, Letters and Papers of the reign of Henry VIII., vol. xiv., Pt. 1. p. 498. 2 Record Office 1183, Kaulek, 337. 1 Gairdner, Letters and Papers of the reign of Henry VIII., vol. xvii., p. 512. 26216th Century—England, Scotland and Ireland account, September 29, 1539, gives many names such as— John Browne, Richard Osborne, William Adamson, John Johnston, Peter Welsh, Wm. Sympson, while others are foreign :—Mathew Owteselde, Austley Van Poste, Cornelius Mustinge, Richard Rieman, etc. The sets of tapestry under repair at that time were History of King David, History of Troy, St. John the Baptist, while the " History of the^Apostles " was being lined.1 The inventory of tapestries taken after the death of Henry VIII. is so large that the exigencies of space forbid comment on it; but an abridgement giving the subjects and the palace to which they belonged may be interesting. The original inventory (British Museum, Bibl. Harl. No. 1419) gives the dimensions of nearly every piece. LIST OF TAPESTRIES FROM THE INVENTORY OF KING HENRY VIII. The Tower. Hangings of Arras. 9 peces of riche verdoure the grounde or fielde of golde. 10 peces of the riche historye of King David. 7 peces of the Seaven Deadelye Synnes. 4 peces of the riche hystorye of the Passion. 1 odde pece of olde arras of thistorye of the Passion. 5 peces of another riche historye of the Passion. 1 pece of Macaborne which hadd a border of the Duke of Buck, armes. 1 pece of Godfrey Bullen and the petygree of the Duke of Buck. 2 peces of Assure and Hestyre. 2 peces of the Three Kinges of Colleyn. 1 pece of Themperor Constantyne. 1 pece of Jupiter and Juno. 1 pece of the Baptysme of oure Lorde. 2 peces of Saynte George. 1 pece of Duke Josue which was saved at Shene, where the residue were orent. 7 peces of the Bucherons. 4 peces of Sampson. 1 pece wrought wl roses and sonnes made in King Edwardes tyme. 1 pece of the X Kinges of flraunce. 1 pece of the birthe of oure Lorde. x pece of oure Ladye wl hir sonne in hir armes. 2 peces of Salamon. 1 pece of riche Arras of King Erkinwalde. 1 pece of VIII Kinges. 1 Augmentation, Miscellaneous Book, no. 456. 26316th Century—England, Scotland and Ireland i pece of the woman of Canonye comynge to oure lorde with divers other men and women. i pece of our Ladye having Christe from the crosse in hir armes. i pece of our Ladye hir sonne and another woman having a peare in hir hand which was late the Lorde Cromwelles. i pece of the rote of J essay e, which was the saide Lorde Cromwelles. Hangings of Tapestrye. i pece of the Tryumphe of Dyvinytie. 1 pece of fame and honor. 2 peces of Muliager. 6 psces of the Passion. 7 peces of the Storie of ladies. i pece having therein the armes of London and the Grocers armes, Imagery. 7 peces of thistorye of Hercules. i pece Imagerie of the letter B. 4 peces two of theym w1 fountaynes. i pece Imagerye of the letter B. i pece Imagerye of the letter N. 3 peces of the letter E for windowes. 1 pece of the letter N w* ffounteynes. 2 peces of Verdours w* Children. 13 windowe peces of Verdoures of hawking and hunting with borders of roses, castelles and pomeygranettes. 1 little windowe pece of verdoure of Newehall stuffe. 1 carpett . . . w1 a ladie in the myddest and an Unycorne by hir. 14 counterpoints of various subjects, such as the root of Jesse, St. George, fount- ains, verdures, green verdure with small flowers having the King's arms in the middle and his badges at the four corners, etc. 1 pece of hawking and hunting. 5 peces of Tapestrie for a chambre. 1 olde Chymney pece of Tapestrie. 2 windowe peces of Tapestrye. 4 windowe peces verdoures letter. Hangings of Arras. 12 peces of thistorye of the XII Monethes. 2 olde peces of thistorye of David and Absalom. 1 olde pece for an aulter of the Crucifix. 1 pece having the Image of our lady, aungells playing uppon Instruments. 1 pece of the Passion. 9 peces of the Storye of thactes of thappostles. 7 peces wrought w4 antiques. Grenewiche. Hangings of Arras. 5 peces of tholder Storye of King David. 2 peces of the storye of youth for the hall, one piece a " ceelor " the other for a " testor." 1 pece w* a man a woman and a flagon. 26416th Century—England,, Scotland and Ireland 6 peces of St. John. 6 peces of Muliager. 2 peces of a Kinge keeping sheape. 2 peces of the Seaven Ages. i pece of Hawking and hunting. 3 peces whereof one pece is small . . . the greatest was sent immediatelye agayne to the tower. Hangynges of Tapestrye. 4 peces marked wl the letter M. 4 peces marked w1 the letter P. 6 peces marked with the letter b. 6 peces of the complexions. 6 peces of Haniball. 5 peces of the three estates. 6 peces of greate hawking. 2 peces of Lotte. i pece for the Gallerye at the neyther ende^of the halle. 4 peces of Remus and Romulus. 9 peces sorting, late bought of tholde Duchess of Norff. 35 peces icell of the peces provided for the longe gallery towardes the ffryers at Richemounte of hawking. 3 peces of Amor dei. 1 pece of Hestre. 5 peces of forlornne sonne all de filio prodigo. 2 peces Salamon, w4 two roundelles having scriptures within the same roun- delles. 9 peces of Tapestrye. 9 windowe peces and 7 peces of Tapestrye greafand small. 4 peces of Ymagerye of thistorye of filius prodigus. 9 peces of thistorye of Saynte Paule. 15 peces of thistorye of David. 1 pece of thistorye of Sampson. 1 olde pece of Josue, unlyned and unshiuteable. 8 peces of thistorye of the Passion. 9 peces of Verdours of sondrye Sortes. 7 peces of Verdours of the brode blome, having popinjays^at the neyther cor. ners, a rose of redde and blewe at thupper corners. Westminster. 1 pece of Josephe and oure Ladye wt Her Sonne^in Hir armes. 2 peces of the Salutation of our Ladye. 1 pece of thassumption of our Ladye. 1 pece of the oblation of the three Kinges of Coloyn. 1 pece of Christe takinge from the crosse. 1 pece of Arras of our Ladye with hir Sonne in hir armes receiaving a Cluster of grapes in a Cuppe. Another pece of our Ladie with hir sonne in hir armes. 2 peces of Arras of St. Jherome. 26516th Century—England, Scotland and Ireland 5 peces of fine Arrets of Diverse Stories. 5 other peces of fine Arras with Antique Borders. 4 peces of the Passion of Chrisie. I pece of thistorie of Traian. 1 pece of an aungell saving too children from drowning. 2 peces of Pleasaunce. I pece of a wilde boore. i pece of Christe scourged. i pece of oure Ladie. i pece of St. George. 5 peces of Arras of David. I pece of olde Arras of the XII apostolles. I pece of the birthe of Oure horde and the death of Oure Ladye. 4 peces of fine tapstrye of the Triumphes. 7 peces of old Tapestrye of Triumphes. 6 peces of Tapstrye of Hester. 8 peces of Tapstrye of Amor and Prudence. 5 peces of Tapstrye of the IX worthies w4 the Cardinall's armes. 4 peces of Tapstrye of the Passion. 5 other peces of Tapstrye of the Passion. 8 peces of olde Tapestrie of Ector. 4 peces of olde Tapestrie of Grisoll. io peces of Tapestrie of Jacob. 9 other peces of Tapestrie of Jacob. I pece of Tapestrie of honor. 1 pece of Tapestrie of the Governour. 2 peces of olde Tapestrie of Moyses. Another pece of Tapestrie of Moyses. 4 peces of Tapestrye of Absilon. 20 peces of the Tapestrie Josue, w* the Cardinal's armes. 4 peces of Tapestrye of Hercules. 12 peces of Tapestrie used and thinne peces of Marye and Christe. 3 peces of Hector. 13 windowe peces of Divers Stories w1 the Cardinal's armes. 1 pece of Susanna. 1 pece of St. John. 6 peces of Tapestrie Sorting. 3 peces of Verdours. 3 windowe peces of Tapestry. 7 peces of fine newe Tapestrie of the Historye of Vulcanus, Mars and Venus. 6 peces of fine newe Tapestrie of the Historie of Helena and Paris. 6 peces of the Historye of Meliager. 9 other peces of the Historye of Meliager, hanging for a long gallery. 5 peces of Tapestrie of the Sabinians. 7 peces of Tapestrie of the VII Virtues. 7 peces of thistorye of Ruthe. 8 peces of the Historie of the Kinge of Surrey. 6 peces of thistorie of filius prodigus. 6 peces of Synne and Vertue. 6 peces of thistory of Hercules. 26616th Century—England, Scotland and Ireland 39 windowe peces of hangings of fine Tapestrie Imagerie. 6fpeces of Verdoures of the brode blome withe birds having apples beneath, and above at the corners of the border. 7 peces of Verdoure w4 waterflowers and birdes havinge pomeygranates at either corner and apples w* roses at the nether corners. Hampton Court. Arras. I small pece of Christe taken from the crosse. 1 little pece of Josephe and oure Ladye of Tapestrie. J peces of the passion. 2 peces of thassumption of oure Ladye. 1 pece of St. George. 2 peces of thistorye of Eneas. 3 peces of the three fatall Ladies of Destenye. 9 peces of newe Arras of thistorie of Sainte Paule. 10 peces of newe Arras of thistorie of Josue. 10 peces of newe Arras of thistorie of Abraham. 10 peces of newe Arras of thistorie of Julius Cesar. 6 peces of the VII Beattitudes sometyme being but 1 pece. jo peces the grounde w1 flower de Luce and pesecodds of golde. 2 peces of Pleasure, 1 pece of Duke Brye. 3 peces of old Arras of hawking thone of theym being made of sondrie peces. 2 peces of old Arras of beasts having the Arms of England. 2 peces of old Arras in thone of theym is Sonne, in thother the sonnebeames. 3. peces of old Arras w1 borders of Rooses and Children clyming uppon theym. 3 peces of old Arras of boys and Tries. 2 peces of old Arras of the Sedamourd of Hunting of wild beaste, sometime a celar or counterpointe of Tapestrie. 3 peces old Kings and aungells. peces of Tapestrie of thold lawe and the Newe. 5 peces of Tapestrie of Triumphes. 1 pece of Tapestrie of Samuell. 5 peces of Tapestrie of thistorie of Susanna, having borders of the late Car- dinally arms. 6 peces of Tapestrie of thistorie of Jacob, having borders w1 the late CardinaJl's arms. 1 pece of Tapestrie of Oliphernes, having a bordre of the saide Cardinall's arms. >6 peces of Tapestrie of thistorie of Sampson, having bordres w* the late Cardinall's arms. 3 peces of Tapestrie of Olyfernes and having bordres of the late Cardinall's arms. 6 peces of Tapestrie of the Passion. 4 peces of Tapestrie of the Passion. 1 odde pece of Tapestrie having on it a man pictured in harneys on horsebake. a 1 peces of Tapestrie of thistorie of King David. 8 peces of Tapestrie of David of L. and E. 2. peces of Tapestrie of David with the bordres of the Cardinall's armes. 26716th Century—England, Scotland and Ireland i pece of Tapestrie of David and Saull, having a bordre of the late Cardinall's armes. 6 peces of Tapestrie of the IX Worthies, having bordres w* the late Cardinall's armes. 4 peces of Tapestrie of Quene Hester, having bordres w1 the saide Cardinall's armes. i pece of Tapestrie of thistorye of Filius Prodigus, having bordres of the Cardinall's armes. 4 peces of Tapestrie of Filius Prodigus having the Kinge's armes in theym. 5 peces of course Tapistrye of Filius Prodigus. i pece of Tapestrye of Filius Prodigus having a bordre w* the saide Cardinall's armes. 3 peces of Tapestrie of the Seven Sciences. 5 peces of Tapestrie of the Moryanes. 1 pece of course Tapestrie of banketing. 2 peces of course Tapestrie of Gideon. 5 peces of Tapestrie of Plesaunce. 8 peces of Tapestrie of Hercules. 2 peces of fyne Tapestrie of Cupido of B. 5 peces of like Tapestrie fine of Cupido. 1 pece of Tapestrie of Daniell w* the Cardinall's armes. 7 peces of Tapestrie of Assures and Hester. 5 peces of Tapestrie of Epolitus. 8 peces of Tapestrie of Solamon. 6 peces of Tapestrie of Poetree. io peces of Tapestrie of Divers Histories. 8 peces of Tapestrie of Divers Histories, having the lorde Sandes armes in them. 5 peces of course Tapestrie of Diverse Histories. 2 peces of Tapestrie of course of Parke work. 27 peces of course Tapistrie of Hawking and Hunting. 5 peces of Tapestrie of Ladies. 6 peces of Tapestrie Sorting, having borders w4 the late Cardinall's arms. 9 peces of Verdours wt the Wort hie Ladies. 2 peces of course borders. 10 peces of course w4 pules and beastes. 2 peces of course Verdoures. 8 peces of course Verdours. 27 peces of course Verdoures, the upper part with Imagery. 1 pece of Arras of the komyng into Englande of King Henrye the VII, taking w* thone hande the crowne from King Richard the thirde, usurper of the same, and w* thother holding a roose crowned, given by the Mr of thorse. 1 lyttel pece of Arras of Christ in Our Ladies armes. 1 pece of Arras of the marriage of a King and Quene, by the Mr of the horse Sir Anthonie Browne. 1 pece of Arras of Chviste and one giving him grapes and our Ladie standing by. 9 peces of Hunting of Tapestrie of thistorie of Venus and Cupido. 8 peces of hanginge of Arras of thistorye of Tobias bought of Erasmus Skotte, merchant. 4 peces of Arras of thistorie of Romulus and Remus, bought of Petrus Van d'Val, merchant. 26816th Century—England, Scotland and Ireland 5 windowe peces of Jacob. i windowe pece of Tapestrie of David. i windowe pece of Tapestrie of Samuell. i windowe pece of Tapestrie of Seven deadlie Synnes. i windowe pece of Tapestrie of Salamon. 1 windowe pece of Tapestrie of Joseph. 2 windowe peces of Tapestrie of Sampson. I windowe pece of Tapestrie of the nyne Worthies. 3 windowe peces of Tapestrie wl tharmes of St. Cuthbert and Bishop Rothall. i windowe pece of Tapestrie of Anna. 10 windowe peces of Tapestrie w* grene flowers in theym of R. 11 windowe peces w1 the Cardinall's armes L. 4 windowe peces of Verdours w1 small flowers, i post pece of Tapestrie of Susanna. 1 post pece of Tapestrie of Olyphernnes. 11 border peces of Tapestrie. Otelands. Hangings. 5 peces of Tapestry with fountaynes. 4 peces of lyke Tapestry with fountainnes. 2 peces of lyke Tapestry with fountainnes. 2 peces of Verdours with birdes and leaves. 4 peces of Verdours with Waterleaves and birdes. 6 peces of Tapestry with Branches and boys playinge. 5 peces of like Tapestry with Branches and boys playinge marked with the letter F. 7 peces of Tapestry Imagery of the historye of Cupido marked with the letter B. 7 peces of Tapestry of Filius Prodigus marked with the letter O. 4 peces of like Tapestry of the sad History of Filius Prodigus marked with the letter d. 5 peces of like Tapestry of the sad History of Filius Prodigus marked with the letter E. 5 peces of like Tapestry of the sad History of Filius Prodigus marked with the letter G. 3 peces of Tapestry of Brode blome with beastes and birdes marked with the letter H. 6 peces of Tapestry of Hawking and Huntinge marked with the letter L. 2 small peces of Tapestry of the saide Hawking and Huntinge marked with the saide letter L. 5 small peces of Hawking and Huntinge marked with the letter L. 7 peces of verdours w4 Braunches marked with the letter S. 5 peces of Verdours w4 brode blome marked with the letter M. 6 peces of brode blome w* paycockes marked with the letter N. 4 peces of Verdours in brode blome marked with the letter Q. 6 peces of Verdours w1 brode blome marked with the letter P. 4 peces of Verdours with brode blome marked with the letter Q. 5 peces of Verdours for chymneys. 26 peces of course Verdoures with flowers for wyndowes. 8 peces of Tapestrie and Verdoures. 6 peces of Verdours with great flowers 26916th Century—England, Scotland and Ireland 1 pece of Verdours of letter S w4 a fountayne in the mydst. 4 peces of Verdours of letter O with fountaynes. 2 peces of Letter L with fountaynes. 5 peces of Tapestry of Hawking and Hunting. 2 Gallerye peces of Tapestry. 4 peces of Tapestry of letter H. 3 peces of the storye of Solaman. 12 peces of Hercules. 6 peces of ,Joseph and Jacob. 13 peces of Joseph and Jacob. 6 peces (subject not given). 5 peces (subject not given). 3 peces of Tapestry of Bankett. 6 peces of Octavian of Tapestry. 1 windowe pece of Tapestry with oure Ladye and hir sonne in the myddest. 1 other pece of Tapestry with St. Eustace. 5 peces of Tapestry with fountaynes. 6 peces of Verdours with beastes, birdes and fountaynes. 15 peces of Verdours. - 4 peces of Verdours. 1 pece of Verdour. 2 peces of Verdours. 14 peces of Verdours with birds bestes and fountaynes. 18 peces of the same Verdours. 5 peces of Tapestry of the storye of King David. 9 peces of Tapestry of thistorye of Troye. 1 pece of Tapestry of the historye of Alexander. 1 pece of Tapestry of the historye of Hercules and 5 peces of Imagery having in one of them two hooles. 11 peces of Tapestry of Hawkinge and Huntinge. 9 peces of Tapestry of the storye of Saull paned. 6 peces of Tapestry of Cupido. 7 peces of Hawking and Hunting paned 14 peces of Verdours of broodeblomes with birdes having aples beneath and above at the corners of the borders paned. 14 peces of Verdours with brodeblomes with birdes, having, at their corners and roundells. 14 peces of Verdours of the brode blome whereof some with pomegarnetts some with Roses and some with pottes at the corners. 5 peces of Verdours with small flowers having at the corners beneath flagges. 21 peces of Verdours of sundry sortes and diverse depthes and lengthes. Nonesuche. Hangings. 1 pece of Arras of the Passion. 10 peces of Tapestry Verdours of the brodeblome having pomegarnetes wt red and blewe flowers at the nether corners and clusters of fruits at the upper corners. 3 peces of Tapestry verdoures of the broodeblome and sundry sortes. 270The Separation of Abraham and Lot. Flemish, Brussels, 16th Century. Abraham buying the Field of Ephron. THE HISTORY OF ABRAHAM. HAMPTON COURT PALACE.16th Century—England, Scotland and Ireland 15 peces of olde Tapestry of divers Histories. 1 verye olde pece of Arras. 6 peces of verdours chequered with red and tawny, and with the late Duke of Norf. his armes in the myddest of everye of them. Windsore. Hangings : Arras. 7 peces of the Siege of Jerusalem. 1 pece of the Trinitie and of the Assumption of Our Ladie. 1 olde pece of Attorney. 1 olde pece of the Sepulchre of Our Lord. 5 olde peces of rich Arras of Attorney, which hath [been sixe peces but now 2 of these peces are made in one pece. 5 olde peces of the history of Assuer and Hester. 1 goode pece of olde Arras of Charlemayne. 2 peces of olde Arras of Mountalbon. 11 peces of Tapestrie of the Siege of Troie. 1 small Tapestrie of Youthe, cities and Towns. $ peces of Tapestrie of Hawking and Hunting. 2 peces of olde Tapestrie of David. 4 peces of olde Tapestrie of David w' Scriptures. 5 peces of hanginge made of woole wrought with Lyllie Pottes painted redd and blewe. 5 peces of Tapestry of thistorye of Triumphes. 4 peces of Tapestry of vyneyards. 5 peces of Tapestry whereof fouer of theyme Astiage the 5th pece is of Goddes and Goddesses. 5 peces of olde Arras. 9 peces of olde Tapestrie of Imagery. 4 peces of Tapestrie of the Passion. 3 peces of Tapestrie of the Passion. 5 peces of Tapestrie of Imagery. 9 peces of Verdours with fountaynes. An olde cloth of State of riche Arras of King Clovis of Fraunce with flower de luces. 1 olde counterpoynt of riche Arras of Peax and Concord. 4 counterpoynts of Verdours. wooddestocke. Hangings of Arras. 2 peces of olde Arras of King Charles. 1 pece of the Crucifixion and the Assumption of Oure Ladie. 2 peces of olde Arras of Justinge of Knightes. 1 pece of Arras named in tholde book but Tapestrie. Tapestry. 5 peces of thistorye of Moyses. 2 peces of Sheopherds. 1 verye olde pece of Tapestrie mencioned in tholde booke for Arras. 1 pece with sondrie white sheldes of scriptures. 27116th Century—England, Scotland and Ireland 5 peces of Divers Histories. 6 peces of Bucherons. 1 pece of Hawking and Hunting. 5 peces of Verdours wt beastes and fowles. 2 chimney peces of Verdours. 4 verye olde peces of Verdoures wt Imagery being so olde broken and torne that they cannot be measured. 7 peces of olde Verdours paned white and redd. 3 peces of olde Verdours sore worne. 3 peces of Verdours paned Murrey and blew having the Kings Armes in them, i verdoure pece of small verdoures. r 6 peces of olde verdours wt Children. io peces of Verdoures wt trees. The More. Hangings. 1 pece of Arras of Charlemayne. 2 peces of Arras of Duke Brye. 1 pece of Arras having fowles therein bering banners of tharmss of England about theyr neckes. 4 peces of the history of Arthur. 4 peces of thistorye of Moyses every of them having a bordre of thlate Cardinall's armes. 4 peces of thistorye of Astiages and Cirus every of them having a bordre of the late Cardinall's armes. 7 peces of thistorye of Salamon having borders of the late Cardinall's armes. 5 peces of Tapestrie of thistorie of Hercules. 3 peces of Tapestrie of thistorie of Filius Prodigus having a bordre of the late Cardinall's armes. 7 peces of Tapestrie of thistorie of Jacob border as before. 3 peces of Tapestrie of Emelike, Malaon and Ruthe having the said borders. 2 peces of Tapestrie of thistorye of Sammuell having a border of the late Car. dinall's armes. 5 peces of Tapestrie of thistorye of Tobias having borders of the late Cardinall's armes. 3 peces of Tapestrie of David having borders of the late Cardinall's armes. 5 peces of Tapestrie of thistorye of St. John having the said borders. 7 peces of Tapestrie of thistorye of Sampson having a border of the late Cardinall's armes. 6 peces of Tapestrie of thistorye of Joseph having a border of the late Cardinall's armes. 7 peces of Tapestrie of tholde Lawe and Newe without tharmes. 7 peces of course Tapestrie sorting named pleasauntes. 9 peces of Tapestrie of thistorye of the .Monethes. 6 peces of Tapestrie of Wood-hewers. 4 peces of Tapestrie of thistorye of Woodwifes or Wilde men. I pece of Tapestrie of Hawking and Hunting. i pece of Tapestrie verye olde wt trees in yt. 5 peces of Tapestrie of thistorye of Suzanna. io peces of grene verdoures wt parkes and trees in them. 27216th Century—England, Scotland and Ireland 10 peces of hangings of olde stuffe called Ontnaill wt beastes and flowers and a. skutcheon in a garland in the myddes. I windowe pece of Tapestrie of Judith and Olyfernes. x windowe pece having tharmes of St. Cuthbert in yt. 1 post pece of Suzanna having a border of the late Cardinall's armes. Richemonde. Hangings. 7 peces of Tapestrie of thistorye of Jupiter. 2 peces of Tapestrie of thistorye of Saul. 4 peces of Tapestrie of thistorye of Brute. 3 peces of Tapestrie of the Passion. I pece of Kinge Salamon giving judgemente to two women of their children, i pece of a king banketing and one woman with apples in her lappe. I other pece having a king and a woman offering cherys to him in a dysshe. I pece of thofferings of the three Kinges of Colaign. i pece of Tapestrie of the birthe of Christe. I pece having a man standing and before him one kneling with a letter in his hande. 1 other pece having a king and a woman and ii men in it. 31 peces of Tapestry of Hawking and Hunting. 14 peces of Tapestry of divers Histories. 14 windowe peces of Tapestrie, x of them with bells in thupper border thother iv of Hawking and Hunting. 4 peces of Verdours with fountaines and beastes. 5 peces of small Verdours with scutcheons in theym. 2 peces of Verdours paned with yellow and redde. 2 peces of Verdours chequered with blacke and yellowe. 30 peces of Verdours with braunches and rooses in theym. 12 windowe peces of like stuffe with braunches and rooses in theym. 4 windowe peces of Verdours 2 of them parkeworke. 21 border peces of Verdours of sondrie sorts 3 of them having dolphins and Bishopp Courtney his armes. 2 peces of Arras of Cressent. 2 peces of Arras of Bevis. 1 pece of Arras of the Roote of Jesse. 1 pece of Arras of Nabugodonoser. 1 pece of Arras of Jerusalem. 1 pece of. Arras of thistorye of Traiane. 1 pece of Tapestry of the transfiguracon. 1 pece of Tapestrie of tholde Lawe. 1 pece of Tapestry of the Bishoppe of Rome and Themperor. 1 pece of Vertue and Vice fighting. Newhall, Essex. Counterpoint of Tapestry wt the VII Synes in the border. Notyngham. Hangings. 5 Tappete of Tapestry of collyne of grapes and pressing of wine. H.T. 273 l816th Century—England, Scotland and Ireland 3 peces of Charlesmayne of Amis and Amilis, verye olde and in manie places broken. i pece beginninge " Cum Rex Naulus" (cut in two the 2nd portion beginning) " Diomedis ver." i pece beginninge " Aniseles beastes " (cut in two the 2nd portion beginning) " Simalaberunt." i pece beginninge Musaitags Salamonis. i pece beginninge " Lectulne Salamonis." i pece beginninge " Mercurius paradi " (cut in two pieces), i pece beginninge " Jeroboasoz suadebat." i pece beginninge " Josias pla." i pece beginninge " Suorunt Salamoni." i pece beginninge " Achias." i pece beginninge " Peregrinatus of Abrahm." i pece with 5 verses in Frenche. 1 pece beginninge " Senera." 1 pece " Opprunittus R. enlia." very olde and broken. 1 pece beginninge " Romani Interpollanerunt." 1 pece" with men fightinge with wilde beastes. 2 peces of Japeth and Kanne 5 peces of Hawkinge and Huntinge. 1 pece of Settinge of Grapes. 1 pece having a King crowned with a septer in his hand sittinge under a cloth of state. 4 peces of Hawkinge and Huntinge, 4 peces of paned verdures blewe and murrey with the Kinge's armes. 5 peces of fyne Tapestry some peces wrought with silke. 2 olde peces of verdours having white flowers, verye olde and broken. 4 olde peces of white verdours, very olde and broken. Saint Johns. Hangings. 1 lardge pece of Arras. 8 small peces of olde verdoures. 4 peces of olde Arras muche worne. 2 grete peces of Tapestrie of thistory of Huntinge and Hawking. 2 large peces of Tapestrie of an olde History. 3 other little peces and 2 other. ■8 old peces of Tapestrie. 3 peces of old Tapestrie. 3 grete peces of olde Tapestrie. 5 peces of olde yellowe verdours with bestes and birdes. 6 peces of olde Tapestrie. 3 litell peces of olde Tapestrie. Bedyngton. Hangings of Tapestry olde and sore worne. 1 pece of Tapestry of a quene sittinge under a clothe of Estate having a grene gowne of redde braunches and 2 boies at her fete, having a hoole in thone side. 27416th Century—England, Scotland and Ireland i pece of Tapestry with a white Lyon in hit and a King sitting in his Mte and 2 Quenes kneelinge before him in grene gownes thone full of red hartes. i pece having a Quene sitting under a Canappe and a boie at hir fete with Cencers in his hand, i pece having a King sitting under a canopie and a boie at his feete with a cencer in his hand. i pece of a King sitting under a cloth of Estate a septer in his hande and a boie at his feet with a litell white dogge behind his legge, a pece of the bourder tome of beneth. i pece having a Kinge with a graybearde and a woman kneling before hyme in a blue gowne and a woman behinde hyme in a grene gowne. i pece having a Quene in a grene gowne with redde hartes uppon it with a table having a face in it, twoo fooles, lyinge in a nette. i fyne pece having a man in his ma"1, having twoo women kneling at his feete thone clothed in a blewe mantell and thother in a grene gowne. i pece having a man delivring a letter to a woman by a fountayne side, i pece having a fountayne wt Cupid in the toppe wt divers musysions playing and singing having a scucheon under the fountayne wt a harpe in hit. i pece having a king and a Quene sitting with septers in their hands the King having a grene mantell the Quene a blewe. i pece having a King sitting in his Matie with two men over his head one killing thother. i pece having a King and Quene sitting in Majestie with a man and two women behind them over their heads. I pece having a man in harvest pulling a woman to hym in a blewe cotte and divers other harvest men taking women by violence, i pece having a man standing under a Clothe of Estate and afore hym an old man in a blewe garment delivring hym a letter wt 2 Seales. x pece of Hunting having a fountayne in hit. 1 pece of banqueting of a King and a quene being olde course and full of hooles. 1 pece having a man armed uppon horseback wt a border of bells in the Top. 1 like pece having a man armed on horseback wt a cross on his brest a whyppe and a scourge wt a border of bells at the top. 1 pece of two harvest men uppon horseback runyng wt staves without hedde. 1 pece of Hawking and Hunting wt a fountayne in hit. 1 course pece having a man sitting in Majestie wt 2 men having two billes on either side of hym. A soore verey foule broken abouthe bourdre. Another course pece having a Kinge sitting in Majestie wt a littel beast having a man's face at hys feet. 1 course olde pece neding mending, having twoo Kinges sitting in Majestie wt redde gownes wt artificers in hit. 1 pece of olde course Tapestry of a Kinge sitting wt a crowne on his heade receiving another crowen. 1 olde course pece past the Kinges use having a Kinge sitting in Matie being before him a man wt a crowne on his arme. 1 other course pece broken having a King sitting in his Matie in a redde gowne furred with powdered armyns and a woman kneling before him in a grene gowen. 1 course broken pece having 2 Kings sitting in their Matie thone in a gray gowen thother in a redde powdered wt armyns. 27516th Century—England, Scotland and Ireland i verey olde torne pece having a Kinge in a grene gowen and a woman in a grene gowen. i olde broken pece having 2..., sitting with a Crowne between their hands. 6 peces of verdours wt beastes and fountaynes. 5 course olde peces sore . . . wt hooles of small verdours wt beasts and foules and scucheons in the myddest. The Princis Guarderobe. Hangings. 3 peces of Arras of the three Estates. 4 peces of Tapestry of Egene. 4 peces of Hawking and Huntinge. 4 peces of small Hawking. 8 peces of Imagery marked wt the letter A. 1 pece of old Tapestrie of the Dome. 6 peces of Tapestrie of the Citie of Ladies. 4 peces of Tapestrie of Troie. 1 pece of Tapestry of Zacharie. 3 peces of Tapestrie of thistory of Nabugodonosor. 1 pece of Tapestrie of thistory of A sure. 2 peces of Tapestrie of St. George. 1 pece of Tapestrie of Salamon. 1 pece of Tapestrie of Shepardes. 4 peces of Tapestrie of Hawking and Hunting. 1 pece of Tapestrie of the Salutation of oure Ladie. 8 peces of Tapestrie old of Thebes. 4 peces of Tapestrie of thistorye of Jacob. 4 peces of Tapestry of the Moryans. 3 peces of Tapestrie of the Passion. ' 1 pece of Tapestrie of the Citie of Peace. 3 peces of Balam and Balack. 11 peces of course Tapestry being broken of filio prodigo. 4 peces of Verdours parkeworke. 2 peces of Verdours wt small flowers. 3 small peces of Verdours marked wt the letter b. 4 peces of Verdours with braunches, beastes and fowles. 2 peces of Verdours with fountaynes, beastes and fowles. 6 windowe peces of Verdours Parkeworke with beastes and fowles. The Removing Guarderobe. Hangings. 6 peces of Hercules. 6 peces of Tapestrie of the Ladie Fame. 5 peces of Tapestrie of Charlesmayne. 17 peces of Tapestrie of Y and G. 6 peces of Tapestrie called yellowe tapestries. Verdours. 10 peces of verdours with Children. 14 peces of Verdours wt grete flowers. 8 peces of verdours wt Roses. 19 peces of Verdours 6 of them called Choked verdoures. 27616th Century—England, Scotland and Ireland The Lady Mare's Guarderobe. Hangings of Tapestrie. 5 peces of fyne Tapestrie viz. i pece with a woman riding in a redd car drawen by twoo white horses, i pece wt a King riding in a chariott in a blewe gowne with starres. i pece wt a Knight putting of a gaxland upon a woman with a blewe hatt on his hedde. i pece wt a King with a green reed in his hand and a woman kneeling before him. i pece wt a boye sitting in a close cheyre with a speare in his hand. 7 peces of newe Tapestrie viz. i pece wt a fier in the middst. x pece having a citie in thone ende. I pece having a woman hanging in a cloud in a yellow gowne a fier and a citie. I pece having a woman in a cloud wt the world in thone hand and a bunch of grapes in thother. i pece having a cheire wt two wheales drawn by twoo beasts in the last corner, i pece Destrucion of the Children under Herod. i pece having one riding upon a white horse hanging in a cloude of fier. 5 peces of newe Tapestrie viz. I pece of Hunting with 4 pottes at the foure corners. 1 pece of Hawking and Hunting. 1 pece wt some naked boys at the 4 corners, and 1 pece of a woman in childbedde wt foure children and divers in her chamber. 6 peces of Tapestry of the letter B, having 4 divers Kings and Queens sitting under clothes of Estate. 16 peces of Tapestry of Hawking and Hunting wt borders of the Kinges armes and letter E. 7 peces of fyne Tapestry. 2 peces of Tapestry of Cupido. 2 peces of tapestry wt a man in the middst and a tree rising at his back, and (2nd) a man and a woman standing in the myddest by twoo trees. 15 peces of verdours wt brode blome and waterflowers. 1 carpett or windowe pece of tapestry marked wt the letter B. 1 carpett or windowe pece of tapestry marked with the letter L. 13 carpetts or windowe peces of Verdours. 1 carpett or windowe pece of verdour wt braunches of rooses and beastes. The Lady Elizabeth Guarderobe. Hangings of Tapestrie. 5 peces of Imagery of Hunting and Hawking. 1 windowe pece of fyne Tapestrie Imagerie. 4 peces of Tapestry of Hercules having the King's armes in the border. 4 peces of Tapestry of the Vyneyards. 6 peces of Tapestry of the Triumphs. 6 peces of Tapestry of the Citie of Ladies. 6 peces of verdoures in Parke of wilde bestes. 9 peces of verdoures of the brode blome wt birdes having at the nether corners redd roundells. 2 peces of verdours of brode blome wt pomeygarnettes at the corners. 27716th Century—England, Scotland and Ireland 21 peces of verdours of the brode blome wt apples and a flower in the myddes at thupper corners and a pomeygarnetes wt redde flowers and blewe at the nether corners. 24 peces of verdours of the brode blome of like making. 3 peces of verdours of sondrie sortes. 12 windowe peces of verdours of the brode blome. Of this splendid collection few specimens probably were of English workmanship, although important references are made to English tapestry-weavers about the middle of the century. One of the monks of Canterbury cathedral practised the craft, as is shown by an inventory made about 1563 that sets forth—"iiij pendauntes of arras wroghte withe golde and ij frountes for the same of the gyfte of Sr. Anthonie Sentlygr knyghte sometime made by one heretofore a monck of this house.1 The religious persecution in the Netherlands about the middle of the sixteenth century was a potent factor in causing the extensive emigration of artisans from that part of Europe. Many of these chose England as an asylum or a place of permanent abode, and the southern counties of the island were more favoured by the tapestry-weavers of Flanders. There were settlements in such towns as Norwich, Colchester, Maidstone, Canterbury, and Sandwich. The registers of York have recorded the names of two tapissiers in 1570 : Esdras Browyns, Dache-man (Dutchman), and Anthony Rayskaert, Dacheman, described as " Arres-workers." 2 The Sandwich settlement was earlier, about 1561. They were favourably received by the town authorities, and when the magistrates had occasion to petition Secretary Cecil in regard 1 Inventories of Christ-church, Canterbury. J. Wickham Legge, F.S.A., and W. H. St. John Hope, M.A., 1902, p. 222. 2 Journal of the Derbyshire Archaeological Society, 1894, p. 90: the Rev. Charles Kerry quoting the Rev. Canon Raine, of York. 27816th Century—England, Scotland and Ireland to a suit concerning their harbour they, upon the suggestion of Sir Roger Manwood, sent as a present to the Secretary six arras cushions, " the first work of the strangers in the town." 1 This was in 1561, and in giving the advice Manwood showed keen penetration, for Cecil was a lover of tapestries : he addressed several inquiries to his agent in Middleburg (Charles Keynell) in 1597 in reference to hangings. On one occasion the latter failed to find any at 8s. per ell: the prices specified as the regulation ones in Middleburg were 6s. and 10s. per ell. He sent, however, a piece of 6s. per ell on approval. Later he writes that he has spent the day searching (evidently for some special kind), but there was only one man in the town who kept it, and he had only the coarse, from Brussels and Antwerp, and none came to Middleburg unless bespoke. " If you," says he, " have no present occasion for it and can have it made, there is no better place than here for it. There is one suit for personnages, very fine, but it is not yet finished." Again in December he writes: " The tapestry is this day landed, six pieces containing 180 ells Flemish at 17s. per ell, to be returned if not liked. The owner stands upon a sale thereof to a Spanish merchant who has offered is. per ell less. I have chosen the English post, who has promised care thereof." 2 The most amusing role that tapestry played in the reign of Queen Elizabeth was in December, 1598, when Charles Lister made his affidavit before Sir Charles Blount, Lord St. John, and three others. He laid a 1 Historical Manuscripts Commission, Report 5, p. 569. 1 Calendar of State Papers, Elizabeth, Domestic Series, vol. 1595-7, PP- 4^5. 496, 548. 27916th Century—England, Scotland and Ireland complaint of courtship expenses on understanding of marriage against a Mrs. Bridges. The presents included a suite of tapestry hangings for her chamber. It reads strangely like a modern breach of promise case, only in 1598 it was the gentleman who sued the lady, with what success I am unable to learn.1 About the middle of the sixteenth century there was established in England a tapestry workshop under native direction, due to the initiative of one Englishman and conducted by another. The founder was an English country gentleman, William Sheldon, of Weston and Brailes in Warwickshire and Beoley in Worcester. He commissioned a certain Richard Hyckes of Barcheston to go to the Low Countries for the purpose of studying the craft of tapestry-weaving. On his return looms were set up at Weston, and also in the manor of Barcheston. It is reported that Flemish weavers were introduced, the theory being that in some works done in the manufactory the English words are spelled in the continental fashion, an inconclusive argument. Obscure as the history of the undertaking is, it is possible to glean a little information as to its length of life, capacity, and manner of execution from works that emanated from it and are yet extant. These are the curious tapestry-woven maps of English counties that form one of the attractions of the Museum at York, while others are preserved in the Bodleian Library. Some panels of figured design have been attributed to Squire Sheldon's manufactory, and the treatment of the borders of the 1 Calendar of State Papers, Elizabeth, Domestic Series, vol. 1598-1601, pp. 131-2. 28016th Century—England, Scotland and Ireland maps at York shows sufficient ability^to produce works of a higher class. One of the maps in the Bodleian Library bears the name of the original master-weaver, Richard Hyckes, but unfortunately the piece is badly mutilated. The inscription runs : " Wigorn : Comi: Locupletata : Ric : Hykes." The border is missing in parts, but enough remains to show that the subject was the Life of Hercules, with decorative figures, vases, etc. The principal counties shown in this map are Warwick and Worcester, and it bears the following quaint verses :— " On this side whiche the sonne doth warme, With his declining beames, Severn and Teme in channell deepe, Doo run two ancient stremes. Thes make the neibor's pasture riche, Thes veld of fruit great store, And do convey thro'out the shire, Commodoties many more. Occidens. " Here hills do lift their heads aloft, From whence sweet springes doo flow, Whose moistur good doth firtil make, The vallies coucht belowe. Here goodly orchards planted are, In fruite which doo abounde, Thine ey wold make their harte rejoyce, To see such pleasant grounde. Meridies. i " This sowthley part which hear below, Towards Glocester fall Of corne and grass great plentie yelds but frute exceedeth all," etc. The scale of the maps is a large one, 3 inches to 1 mile, making the hanging about 12 feet by 15. It had formerly the royal arms at the top. The second Bodleian map sets forth the valley of the Thames and the counties of Oxford and Berks. It measured originally 18 feet by 12J, and is in very mutilated condition, but the part showing the valley of the Thames has fortunately been preserved and renovated. The river is represented as it appeared from London Bridge to Brainford (Brentford); and Westminster Palace, the Archbishop's gateway at Lambeth, " Hams ted" 28116th Century—England, Scotland and Ireland Heath with its three windmills, " Higat," " Hakeney " and " Wilsdon " are specially noted. Three maps similar in character to the above are preserved in the Museum at York. The earliest of these is inscribed " Wignoriae Comitatus locupelata Richard Hyckes." It measures 13 feet 2 inches by 19 feet, exclusive of a border of 15 J inches, and bears the Sheldon arms without impalement at the left top corner, while in the corresponding space to the right are the arms of the county of Worcester. The second measures 13 feet high by 17 feet 3 inches wide, exclusive of a border 17 inches wide. It consists of part of the shires of Warwick, Derby, Gloucester and Stafford ; in the right hand corner are the royal arms of England, with the garter, and lion and dragon supporters. The arms on the left are those of Sheldon with quarterings impaling Markham with quarterings, while the map bears the date 1588. The third map at York is of much later date, and bears the title " Oxonii et Bercheriae comitatus locupe-lati per Franciscum Hickes." It is 13 feet by 17 feet 9 inches, without the border, which is 20 inches wide. The armorial bearings are comparatively late : Sheldon impaling Rocksavage : Ralf Sheldon of Beoley married to Henrietta, daughter of Viscount Rocksavage. This would fix the date of the map at about 1640, unless the arms have been added after it was woven. These maps give a bird's-eye view of the counties, and betray an intimate knowledge of the characteristic features of the country. Some of the churches are correctly represented with spires, others with their proper 282I II® ^ "-- : . 16th Century—England, Scotland and Ireland towers, and the different types of bridges are distinguishable. In one instance where a hill had been levelled the map adds to the name, " Whych was driven down by the removying of the ground." The rivers are worked in blue, and some of the counties have their boundaries marked in red. Francis Hickes, under whose management the map last described was made, was a son of Richard Hickes who began the manufactory. Wm. Sheldon, the founder, left a will dated 1570, and in it he styles Richard Hickes " the only auter and beginner of tapestry and arras within this realm." The five maps bear evidence that they were intended for the adornment of the Sheldon mansions, and they remained at Weston until the house was demolished, three of them covering the sides of a gallery. At the sale of Mr. Sheldon's effects in 1781 Horace Walpole purchased them for thirty guineas, " very cheap indeed," writes he. Three of the maps were presented by him to Earl Harcourt, who decided to build a Gothic tower at Nuneham " on purpose to receive that magnificent mark of the friendship of Mr. Walpole." From Earl Harcourt the maps passed into the possession of the Archbishop of York, who presented them to the Philosophical Society in 1827, and at the present day they have found a permanent home in the Museum of York.1 The Bodleian maps were probably bought at the sale of Walpole's effects at Strawberry Hill in 1842 ; one certainly was sold mounted as a screen. 1 The Sutton Cold field and Erdington Chronicle. '' The Weston Tapestry-Maps," a lecture by the Rev. W. K. R. Bedford, M.A., at the Royal Geographical Society, December 10, 1896. 28316th Century—England, Scotland and Ireland Although the Sheldon manufactory and others in England were producing tapestries at the time, they were evidently not of sufficient importance to execute a national commission, the commemoration.in tapestry of a great national event, the Defeat of the Spanish Armada. Admiral Lord Howard was appointed to confer with Henry Cornelius van Vroom, a painter of Haarlem, skilled in depicting marine battles. It is said the admiral provided him with charts and maps of the theatre of hostilities with diagrams of the battles as published in the book, Expeditionis Hispanorum in Angliam vera descriptio, a.d. 1588. The master-weaver to whom the manufacture of the tapestries was entrusted was FrangoiS Spierincx, one of the most expert weavers of his time, who, originally of Antwerp, had emigrated to Delft. The tapestries were of peculiar composition, resembling those now at Middleburg, and in some degree the three panels representing the Battle of Solebay in Hampton Court Palace. As a rule they were not pleasing in composition, which was probably sacrificed to truthful representation of the number and position of the vessels shown in the various sea-fights. There were wide borders of two varieties, one with numerous medallions containing portraits of the English commanders, the other with fewer portraits, the spaces being filled by trophies, decorative figures, etc. As a national memorial the tapestries showed portraits of the following admirals :— Christopher Baker, Sir George Beeton, Sir Charles Blount, Sir Robert 'Carey, Captain Crosse, the Earl of Cumberland, Sir Francis Drake, Charles Howard-Baron of Effingham, Lord Admiral, Sir Martin Frobisher, Sir Thomas Garrat, Captain Benjamin Genson, Sir John Hawkins, Sir Edward Hobye, Lord Thomas Howard, Mr. Knevet, the Earl of Northumberland, Sir Horatio Palavicini, 284& yaw sill 7V/£ History of the Armada. Dutch. The Galleon of De Valdez taken by Sir Francis Drake, the Armada in crescent form. The Engagement off the Isle of Wight, July 22nd, 158S. FROM ENGRAVINGS BY JOHN PINE.16th Century—England, Scotland and Irelan Captain George Penner, Captain Penton, Lord Henry Seymour, Lord Sheffield, Sir Robert Southwell, Sir Thomas Cecil, Sir Roger Townshend, Mr. Thomas Vavasour, Mr. Willoughby, and Sir William Wynter. The incidents represented in the ten hangings were :— 1. The Spanish Fleet coming up the Channel opposite to the Lizard as it was first discovered. 2. The Spanish Fleet against Fowey, drawn up in the form of a half-moon, and the English Fleet pursuing them. 3. At the left-hand corner was represented the first engagement between the Spanish and the English Fleets, after which the English gives chase to the Spaniards, who draw themselves up into a roundel. 4. De Valdez' Galleon springs her foremast, and is taken'by Sir Francis Drake, the Lord Admiral with the Bear and the Mary Rose pursues the enemy, who are in the form of a half-moon. 5. The Guypuscoan being set on fire is taken by the English. The rest of the Spanish Fleet continue their course in the form of a half-moon, and when both fleets are against the Isle of Portland they come to an engagement. 6. Some English ships attack the [Spanish Fleet to the westward. The Spaniards draw themselves into a roundel, and afterwards keeping on their course are followed by the English. 7. The sharpest engagement that happened between the two Fleets, on July 22, against the Isle of Wight. 8. The Spanish Fleet is seen sailing up the Channel intending to stop at Dunkirk or Calais, where they were to be joined by the Duke of Parma. The English follow them close. 9. The Spaniards come to an anchor before Calais, from whence they are dislodged by the fire-ships sent amongst them in the night. The English prepare to pursue them. 10. The Spaniards make the best of their way for the Northern seas, and are in the meantime very much battered by the English, who closely pursue them. The chief galleas is stranded near Calais. The designer, Cornelius Van Vroom, received 100 pieces of gold for his labour; the tapestries, containing 708 Flemish ells at £10 is. per ell, cost £1,628, which was paid by the crown to Earl Howard in the fourteenth year of the reign of King James I. There is a discrepancy between the price per ell and the sum paid for the tapestry as a whole. The hangings were placed in the Royal Wardrobe at the Tower; but when Cromwell attained supreme power he ordered six of the tapestries of the Armada, or as the Roundheads grimly termed them The Story of Eighty-eight, to be hung in the House of 28516th Century—England, Scotland and Ireland Lords, which was used at that time as a committee house of the Commons. They remained there until their destruction in the burning of the Houses of Parliament in 1834. A small fragment had been cut out of one of the hangings to allow entrance at a doorway; and it, secreted by a German servant, was saved and passed into the possession of the corporation of Plymouth. Fortunately, John Pine, Blue-mantle poursuivant, made engravings of the set about 1789, and these give a good idea of the Story of Eighty-eight. The tapestry ought, in strict chronological order, to be entered in the seventeenth century, but its associations are so much in keeping with Elizabethan times that its description may not be amiss here. In the state Papers of Scotland in the early years of the sixteenth century there are many references to tapestries, but a great many of these are limited to expenses in carrying or " tursing " the hangings from one royal palace to another, money spent for linings, and wages of repairers. There were also considerable outlays in purchasing tapestries. In 1501 the King (James IV.) bought six Arras " cushinges " or cushions for the sum of fifty shillings.1 In the preparations for his marriage in 1503 to the Princess Margaret of England, sister of Henry VII., King " Jamie" made extensive purchases of hangings, and the accounts of the Lord Treasurer give full particulars of these. " Bocht fra James Homyll ane pece of Hercules, ane pece of Marcus Cori{ol)-anus, twa peces of Susanna sewit togiddir, ane cover for ane bed of Susanna, ane pece of Salamon conteyning in the hale ten score ix elne and bocht for j. j°lx li." 2 1 Accounts of the Lord High Treasurer of Scotland, vol. 2, p. 43. 2 Ibid. p. 214. 28616th Century—England, Scotland and Ireland These figured prominently in the decoration of Holyrood House on the occasion of the marriage festivities, which were on a grand scale, the city of Edinburgh being hung with rich draperies. According to Leland, the King's Great Chamber was decorated with the Story of Hercules and other histories ; the King's Hall with the Story of old Troy; and other chambers in similar fashion, one containing another history of Troy. Two years later, in 1505, an altar-frontal of arras-work was provided for the Kirk of Steil. It was purchased from " Nannik," broudstar or embroiderer for the sum of £6 135. 4d.1 An important set was bought in 1506-7. It consisted of ten pieces of arras—one costing £8, three £18, and two £4 each or £50, in all. They were for the decoration of the Prince's Chamber.2 In 1506 some of the royal tapestries were injured by fire, and were despatched to Flanders for repair, as is clearly shown in the following account :— " For twa drywair pipes to pak the brynt arres claith, graithing and tursing (carrying) of thaim to Leith, 8s.3" The repairer was Jerome Friscobald in Flanders who was paid £14 gret, ilk £ gret being £3, in all £42/ a considerable sum at that period, and proving that the damage to the hangings must have been serious. There was a further purchase in 1511, when three hangings costing £8 were bought of Patrick Heriot.6 They were destined for the adornment of the Treasurer's Chamber, " Quhair the Franche Ambassat eit at Yule." The later accounts are not of much importance. The 1 Accounts of the Lord High Treasurer of Scotland, vol. 3, p. 79. 2 Ibid. p. 278. 3 Ibid. p. 348. 4 Ibid. vol. 4, p. 27. 6 Ibid. p. 198. 28716th Century—England, Scotland and Ireland period was disastrous to Scotland, and there are many gaps in the records. The King and most of the nobility perished in the battle of Flodden, and necessities were scarce, while luxuries were unattainable. In 1515-6 a coverlet of arras was purchased for the King's bed. It was furnished by Gilbert Lauder for 32s.1 The inventory of James V., made in 1539, provides a list of the tapestries :— " History of Reboam (6 pieces), History Maliasor (6), Citie of Dammys (6), the Auld Testament and New {io), History of Percius (7), History of the Uni-corne (6), History of Apis and ither bestis (7), fyne tapessarie of the History of Tobie (5), the Auld History of Troy evill spilt (9), Auldclathis ' quhilkis dow na-thing ' (10), hinganis for the chapell of Dammes of the hew of the orenge and purpure (3), History of the Unicorne (8), verdures (8), 7 stikkis of tapessarie of an-tik work of the histories of Venus, Pallas, Hercules, Mars, Bachus, and the moder of the Erd (Ceres ?). The stikkis following were brocht hame be Wm. Schaw :— 7 stikkis of sundry histories to Chalmers of fine stuff, History of Saloman (8) stikkis, Poesie (8), History of Jason that wan the goldin fleys." 2 Another inventory in 1542 gives the following new subjects :— " The story of the tint barne (prodigal son), 7 pieces, story of Romulus (3) ane clayth of the crucifix that hang aboue the altar in the chapell," with the information that " thair is ither rottin claythis and revin (torn) that ar nocht to be wreattin as may considder after the sicht of thame." 3 Through its commercial and other intimate relations with the Netherlands Scotland was in a position of great facility for procuring tapestries, and hangings of the coarser sort seem to have been fairly common. In the year 1540 Sadler was sent to Edinburgh by Cromwell, the English Secretary of State, and writes to describe how he arrived at his destination on the 17th February. Before entering Scotland he sent on Berwick, the herald, to get him a lodging, who, when the Provost 1 Accounts of the Lord High Treasurer of Scotland, vol. 5, p. 65. 2 Thomas Thomson, Royal Wardrobe and Jewel-house, a collection of inventories, etc., p. 49. 3 Ibid. p. 103. 28816th Century—England, Scotland and Ireland would have appointed him a mean lodging, complained to a servant of the Queen, and she to the King, who sent commands to the Provost to lodge him in a house named. Answer was made that the Bishop of Ross (Robert Cairncross) lodged there. " I say," quoth the King, " In the foul evil dislodge the bishop and see that the house be fairly furnished against the ambassador's coming." So the bishop was dislodged and the house furnished with beds and hangings of coarse tapestry.1 In the reign of Mary Queen of Scots a series of inventories of the crown effects was taken. One of these dealing with the moveables in Holyrood House is very complete as regards tapestries : Of auld Beddis of all sorts, ane maid of ane auld pece of tapestrie of the figures of branches of holine (holly). ... ane Historie of the huntar of coninghis (rabbits), ane uther pece of auld tapestrie of the huntar of coninghis. ane Historie of Souvienne vous en. ane auld pece of tapestrie in the figure of branches of holine mixt a litle with threid of gold. Off Tapestreis of all sortis. ane tapestrie of the Triumphe of Veritie contening aucht peces—ane part in Strieuling. ane tapestrie of the Historye of the Battell of Revene, contening seven peces. ane tapestrie of the Jugement of Paris contening aucht peces. ane tapestrie of the Hunts of the Sanglier contening sex peces. ane tapestrie of the Triumphe of ane assault of ane toun, contening fyve peces. ane tapestrie of the Historie of Scheiphirdis contening sevin peces. ane tapestrie maid be litle branches wrocht with some gold, the ground of the tapestrie is of the cullouris reid, whyte, and blew and contenis thre peces. Ane tapestrie maid with the figures of personnages quha cuttis the holine, contenand 14 peces. Ane tapestrie of the Branches of holine wrocht a litle with threid of gold, cont' 6 peces. Ane tapestrie of the Armes of the House (of Longovail, an embroidery) of aucht peces. Ane tapestrie of the Saltng of Eneas, contening aucht peces. Ane tapestrie of the Works of Hercules contening aucht peces. Ane tapestrie of litle grene flouris upon yallow ground contening sevin peces. Ane litle pece of tapestrie like a burd-claith (tablecloth) cuttit in twa. 1 Gairdner, Letters and Papers of the reign of Henry VIII., vol. 15, p. 93. H.T. 289 1916th Century—England, Scotland and Ireland In 1567 sex of thir peces wes tynt (lost) in the King's gardrop at his death. Ane tapestrie maid of reid, quhite, and blew in the quhilk thair is ane tree •contening twelf peces, with ane reasons Souvienne vous en and the rest droppit with litle branches. Ane tapestrie of litle grene flouris contening twa peces. Ane tapestrie in the quhilk there is ane tre and the rest droppit with litle branches of small flourise contening sex peces. Ane tapestrie of the History of Calueris and Moris, contening foure peces. Ane auld tapestrie in the quhilk there is ane tre and the rest droppit with small grene flouris.1 A later inventory dated 1578 gives another subject :— A tapestrie of the historie of the Creatioun in worsett contening nyne peces.2 One of the witnesses against Queen Mary stated in relation to her participation in the murder of Darnley: " There was a bed and some tapestry of value in that lodging set up for the King before his coming there. She caused the same to be removed, by the keepers of her wardrobe, to Holyrood House on the Friday preceding the murder, and another was set up in the place thereof which she thought good enough to be worn in such use seeing it was destined for the same." (Articles given in by the Earl of Moray to Queen Elizabeth's Commissioners at Westminster, December 6, 1568 : Hopetoun MS.) There was a small manufactory in Ireland in the sixteenth century. Piers, Earl of Ormonde and Ossory, was, according to Sir R. Roche, a man of great honour and sincerity, with a keen interest in manufacture. He brought out of Flanders and the neighbouring provinces artificers and manufacturers, and employed them at Kilkenny in working tapestry, diaper, Turkey carpets, cushions, etc., some of which were extant in Sir R. Roche's time, and in possession of the Ormonde family. Piers died on August 26, 1539.3 1 Edinburgh Bannatyne Club, 1863, Inventories of Mary Queen of Scots, p. 39. 2 Ibid. 8 Carte, Life of the Earl of Ormonde, Intro., p. xlix. 290CHAPTER XIII HISTORY OF THE MANUFACTORY OF TAPESTRIES AT MORTLAKE THE seventeenth century is a memorable period in the history of tapestry-weaving. Its beginning was marked by the installation of royal workshops in Paris at the instance of Henry. IV.; twelve years later witnessed the establishment of the royal manufactory at Mortlake in England; while in 1662 the Gobelins manufactory was organised in Paris. In creating a manufactory of tapestry and in showing a keen liking for the material as decoration, King James I. evinced one of the many characteristics in which he differed from the late Queen Elizabeth. She, as far as appearances go, lent no encouragement to the industry, and in her extreme old age used to thrust a sword through the hangings in case they harboured " murtherers." With her high ideal of the dignity of knighthood the queen was most discriminating in her selection of candidates for that honour: James, on the other hand, was most prodigal in the exercise of his privilege in that respect, and in his progress through England honours were sown broadcast. The success of the royal workshops installed in Paris in the year 1607 by King Henry IV. excited a desire in 291History of the Manufactory of Tapestries at Mortlake the mind of the English King to found a similar establishment in England, and the agreement drawn up between King Henry and the Flemish weavers De Comans and De la Planche formed the basis upon which the royal English manufactory at Mortlake was constituted. This is proved by a document in a manuscript book containing transcripts of state and other correspondence in the times of Queen Elizabeth and James I. ; in the possession of C. E. Newton Robinson, Esq., who has kindly accorded permission to make extracts therefrom. About the year 1619 King James laid the project of establishing a manufactory of tapestry before a commission consisting of Sir Thomas Smith, Sir Lionel Cranfield, Sir Richard Weston, and Sir John Wolsten-holme, with the Lord Archbishop, the Lord Chancellor, the Lord Privy Seal, the Lord Steward, Lord Carew, the Treasurer, Mr. Crompton, Secretary Nanto, Mr. Chancellor, and the Master of the Rolls. They were provided with an abstract of the contract of the French King with Marc de Comans and Frangois de la Planche, which was to serve as a model as far as it would go with the conditions of the time and country. The commissioners were advised that Sir Francis Crane had undertaken to bring over and establish the manufacture of all kinds of tapestry in England and there only. He also undertook the charges of building and fitting up houses for the work, with all other incidental expenses. In return he was to receive first (the fees for) the making of four Baronets; second, the exclusive right for twenty-one years of making all sorts of tapestries. In the case of tapissiers already established they were 292History of the Manufactory of Tapestries at Mortlake allowed, upon making representations to the commissioners within six months after the grant, to continue to practise their trade. The tapestries made at Mortlake were to be free from customs for a certain number of years. It was also recommended that such of the principal masters that came over to England might be naturalized on the application of Sir Francis. The last paragraph deals with teaching the craft. . . . "And do think it fit that the City of London shall out of the Hospitals that are in it, (in which a great number of boys are kept at the public charge,) appoint every year a certain number to be taught. He will be bound by the patent to take these boys for seven years as apprentices, and will teach them the art, the City taking order only during that time for their maintenance. And if they will appoint rooms for it either in the Hospitals or anywhere else within the City, he will be bound they shall be taught there and will furnish the whole stock that shall set them all on work." The project was agreed to. On August 23, 1619, a letter was sent by Chamberlain to Carleton to the effect that Sir Francis Crane had received the " making " of three baronets, to aid his project for the manufacture of tapestry.1 He was the last lay chancellor of the Order of the Garter, a man of refined taste, consummate ability, and a prominent member of the courts of Elizabeth, James I. and Charles I. With his usual energy he lost no time in carrying out his part of the engagement, and the workshops at Mortlake were soon ready. They stood on the site now occupied by Queen's Head Court 1 Cal. State Papers, Domestic Series, James I., vol. 1619-23, p. 72. 293History of the Manufactory of Tapestries at Mortlake or Passage. Some years afterwards a house was built on the opposite side of the High Street near the church, in what is now Victoria Terrace, to be used as a residence for the painter or limner. It existed till 1794, and was known as the Limner's House.1 On his part the King set to work to procure the importation of capable tapestry-weavers from the Low Countries, and by means of his agents there was completely successful. The undertaking was conducted with such secrecy that until the English manufactory was in full working order the Netherlandish authorities were unaware of the departure of some of their best workmen. It was from London that the tidings reached the Archduke. The secretary to the embassy reported in 1620 that the enterprise of King James would prove a serious menace to the prosperity of the industry in the Low Countries, and stated that already some fifty Flemish tapestry-weavers had arrived in England. The inquiry which was immediately instituted confirmed the secretary's report, and brought to light a few emigrants' names such as :—Josse Ampe of Bruges, Josse Inghele, Jacques Hendricx, Pierre Foquentin, and Simon Heyns of Oudenarde. A state document provides names of others in 1620-23, viz. : Peter de Craight, Louis Vermoulen, and Philip de Maecht, the master-weaver, or director of the tapissiers. The last-named was of Dutch or Flemish origin. A certain Hubert de Maecht was a master-weaver in Brussels in 1576. Van de Graft in his book dealing with the history of tapestry in Holland mentions a family of tapissiers of the name of de Maecht or Maegt 1 Lysons, Environs of London, vol. i p. 386. 294History of the Manufactory of Tapestries at Mortlake residing in Middleburg in Holland—Jan de Maegt (mentioned in 1598 in connection with sea-pieces), Henrick, and Lawrence styled Van Brussels. The last-named emigrated to England, presumably going to Mortlake in 1619, but his stay in England was but brief. Philip de Maecht probably went to Paris to work for De Comans, and one of the tapestries woven in that workshop bearing the Paris mark—a fleur-de-lis between two P's, has in its selvage the monogram of the letters P.D.M. Part of a set of tapestries of Vulcan and Venus, executed under the superintendence of Philip de Maecht at Mortlake, bears the same monogram, which occurs on other Mortlake hangings. It is safe to assume then that Philip de Maecht came to England from Paris, where he was one of the chief weavers under De Comans. Considering how closely the English authorities had watched the French method of organising their manufactory, it need cause no surprise to find they had succeeded in persuading a leading tapissier in Paris to take charge of the workmen at Mortlake. The name occurs several times in the parish register there. On December 27, 1624, David de Maecht married Anne Crisp ; on December 4,1625, their son John was baptised : on March 27, 1627, William de Maecht married Marie Hutton. The same register yields the following Low Country names :—Kempe, de Petre, Messmaker, Van den Steen, Scriner, and Van den Hecken.1 The manufactory commenced operations under brilliant auspices. The King, the Prince of Wales, afterwards Charles I., the Duke of Buckingham and other 1 Anderson, A Short Account of the Tapestry Works at Mortlake, p. 3. 295History of the Manufactory of Tapestries at Mortlake nobles were its clientele and the greatest interest was manifested in its progress. In 1623 the Prince writing from Madrid directs his council to pay £700 for some drawings of tapestry that he had ordered from Italy, and £500 for a set that was being woven for him at Mortlake, representing the Twelve Months. He earnestly desired that the latter be finished before his return to England.1 Despite his brilliant directorship and business ability, Sir Francis, it appears, began the manufactory without fully realizing the financial difficulties of the undertaking. The finer a tapestry is, the longer is the time occupied in its execution, and unless advances of money are regularly paid, the heavy burden of working expenses has to be borne by the director. It appears he received very little more than promises for a long time, and the situation became so serious that he was compelled to lay the matter before King James. His letter, written about 1623, is interesting :— " I beseech your Majestie that the reasons which have begott this boldness may excuse it, which are these :— "1. I cannot think but that your Majestie affects the continuance of the "business of theTapestries, which in the eye of the world aupears as a worke of your Majestie's greatness, and brings with it both honor to your Majestie and profit to the kingdom. " 2. The Prince and my Lord Marquis [Villiers, Marquis of Buckingham], both (to whom a little before their journey I presented my necessities and the impossibility of continuing the worke unless I were assisted in it) gave me commandment to keepe the busynes afoote, and promised me for the present to keep the fire goinge (which was the Prince's own phrase), that I should instantly receive the money layed out for my Lord Marquis, which was ^3,200, and that I should have besides the benefit of two Serjeants. " 3. The Prince gave me order to go into hande with a riche suite of the Months and to send to Genna [Genoa] for certayne drawings of Raphaell of Urbin. 1 Lysons, Environs of London, vol. 1. Records in Duchy of CornwallOffice. 296History of the Manufactory of Tapestries at Mortlake ■which were desseignes for tapestries made for Pope Leo the X. and for which there is £300 to be payed, besides their charge of bringing home. " Now, sir, here is my case, I would not fayle (if it lay in my power) in the performance of anything thus affected by your Majestie, or commanded by them, but I am already above ^16,000 in the busynes and never made returns of more than ^2,500, so that my estate is wholly exhausted, and my credit is spent, besides the debts that lye upon me, that I protest unto your Majestie (before Almightie God) I know not how to give continuance to the busynes one month longer, which I durst not but acquainte your Majestie with all, because if the course intended by your Majestie will not provide for it before that time, and that the busynes be dissolved, I may yet stand justified in your Majestie's royal judgement that no endevor of myn hath bin wanting either to save your Majestie, or to obey those commandments that I hold equal with the life of "Your Majestie's most faithful and most obedient subject and servant, "F. C."1 It was about this period that the Mortlake manufactory secured the services of an exceedingly able designer, in the person of Francis Cleyn, a native of Rostock in Mecklenburg, who was in the service of King Christian II. of Denmark. Cleyn or Clein was studying in Italy, where he was introduced to Sir Robert Anstru-ther and Sir Henry Wotton, who brought him under the notice of Prince Charles of England.2 He recommended the painter to King James, who secured permission from the King of Denmark for Cleyn to settle in England. From that time till his death in 1658 Cleyn was associated with the Mortlake works, and his name appears on some of the tapestries. King James granted him one hundred pounds annually. " Know ye that we do give and graunt unto Francis Cleyn a certain annuitie of one hundred pounds by the year during his natural life." 3 The subjects during the Jacobean period of Mortlake history were the History of Vulcan and Venus (begun 1 European Magazine, October 1786, p. 285. 2 Lloyd, State Worthies, p. 953. * Rymer, Foedera, vol. xvii., p. 112. 297History of the Manufactory of Tapestries at Mortlake September 16, 1620, and finished June 5, 1622), the Twelve Months, finished 1623-4, and the Acts of the Apostles. The direct statement of facts so urgently set forth in Sir Francis Crane's letter to the King was not without effect. In the year 1624 Secretary Conway recommended a proposition for settling the manufacture of tapestry at Mortlake to the Chancellor of the Exchequer/ and on January 12, 1625, a warrant was issued to pay Sir Francis Crane the sum of £2,000 to be employed in buying in £1,000 per annum of pensions or other gifts made by the King and not yet payable, for the ease of his Majesty's charge of £1,000 a year toward the maintenance of Sir Francis' tapestry manufactures.2 On March 27, 1625, King James died, and was succeeded by Charles I. who, as Prince of Wales, had already done so much to foster the manufacture. Under the new monarch Crane was accorded more satisfactory terms, and a curious document preserved in Rymer's Foedera, vol. xviii., p. 66, while giving these conditions, throws light on the extent to which the new King was indebted to the director, and explains the dire straits to which Sir Francis had been reduced when he put the question of the continuance of the manufactory before King James. It runs as follows : " Francisco Crane militi a.d. 1625. For three suits of gold tapestry, for our use, we stand indebted to Sir Francis Crane for 6,0001. Granted to him an annuity of 1,000/. To Sir Francis Crane also allowed more 2,0001, yearly for the better maintenance of the said worke of tapestries for 1 Calendar of State Papers, James I., Domestic Series, vol. 1623-5, p. 364. 2 Ibid. p. 445. 298Sir Francis Crane. English, Monlake. THE PROPERTY OF BARON PETRE, Thorndon Hall, Brentwood, Essex.History of the Manufactory of Tapestries at Mortlake ten years to come." The question of the continuance of the manufactory had been put before the King in these terms: "Means to settle the tapestries in England, it may be done by the means herein stated. If the King shall like of this course he will, by the laying out of £2,000 only, gain £1,000 a year in tapestries for his wardrobe, and will besides settle the noblest manufactory that any King of England hath brought in these many hundred years. The example may likewise prove of very great advantage to the Commonwealth, by showing men a better way of charity than that of hospitalls, which only provides for the poor, but this, that there may be no poor at all, and that none shall live but with some advantage to the country wherein they dwell." 1 The next ten years formed the golden period in the history of the Mortlake manufactory. There was no rival; the Gobelins were not yet thought of, and the Parisian workshops lacked the combination which was essential to successfully compete with an organisation like that of Mortlake. The designs of the English workshop were the best in use at the period, Raphael's Acts of the Apostles, the History of Vulcan and Venus, the Twelve Months, the Four Seasons, History of Hero and Leander (Cleyn), Diana and Callisto, the Horses (Cleyn), etc. Rubens supplied the weavers with the Story of Achilles in six tapestries, while Vandyke designed borders for the Raphael cartoons, and adapted portraits of Sir Francis Crane and himself for cartoons. Clein was official designer and draughtsman to the manufactory. Under so liberal a patron of the fine arts as Charles 1 Calendar State Papers, Domestic Series, vol. 1649-50, addenda 1625-6, p. 179. 299History of the Manufactory of Tapestries at Mortlake I. money was literally showered on the manufactory, and it had been established long enough to yield handsome profits to the promoter. The King was heavily indebted to him, and gave as security vast estates under mortgage. This is shown in a contract between the King and Sir Francis for conveyance to the latter of the manors of Grafton, Hartwell, Aldrington alias Alderton, Blisworth, Stoke Bruerne, Shitlanger, Aston alias Ash-ton, Greens-norton, Pottersbury, and Moorend co. Northampton, as a security for £7,500 by him to be advanced for the King's service.1 Sir Francis signed an agreement with the King in February, 1628, for the sale of lands at Grafton in the county of Northampton, by which the manor was assured to him as a security for £7,500 advanced to the King, with a proposal for the establishment of the manufacture of tapestry within the manor house of Grafton, and the bringing up within the same of a constant succession of two boys as apprentices to be instructed in that art.2 The following year found Sir Francis further enriched by the gift of Stoke Bruere of Bruerne Park in Nottinghamshire, where he built a country house from plans he received from Italy. It consisted of two wings connected with the body by corridors, and was spacious, enough to entertain and lodge the King and court.3 Crane shared with Frances, Duchess of Richmond, a grant by|letters patent to issue such farthing tokens as should be in use in England and Ireland. In 1630 they petition Council that as they are bound to re-change the same, 1 Calendar State Papers, Charles I., vol. 1627-8, p. 585. 2 Ibid. vol. 1629-31, p. 442. 3 Walpole, Anecdotes of Painting, Ed. 1888, vol. 2, p. 237. _ 300History of the Manufactory of Tapestries at Mortlake and some persons have counterfeited great quantities of them, they pray the lords to direct their letters into Durham for apprehension of divers offenders, and to signify the course they think fit to be taken with these and other similar offenders.1 The prosperity of Sir Francis was at its height. The King visited the Mortlake manufactory on March 28, 1629.2 The projected manufactory at Grafton did not come to anything, and a warrant to repay to Sir Francis the sum of £5,000 with interest at the rate of 8 per cent., paid by him for the purchase of £200 a year in fee farm of lands within the honor of Grafton, upon an agreement which could not be made good, was issued on July 5, 1631.3 In February 1634 Sir Francis gave an account of the securities he held for two sums of £7,500 and £5,000 advanced by him to the King. For the former sum he held possession of Grafton, and for the interest received the rents4; but about 1635 he offered to relinquish his bargain on repayment of the money advanced and interest.5 Regarding the occupancy of Grafton, Sir Robert Osborne addressed a dignified rebuke to the King : " The honour of Grafton has been mortgaged by his Majesty to Sir Francis Crane for £7,600. It is the bravest and best seat in the kingdom, a seat for a prince and not a subject. For the good of his Majesty's children I hope he will redeem the mortgage. The forfeiture is taken, and all his Majesty's tenants pay their- rents to Sir Francis Crane. I hope his Majesty will provide for his children as others do whom he has advanced. There is a general 1 Calendar of State Papers, Charles I., vol. 1628-9, P- 424. ■ Ibid. p. 507. * Ibid. vol. 1633-4, P- 474- » Ibid. vol. 1631-3, p. 110. 6 Ibid. vol. 1635-6, p. 25. 301History of the Manufactory of Tapestries at Mortlake enclosing and converting arable land into pasture which is the cause of great dearth in the kingdom, whereof there may be great benefit raised to the King, and great good to his poor subjects.1 Sir Francis denied the forfeiture and even receiving the rents, but his health was failing.2 In March 1636 he went to Paris to undergo an operation, and died in the following June.3 There is little doubt that the prosperity of Sir Francis Crane excited a good deal of envy. An attempt to overthrow him was made about 1630, and was unsuccessful; but the documents relating to it are of extraordinary interest, and apparently trustworthy in their statements and deductions. About 1630 Dru Burton presented a petition to the King setting forth that his Majesty had been greatly overcharged for the plain set of tapestries of Vulcan, and in other arrangements connected with the manufacture of tapestry. The petition, which was entitled the " Discovery," was referred to the Secretaries of State, but no report had been made upon it. For presenting the document the petitioner was dismissed from the office of Auditor-General by Sir Francis Crane, whereby he lost £50 a year and the reward of fifteen years' service. He prayed for an examination of the Discovery, and if the same were found beneficial to the King, that petitioner may someways find the King's favour.4 The documents relating to this matter are in the Public Record Office, and comprise the petition desiring a re-investigation of the Discovery; the Discovery that the patentee had made a profit of £12,255 on four 1 Calendar of State Papers, Charles I., Domestic Series, vol. 1635-6, p. 25. 2 Ibid. vol. 1636, p. 307. 3 Ibid. p. 25. 4 Ibid. voi. 1628-9, p. 441. 302History of the Manufactory of Tapestries at Mortlake copies of the tapestry of Vulcan and Venus sold to the King, besides his own gain on other copies; an account of the cost of manufacture of the first set of Vulcan and Venus, with the price paid by the King; a similar account with reference to the four sets sold to the King; an account of the amount overpaid after allowing interest at 8 per cent. ; the Discovery with illustrative accounts on one sheet so as to be seen at one view; copy of the Discovery and other document; unsigned certificate of the official to whom the Discovery had been referred to for examination generally confirmatory of the accuracy of its statements, and a copy of the same. The Discovery runs thus : " To the King's Maie— " A discoverie of the great gaine made by the manufacture of the Tapistrie. It may please your Maie. The first suits of tapistrie of the storie of Vulcan arid Venus, which is the foundation of all the good Tapistries made in England. Wherein there were but 16 ounces of gold, the whole suit consisting of 9 pieces containing 479 ells 1 stick f Flemish (the materials, workmanship and allother charges being included) cost the undertaker by just account 905/. 8s. 1 \d. which comes to 37s. 10d. the Flemish ell or thereabouts, and will bee made good by particulars beyond contradiction, was sold to yr Ma beeing Prince for 20001, as containing 500 ells fl. at 41, the elle, the most part of the monie beeing imprested before the work was finished, whereby was clearly gained to the undertaker of that manufacture 1094/. us. Marginal note against above paragraph. ["The ac-compt of 905/. 85. T\d. was made by Burton according 303History of the Manufactory of Tapestries at Mortlake to Philip de Maecht's books and instructions being Mr. and Director of the Tapistrs. The 20001, was payed by Mr- Cunningham upon three privie seales dated 15 Jan. 1620—500/. 17 May 1621—5001. 17 March 1621—1000Z. = 2000^.] " There were since made and delivered, as by yr Mati09 ltres patnts of the 10th of May 1625 may appeare, three suits of gold tapistries (which canot well bee other then the former storie of Vulcan, and were sold at 61, the ell for 9000Z. (though the patnt expresseth neither storie nor price nor how they were disposed of). For 3000Z. whereof the undertaker was satisfied by 500/. imprested to him the 10th Decb. 1623 and 2500/. by making 5 Serjeants at Law, And for the 1000/. remaining yor Matie granted him an annuitie of 1000/. p annum for 10 yeares. If that 6000/. and reasonable consideration for the forbearance were not before payd which annuitie for that Tearme will more than satisfie the 6000/. and Vse upon Vse for the forbearance at 8 p cent, p annum by 16611. 7s. 8d." Marginal note against above paragraph. [ff The 500/. was imprested by privy seal of the 10th of Decern. 1623. Upon the suit of the months made for yr Matie but delivered to my lord the D. of Buckingham, and so dis-compted to yr Matie as supposet.] " Which three suits could not cost more in proportion than the former (the gold only excepted) for the workmanship admitted of small difference, and the silke and yarne were then as cheap or cheaper bought with readie monie than at the first. And if there bee allowed 4 ounces of gold to every flemish ell (which is 4 times as 304History of the Manufactory of Tapestries at Mortlake much as was thought convenient at the first) and is as much as there is silke in an ell, and may be discerned at eye to bee lesse. The price of the ell which still keepes but one dimension cannot come to above 30s. p medium for there may bee more store of gold in the borders, to give luster to the worke, yet the storie within the borders hath not so much, and where there is most gold there needs bee less silke and worstead, So that by this computation of the charge thereof, which is conceived to bee made very large, there is clearely gained by the 3 last suites 4500^. and 1661/. js. 8d. more if the annuitie bee payd for the full terme. To which if 1094/. lis. 10\ The manufactory was now under new management: it was a royal manufactory, being known as the " King's Works." The King entered into a contract with the five principal weavers. The weavers undertook to make 600 ells of arras and tapestry yearly, and these were to be of good stuff, viz. 150 ells to be of the best stuff, 200 ells of the 2-foot square at the rate of £3 5s. 6d. the ell, and 250 of the 3-foot at £2 12s. 6d. the ell. Besides this, the contractors consented to take apprentices, either their own children or hospital boys, that is, foundlings. On his part the King agreed to give an annual subsidy of £2,000 on the works, allowing Francis Clein at the same time £250 a year, on the understanding that out of the sum he was to provide a painter-assistant.2 1 Calendar of State Papers, Domestic Series, Charles I., vol. 1637, p. 197. 2 State Papers, Charles I., Domestic Series, vol. ccclii.; and Anderson, A Short Account of the Tapestry Works at Mortlake. 309History of the Manufactory of Tapestries at Mortlake Sir James Palmer was appointed Governor of the works^ and the manufactory was fairly productive under his management. In January 1638 Philip, Earl of Pembroke and Montgomery, Lord Chamberlain, bought a set of hangings of the Story of St. Paul, containing 306J Flemish ells, for £804 lis. 3d.} which was applied to pay expenses of the manufactory.1 A warrant was issued on December 3, 1639, to the Earl Holland five pieces of hangings of the Story of the Apostles, being of the second sort, for £886 17s. 6dthe price his majesty allowed for the same, the amount to be employed in the manufacture of other sets, the purchase of patterns, and necessary repairs to the manufactory.2 In 1641 one of the workmen named Nicholas Mortlet received the sum of £85 to purchase cartoons of a History of Dido and Eneas, and went to Holland for that purpose.3 England had now entered upon troublous times, the all-absorbing topic was the strife between the King and the Parliament, and in 1642 the storm broke out. In that year the unfurling of the royal standard at Nottingham gave the signal for the civil war. The straits to which King Charles found himself reduced precluded his giving any assistance to the manufactory at Mortlake, now a crown property, and the pay of the workmen was greatly in arrears. In 1643 the King owed them £3,937, and, as the war had bereft them of patrons in England, they decided to export their products. On April 17, 1643, they petition the King for leave to send some of their tapestries to Holland free of 1 Calendar of State Papers, Charles I., Domestic Series,\vol. 1637-8, p. 173. 2 Ibid. vol. 1639-40, p. 143. 3 Anderson, A Short Account of the Tapestry Works at Mortlake, p. 13. 310History of the Manufactory of Tapestries at Mortlake duty, and that some means may be taken whereby they may receive payment of the £3,937 due to them by his Majesty. They point out that they are in great distress, many of them being ready to starve for hunger.1 The manufactory contrived to struggle through the years of civil war, for one of the products signed by Clein is dated 1646. Contrary to popular impressions of the character of the Roundheads, the government of the Commonwealth made many attempts to revive the industry at Mortlake. The parliamentary Survey of 1651 sets out the extent of the premises, their value, etc., which were to be kept from sale and employed in working tapestry. The designs for making tapestry found at Mortlake at this time were, Vulcan and Venus, Diana, Abraham and Hagar, the Apostles, Leander, Alexander, Horses, and Children. The Council of State under the Commonwealth ordered an inquiry into the state of things in the manufactory at Mortlake. Edward Carter, the Surveyor of Works, was directed to examine the house where the tapestry was made and to make an estimate of the cost of repairing the building so as to keep it from ruin and be fit for habitation and the use of the work, taking all care meanwhile that the State be not put to greater charge than is necessary.2 His report was evidently satisfactory, and he received orders to proceed with the necessary repairs of the house with all speed, in order that the workmen may not be hindered with their work. 1 Historical Manuscripts Commission, Report 5, p. 81.] Calendar of Papers in the House of Lords. 8 Calendar of State Papers, Commonwealth,^Domestic Series, 1649-50, p. 149. 311History of the Manufactory of Tapestries at Mortlake The committee, consisting of Col. Stapley, Col. Dixwell and Mr. Hay, examined and passed the account, which reached £746 is. nd.} but included repairs at " James' House," Tower wharf, Barge-houses at Lambeth, Greenwich House, and Hampton Court, as well as Mortlake.1 It was paid on July 8, 1652. The committee was augmented later by three new members—the Lord General, Mr. Strickland and Mr. Challoner. The manufactory was put under the charge of Sir Gilbert Pickering, with John Holliburie as chief workman. A new design was chosen in 1653. On August 29 of that year the Council of State ordered that the Triumph of Caesar at Hampton Court be sent to Sir Gilbert Pickering, in order that he may make copies to use as cartoons for tapestries.2 On September 19 in the same year protection from impress (it was the time of the Dutch war) is given to John Philips, as he had been maimed in the service, and belonged to the tapestry works at Mortlake, which it is added "is a manufacture to be encouraged." 3 The Dutch war had yielded prisoners ; some of whom appear to have been tapestry-weavers, for the Council made an order on September 28, 1653, to the effect that of four of these prisoners one, chosen by Sir Gilbert Pickering, Governor of the Mortlake manufactory, be delivered toliim, and the other three to the keepers of the tapestry-house at Mortlake, on the understanding that the prisoners shall not escape to their own country.4 1 Calendar of State Papers, Commonwealth, Domestic Series, vol. 1651-2, pp.*3i6, 608. 2jlbid. vol. 1653-4, p. hi. 3 Ibid, p, 436. * Ibid. vol. 1653-4, p. 171. 312History of the Manufactory of Tapestries at Mortlake Francis Clein appears to have filled the office of artist-director or adviser at the Mortlake works in the Commonwealth period, and a matter affecting designs was referred to him. Philip Hallenbirch and some of the workmen proposed the execution of a design by the former, and petitioned the Council for permission on May 26, 1657. The Council referred the matter to Mr. Clein, giving him the option of beginning the weaving of the Story of Abraham by Hallenbirch, or the Triumphs of Julius Caesar by Mantegna, or both, if his Highness (Cromwell) shall so direct, after Mr. Clein had been spoken to thereon. The charge was not to exceed £150, and the design was only to be used as his Highness should appoint.1 Great interest was taken in these designs by the authorities, and the £150 agreed on was exceeded without a protest. On August 14,1657, £20 was advanced, on November 19 £20 more; on December 10, 1657, £20 is paid to Mr. Clein on account, for the designs, and on June 22, 1658, the order was given to advise £30 in addition to three sums of £20 to be added to the £150 ordered on May 26, 1657. On October 19, 1658, £40 in addition is paid to Carter, Surveyor of Works, and the tapestry workmen at Mortlake.2 The two designs were executed, and a copy of Caesar's Triumphs was woven in the reign of Charles II. The manufactory was undergoing further repairs in 1657, and a committee consisting of Messrs. Jones, Strickland, Skippon, Sydenham, Desborough, and Lille were appointed to consult with the Surveyor of Works 1 Calendar of State Papeys, Commonwealth, Domestic Series, vol. 1656-7, p. 385. Ibid. vol. 1657-8, pp. 171, 557; vol. 1658-9, p. 158. 313History of the Manufactory of Tapestries at Mortlake regarding the repairs.1 The wages of the workmen were in arrears ; and on December 31, 1657, Richard Sydenham, Rice Vaughan, and Thomas Evershed, were appointed to examine the papers and petitions of those who had warrants from the trustees (of the sale of the late King's effects) which were yet unpaid, and to distribute £315 13s. 6d. among the neediest, and having special regard to the arrears due to the Mortlake men.2 The proportion of the sum paid to the weavers was £72 12s. Sd.3 So the arrears under the Commonwealth compare favourably with those (£3,937) due to them by the King in 1643. The end of the Commonwealth government was hastening, and after the death of the Lord Protector there is little record of importance in connection with the manufactory. The prosperity of Mortlake declined in the reign of Charles II., and the history of the manufactory under the restored monarchy is somewhat fragmentary. On October 12, 1661, Sir Sackville Crow made a proposal to the King for the manufacture of tapestry at Mortlake. He pointed out the encouragement given by the last two Kings to tapestry manufacture in England, its decay owing to there being no purchasers of the richer sorts, whilst the commoner were imported from France and the Low Countries, and requested a consideration of his plan for restoration of the trade. The proposal was submitted to the Council for Trade, who issued a report on the scheme, showing the advantages of encouraging the manufacture of tapestry in England where the materials are already found, instead of importing them ; 1 Calendar of State Papers, Commonwealth, Domestic Series, vol. 1657-8, p. 109. 2 Ibid. p. 240. 3 Ibid. p. 287. 314t «N> O C/3 ca S § £ < OS MHistory of the Manufactory of Tapestries at Mortlake that it should be vested first in a company under the King's control, but in due time thrown open to all who choose to join the company ; and that the import of foreign tapestry should be discouraged by imposition of heavy duties, and by appointment of an office of supervisor to search and seal all tapestries.1 The King wrote to Sir Henry Finch, Solicitor General, on February 18, 1662, to the effect that the Trade Commissioners had signified their opinion on the petition and propositions of Sir Sackville Crow, referred to them on October 12 last, touching the encouragement of arras and tapestry work. He gave orders to the Solicitor General to prepare a bill for Parliament, empowering him (the King) to settle the trade as a corporation in the hands of such persons and with such restrictions as he pleases.2 The bill was followed by a grant to Sir Sackville Crow of Langharne, Caermarthenshire, and of the government of the tapestry works at Mortlake in Surrey, formerly built by Sir Francis Crane. He was also granted a warrant to search out all paintings and drafts for hangings belonging to the late King, and furnished with means to repair decayed buildings, looms, etc. With the appointment there was a grant of £1,000 per annum towards the support of the works. The rent was nominal, being but 5s. per annum. The court painter Verrio was engaged to supply designs to the manufactory. The new project was not a success. In 1667 Sir Sackville Crow placed his resignation in the King's 1 Calendar of State Papers, Charles II., Domestic Series, vol. 1661-2, pp. 110-11. 2 Ibid. p. 277. 315History of the Manufactory of Tapestries at Mortlake hands. One of his letters dated 1670 states in reference to Mortlake : " Finding that busines without his Majestie's encouradgement rather a burden than a bennifitt to mee to keepe itt upp to that perfection I found and made itt, I long since returnd and layed itt att his Majestie's feete without the least advantage by itt to myselfe, onely out of a jealousy and care that soe excellent an ornament to the nation might not suffer under my handes." 1 His brother Sir Richard Crow had a claim on the manufactory. Early in 1667' a statement was issued to the effect that John Ashburnham had obtained the King's consent for Sir Sackville Crow to resign the work-house for tapestry at Mortlake which with the utensils was to be granted to the Earl of Craven and others, who would work it at their own expense, without the former allowance of £1,000 a year, and support the manufacture, which was almost dissolving, running the risk of the imperfection in the King's title to the land.2 The new contractors appear in a document dated March 20, 1667—a warrant for a grant to William, Earl of Craven, William Ashburnham, cofferer, and Thomas Povey. It included all houses, lands, implements for tapestry, etc., in Mortlake, Surrey, used for making tapestry by the late Sir Francis and Sir Richard Crane, late in possession of Sir Sackville Crow, Bart, on a rental of 5s.; and orders the heirs of Sir Richard Crow to surrender and convey the same free of all claims and demands. The document is endorsed with a note from Sir Philip Warwick to the Attorney General, that, the 1 Historical Manuscripts Commission, Belvoir Manuscripts. 2 Calendar of State Papers, Charles II., Domestic Series, vol. 1666-7, P- 4-6. 316History of the Manufactory of Tapestries at Mortlake King's title being weak, and this grant made for setting up a manufacture, the Lord Treasurer is not dissatisfied with it.1 On April 22 the warrant was issued: " Warrant for a grant to Wm Earl of Craven, Wm Ashburnham, cofferer, and Thos. Povey, of all those houses and buildings in Mortlake, Surrey, here-to-fore used by Sir Francis Crane for making tapestry, on a rent of 5s., to be conveyed to them also by Sir Richard Crow, who pretends a right thereto, on proviso of their being employed only for the making of tapestry ; the grant to include all looms, utensils, or materials for tapestry now in the said premises." On August 25 of the same year a warrant was sent to the master or workmen at Mortlake to deliver to Henry Brouncker (afterwards Viscount Brouncker) all the designs, looms, and moveable utensils there found, for making tapestry, as the King's free gift.2 An undated document written perhaps about 1668 is signed by Francis Poyntz, who was artistic director of the Mortlake manufactory in 1670. In the document he styles himself the King's tapestry-maker. He demonstrates the benefits that would arise by encouraging tapestry-making in England, £10,000 a year being spent in buying foreign hangings : on account of the storms now threatening Flanders one thousand workmen would come over if there were stock to employ them, and at Colchester, Canterbury and Exeter there are numerous Walloons, who were the chief makers of tapestry, and might again be employed therein.3 The establishment 1 Calendar of State Papers, Charles II., Domestic Series, p. 597. 2 Ibid. p. 417. 3 vol. 1667-8, p. 143. 317History of the Manufactory of Tapestries at Mortlake was in Lady Hervey's possession in whole or part, as is attested in a letter written to her aunt, the Countess of Rutland, by Sir Sackville Crow, who in 1670 writes from the debtors' prison or the Fleet. The letters explain the subject, and convey a great deal of useful information about tapestry-making in England at the period :— Sir Sackville Crow to the Countess of Rutland. " 1670, May 3. Haveing had little liberty of late, or incouradgement indeed to looke out of my uncouth cell, butt att an expense that my present condition cannot well support, since my last, when I was returneing to itt, I have not had the oppertunity to see my disconsolate wife and family. Butte upon the King's returne from his recreations att Newmarkett, the Lord Keeper favouring me with writts for three or four dayes—in order to my solicitation att Court, of which I grow weary, if not in despaire—my wife tells me of your resolution by Mrs. Farwell, touching those hangings I by my last accompted to your Honour of, and your desire of others. Wherein if that manufacture had beene under my charge I should sooner have returned that duty I owe all your Honour's commandes, butt Madam, as I first acquainted you, finding that busines without his Majestic's encouradgement rather a burden than a bennifitt to mee to keepe itt upp in that perfection I found and made itt, I long since returnd and layed itt at his Majesties feete without the least advantage by itt to myselfe, onely out of a jealousy and care that soe excellent an ornament to the nation might not suffer under my handes. In order to the preservation whereof, it is as I formerly advertised now in your niece's, the Lady Harvie's handes, who doubtless will give a better account. Butt, doubting your Honour might not have •a cleere correspondence with her, as I formerly did, I have treated with the chiefe mann under her, in an unknown name, as for a neare freind butt as in my last, I cannot draw the price lower than before, att which rate, I beleive the Lady Harvey may gett 5s. per stick, att the most if soe much, which I presume to know as well as her Ladyship, or her workeman that made them. Courser than theese—the silk sleize and not Naples, which will soone grow rough, gather dust and sullie, of as fine warpe, but beeing ill woven will shrink and pucker— your Honour may be served with from Flanders, att 18s. per stick or under, that, for a time, will looke better to the eye, but theire ordinary designes for the most part beeing deformed and mishapen, the faces and nakeds painted, with a whiles use will soone loose theire luster. Besides those hangings I wrott your Honour off, I doe not finde they have any ready made, seldome makeing any but when bespoken, soe that the loomes being engaged, if you should desire any from Mortlake it would be neare a yeare before you could be served : and give me leave to be ingennuous with your Honour, that manufacture grows worse daylie, except inspected by one that knowes worke—under that hand it is now governed—I cannot presume of liberty for." . . . 318Vulcan and Venus—the Forge of Vulcan. English, Mortlake. THE ROYAL COLLECTION OF SWEDEN. From Dr. Bottiger's " Svenska Statens samling af Valda Tapeter."History of the Manufactory of Tapestries at Mortlake Another letter dated May 7th of the same year affords the following extract. " For the better regulation of your election wherin, heareing your Honour hath a sute of the Apostles and another of the Naked Boyes, I think fitt to account to you that there are but four designes more in England worth the making, viz. Hero and Leander, Vulcan and Venus, the Horses, and Cesar's Triumps. The first of theise, is a very good patterne made by Dr. Clyne, but grown very common of late. The next of Vulcan and Venus, by Rivieres, an excellent master, and in my opinion a better designe, the Horses, also are by Clyne, the figures noble enough, but the rest of the designe not soe excellent. The latter, of Caesar's Triumphs, are by the best master, Montagnio [Mantegna], new drawne of, from the originails, and noe hangings yett made by them, only a sute for the King, the first now on the loomes. Which of themsoever, your Honour falls on, something of each patterne must be left out, and onely the cheefe parte of each designe made proportionable to your measures, which the latter patterne of Cesars I doubt withoute spoileing the worke beeing full of figures will hardly bee brought unto. Soe rather recommend one of the other designes, for that of Cesar's being full of figures, faces and nakeds wilbe deere and never made for 25s. per stick, hardly under 405. Which of them soever your Honour may please to resolve, I should advise, as for my selve, not to covett much silke in them, onely soe much as may serve for the better heightning them and setting of the worke, for silke wil not hold cullor soe well as cruels, and will make the worke the dearer." From a third letter dated June 20, 1670. " I shall cause both him at Mortlake, and the other att Lambeth, to attend you with theire patternes, the one with Hero and Leander, the latter with Vulcan and Venus, two of the best patternes now extant, of which in my judgment I prefer that of Vulcan to be the better designe and don by the better painter, but must submitt to my Ladies inclination : besides I believe it will come somewhat the cheaper. . . . For whomsoever I doubt you will hardly gett Hero made under 25s. per ell, to be well done. The other I presume will come for 23s. per ell, but give me leave to tell you the stuff is not altogether soe good. In this they cannot deceive me, nor may I my Lady, and truly if it were for my selfe, I had rather give 25 s. to have them good stuff and well made, then have badd for 20s. beeing for so eminent a roome as her Honour designes them. My Lady in hir letter speakes of Poynze, but take it of my credditt he hath not one good peice of painting or designe by him, besides a. deare prateing fellow that knowes not what good worke is. With which of them soever you treate, contract with him not to putt any sleizy silke in the worke, for that will soone grow rough and sully, much sooner than Naples." 1 The ell mentioned was the Flemish ell. The condition of the Mortlake manufactory at this time was not satisfactory. The King, according to Sir 1 Historical Manuscripts Commission, Belvoir Manuscripts. 3T9History of the Manufactory of Tapestries at Mortlake Sackville Crow, gave it little or no encouragement, and it had to face the competition of the royal manufactory of the Gobelins in Paris. The fashion again turned to the purchase of continental tapestries, in spite of the heavy import duty. Tapestry figured in the list of articles of which the importation was prohibited in the English Manufactures bill of 1673, but the measure was not carried, and further proceedings were stopped by the prorogation of the Houses on February 24, 1673 .l In 1672 the Mortlake manufactory produced a large hanging with full-length portraits of James I. and his Queen, Anne of Denmark (from portraits by Sir Paul Somers), Charles I. and Henrietta Maria after Vandyke and King Christian II. of Denmark. The border contains medallions of the Royal Children, and the hanging bears the initials of Francis Poyntz with the date 1672. To a later period belongs the set of marine tapestries representing the Battle of Solebay, in Hampton Court Palace. The composition has been inspired doubtless by the tapestries of the Destruction of the Armada then in the royal collection. The border is of the seventeenth century period, and bears the letters F. P. (Francis Poyntz) and the Mortlake shield. Francis Poyntz continued to be manager of the Mortlake works for a considerable time. The anti-Catholic law caused him to petition the King and Council in 1678. He prayed them to weigh the condition of those Roman Catholic tapestry-makers whom they had brought over by his Majesty's encouragement in setting up the tapestry manufacture here, and who are obliged by the late 1 Historical Manuscripts Commission, Report IX., p. 54. 320History of the Manufactory of Tapestries at Mortlake proclamation to quit the country.1 List of Foreign Weavers at Mortlake in 1678 :2 Joseph de Sayor, Gillis Lawarde, Jacques Van den Houten, Guillaume Blaes, Boudowyn Aps, Casper Casse, Jan Van Bever, Joris Remsdael, Jacques Remsdael, Jean Remsdael, Jean den Pondt, Antonio Backer, Guillaume Van Merre, Poschior de Hondt, Jean Phillips, Bernards Craen, Martinus Driesvolt, Jean Vette Verrier (youth), Sesar de Colvenaer (youth), Hendrik Gillimans, Peter de Colvenaer, Ferdinando Vanden Eiden, and Jean Parry. Annexed to the above document are the proposals of Francis Poyntz regarding the establishment of tapestry manufacture. He states that £100,000 worth of tapestry is imported into England every year, employing 10,000 people in its manufacture abroad, and taking £100,000 a year out of the country. England having plenty of wool, and the best in the world for the purpose, might, with encouragement, become the chief magazine in the world for tapestry. The growth of the country would be used, and employment given to Englishmen. More silk would be imported from Turkey, which would increase our woollen exports in exchange for it. English money would be kept at home and more would come in from abroad, and foreign manufacturers and their families would be drawn hither. Now the way to bring this to pass is : (1) to encourage the workmen as the French King has done; (2) to prohibit foreign tapestry or tax it heavily; (3) to entice from France the workmen settled there, who, owing to the wars, were not thriving ; (4) to entice workmen from Flanders, who, owing to the threatening state of affairs there, would come over by the writing of a letter; (5) to give the same encourage- 1 Historical Manuscripts Commission, Report xi., part 2, p. 69. 2 For these names we are indebted to the courtesy of Cuthbert Headlam, Esq.,. of the House of Lords. H.T. 321 21History of the Manufactory of Tapestries at Mortlake ment to tapestry-makers as to the 100,000 manufacturers of baize, says and serges, originally Walloons, at Colchester, Canterbury and Exeter. We have the best wool, and cheaper provision than where tapestry is now made. When the trade of baize, says and serges, was first set up, not a tenth part of the present manufacturers came over; but as the trade increased, the rest were obliged to come over because their trade abroad decayed. The efforts to revive a dying industry were ineffectual, and public interest was so absorbed by the religious and political events of the time that the exigencies of Mortlake received little attention. The manufactory, it appears, was at the time the property of the Earl of Montague, but in 1691 the establishment was handed over to a corporation, " The Tapestry-makers of England "—Thomas Williams, Thomas Neale, Newdigate Owsley, John Smith, Dean Montague, and others, who had lodged a petition to revive the industry. The Solicitor General in reporting upon it writes :—" I find that King Charles II., by letters patent, dated October 15, in the nineteenth year of his reign—taking notice that divers houses in Mortlake had been used for making tapestry, to the freehold and inheritance whereof the crown was entitled ; and that the art of making tapestry in England was first set up at the great charge of his father, King Charles I., and was brought to great perfection, but that of late the looms had been deserted, whereby many of his subjects lost their employment, and the kingdom of losing the growth and perfection of the said art—granted to the Earl of Sunderland and Henry Brouncker, Esq. [afterwards Viscount Brouncker], 322History of the Manufactory of Tapestries at Mortlake and their heirs, the said houses, rendering to the crown the yearly rent of 5s. And did also grant to them all the goods, utensils, looms and designs, used or prepared for making tapestry. There is also a proviso in the letters-patent, that if the making of tapestry was not set up in some of the said houses, within a year after they should be in possession, the grant should be void. " The making of tapestry was set up in the said houses, immediately after the patentees had possession thereof, and has been continued ever since ; but the effectual carrying-on of so great an undertaking, requiring very great sums of money, for want thereof, the art has not been improved to such perfection, nor such quantity of tapestry made, as was expected by King Charles I. and King Charles II. f f The petitioners are willing to attempt the effectual setting up of this manufacture by a joint stock, and have agreed to advance very considerable sums in the undertaking, and doubt not, as they affirm, to bring the same manufacture to greater perfection than in any other place, if you will be pleased to erect them into a corporation, with power of making bye-laws, and other usual corporate powers, without which they do not think it safe to venture so much money as will be requisite, nor can they otherwise regulate and improve the said manufacture as they propose to do. The Earl of Montague—to whom the whole estate and interest in the houses and materials was conveyed by the Earl of Sunderland and the late Lord Brouncker about 17 years since— has been pleased to signify to me that he is so far satisfied of the impossibility of making any considerable improve- 323History of the Manufactory of Tapestries at Mortlake ment of this manufacture, unless by a joint undertaking, that for the public good he is willing to assign all his right and interest to the petitioners, and such others as shall be joined with them, in case you shall be pleased to incorporate them. ff It seems to me that if by erecting such a corporation, and giving it such franchises as shall best conduce to the said project, the said art might be improved and enlarged to such a degree as the petitioners hope it may, the project deserves your favour, being a means tp settle a very considerable manufacture in your kingdom, which would cause a great consumption of wool, and employ great numbers of your poorer sort of subjects, and I do not see there is any objection in the point of law, to the corporation." The matter was referred to the Solicitor General to prepare the heads of such clauses and powers as he should think proper.1 The corporation of " Tapestry-makers of England " did not accomplish its aim, and the end of the Mortlake manufactory could not be staved off: the weaving practically came to an end with the century. In 1701 Daniel Harvey petitioned to be relieved of the proviso that tapestry-weaving be carried on in the houses at Mortlake. The Surveyor General reports to the Lord High Treasurer that he went to Mortlake in order to give a true state of the Tapestry-House there. The buildings were very old and ruinous, consisting of two piles built of brick, one fronting the way leading from Barnes to Mortlake, and the other extending from that 1 Calendar of State Papers, William and Mary, Domestic Series, vol. 1690-1, P- 513- 324History of the Manufactory of Tapestries at Mortlake way towards the Thames; wherein were two workhouses, one with twelve looms and the other four, over which were garrets and an old chapel. The ground floors were small apartments for labourers in the manufactory, within which was a court-yard, and a tenement therein, which the master-workman inhabited, which was standing thereon before the work-house was built by King Charles I. There were several patterns remaining, painted on paper, but many of them old and scarce fit for use. The Parliamentary survey of 1651 sets out the premises, their value, etc., which were to be kept and employed in working tapestry. The same surveyors mention a brick tenement, with a garden on the south side, built at the same King's charge for the use of the limners, which should belong to the work. There was a grant of 19 Charles II. to Robert, Earl of Sunderland, and Henry Brouncker, Esq., of the premises, etc. He did not find the premises had been converted to any use contrary to the first design. The commodity did not vend as formerly, and so there had been but little work of late years. The document is minuted :—" March 10, 1702. Send a copy of this report to Sir John Temple, and desire to know what he would have done in this matter.1 " On March 19 Sir Edward Northey reports to the Queen on the petition of Daniel Harvey, Esq., as to certain messuages at Mortlake, granted by King Charles II. to be employed in tapestry-manufacture. His opinion was that it would not be to the Queen's prejudice or that of her people, if her Majesty released to the petitioner 1 Calendar of Treasury Papers, 1702-7, p. 102. 325History of the Manufactory of Tapestries at Mortlake the proviso and condition for employing the houses for tapestry-making, and that her Majesty might lawfully release the same. The report is minuted :—" April 9, 1703. Prepare a warrant for a patent to release the condicion. Warrant drawn." 1 Such was the end of the manufactory at Mortlake. The activity of the Mortlake workers in the first half of the sixteenth century was intense, and an enormous quantity of hangings were made. The designs in the first stages of the manufactory were sixteenth century ones. The subjects during the Jacobean period were :— History of Vulcan and Venus, the Twelve Months, and the Acts of the Apostles. These were woven many times in the reign of Charles I., when the list of subjects was considerably increased; and our present list is far from complete. Francis Clein, designer to the manufactory, furnished it with Hero and Leander, Horses, etc. Rubens supplied a History of Achilles, while to Vandyke is accredited the framing or border to the Acts of the Apostles, besides cartoons of his own portrait and that of Sir Francis Crane. He proposed the carrying out of a set of tapestries from his designs : the series was to be of colossal size, the subjects being the Election of the King, the Institution of the Order of the Garter, the Procession of Knights, etc., but the excessive cost put an end to the project. A second portrait of Sir Francis Crane with the collar of the Order of St. George was in possession of Mrs. Markham nee Crane. Other subjects were :—St. George killing the Dragon, belonging to the same lady, Diana and Calisto, History of Diana. 1 Calendar of Treasury Papers, 1702-7, p. 129. 326History of the Manufactory of Tapestries at Mortlake The Five Senses.—Five hangings in wool and silk, with grotesques in a blue background; each piece contains in the centre a blue medallion representing one of the said senses surrounded by a golden-coloured border, with terminals, medallions, cartouches and shells. At the top in the middle of the border is a shield with the arms of England. The scenes were as follows : " Hearing,"—a woman singing, her musical instrument laid aside, and near her is a stag. The medallions in the border have subj ects taken from fables. In " Hearing'' these are the ass in the lion's skin, and the fox and the stork. " Smelling,"—a lady smelling flowers, she holds a vase in her left hand. The medallion subjects are the fox and the stork, and the dog and the shadow. " Tasting,"—a lady eating fruit, on the left a monkey stealing fruit from a basket: medallions—the fox dining with the stork, and the stork dining with the fox. " Seeing,"—a lady with a mirror, behind her is an eagle : medallions—the wolf and the crane, and the dog and the wild boar. " Feeling,"—a lady reclining, holding a squirrel: medallions—the fox and the grapes, and the ape and the fox. The series was about lift. 6 in. high, and the lengths of the different hangings were 9 ft. 3 in., 15 ft., 11 ft. 4 in., 17 ft. 5 in., and 7 ft. 8 in., in the order of subject given above. The Four Seasons. William, Archbishop of York and Lord Keeper, gave £2,500 for four pieces of this subject. The Naked Boys or Children Playing. There are many sets extant—for example at Haddon Hall, Burley-on-the Hill, Ham House, etc. 327History of the Manufactory of Tapestries at Mortlake Woodland scenes, a " Crane " tapestry at Bramhill (Walpole). Vases of Flowers, in Westminster Abbey, etc. History of Alexander, and Abraham and Hagar. Eneas and Dido. The Story of St. Paul: a set was sold to the Earl of Pembroke in 1638. Also the Acts of the Apostles, Vulcan and Venus, and the Twelve Months. During the Cromwellian period the manufactory used two new designs at least: the Triumphs of Caesar (Mantegna), and the History of Abraham, by Philip Hollenbirch of Mortlake. Under Charles II. several new designs were furnished. The portraits of James I., Charles I., etc., with portraits of the royal children in the border; the Battle of Solebay; and probably some of the landscape tapestries attributed to Mortlake manufacture. The Parisian jurors in their report of 1718 judged the tapestries of Mortlake as very good. After commenting on the excellent choice of models taken from Raphael and Giulio Romano (the Naked Boys), and noting the even and smooth texture resulting from the employment of the beautiful English wools, they criticise the colouring, which, they said, was not first-rate. The hangings of Mortlake had not the brilliancy of the Gobelins; their general aspect was somewhat dull and muddy, whether it was that they darkened afterwards or were defective in tone from the beginning. A curious feature in the technique of weaving is noticeable in the Mortlake tapestry of The Gods discovering the Amours of Venus and Mars in the Victoria 328History of the Manufactory of Tapestries at Mortlake and Albert Museum. Silver-gilt thread is used to heighten the background of small figures in the border, and this thread passes over and under two warp threads instead of one only. The effect is somewhat coarse and garish, but the treatment may have saved material. This tapestry is valuable historically, as it contains the arms of Charles II. as Prince of Wales. It may have iormed part of the set sold to Mr. Allen, October 31, 1651, for £300, and described as " eight pieces of hangings with the late Prince's armes in the borders." The colour of the hanging is cool generally, but the flesh tones are inclined to be muddy. 329CHAPTER XIV 17th CENTURY—GENERAL TAPESTRY HISTORY IN ENGLAND, AND THE ESTABLISHMENT OF A ROYAL MANUFACTORY IN IRELAND THE great success of the Mortlake manufactory has, to some extent, thrown other English weaving establishments of the seventeenth century into insignificance, and it is extremely difficult to obtain satisfactory data concerning them. The Sheldon manufactory at Barcheston was producing maps about 1640, under the directorship of Francis Hicks, as one of the hangings in the Museum of York testifies, and competent judges have stated that tapestries of figure work such as the Seasons in Hatfield House were produced by the looms of Barcheston. The design of the Seasons is certainly English. Records of English workshops get more common towards the end of the century, when the glory of Mortlake had departed. Some years before Mortlake was founded, King James I. had dealings with Frangois Spierincx, the expert weaver of Delft, to whom is due the execution of the set of tapestries representing the History of the Armada. In 1607 the list of royal expenses shows a payment to Frangois " Spirieux," merchant-stranger, for three fine pieces of tapestry hangings delivered to the Right Honourable the Earl of Suffolk, Chamberlain, for 33i17th Century—General Tapestry History in England his Highness' use.1 The sum paid was £251 10s. In 1615 a tapestry containing the King's arms was repaired,2 and in the fourteenth year of his reign the King ordered payment for the great set of the History of the Armada> which herein is dealt with as an Elizabethan tapestry. There is record of a tapestry-weaver in Worcester early in the century ; only an incidental reference, it is true, but still evidence of the existence of a secondary workshop which would otherwise have sunk into oblivion. The story savours more of notoriety than celebrity. The records of the county of Worcester for April 23, 1618, register on that day the recognisances of John Tandie, husbandman, Edward Tandie, husbandman, and George Badger, arras-worker, all of Abbots-Norton, in the county of Worcester, for the appearance of the said John Tandie and Annis, his wife, and for their keeping the peace towards Gillian Fryer.3 Here then is evidence of the existence of an arras-worker of English name in provincial England, whose name has been preserved by mere accident. There is in the possession of the British and Foreign Bible Society a very remarkable book cover. It is of woven tapestry in silk and silver, while an MS. note inside the cover describes it as " English silver tapestry with garden flowers woven specially for this book." 4 It probably dates about 1630. The inventories made in the sixteenth century are 1 Frederick Devon, Issues of the Exchequer, James I., p. 72. 2 Ibid. p. 178. 3 Historical Manuscripts Commission, Records of the County of Worcester, vol. i., p. 297. 4 Burlington Magazine, vol. iv., p. 270. 33217th Century—General Tapestry History in England very rich in lists of tapestries. That of Hengrave Hall (.Antiquities of Hengrave, p. 25) was written in 1603. The great chamber of the house was hung with " eight large pieces of arras hanging, parke-work, wt. great beasts and fowls" and there were 160 yards of it. Then comes a piece of " like arras that hangs between the little chimenye and the window." Then " two peaces of like arras somewhat fyner that hangs of eche side upon the posts of the greate window," and " two peeces of like arras, which hangs over the chimney, whereof one hath Sir Thomas Kitson's and the Cornwallis ther armes in ye border of it, the other wrought with greate beasts." After these " four window clothes of pke-work arras, but somewhat corser than the rest." In the dining chamber there were seven pieces of tapestry hangings all park-work (that is, verdures or landscape), besides a hanging cloth of tapestry for the chimneys, of the Story of Danea. In the chief chamber there were six pieces of arras hanging of forest-work, in the chapel four little and three great cushions of tapestry, while the chapel closet contained one round cushion of arras and two of tapestry. The chapel chamber was decorated with seven pieces of arras of imagery. Another interesting inventory gives a list of the hangings at Cosse in 1622. The titles unfortunately have not been preserved, but some of the tapestries were of silk and gold, while others bore the Cardinal's arms. They are in several instances described as " oris" (arras ?) hangings or " helinges." 1 In the funeral inventory of Viscount Kilmorey in 1631 the great dining 1 Historical Manuscripts Commission, Report x., part 4, p. 163. 33317th Century—General Tapestry History in England chamber is stated to have contained " two great car-pettes, one of Turkey worke, the other of arras, with my lord's arms, and six pieces of arras hangings." 1 The stately homes of England were sumptuously furnished with"arras" in the seventeenth century. The civil war wrought havoc with plate and other intrinsically valuable objects, while the hangings seem to have escaped violent destruction. The mansions of the Earl of Devonshire contained many hangings in 1678. Eighty-two in Devonshire House, sixty-two in Southampton House, and at Roehampton House fifty-six.2 In the seventeenth century it was not unusual for the nobility to carry hangings while travelling. On March 20,1629, the Duchess of Buckingham, writing from Buckingham House, directs Captain Pennington to deliver to the bearer, Thomas Lovett, ten pieces of tapestry hangings and the tent with a bundle of " Sea-beeds," delivered to him for the Duke's intended voyage.3 An interesting note was sent by Mr. Levison from the Low Countries, giving the price and size of a set of hangings representing the History of Vertumnus and Pomona, and the name of the fabricant, Martin Rambaut of Brussels.4 It is undeniable that during the civil war many objects of art suffered injury, and even destruction, at the hands of the Roundhead soldiers. The more fanatical members of the army were particularly averse to anything that smacked of " idolatry," and destroyed tapestries, sculptures, etc., that incurred their 'displeasure. 1 Historical Manuscripts Commission, Report iv., p. 374. 2 Ibid. Report iii., p. 44. 3 Calendar of State Papers, Charles I., Domestic Series, vol. 1628-9, p. 508. 4 Historical Manuscripts Commission, Report iii., p. 71. 33417th Century—General Tapestry History in England A report on the subject of damages done by the Roundhead soldiery to Canterbury cathedral was sent by Dr. Thomas Paske to the Earl of Holland. He describes the damages in general, and further enlarges : " But as if this were too little to satisfy the fury of some indiscreet zealots (for many did abhor what was done already) they further exercised their malice upon the arras hangings in the choir representing the whole history of Our Saviour, and, finding a statue of Christ in the frontispiece of Southgate, they discharged at least forty shots against it, triumphing much when they hit it in the head or face." The hangings were stabbed, ripped, cut and slashed in many places, especially where the soldiers observed any figure of Christ.1 Although the fanatical element in the Parliamentary army destroyed much that " savoured of popery," the leaders of that party had reverence for fine work, and were given to using tapestries in furnishing their houses and public buildings. The tapestries representing the Destruction of the Armada were during the reign of Charles I. disposed in the Tower, and no reference was made to them since the payment by King James I. In 1650 The Story of Eighty-Eight, as it was styled by the Parliamentarians, was reserved for the use of the State.2 On the first day of the year 1651 it was ordered that the late Lords' House be used as a place of meeting for the Committee of Parliament, and the Council of State take special care to provide fit hangings for that house, and that the set concerning the Story of 1588 be hung up in the said house. Orders were given for hangings for the 1 Historical Manuscripts Commission, Report v., p. 45, 2 Calendar of State Papers, Commonwealth, Domestic Series, vol. 1649-50, p. 117. 33517th Century—General Tapestry History in England inner Court of Wards and for fitting the said rooms with all necessaries.1 The hangings and carpets that were at Hampton Court when the committee visited it were ordered to be reserved for the use of the Commonwealth; probably a selection was made by the committee. The same procedure was observed at Whitehall: the committee which went to examine the hangings, etc., made choice of such as they thought fit, and reserved some for the Banqueting House. In regard to the pictures by Mantegna at Hampton Court, the Triumph of Julius Caesar, the Council ordered in 1650 that before a sale was concluded it be reported what sum was bid.2 These were afterwards reserved for use in the Mortlake manufactory. The chiefs of the Parliamentary party were not averse to furnishing their residences with tapestries. In 1649 six pieces of tapestry representing the stories of Elijah and Hercules, with four window curtains, etc., were delivered to Col. Wauton to furnish his rooms at Whitehall,3 and in December 1651 the Council of State orders the trustees of the late King's goods to deliver nine pieces of tapestry of the subject of Venus and Cupid reserved for the use of the Commonwealth at Hampton Court. These were intended for the furnishing of a room for Sir William Constable.4 There are several similar instances in 1651, when five pieces representing the Story of Joshua, nine pieces of Vulcan and Venus, and twelve of the best carpets were removed from Hampton Court; while from Windsor the following sets were taken, viz. : five hang- 1 Calendar of State Papers, Commonwealth, Domestic Series, \ol. 1651, p. 1. 2 Ibid. vol. 1649-50, p. 117. 3 Ibid. p. 149. 1 Ibid. vol. 1651-2, p. 70. 33617th Century—General Tapestry History in England ings of Triumphs ; six of the story of King David, Nathan> Abigail and Solomon ; seven of the Siege of Jerusalem, and five of Astiages and Goddesses} In 1653 Whitelock the ambassador was given seven tapestries of the Naked Boys for his own use.3 In the same year the French ambassador, Amb. Bordeaux, was permitted to export hangings free of duty, for his own use, and a similar privilege was extended to him in 1656.3 In that year Sir William Lockhart was lent many silver dishes, etc., with twelve large hangings of old tapestry, to be returned at the end of his service.4 Towards the year 1654 the Protector, already in supreme power, was accorded the outward accessories of sovereignty, and no expense and pains were spared to surround him with the appliances of kingly office. A magnificent life-guard was provided, and furniture, etc., was purchased to the value of £6,592 17s. y\d. Many of the tapestries sold with the Crown effects were repurchased from the dealers who had bought them. Other hangings were sent to the Protector from the royal buildings ; Col. Wauton yielded up two pieces of the History of Hercules for his Highness' service.6 On May 3, 1654, Sir Gilbert Pickering, Messrs Strickland and Jones, were ordered to contract on the best terms for three sets of hangings and report thereon.6 In August Pickering and Strickland received instructions to ascertain whether the prices contracted with merchants for goods for the Protector were reasonable. These goods included :— 1 Calendar of State Papers. Commonwealth, Domestic Series, vol. 1651-2, p. 545- 2 Ibid. vol. 1653-4, p. 439. 3 Ibid. vol. 1652-3, p. 479; and vol. 1656-7, p. 585. 4 Ibid. vol. 1656-7, p. 261. 5 Ibid. vol. 1654, p. 291. 8 Ibid. p. 146. H.T. 337 2217th Century—General Tapestry History in England £ d. 6 pieces of tapestry hangings ; Story of Vulcan, Mars and Venus, in his Highness* lodgings at Whitehall, bought of John Stone . 350 o o 5 pieces of rich arras hangings, being the Five Senses, bought of John Boulton .......... 375 o o € pieces of tapestry, Story of Hero and Leander, bought of Ralph Grafton . . . . . . . . . . 180 o o Hangings, tapestry, Turkey carpets, etc., bought of Clement Kinners- ley1...........168 6 o These were approved of and paid for, with the exception of the Story of Hero and Leander and one of the Turkey carpets, but somewhat later it seems that the exception was crossed out, as Kinnersley was paid ^168 6s. for six pieces of hangings, and for Cupid and Venus, five pieces representing Elijah the Prophet, three of the Story of Jacob, twenty Turkey carpets, and one taffeta curtain.2 A further sum of £11 8s. was paid to Eliz. Smith, a poor old woman, Em. de Criell and Henry Willet for four pieces of tapestry hangings for his Highness.3 The chapter dealing with the Mortlake manufactory shows the active interest taken in the craft by the Lord Protector. Truly the State Papers dispel the tradition that his influence was detrimental to the fine arts, and that he alone was responsible for the dispersal of the magnificent collection of Charles I. There was a document in possession of Mr. Martin, bearing evidence of the opposite fact. The paper was copied by Vertue, and published in part by Horace Walpole in The Anecdotes of Painting. It is dated after the death of Cromwell, and is a petition to the Council of State from Major Edward Bass, Emmanuel de Critz, William Latham and 1 Calendar of State Papers. Commonwealth, Domestic Series, vol. 1654, p. 291. 2 Ibid. pp. 338, 456, 457. 3 Ibid. p. 447. 33817th Century—General Tapestry History in England Henry Willet on behalf of themselves and divers others. They represent: " that in the year 1651 the petitioners did buy of the contractors for the sale of the late King's goods the several parcels thereunder named, and did accordingly make satisfaction with the treasurer for the same. But forasmuch as the said goods are in Whitehall and some part thereof in Mr. Kinnersley's custody, the petitioners do humbly desire that their honours' order, whereby they may receive the said goods, they having been great sufferers by the late General Cromwell's detaining thereof, and the petitioners, etc." The goods specified were hangings, and statues in the garden at Whitehall. The petition is plausible, but it was only after the death of the Protector (who in the document is plainly styled the "late General") that the complaint was made. A similar petition was lodged by George Wilson and others and was sent to the Council. It concerned a piece of hanging representing the King of Assyria, containing 39 ells, in the custody of Mr. Kinnersley, wardrobe-keeper. The petitioners contracted on November 16, 1651, for divers parcels of the late King's goods, and paid 5s. an ell for the above. They begged that they might be satisfied out of the money in the hands of Hum. Jones, the treasurer, if they could not have the hanging.1 At that time the treasurer had £315 13s. 6d. on his hands, and he was ordered to distribute it among those who had warrants from the trustees yet unpaid, allowing £9 155. to Wilson, and having due regard to the arrears due to the Mortlake men. Mr. Kinnersley reported that the 1 Calendar of State Papers. Commonwealth, Domestic Series, vol. 1657-8, p. 129. 33917th Century—General Tapestry History in England trustees assigned the piece of tapestry in question, part of the Story of the King of Assyria, value £915s., to George Wilson in performance of a contract. In his confidential report Kinnersley states that the tapestry was sold to Wilson in lieu of other goods sold in 1651 and embezzled, but that it was at Whitehall in his Highness' service with two other hangings of the same story, which should not be separated, and therefore Wilson should be paid for it.1 A petition from the Walloon congregation of Norwich to the Committee of Council about 1655 throws a light on the state of the manufacture of tapestries there. The petitioners set forth : " that they had been late hindered from setting to work strangers that have repaired unto them for the free exercise of their religion, etc. mond, cont. 60 Ells at 4s. p Ell 200 189. A peice of hangins of O. T. Pres- ence Stuffe, containing 96 Ells at 4s. p Ell . . . . I 019 4 0 190. One peice of Solomon, 70 Ells at 1 4s. p Ell . . . -15 i2sico 191. One old peice of Woodstock . J 001 10 0 195. Six peices of Cupid and Venus, containing 177 Ells att 6s. p Ell O. T......053 2 c Sold Mr. Keymersley ye 2d Aug1., 1653, for D°. 203. Eight peices of superfine hangings Landschape, containing 220 Ells at 12s. p Ell . . . 132 o o 210. A Tapestry Counterpane . . 002 0 o Sold ye Widd. Agar ye 14th Nov1., 1650, for D°. 214. Two peices of hangings w* ye Cardinalls Armes, containing thirty-three Ells at 8 shill8- p EH..... 218. Five peices of hangings of Titus and Vespasiani containing 111 Ells at 85. p Ell 223. Six peices of Tapistry hangings of Rockers, containing 121 Ells at 3s. p Ell Sold Mr. Decrittz and others as Above. 224. Three peices of fine Tapistry, con- taining 70 Ells at 4s. p Ell 225. Two peices of Coarse Stuffe con- taining 60 Ells at 3s. p Ell 370 no price. 049 8 o 018 3 o 014 o o 009 o oSale of the Royal Collection of Tapestries, 1649-53 £ s. d. 226. Four peices of hangings, contain- ing 110 Ells at 2s. 6d. p Ell . 013 15 0 227. Four peices of Dover Stuffe, con- taining 70 Ells at 3s. p Ell 010 10 0 Att Cap4 Blackwalls 229. Four peices of Tapistry hangings, containing 55 Ells and \ at ys. p Ell..... 028 8 6 230. The other two peices containing 28 Ells at 85. p Ell on 4 0 232. One peice of Tapistry, containing 48 Ells at 45. p EH G. W. 09 12 0 233. One peice of Tapistry, containing 60 Ells at 4s. p Ell G.W. 12 0 0 234. One peice of Charlemaine, contain- ing 48 Ells at 4s. p Ell . 09 12 0 235. One other peice of ye same, contain- ing 72 Ells at 4s. p Ell . 14 8 0 239. One old peice of Soloman 2 0 0 240. One old peice of Bloomes I 10 0 229-240 sold Mr. Bass ye 8th Oct1, as Appraised. 242. Five peices of Flower Deluces being Arrass of Hampton Court, con- taining in all 110 Ells and J . 021 1 0 Sold Mr. Miller ye 14th Jan1*, 1649 for ^29. Att Sr Oliver Flemmings 244. Six peices of hangings of Acteon, 1 containing 186 Ells at 4s. p Ell 37 4 0 246. One peice of hangings of Bloomes and such like, containing 163 Ells and J at 3s. p Ell . 24 10 6 37i Sale of the Royal Collection of Tapestries, 1649-53 £ d. 247. Three peices of hangings in all cont. 102 Ells at i8d. p Ell . 07 13 o Both parcels sold Mr. Basse ye 18th Octr., 1651, for ^32 3s. 6d. 249. Five peices of good fine Tapistry of Jacob, containing 209 Ells and i at 5s. p Ell, W. P. . 52 7 6 Sold Mr. Bass ye 8th Octr., 1651 for D°. 250. One peice of ye king of Assyria Ascycal, cont. 42 Ells at 5s. p Ell, W.P.....10 10 0 251. One peice of Tryumphs, cont. 54 Ells at 6s. p Ell . . . 016 4 o 250 and 251 sold Mr. Bass ye 8th Octr., 1651, for £26 14s. Att Serjant Negars 261. One old peice of Bloomes, O. T. oo 10 o 262. One old peice of Tryumphs, con- taining 36 Ells . . 01 16 o Att Mr. Woleseys 263. Three peices of hangings C.R., containing . . . at 2s. p Ell 07 12 o Sold Mr. Hunt as Appraised ye 24th May, 1650. 267. Five peices of Oatlands, cont. 132 Ells at 6s. p Elle . . 39 12 o Sold D° as above for £40 12s. 268. One peice of W. P., containing 25 / Ells at 2s. 6d. p Ell . 03 2 6 Sold Mr. Hunt as above. 269. One peice of Dover Stuffe, cont. 12 Ells at 2s. p Ell . . • 01 4 o Sold Mr. Jn° Hunt as above ye 14th May, 1650. 372Sale of the Royal Collection of Tapestries, 1649-53 £ s. d. 270. One peice of Assuaras and Hester C. R.j containing 27 Ells and J at 2s. 6d. p Ell . . 03 8 9 272. Two peices more of C. R., containing 44 Ells at 25. 6d. p Ell . . 05 10 o 274. One peice of Bloomes C. R. 01 o o 270-274, sold Mr. Hunt as above. At Serjant Coventrys 281. One peice of old hangings W. P., containing 45 Ells at . 01 10 o Att Mr. Tandys 287. One peice of Coarse Stuffe, C. R., containing 12 Ells at 2s. p Ell 01 4 o 288. One peice W. P. of Tryumphs, containing 30 Ells at 45. p Ell 06 0 0 289. One other peice, containing 30 Ells at 4s. p Ell . . . 06 o o 281-289. Sold Mr. Decrittz ye 18th of Nov1., 1651, as above. 294. One peice of Tryumphs W. P., containing 48 Ells at 4s. p Ell . 09 12 0 Sold Mr. Layner ye 2iBt January,^1650, for Att Cap1 Zunches 302. 2 peices of hangings of Bloomes, cont. 49 Ells at iM. p Ell . 03 13 6 Sold Mr. Emmerry ye 21st May, 1650, for D°. Att Cap* Pims 303. Three peices of hangings of Melea- ger, cont. 150 Ells at 15s. p Ell 112 10 o 373Sale of the Royal Collection of Tapestries, 1649-53 £ s. d- 304. One peice of hangings of a Man and a Woman, cont. 16 Ells at 4s. p Ell ..... 003 4 0 303, 304. Sold Mr. Decrittz ye 18th Nov1"., 1651, for D°. More at Cap* Zunches 305. Two peices of hangings of Forrest worke, cont. 40 Ells and \ at 18^. p Ell ..... 003 0 9 Sold Mr. Evans ye 2iat May, 1650, for D°. Att Mr. Scutts 311. One peice of ye Apostles oi oldArrass containing 76 Ells W. P. at . 003 16 o Sold Mr. Decrittz ye 18th Nov'., 1651, for £3 16s. 312. One peice of old — hall stuffe, cont. 17 Ells \ W. P. . . . 000 17 6 Att Major Whites 324. One peice of hangings of Vertues, cont. 25 Ells at 5s. p Ell . 006 12 0 312, 363. Sold Mr. Decrittz in a Devi-dend as above. 325. One peice of Jacob, cont. 63 Ells at 55. p Ell .... 015 15 0 Sold Capt. Geere ye 3d Sept., 1650, for D°. White Hall 326. One peice of Prudence, cont. 63 Ells at 45. p Ell . . . 007 4 0 332. Two peices of hangings Cutt W. P. 001 10 0 326, 332. Sold Mr. Decrittz ye 18th Nov1., 1651, for D°. 333. One peice of ye Hebrew Lett' Dover Stuffe, containing 18 Ells, 374Sale of the Royal Collection of Tapestries, 1649-53 £ d< and one other peice of ye same, containing 14 Ells at 3s. p Ell, valued together . . . 004 18 o With Quarter Mast1 Rothwood. Att Lieut. Coll. Axwells 334. One peice of hangings of Wood- stocke, cont. 42 Ells C. R. . 002 o o Sold Mr. Wright ye 24th May, for £2. 338. One window peice of Mr. Leggs . 003 o o Sold Mr. Decrittz ye i8111 Novr., 1651, for 3 pounds. Att Cap* Grimes 343. Four peices of hangings of Coarse Stuffe, cont. 56 Ells att 2s. 6d. p Ell C. R.....007 o o Sold Mr. Wright ]ye 2iBt May, 1650, for £7. 345. A peice of Jacob, containing 63 Ells at 75. p Ell W. P. . . 021 1 o Sold Mr. Decrittz ye 18th Nov1., 1651, for D°. 346. One peice of Woodstocke, cont. 42 Ells at is. p Ell . . . . 002 2 o At Cap* Axells 349. A peice of Sunn Beames at Richmond, containing 120 Ells at is. 6d. p Ell . . . 009 o o 352. Two peices of Sunn Beames . 001 o o Sold Mr. Decrittz ye 18th Nov'., 1651, as Above. Att Lieu* Coll. Goffs and Mr. Robert Marshalls 362. One peice of G. W. Letter Y, containing 44 Ells at 3s. p Ell . 006 6 a 375Sale of the Royal Collection of Tapestries, 1649-53 £ 5. d. 363. Two peices of Theoballs, containing 32 Ells at 4s. p Ell . . 006 8 o 364. Two peices of C. R. of Ahasuerus and Hester, containing 35 Ells at 35. p Ell . . . 005 o 0 364. Sold Mr. Hunt 1650 as Above. Att Mr. Matthews 370. One peice of Arrass hangings of Richmond .... 002 o o 37I:. One peice of hanging of Mr. Leggs 001 o o 37°. 371- Sold Mr. Mathews ye 19th Ap. 1650, for D°. Goods in White Hall 374. Three peices of Dover Stuffe C. R. 005 12 o Sold Mr. Mathew Ditto for 15s. Att Mr. Ruchworths 379. Three peices of hangings of Amor and Prudence, containing — Ells at 3s. p Elle .... 014 6 o 381. One window peice of Cambden house ..... 000 8 o 379-381. Sold Mr. Hunt ye 14th May, 1650, for D°. Att Mr. Vaux's 383. One peice of hangings W. P., con- taining 30 Ells at . . 001 10 o 384. One peice of Bloomes W. P. . ooo 10 o 386. Another peice of hangings, con- taining 30 Ells at 4s. p Ell W. P. 006 0 0 387. One Window peice of Bloomes W. P. ooo 15 o 376Sale of the Royal Collection of Tapestries, 1649-53 £ s. d. 388. One peice of hangings, containing 30 Ells at 2s. p Ell W.P. . 003 0 o 389. One peice of hanging, containing 30 Ells at 2s. p Ell . . 003 o o 390. One peice of hanging, containing 28 Ells at 35. p Ell . . 004 4 0 392. One other peice of hanging, cont. 25 Ells at 3s. p Ell . . 003 15 o 394. One peice of Bloomes, containing 20 Ells .... 002 o o 395. One other Window peice . . 000 15 o 383-395. Sold Mr. Vaux ye 14th Feb?., 1649, for D°. Att the Lord Howards C 397. Five peices of hangings of C. P., containing in all 140 Ells at 6s. p Ell . . . . 042 0 o Goods used in White Hall. Att Cap*. Leesons, at Durham House 400. One great peice of hangings of W. P. of Tryumphs, 50 Ells at 3s. p Ell..... 007 10 0 Sold Mr. Decrittz ye 18th Nov1., 1651, for D°. 401. One Window peice of W. P. OOI 0 0 402. One Window peice of Bloomes W. P. 001 10 0 406. One other peice of W. P., contain- ing 35 Ells at 2s. p Ell . 004 5 0 Att Cap1 Stanleys 407. One old peice of Arrass, cont. 45 Ells at W.P. 002 5 0 377 Sale of the Royal Collection of Tapestries, 1649-53 I s. d. 408. One old peice of Nabuchadnezer, cont. 36 Ells of W. P. . 001 407 and 408. Sold Mr. Wynstanley ye 7th June, 1650, for D°. Att Capt Joyners 412. One peice of Coarse Stuffe C. R. Sold Capt. Joyner ye 10th January 1649 for 29s. 413. One peice of Dover Stuffe at 2s. 6d. p Ell, cont. 24 Ells Sold him ye 10th Janr., 1649, f°r Do. 414. Three peices of hangings of Hanni- balls and Scipio, containing 198 Ells at 35. p Ell 419. One old peice of hangings of Oat- lands ..... Sold him ye 10th Janr., 1649, for £i 195. Att Mr. Metcalfs 420. Three peices of hangings of Ima- gery, cont. 95 Ells at 5s. p Ell Sold Mr. Vaux ye 14th Feb., 1649, for ^24. Att Mr. Sparkes at the Rolles 421. Eight peices of hangings of Venus and Adonis, containing 225 Ells at 5s. p Ell Sold Mr. Kimmersley ye 2d Augt., 1653, for D°. 422. Four peices of hangings of Pillars and Venus, containing 117 Ells at 6s. p Ell 423. One peice of hangings of the Letter A, containing 27 Ells at 6s. p Ell..... Both parcels sold John Marr ye 9th Aug4., 1653, for £43 4s. 378 001 003 029 16 18 001 10 023 15 112 10 035 008 O o o o o o o o o oSale of the Royal Collection of Tapestries, 1649-53 £ s. d. 424. Four peices of Dover Stuff of ye Hebrew Letter, containing 103 Ells and \ at 3s. p Ell . . 015 0 o Sold Mr. Keymersley ye 2d Aug'., 1653, for £15 10s. 6d. 425. Two peices of Esdrass, containing 76 Ells at 2s. p Ell . . 007 13 o Sold Jno. Marr ye 9th Aug1., 1653, for D°. In Worcester House 430. Four peices of hangings of ye Ladys of Hampton Court, cont. 150 Ells at 4s. p Ell . . 030 0 o 431. Five peices of hangings of David G. W., containing 171 Ells at 4s. p Ell . . . . 034 4 0 433. Seven peices of Moses and Aaron C. R., containing 137 Ells at 3s. 6d. p Ell ... 041 9 6 434. Six peices and two small peices of Arrass of John Baptist, containing in all 180 Ells and \ at 20s. p Ell ..... 180 10 o 430-434. Sold Mr. Latham ye 17th May, 1650, for D°. Goods viewed at St. James's as followeth. In the great Clossett 442.JOne peice of Moses and Aaron C. R......005 5 0 Sold Mr. Decrittz ye 18th Nov'., 1651, for D°. 443. One peice of Coarse Elizeus . 003 10 o Sold Mr. Decrittz and others in a Devidend as Apprais'd.fl 379Sale of the Royal Collection of Tapestries, 1649-53 444. One peice of Ladys suitable to a L s. d. room at Darby House G. W. . Sold Mr. Decrittz as Appraised. 015 6 0 445. One peice of Samuell and Saul, of Oatlands .... 003 3 0 446. One peice of hangings G. W., marked S...... 000 12 0 447. One peice of Oatland 000 16 0 448. Three peices of Nabuchadnezar 014 8 0 445-448. Sold Mr. Carrington ye 3d of May, 1650, for D°. 449. One peice of green work, suitable to Syon, etc., C. P. 003 12 0 450. One peice of Letters B, of C. P. 007 4 0 451. One very old peice of Oatland 001 10 0 456. One peice of Tryumphs R. C. 009 0 0 457. One Window peice of Richmond 003 0 0 449-457. Sold Mr. Decrittz ye 18th Novr., 1651, for D°. In the Kings Lodgings so called 462. One Tapestry Counterpane . Sold Mr. Decrittz for D°. 001 0 0 467. Three peices of hangings of several sorts, marked with B. C. R. 023 8 0 468. One other peice .... 002 0 0 472. One Window peice of Richmond . 000 18 0 475. One Tapestry Counterpoint 467-475. Sold Mr. Stone D° (23d Oct1., 1651). 002 5 0 In ye Bedd Chamber 477. One peice of Poetry on 14 0 478. Five peices of several letters 027 3 380 Sale of the Royal Collection of Tapestries, 1649-53 In the Bellcony Roome £ s. d. 483. Three peices of Roses and Sunn Beames, two of Woodstock and one of Richmond 013 1 0 484. Two peices more of ye same Stuffe 001 7 0 486. One old peice of Richmond . 001 0 0 487. One old peice of Oatlands . 477-487. Sold Capt. Stone D°. 001 0 0 Capt. Parsons Roome 488. Five peices of Arrass of David, cont. 110 Ells at £4 p Ell 840 0 0 Ye £ of these peices sold Mr. Bass, as Appraised, the other part sold Mr. Bass and Mr. Hunt as Appraised ye 7th March 1651. Att Capt. Kemps 494. One peice of Hercules C. R. 006 0 0 495. One peice of Hester 006 0 0 496. One peice of Letter Y 008 2 0 497. One old peice of Oatland 001 0 0 498. One old peice of C. R. 494-498. Sold Mr. Decrittz ye 18th Nov1., 1651, for D°. 001 0 0 501. One Counterpane of Theoballs Sold Mr. Andrews ye 14th May, 1650. 002 0 0 Lieutenant Wards 504. Two peices of Hector . 012 12 0 — One peice of C. P. letter B 002 0 0 505. One peice of Oatlands 001 0 0 507. One Counterpoint of C. P. . 001 0 0 Att the Majors Quarters 509. Two peices of Hampton Court with the Cardinalls Armes 020 8 0 381 Sale of the Royal Collection of Tapestries, 1649-53 £ s. d. 510. Three peices of Letter Y 504-510. Sold Mr. Decrittz ye 18th Nov1., 1651, for D°. 018 18 0 514. One Window peice of Richmond 002 0 0 520. One peice of Arrass of Letter B 033 0 0 521. One peice of Charlesmaine . 520-521. Sold Capt. Stone ye 23d Oct1., 1651, for D°. 010 16 0 523. One Counterpoint of T Sold Mr. Kemmersley ye 2d Aug1., 1653, for Do. 001 0 0 Att Leutenant Masons 527. Two peices of Woodstock Sold Capt. Parsons ye 23d Octr., 1651, for D°. 007 10 0 528. Two peices of Nabuchadnezer Sold Mr. Decrittz ye 18th Novr., 1651, for D°. 014 5 0 529. Two peices of Plannets 006 15 0 534. Three peices of Letters C. R. 010 10 0 535. One peice of Richmond 001 0 0 529—535. Sold Capt. Parsons ye 23d Ap., 1650, for D°. Att Coll. Jones's att White hall 539. One peice of ye Trojans Warrs C. R. . . . . . 003 o 0 Sold Capt. Stone ye 23d Octr., 1651, as above. 540. Four peices of Cambden house Stuffe ..... 012 0 o Sold Mr. Humpherys ye 21st J any., 1649. Att Mr. Scoots 545. Five peices of Bloomes, O. T. . 013 12 o Sold Mary Smith ye 18th May, 1652, for D°. 547. Three peices of Tryumphs C. R. 052 4 o Sold Capt.'Stone ye 23d Oct1., 1651, for D°. ; 552. Six peices of Eliach at Lambeth 033 o o Sold Mr. Decrittz ye 18th Nov1., i6si,jfor D°. 382The Departure of Tobit. Flemish, Brussels, 16th Century. THE PROPERTY OF SIR HENRY VANSITTART-NEALE, K.C.B., Bisham Abbey.Sale of the Royal Collection of Tapestries, 1649-53 Att ye Lord Pembrooks £ s. d. 553. One peice of Meleager W. P. Sold Mr. Emmery ye 12th May, 1650, for 265. 001 4 0 554. Two peices of Amor and Prudence W. P. . Sold Mr. Emmery ye 21st May, 1650, for £7 8s. 007 4 0 555. One Window peice Sold Mr. Emmery D° for 17 Shill8. 000 15 0 557. Four peices of Coarse Stuffe Sold Mr. Emmery D° for £21 15s. 019 10 0 558. One other peice of Coarse Stuffe Sold Mr. Emmery D° for £1 lys. 001 12 0 561. Three peices of green work C. W. Sold Mr. Emmery D° for £14. 10s. 013 0 0 567. Seven peices of ye Cardinalls Armes of H. C..... Sold Mr. Emmery D° for £80 2s. 075 12 0 568. One Window peice C. R. Sold Mr. Emmery D° for 12s. 000 10 0 Att ye Stewards to ye S" L" 577. Three peices of Coarse Elizeus, one W. P.....006 o o Sold Mr. Emmery D° for £6 10s. More att St. James's at Capt. Prestons 579. Three peices of Rockers . . 016 17 6 584. Two peices of hangings G. W. . 007 4 0 585. One peice of Roses and Sunn Beames 002 o o 586. One old peice of hangings . . 002 o o 579-586. Sold Mr. Decrittz ye 18th Novr.f 1651, for D°. 587. One other peice of hangings . 003 2 6 Sold Mr. Andrews ye 14th May, 1650, for D°. 588. One peice of hangings . . 004 1 o 589. Three peices of Dover Stuffe . 007 15 o 383Sale of the Royal Collection of Tapestries, 1649-53 £ s. d. 591. Three old peices of Tapistry . 004 0 0 598. One peice of Sampson . 004 I a 599. One other peice of hanging . . 006 0 0 600. One peice of George . 005 10 0 601. One peice of ye Months . OO4 10 0 602. One peice of hanging . 003 15 0 603. One peice of hanging . 004 4 0 588-603. Sold Mr. Decrittz for D°. In ye Wardrobe att Mr. Kemmersleys 608. One peice of Tapestry of letter B 005 5 o Sold Mr. Kemmersleys ye 2i8t Jan?., 1649, for £5 ss. 609. One Window peice of Tapestry 001 10 o Sold, Mr. Crise ye 14th Feb?., 1651, for ^4 13s. 610. One other Window peice . . 001 10 o Sold to D° for £1 12s. 620. One peice of Tapestry of Bloomes of Oatland .... 001 o o Sold to D° for 25 s. 627. One Window peice C. P. . ooo 12 o Sold Mr. Price ye 14th Feb?., 1649, for D°. In ye Green Muse at Capt. Zanches 640. Four peices of Bloomes . 007 0 0 642. One peice of Bloomes . 001 0 0 643. One peice of Imagary . 004 0 0 646. One Counterpane of Tapistry . 001 10 0 648. One very old peice of Bloomes . 001 0 0 640-648. Sold Mr. Emmery ye 21st May, 1650, for D°. Att Capt. Allsopps at ye Tower 652. Three peices of hangings Cutt by ye Souldiers. 384Sale of the Royal Collection of Tapestries, 1649-53 £ s. Att Sr James Harringtons 663. Seven peices of Tapistry and one Window peice of Bloomes. O. T. 014 17 Sold Mr. Decrittz ye 18th Novr., 1651 for D°. Att Mr. Doves 665. Five peices hangings of Oatlands 013 1 Sold Mr. Wright ye 21st May, 1650, for D°. Att Doctr Parkers 666. Three peices of hangings of remove- ing Stuffe .... 005 8 Sold Tho3s Bustard ye 17th Janr., 1649, for 13s- 667. Two peices of Mr. Leggs Charge 022 10 Sold Mr. Decritz ye 18th Nov1., 1651, for £22 10 s. 668. One Window peice of Tapestry . ooo 5 Sold Mr. Bustard ye 17th Jan?., 1649, for 55. Att Coll. Morleys 677. Three peices of Tryumphs of W. P. 016 16 678. Two other peices of W. P. . 022 16 677-678. Sold Mr. Decrittz ye 18th Nov*., 1651, for D°. Mr. Bonds 680. Four peices of Mealiager . . 028 1 683. One peice of Dover Stuffe C. R. 002 16 680-683. Sold Mr. Read ye 17th Janr., 1649, for D°. 684. One Counterpane of Tapistry C. P. 001 10 Sold Mr. Read D° for £1 13s. 687. Four peices att Mr. Leggs Charge 015 o 688. One Chimney peice W. P. . . 001 o Sold Mr. Read D° for D°. 691. Two old peices of Hangings . 003 o Sold Rob4 Read ye 21st Jan?., 1649, for £3 5s. H.T. 385 25Sale of the Royal Collection of Tapestries, 1649-53 £ s. d. Att Coll. Temples 692. Four peices of hangings of Mr. Leggs Charge . . . 052 10 o 693. Two peices of hangings C. P. 014 8 o 694. One other peice of hanging . . 001 10 o 695. Two peices more of Coarse Stuffe C. R. . . . . 003 15 o 692-695. Sold Mr. Geere ye 14th May, 1650, for D°. Att Capt. Smiths 696. Two peices of David of G. W. . 015 16 o 697. Three old peices of Oatlands . 003 o o 702. One old peice of Oatlands . . 000 10 o 696-702. Sold Mr. Decrittz ye 18th Nov1., 1651, for D°. 704. Twelve peices of rich Arrass hangings of ye 12 months valued 396 0 o Sold Capt. Butler ye 9th July, 1651, for D°. 710. Four peices of hangings of ye Plan- netts ..... 018 o o Sold Mr. Decrittz ye 23d Oct., 1651, for D°. 715. One peice of hangings of Arras C. 013 10 o 716. One peice of Bloomes of Oatlands 003 10 o Sold Mr. Decrittz ye 23 Oct., 1651, for D°.. 717. Three peices of hangings of Dover Stuffe C .... 005 12 o 719. Three peices of Bloomes of Oat- lands ..... 004 o o 720. One peice of Hawking and Hunt- ing ..... 001 10 0 719-720. Sold Mr. Decrittz ye 23d Oct1., 1651, for D°. 721. Three peices of hangings, of Titus and Vespasian C. R. ( ) C. . 026 16 0 386Sale of the Royal Collection of Tapestries, 1649-53 £ s. d. 722. Two peices of Joseph and Pharoah C. ..... 005 17 o 723. One peice of Dover Stuffe C. R. 001 16 o Att Mr. Storries 732. Four peices of Cambden . . 020 5 0 733. One other peice .... 002 8 o 736. Four peices of Tapistry of David G. W. . . . . 021 10 o 737. One Window peice of Richmond 000 15 o 723-737. Sold Mr. Decrittz ye 23d Octr, 1651, for D°. Goods y* Came from Greenwich 795. Three peices of hangings of Ima- gary ..... 012 13 o Sold Mr. Brown ye 7th J any., 1649, f°r £l3- 796. Five peices of hangings of Alexan- der ..... 026 2 o Sold to D°. for 129. In Mr. Cleamt. Kimmersleys Wardrobe at White Hall 818. One Window peice of Arrass . 006 0 0 819. One Window peice of ye Princes Armes C. R. ... 015 o o Both sold to Mr. Price ye 14th Feb., 1649, for £n. 820. Two peices of Coarse Stuffe C. R. 009 10 o Sold Mr. Kimmersley ye 2Ist Jan*., 1649, for D°. 821. One Window peice of Bloomes of Richmond C. . . ooo 12 o 822. One other Window peice C. . 001 14 o 823. Three peices of Richmond of Johoso- phat ..... 006 8 o Sold Mr. Gregory ye 30th July, 1650', for £7. 387Sale of the Royal Collection of Tapestries, 1649-53 / 5. d. ' 826. One old peice of hanging of Ladys Sold Mr. Decrittz ye 18th Nov1., 1651, for D°. 001 16 0 C827. Two peices of filius Prodigus G. W. 032 8 0 828. One peice of hanging of letter Y, of G. W..... 008 2 0 Sold to Mr. Bass ye 7th february, 1651, for D°. 852. One peice of Meleager OO4 4 0 853. Two peices of Alexandra 003 3 0 854. One peice of Ahasueras and Hester 002' 10 0 856. One peice of Hanniball Scippio 852-856. Sold Mr. Decrittz ye 18th Novr. 1650, as Appraised. 001 10 0 857. One peice of fine Stuffe Sold Mr. Kimmersley ye 21st Jan?., 1649, for £7 1 os. 007 7 0 858. One peice of Joseph and Pharoah Sold Mr. Decrittz D°. 002 16 3 Goods viewed at Theobalds in ye Custody of Otuell Wors- ley Wardrobe Keeper 872. One peice of Tapis try of Alexandra' 873. One other peice of Alexandra, both -013 10 0 together 874. One peice of Joshua 005 4 0 875. One peice of Cupid and Venus OO4 10 0 876. One peice of Battles OO4 10 0 877. One peice of Jacob Sold Mr. Worsley ye last 6 pieces ye 7th January, 1649. 003 7 6 Goods in the Standing Wardrobe at White Hall 956. Five peices of Arrass hangings of Aeneas ..... 095 0 _1 957. One peice of hanging of Lazarus 956-957. In his Highness Service. 020 0 — 958. One peice of Sufferings Sold Mr. Houghton ye 23d Oct., 1651, for £i. 008 0 — 1 Margin cut off. 388 The Virgin and Child. MADRID MUSEUM. The Adoration of the Eternal Father. SARAGOSSA CATHEDRAL. Flemish, early 16th Century.Sale of the Royal Collection of Tapestries, 1649-53 £ 959. One Little peice with Grapes . 005 o Sold Mr. Emmery ye 21st May, 1650, for ^5. 960. One other Little peice . . 005 o Sold Mr. Houghton ye 23d Octr, 1651, for 961. One peice of a Birth . . . 020 o Sold Mr. Decrittz ye 23d Oct., 1651, for D°. 962. One Altarpeice .... 004 0 Sold to Mr. Emmery ye 2i8t May, 1650, for D°. 963. One peice of a Pleaseance . . 028 o 964. One peice of ye Mapp of Malta 020 o 965. One Altarpeice with a Dove . 004 0 966. One peice of ye Salutation . . 009 o 967. One peice of Joseph and Mary . 004 o 968. One peice of Divers Storys . . 022 o 963-968. Sold Mr. Decrittz ye 18th Nov'., 1651, for D°. 969. One peice of Tapistry of ye Horses Suitable to 7 other peices at ye Council of State . . . 216 o Sold Mr. Jackson ye 23 Octo1., 1651, for D°. C970. One peice of Jacob . . . 009 12 C971. One other peice of Tapestry . 006 6 C972. One other peice . . . 009 18 973. One peice of ye Tryumphs . 003 o Sold Mr. Lavender ye 17th Jan?., 1649, f°r C974. One peice of Hagar . . . 018 o C975. One peice of David and Absalom 021 12 C976. One peice of Hester . . . 025 4 977. One peice of ye King of Assyria 009 15 To Mr. Mudy and others in a Devidend. 978. One peice of Amor and Prudence 008 8 979. One peice of ye Birth of Christ . 013 o 978-979. Sold Mr. Harrison ye 23d Octr., 1651, for D°. C980. One peice of ye Tryumphs . 019 16 C981. One peice of Hercules . . . 013 13 389Sale of the Royal Collection of Tapestries, 1649-53 £ s. d. 982. One old peice .... 003 12 — Sold Mr. Lavender for ^3 175. ye 17th January, 1649. 983. One old peice of Hercules Sold to D°. for £S 13s. 008 8 — 984. One old Hall peice Sold to D°. for £4 10s. 004 4 — 985. One old peice of Vulcan and Venus 019 4 0 986. One other peice of Vulcan and Venus ..... 021 12 0 Sold Mr. Decrittz ye 18th Novr., 1651, for £40 16s. 987. One old peice of Sammuell Sold Mr. Lavender ye 17th Jan?., 1649, for D°. 000 12 0 988. One old peice of Holopherness Sold Mr. Lavender ye 17th Janr. for 30s. 001 8 0 989. One very old peice hung Up Sold to D° for 13s. 000 12 0 990. One peice of Bus cage . Sold to D° for £2 2s- 002 0 0 991. One peice of Jacob 036 0 0 992. One other peice .... Sold Mr. Decrittz ye 18th Novr., 1651, for D°. 004 16 0 993. One window peice Sold Mr. Lavender ye 17th Jan?., 1649, for 305. 001 8 0 994. One other Window peice Sold to D° for £1 12s. 001 10 0 995. One other Window peice Sold Mr. Lavender for 32s. 001 10 0 996. One other ..... Sold to D° for 14s. 000 12 0 997. Two other Sold to D° for 14s. 000 12 0 998. Two very old peices of Bloomes Sold to D° for 4s. 000 3 0 999. Three very old Window peices 000 15 0 Sold to D° for D°. 390Sale of the Royal Collection of Tapestries, 1649-53 £ s. t In ye Painted Chamber C1065. Seven peices of Hercules H. C. 078 2 In ye Lobbe ye Next to the Painted Chamber C1068. Tenn peices of Bloomes of O. T. 014 o Att ye quarter Master Generalls 1086. Four peices of hangings of G. W. B.....017 o 1087. Two old peices of W. P. . . 003 0 1086-1087. Sold Mr. Wright ye 2i8t May, 1650, for D°. Att Coll. Waltons 1092. Five peices of O. T. . . .021 o 1093. Four peices of Dover Stuffe . 015 15 1092-1093. Sold Mr. Houghton ye 23rd Oct1, for D°. Att ye Lord Lisles Lodgins 1099. Three peices of Complections G. W. 045 12 1100. Four peices of Woodstock . . 037 10 1101. Four peices of Coarse Elizeus . 009 o 1102. Four peices of Arrass of Meleager G. W......216 0 1099-1102. Sold Mr. Houghton ye 8th Octr., 1651 for D°. 1104. Three peices of Paule, at Mr. Bonds ..... 016 4 Sold Mr. Read ye 3rd Jan*., 1649, for 10s. Goods brought from Greenwich from Mr. Leadhams 1. Three peices of Tapistry of David unlyned .... 012 o 39iSale of the Royal Collection of Tapestries, 1649-53 £ s. d. 2. Two peices of Filius Prodigius . 004 6 0 6. One old peice of Hawking and Hunting .... 006 o 0 i, 2, 6. Sold Mr. Harrison ye 23d Oct1., 1651, for D°. 7. One old peice of Eagles . . 001 o o Sold Capt. Foch ye 29th March, 1650, for £1. 9. One old peice of hanging . . 001 4 0 Sold Mr. Humphery ye 28th May, 1650, for 24s. 19. One old peice of Filius Prodigus 004 10 0 Sold Mr. Harrison ye 23d Octo1., 1651, for D°. Goods remaining at Greenwich 21. Three little peices of Eagles and one other little peice of hanging old ..... 006 o o Sold to Capt. Fouch ye 29th March, 1649, for D°. Att Mr. Hunts 58. One peice of Letter Y . . 003 10 0 60. Six peices of Paule y* came from Greenwich . . . . 028 16 o 58-60. Sold Mr. Humphery ye 22d March, 1649, for D°. Goods belonging to ye Late King, Valued as Followeth 1. Severall peices of Arrass hangings called ye Naked Boys containing 360 Ells at £4 10s. p Ell 1377 — — In his Highness Service. Severall other Goods Belonging to ye Late King 30. 8 peices of hangings w* ye Late Princes Armes in ye borders . 300 o o Sold Mr. Allen ye 31st Octo1., 1651, for D°. 392Sale of the Royal Collection of Tapestries, 1649-53 £ s. d. 31. Four Chimney peices 013 0 0 With his Highness. 32. Eight peices of Flower potts 094 0 0 33. Ye 8 borders belonging to them 010 16 0 32-33. Sold Mr. Houghton ye 23d Octob1., 1651, for D°. Goods in Carisbrook Castle 46. Eight peices of Arrass hangings 210 o o Sold Mr. Mildmay ye 19th Aug4., 1653, for £210. 48. Two peices of Tapistry of Imager ye marked O. T. . . . 012 10 o 59. One Counterpane of Tapistry . 002 o o 48-59. Sold Mr. Houghton ye 8th Octo1, 1651, for Do. Ludlowe Castle in the Princes Chamber 82. 1 suit of old Tapestry hangings cont. in all 120 Ells at 2s. p Ell . . . . . 015 o o Sold Mr. Cleam1 ye 18 January, 1650, for D°. In ye Gentleman Ushers Chambr 94. Four peices of Stript hangings, etc. . . . . . 1 10 o Sold Mr. Bass ye 7th Septr, 1650. In the Governours Quarters formerly the Justices Lodgings 100. Six peices of Tapistry hangings 013 o o Sold Mr. Cleament ye 18th January, 1650, for D°. 393Sale of the Royal Collection of Tapestries, 1649-53 £ s. d, Ludlow Castle In the first wardrobe 174. Two peices of Tapestry hanging which were used in ye Courts of Justice ..... 004 8 6 Sold as Appraised to Mr. Bass. In ye Inward Wardrobe 190. One suit of old Stript Stuffe hangings, etc. . ..100 Sold Mr. Bass. Goods belonging to Royston and Newmarkett Wardrobe 306. Three peices of old Coarse Tapestry hangings of Alexander . . 006 6 o Sold Mr. Decrittz, ye 23d Octr.( 1651, forD0. Goods . . . Inventoried in Woodstocke Mannr House In a Chamber in ye Use of Mr. Iron and his Family 316. Six peices of very old Tapestry hanging .... 003 10 10 In ye 2d Chamber belonging to him 317. Three peices of ye like Tapistry 002 3 4 In their Little Roome 318. Three small peices of ye Same 000 8 4 In Sr Wm Fleetwoods Lodgings in the Parke 319. In all ye Roomes there eight peices and one small peice of hangings there ..... 005 o o 394Sale of the Royal Collection of Tapestries, 1649-53 In ye Custody of Sr Gerrard Fleetwood Seventeen peices of over worne Tapistry hangings formerly belonging to Woodstocke Wardrobe and where brought from thence to the removeing Wardrobe at Whitehall Anno 1637 and where made into twelve severall peices by Directions of ye Yeoman of ye said Wardrobe being Appraised in Whitehall Duplicate. Ye Residue of goods belonging to Woodstocke were only Ruggs, and Imbezzelled by the Souldiers of ye sd Garrison as it was Attested. 395CHAPTER XVI TAPESTRY-WEAVING IN FLANDERS, ITALY, GERMANY, ETC., IN THE 17th CENTURY THE beginning of the seventeenth century found tapestry manufacture in the Low Countries in a most unsatisfactory condition. There were, despite the constant emigration, plenty of operatives in the country, but the methods employed in the craft were unworthy of its traditions. The unrest, a consequence of the long wars, exercised a baleful influence over manufacture and commerce. When peace was assured the revival of trade set in. Under the government of the Archduke Albert and Isabella, his Duchess, the development of industry was encouraged, and the tapestry weavers were granted in 1606 special privileges in regard to taxation, etc., while substantial help was rendered by the ordering of tapestries, and grants of money were given to encourage the work. On one occasion in 1607 no less than twenty-nine hangings were bought: sets of the History of Pomona, Paris and Helen, the Wars of Troy, and Garden pieces.1 About the middle of the century, in 1655, the tapestry merchants were provided with an Exhibition Gallery, where they could display their wares in Brussels instead 1 M. Houdoy, Les Tapisseries de haute lisse, Histoire de la fabrication lil-loise, p. 148. 397Tapestry-weaving in Flanders, Italy, Germany, etc. of sending them to the market of Antwerp as was formerly the custom. This was a great advantage, and the tariff was very moderate ; not only could Brussels tapestry be bought in the Gallery, but hangings made in Oudenarde and Antwerp as well.1 At this time the Brussels weavers had no lack of good cartoons, the compositions of the painting school of the time were very suitable for reproduction in woven material. The designs of Rubens were much utilized, especially his History of Achilles, a set of eight pieces, History of Ulysses, Triumph of the Church, History of Decius, etc. Many of his pictures and sketches were used as models for hangings. In addition to the works of Rubens, the craftsmen of Brussels utilized designs by the following artists :— Jean Bol de Malines, Josse de Momper, Denis and Louis Van Alsloot, Louis de Vaddere (Pan and Psyche 1658, Diana and Pan), Antoine Sallaerts, Lancelot Leffebure, Daniel Leyniers, Jerome de Potter, Jean Van Kessel, Herp, Jacques Artoys, Van Schoor, Lucas Achtschellinck, Jacques Van der Heyden, Lambert de Houdt, Pierre Rysbrack, Jean Lottin, Fran Jean de Boon; Paul Brouwere. 1616. Jean Van Wellen, tapissier. 1617. Joos Van der Beken, tapissier. 1618. Nicolas de Coustre. 1619. Laurent Smit, merchant tapissier; Jean Van Weelden, Oliver de Haen, Jacques Santel, Elie de Beeckere, Josse Van Ceulenbroeck, Jacques Van de Vyvere, Frangois Oste. 1620. Guillaume de Cau, merchant. 1625. Jean Pelham, English agent for tapestries. 1628. Widow Jean Van Welden. 1629. Michel Op. 1637. Simon de Witte, tapissier ; Jean Van Oostenden; Laurent Schaep, tapissier, son of David Schaep, tapissier; Antoine Van Sautvoort. 1639. Dominique Schoof. 1640. Leonard Van Welteren, tapissier. 1641. Jean Bosch, agent. 1643. Jean Vecquemans, Daniel Fourment, merchant (deaths). 1649. Jacques Firens, Andre Schellinck. 1654. Philippe Van den Vaert, tapissier. 1660. Pierre Van Quickelberghe, tapissier; Ascanio Martini, negociant. 1662. Paul and Frangois Rogiers, tapissiers Jacomo de; Virgines, Gerard van der Necken, Jean Van Leefdael. 1669. Jean Nouwelaerts, Matthew Corneliss, Joos Wyckmans, tapestry workers. 1676. Denis Poleau, merchant. 404Tapestry-weaving in Flanders, Italy, Germany, etc. 1677. Nicolas Nauwelaerts, merchant; Jean Van der Goten, tapissier; Pierre Wauters, tapissier. 1678. Andre Van Boetsel; Jean Van Werren, merchant; Marie de Smit, merchant. 1680. Stefifano de Andrea, agent. 1683. Noel Fontani, merchant. 1688. David Lorenzo, merchant. 1693. J- Ph. Cornelissen. 1694. Martin de Bisthoven, Armand Dap, tapissier. 1696. Odenaert Baert, tapissier; Notelaer, merchant.1 Oudenarde was nearly as important as Brussels in the manufacture of tapestries in the seventeenth century > and the history of the industry in Oudenarde bears a certain resemblance to that of Brussels. Early in the century the manufactory was in a languishing condition, but was successfully developed by municipal privileges. Then a succession of political changes took place, and induced emigration, some weavers going to England to work at the Mortlake manufactory, others to France, and some to Holland. Philip Robbins went to France to work for King Louis XIII. in 1622, and Philip Behagle in 1684 ; other masters of the craft betook themselves to Lille, Arras, Valenciennes, Ghent, Tournai and Brussels. In 1660 Jean Jansens went to work in Paris, and was destined to become a leading master-weaver in the Gobelins.2 With the Spanish wars, and the general disadvantages attendant on industry about the middle of the century ^ the weaving population of Oudenarde dwindled down to about 1,000, or less. The nationality of the town was changed several times, and the changes of govern- 1 For these and previous notes concerning the manufacture of tapestries in Antwerp we are indebted to the articles by M. Fernand Donnet. See the " Annales de la Societe d'Archeologie de Bruxelles," vols. 8, 9, 10, 11 and 12. 1 Annales de l'Academie d'Archeologie de Belgique, vol. xiii., 1856, Quelques Recherches sur les anciennes manufactures de Tapisseries & Audenarde, by M. Ed. Van Cauwenberghe, pp. 455, 454. 405Tapestry-weaving in Flanders, Italy, Germany, etc. ment were most unsettling. In the bombardment of the town for fifty-eight hours by the French 430 houses were destroyed.1 These disturbances were enough to destroy any industry. The subjects of the tapestries of Oudenarde were for the greater part landscapes or verdures, and the town was highly renowned for furniture tapestries such as cushions, chair-covers, etc. The amount of Oudenarde tapestries woven in the seventeenth century was enormous, and a great quantity still exists, some being very coarse in execution. The craftsmen of Oudenarde were more inclined to adopt unlawful methods of manufacture than were their fellow weavers in Brussels. George Ghuys was the principal merchant manufacturer of his time in Oudenarde, and a register of his expenses in the seventeenth century is extant. It states that he had woven " chambers " of " Pomona, Zenobia, Deborah, Philopater, Solomon, Camilla" and also Shepherds} woodcutters, and verdures. He bought extensively of other weavers, notably Jean Herbaut •(History of Aeneas) ; Paul Van den Broeck (History of Moses, History of Judith and Holofernes); Andre Van der Ende (History of Esther, Portiere of David and Jezebel) ; Peter Rombaut, (History of Suzanna and a History of Elisha at Sarepta); and a History of Hercules from Adrian de Vroelick, also History of Ulysses, History of Our Lady, etc., etc. The register gives the number made in the various years, viz. :—1601-542 : 1602— 1 Annales de l'Academie d'Archeologie de Belgique, vol. xiii., 1856, Quelques Recherches sur les anciennes manufactures de Tapisseri&s & Audenarde, by M. Ed. van Cauwenberghe, p. 472. 406Tapestry-weaving in Flanders, Italy, Germany, etc. 1,131 : 1603—1,026 : 1604—1,807 : 1605—2,093 : 1606— 2,760.* In the height of its prosperity Oudenarde was famed far and wide. The municipal authorities of Valenciennes bought hangings representing hunting scenes and landscapes from Vincent Van Quickelberghe in 1620, and Antoine Blommaert supplied them with the Departure of Moses and the Israelites from Egypt. Another weaver, Antoine Robbins, furnished the chapter of Cambrai with a History of St. John the Baptist.2 The artists who made cartoons for the Oudenarde weavers were fairly numerous and notable :— John Snellinck of Malines (History of Zenobia, 1607), Simon le Pape (1623-67), Gaspard de Witte (1668-76), Lambert de Houdt, David Teniers, Abraham Teniers, Gielmans, Elie Van der Broeck, Pierre Spierincks, Louis Van Schoor, Jupiter and Mnemosyne, Pan and Syrinx, Mercury, Jupiter and Diana, Daphne, Diana and Acteon, Theseus and Ariadne, etc., all for hangings for Peter Van Ver-ren. Van den Gruys of Antwerp made designs for Jean Brandt. Others were Augustin Coppins, Adolf de Gryeff, Abraham Van Bradael, Victor Janssens and Philip Houdt.1 The list of weavers in Oudenarde during the seventeenth century is of considerable length :— List of Tapestry Weavers in Oudenarde, Seventeenth Century. 1600-20. J oris Ghuys. 1601. Pierre Robbins or Rubens, Gilles Carlier, Jean de Moor. 1603. Antoine Van der Kerchove. 1606. Jean Van Linthout. 1607. Francis Inghels, Franjois de Smet, Franyois Hoste, Jeremie Van der Baken. 1611. Pierre Rombaut. 1612. Franyois Moens, Jean Robbins. 1613. Jacques Van den Kerchove, Jean Voet, Henri Vrancx, Pierre de Goddere 1616. Adrian de Vroelick, Pierre Brandt. 1616-32. Jean Herbaut. 1 Histoire ginirale de la Tapisserie : Tapisseries flamandes, M. Alexandre Pinchart, p. 107. 2 M. Houdoy, Histoire artistique de la Cathidrale de Cambrai, pp. 134, 226. 3 Tapisseries flamandes, M. Alexandre Pinchart, pp. 109, no. 407Tapestry-weaving in Flanders, Italy, Germany, etc. 1616-20. Paul Van der Broeck the elder. 1616. Pierre Van Kerchen. 1617-36. Jean Blommaert. 1619. Georges Van Coppenol. 1620. Vincent Van Quickelberghe. 1620-25. Antoine Blommaert. 1621. Laurent Valck, Gaspar Van der Westyne. 1621-48. Philip Robbins. 1625-58. Jean Van Coppenole. 1625. Pierre de Caluwe, Godfrey Lerman, Luc Van den Broeck. 1625-54. Josse Van den Hende. 1625-55. Daniel Van Coppenole, p6re. 1625. Peter Van Coppenole. 1633-56. Gaspard Van Caeneghem. 1633. Gilles Van der Kerchove. 1637. Adrian Wackens, Francis Robbins. 1641-67. Josse de Vriese, Jean Van den Kerchove. 1650. Daniel Van Coppenole, son. 1654. Simon Delvael, Jean Simoens, Peter Doren, Louis Van der Perre,?J. Van der Mersch. 1654-56. Antoine Van Coppenole. 1655. Francis de Moor, Jean de Holislaghere. 1656-67. Josse Van den Kerchove, Louis Van den Kerchove, Jean Van de Broucke, Jacques Van den Broucke, Joris Brandt 1657-88. Jacques Van den Kerchove. 1658-67. Jacques Van Reghelbrugghe. 1658-1705. David Brandt. 1658-79. Andr6 Blommaert. 1658-67. Antoine Blommaert. 1658-75. Jean Blommaert. 1658-67. Jacques Van Coppenole. 1658. Jean Baert, Jean Van Verren. 1658-93. Jean Van der Stichelen. 1658-67. Jacques de Bock. 1660-61. Paul Van den Broeck, young. 1660. Paul Van Verren, Philip de Vos. 1660-99. Abel Van Reghelbrugghe. 1661-91. Andre Van Reghelbrugghe. 1663. Joris Van den Broucke. 1663-7. Francis Van der Kerchove. x 663-1722. Peter Van Verren. 1667-9. Jacques Van der Roost. 1667-79. Jean Baptist Van Coppenole. 1667-1709. Antoine de Bie. 1667. Daniel Maille. 1666. Josse de Vriese. 1669-1700. Jean Van Verren 1669-76. Joris Blommaert. 1669-1719. Louis ^Blommaert. 1669-1737. Antoine Brandt. 408Tapestry-weaving in Flanders, Italy, Germany, etc. 1669. Peter Van Coppenole. 1669-95. Josse Van der Kerchove. 1669-79. Jean de Vriese. 1675. Caesar de Moor, Jean Cabilliau. i675~93- Francis Van der Stichelen. I^75~79- Gilles de Vriese. 1676. Cristian Wauters. 1679. Jean Van Reghelbrugghe. 1679-93. Stephen Van Coppenole. 1679-99. Francis Van Verren. 1679-93. Andre Van der Kerchove. 1683. Macaire Gimbercy. 1675-93. Jean Baert. 1683. Alexander Baert. 1689-99. Jean de Bock. 1691. Jean Van der Stichelen,^Francis Van Reghelbrugghe. 1691-1700. Jean Brandt. 1692. Fran?ois Baert. 1692-1731. Ferdinand Brandt. 1^93~I74I- Jean Baptiste Brandt. Jacques de Vriese. 1693-1705. Jean de Vos. I^93' Jean Van Coppenhole. 1693 -1727. Joris Franfois Van Reghelbrugghe 1695. Josse Inghels. 1699-1729. Jean Van Verren. 1700. J. F. de Vriese. 1700-8. Jean Van der Kerchove. There is but little reference to tapestry-weaving in Bruges, but several hangings exhibited in the town have been attributed, with the appearance of truth, to local manufacture in the seventeenth century. One of these is dated 1637, and bears the weaver-mark I.D.R. The emigration of the Oudenarde weavers plays an important part in the history of the craft in the towns of Flanders. In 1655 Frangois de Moor, Jean d'Olies-laegher, and Daniel Coppenolle (who setup twelve looms), settled in Ghent, where they were augmented in 1684 by Alexander Baert, Louis Blommaert, Francis Van der Stichelen (weaver of landscapes), and Jean Baert (all from Oudenarde).1 1 M. Houdoy, La fabrication lilloise, pp. 114, 115. 409Tapestry-weaving in Flanders, Italy, Germany, etc. Alost. In 1611 Gilles Roos of Oudenarde was accorded privileges by the magistrates of the town, where he was joined later by two compatriots, who were high-loom weavers, Roos de Ketele and Michel Van Glabeke.1 Tournai. In the seventeenth century the only productions recorded from the workshops of Tournai are armorial pieces and verdures. The names of weavers who supplied these were Jacques Cassel (1583-1610), Antoine Calma (high-loom), Antoine Robbins, and Peter Van Kerchove, high-loom (1613), Jacques d' Escobecque, high-loom (1615), Francois de la Charite, merchant tapissier (1619), a weaver Simon Bedoret, and Chretien Rogier.2 The town authorities made a contract with a weaver of Enghien, Jean Oedins, to set up an establishment in Tournai,3 and Etienne Oedins is mentioned there in 1688. The authorities gave every encouragement to the tapissiers with very little success. Enghien. There was considerable activity in Enghien in the seventeenth century. From that locality Jean Van der Biest went to Munich in 1604, taking three or four companions with him. Another weaver, Jean Pzegne, went to weave at Fouquet's manufactory* Three weavers went to Brussels: GeorgeLeemans( 1638), Jean Bauwens (1643), and Philip Ost (1644). Mention is made above of Jean Oedins in 1671. The last master-worker of Enghien was Nicolas Van den Leen, in 1685. He bequeathed to the Brotherhood of Notre Dame 1 Tapisseries flatnandes, M. Alexandre Pinchart, p. 117. 2 M6moires de la Societe de Tournai, vol. xxii. M. Soil, Tapisseries de Tournai, pp. 58-71. 3 Ibid. pp. 64, 65. 410Tapestry-weaving in Flanders, Italy, Germany, etc. d'Enghien and to the poor of the town all the interest of the money belonging to the corporation of the tapissiers, of which he was the only living representative, under condition that it be rendered back to that body if the organization were revived.1 That was the end of tapestry-weaving in Enghien.2 Valenciennes. The tapestries for the municipal hall were bought from Oudenarde merchants in the early part of the seventeenth century. In 1679 the authorities contracted with Philip du May or du Metz, a high-loom weaver, to supply a set of hangings illustrative of the Life of St. Gilles, from designs by Jacques Albert Gerin. These were woven at Valenciennes where they were extant in 1690.3 Arras. Vincent Van Quickelberghe of Oudenarde attempted to set up a workshop in Arras, but meeting with no success went to Lille about 1626.4 Douai. Francis Pannequin (Pannemaker ?) and Andre his son in 1697, with Andre Chivery in 1692, are all the tapissiers recorded in Douai 1600-1700.6 Mons. Antoine Quint, a high-loom weaver from Antwerp, set up a workshop at Mons in 1628.® Italian, Seventeenth Century. In Italy in the seventeenth century the decadence in tapestry-making was almost as pronounced as in the Low Countries, and in both localities it was attended 1 Destree, L'Industrie de la Tapisserie & Enghien, p. 49. 2 Ibid. p. 52. 3 M. Alexandre Pinchart, Tapisseries flamandes, p. 43. 4 M. Houdoy, Les Tapisseries, la Fabrication lilloise, p. 71. 5 M. Alexandre Pinchart,; loc. cit., p. 54. • M. Van de Casteele, Documents concernant la corps de Tapissiers, Annale de la Societe d'6mulation de la Flandre, 3rd series, vol. viii. 411Tapestry-weaving in Flanders, Italy, Germany, etc. with an enormous output of hangings. This is most evident in the case of the Florentine manufactory, that produced some fine tapestries in the preceding century. Its development was somewhat retarded during the first quarter of the seventeenth century. In the earlier part the chief workman was named Papini, succeeded in 1621 by Jacques Elbert Van Hassell or Van Asselt,. a Netherlander who gave place in 1630 to Pierre le Fevre, a native of Paris. The last-named, with his son Jean,, became famous through their connection with the royal workshops in Paris. On the death of Pierre le Fevre in 1669, two master-weavers were working in Florence; their names were Giovanni Pollastri of the workshop of St. Mark, and Bernardino Van Asselt. In later times these developed into four independent workshops directed by Giovanni Battista Termini, his brother Stefano Termini, Matteo Benvenuti, and Bernardino Masi. The first-named was the only high-loom worker ; he left Florence to set up a manufactory in Rome, where he remained 17 years. On his return he was appointed director of the Florentine manufactory, and retained that position until his death in 1717. Pierre le Fevre, who died in 1669, left a son (Philip) who was working in Florence in 1677. The names of the Florentine masters are useful, as they signed the tapestries produced by them. The later masters were : Nicolo Bartoli, Andrea and Bernardino Manzi, Angiola Masi, Giuseppi Cavalieri, Alesandro Ligi and Michele Bucci. The pictures of Raphael and other masters were freely used as models, as will be seen in the following list of works :— 4T2Tapestry-weaving in Flanders, Italy, Germany, etc. 1604. History of Scipio, 7 pieces. 1605. Christ bearing the cross. 1610-16. Several hangings for Cardinal Monalto, History of Phaeton, 2 pieces, and a Madonna. 1613-18. History of King Ferdinand. 1622. History of St. Catherine of Sienna, 7 pieces. 1623. Hunts. 1627. Borders for the History of Adam, bed-hangings of the History of Phaeton. 1629. History of Scipio, 5 small pieces, and the Birth of the Virgin. 1633. Month of May (Bachiacci). 1637. The Four Seasons, History of Joseph. 1640. A Tournament. 1642. History of Alexander (Melissi). 1643. The Seasons. 1645. The Flagellation. 1646. The Beheading of St. Paul. 1648. History of Tobit. 3650. History of Alexander (Melissi). 1651-9. History of Moses. 1653. History of Lorenzo the Magnificent, St. Julian (Allori), and Noli me tangere (Barocci). 1655. History of Cosimo (begun). 1658-9-60. History of Abraham. 1659-60. PiSta (Cigoli). 1660. Madonna, Infant Christ and Saints (Raphael), Holy Family (Andrea del Sarto). 1661-2. St. Peter. 1662. Toilette of Bathsheba. 1664. Nativity (Barocci). 1665. Pi6ta (Michael Angelo). 1667. Madonna with the Infant Christ, St. John the Baptist, and St. Elizabeth (Andrea del Sarto). Other subjects were :— History of Joseph (6 pieces), History of Samson, the Return of the Prodigal Son, Prudentia, Folly, etc. After the death of Le Fevre in 1669 the low-loom method became very much used in Florence. The following is a list of later hangings :— 1671-9. History of St. John the Baptist. 1675. Portrait of the son of the King of Denmark. 1676. Portrait of Cosmo III. (Balloni). 1677. Portiere. 1681-6. The Golden Age. 1693. Door-hangings, Hope, Divine Wisdom, St. John in the desert, Espaliers. 413Tapestry-weaving in Flanders, Italy, Germany, etc. Many of these later Florentine tapestries still exist, while the finer ones have been destroyed.1 If the Roman manufactory produced comparatively few hangings these were of better quality than the Florentine. About 1625 Cardinal Barberini made inquiries into the methods used in the manufacture of tapestries and in the dyeing of wools and silks in the chief centres of production in Flanders and France. The reports of his correspondents give a very good idea of the state of those industries in France and Flanders. He accordingly set up a workshop in Rome about the year 1633. The director was Jacopo della Riviera, under whom were Antoine a Frenchman and Michael a Fleming. Cartoons were made under the supervision of Pietra da Cartona, while the History of Scipio was furnished by Poussin. The subjects were few—some armorial pieces, a Nativity, the favourite sixteenth century subject, Children Playing, and a set entitled Mysteries of the Life and Death of Christ. These were finished by Gaspard Rocci who became chief weaver on the death of Giacomo. The manufactory was arrested in 1644, when the uncle of the founder Pope Urban VIII. died and Cardinal Barberini was expelled. Some time later the work was resumed; and to this period, about 1660, we owe the set of the History of Urban VIII., now in the Barberini Palace. Hangings were woven for outside clients; several were made for the d'Este family in the pontifical workshop.2 The manufactories of Florence and Rome were the 1 Conti, Ricerche Storiche sull'Arte degli Arazzi in Firenze. See also Miintz, Tapisseries Italiennes. 2 Miintz, Tapisseries Italiennes, p. 49. 414Tapestry-weaving in Flanders, Italy, Germany, etc. only important ones in Italy in the seventeenth century. There may have been small establishments in Venice and other towns such as Genoa, but the data are slight and inconclusive. It is recorded that Philippe le Fevre, who worked^ in Florence in 1677, kft that town in the same year to set up looms in Venice, but no record remains of his success. Germany In the year 1604 Jan Van der Biest, a tapestry-weaver of Enghien, accompanied by six fellow craftsmen, went to Munich at the invitation of Maximilian I., Duke of Bavaria. Their object was to execute some sets of tapestries for the decoration of his palace. They were joined two years later by Paul Neuenhoven with others, and in 1607 by Herman L'Abbe, who in later times became director of the establishment set up by the Duke of Lorraine at Nancy. The chief set made at Munich represented the History of the House of Bavaria, but other tapestries executed were the Grotesques, Day and Night, the Four Seasons, etc. The weavers executed their chief commission by 1615 and left the town. The chief works still exist. Another manufactory was begun in 1686. One of the weavers affected by the revocation of the Edict of Nantes entered the service of the Elector for the purpose of weaving tapestries of fine and precious materials. There exists in the palace at Berlin a set representing the History of the great Elector. It illustrates the Descent on the Island of Rugen, the battle of Warsaw, the capture of Wolgart, the winter expedition into Prussia, the 415Tapestry-weaving in Flanders, Italy, Germany, etc. battle of Fehbellin, the taking of Stralsund, and bears the date 1693.1 Spain A small Flemish colony under Frangois Tons was established at Pastrana, New Castile, in 1624. The workshop of Pedro Gutteriez, dating from 1578, was under the management of Antonio Ceron about 1625. It consisted of four looms.2 Denmark There was a workshop of some importance in Copenhagen in 1604. It was conducted by Jean de Wych and gave employment to as many as twenty-six weavers who worked by the high-loom method. Towards the end of the century Christian IV. founded a manufactory at Kioge. The brothers Van der Ecken were directors, and a series of large hangings executed under their care, representing scenes from the Scania war, adorns the walls of the Castle of Rosenberg.3 Early in the seventeenth century Martin Stauerbout set up a loom in Moscow.4 1 See Wauters, Les Tapisseries bruxelloises, p. 291, and Muntz, Tapisseries A llemandes. 2 Histoire Ginirale de la Tapisserie, Eugene Muntz, Spanish section, p. 27. 3 Casati, Notice sur le Musie du Chdteau de Rosenberg en Danemark, p. 17. 4 Almanak de Sante-Lucas Gilde voor 1855, p. 51. 416CHAPTER XVII 17th CENTURY—WORKSHOPS IN FRANCE-FORMATION OF THE GOBELINS HE seventeenth century witnessed a great revival of the craft of tapestry-making in France, both in the capital and in the provinces. As the history of the Parisian workshops leads up to the formation of the manufactory of the Gobelins, it is better to deal with the provincial workshops in the first place. In the district of La Marche, which comprises Aubusson, Felletin and Bellegarde, the manufacture was of great extent and importance; but there are few details concerning it, and these are mainly supplied by M. Perathon. He has established the fact that in 1637 there were about 2,000 tapestry weavers in the town of Aubusson, and some details are given of transactions. In 1625 a merchant-tapissier of Aubusson named Lom-bart contracted to provide the metropolitan church of Reims with four tapestries of religious subjects : the Assumption, the Virgin with the Infant Christ, St. Nicaise and St. Remi. In 1619 three weavers are mentioned : Simon Marsillac and Joseph le Veuve living near Aubusson, and Leonard de la Mazure of Felletin; in 1646 Guilbert Rogvel of Aubusson is recorded as a merchant weaver. The later history of Aubusson tapestry-making deals with it as a royal manufactory. h.t. 417 27Workshops in France—Formation of the Gobelins In Lille the industry was in a feeble condition in the beginning of the century. In 1625 Vincent Van Quickelberghe, a weaver of Oudenarde, made a proposal to the magistrates of Lille to establish a manufactory of tapestries of all sorts, and to restore old hangings. The town authorities accorded him many privileges, and he settled there with his two sons Jean and Emmanuel. The latter went to England about 1630 to work at Mortlake, while Jean remained at Oudenarde, at least as late as 1644. The authorities of Lille sanctioned the establishment of another workshop in 1634. It was under the management of Gaspard Van Caeneg-hem of Oudenarde, and employed eighteen workmen. The new venture came to an end in 1639. In J676 two emigrants from Oudenarde came to try their fortunes at Lille. They were J oris Blommaert and Francois Van der Stichelen. Another weaver from Oudenarde } Jean Cabillau, set up three looms in Lille some time later. Two weavers of Brussels, bearing a name well known in the history of the craft, transferred their industry to Lille. They were Francois and Andre Panne-maker, father and son, and their establishment lasted tor thirty-five years. The father died in 1700, leaving the business to his son, who carried it on with the assistance of his relation, Jacques Destombes or Delatombe.1 Before coming to Lille the Pannemakers had worked at the Gobelins in Paris. At Lille they made landscape tapestries,for the greater part by the low-loom method-A high-loom establishment was begun at Lille in 1687 by Jean de Melter, an emigrant from Brussels, who 1 M. Houdoy, Les Tapisseries, la fabrication lilloise, pp. 71, 92. 418Workshops in France—Formation of the Gobelins attained great fame; his workshop and that of Pan-nemaker were in full activity in 1700.1 The tapestry workshops of the city of Reims have been excellently described by M. Loriquet. The chief establishment in the seventeenth century belonged to Daniel Peppersack, who was in 1629 tapissier to the Duke of Mantua. Contracting with the parish authorities of St. Pierre le Vieux of Reims to execute several sets of tapestries from the cartoons of Pierre Murgalet of Troyes, he found plenty of work in Reims. He was commissioned in 1630 to supply the convent of St. Etienne with other hangings. In 1633 Henry of Lorraine, Archbishop of Reims, ordered from him a set of twelve large and seventeen small tapestries illustrating the Life of Christ from designs by Murgalet. Upon this, Peppersack, who had an establishment at Charlesville, transferred his whole staff to Reims. Some of the tapestries of the Life of Christ are still in the situation they were designed for. He executed also a set of Theagenes and Chariclea. An able assistant of Pepper-sack carried on the manufacture after the retirement of the founder.2 His name was Pierre Damour, and the cathedral of Strasbourg possesses a set of hangings, The Life of the Virgin, which bears his name. It is an established fact that a manufactory of considerable importance existed in Amiens, a criticism of its productions being published in the report of the jury of tapissiers of Paris in 1718. In 1683 Jean Mary, a tapissier of Reims, went to Amiens to engage workmen 1 M. Houdoy, La fabrication lilloise, p. 97. 2 M. Loriquet, Les Tapisseries de Notre Dame de Reims. 419Workshops in France—Formation of the Gobelins for the execution of some sets of tapestries he had contracted to manufacture in Reims for a burgess of that town. He engaged about a dozen weavers in Amiens, who went with him to Reims.1 The mark used in distinguishing tapestries of Amiens was a double S entwined. The contract of the King (Henri IV.) with Comans and De la Planche makes mention of Amiens as a locality where looms would be set up. The hanging representing the Ascension of Elias, now in the Garde Mobillier, Paris, is possibly a product of looms set up under the contract, as it bears the initial letter of the city of Amiens —A—with a fleur-de-lis. There is in the cathedral of Tours a set of tapestries of religious subjects—the Annunciation, Nativity, etc., apparently made in the town about 1650, for they bear the towers of the town as in its coat-of-arms. A letter written by the papal legate in France to Cardinal Bar-berini conveys the information that in 1636 Cardinal Richelieu was having several very rich sets woven in Tours.2 To Nancy, in 1612, went a Brussels tapissier, Herman Labbe, who was joined later by Isaac de Hannel and Melchior Van der Hagen, with assistants. They were invited to Nancy by the Duke of Lorraine, who afforded them subsidies and privileges. The ducal manufactory produced several works of note, including a series representing his Battles against Louis XIV. The cartoons of these were provided by Charles Herbel, 1 M. Loriquet, Les]Tapisseries de Notre Dame de Reims. See also Boyer de la Sainte-Suzanne, Notes d'un Curieux, etc. a Societe archeologique de Touraine, Memoires, vol. xliii.: M. l'Abbe Basse-boeuf, La manufacture des Tapisseries de Tours, p. 257 et seq. 420Workshops in France—Formation of the Gobelins court painter to the Duke. The Twelve Months was another subject of the Nancy workshop. When temporary disaster overtook the manufactory of the Gobelins some of the workmen emigrated to Nancy. There is record of some of the artisans at Nancy—Bernard Van der Hameyden, 1616; Jean Francis and Jean Glo in 1674.1 Claude de Lapierre, originally a weaver in Paris, was tapissier to the due d'Epernon in his chateau de Cadillac near Bordeaux. He worked, by the high-loom method and executed from 1632-9, some figure pieces from cartoons by Vernechsq, a painter. With his son Antoine, Lapierre set up an establishment at Bordeaux, producing furniture tapestries by the high-loom method, principally foliage pieces. Antoine Lapierre died in 1666; his brother Joseph worked in the establishment. There is a tapestry in the Ursuline convent at Caen, of local workmanship. It represents Scenes from the Life of St. Ursula, is dated 1659, and is signed by Jean Colpaert, tapisseur du toy.2 The workshop of Pierre Hercelin in Orleans is recorded; and in many other towns there may have been small manufactories. A short-lived but important manufactory was set up by Superintendent Fouquet at his castle of Maincy near Vaux in 1658. The chief artist was Charles le Brun, destined to become the great .director of the 1 M. Wauters, Les Tapisseries bruxelloises, p. 196. See also Les artistes fran-gaises A I'Stranger. a Annales de la Societe archeologique de Bruxelles, vol. xii.: M. Fernand Donnet, Documents pour servir & I'histoire des ateliers de tapisserie de Bruxelles, Audenarde, Anvers, etc., pp. 229, 231. 421Workshops in France—Formation of the Gobelins Gobelins. The director of the manufactory at Maincy was Louis Blommaert of Oudenarde, and the majority of the weavers were natives of the Low Countries. Sets of hangings representing the History of Constantine and the Hunts of Meleager were in the process of manufacture at the time of Fouquet's disgrace, when all the wealth and property amassed by the Superintendent passed into the King's possession, and with these the tapestry-weaving establishment which had been in operation about three years. The royal workshops in Paris were a continuation of those inaugurated in the sixteenth century, described in Chapter XI. In the beginning of the seventeenth century three establishments were producing tapestries 1 : the workshops of the Hopital de la Trinite, and that of Du Bourg and Laurent situated in the Faubourg St. Antoine, which was transferred to the grand gallery of the Louvre in 1607. Despite the clear evidence of the existence of this latter institution, there is no trustworthy information of the work accomplished. In 1613 Girard Laurent was succeeded by his son Girard, who carried on the workshop with Dubourg. The looms were high-warp ones, and near the shop a manufactory of carpets in the eastern fashion was managed by Pierre Dupont, who was succeeded by his son Pierre. The workshops of the Trinite lasted till about 1650. A third workshop was set up in 1601 when some 1 The history of the royal workshops and manufactories in Paris and the provinces has been written so thoroughly and accurately by many eminent writers that we do not deem it necessary to affix footnotes of reference in dealing with the history of tapestry in France. Among others who have compiled the history of these establishments are Sauval, Felibien, Jubinal, Francisque-Michel, Lacordaire, Darcel, Muntz and Guiffrey. 422Workshops in France—Formation of the Gobelins Flemish weavers were housed in the Hotel des Tournelles. in Paris, under the care of the Sieur de Fourcy, superintendent of the royal buildings. Not satisfied with these workshops, Henri IV. decided upon the establishment of another, conducted by Flemish weavers working in the basse-lisse or low-loom method. The new venture was attempted upon a scale that made earlier institutions seem puny. To obtain capable workmen he offered terms that have never been equalled, and no inducement was neglected to secure the services of the best artisans of Flanders. One of the reasons of this action of the King was that the Parisian workshops, it would appear, employed the old or high-loom method of weaving tapestry, which, although superior in every other respect, was unable to compete in point of speed with the more popular or low-loom method. Now in Flanders the latter had practically superseded the high-loom arrangement, greatly to the detriment of the hangings produced. Henry therefore made arrangements to introduce at all costs a new manufactory worked on the new lines. To this end he contracted with Marc Comans and Francois de la Planche to transfer their establishments to Paris in the year 1607. The contract with Marc Comans and Frangois de la Planche bestows upon them titles of nobility. The King states: " We have resolved to establish in our town of Paris and other towns in the kingdom a manufactory of tapestries, with the intention of rendering our subjects proficient by the practice and experience of the Sieurs de Comans and Frangois de la Planche, whom we have expressly brought for that purpose from the 423Workshops in France—Formation of the Gobelins Low Countries." Then follows an enumeration of the privileges accorded to the weavers, which is too long to quote unabridged. They obtained the exclusive right to manufacture tapestries by their method of the low loom. The King promised to provide them and their workmen with free workshops and lodgings in any French town wherein they might set up their industry. The foreigners who came under these conditions were to be treated as naturalised, and receive the rights of citizenship free of taxation and other burdens. The King arranged to place under their care children of French parentage, to serve as apprentices to the craft, he paying for their instruction therein. In the first year he would provide twenty-five of those ; the second and third years, twenty. Protection to the industry was afforded by the prohibition of the importation of foreign-made tapestries under the penalties of confiscation and a fine equal to the value of the article seized. The price of the tapestries, produced by the contractors must equal that realised by others in the Netherlands. All materials required in producing tapestries (with the exception of gold and silver) were to be delivered free of taxation. Further, the contractors received an annual pension of 1,500 livres each, with a preliminary allowance of 100,000 livres to cover initial expenses. Besides these concessions they had the privilege of setting up brasseries of beer wherever they went. On their part, De Comans and De la Planche undertook to set up and maintain in full working order no less than eighty looms; of these, sixty were to be in Paris, and twenty at Amiens or elsewhere. It appears 424Workshops in France—Formation of the Gobelins that the mark allotted to the productions of the manufactory was the initial letter of the town of origin, and a fleur-de-lis woven in the selvage of the hanging. The King had, at one time, the idea of combining all the Parisian workshops in one great manufactory ; but the project did not receive favourable consideration from his ministers, probably because the state of the royal exchequer would not permit the necessarily vast expenditure, for already difficulty was experienced in finding enough money for the support of the industry under the existing conditions. Situated in the Faubourg St. Marceau, the manufactory of Comans and De la Planche soon became the most successful in France. Their unique advantages and rapidity of manufacture destroyed all competition, and after the fifteen years of the first contract had expired an extension of time was granted. The masters were getting advanced in years, and in 1634 the original founders resigned office in favour of their sons ; Charles de Comans succeeded his father, and Raphael took the place of Frangois de la Planche. The directorship of Charles de Comans was cut short by his death in the year of his appointment, and his brother Alexandre took his place. Then came a change. Raphael de la Planche received the royal consent to leave the workshop at St. Marceau and found a new one in the Faubourg St. Germain, where he enjoyed emoluments and privileges similiar to those bestowed on his father. The enterprise was not prosperous. Meanwhile, Alexandre de Comans remained chief of the original manufactory until his death in 1650, when 425Workshops in France—Formation of the Gobelins his son Alexandre succeeded him, to be replaced in time by Hippolyte de Comans, third son of the founder. The establishment probably continued under his superintendence until the installation of the Gobelins in 1662. There was yet another royal workshop in Paris. It employed the high-warp method, and was directed by a celebrated tapissier, Pierre Lefebre and his son Jean. The father was director of the Florentine manufactory, which he left to come to Paris at the royal command in 1647. He received considerable emoluments, was styled tapissier to the King, and was provided with a. workshop in the garden of the Tuileries. Returning to Florence in 1650 he came to Paris again in 1655, but again went to Florence, where he died in 1669. His son continued to work in Paris, and became one of the master weavers of the high loom in the Gobelins. The mark woven in the tapestries of Parisian manufacture consisted of a fleur-de-lis and the letter P, with the initials of the master weaver. In addition to these there is sometimes the letter N and a number indicative of the order of the tapestry in the commission. The chief designers were Vouet, who, according to Felibien, came to Paris to execute among other things cartoons for tapestry, one of which was Abraham's sacrifice; Fouquieres, Corneille, Lerambert, Guyot, Dumee, Poussin, Eustace le Sueur and Philippe de Champagne. There yet remain a few hangings from the Parisian workshops : The Hunt of Meleager, marked C C (Charles de Comans); Abraham's Sacrifice, markecL A C (Alexandre de Comans) and the Metamorphosis of Arethusa (Alexandre de Comans). The three were ex- 426Workshops in France—Formation of the Gobelins hibited in the " Union Centrale " in the Palais de 1'Industrie in 1876. Other subjects were :— Amours of Renaud and Armide (Vouet), Life of the Virgin (Philip de Champagne), the Deadly Sins and the Cardinal Virtues, Misericorde, History of Con-stantine, Diana, History of St. Geruais and St. Protais (3 pieces by Le Sueur, 3 by Philip de Champagne, and one by Sebastian Bourdon), Landscapes, Animals (Fouqui£res), the Sacraments (Poussin), Children playing, the Old and New Testaments (Corneille), Diana imploring Jupiter (Dubreuil), and in the Garde Mobil-lier, the Story of Gombaud and MacSe, the Hunts of Francis I., by Guyot, who with Dumee, produced the Faithful Shepherd. To the workshop of Jean Lefevre or Lefebure the fine piece The Toilette of a Princess is ascribed. It was formerly in the Spitzer collection. Cardinal Mazarin possessed a hanging by Lefebure entitled History of St. Paul, and he had in addition a few of the productions of the Parisian looms. They were : History of the Sabines, Acts of the Apostles, Amours of the Gods, the Faithful Pastor, and St. Peter weeping, a half-figure with gold border. Henri IV. was unable to carry out his idea of combining the different Parisian workshops; but the scheme was accomplished by his successor, Louis XIV., in 1662. The support that Henri failed to secure from his ministers was enthusiastically rendered to Louis by the wise Colbert, whose policy lay in encouraging manufacture and commerce. By his constructive ability the various arts and crafts going on in the royal palaces, etc., were made to be of use to each other and were brought into line, the machinery working on a sound base: the sphere of action was centralised, and the centre was not in the palace. A family of dyers of the name of Gobelin settled in 427Workshops in France—Formation of the Gobelins Paris in the beginning of the fifteenth century. They chose the banks of the small river Bievre for the site of their works, on account of its water being exceptionally suitable for trade purposes. Their descendants occupied the Hotel de Gobelins in 1662, when King Louis chose the hotel for the nucleus of his grand manufactory, not of tapestries alone, but of nearly every applied and fine art. The King's letters patent, granted some time later, explain the scheme. The document begins by reciting the attempts of Henri IV. to develop the art of tapestry-making by the privileges and emoluments given to the Sieurs de Comans and de la Planche. It then points out that other states have continually improved their manufactories, and encouraged the labour of the most skilful workmen by according them indulgences and emoluments, proving that the manufacture of tapestries was of great utility and a source of considerable profit. " The desire to make commerce and manufacture flourish in our kingdom has made it our first care on the establishment of general peace to revive them, and render their establishment more secure by placing them in a convenient and safe locality. We have purchased the Hotel of the Gobelins with several adjacent houses, and have sought out artists of the highest reputation, tapis-siers, sculptors, goldsmiths, cabinet makers and other most able workmen in all sorts of arts and crafts, whom we have lodged there, giving apartments to each of them, and according them privileges and advantages; ministers of refined taste have been brought from Italy, and the most capable artisans from the Low Countries." 428Workshops in France—Formation of the Gobelins The superintendent was Colbert, and the professional director was Charles le Brun, "A person, skilful and intelligent in the art of painting, to make designs for tapestry, sculpture and other works, to see that they were correctly rendered, to direct and overlook all the workmen employed." Such were the duties of Le Brun. The King placed sixty children, for whom an art-master was provided, with the directors. They were to be placed according to suitability and qualifications under the masters of the various crafts. The artistic strength of the staff of the Gobelins was extraordinary ; it consisted of the elite of artistic France, without counting foreigners. The most eminent battle-painters, figure-painters, portrait-painters, landscape-painters and miniaturists were under the directorship of Le Brun, and their works are registered in his name. Van der Meulen, unrivalled in depicting landscape and horses, was but second to Le Brun; Martin or Yvart, Michel Corneille, and Noel Coypel were in the company of historical painters. Jean Baptiste Monoyer, Bernaert, etc., excelled in painting flowers. Angier was one of the ornamentalists ; Burguignon the landscape painter, Masson the architect, and Jacques Bailly the miniaturist, were a few names in the brilliant galaxy of talent ranged under the directorship of£Le Brun. The organisation of the weaving staff was on the basis of payment by contract for work, and not of steady individual salaries to thejworkmen. This allowed the more rapid and efficient craftsman to get wages in proportion to his capacity. It also gave the contractors and master-weavers full power to engage or dismiss 429Workshops in France—Formation of the Gobelins workmen, and produced a healthy rivalry between the workshops, that must have been a powerful factor in the production of the huge quantity of hangings that emanated from the "manufactory of the Gobelins in the first thirty years of its existence. The contractors, who managed separate establish-ments; numbered five. Jean Jans, a weaver of Flemish origin, was in charge; of the largest workshop, which gave employment to sixty-seven weavers, exclusive of apprentices. Jans had come to Paris to work in the royal buildings in 1654, and the works executed under his charge in the Gobelins were of such excellence that they commanded a higher price than similar productions of any other shop in the establishment. His son Jean worked with him, and his chief assistants were Jean Vasoque, Mathurin Texier, and Jean Souet. During the first thirty years the workshop of Jans earned 769,380 livres. Jans died in 1691. The second workshop was conducted by Jean Lefe-bure from the garden of the Tuileries. He was a worthy rival of Jans, and lived until 1700. During the first thirty years he received 348,924 livres. The third workshop was directed by Girard Laurent, and its thirty years' income reached 312,849 livres. These workshops employed the high-loom method of manufacture. There were two contractors for the low-loom work, which was paid at a lower rate. The master weavers were Jean Delacroix, who worked until 1714, and Mosin, who ceased to work in 1693. During thirty years the low-loom establishment of Delacroix received 280,159 livres. 430Workshops in France—Formation of the Gobelins J The five workshops employed 250 workmen, exclusive of apprentices; and in twenty-eight years' time produced nineteen complete sets of high-warp and thirty-four sets of low-warp tapestries. The finest set was the History of the King, that is, Louis XIV. The elaborate ceremonials of his stately court, the richness of detail in the dress of the period, and the tendency towards the dramatic element in national functions, gave Le Brun a splendid opportunity for compositions in the grand historic style. He had at his command the most talented artists of the land, to provide portraits, to devise and draw out accessories in the prevailing taste of the day; and so the History of the King became a grand historical document. Further, the decorative element in the composition was especially suitable for tapestry, and so the weaving enhanced the beauty of the designs. The full-size models were painted in oils. The set of the History of the King numbered fourteen hangings, and the weaving was done by various contractors, some hangings taking five or six years in execution. The titles were : 1. The Consecration of King Louis XIV. in the church of Our Lady at Reims. 2. Marriage of Louis to Maria Theresa, eldest daughter of Philip IV. of Spain. 3. Entry of Louis into Dunkirk on its capture from the English. 4. Renewal of the Alliance between the French and Swiss. 5. Capitulation of Marsal in Lorraine on the approach of Louis. 6. Audience given to Cardinal Chigi, Legate of Pope Alexander VII. 7. Siege of Douai, showing King Louis in the trenches. 8. Defeat of the Spanish army under Marsin near Bruges. 9. Siege of Tournai, Louis exposes himself to the enemy's fire. 10. The baptism of the Dauphin by Cardinal Barberini. 11. The King, accompanied by Colbert, visits the manufactory of the Gobelins. 431Workshops in France—Formation of the Gobelins 12. Entry of the King and Queen into Douai after its capture. 13. The capture of the town of Dole. 14. The capture of Lille. Several of these hangings, notably that representing the royal marriage, nearly approached the level of the Flemish master-pieces of the early sixteenth century. This is most apparent in the general composition and small details, but the distance has a sense of emptiness that is absent in the earlier work. The border, with all the rich effect of its golden ground, is not binding, and the colour generally has lost the fulness of the Flemish palette, while the technique is a modified imitation of painting. Some of the scenes were designed by Van der Meulen. Another set, destined to achieve great popularity, was the History of Alexander} in eleven hangings, designed by Le Brun. This set was repeated many times over in France and in Brussels. In Hampton Court Palace there is an incomplete set of seven pieces woven by Jos de Vos in Brussels : in some cases the size of the original cartoons was considerably reduced. The battle scenes are reminiscent of Rubens. The titles of the set in Hampton Court Palace are : the entry of Alexander into Babylon, the last fight of Porus King of India^ Alexander and his horse Bucephalus, Alexander meeting the Chaldean prophets on his entry into Babylon, Alexander entering the tent of the wife of Darius, the Battle of the Granicus, and Alexander and Diogenes. Among the contemporary subjects utilised at the Gobelins the series of Royal Palaces is of great importance. The composition is similar throughout the series. The greater portion of the design forms a framing for the land- 432Workshops in France—Formation of the Gobelins scape with hunting parties, etc., in which the King is depicted, the palace forming the subject being in most cases in the distance. The foreground exhibits wonderful vases and accessory objects. The set consisted of twelve pieces, the palaces represented were: The Louvre, Palais Royal, Chateau de Madrid, Versailles, St. Germain, Fontainebleau, Vincennes, Marimot (in Hainault), Cham-bord, Tuileries, Blois, and Monceaux. They were arranged as a set of the Months, each having a sign of the zodiac below the royal arms in the top border. The cartoons were by Le Brun and Van der Meulen, with numerous specialist assistants. Two notable and beautiful sets were entitled the Elements and the Seasons. The general composition of these was probably arranged by Le Brun, while the component parts were left to the ingenious fancy of the eminent artists working under his direction. There were four large panels in each of these subjects, with four alternating ones decorated with figures of infants in addition. They were reproduced many times, in high and low warp, in the Gobelins and elsewhere. The designs used at the Gobelins were not all new : some were of the sixteenth century, such as the Acts of the Apostles by Raphael, and the Pictures at the Vatican by the same master. Another sixteenth century design thus utilised was Triumphs of the Gods} attributed to Mantegna, and freely adapted by Noel Coypel in a series of nine hangings. Other subjects were The Story of Moses (Poussin eight hangings, Le Brun two) Triumphs of Philosophy and Faith, Country Dances (all by Noel Coypel), and the pictures after Mignard in the gallery H.T, 433 28Workshops in France—Formation of the Gobelins at St. Cloud. Coypel arranged a series of panels from the Arabesques of Raphael. The famous set of eight pieces entitled the Indian Hangings was comparatively late in execution. In the Gobelins it was the practice of the contractors to weave their names in the pieces coming from their workshops, and by these marks it is possible to distinguish the work of the high loom from that of the low. So excellently did the successors of De Comans and De la Planche perform their work that, without the signature, the work would be classified as of the high loom. For twenty-eight years the manufactory of the Gobelins earned unqualified and well-merited success. It had eclipsed the Brussels manufactory, and that of Mortlake in England, which was dying a slow death. But a period of adversity, severe and trying, was at hand. In 1690 the veteran director Charles Le Brun resigned, and to him succeeded Pierre Mignard, who was advanced in years, and lacked the energy and administrative capacity of his predecessor. The only change of any importance was the institution of a class for instructing the operatives in drawing from the antique and from the living model. It Was about this period that the Indian Hangings were executed, and several new appointments were made. The sons of Jans and Delacroix were nominated as contractors for the high and low loom workshops respectively, with two additional low-warp contractors, Souette and De la Fraye. A great calamity was near, paralysing the works for the time. The unsuccessful and costly wars completely impoverished the treasury, to such an extent that many 434<-1 <0 § V. Ni Workshops in France—Formation of the Gobelins works of art were destroyed for the value of the precious metals they contained. The strictest economy had to be practised in all national matters, so the Gobelins that cost a huge sum annually had to be sacrificed. In 1694 the manufactory was temporarily closed, and the workers were turned out. Some joined the army^ some returned to Flanders, while others found occupation in the royal manufactory at Beauvais under the management of Behagle. Some left under agreement to return to the Gobelins whenever the King commanded them. The cessation was not of long duration, for the treaty of Ryswick in 1697 brought peace and prosperity to France, and the Gobelins opened its doors again. Jans and other weavers returned and were reinstated, while a new contractor was nominated in the person of the younger Lefebure,who held office until 1736. The next period was uneventful, but fairly prosperous, most of the works being reproductions of old cartoons. In 1699 Jules Harduin Mansart became superintendent of royal buildings, arts and manufactures, while the new director of the Gobelins was Robert de la Cotte, who held that position until 1735. The period of splendid activity was past, and to it succeeded a state of comparative lassitude, which continued well into the eighteenth century. Royal Manufactories in Provincial France The ancient home of tapestry weaving," La Marche," with its towns of Aubusson, Felletin and Bellegarde, formed the object of an inquiry by Louis XIV. and Colbert, as to the state of its industry. The magistrates 435Workshops in France—Formation of the Gobelins admitted its decadence in number of operatives—in 1664 the town of Aubusson contained only 1,600 weavers, while the productions had deteriorated in merit. The tapissiers suffered from lack of good cartoons, the wool was coarse, and the dyes were bad. They requested the services of a good painter and an able dyer. In the month of July 1665 the King authorised the manufactory at Aubusson to use the title " Royal Manufactory of Aubusson," and promised that " as the perfection of the tapestries depends especially on good designs, and the dyeing of the wools, in order to improve the said works .... a good painter, selected by the Sieur Colbert, should be maintained at his expense, to make designs for the tapestries manufactured in the town, and there should also be established in it a master-dyer to operate upon the wools in the said manufactory." The amount of energy and means absorbed in the first years of the Gobelins must have put the necessities of Aubusson out of the minds of the King and his minister, for the promised painter and dyer were never sent (in their time) to Aubusson. The industry there was practically destroyed for the remainder of the century. On the revocation of the Edict of Nantes two hundred of the best workmen had to leave the town: in 1686 Pierre Mercier with nine workmen went to Germany. Felletin and Bellegarde fared no better. The industry, with its promising future under royal auspices, was a cruel failure. The industry at Beauvais forms a striking contrast. In 1664 King Louis XIV. issued letters patent authorising Louis Hinart, a merchant weaver of tapestry 436Chair ivith Beauvais Tapestry. period of Louis XV. THE VICTORIA AND ALBERT MUSEUM.Workshops in France—Formation of the Gobelins living in Paris, to set up a manufactory in the town of Beauvais. " As one of the most considerable advantages of the peace which it has pleased God to give us is the establishment of all sorts of commerce in this kingdom, and to put it in such a state as to render unnecessary the going to foreign lands for things necessary to the use and convenience of our subjects, we have neglected nothing that we might procure to this advantage, and among these mediums the establishment of the manufacture of tapestries in the Flemish manner, which manufacture has for some time been introduced into the good town of Paris and other towns of the kingdom by the care of the late King Henri the great . . . The re-establishment of the said tapestry manufacture could not have been better commenced, nor the care of the work confided to a person more capable of conducting it to a fortunate result than Louis Hinart, merchant-tapissier of our said town of Paris, known as one of the most capable, not only at making the said fabric, but also in the commerce of that sort of merchandise." The " Flemish manner " was the low-loom style. Hinart obtained the monopoly of manufacture in Beauvais, with great pecuniary advantages. The King gave a grant of 30,000 livres to establish the workshops and dwellings, besides lending 20,000 in addition for the purchase of materials and appliances, to be paid back without interest in six years. He also gave a bonus for every foreign workman imported and an annualjallowance for apprentices. Hinart engaged to employ 100 workmen the first year, and increase the number by 100 for six yearsi The result was not successful. Hinart with 437Workshops in France—Formation of the Gobelins his son were occupied in his Parisian workshop, and only after a considerable time had elapsed did he condescend to pay attention to Beauvais. From 1667 to 1671 he delivered some sets of hangings to the King; but the establishment did not fulfil the royal expectations, and in 1684 Hinart was replaced by Philippe Behagle, a most capable tapissier. He provided the manufactory with a school of drawing, and its organisation was so successful that a royal visit was paid to the works in 1686, and when the Gobelins was closed in 1694 the industry at Beauvais was so prosperous that several of the dismissed weavers found occupation there. Among its productions was a set of the Acts of the Apostles, now in the cathedral at Beauvais. It consists of eight hangings bearing the signature P. Behagle. A set worked with gold was woven in 1698 for the King of Sweden. The royal manufactory of Beauvais was under the management of Behagle until his death in 1704. 438CHAPTER XVIII THE GOBELINS AND MANUFACTORIES IN FRANCE AND ITALY LOSED for lack of funds from 1694 to 1697, the royal manufactory of the Gobelins was placed in the latter year under Mansard, superintendent of royal buildings, who appointed Robert de la Cotte as director. Mansard dying in 1708 was replaced by the Duke d'Antin. The early years of the eighteenth century in the history of the Gobelins were marked by the monotonous repetition of hangings from old cartoons, and the new designs were few. The set of Indian Hangings was one of those : it comprised animals fighting, the camel, the hunter, the zebra, the bulls, the fisherman, the King carried by two Moors, and the Indian horseman. The most ambitious set was a continuation of the History of King Louis XIV., consisting of :— 1. The interview of Louis XIV. and Philip V. of Spain. 2. The foundation of the Academy of Sciences and the Observatory of Paris* 3. The foundation of the Royal Hotel des Invalides. 4. Reparation made to the King by the Doge of Venice. 5. Marriage of Louis of France, Duke of Burgundy, and Marie Adelaide of Savoy. 6. Institution of the Military Order of St. Louis. Another set of historical interest is now in the palace of Fontainebleau. It represents the Hunts of Louis XV.„ 439The Gobelins and Manufactories in France and Italy from designs by Oudry. The Arrival and Departure of Mehemet Effendi, the Turkish ambassador in 1721, are the subjects of two hangings from designs by Charles Parrocel, woven at this period. The Old Testament, a set of eight pieces, was designed by Charles Coy pel. Another set, the New Testament, by Restout Jouvenet, in eight hangings, viz. : The Baptism of Christ, Christ washing the Apostles' feet, the Feast in the Pharisee's house, Driving the dealers from the Temple, the miraculous Draught of Fishes, Curing the Sick, the Raising of Lazarus, and the Last Supper, with a few portieres, completed the list of new designs worked at the Gobelins before 1736. The school of drawing was closed ; the reputation of the Gobelins had been built up by the old designs, and a vast quantity of these were reproduced. At this period the ancient borders began to be superseded l^y woven imitations of gilded-wood frames. A radical change was at hand, and the moment was opportune for it. The Duke d'An tin was succeeded by Orrey in 1736. In 1735 Robert de la Cotte, the director, was succeeded by his son Robert. The necessity for new ideas was recognised at once ; the school of drawing was re-established, and new cartoons were purchased from eminent artists. Charles Coypel furnished the manufactory with the History of Don Quixotte, a series of small figure-pieces in elaborate settings rather than borders. These consisted of garlands of flowers, etc., and are of two varieties-Besides this Coypel provided Rodogune and Cleopatra, Roxana and Atalide, Hercules bringing Alcestis to Admetus, Psyche abandoned by Cupid, the Slumber of Renaud, the 440The Gobelins and Manufactories in France and Italy Swoon of Armide on the departure of Renaud, and the Destruction of Armide1 s Palace. Francis de Troy designed the History of Esther and the History of Jason, of which reproductions are extant in Windsor Castle. Van Loo furnished Theseus overcoming the bull, Neptune and Anymone, and Childrens while Natoire painted the Arrival of Cleopatra in Sicily, the Feast of Antony and Cleopatra, and the Triumph of Mark Antony. Roger at the house of Alcinus, with other designs, was composed by Colin de Vermont. The Gobelins was now in a most prosperous condition. Orry was succeeded by M. Lenormand de Tournehem, who in turn gave place to the Marquis de Marigny (1745-1751), brother of Madame Pompadour, while the professional direction was entrusted to two architects, DTsle 1747-1755 and Soufflot 1755-1780, while Oudry became inspector. Now these designs by the leading artists of the time had a marked influence upon the technique of weaving. Hitherto the craftsmen had used a colour scheme of their own, partly traditional and formal. The new models were full of subtle colour and delicate grey tones, and the application of the fine bold decorative colour-schemes of Le Brun and his school when applied to the new designs resulted in utter failure. The painters and the manager were indignant. Oudry bitterly complained, in 1748, of this " work of pure routine, which represented neither the tone nor the correctness of the pictures supplied for execution," and upbraided the craftsmen for using merely " tapestry colours." The struggle between the workmen and painters became acute, 441The Gobelins and Manufactories in France and Italy but ended some years later in the submission of the weavers. Then it was that the tapestries of the Gobelins became merely woven pictures, exact and lifeless copies of the originals. The number of tints, thanks to the able chemist Maquer, became multitudinous, but were far from permanent. In 1755 Frangois Boucher was appointed inspector to the Gobelins. His style of painting excellently adapted itself to the altered aims of tapestry manufacture. Disfigured as they are by the unequal fading of the dyes, it is impossible not to admire some of the hangings woven from his designs. There are a great many " Boucher " tapestries, some of the subjects being Neptune and'Any-mone, Venus at the forge of Vulcan, Vertumnus and Pomona, Aurora and Cephalus, Venus on the waters, Fishing, Fortune tellers, Psyche and Cupid, Confidences, Aminta and Silvia, the Genii of the Arts, and small pictures of Children playing. In addition to the designs of Boucher the weavers of the Gobelins used those of other eminent painters such as Pierre, who furnished the Amours of the Gods; Barthelemy, the Siege of Calais, the Capture of Paris by Charles VII., the Death of Stephen Marcel, and the Massacre of the Huguenots ; Juvee, the death of Coligny ; Brenet, the Honours paid to Duguesclin by the enemy ; Du Rameau, the Chastity of Bayard ; Menageot, the Death of Leonardo da Vinci ; Amedee Van Loo, The Sultanas ; Jeurat, The History of Daphne and Chloe and the Village festival. The office of inspector was filled by Boucher until 1770, and successively by Noel Halle (1770-1783) and Du Rameau, with Taravel and Belle, till 1790. The position of administrative director from 1755 442The Gobelins and Manufactories in France and Italy to 1780 was filled by Souffiot the architect, and from 1781 to 1789 by Pierre the court painter. Guillaumot the architect held office from 1789 to 1792, Audran, formerly a weaver contractor, from 1792 to 1793, then Augustin Belle 1793-95, Audran again in 1795, to be replaced the same year by Guillaumot who held office until 1810. The contractors for the eighteenth century were (high-loom) Jans fits 1691-1731, (low-loom) Le Croix fils 1693-1737, Souet 1693-1724, and De 1a. Faye 1693-1729. Another familiar name is that of Lefebure fils (high-loom) 1697-1736, when he was succeeded by Monmerque who had been a low-loom weaver. Another low-loom craftsman was named Cozette (1736-1749), who after that date adopted the high-loom method and succeeded Monmerque, remaining in office until 1788. Cozette fils succeeded his father and worked till 1792. Le Blond worked from 1701 till 1757, and De la Tour (high-loom) 1703-1734. Audran was a contractor from 1733 till 1792, when he was nominated director. James Neilson, 1749-1788, was a Scotchman, and became one of the most energetic weavers at the Gobelins. He introduced such improvements into the low loom that that method was able to compete with the other in quality of work, and instituted experiments in dyeing that reorganised the system. He was principal of the school of instruction. A change came in the situation of the contractors. Delays in receiving payment, and the necessity of meeting the constant strain of working expenses, almost caused their ruin. In 1790 a new system was adopted, 443The Gobelins and Manufactories in France and Italy that of fixed salaries; and Guillaumot in the same year reopened the drawing school. Unfortunately Guillaumot was forced to resign in 1793, and the strictest economy was practised : the drawing school was again closed, and one of the offices was abolished. Audran, who had replaced Guillaumot, was succeeded by Augustin Belle. It was during his brief tenure of office, 1793-1795, that the republican Co mite de Salut Public adopted drastic measures in regard to the Gobelins. The committee ordered a large proportion of the designs to be destroyed, as antagonistic to republican ideals, public morality, and good taste. With the designs were destroyed about twelve hangings that were on the looms. To supply the place of the condemned cartoons, the committee bought two pictures by David, one from Vincent, and another from Regnault. Nor were these all: the following were used for the same purpose : Boreas and Orythnie (Vincent), Study, Reclaiming the Past (Menageot), the Education of Achilles (Regnault), Peace restoring Plenty, Innocence seeking refuge in the arms of Justice (La Citoyenne le Brun), Deianira and Nessus (Guido), Antiopa (Correggio), Clio, Thalia, and Euterpe, Melpomene with Polymne (Le Sueur), and portraits of Marat and Lepelletier by David. Under the republican government the weavers were poorly paid, and suffered great privations ; the unsettled state of affairs had nearly ruined everybody. Thanks to Guillaumot who succeeded Belle in 1795, the Gobelins passed safely through the crisis. The notice of the Gobelins during the past century must be very brief : the subjects and weaving belong 444The Visitation, after Ghirlandaio. French, Gobelins, late 19th Century. THE VICTORIA AND ALBERT MUSEUM.The Gobelins and Manufactories in France and Italy more to nearly contemporary art than to the old style of things. In the early part of the century a set representing the Life of Napoleon was woven (1828-1839). The works of Rubens in the Medici Gallery were also used as models. In later times Paul Baudry designed the Five Senses for the manufactory, and after 1870 many designs were made for Gobelins tapestry by E. Ehrmann and eminent artists, to be used in the decoration of public buildings, etc. Some of the subjects were : The Filleule of the Fairies (Mazarolle), a present to the Tsar of Russia, scenes from the Life of Jean of Arc (J. P. Laurens), and many panels from the pictures of MM. Joseph Blanc and Edouard Toudouze. The sequence of directors is historically important. The century opened with Guillaumot 1795-1807, then Canal (provisional) 1807-1810, Lemonier (painter) 1810-1816, Baron des Retours (retired artillery officer) 1816-1833, Lavocat 1833-1848, Badin (painter) 1848-50, Lacordaire (architect and engineer), 1850-60, Badin 1860-71, Chevreul (chemist, provisional) 1871, Alfred Darcel (engineer), 1871-85, Gerspach 1885, Jules Guiffrey present day. Beauvais.—The manufactory of Beauvais suffered great loss by the death of Behagle in 1704, and his immediate successors proved incapable of maintaining the good fortune of the industry. The widow of Behagle continued the works until 1711, when the brothers Filleul were appointed. Under their management prosperity declined rapidly, and a remedy was sought in the appointment of Noel Antoine Merou, a tapestry merchant of Boufflers, while Jacques Duplessis, a painter, was 445The Gobelins and Manufactories in France and Italy officially attached to the manufactory. This painter was replaced by Oudry in 1726, who some eight years later combined that duty with the office of director. Despite the quantity of hangings made in his time, the directorship of Merou did not prove beneficial to the manufactory of Beauvais. In Oudry that establishment found an artist director, whose talent and management could not have been equalled, and who speedily raised the manufacture to a pitch of excellence and popularity sufficient to surpass that of the century before. He reestablished the drawing school and set to work to provide fresh designs in the prevailing taste of the day. He himself designed the Fables of La Fontaine, Rural Amusements, Hunting Scenes, scenes from Moliere's Comedies, and Amours of the Gods. Casanova designed for the Beauvais manufactory the Russian Fetes and Bohemians; -Dumont, the Chinese Hanging; while Deshayes furnished the manufactory with The Iliad. Oudry was appointed inspector at the Gobelins, but he continued to direct the manufactory of Beauvais with great ability at the same time. In his latter years he had an associate at Beauvais, named Charlemagne Charron. On the death of Oudry in 1755 the latter succeeded to the directorship, and conducted it with great ability until his retirement in 1780. The painters Juliart and, later, Joseph du Mons of Aubusson were connected with the manufactory. A tapestry merchant of Aubusson, De Menou, a man of great practical ability, became director of the workshops of Beauvais in 1780. He extended the manufacture to carpets, and in 1790 employed about 120 workmen. It was under 446The Gobelins and Manufactories in France and Italy Oudry and Charron that the tapestry of Beauvais attained its characteristic appearance. Instead of historical and grand subjects, as was the case in the Gobelins, the themes of Beauvais tapestry became playful and decorative. Pastoral scenes, etc., were applied to furniture decoration. In the year 1793 De Menou resigned, and under the republic the establishment was closed until 1795, when Camousse was appointed director. He was succeeded by Huet pere, who died in 1814, and after him came the brothers Huet, the eldest continuing the work until 1819, and the younger who resigned a few months after appointment. Despite the Revolution and the rapid changes in its management, the manufactory soon became prosperous, and its productions attained great popularity. In 1819 Guillaumot became director, and one of his first reforms was the transfer of the high-loom workers of Beauvais to the Gobelins. He resigned in 1828, and his place was taken by the Marquis d'Ourchies, who was succeeded in 1831 by a son of Guillaumot named Jules ; but the latter died only a year later. A change in the organisation had been in force for a few years. The system of paying fixed wages, instead of the old method of contracting for piece work, had been applied to the manufactory of Beauvais. The successive directors were : Grau Saint Vincent (formerly a captain of artillery), 1832-1848 ; Badin, 1848-76 ; Jules Dieterle, 1876-82 ; and Jules Badin, 1882. Although boasting the name of a royal manufactory, the industry of Aubusson, Felletin and Bellegarde was in a very feeble state at the beginning of the eighteenth century. When, in 1664, the tapissiers petitioned for 447The Gobelins and Manufactories in France and Italy a painter and dyer to improve the material, they received promise of both, but that promise was not fulfilled until 1731. The painter Jean Joseph du Mons, and the dyer the Sieur Fizameau, were despatched to Aubusson, where shortly afterwards the dyer gave place to Pierre de Montezert. Du Mons went to Beauvais in 1755, and his office at Aubusson was filled by Jacques Juliard, who in turn was succeeded by Ransom in 1780. The work of Aubusson was distinguished, as ordained in 1732, by the name of the town and the initials of the weaver being woven in the border. The selvage of the Aubusson tapestry was blue, while that of Felletin was brown. After the arrival of Du Mons the manufactory became prosperous, and continued so throughout the century and up to the present time. Its speciality was low-loom work, and it is averred that the technique of Aubusson never permitted any other material but wool to be used for the warp strings.1 The manufactory at Lille was in a prosperous condition at the end of the seventeenth century. De Melter, who accomplished that success, was dead; his daughter married Guillaume Werniers in 1700,2 and to him the extension of the manufactory was due. It produced excellent v/ork, and in 1733 there were twenty-one looms in operation, some of the weavers being emigrants from Brussels. The contract with the municipal authorities was maintained. Werniers had no family although 1 M. C. Perathon. Notice sur les manufactures de Tapisserie d'Aubusson, de Felletin et de Bellegarde, and Essai de Catalogue descriptif des anciennes Tapis-series d'Aubusson et de Felletin. 2 M. Houdoy, Les Tapisseries de haute lisse. Histoire de la Fabrication lilloise, etc., p. 97. 448The Gobelins and Manufactories in France and Italy twice married, and his death occurred in the year 1738.. After that a weaver of distinguished name, Pierre Panne-maker, was associated with the widow in carrying on the manufactory, but the partnership was not successful and did not last long.1 Many works from the manufactory of Werniers are extant, such as the Story of Don Quixotte, some " Tenieres," the Marriage feast at Cana, and Portraits of Baldwin count of Flanders and his wife Marie, with their daughters Jeanne and Marguerite seated at their feet, also Jeanne Countess of Flanders between her two husbands Ferrand and Thomas, after cartoons by Arnold Wuez. These are in the Hospital of St. Saviour at Lille, while the Marriage at Cana is in the church of that name. Christ calling little Children, the Woman taken in Adultery, and the Miracle of the Loaves were exhibited in Lille in 1874. A fresh contract with the magistrates was acquired in 1749 by Frangois Bouche, who held it until his death in 1773.2 He executed some good works—the History of Psyche, exhibited in Paris 1867, and a portrait of Charles de Rohan Governor of Flanders. Etienne Peyrolle,3 a weaver from the Gobelins, set up an establishment in Lille with little apparent success. In 1781 he had but two looms ; M. Pinchart mentions a hanging signed by him, a figure composition, La Filleuse. Nancy was a centre of some activity in the eighteenth century. Duke Leopold established a manufactory where the Battles of Charles V. were woven in the seventeenth century. Pierre Durand worked there until his death 1 M. Houdoy, Les Tapisseries de haute lisse, Histoire de la Fabrication lilloise, etc., p. 104. 2 Ibid. p. 119. 3 Ibid. p. 125. H.T. 449 29The Gobelins and Manufactories in France and Italy in 1755, and with him was associated his son Nicholas. In 1717 Jean Bellat of Aubusson established workshops of the high and the low looms at Nancy. Francis Conder is mentioned in 1748-54.1 A weaver from the Beauvais manufactory, named Adrien de Meusse, originally of Oudenarde, set up a high loom in Gisors in 1703. The portrait of Louis XIV. in the Museum of Gisors is of his manufacture. Cambrai was visited about the same time by Jean Baert of Oudenarde, who received a subsidy from the magistrates to settle there. His son Jean Jacques succeeded him in 1741, and produced the hangings of landscape and flowers now in the town hall. His son Jean Baptiste Baert died in poverty in 1812.2 A weaver named Bitteaux wove " Tenieres " at Cambrai. While dealing with Baert, it may be mentioned that letters patent were granted in 1711 to Jean Baptiste Baert to establish a royal manufactory at Torcy.3 Italy The Medici manufactory in Florence was busily engaged in the production of portieres, landscape tapestries, etc., in the beginning of the century. It occasionally reproduced such subjects as the Madonna and Child, with St. John the Baptist. Giovanni Sagrestani provided it with cartoons representing the Four quarters of the World, which were woven by the weavers Leonardo Bernini and Victor Demignot; the Elements was the 1 Guiffrey, Tapisseries franpaises, p. 154. 2 Boyer de Sainte Suzanne, Notes d'un Curieux sur Tapisseries, etc., pp. 93. 94- 3 Guifirey, loc. cit. 450The Gobelins and Manufactories in France and Italy title of another famous set. The manufactory came to an end in 1737.1 The director of the Florentine manufactory with many of the weavers went to Naples, where they worked by the low-loom method under the protection of the government. High-loom work was instituted, and the Naples manufactory lasted until the French conquest in 1799. A great many hangings were made, the subjects being : the Elements (Lse Brun), the Consecration of the Virgin, History of Don Quixotte, the Rape of Proserpine (bordered with flowers and cartouches), Love and Chastity, the Birth of the Virgin, Royal Munificence, and the Apotheosis of Charles III. One of the last works of the manufactory is signed " Desiderio di Angelis, 1796." In 1758 Pietro Duranti, the Roman weaver, was director of the high looms, while in 1761 Michael Angelo Cavanna of Milan held the same office in relation to the low looms ; and in the same year D. Giovanni Bellmudez was chief tapissier.2 Many hangings of local manufacture were shown at the Naples exhibition in 1877, and the royal residences in Naples contain many specimens. The manufacture of tapestry in Rome was begun in 1710, at the instance of Pope Clement XI. He engaged a celebrated tapestry weaver, Jean Simonet of Paris, Andrea Procaccini the painter, and three workmen who formed the entire staff of the establishment. From this modest beginning the undertaking reached great proportions. From the year 1717 until 1770 Pietro Ferloni fulfilled the office of director of the manufactory, which 1 Conti, Ricerche Storiche sull' Arte degli Arazzi in Firenze, p. 88. 2 Histoire g6n6rale de la Tapisserie, Tapisseries italiennes, M. Miintz, pp. 82, 83. 451The Gobelins and Manufactories in France and Italy was situated in the Hospital San Michele. Victor Demignot was the principal weaver in the first stages of the manufactory ; in 1715 he completed a piece representing the Virgin with the sleeping Infant, after which he went to Florence, and later became director of the Turin workshops. The papal manufactory produced a great many tapestries, including those of :— Portraits of Popes, Pope Clement approving of the establishment of the manu-actory, Spiritual and Temporal Power of the Pope, Purification of the Virgin, Descent of the Holy Spirit, Pasce oves Meas, the Holy Trinity, Christ on the Cross (Raphael), Landscapes, the Four Seasons, Portieres, the Evangelists (Guido), the Casting down of St. Paul, St. Martin (1734), St. Matthew, St. Mark, the Holy Virgin, the Virgin and Child with St. Joseph, St. Peter and St. Paul, the Madonna, etc. Ferloni died in 1770, leaving Giuseppi Folli as successor, while Felice Cettomai was papal tapissier. The following is a list of subjects :— Providence seated between Justice and Charity, the Virgin and Child (Cigna-ni), St. Cecilia, the Madonna and Infant Christ with St. Anne and St. Pius V. (Rubens), the Madonna and Child with St. Anne (Rubens), the mother and wife of Coriolanus urging him to forego the capture of Rome, the Nativity, Christ commanding the Apostles to spread the gospel, the Ascension, the Annunciation (Ba-rocci),the .Raising of Lazarus, Rome triumphant, the Vestal (Rubens), Romulus and Remus with the wolf, the Pedagogue of Falisques chastised by his scholars (Pousin), Portraits of Fabius Maximus, Julius Caesar, Pompey, Paulus Emilius, Scipio Africanus, and Camille. Philippo Percoli became director in 1791, and the factory was discontinued for a time, but was producing work in 1831, to be again suppressed on the entry of the Italian troops into Rome. At that time it was under the directorship of Pietro Gentili, who has written a history of Italian tapestry.1 About 1734 some of the Roman weavers founded a workshop in the Place de Santa Maria di Trastevere. 1 See Tapissieries italiennes by M. Miintz, and Sur I'art de Tapis, by Signor Gentili. 452Portrait of PhilippUS Cetlomai. Italian, Rome, daled 1790. THE PROPERTY OP J. H. PITZHENRY, ESQ.The Gobelins and Manufactories in France and Italy The director was Antonio Gargaglio, and some of the tapestries there manufactured were Pope Paul confirming the statutes of the Jesuits, and St. Ignatius and the vision of the Trinity. There is in the possession of J. H. Fitzhenry, Esq., a remarkably fine portrait of a tapestry weaver standing by his loom. It is signed Philippus Cettomai, 1790. He was evidently a relation of the papal tapissier, as a tapestry in Brussels signed by him has the letter R. (Roma) in the inscription. Turin.—Charles Emmanuel III., chief of the House of Savoy, became the patron of Victor Demignot, one of the most skilful craftsmen of the Florentine manufactory in its latter years. When it was suppressed in 1737 Demignot set up a workshop for his royal master in Turin. Demignot was a low-loom weaver, and the high looms at Turin were under the directorship of Antonio Dini of Rome. The manufactory lasted until 1832, but the high-loom work was discontinued in 1754, when Dini went to Venice. The Chevalier de Beaumont made cartoons for the manufactory until 1766, when Laurent Pecheux of Lyons took his place. Demignot died in 1743, leaving his son Francis as successor, who continued the work until 1784. Antonio Bruno was the next and last director.1 The manufactory produced many tapestries; by 1755 it had delivered some thirty-four pieces of different subjects, such as :— Julius Caesar, Alexander, Hannibal, History of Cyrus, a Tempest, Architectural views, Marine views, Landscapes, Scenes of humble life, and later—Scenes from Greek history, Portieres, and Antique history. 1 Histoire g6n6rale de la Tapisserie, Tapisseries italiennes, Conti, Ricerchs Storiche. 453The Gobelins and Manufactories in France and Italy : Antonio Dini went to Venice, and in 1760 obtained monetary assistance from the magistrates to enable him to increase his establishment. His daughters, Lucia and Giuseppa, carried on the works until about 1789.1 1 Urbani de Ghelloff, Degli Arazzi in Venezia, pp. 22-56. 454Alexander and the Wife of Darius. Flemish, Brussels, Jos de Vos. The Battle of the Graniais. THE HISTORY OF ALEXANDER. HAMPTON COURT PALACE.CHAPTER XIX A SKETCH OF TAPESTRY-WEAVING IN FLANDERS, GERMANY AND ENGLAND FROM 1700 UNTIL THE PRESENT DAY IN the eighteenth century the industry that had been the means of bringing so much glory and prosperity to Brussels suffered total extinction there. In 1700,. says M. Wauters, there were but nine master weavers in the town—Albert AuwercxJJos de Vos, Peemans, Francois Van den Hecke, Jacques Van den Borght, Jerome de Clerck, Guillaume Potter, Henri Rydams, and Gaspard Van den Borght. They had fifty-three looms employing^ 150 workmen.1 Contracted as it was, the Brussels industry produced a large quantity of tapestries in the eighteenth century. It was to Brussels that the English government turned when they desired a set of tapestries to commemorate the Victories of the Duke of Marlboroughy for the decoration of Blenheim palace.2 Probably these were executed in the workshop of Jos de Vos, who manufactured the Victories of Prince Eugene. He reproduced also the Conquest of Tunis, the Amours of Venus and Adonis (Jan Van Orley), and the set, now in Hampton Court Palace, entitled the History of Alexander, after the designs of Le Brun. The latter set is of small dimensions ; the colours have faded unequally ; and the borders. 1 M. Wauters, Les Tapisseries bruxelloises, p. 350. * Ibid. p. 351. 455A Sketch of Tapestry-weaving in Flanders, Germany, etc. are the characteristic eighteenth century ones : woven imitations of carved and gilded frames. The imitation of Gobelins tapestry designs was a marked feature of the Brussels workshops of the eighteenth century. Jos de Vos left a son, Jean Francois, who signed some tapestries representing battles. From the workshop of Van den Hecke came a History of Don Quixotte, the Four Seasons and the Elements, Lordly Pleasures, History of Psyche (Jan Van Orley), Peasant festivals (Teniers), illustrious Ladies, and some mythological and historical subjects. He was a low-loom worker, and died about 1752. The celebrated family of Leyniers had three representatives in Brussels in the eighteenth century. Urbain Leyniers produced a History of Don Quixotte and the History of the Duchy of Brabant (Victor Janssens), which is now in the municipal hall at Brussels. Fishing and many decorative hangings came from his workshop. His son Daniel succeeded him, producing an Allegory of Commerce, the Triumphs of the Gods, the History of Moses and some " Tenieres." His two sons, Jacques Francois Zavier, and Frangois (who wove a Life of Moses, after Van Helmont), were tapissiers until about 1768.1 The Van der Borghts were the last tapissiers of Brussels. Frangois executed some " Tenieres" and hangings of religious subjects, Pierre wove Fetes Cham-petres, etc. Jean Frangois and his son Jacques were the last representatives: Jacques struggled against adverse fortune, but had to close his workshop in 1794.2 The history of tapestry weaving in Oudenarde is 1 M. Wauters, Les Tapisseries bruxelloises, p. 361. 2 Ibid. 370-81. 456A Sketch of Tapestry-weaving in Flanders, Germany, etc. similar to that of Brussels. The workshops were but few in 1700, when the master weavers blamed the increased price of wool for the failure of the industry. Towards the middle of the century there were but four workshops, and in 1787 Jean Baptiste Brandt, the last tapestry weaver, was compelled to close his doors.1 The following is a list of weavers in Oudenarde in the eighteenth century :— 1691-1700. Jean Brandt. 1693-1741. Ferdinand Brandt. 1693-1705. Jean de Vos. 1693-1727. Georges Francois Van Reghelbrugghe. 1699-1729. Jean Van Verren. 1700. J. F. de Vriese. 1700-8. Jean Van de Kerchove. 1705-1758. Albert Goeman. 1707. Jean Laethen. 1707-8. Daniel de Vos. 1708-22. Pierre Van Verren. 1709. Jacques Brandt. 1719-25. David Brandt. 1719-23. Franfois Guillaume Van Verren. 1719-45. Jean Frangois Neeryncx. 1725. Pierre Brandt. 1731-48. Antoine Van Coppenholle. 1737-58. Jacques Blommaert. 1749-51. Abigail Van Coppenholle. 1745-87. Jean Baptiste Brandt.2 In the second half of the seventeenth century some "weavers of Oudenarde set up looms at Ghent with apparent success, and tapestries were exported from Ghent in the eighteenth century. Verdures were also made at Bruges. At Douai two weavers—Lievin Schie-tecale in 1726, and Tobie Coucks—are recorded; the latter ■employed the high loom and wove decorative tapestries 1 Annales de l'academie d'archeologie de Belgique, vol. xiii. M. Ed. Van Cauwenberghe, Recherches sur les anciennes Tapisseries & Audenarde, p. 472. 2 Histoire gSnSrale de la Tapisserie ; Tapisseries flamandes, Alexandre Pin-chart. 457A Sketch of Tapestry-weaving in Flanders, Germany, etc- for the town hall. Nicholas Billet, a high-loom weaver, made tapestries from cartoons by Dubois at Valenciennes in 1739. An attempt was made to re-establish the industry at Arras in 1740. J. Bernard Plantez, a weaver from Lille, set up looms in the town, and in the museum there are two verdures with animals signed by him. In Flanders as in France, the tapestries of the eighteenth century are characterised by the borders woven in imitation of gilt frames, while in the early nineteenth century borders were often dispensed with and the imitation of pictures was complete. In Belgium in the nineteenth century there have been various laudable endeavours to re-estab-lish the ancient craft. Germany The manufactory at Munich was begun about 1718,, but the works produced, although of ambitious subject, are unsatisfactory in execution. The History of the House of Bavaria is exhibited in the National Museum,, and the set bears dates ranging from 1732-46. The subjects are given in Latin, e.g. " Albertus III. Bavariae dux a Bohemis oblatum sibi infraudem regis impuberis regnum magna animi moderatione repudiat 1440," and " F. a Munich 1732." There are also triumphs of Bacchus and of Flora} with a Banquet of the Gods. This was one of the last works of the Munich manufactory, as it closed shortly after the date on the tapestry, 1802. M.. Guiffrey cites two of the workmen as being French— Santigny and Chedville. The Berlin workshops of P. Mercier were, upon his 458HAMPTON COURT PALACE.A Sketch of Tapestry-weaving in Flanders, Germany, etc. resignation, placed in charge of his brother-in-law, Pierre Barrabon, but the finest tapestries were produced there under the directorship of Charles Vigne who was living in 1769. To Vigne are attributed the high-loom tapestries of flowers, in the palace of Sans-Souci; they were made about 1770. Vigne may have had looms in Dresden. There are in the palace of Courland two tapestries, the Parting of Prince Frederic-Augustus with his father the King of Saxony, and the Reception of Prince Frederic-Augustus by Louis XIV. at Versailles, signed P. Mercier, Dresden, with the dates 1716 and 1719. Heidelberg is said to have possessed a workshop in the eighteenth century.1 Spain In 1720 King Philip V. of Spain induced Jacques Van der Goten of Antwerp with his four sons to set up a manufactory in the Casa del Abreviador, near St. Barbara, in Madrid. He set up some low looms there, and on his death four years later the enterprise was continued by his son Francois. They produced Rustic scenes and Hawking. Antoine Lenger, a Frenchman, bringing with him some high-looms, joined the community in 1729, but he did not stay long. Jacques Van der Goten took his place, and about this time they reproduced the Virgin with the Pearl (Raphael) in high-loom weaving. In the year following the high looms were transferred to Seville and placed under the management of Andrea Procaccini, from San Michele in Rome. 1 Histoire ginirale de la Tapisserie, Tapisseries Allemandes. Eugene Miintz pp. 17-18. 459A Sketch of Tapestry-weaving in Flanders, Germany, etc. He began a reproduction of the famous fourteenth century tapestries, the Conquest of Tunis, besides a History of Telemachus. These were continued at Madrid when the high-loom works were returned there in 1733. At Madrid the Telemachus was finished, and also the Conquest of Tunis. Procaccini made cartoons for a set representing the History of Don Quixotte which was woven many times. Shortly after the middle of the century the manufactory occupied itself with the reproduction of Dutch pictures, but some new cartoons were designed. The last of the brothers Van der Goten died in 1786, and a nephew, Lieven Sluik y Van der Goten, took his place. Under the latter an immense quantity of designs by native artists were used. The most eminent painter Goya designed a famous series of forty-five pieces known as " los Tapices." The establishment was carrying on work in 1833.1 Russia Peter the Great of Russia founded a manufactory of tapestries in St. Petersburg in 1716, by procuring workmen from the Gobelins and from Flanders. There are a number of tapestries in the Museum of Imperial Carriages at St. Petersburg, of local origin. The subjects are Vases of Flowers, Aurora (Guido), the Alliance of Love, Night, Apollo in his Chariot (Guido), the Triumph of Bacchus, the Triumph of Love (Guido), America and Asia. In Warsaw are two ecclesiastical vestments of tapes- 1 Histoire gSntrale de la Tapisserie. Eugene Miintz, Tapisseries Espagnoles, p. 29, etc. D. G. Cruzada Villaamil, Los tapicos de Goya, p. 76 et seq. 460Ornamental Tapestry, English, 18th Century. THE VICTORIA AND ALBERT MUSEUM.A Sketch of Tapestry-weaving in Flanders, Germany, etc. try weaving, bearing the inscription " Made at Varsovie in 1745, F. Sidire." England 18th and 19th Centuries There were many manufactories of tapestry in England in the eighteenth century. That of Mortlake was of little account, as the report of 1702 clearly states that " there had been but little work of late years," and recommends the discontinuance of the manufacture, which was brought about in 1703. The Lambeth manufactory, that was so active in 1670, probably extended its operations into the eighteenth century. Stephen Demay was firmly established in London in 1700, and was executing or altering large tapestries for noblemen such as the Earl of Nottingham. There are several tapestries manufactured or altered by him at Burley-on-the-Hill. These consist of the Acts of the Apostles, adapted to suit the tastes of the client: for example, the figure of Christ in the Pasce oves Meas constitutes an entire panel. There is also a set of Hero and Leander, designed by Clein, in four hangings. The border of the Acts of the Apostles is peculiar. At the sides are Corinthian pillars with a Cupid at the base of each. The top border is festooned with fruit, the Nottingham arms being in the centre. There is*no lower border; the foreground is carried to the floor. Pemay had seen better times, as is evident from the correspondence relating to these tapestries. He states that his men were playing for want of work, and he had to turn men away. The wages of his workmen were 2s. 461A Sketch of Tapestry-weaving in Flanders, Germany, etc. a day. He is mentioned in the correspondence in connection with a set of tapestries of the Months.x The origin of the Fulham manufactory of tapestries is well ascertained, as the founder tells it. He was Peter Parisot, a Frenchman who had become naturalised. He had at first an establishment in Paddington. Two workmen from the carpet manufactory at Chaillot came to London in 1750, and began carpet weaving in a room at Westminster, but soon got into debt. They applied to Parisot, who installed them in his place at Paddington, but afterwards removed to Fulham. He secured the patronage of the Duke of Cumberland> who came to see the carpet that was being made and was so pleased with it that on its completion he presented it to the Princess of Wales. The workmen, inflated by their success, asked such enormous wages that their services were dispensed with, after several attempts had been made, says Parisot, to induce them to moderate their demands. Other workmen of equal ability were procured from abroad. The manufactory of Parisot consisted of tapestry-weaving after the manner of the Gobelins and carpet-weaving in the style of Chaillot, besides dye works. Connected with the manufactory there was a school of practical art " for a great number of artists of both sexes, and for such young people as might be sent to learn the arts of drawing, weaving, dyeing, and other branches of the work." 2 Parisot states that he employed a hundred 1 The Rutland Magazine, January, April, July and October, 1903. Tapestries at Burley-on-the-Hill, Charlotte Finch. 2 Peter Parisot. An account of the new manufactory of Tapestry after the manner of that of the Gobelins, and of Carpets after the manner of that at Chaillot, etc. 462Allgeli Laildantes. English, Merton Abbey, lale 19th Century. THE VICTORIA AND ALBERT MUSEUM. BY PERMISSION OF MESSRS. MORRIS & CO.A Sketch of Tapestry-weaving in Flanders, Germany, etc. workmen, but the success of the manufactory was shortlived, although it was under the powerful patronage of the Duke of Cumberland, and countenanced by other members of the royal family. Doddington, Baron of Melcombe-Regis, writes in his diary that he went to see the manufacture of tapestry from France, set up at Fulham by the Duke. The work both of the Gobelins and of Chaillot, called Savonnerie, was very fine but very dear. Parisot published a pamphlet describing the manufactory in glowing terms; but the catalogue announcing the sale of all the stock, etc., in 1755, is sufficient comment. This catalogue gives valuable information of the kind of tapestries woven in the Fulham manufactory : " A catalogue of the entire works of the Fulham Manufactory, consisting of beautiful tapestry hangings, large and small carpets, screens, backs and seats for chairs, etc. All finished in the highest perfection after the manner of the Royal Manufactories at Chaillot and the Gobelins at Paris. Several of the pieces are made by English apprentices, instructed in the new establishment, brought into the kingdom under the patronage of His Royal Highness the Duke of Cumberland." The sale took place on April 30,1755, and the following is an abridgement of the list of articles :— 8 Seats for stools, manner of Chaillot. A Pattern of a screen or chair, with a Flowerpot, manner of the Gobelins. 2 others similar with a Flowerpot with a blue border. 3 others with a Basket of Flowers, in a dark ground. 2 others with a Flowerpot in a Landskip. 2 others with a Flowerpot and Bird, yellow ground. 1 with an India Bird on a Tree in a Landskip and red border. 1 for a screen with a Basket of Flowers and 2 India Birds in a blue ground. .2 with a Flowerpot, blue border. 2 with a Squirrel and 2 with a Tit-mouse. 463A Sketch of Tapestry-weaving in Flanders, Germany, etc. A Beautiful Landskip for the seat of a French Chair with 2 pieces for the arms. Manner of Chaillot. A cover for the back of a chair or screen with the German Cock in a Tree in a Landskip, same manner. A Pattern for a screen, with a Beautiful Basket of Flowers. Manner of Chaillot. 2 patterns with a Basket of Flowers in a dark ground, in the manner of the Gobelins. 2 others with a Parrot and a Squirrel in a Landskip. A Carpet, manner of Chaillot, 7% x S$ ft. 3 patterns for screens with a Flowerpot and a Parrot, manner of the Gobelins. 1 ditto with 3 Beautiful India Birds, another with Apollo and Daphne. A large seat for a French chair with a Fountain in a Landskip. A screen with the fable of the Wolf and the Lamb. 2 Carpets $b x 5 *eet and 7b x Sb *eet, in the manner of Chaillot. A Pattern for a screen or chair with the fable of the Stork and the Fox „ manner of the Gobelins. Similar items of the Wolf and Stork, the Fox and the Grapes, the Monkey and the Cat, the Stag and the Lamb ; also of fowls, and fruit and flowers. 5 Seats for French chairs, in a Landskip. 6 seats for chairs with different Baskets of Flowers. 2 carpets of rich and beautiful Pattern, 6 feet x 3, in the manner of Chaillot. A pattern for a screen or French chair with a Vase of Flowers in the manner of Chaillot. Others, with a Squirrel and Flowers, 3 Rabbits in a Landskip, the fable of the Wolf and the Lamb in the style of the Gobelins. Similar ones of the Fox, the Ewe and the Lamb, the Fox, the Goat and the Well, and the Fox and the Stork. A rich and beautiful carpet, 6 ft. by 4, in the manner of Chaillot. A Beautiful Rich Pattern for a screen, 2 Chinese Figures, Flowerpots and trees. Chaillot. Another with a Beautiful Chinese Pheasant, a Parrot, and a King's Fisher in a Landskip. A Rich and Beautiful Carpet, 9 ft. x 5-J-, in the manner of Chaillot. A Seat for a French chair, with Poppies in a yellow ground and 6 Backs for chairs. Gobelins. A Pattern for a screen with a green Parrot in a Tree in a Landskip. Gobelins. A large mahogany carved French chair, the back with a Parrot and Fruit, and the seat a Landskip of the Beautiful Gobelins work. 4 Patterns for a large French chair or screen with a Parrot eating fruit. Gobelins. Another with a Beautiful Chinese Pheasant. A Rich and Beautiful Carpet, 10 x 7b feet. 2 Patterns for a chair or screen with the fable of the Sheep the Wolf and the Lamb ; another of a Rabbit in a Landskip ; another of a Jay in a Land-skip. A Picture of the King of France, most exquisitely done, in the manner 464.A Sketch of Tapestry-weaving in Flanders, Germany, etc. of Chaillot in a frame and glass. A Rich and Beautiful Carpet, n ft. by 8*. A superb State-chair, the back with a Parrot eating fruit, and the seat a Landskip. Chaillot. ii large chair seats with curious Baskets of Flowers. Gobelins work. A large and magnificent State-chair, the back with Beautiful Fowls and the seat a Landskip ; and Another, the back with a Peacock in a Landskip, and the seat with the fable of the Fox and the Goat in the Well. A Rich and Beautiful carpet, 18 ft. x 13^. Another, 12 ft. x 10. 4 Patterns for a French chair or screen, with a Flowerpot and Bird in a yellow ground. Lastly comes what is evidently a set of " Tenieres " :— A set of Rich and Beautiful Tapestry in the manner of the Gobelins, containing the 5 following pieces about 8 feet deep and the following widths :— A Flemish Feast, 13 ft. 6 in. The Gypsies, 12 ft. 4 in. Winter, 10 ft. 8 ins. A Fish-market, 8 ft. 9 in., and Cattle in a Landskip, 14 ft. 9 in. This sale finished the career of the Fulham manufactory. It is alleged that the works were carried on by a refugee named Passavant, who transferred the business to Exeter. It is difficult to substantiate the statement, for which Dr. Smiles is responsible in part or whole. In The Huguenots, p. 419, he states that Jean Ulric Passa-vant was a refugee from Strasburg, where he was born in 1678. "He purchased the manufactory of Gobelins tapestry for some time established in Fulham, and removed it to Exeter where it long continued to flourish." Now, acording to this, Passavant must have been 77 years of age when he purchased the Fulham works. The subject is excellently dealt with in vol. xi. (1879), p. 308, of the Journal of the Devonshire Association, in a paper by Mr. Edward Parfitt. " So far as I am aware," writes he, " no mention is made in any history of the trades carried on in the city of Exeter of the manufacture of either tapestry or carpets. There was a merchant of cloth and apparently olive oil, of the name of Claude Passavant, resident in Exeter up till 1754, when he is h.t. 465 30A Sketch of Tapestry-weaving in Flanders, Germany, etc. described as late of Exeter. His son was also named Claude, but there is no record of any tapestry works belonging to him." James Christopher le Blon, a painter, attempted to set up a tapestry manufactory in London about 1723. Houses were built and looms erected in the Mulberry Ground at Chelsea, but the project came to naught. He published an account of his principles of printing in imitation of painting and weaving tapestry in the same manner as brocades.1 London was the scene of many small tapestry-weaving establishments in the eighteenth century. The Rev. Dr. Rock describes a set that furnished one of the rooms in Northumberland House. They were landscape pieces, with ruined temples, and groups of peasants, from designs by Francesco Zuccharelli. They were woven in Soho in 1758. To an earlier manufactory in Soho he attributes the large tapestry Pasce Oves Meas (Raphael) in the Victoria and Albert Museum. Hatton Garden was the scene of another workshop. Three tapestries at Hardwick Hall were woven there; they represent : 1. Children with goats ; 2. A chariot of nautilus shell by the seashore ; and 3. A game with ball and mallet. They are marked F. P. Hatton Garden, and bear in addition the shield of St. George, as displayed on Mortlake tapestries, a significant combination, with the letters F. P. suggesting Francis Poyntz of Mortlake. He may have set up a workshop in Hatton Garden and used the Mortlake mark. M. Dantzenberg-Braquenie is responsible for the 1 Walpole, Anecdotes of Painting 466A Sketch of Tapestry-weaving in Flanders, Germany, etc. information that in a workshop in London were woven four pieces from the cartoons of Le Prince : i. A camel laden with baggage led by a man armed with a lance ; 2. A horse caparisoned in pink drapery and held by a turbaned man; 3. Two women playing with dice} and various other personages (this is signed P. Saunders, London) ; 4. Children.1 The State documents of the eighteenth century contain very little information about tapestries. Many of those in the government buildings and royal palaces were cleaned and repaired from 1730 till 1735. There is one curious item in the Irish accounts, dated December 11, 1734:—The Duke of Dorset, Lord Lieutenant of Ireland, paid £200 to Robert Baillie, upholsterer, for two pieces of tapestry made by him for the House of Lords in Ireland.2 One might pass it over, were it not that the large price shows that they must have been hangings of great importance. Tapestry was largely imported in spite of the duties. Baron Sparre acquired some old Brussels hangings from abroad in 1729.3 In the second half of the nineteenth century two important tapestry manufactories were begun. The earlier was that of Old Windsor, where some French workmen from Aubusson set up looms under the directorship of M. Henri. The establishment became a company, and was controlled by a committee, its president being the late Prince Leopold, Duke of Albany. It produced a considerable number of tapestries, amongst others—The Battle of Aylesford, the men of Kent marching 1 Miintz, La Taptsserie, English edition, p. 350. 2 Treasury books and papers, vol. 1731-4, p. 628. 3 Ibid. vol. 1729-30, p. 345. 467A Sketch of Tapestry-weaving in Flanders, Germany, etc. in front of Hay old's army, the Four Seasons, a Tournament on London Bridge, Queen Elizabeth opening the Royal Exchange, the City champion receiving the Banner of the City on the steps of Old St. Paul's, and Queen Victoria visiting the Mansion House on the occasion of her Jubilee in 1887. The four last-mentioned were ordered for the corporation of London. A set of the Morte d'Arthur was also produced, and is now in the possession of Lord Aldenham. In Windsor Castle are four panels of Old Windsor tapestry. Each panel measures 8 ft. 6 in. high "by 5 ft. 2 in. wide. The borders are of conventional foliage with shell ornaments, the subjects being views of the royal residences—Windsor Castle, Buckingham Palace, Balmoral Castle and Osborne House. The manufactory at Old Windsor was short-lived. Its productions were marked by a style akin to that of the Gobelins, and Aymer Vallance writing in 1897 sums up its history in a few words : "It did not manage to attract the public by means of the landscapes and other realistic representations which it produced, and a few years ago the establishment was definitely closed, the plant sold, and the workers disbanded." In 1881 the late William Morris began tapestry weaving at Merton Abbey. The history of that remarkable genius and his work is worthily written by Mr. Yallance in The Art of William Morris, and need not be recounted here. He constructed a high loom after old models, and acquired a perfect knowledge of the technique of the craft, as early as 1878, when he taught Mr. Dearie the art of weaving tapestries. The first work of importance executed in the Merton Abbey works was the Goose 468A Sketch of Tapestry-weaving in Flanders, Germany, etc- Girl, a panel designed by Mr. Walter Crane. Some verdure tapestries were shown in the " Arts and Crafts " Exhibition of 1888. They were entitled the Woodpecker. and the Forest. In the latter the foliage and flowers were by Morris and Dearie; while the animals, a lion and a fox, were by Mr. Philip Webb. Sir Edward Burne-Jones designed nearly all the figure work in the Morris tapestries, while the flowers and foliage were the work of Morris and Dearie. The list of tapestries executed by " Morris and Co." is a fairly large one : some of the most important hangings are :— The Star of Bethlehem, for Exeter College Chapel, finished in 1891. The panel has been repeated more than once. The Seasons, now in the Victoria and Albert Museum, South Kensington. The figures in this panel are by Morris, the flowers etc. by Dearie, while the minor ornamentation was left to the tapissiers. Angeli laudantes, in the Victoria and Albert Museum. The Primavera of Botticelli. Arts and Crafts Exhi-bition, 1896. Woven for Mr. Blunt. The magnificent set woven for the decoration of Stanmore Hall. These represent the Quest of the Holy Grail. The designs are by Sir Edward Burne-Jones; and the set is, as a whole, without doubt the best that has been made since the first years of the sixteenth century. The incidents chosen are: the failure of Sir Lancelot; the arrival of Sir Galahad to take his place in the siege perilous ; the Vision of the Holy Grail. These are of medium texture—sixteen warps to one 469A Sketch of Tapestry-weaving in Flanders, Germany, etc. inch, but the texture of the Morris tapestries varies from ten warps to sixteen; in one instance some very fine work was executed on the scale of forty-two warps in the space of one inch. No praise can be too high in describing the Merton Abbey tapestries; one can only say that they fulfil the description of the art as it should be, in the words of Morris. " It may be looked upon," he says, "as a mosaic of pieces of colour made up of dyed threads, and is capable of producing wall ornament of any degree of elaboration within the proper limits of duly considered decorative work. As in all wall decoration, the first thing to be ■considered in the designing of tapestry is the force, purity and elegance of the silhouette of the objects represented, and nothing vague or indeterminate is admissible. Depth of tone, richness of colour, and exquisite gradation of tints are easily to be obtained in tapestry; and it also demands that crispness and abundance of beautiful detail which was the especial characteristic of fully developed Mediaeval Art." ("Arts and Crafts" essay on Textiles.) 470The Building of the Temple. English, BY PERMISSION OF MESSRS. MORRIS & Merlon Abbey, 20th Century. CO.8 ~ 'f/f. TAPESTRY AS WAR RECORDS. Sir George Frampton, R.A., in a letter to The Daily Mail, advocates the introduction of panels of tapestry as war memorials and rolls of hono'ii to hang in churches, halls of universities, public schools and corporations, and private houses. Many art students, disabled in the war, would gladly associate themselves with the work of tapestry-weaving. Training centres and studios will be established as soon. a& sufficient orders are in hand. It is intended to rival the most beautiful tapestries of the past. Mr. George Clausen. It.A., Mr. Charles Sims, R.A., and Mr. Frank Brangwyn, R.A., are connected with the scheme, and any communication with reference to it will be welcomed by Sir George Frampton at 90, Carlton-hill, Maida Vale. N.W. 8. fte ?ia Earn*® o® "Ths Daily TraaaaArsu0' 8:b— Sir Georgo Frampton'e scheme for providing tapestry weaving as an occupation for men o! artistic training and temperament wounded or disabled iu the war has much to commend it from a medica' point of view. To the men of this class, per munsoii;/ crippled and incapable of reverting to {■heir "oizner pursuits, it will, if carried out, open up congenial and remunegative employment, and to those temporarily incapacitated by ehe'l shock or neurasthenia it will supply just the kind of mental massage that in best calculated to prove restorative of normal functional activity. Students of literature, paintings sculpture, architecture, or the drama do not when invalided and cut off from their customary avocations take kindly to monotonous and mechanical manipulations, such as suffice for thcae who ha«c best* induFtiiaJlv reared, but will eint-arfe with suet on work wnh wjiich tdeal elesnanl mingles and dominate* mem manual pkill. The Lfj/DW ledge thua in weaving' memorial Ui'eBtnes they not inly working out their own solvation, bus producing some solatium for poignant ftc-.'Tejw, cintl are inscribing and illuminating a page of history and keeping alive a nobl« patriotic pride in doughty ueeds, cannot fail to compensate them in some degree for sufferings endured and hopes blighted, and to open up new vistas of salutary ambition. Silk and wool may th'fs help to unravel soma tangles in the cells and fibres of the brain. The new craft will brine into beneficial association a v?:de c of cerebral centres, and link up again those fciiat have been thrown out of gear. The quaint sampkn-i cf our grandmothers stir up tender smo t'ocq to ky. Mow infinitely rich and more moving in time t»me v?Jl be those paneis of fine artistic design wkicb Sir George Framptoo prelaws to credits, * bother in private homes or public institu tions, commemorative of fallen "heroes, and wrought by atricken brothers in-arme who have sur- vived them.—Yours faithfully, JAMES ClilCUTOJ? BJSOWm iUrasfea, PbSj. 8. The Luttrell Tapestry. A large company gathered! at Messrs. Christie's sale yesterday of tapestries, Old English and other decorative furniture, and objects of art, from various private collections. The most important lot catalogued was the Luttrell Tapestry, a well-known carpet or table-cover (18ft. 3i ni. by 6ft. 7in.) of English workmanship, woven about 1520-30 for Sir Andrew Luttrell, of Dunster. The bidding for this interesting tapestry, which was fully described in the Morning Post of June 26, began at £1,050, and after much competition it was sold to Mr. Tarrant for £5,565. Other tapestries in anonymous properties included : Five Brussels panels, woven with scenes from the story of Telemachus and Calypso, signed " V. Leyniers. D.L.," which made £1,522 10s. (R. W. Partridge); six Aubusson panels, woven with garden scenes, signed " M. R: D'Aubusson. I. Dumontiel," £945 (E. Phillips); a Brussels panel, woven with classical scenes, £609 (S. Moens); and an early 18th Century English panel, probably woven by Morris, £357 (Gore). For a panel of Elizabeth petit-point needlework, 6ft. 7in. high by lift. lOin. wide, £1,386 was given (M. Harris). This came from Crawley House, Apsley Guise, Beds, under the wills of Mrs. Valentina Augusta Wynter and Mr. Robert Shipton Orlebar.CHAPTER XX TAPESTRY MARKS HERE is a slight difference in the tension of warp and weft between tapestries woven on the high loom and those woven on the low loom. This is apparent where a change of colour occurs, but after a considerable time the tension is relaxed, and the distinction is lost. The weavers of the eighteenth century put a single red thread, the thickness of a line in the selvage, along the top and bottom of a tapestry woven on the low loom, to distinguish it from one woven on the high loom. (Dictionnaire des Sciences, Vol. IX. Text, p. 597). By a regulation of the corporation of tapissiers in Brussels in 1528, it became obligatory, that every piece of more than six ells made in the town, should have in the lower part the name of the weaver or that of the client who ordered it on the one side, and on the other a shield flanked by two B's. A mark resembling the figure 4 reversed is presumed to indicate that the tapestry was made for a dealer or merchant. This regulation was extended to all the Flemish towns, and in time became generally adopted in all countries, each manufactory having its distinguishing mark. In the seventeenth century the initial letters of the tapissier's name began to be used instead of his mark or monogram, and, later, the full signature was woven in the selvage. 47iTapestry Marks BRUSSELS.1 BoBbObBaBBQa BUB hOiBUB^DBacBO^DBOB IsOJ aoBBDBbqbpd^ bob B I*' H M1HM <•* b<> *7 «.» j. __ A b( 70 T» 1 U 11 * * * Tt 7J 1 ♦ If 7< 77 71 yf t $ $ t $4, •• •< „ A ^ •» t* «f H # f * i ^ A 50-52. The Apocalypse (Madrid). Panne-maker's mark also. 54. Wilhelm Geubels. The Hunts of Maximilian. 55. The Hunts of Maximilian. 56. History of Jacob (Madrid Museum). 57. Jacques Geubels (document). 58. Conversion of St. Paul. 59. 60. Preaching of the Apostles {Madrid). 61. Paul and Barnabas at Lystra. 62. History of Moses and Joshua. 63. History of Noah (Madrid). 64. History of the Apostles (Vienna). 65. History of Rome (Stockholm). 66. History of Cyrus (Madrid). 67. Paris wounding Menelaus. 68. History of Diana. 69. 70. 17th Century (private coll.). 71. History of Decius (with Jean Raes). 72, 73. Franfois Geubels. Triumphs of the Gods (Garde-Meuble, Paris). 74. History of Noah (Madrid). 75, 76. Romulus and Remus (Vienna). 77. Unknown subject (Florence). 79. Nicholas Van den Hove. 80, 81. The 7 Virtues [Vienna). 82-84. History of Ulysses (Hardwicke Hall). 85, 86. Samson (Chdteau de Vangoubert). 87. History of the Ark (Hardwicke Hall). 473Tapestry Marks BRUSSELS—WEAVERS' OR MERCHANTS' MARKS. 88 89 *> 9' 3% 91 too IB) IO» • 05 >46 IB} !•* tof HQ $ & ft | A 1 ••I »>7 na l»l I IX 111 I IN • ■f lit '»■» Itf IX? 11.8 £ 88-96. Romulus and Remus (Vienna). F. Geubels ? 97. The Incarnation (Madrid). 98-104. JeanRaes. The Apostles (Madrid), etc. 105. Unknown subject (Florence). 106. Alexander the Great. 107-110. The Twelve Months (Vienna). hi, 112. The Seven Deadly Sins (Madrid). One set has Pannemaker's mark. 113, 114. Life of Abraham (Vienna), with Pannemaker's mark. 115. History of Ulysses (Hardwicke Hall). 116,1x7. Triumphs of the Gods (Neptune). 118. Month of December, with Pannemaker's mark, x 19-122. The Acts of the Apostles(Madrid). The mark is attributed to Nicholas Leyniers. 123, 124. Acts of the Apostles (Vienna). 125-128. History of Cyrus (Madrid), 474Tapestry Marks BRUSSELS—WEAVERS' OR MERCHANTS' MARKS. 130 IV >M 13) lH I if '»<• +Xlf T k (f J 117 iM <>6 «J«| Ho it* 1#J • » «ri in >n H XfcttSftftM .n «»• i or ib3 i «,& Of its lAA^MX Ml 129, 130. Acts of the Apostles, with Nos. 123, 124 (Vienna, before 1563). 131. History of Cyrus (Madrid). 132, 133. Battle in a forest. 134, 135. Triumphs of the Gods. 136. History of Gideon (Albarracin Cathe- dral). 137. The Cardinal Virtues (Burgos). 138-141. Story of Polyphemus. 142. Unknown subject (Madrid). 143. Story of Samson (Madrid). 144. Garlands, 17th Century. 145. 146. Leo Van den Hecke, before 1576. 147, 148. Pastoral (Vienna). 149. History of Alexander (Vienna). 150. Romans and Sabines, 16th Century. 151. Hunting Scenes (South Kensington). 152. Moses striking the rock. 153. Armorial Landscape. 154. History of Samson. 155. 156. Scenes from Ancient History, with Bathsheba and Suzanna in the border. 157, 158. Wilhelm Segers, the Passion (Vienna). 159. Antony and Cleopatra. 160. History of Tobias (Madrid). 161. Vulcan. 162. 163. Martin Reymbouts. 164, 165. History of Joshua (Vienna). 166. Zenobia (Vienna). 167. Life of the Magdalen (Madrid). 168. Life of Scipio {Madrid), Hubert den Motte ? 169. Gombaud and Macie. 475Tapestry Marks BRUSSELS—WEAVERS' OR MERCHANTS' MARKS. •10 .7. «71 nt in (17 BiB I7j >*> ... " •«» '»< IU .11 £8 ahjiaai • 19 »?» '17 MS 500 aot H^KTrJSI^^jl,^ »•»" a-Ofc io« j.(o 170-172. History ofTobit (Vienna). 173-175. History of Scipio (Madrid). 176, 177. Diana hunting (Madrid). 178. History of Rome (see 164). 179. History of Uiysses (Stockholm). 180. History of Alexander. 181. The Six Ages of the World (Vienna). 182. History of the Kings (Stockholm). 183. The Six Ages of the World (Vienna). 184. The Seven Deadly Sins (Palmer coll.). 185. Story of St. Paul (Madrid). 186. 187. Gombaud and Macee. 188, 189. Jean Leyniers, History of Scipio. 190—193. Antoine or Jacques Leyniers. 194. Jacques Leyniers (document). 195, 196. History of Abraham (Vienna). 197. Acts of the Apostles (Madrid). 198. Landscape. 199. History of Alexander^(Madrid). 200. Hercules. 201. The Benediction of Jacob (Madrid Museum). 202. Hunting Scenes. 203. Acts of the Apostles (Haddon Hall). 204. Temptation of St. Anthony (Madrid). 205. Old Testament (Vienna). 206. Life of Scipio (Madrid). 207. Landscapes, 17th Century (Vienna). 208. The History of Theseus. 209. The Creation (Burgos). 210. Verdure, 16th Century (Madrid). 476Tapestry Marks BRUSSELS—WEAVERS' OR MERCHANTS' MARKS in i'J- 11+ tir ■fr $ 4 fir & lif til 2X9 11A- ^ACIfiOi SB A ^ (fcf | $ W b 71// AUDENARDE. 1,1 »» J4^ asL f WEAVERS' OR MERCHANTS'MARKS. 9 3« a.to j.41 ow. ^ R ui 2*3 KC 1 | 211. M. Roelants. 212. Hubert de Maecht. 213. Jan Segers. 214. F. V. Maelsaeck. 215. Daniel Thienpont. 216. Landscapes (Vienna). 217. History of David (Burgos). 218. The Last Judgment. 219. History of Caesar (Florence). 220. Ostrich Hunt (private coll.). 221. Adoration of the Magi (before 1556, Madrid). 222. Garlands of Flowers and Fruit. 223. Apes and Grotesques (Madrid). 224. History of Jacob (Vienna). 225. History of Cleopatra (Burgos). 226. Triumph of David. 227. Creation of Woman (Florence). 228. History of Sophonisba. 229. The Temptation of St. Anthony (Madrid). 230. The Passion (Vienna). 231. Nicholas Hellinck. 232-237. Marks of Audenarde. 238, 239. History of David (Vienna). 240. History of Hercules (Vienna, Michael Van Orley ?). 241. Pierre Van Kercken (document). 242. Jean de Bleeckere. 243. Antoine Van den Neste, or Jean de Waghenere. 477Tapestry Marks AUDENARDE—WEAVERS' OR MERCHANTS' MARKS. !>♦ 14» 14-fc 1.47 1*0 141 154 til V f ira W4 arf xn irj m m IM an. Ifcl. XfeW 1«» t«i < "S- ENGHIEM. 1.47 t>t ® ® WEAVERS'OR MERCHANTS'MARKS. l)e tti 171 m a?4- »7r *N E M 3) l\C XI, «0 »' o» 244. Jean de Waghenere or Antoine Van den Neste. 245. Jean Talpaert. 246. Arnould Cobbaut. 247. Thomas Nokerman. 248. Jean de Clynckere. 249. Jean Dervael. 250. Jacques Benne. 251. Pierre Willemets. 252. Mathieu Van Boereghem. 253. Pierre de Brauere. 254. Josse Walave. 255. Hubert Stalius. 256. Gilles Mahieus. 257. Arnould Van den Kethele. 258. Pierre Van Rakebosch. 259. Guillaume Van der Capellen. 260. Jean Pontseel. 261. Jean Boogaert. 262. Jacques Van den Broucke. 263. Remi Crupenn. 264. Gilles Moreels. 265. Martin Van der Muelene. 266. Franfois Van den Steene. 267-269. Marks of Enghien. 270-272. Armorial Verdure. 273-275. Late 16th Century. 276. Philippe Van den Cammen, Diana hunting (Vienna). 277. Henri Van der Cammen. 278-280. Arabesques (Vienna). 281. Quentin Flascoen. 282. Nicholas de Dobbeleer. 283. Jean Van den Cammen. 478Tapestry Marks INDETERMINATE MARKS. I Bt?A 111 »00 167 \17 ltt lH t»0 tfl m , jt BRUGES. EH TOURNAI. •so* sor LI LLP. 906 LW G-VERNIERS 5 Oi A% ii 284. Landscape (Stockholm). 285. Original Sin (Madrid). 286. Verdures (Vienna). 287. St. Paul (Vienna). 288. Hercules and the Centaur (Vienna). 289. The Triumph of Love. 290. A Woman kneeling before a General (Vienna). 291. Minerva. 292. Ornamental Tapestry. 293. Life of St. Paul. 294. Sacred subject. 295. Diana hunting (Madrid). 296. History of the Exodus (Vienna). 297. Historical and Mythological subject. 298. Esther before Ahasuerus (Vienna). 299. Esther and Ahasuerus. 300. Vulcan (Hardwicke Hall). 301. Bruges, Jean Crayloot, History of Rome. 302. Armorial Tapestry. 303. Diana hunting (Madrid) with Brussels mark. 304. 305. History of Abraham (Tournai Museum). 306. Lille, Widow G. Wemiers. 479Tapestry Marks ANTWERP. ft* DELFT. htl HID $ GERMANY. J^J c.m.e.^:nanci.i705 + in st, , in ITALY. F*F&P f FK F® It F. T.F. 3°7 Reception of a Woman and Child by a king. Adoration of the Shepherds. Story of Cyrus (Madrid). A. Spierincx {son of Francois and brother of Peter) History of Tobias. Delft. Franjois Spierincx, History of Diana. 313-315. Nancy, Battles of Charles V. (Vienna). 316-318. History of Moses, 16th Century (Vienna). 319. Scenes from the Life of Christ, Alsace, 1592. 308 309 310 311 312 320, 321. Hans van der Biest, Munich 17th Century. 322. Rinaldo Boteram Mantua and Ferrara (document). 323. Ferrara dated mdliii, with Brussels mark. 324. Karcher, Ferrara. 325. Jean Rost, Florence, i-6th Century. 326. Nicholas Karcher, Florence, Grotes- ques about 1550. 327. G. de Bartillommeo Papini, Florence. 328-330. Florentine marks. 331. Mark of Pierre Lefevre, Florence. 480Tapestry Marks FRANCE AND SPAIN A + $ -A. Ill )S| 999 Ht H) P* P*P N III' P+ & 3C & £ i4' KL 11, m w, rfW^^B K J * & $ ENCLAND. MORTLAKE. ** M] W $ & W « W 9 »r 3M »*» M 01 ff^^ | f f 332, 333. Translation of Elijah, Amiens? 334. Mark attributed to Beauvais. 335. Spanish Royal Manufactory. Furni- ture Tapestries (Madrid). 336. Manufactory of Sa. Barbara, Madrid. Copy of the Conquest of Tunis. 337-339. Paris marks. 340, 341, 343. Alexandre de Comans. 342. Charles de Comans. 344, 345. Diana and Artemisia (Madrid). 346, 347. Story of Artemisia (Garde Meuble, Paris). 348, 349. Arethusa transformed into a Fountain. 351. Abraham's Sacrifice (Paris). 352. History of Constantine (Paris). 353. Gobelins, History of the King (Lefe- vre). 354. Gobelins, 18th Century. 355) 356* Gobelins, Modern. 357-363. Mortlake mark. 364. The Five Senses (Haddon Hall). 365. Philip de Maecht. 366. 367. Sir Francis Crane. 369. Acts of the Apostles (Garde Meuble,. Paris, etc.). H.T. 481 31INDEX LIST OF THE CHIEF CENTRES OF MANUFACTURE Alexandria, 37 Alost, 220, 238, 409 Amiens, 132, 135, 419, 420, 424, 481 Antwerp, 129, 130, 132, 219, 220, 222-7, 252, 256, 259, 279, 284, 398, 402-5, 411, 459, 480 Antoine, Rue St., Paris, 244, 442 Arras, 45, 54, 56, 57, 62-5, 72, 76-80, 88, 92-4, 96-115, 120-5, I27, I28, 131. 153. 157-73. 181. 182, 2ii, 255, 256, 258, 260, 263, 265-8, 270-4, 276, 278, 283, 286, 287, 405, 411, 458 Ath, 238 Aubusson, 44, 241, 417, 435, 436, 447, 448, 450, 467 Audenarde. See Oudenarde Auxerre, 46 Avignon, 135 Babylon, 14 Barcelona, 154 Barcheston, 280, 331 Beauvais, 241, 435-8, 445-7, 450, 481 Bellegarde, 417, 435, 436, 447, 448 Berlin, 415, 458, 459 Bethune, 234 Binche, 220, 238 Brabant, 108, 109, 130 Bruges, 88, 113, 114, 121, 125, 126, 151, J53» 165,5170, 199, 203, 2ii, 220, 230-3, 294, 343, 401, 409, 457, 479 Brussels, 121, 130-2, 150, 194, 201-3, 207-9,220-2,224-7,231,239,260,279, 334. 342, 397-402, 404, 405, 410, 418, 420, 434, 448, 453, 455-7, 467, 472-7, 479, 480 Buda, 153 Cadillac, 421 Caen, 421 Cambrai, 407, 450 Chapelizod, neax Dublin, 348-9 Charlesville, 419 Chatillon, 241 Chelsea, 466 Copenhagen, 416 Courtrai, 238 Cyprus, 10 Dabik, 37 Damietta, 37 Delft, 252, 284, 480 Douai, 89, 238, 411, 457, 458 Dresden, 459 Edinburgh, 166 Elinsore, 252 Enghien, 129, 219, 220, 226, 227, 234, 235. 317. 321, 410, 411, 415, 478 Exeter, 465, 466 Felletin, 136, 417, 435, 436, 447, 448 Ferrara, 150, 151, 246, 247, 480 Florence, 153, 246, 248-50, 412-5, 426, 450-2, 480 Fontainebleau, 242, 243, 252 Fulham, 462-4 Genoa, 251, 415 Germain, St. (Faubourg), 425 Ghent, 129, 194, 238, 405, 409, 457 Gisors, 450 Gobelins, 243, 291, 320, 328, 344, 399, 417, 418, 449, 456, 460, 462-5, 468, 481 Grammont, 238 Hatton Garden (London), 466 Heidelberg, 459 Kilkenny, 290 Kioge, 416 Lambeth, 319, 343, 361 Lauingen, 251 Lessines, 238 Lille, 89, 113, 124, 132, 220, 233, 234, 401, 402, 405, 418, 448, 449, 458, 479 483List of the Chief Centres of Manufacture Limoges, 242 London, 93-6, 132, 168, 173, 229, 293, 343, 461, 462, 466-8 Lou vain, 129, 220, 238 Louvre, The, 244, 422 Lyons, 88, 89, 135 Madrid, St. Barbara, 459, 460, 481 Maincy, near Vaux (Fouquet's manufactory), 410, 421, 422 Mantua, 150, 250, 419, 480 Marceau, Faubourg St., 425 Mark, St., Florence, 412 Merton Abbey, London, 468-70 San Michele, Rome, 452, 459 Middleburg (Flanders), 121, 126, 279 ; -(Holland), 252, 284, 295 Milan, 153, 451 Misr, 37 Mons, 89, 128, 129, 238, 411 Montpelier, 136, 242 Mortlake, 291-331, 336, 339, 341, 343, 344, 399, 405, 418, 434, 461, 466, 481 Moscow, 416 Munich, 410, 4x5, 458, 480 Nancy, 415, 420, 421, 449, 450, 480 Naples, 451 Navarre, 135, 154 Norwich, 278, 340, 341 Nuremberg, 251 Orchies, 234, 238 Orleans, 421 Oudenarde, 129, 130, 220, 226, 227, 235, 236, 294, 343, 398, 404-11, 418, 422, 450, 456, 457, 477, 478 Paddington, 462 Paris, 121, 124, 128, 132, 138, 233, 240, 241, 244, 291, 295, 418-20, 422, 423, 426, 428, 430, 437, 481 Pastrana, New Castile, 416 Perpignan, 135 Perugia, 153 Petersburg, St., 460 Reims, 132, 135, 419, 420 Rennes, 136 Rome, 152, 412, 414, 451-3 Rouen, 241 Sandwich, 278, 279 Santa Maria di Trastavere, Rome, 452, 453 Saumur, 46, 47 Sehata, 37 Seville, 459 Sienna, 151-3 Slansgerup, 252 Soho, 344, 466 Stamford, 344 Talmoun, 39 Teunis, 37 Todi, 153 Torcy, 450 Touneh, 37 Tournai, 88, 103, 104, 114, 121, 127-9, I3I, I3S, I72, I73, l8r> 211, 220, 228-30, 234, 238, 256, 405, 410, 479 Tournelles, Hotel des, Paris, 423 : Tours, 241, 257, 420 Trinite, Hopital de la, Paris, 243-5, 422 Trond, St., 129 Troyes, 133, 242 Tuileries, Paris, 426 Turin, 452, 453 Urbino, 153 Valenciennes, 88, 123, 124,^237, 238, 405, 407, 411, 458 Venice, 250, 251, 415/453, 454 Vigevano, 246, 247 Vitre, 136 Warsaw, 461 Wesel, 251 Windsor, 467, 468 Worcester, 332 York, 92, 157, 278 Ypres, 124, 125, 238 484SUBJECTS OF TAPESTRIES Abel (King), 252 Abigail, 337 Abraham, 53, 54, 218, 223, 267, 274, 313. 328, 356, 413. 474, 476, 479; - and Hagar, 311, 328; - and Isaac, 161 ; -'s Sacrifice, 402, 426, 481 Absalom, 126, 170, 266, 400 Achias, 274 Achilles, 299, 326, 398, 403 ; Education of-, 444 Acteon, 371 ; -and Orpheus, 243 Adam, 413 Agatha, St., Prayer of, 249 Age, the Golden, 413; the Seven -s, 85, 161, 265. See World Ahab, 151 Ahasueras (various spellings), 249, 276, 363 ; -and Esther, 120, 128, 263, 268, 271, 355, 360, 362, 373, 376, 388. See Esther Alban, St., 56 ; Discovery of the body of-, 56 Alcisthenes, tapestry of, 12 Alexander, 86, 100, 127, 139, 168, 236, 270, 311, 328, 363, 364, 366, 387, 394, 400-2, 413, 432, 453, 455, 475, 476, Alexandra, 363, 388 Altar-piece, altar-frontal, etc., 128, 154, 172, 173, 235, 249 Alva, Victories of the Duke of, 223 Amans, Vessi, etc., 163, 164; King of -. 78 Amaint, 1', 360 Amazons, 403 ; the Nine-, 77 Ambrose, St., 247 Amenothes II., tapestries of, 5-9 America, 460 Aminta and Silvia, 442 Amor, and Prudence, 266, 376, 383, 389 ; -dei, 265 An A more, de, 100; Amoreux, Vesci, 165 ; Deo Amoris, 100 Amours, Dieu d', 137 ; La Vie d'-, 161 ; Vessi-, 159 Amusements, Rural, 446 Amys and Amylion (Amis and Amilis), ioo, 274 Ananias, Death of, 212 Anatoile, St., 232, 233 An5ois and Izore, 73 Andromeda, 224 Angel, 266 ; - appearing ' to the Shepherds, 111 Angeli Laudantes, 469 Animals, 427 Anne, Anna (St.), 85, 100, 109, 269 ; Portrait of-of Denmark, 320 Annunciation, 111, 240, 420, 452 Anthenor, 159 Anthony and Cleopatra, 401, 441, 475 Triumph of Maxk-, 441 ; - of Brabant (portrait), 108 ; St.-, 154, 155 ; Temptation of St. -, 476, 477 ; Miracles of St.-, 77 Antiopa, 444 Antique, History, 453 ; -s, 264 Apes, and Grotesques, 477 ; -and other beasts, 288 Apple, Golden, 76 Apocalypse, 64-72, 79, 82, 84, 97, 108, 140, 185, 218, 223, 473 Apollo, in his chariot, 460; -and Marsyas, 224 Apostles, 66, 89, 161, 263, 310, 311, 319, 326, 328, 374, 473, 474 ; Acts of the -, 212-7, 222> 223» 225> 2&4> 29%> 299, 306, 400, 402, 427, 433, 438, 461, 473-5, 481 Aquitaine, Duke of, 77 Arabesques, 434, 478 /Irbre de Vie, I', 137 Arbriscaulx, 137 Archbishops, Bishops, and Kings, 110 Architectural Views, 453 Arethusa, 426, 481 Ark, 473 Armada, 252, 284-6, 320, 331, 332, 335 Armida and Renaud, 441 Armorial Tapestries, 85, 124, 136,230, 233, 249, 401, 410, 414, 479 Artemisia, 481 Arthur, 272 ; Marriage of Prince-, 17i. 357 I Morte d'-, 468 Arts, 401 Ascension, 240, 452, 453 Aseryath, 368 Asia, 460 Assault of a Town, 289 Assumption, 355-7, 417Subjects of Tapestries Assycia, King of, 372 Assyria, King of, 339, 340, 389 Astiages, 271, 360; - and Cyrus, 272 ; -and Goddesses, 337 Attorney, 271 Aurora, 460 ; -and Cephalus, 442 Avarice, 209 Aylesford, Battle of, 467 Brook, 366 Brute (Brutus), 273 Brye, Duke, 267, 272 Bucheron or Boucheron, 78, 263, 272 Bullen, Godfrey, 262, Burgundy, Duke of, 158 ; Portrait of Jehan, Duke of-, 109 ; King of --. US Babylon, Conquest of, 77 Bacchus, 458 ; Feast of -, 403 ; Triumph of-, 223, 460 Balaam and Balak, 276 Baldwin, Count of Flanders, 449 ; - of Sebourg, 79 Balmoral Castle, 468 Banquet, 228, 229, 270; - and Souper, 120 ; -ing, 268 Barne, Tint or Prodigal Son, 288 Bathsheba, Toilette of, 413 Battles, Battle, 352, 388 ; -against Louis XIV., 420 ; -between the Kings of Friesland and Greece, 76 ; -in a Forest, 475 ; - of the Thirty, 80 Bavaria, House of, 251, 415, 459 Bayard, Chastity of, 442 Beasts, and Birds, 269; - and Flowers, 273 ; -and Fowls, 276, 333 ; -and Unicorns, 75 ; Wild -, 277 ; -with Arms of England, 267, 357 Beatitudes, 267, 357 Beaute et Bontt, 100 Begyue, Duke of Beline, 11 $ Bergeres, 137 ; - and Bucherons 137 Bertrand. See Guesclin du Bethlehem, Star of, 469 Bevis (Beauve, etc.), de Hampton, 73, 159, 273 Bible-cover, 332 Birds, 55, 277 Birth, 389 Bishops, 362 Boar, Wild, 266 Bohemians, 446 Boreas and Orythnie, 444 Boscage or Buscage, 169, 390, 400, 404 Boy, sitting in a Chair, 277 ; -s and Trees, 267, 358 ; The Naked-s, 277. 3X9. 327, 328, 392 ; See also Children Playing Boyne, Battle of the, 342 Blooms, 269, 364, 367, 371-3, 376, 377, 382, 384-6, 390, 391. See Verdure Brabant, Duchy of, 456 Branches, 276, 289 ; - and Boys, 269. See Verdure Brandon, Charles, 351 Bresgate, Battle of, 342 Caesar, Julius, 116, 117, 119, 229, 267, 356, 402, 453, 477 ; Portrait of-, 452; Triumph of-,205,312,3x3, 319, 328, 336 Cairi, 274 Calais, Siege of, 442 Caluce, 229 Calvary, Death of, 77, 87 Camel, 467 Camilla, 406 Camille, Portrait of, 452 Camp, 251 Cana, Marriage-feast at, 449 Canonye, Woman of, 264 Capps, Flatt, 354, 369 Catherine, St. (of Sienna), 413 Cattle in a'landscape, 465 Cavalier, 401 ; -s and Moors, 290 Cavalry Charge, 233 Centaurs, 249 Cerfs, 137 Cest emprise de haul noH, 161 Cest estorie fait mention, 159 Chair with two wheels, 277 ; -with Beauvais Tapestry facing, 436 Champion, The City (London), 468 Charity, 249 Charlemagne (Charle, King Charles, Charlesmaine, etc.), 77, 87, 109, 164, 271, 272, 274, 276, 355, 371, 382; Consecration of -, 400; - succouring King Jourdain, 79 Charles I., Portrait of, 320, 328, 341 Charles II., Arms when Prince of Wales, 387. 392 Charles III., Apotheosis of, 451 Charles V., Battles of, 449, 480 Chastity, Triumph of, 204, 257 Children, 108, 276, 311, 441, 466, 467 ; - chasing Birds, 105 ; Destruction of the-, 277 ; -going to School, 127 ; -playing (see also Naked Boys), 217, 246, 414, 427, 442 ; Royal-, 320 China, Knight of, 128 Chinese Hanging, 446 Chipion Abrican (Scipio Africanus), 222 Christ, 217, 244, 268, 357, 414, 419, 480. See also Our Lord. Adoration and Nativity of-, 249 ; Baptism of-, 249 ; -bearing the Cross,Subjects of Tapestries 413 ; Birth of-, 273, 389 ; - calling Little Children, 449; -'s charge to Peter (see also Pasce oves meas), 212, 216, 247 ; - commanding the Apostles, 452 ; -in His Mother's (Our Lady's) Arms, 268, 357 ; - on the Cross, 452 ; -scourged, 266 ; -sitting in judgment, 361 ; -taken from the Cross, 265, 266, 357 Christian II. of Denmark, Portrait of, 320 Church, Militant, 108 ; Triumph of the -, 398, 401 ; Union of the Holy -, no Cipro, de, 100 Circumcision, 401 Claqui, Bertrando de (Guesclin, Bertram! du), 154 ; Arms of-,154 Clement, VII., 249 ; Pope-, 452 Cleopatra, 400, 401, 477 ; Arrival of -in Sicily, 441 Clinthe, 87 Clio, Thalia and Euterpe, 444 Clovis (Clotte, etc.), 87, 105, 114, 115, 144, 271 Coligny, Death of, 442 Colon, Cologne, Colleyn, etc., 100 ; Three Kings of-, 263, 265, 273. See Kings, Magi, etc. Commerce, Allegory of, 456 Complexions (Temperaments), 64, 265, 365. 39i Confidences, 442 Coninghis (rabbits), the Hunter of, 289 Constantine, 263, 400, 401, 422, 427, 481 Coriolanus, Marcus, 244, 286; The Mother and Wife of-, 452 Cornwallis, Arms of, 333 Corpore et Anima, de, 100 Cortez Fernando, 400 Cosmo III., Portrait of, 413 Courtney, Arms of, 273 Crane, Sir Francis, portrait, 299, 326 Creation, 152, 290, 476 Creed (Credo), 77, 109, 137, 161 Cressent, 273 Crispin (St.), and St. Crispinian, 245 Cristolfe teis de Dene, 164 Croissants, 361 Crucifix, Crucifixion, 77, 87, 240, 264, 288 Crudillis, armis de, 154 Cupid, Cupidon, 268-70, 277, 359, 400 ; -and Venus, 370, 388 Cuthbert (St.), Arms of, and Arms of Bishop Rothall, 269, 273 Cybele, 248 Cyprus, the Son of the King of, 77 Cyrus, 249, 400, 401, 453, 473-5, 480 Dame, 137, 159, 163 ; -s, 163 ; City of-s, 288 Damsels playing harps, 123 Dances, Country, 433 Danea, 333 Daniel, 268 Daphne and Chloe, 442 David (King), 100, 173, 236, 249, 256, 257, 263-7, 269-72, 337, 351, 354. 355. 358, 366, 367. 379. 381. 386, 387, 391, 406; -- and Abigail, 355 ; - and Absalom, 264, 389 ; - and Saul, 268, 359; Triumph of ——,. 477 Day and Night, 415 Death, Triumph of, 204, 257 Deborah, 406 December, 474 Decius, 398, 400, 401, 473 Deianira and Nessus, 444 Denis, St., Battle of, 241 Denmark, Portrait of tjie Son of the King of, 413 Diana, 243, 311, 326, 400, 427, 473; - and Acteon, 407; - and Artemisia, 481 ; - and Calisto, 299, 308 ; -and Pan, 398 ;- hunting, 476, 478, 479; —— im-ploring Jupiter, 427; Sacrifice to -, 402 Dido and Eneas, 310, 328 Dieu vous doit, 158 Dieudonne, 79 Diomedes, 274 Dives and Lazarus, 252 Divinity, Triumph of, <204, 264 Doge, L. Loredam receiving his ducaL cap, 251 Dolphins, 97, 273 Doom, 276 Doon de la Roche, 84, 109 Dove, 389 Eagles, 392 ; -and knots, 65 Ecce Homo, 248 Edict of Nantes, Revocation of the, 402 Edwardus, Sanctus, 161 Egene, 276 Eighty-eight, The Story of. See Armada Elector, The Great, 415 Elements, 344, 433- 45°, 451. 456 Elephants and Giraffes, 225 El Hakim El Mansur, Tapestry of, 37 Eliach, 382 Elias, Elijah, 336, 338 ; Ascension or Translation of-, 420. 4Sl Elisha, 406 Elizabeth (Queen) opening the Londoa Exchange, 468 Elkanus, 166Subjects of Tapestries Ely mas the Sorcerer, 212 Emelyk, 256 ; -, Malaon and Ruth, 272 ' Emilius, Paulus, Portrait of, 452 Emperor, 164 Empires, Roman, 353 Encampment, 402 Eneas, 267, 310, 328, 345, 388, 406; Sailing of-, 289 Enfants, petits, 136, 137 England, Arms of, 402 ; See Beasts, Fowls. (EngleteiTe), Arms of, 159 ; Kings of-, 100 Entombment, 233 Epolitus, 268. See Hypolite Ercole, Capture of, ana Rout of the Turks at-, 249 Eric (King), 252 Erkinwalde, King, 263 Esdras, 354, 379 Estates, The Three, 265, 276 Esther, 115, 256, 265, 266, 441 ; - and Ahasueras, 205, 479. See Ahasueras, Hesther Estrogeus, 256 Eternity, Triumph of, 257 Eugene, Victories of Prince, 455 Eustace, St., 270 Evangelists, 132, 170, 452 Exodus, 479 Ezekiah (Hezekiah), 352 Fabius, Maximus, Portrait of, 452 Falconry, 229 Fama, 108 Fame, and Honour, 264 ; Triumph of --. 204, 205 Family, Holy, 413 Farman, 162 Fate, Triumph of, 204; The Three -s, 203, 204 Father, Adoration of the Eternal, 193-8 202, 232 Feast, Flemish, 465 Female kneeling, 233 Femme, 160 Ferdinand, King, 413 Festivals, Peasant, 456 Fites, Champ6tres, 456; Russian-, 446 Filleule of the Fairies, 445 Filleuse, La, 449 Filius Prodigus, 265, 266, 268, 269, 272, 276, 359. 388, 392. See Son Fishes, 97 ; Miraculous Draught of -, 212 Fishing, 442, 456 Fish-market, 465 Flagellation, 413 Fleur-de-lis, 74, 357, 371 ; - and Peascods, 267 . Flight into Egypt, 249 Flora, 249, 458 Florence, 249, 250 ; -of Rome, 109 Florys, genestres, 137 Flowers, 55, 158, 269, 459; Vases of -, 328, 460 Flower-pots, 366, 393; -and Pillars, 354 Foliage, with Birds, 135. See Boscage, Verdure, etc. Folly, 413 Forest with Animals, 400 Forest-work, 333. 345. 374 Forfeits, 203 Fortuna, 100 Fortune, and Prudence, 249; - tellers, 442 Fontaine, Fables of La, 446 Fountain, 264, 269-71, 273, 275, 276 ; -with Cupid, 275 Fowls with the Arms of England, 272 France, King of, and his Twelve Peers, 85 ; The Ten Kings of-, 263 Francis I., Hunts of, 427 Francis (St.), 249 Frederic-Augustus, Parting and Reception of Prince, 459 Freedom, Castle of, 77 Friesland, Conquest of, and Farewell of the King of, 76 Froiment of Bordeaux, 84 Fructus Belli, 223 Furniture Tapestries, 463-5 Fusils, 116 Gadene pur vous, 160 Gamynon, 160 Garden, 397 Garin, Duke of Lorraine, 115 Garlands, 475, 477 Genii of the Arts, 442 George (St.), 84, 164, 263, 264, 266, 267, 276, 357, 384 ; -and the Dragon, 236, 326, 356 ; - and St. Mau- relius, 246 Gervais, St., and St. Protais, 427 Gideon, 113-5, 127, 268, 475 Gilles (St.), 411 Gloriant, Duke, 164 Godfrey de Boulogne, 100, 109. See Bullen. Gods, Amours of the, 427, 442, 446 ; -and Goddesses, 271 ; Combats of the - and Titans, 223 ; Banquet of the -, 458 ; Frailties of the -, 17 ; Triumphs of the -, 224, 433, 456, 473-5 Gombaud and Macee, 427, 475, 476 Gondebaut, 114 Gooseberry Pattern, 80 Goose-Girl, 469Subjects of Tapestries Governor, 266 Grail, Quest of the, 63, 469 Grapes, 389 ; Culling of -, 273 { Setting of-, 274 Grec et Trojan, 100 Gipsies, 465 Greek History, 453 Grisell, 266 Grotesques, 223, 243, 246, 400, 415 ; -of Raphael, 217 Guerin, Lorens, 109 Guesclin, Bertram du, 77, 109; Honours paid to-by the enemy, 442. See also Claqui Guise, Hunts of, 222, 223 Guy of Burgundy, 76 ; - of Warwick, 98 Gyngebras (King), 161 Hagar, 389 Hannibal, 258, 265, 364, 366, 400, 453 ; -and Scipio, 366, 378, 401 Hawking, 158, 160, 162, 265, 267; -and Hunting, 264, 268-77, 360, 386, 392. See Hunting Hector, 64, 72, 77, 266, 368, 369, 381 Helcanus, 109 Helena and Paris, 266 Henrietta Maria (Queen), Portrait of, 320 Henry VII., his coming into England, 171, 268, 356 Henry VIII., Arms and Badges of, 208, 209 Hercules, 129, 191, 192, 222, 224, 229, 249, 264, 266, 268, 270, 272, 276, 277, 286, 287, 289, 336, 337, 352, 358, 359. 390, 391. 406, 476, 477 ; - and the Centaur, 479 ; -bringing Alcestis to Admetus, 440 ; Labours of-, 347 Herkinbald, 116-9, 2°9 Hero and Leander, 229, 308, 311, 319, 261, 338, 461 Hesther, 268, 359, 381, 389 Hippocrene, 248 Histories, Diverse, 268, 271, 272, 273, 360 History, Ancient, 475 Holine (Holly), 289 Holophernes, Olophernes, etc., 267, 269, 390 ; -and Judith, 356 Honour, 108, 266 Honneur, Le Chemin d', 207 Hope, 413 Horse, 401, 467 ; Training of a-, 402 ; -s, 246, 299, 309, 311, 319, 326, 343. 366, 389 Huguenots, Massacre of the, 442 Hunt, Boar, 107, 249 ; Stag-, 112, 249 ; Wolf-,249 Hunting, 77,123, 275, 277 ;-pieces, 249; - Scenes, 407, 446, 475, 476; - the Stag, 109 ; - Tapestries (Hardwicke Hall), 174-6 Hunts, 401, 402, 413 Hypolite, 359. See Epolitus Icarus, 224 Ignatius, St., 453 Imagery (Ymagery), 162, 168, 265, 267, 268, 271, 272, 276, 264, 345, 352, 378, 384. 387. 393 Incarnation, 474 Indian Hangings, 434, 439 Innocence and Justice, 444 Isaac, 236. See Abraham, Jacob Jacob, 236, 256, 266-9, 270, 272, 338, 360, 368, 369, 372, 374, 375, 388-90, 401-3, 473, 477 ; Benediction of -, 476; - and Isaac, 77 ; -and Rebecca, 402 ; See Joseph James I., Arms of, 332 ; Portrait of -, 320, 328, 341 Japeth and Cain, 274 Jarnac, Battle of, 241 Jason, 108, 288, 441 Jehosophat, 362, 387 Jeonnesse, et Abatementz, 163 ; L'Arbre de-, 162 Jereboas, 274 Jerome, St., 265 Jerusalem, 273 ; Battle of-, 124 ; Siege of-, 271, 337, 355 ; Taking of-, 139 Jesse, Root of, 264, 273, 369 Jesus, Adoraton of the Infant, 199-203, 232 Jezebel, 406 Joan of Arc, 445 John, St., 82, 265, 266, 272 ; -, Baptist, 249, 263, 379, 407, 413 ; -in the Desert, 413 Joseph, 248, 256, 269, 272 ; -and Jacob, 229, 270 ; -and Pharaoh, 387. 388 Joseph (St.), holding Jesus, 249 ; —— and Our Lady, 265, 267 ; - and Mary, 389 Joshua (Josue), 263, 265-7, 336- 3S6- 388, 400 Jourdain (King), 76. See Charlemagne Jousts, of St. Denis, 75, 76 ; Jousting of Knights, 271 Judas, 257 Judith, 229; - and Holophernes, 256, 273, 406 ; See Holophernes Julian, St., 413 Judgment, 168 ; The Last-, 477Subjects of Tapestries Jupiter, 273 ; - and Diana, 407 ; - and Juno, 263 ; - and Mnemosyne, 407 Justice, and Liberality, 249 ; -delivering Innocence, 249 Kent, Men of, 467 King, 76, 275 ; -banqueting, 273 ; --crowned, 274; - with a green reed, 277 ;--in a pavilion, 258 ; \-riding in a chariot, 277 ; -keeping sheep, 265 ;-and a woman, 273, 276 ; -and Queen, 181, 275 ; Banqueting of a-and Queen, 275 ; Marriage of a-and Queen, 268 ; History of the - (Louis XIV.), 431, 439, 481 ; The -and his Twelve Peers, 87 Kings and Angels, 267, 358 ;-and Earls, 91 ; - and Queens, 277 ; - sitting in majesty, 275 ; - (Bible), 476; The three -, 77, 126, 170, 401 ; The eight-, 263 Kitson, Arms of Sir Thomas, 333 Knight, and a Lady, 109 ; -putting a garland on a woman, 277 ; The nine-s, 108 ; The nine-s and nine Amazons, 108 Lady, 276 ; -and Unicorn, 264 Ladies, 264, 268, 360, 364, 379, 380 ; City of -, 229, 276, 277 ; Illustrious -, 456 ; Worthy-, 268, 360 ; The Fatal-of Destiny, 267, 357 ; Carrying off of-, 108 ;- and little Children, 165 ; -going to the Chase, 76 ; -and Knights at Games, 79. See Lords Lamanto, 257 Lancelot, 137, 257 Landscape, 364, 370, 402, 406, 407, 409, 427, 450, 452, 453, 466, 475-7, 479 Latona, 249 Latrico, 100 Latymer, 100 Law, the Old, 273; The Old-and the New, 267, 272, 358, 361, 365 Lazarus, 388 ; Raising of-, 452 Leda, 240 Leonardo da Vinci, Death of, 442 Lepelletier, Portrait of, 444 Lidge, Battle of, 106, 108, 114 Life, Human, 249 ; Humble-, 453 Lily Pots, 271 Lion, White, 275 ; -s, 55 Loaves, Miracle of the, 449 London, Arms of, 264 ; City Champion of-, 468 Lords and Ladies hunting birds, 105 Lorenzo the Magnificent, 413 Lot, 265 Love, Alliance of, 460; - and Chastity, 451 ; Triumph of, 460, 479; Court of -s, 108, 112; Desires or Wishes of-, 77 ; Siege of the Castle of-, 89 Louis XIV., approving the design for the Invalides, 402. See History of the King. Portrait of-, 450 Louis XV., Hunts of, 439 Louis (St.) and St. Nicaise, 135 Lucius, St., 100, 161 Lucrece, 223, 248 Lystra, Sacrifice at, 212 Macaborne, 263 Madonna, 413, 450, 452 Magdalen, St., 133-5. 475 Magi, Adoration of the, 116, 117, 146, 249. See Cologne, Kings, etc. Maidens, Fair, 104 Maliasor, 288 Malta, Map of, 389 Man, in Harvest, 275 ; -on horseback, 267, 275 ; - delivering a letter, 275 ; in his Majesty, 275 ; -standing, 273, 275 ; -with a tree, 277 ; - who fell among thieves, 56 ; -and woman, 264, 374 ; -kind, 345 Marat, Portrait of, 444 Marcel, Death of Stephen, 442 Margaret, St., 85 Mark, St., 249, 452 Marimet, 76 Marine Views, 453 Marlborough, Victories of the Duke of, 455 Marsyas, 248 Martin de Paris, 106 Martin, St., 452 Mary, and Christ, 266 ; Assumption of -, 100 ; Salutation of-, 100. See Our Lady, Virgin Massanissa, 403 Matthew, St., 452 Maurice, St., 138 Maurille, St., 138 Mausolus and Artemesia, 244 Maximilian, The Emperor, 126, 170; Hunts of-, 222-3, 473 May, Month of, 413 Mehemet Effendi, Arrival and Departure of, 440 Meleager, 264-6, 359, 368, 373, 383, 385, 388, 391 ; -Atalanta, 410 ; Hunts of-, 422, 426 Melpomene with Polymne, 444 Memento, 258 Men, fighting with wild beasts, 274; - and women, 89, 109; Seven wise-, 108 490Subjects of Tapestries Mercury, 274, 407 Minerva, 479 Mirror of Rome, 108 Misericorde, 427 Moliere's Comedies, 446 Months, 229, 264, 272, 296, 298, 299, 326, 328, 369, 384, 386, 421, 433, 462, 474 ; Field-labours of the-, 203 ; Grotesque -, 223 ; Lucas -, 223 ; Trivulce--, 246 Morians, 268, 276, 359 Moses, 122, 224, 256, .266, 271, 365, 401, 406, 413, 433, 456, 480; - and Aaron, 379 ; Departure of- 407 ; - and Joshua, 473 ; - striking the Rock, 475 Mountalban, 271 Munificence, Royal, 451 Mustansir B'illah, Tapestry of, 38 Nabugodonoser, etc. (Nebuchadnezzar), 168, 273, 276, 361, 362, 378, 380, 382 Napoleon, 445 Nathan, 337, 355 Nativity, 97, 240, 413, 414, 420, 452 Naulis, Rex, 274 Neptune, 474; - and Amphitrite. 402 ; -and Anymone, 441, 442 Nicaise, St., 417 Night, 460 ; -and Day, 415 Noah, 224, 347, 400, 473 Noli me tangere, 413 Northumberland, Earl of, 55 Nostre Dame, Joies de, 161 ; Salutation de -, 165. See Our Lady, Virgin Octavian, 87, 100, 162, 270, 361 One riding on a white horse, 277 Orange Trees, 128 Orpheus, 223 Osborne House, 468 Ostrich Hunt, 477 Our Lady, 72, 87, 111, 256, 263-6, 270 ; Assumption of-, 265, 267, 271 ; -of Sablon, 223 ; Coronation of -, 84, 97, 108, 109 ; Death of -, 109, 266 ; Salutation of-, 265, 276. See Virgin, Mary, Nostre Dame, etc. Our Lord, Baptism of, 263 ; Birth of -, 263, 266; Resurrection of -, 209 ; Sepulchre of-, 109, 271 ; - seated in majesty, 109}; - at His Sepulchre, 109; See Christ, Ascension, Calvary, etc. Our Saviour, 335 Ovid, Scenes from, 404 Oxford and Berks, Map of, 282 Palaces, Royal, 432, 433 Palestine, Holy Cities of, 251 Pallas, and Arachne, 15, 16 ; -and . Helen, 365 Pan, and Psyche, 398 ; - and Syrinx, 407 Paradise, Terrestrial, 401 Paris, 249 ; -Alexander, 222 ;- and Helen, 169, 397 ; Judgment of -, 289 ; - wounding Mene- laus, 473 ; Capture of - by Charles VII., 442. See Helena Parke-work, 268, 273, 276, 333 Parnassus, 248 Pasce oves meas, 452, 461, 466 Passion, 100, 109, 115, 128, 168, 223, 263-7, 270, 271, 273, 276, 353, 356-8, 475. 477 Pastime and Hunting, 105 Pastor, The faithful, 427 Pastoral, 475 Paul, St., 265, 267, 310, 328, 356, 364, 391, 392, 401, 402, 427, 476, 479; -preaching at Athens, 212, 214 ; -and Barnabas, 473 ; Beheading of ——, 413 ; Casting down or Conversion of-, 212, 215, 401, 452, 473 ; -and Elymas, 308 ; - at Philippi, 212, 215 Pa via, Battle of, 223 Peace, City of, 276 ; -and Concord, 271, 356; -restoring Plenty 444 Peacocks, 269 Peasants, Dance of the, 253 Pedagogue of Falisques, 452 Peers of France, The twelve, 108 Pentecost, 240 Penthesilea, 73 People and wild beasts, 229 Percival, 77, 87, 100, 109, 159; - and the holy Grail, 79 Perseus, 288 ; - and Andromeda, 224 Persons, and birds, 105 ; -cutting holly, 289 Peter, St., 144-6, 152, 241, 413 ; - and St. John at the Temple, 212 ; -and St. Paul, 452 ; -weeping, 427 Petrarch, Triumphs of, 141, 188, 204, 223, 256, 400 Peyters, 100 Phaeton, 249, 413 Pharaoh, and the Jews, 87 ; -'s Dream, 248 Philopater, 402, 406 Philosophy and Faith, 43 3 Piat, St., and St. Eleuthdre, 103, 104, 125 Pictures at the Vatican, 433 Pieta, 248, 413Subjects of Tapestries Pillars, and Flowerpots, 363 ; - and Galleries, 368 ; - with Venus, 367, 378 Planets, 382, 386 Plaisance and Lesse, 78 Pleasaunce, Pleasauntes, Pleasure, 160, 163, 266-8, 272, 359, 389 Pleasure, Lordly, 456 Plovers and Partridges, 109 Poesie, 288 Poetic Figures, 400 Poetry, 268, 380 Polyphemus, 473 Polyxena, Sacrifice of, 244 Pomona, 248, 397, 406, 472. See Ver-tumnus Pompey, Portrait of, 452 ; Presentation of the head of- to Caesar, 153 Pope, Emperor and Nobility, 113;- Paul confirming the Statutes of the Jesuits, 453; Spiritual and Temporal Power of the-, 452 ; Portraits of-s, 452 PortUres, 249, 406, 413, 450, 452, 453 Primavera, 469 Princess, Toilette of a, 427 Prodigal Son, 56, 288. See Filius Prodigus Prosperine.Rape of, 451 Providence, with Justice and Charity, 452 Prudence, 374, 413 Psyche, 224, 398, 449, 456 ; -and Cupid, 440, 442 Puissances, The Nine, 161 Pules and Beasts, 268 Quarters of the World, 450 Queen, 274, 275 ; —— on her Throne, 401 Quixotte, Don, 440, 449, 451, 456, 460 Raymond of Moncade, Count, 402 Reboam, 288 Reception of a Woman and Child by a King, 480 Regnault of Montauban, 73, 109, 137. See Mountauban Regnier, 109 Remi, St., 417 Renaud, and Armide, 427 ; The Slumber of-, 440. See Rinaldo. Renown, Triumph of, 205, 257 Resurrection, 154, 240 Revene (Ravenna), Battle of, 289 Reynaut, 164 Richard (King), 100 Rinaldo and Armida, 403 Riseus de Ripemont, 73 Robert the Fusileer, 84 Rochafort, Arms of, 154 Rocks, 363 ; -ers, 364, 370, 383 Rodogune and Cleopatra, 440 Roger at the House of Alcinus, 441 Rohan, Portrait of Charles de, 449 Romance, Scenes from a German, 146, 147 ; -of Chivalry, 89 Romans, 249 ; Arms of the King of the -, 234 ; -and Sabines, 475 Rome, 473,476,479 ; -triumphant, 452 ; Bishop of - and the Emperor, 273 Romulus, 288 ;--and Remus, 224, 260, 265, 268. 360, 365, 452, 473, 474 Roosebecque, Battle of, 85, 108 Rose, Romance of the, 72, 76, 89, 257 ; -s, 276 ;--s and Beasts, 277 ; -s and Children, 267, 358 ; -s and Sunbeams, 381, 383 ; -s and Suns, 169, 263 ; -s. Suns, and Crowns, 168 ; —s and Perteloses, 359 ; Red--s, 96 ; Red and White -s, 258 ; Tudor-Tapestry at Winchester College, 172-4; White -s, 97 Rosiers, 137 Roxana and Atalide, 440 Roys (Kings), 161, 164; - de Coleyn, 165. See Magi, etc. Rustic Scenes and Hawking, 459 Ruth, 266 Sabines, Sabinians, 266, 427 ; Rape of the,-, 223 Sacraments, 427 Salutation, 389 Samson, 256, 263, 265, 267, 269, 272, 3Si. 358, 384, 413, 473, 475 ; - and Delilah, 234 Samuel, 256, 267, 269, 272, 358, 390 ; -and Saul, 380 Saturin, St., 241 Saturn, 249 Saul, 100, 268, 270, 273. See Samson Savage (Man), 78 Seines Champttres, 402 Sciences, The Seven, 268, 358 Scipio, 223, 233, 366, 401, 402, 413, 414, 475, 476; - Africanus, Portrait of, 452 Seasons, 299, 327, 331, 344, 413, 415, 433. 452» 456, 468, 469 Sedamourd, 267 Semele, 251 Semiramus, 109 Senses, 327, 338, 353, 354, 445, 481 Sheep, 84 Shepherd, The Faithful, 427 ; -s, 77, 109, 162, 276, 289 ; Adoration of the -, 242, 480; -s and 492Subjects of Tapestries Shepherdesses, 78, 84, 109 ; -s and Verdures, 138 Ship, with a Man and Woman, 257 Sienna, War of, 249 Silvain, 248 Sin, Original, 479 ; - and Virtue, 266 Sins, Seven Deadly, 187, 188, 190, 191, 209, 210, 222, 256, 263, 269, 273, 427, 474. 476 Sires and Dames, 162, 163 Smith, Bishop, Arms of, 258 Soldan, 154 Solebay, Battle of, 284, 320, 328, 341 Solomon, 226, 249, 256, 263, 265, 268-70, 272-4, 276, 286, 288, 337, 354, 355. 359. 363. 364. 368, 370, 37i. 406 ; -and his Court, 151; - and the Queen of Sheba, 149 Son, The Forlorn, Prodigal, etc., 256, 265,413. See Filius Prodigus Sophonisba, 477 Souvienne vous en, 289, 290 Sphere, 472 Spirit, Descent of the Holy, 251, 452 Stephen, Martyrdom of, 212, 215 Study reclaiming the Past, 444 Sufferings, 388 Sultanas, 442 Sun and Sunbeams, 267, 357, 375 Surrey (Syria), King of, 266 Suzanna, 256, 266, 267, 269, 272, 273 ; 406 ; -and the Elders, 406 Tapiees, Los, 403 Tarquin and Lucrece, 460 Telemachus, 460 Tempest, 453 Teni&res, 449, 450, 453, 456, 465 Testament, Old, 63 ; Old and New -, 137, 228, 427, 440 Thamaris, 108 Thames, Oxford and Berkshire, Map of, 281 Theagenes and Chariclea, 419 Theolomou, 160 Thebes, 276 Theseus, 137, 400, 476 ; -and the Golden Eagle, 73 ; -overcoming the Bull, 441 Thobie (Tobias), 88 Thoutmosis III., Tapestry of, 5-8 Time, and Minerva, 249 ; Triumph of -, 204, 257 Tiry (Troy ?) Regis filie, 100 Titus and Vespasian, 370, 386, 403 Tobias, Tobie, Tobit, 218, 224, 256, 260, 268, 272, 288, 356, 413, 475, 476 Torbay, Descent on, 342 Tournament, 100, 137, 163, 4x3, 472 ; -on London Bridge, 468 Towns belonging to the House d'Este, 246 Trajan, 116-9, 266, 273 Transfiguration, 273, 362 Tree, of Jesse, 96 ; -of Life, 74 Trinity, 100, 163, 271, 452 Triumphs, 266, 267, 271, 277, 337, 356, 358, 359. 366, 368, 372, 373, 377, 380, 382, 385, 389 ; Roman-, 401 Trojan Scenes, 400; -Wars, 365, 382 Troy, Destruction of, War of, etc., 78, 128, 137, 138-45, 153, 172, 173, 205, 225, 263, 270, 271, 287, 288, 345, 355, 397, 400, 401 Truran, 361 Tudor-Rose Tapestry in Winchester College, 173-4 Tunis, Conquest of, 223, 224, 455, 460, 481 Tuzia, The Vestal, 452 Ulysses, 249, 398, 406, 473, 474, 476 Unicorn, 288 Urbain, St., 134 Urban IV., 242 ; Pope-, VIII., 414 Ursula, St., 421 Vandyke, Portrait of, 326 Veil, Taking the, 148, 149 Venice, 249 Venus, 367, 370 ; - and Adonis, 378, 398, 455 ; -and Cupid, 257, , 268, 336; - at the Forge of Vulcan, 442 ; - and the Gods, 288 ; -and Honour, 121 ; - on the Waters, 442. See Vulcan, etc. Verdures, 85, 126, 127, 168, 173, 224, 226, 236, 255, 257, 258, 261, 263, 264, 266, 268-73, 276, 278, 288, 402, 403, 406, 410, 457, 476, 479 ; - with Animals, 458 ; -with Arms of Burgundy, 132 ; - with Beasts and Fowls, 272 ; - with Birds, 126; - with Birds and Leaves, 269 ; - with Branches, 269 ; -with Children, 264, 272 ; -with Imagery, 272 ; Armorial -, 478 ; -of the Brode Bloom, 265, 267, 269, 270, 277, 278 ; Choked - 276; - with Great Flowers, 269; - with Water Flowers, 269; - with Small Flowers, 267, 269, 270 ; White-, 274 ; Yellow-274 Veritie, Triumph of, 289 Vertumnus and Pomona, 289, 334, 442, 472. See Pomona Vespasian, 370. See Titus Vices and Virtues, 84, 100, 137. See Virtue. 493Subjects of Tapestries Victoria (Queen), visiting the Mansion House, 468 Victory, Allegory of, 401 Village Festival, 442 Vineyards, 271, 277, 356 Virgin, 232, 246, 419, 427, 452 ; Ascension of the-, 111 ; Birth of the, -, 413 ; Coronation of the ——, 77, 112, 240, 451 ; Death of the-, 77, 87 ; Purification of the -, 452 ; -and Child, 197, 452 ; -with the Infant, 417, 452 ;- with the Pearl, 459; - with Saints and Doge of Venice, 249. See Our Lady, Mary, etc. Virtue, -s, 87, 100, 226, 365, 374, 427, 473 ; -and Vice, 273, 362 ; Theological -, 251, 359. See Vice Vulcan, 475, 479 ; - and Venus, 224, 295, 297, 299, 302-4, 307, 311, 319, 326, 328, 336, 352, 390; -, Mars, and Venus, 266, 338, 343 War, Portuguese, 249; Scania--, 416 Warwick, and Worcester, Map of, 281, 282 ; -, Derby, Gloucester, and Stafford, Map of, 282 William, St., 241 ; -of Normandy, 109 ; -of Orange, 84 Windsor Castle, 468 Winter, 465 Wisdom, Divine, 413 Wishes, The Ten, 108 Wolsey, Cardinal, Arms of, 208, 381, 383 Woman, Creation of, 477 ; - and Little Children, 105 ; - at a Fountain, 85 ; -in a Cloud, 277 ; -kneeling before a General, 479 ; -riding in a Red Car, 277 ; - taken in Adultery, 449 Women playing Dice, 467 Woodcutters, 128, 228 ; -and Common Folk, 128 Wood-hewers, 272 Woodland Scenes, 328 Woodpecker, 469 Wood-wives or Wild-men, 272 World, Ages of the, 476 Worthies, The Nine, 256, 266, 268, 269, 358 Youth, 264 ; -and Age, 120, 121 - Cities and Towns, 271 ; - and Sport, 109 ; Fountain of-, 77 Zacharia, 276 Zenobia, 406, 407, 475 ; - at the Chase, 402 494LIST OF TAPISSIERS, AND MERCHANTS, PAINTERS, DESIGNERS, DIRECTORS OF MANUFACTORIES, ETC. Abbe (or Labbe), Herman 1', 415 Abeloos, David, 402 Acetas, 10 Acht, Pierre Van, 129 Achtschellinck, Lucas, 398 Adamante, 150 Adriaens, Godefroid, 130 Aelst, Peter Van, 212, 213, 215, 217, 225, 234 Aerts, Aitoine, 219, 226 ; Jean -, 400 Agehe, Jehanne, 85, 96 Albertino, Francisco d', 249 Allemagna, Giovanni di, 153 Allet, Jean, 231 Allori, Alessandro, 248, 249, 413 Alsloot, Denis and Louis Van, 398 Ampe, Josse, 294 Ancelmo, Antonio, 228 Andrea, Pietro di, 151 ; Steffano di -. 405 Angelis, Desiderio di, 451 Angelo, Giacomo di, 151 Angier, 429 Anglais, Anglois, Pierre, L', 06 ; Raoul L' -, 61, 96 Annaert, Corneille, 231 Antin, Duke d', 439, 440 Antoine, 414 Aps, Boudowyn, 321 Arcimboldo, Giuseppe, 246 Argentier, Gilles, 85 Arnouts, Jean, 231 Arnulphini, Jean, 111 Arras, Valentin d', 150 Artoys, Jacques, 398 Aschwin, 52 Asperen, Francis and Isaac Van, 227 Asselt, Bernardino and Jacques Elbert Van, 412 Audran, 443, 444 Augeraing, Andre and Jean, 242 Auwercx, Albert, 399, 402, 455 Backer, Antonio, 321 Backereel, Pierre, 236, 237 Bacre, Jean le, 128 Badaen, Pierre, 237 Badin, Jules, 445, 447 Badger, George, 332 Badouin, Claude, 243 Baers, Jean, 130 Baert, Jean, 408, 409, 450 ; Alexander -, 409 ; Fran5ois -, 409 ; Jacques -, 450 ; Jean Baptiste -, 450 ; Odenaert-, 405 Baigneque, Jean Baptiste, 243 Bailleul, Bauduin de, 113 Bailly, Jacques, 429 Baken, Jeremie Van der, 407 Bakes, John, 171 Ballinck, Fran$ois and Pierre, 130 Balloni, 413 Bapaumes, Pierre de, 85 Barbier, Nicolas le, 61 Barocci, 413, 452 Barrabon, Pierre, 459 Bartaigne, Widow of Jean, 231 Barthelemey, 442 Barthomeu, Llucia (Lucian Bartholomew), 135, 154 Bartilommeo di Giovanni, 250 Bartoli, Nicolo, 412 Bataille, Nicolas, 64, 71-6, 79, 137 ; Jean-231 Baubree, Widow of Jean, 127 Baudry, Paul, 445 Bauwens, Jean, 410 ; -Simon, 404 Bavaincourt, Henri de, 111 Beaumetz, Pierre de, 80, 81, 106 Beaumont, Chevalier de, 453 Beck, Michiel Van der, 237 Bedoret, Simon, 410 Beeckere, Elie de, 404 Beghin, Pierre, 79, 124 Beghuin, Gilles, 111 Begnie, Jean, 79 Behagle, Philippe, 405, 435, 438 Beke, Jean and Pierre Van der, 130 ~ " 1, Joos Van der, 402, 404 Bachiacca, 249, 413 Beken 495List of Tapissiers, and Merchants, Painters, Etc. Bellat, Jean, 450 Belle, Augustin, 442-4 Bellmudez, D. Giovanni, 451 Benne, Jacques, 236, 478 Benood, William, 343 Benvenuti, Matteo, 412 Bergeres, Jacquemin de, 135 Berghe, Antoine Van, 227 ; Peter Van den, 401 Beringen or Bernighem, Henri Van, 226, 227 Bernaerts, Gerard, 400 Bernard or Bernart, Luc, 11 x ; Michel -, 85 ; -ino, 151 Bernini, Leonardo, 450 Berthelemi, Huchon, 63 Bertran, Guillaume, 111 ; Jacques -, no Bery, Noel, 136 Betten or Betthen, Herman and Michel, 129 Bever, Jan Van, 321 Beveren, Baudouin Van, 401 Bie, Antoine de, 408 ; Augustin and Philippe de,-404 [480 Biest, Hans or Jean Van der, 410, 415, Billet, Nicolas, 458 Birgidres, Jacquemin, 153; Jean, Miche- lette, Nicolas, —— 153 Bisthoven, Martin de, 405 Bitteaux, 450 Blaes, Guillaume, 321 Blanc, Josephe, 445 Blassel, Pierre, 110 Blassay, Pierre, 243 Bleeckere, Jean de, 236, 477 Blomaert or Blommaert, Adrien, 237 ; Andre-, 408 ; Antoine-, 407, 408 ; Georges, 227, 237 ; Gilles-, 235 ; Jacques - 227, 237, 457 ; Jean- 408 ; Joris-, 408, 418, Louis-, 408, 409 Blon, James Christopher le, 466 Blond, Le, 443 Blondeel, Launcelot, 231 Bloyart, Colard, 228 Bock, Jacques de, 408 ; -Jean de, 237. 409 Bode, David, 130 Boereghem, Mathieu Van, 236, 478 Boetsel, Andre Van, 403, 405 Boey, Jean, 230 Bogaert, Jean, 226 Boides, Guglielmo, 246 Bol de Malines, Jan, 398 Bolencir, Guillaume, 402 Bombergen, Daniel Van, 226 Bommy, Anne, in Bono, Antonio, 404 Boogaert, Jean, 236, 478 Boon, Jean de, 404 Borde, 242 Borght (Castro), Franfois Van der, 456; Gaspard Van der-, 399, 455 ; J. -, 401 ; Jacques Van der, 399, 402, 455, 456 ; Jean Franfois Van der,-, 456 ; Pierre Van der-, 456 Bos or Bosch, Daniel, 228 ; Jean-, 404 ; Laurent-, 228 ; Michel de -, 228 Boteram, Rinaldo di Gualteri, 150-2, 480 Botticelli, 469 Boucaut, Eustace, in Bouche, Fran5ois, 442 Boucher, Franfois, 449 Boudegalle, Gerard de, 132 Bouille, Jean, 62 Boulengier, Jean, 402 Boumans, Hans, 228 Bourdon, Sebastien, 427 Bourg, Du, 244, 245, 422 Bourget, Marie, 241 Bourgogne, Vincent de, 111 Boursette or Borcete, Vincent, 84 Bouttmotte, Michel, 241 Bouts, Thierry, 125 Bracquere, Brice de, 127 Bracquet, Nicaise, 111 Bradael, Abraham, Van, 407 Braecht, Raes Van, 227 Bramantino, 246 Brandt, Antoine, 408 ; David -, 408, 457 ; Ferdinand-, 409, 457 ; Jacques-, 457 ; Jean-, 407, 409, 457 ; Jean Baptiste —, 409, 457 Joris-, 408 ; Pierre-„ 407, 457 Brauere, Pierre de, 236, 478 Breconnet, 250 Brenet, 442 Bresm, Jean, 123 Bret, Jehan, 135 Breuil, Du, 244 Bries, Jean and Pierre de, 243 Broe, Anselme and Jean, 402 Broeck or Broecke, Gilles Van den, 237; Luc Van den -, 408 ; Elie Van den-, 407 ; Paul Van den-, 406, 408 Bronzino, 248 Broucke, Gilles, Van den, 235 ; Jacques Van den-, 236,; 408, 478 ; Jean Van den-, 408 Broucman, Henri, 231 ; Paul-, 404 Brownys, Esdras, 278 Brugge or Brugghe, Etienne Van der, 129 ; Jehan Van-, 132 Bruggen, Conrad Van der, 401 ; Gaspard Van der-, 226, 401 Brun, La Citoyenne le, 444; Charles le, -, 401, 402, 421, 429, 431-4, 441, 451, 455List of Tapissiers, and Merchants, Painters, Etc. Bruno, Antoine, 453 Brustom, Bernard Van, 400 ; Christian Van-, 401 Bruyne, Denis de, 226 Bucci, Michele, 4x2 Buck, Jean de, 226 Buggenhout, Adrien Van, 130 BuUok, John, 95 Buonarotti, Michael Angelo, 413 Burbur, Widow of Nicolas, 229 Burguignon, 429 Burne-Jones, Sir Edward, 469 Cabellan, Jaspart, 128 Cabellau, Arnout, 237 Cabillau, or Cabilliau, Jean, 409, 418 Cabirau, Hilaire, 237 Cachemus, Franciscus, 243 Caeneghem, Gaspaxd Van, 408, 418 Calet, Jean, 124 Caletti, Frederico dei, 250 Callenberghe, Jean Van, 231 Calma, Aitoine, 410 Caluwe, Pierre de, 408 Camillo, 246 Cammen, Henri Van der, ^478 ; Jean Van der, 228, 478 ; Philippe Van der, 228, 478 Camousse, 447 Camp, Henri, 111 Camus (du Jardin), 124; Nicolas le -, hi Canal, 445 Cantere, Niclaes de, 227 Cau, Guillaume de, 404 Caudyser, Simon, 237 Capars, Jehan, 88 Capellen, Guillaume Van der, 236, 478 Capelles, Jean de, 106 Carette, Jacques, 238 Carlier, 219 ; Gilles de-, 228, 407 ; Jean de -, 237 ; Joos de -, 404 ; Philippe de-, 237 ; Pierre de-, 237 Carmoy, Charles, 243 Carnes, Caspar, 250 Caron, Antoine, 244 Cartona, Pietro da, 414 Casanova, 446 Casse, Caspar, 321 Cassel, Jacques de, 230, 237, 410 Castel, Pierre du, 61 Castlemaine, Jehan, 88 Castro, A., 402. See Borght Caucort, Demoiselle de, 111 Cavanna, Michael Angelo, 451 CavaJieri, Giuseppe, 412 Cebont, Arnoud, 237 Ceron, Antonio, 415 Cettomai, Felice, 452 ; Philippus-, ' 453 Chafifot, Jehan, 88 Chamans, Michel de, 138 Champagne, Philippe de, 399, 426, 427 Champion, Laurent, 105 Champs, Symonnet de, 79 Charite, Franfois de la, 410 Charles, Gaspard, 228 Charpentier, Jacques, 135 ; Jean le --, 128 Charron, Champagne, 446, 447 Chedville, 458 Chervay, Robert de, no Chevreul, 445 Chiele, Nicolas de, 62 Chiennet, Michel, 79 Chimay, Ghossart, 228 Chivery, Andre, 411 Cholet, Gerard, 241 Choques, Bauduin de, in Cignani, 452 Cigoli, 413 Clein or Cleyn, Francis, 297, 299, 309, 311, 313, 326, 461 Clement, Thibaut, 134 Clerc, Clerck, Clercq, 342 ; Gilles de --, 130; Jean de-, 219, 225, 401 ; Jerome de-, 399, 401, 402, 455 ; Pierre de,-, 402 Clynckere, Jean de, 236, 478 Cobbaut, Arnould, 236, 478 Cobus, 342 ; Jean-, 402 Coc, Jean de, 130 Coenot, Jacques, 401 Coine, Antoine, 111 Colart de Paris, 88 Colenaer, Colenaire, Ambrose and Au- gustin de-, 228 ; Jerome de-, 227 Colin, Nicolas, 135 Colpaert, Jacob, 235 ; Jean-, 421 Colvenaer, Peter and Sesar de, 321 Comans, de, 434 ; Alexandre de-, 425, 426, 481 ; Charles de-, 425, 426, 481 ; Hippolyte de-, 426 ; Marc de-, 292, 295, 420, 423-5, 428 Compare, Pierre, 231 Conde, Jehan de, 62 Conder, Francis, 450 Conte, Pierre le, 85 Coppenoit, Jan, 237 Coppenol, Coppenhole, Coppenole, etc., Abigail Van -, 457 ; Antoine Van -, 227, 237, 408, 457 ; Arnout Van -, 237 ; Daniel Van --, 408, 409 ; Georges Van-, 237, 408 ; Jacques Van -, 408 ; Jean Van -, 408, 409; Jean Baptiste Van-, 408 ; Peter Van -, 409 ; Stephen Van-, 409 Coppens, 404 ; Augustin--, 407 Coquerel, Nicaise, 106 H.T. 497 32List of Tapissiers, and Merchants, Painters, Etc, Cordes, Herman de, 237 Cordier, Martin de, 228, 237 Corneille, Michel, 426, 429 Corneliss, Matthew, 404 Cornelissen, J. Ph., 405 Cornelisz, Lucas, 246 Corregio, 153, 444 Cor so, Fabrizio, 250 Cosimo, 413 Cosset, Jacques, 111 ; Jehan-, 84 Cottart, Jean, 401 Cotte, Robert de la, 435, 439, 440 Cotthem, Franfois Van, 400 Coucks, Tobie, 457 Coulerier, Jean, 110 Courdys, Jacques, 401 Coursteurie, Jean de la, 234 Coustre, Nicolas de, 404 Coye, Paul Van, 237 Coypel, Charles, 440 ; Noel, 433, 434 Cozette, 443 Craen, Bernaerts, 321 Craight, Peter de, 294, 297 Crane, Sir Francis, 292, 293, 296-302, 308, 309, 315-7. 326, 328, 354. 481 Crane, Walter, 469 Crayloot, Anselme, 231 ; Jacques-, 231 ; Jean,--, 231, 479 Cremar Egidio, 165 Creppin, Henri, 111 Crequi, Andriet de, 61 ; Jehan de-, 62 Crete, Jehan, 135 Critz, Nicolas de, 131 Croccx, Catherine, 129 Croisetes, Jehan de, 87 Croix, Le, 443 Crow, Sir Sackville, 314-6, 318, 320, 343 Crupenn, Remi, 236, 478 Cryts, Troilus de, 227 Cuelenbrock, Jean Van, 228, 237 ; Josse Van-, 404 Dalos, Pierre, 124 Daman, Jean, 227 Damme, Henri Van, 227 Dam our, Pierre, 419 Daniel, Jean, 228 Dap, Armand, 405 Darcel, Alfred, 445 Dary, Robert, 127 David, 444 Davion, Clays, 153 ; Jacquemart-, 85 Dearie, 468, 469 Delacroix, 430, 434 Delorme, Philibert, 243 Delvael, Simon, 408 Demay or Dumee, Stephen, 344, 461, 462 Demignot, Francis, 453 ; Victor-, 450, 452, 453 Denis, Denys, Jean, 130, 227 Densemont, Guillaume, in Dermoyen, Gillaume, 219, 222, 225 ; Jean-, 219, 225 Dervael, Jean, 236, 478 Desbouts, Jean, 243 Descamps, Jehan, in Deschamps, Guillaume and Jean, 138 Deschargeur, Remy le, 61 Desfontaines, Rogier, 124 Deshayes, 446 . Despaigne, Brice, 111 Despaing, Jean, 138 Desremaulx, Guillaume, 128 Destombes or Delatombe, Jacques, 418 Destriers, Jacques, 111 Deveniens, Jean, 229 Dielens, Alyt, 228 Diennys or Dyonis, Alain, 79 Dieterle, Jules, 447 Dini, Antonio, 453, 454; Giuseppa and Lucia--, 454 Diricx, Jean, 130 Dobbeleer, Nicolas, 228, 478 Dogier, Philippe, 63 Dolas or Dolace, John, 166, 167 Donckaert, Nicolas, 130 Doren, Peter, 408 Dosso, Battisto, 246 Dourdain, Dourdin, Dordin, Jacques, 75-9 Dours, Jacques de, 111 Driessche, Andre Van den, 401 Driesvolt, Martinus, 321 Drosset, Pierre, called Martin, 230 Dryckers, Mathieu, 228 Dubois, Duboys, 458 ; Franfois — 241 Dubreuil, 427 Duerne, Jean Van, 130 Duffel, Armand Van, 130 Dumee, 426, 427 Dumonstrier, Gromier, 138 Dumont, 446 Duplessis, Jacques, 445 Dupont, Jehan, 132 ; Pierre-, 442 Durand, Nicolas, 45 5 ; Pierre-, 449 Duranti, Pietro, 451 Duro, Rinaldo, 153 Dursoli, Martino, 250 Duval, Etienne, Hector and Marc, 241 ; Jean-, 241, 259 Dyke, Christolphe Van, 231 ; Richard atte-, 95 Ecke, Jean Van den, 237 Ecken, Brothers Van den, 416 Eede, Joris Van den, 227 Eggericx, Daniel, 227 498List of Tapissiers, and Merchants, Painters, Etc. Egidio, 126; -of Bruges, 165 Ehrmann, E., 445 Eiden, Ferdinando Van den, 321 Elias, Pierre, called Van Huddeghen, 237 Ende or Eynde, Andre Van den, 406; Catherine Van den-, 400 Engelbrecht, Cornelius, 250 Enghien, Pierce d\ 132 Enrico, Baldassare di, 250 Escobecque, Jacques d', 410 Escouilleffore, Noel, 227 Eskilson, Nils, 252 Estienne, Marie, 241 Eustace, Nicolas, 243 Eycks, The Van, 125, 186, 194 Fampour, Robert de, 111 Faussart, Jean, 233 Faye, De la, 443 Faymal, Rifflard, 104, 106 Fere, Gilles and Jean, in Feret, Pierre, 129 Ferloni, Pietro, 451, 452 Fevere, Jean de, 125 Fevre, le. See Lefevre or Lefebure Fiel, Henri le, in Fieux, Guillaume, Jehannot and Philip- pot, 61 Filleul, Bros., 445 Filloel, Jean, 124 Firens, Jacques, 404 Fizameau, Sieur (dyer), 448 Flascoen or Flaschoen, Laurent, 234; Quentin-, 228, 478 Florence, Jeande, 123 Folli, Giuseppe, 452 Fontani, Noel, 405 Foquentin, Pierre, 294 Formont, Etienne de, 231 Foulon, Fran50is and Guillaume, 402 Fouquifires, 426, 427 Fourment, Daniel, 403, 404 Francisco, 251 ; Giovanni,-, 250 Francis, Jean, 421 Franck, Adrien and Henri, 404 Francq, Jean, 231 ; Henri-, 400 Franken, Henri, 404 Fraye, De la, 434 Fredericus, 52 Friscobald, Jerome, 287 Fysche, Julius, 157 Gaddere, Pierre de, 400, 407 Gamans, Nicolas, 111 Garafo, 246 Gargaglio, Antonio, 453 Gastin, Jacques du, 401 Genghem, Peter, 260 George, le Tapicer, 93 Gentili, Pietro, 452 Gerfault, Rene, 241 Gerin, Jacques Albert, 411 Gerspach, 445 Gerwich, 52 Geubels, Fran5ois, 225, 473 ; Jacques -, 219, 473; Jean -, 226; Widow -, 400; Wilhelm -, 473 Ghellyns, Jacques, 235, 237 Ghestelinck, Armand, 227, 237 Gheynst, Van der, 237 Ghierle, Jean Van, 130 Ghuys, George or Joris, 237, 406, 407 ; Jacques-, 237 Giacomo, 414 Gielmans, 407 Gillimans, Hendrick, 321 Gimbercy, Macaire, 409 Giovanni, 250 ; Antonio di -della Parte, 250 ; Benedetto di-della Balestri, 250; -of Cremona, 150 Glabbais, Gilles de, 401 Glabeke, Michel Van, 410 Glo, Jean, 421 Godin, Henri, 110 Goeman, Albert, 457 Goes, Van der, 251 ; Adrien-, 227 Goire, Amaury de, 63 Goten, Van der, Brothers -, 460 ; Fran5ois and Jacques -, 459 ; Jean-, 403, 405 Goya, 460 Gremar, Egidio (Gilles), in Grenier, Antoine, 128, 228 ; Jean or John-, 128, 172, 228 ; Pasquier or Paschal-, 127, 128, 131, 172, 228 ; Pierre-, 237 Gr6s, Nicolas de, 124 Gresham, Richard, 191, 256, 257, 261 Greve, Cristianus de la, 157 Grimberchs, Jean Baptiste, 402 Groote, Fran5ois de, 227 Gruys, Van den, 407 Gryeff, Adolf de, 407 Guchte, Pierre Van der, 400 Guido, 444, 452, 460 ; -ne, 150 Guiffrey, Jules, 445 Guillaumot, 443, 445, 447 Giuseppe, 250 Gutteriez, Pedro, 416 Guyot, 426, 427 Habbeke, Gilles Van, 401 Haeften, Robert Van, 227 Haelewyc, Henri Van, 227 Haen, Oliver de, 404 Haesevelt or Haesvelde, Jacques, 227 Jacob Van der-, 227 Haester, Isaac Van, 227 Hagen, Melchior Van der, 420 Halle, Noel, 442 499List of Tapissiers, and Merchants, Painters, Etc. Hallenbirchor Hollenbirch, Philip, 313, . 328 Hameyden, Bernard Van der, 421 Hameyede, Roland Van der, 227 Hanekin, 92 Hannel, Isaac de, 420 Hannweel, Jean, 231 Hans, Jean Van, 225 Hanssens, Andre, 231 Happaert or Huppaert, Adrian, 235, 2 37 Hardi, Henri, 64 Hassell. See Asselt Hassels, Catherine, 232 Haste, Bonaventure, 241 Havart, Guillaume, 241 Haze or De Raze, Jean, 130, 131 Hecke, Van den, Antoine, 401 ; Francis -, 399, 401, 455, 456 ; Jean-, 401 ; Jean Francis-, 401 ; Leo-, 226, 228, 475 Heede, Georges Van der, 227 Helicon, 10 Helicort, Samson de, 228 Hellinc, Nicolas, 226, 228, 477 Helmont, Van, 456 Henchin, Jean, 106 Hende, Van den, Andre, 237 ; Josse -, 408 Hendricx, Jacques, 294 Hennequin of Bruges; 65 Henri, 467 Henrick, Bauduin, 227 Henry of ye Yate, 157 Herbaut, Jean, 407 Herbaines, Pierre and Solomon, 243 Herbel, Charles, 420 Herberghen, Antoine Van, 225 Hercelin, Pierre, 421 Herdt, Gilles de, 129 Herene, Jehan, 62 Heriot, Patrick, 287 Hermans, Henri and Josse, 130 Hermite, Daniel 1', 404 Herp, 398 Herseele or Herselle, Josse de, 226, 22? Hertsteens, Ulric, 227 Herzeel, Jean de, 228 Hesselin, Maylin, 231 Heyden, Van der, Gilles, 226 ; Jacques -. 398 Heyns, Simon, 294 Hickes, Hicks, Hyckes, Francis, 282, 283, 331 ; Richard-, 280, 281 Hiere, Thyzin le, 130 Hinart, Louis, 436-8 Hoffman, Gilles, 228 Holislaghere, Jean de, 408 Hollandere, Wilhelm de, 231 Holliburie, John, 312 Hont, Jean, 88 Home, Philip Van, 235 ; Rasse de -s, 129 Horwell, William, 173 Hosemant, Jean, 135 Hoste, Franfois, 407 ; Guillaume-, 235 Houdt, de, Lambert, 398, 407 ; Philip -, 407 ; Poschior-, 321 Houssier, Jean, 231 Houten, Jacques Van den, 321 Houwene, Francq de, 132 Hove, Van den, Jean, 402 ; Nicolas -, 226, 228, 473 ; Roland -, 237 Hu, Abraham de, 404 Hucquedieu, Jehan, 62 Huet, 447 Huevick or Huveck, Bauduin, 237 ; Jasper--, 237 ; Josse -, 236, 237 Huyben, Pierre, 130 Huyden, Pierre Van, 231 Huyge, Herman de, 228 Huysheer, Pierre de, 130 Inchy, Nicolas d', 85 Inghels, Franfois, 407 ; Josse--, 294, 409 Isle, D', 441 Jacopo, Philippo di, 250 Jacquemet, 89 Jacquet, 152 Jans, Jean, 430, 434, 435. 443 Jansens, Jean, 405 Janssens, Victor Honore, 398, 407, 456 Jaquet, 133 Jardin, Pierre du, 124 Jeanne of France, 153 Jehan, 135 ;--of Bruges, 150 Jeurat, 442 John, le Tappistere, 91 ; Schir--e of Kilgour, 167 Joly, Mathieu (Le Bert), 111 Joos, 129 Jouvenet, Restout, 440 Juliart, Jacques, 446, 448 Julien or Julyen, jean, 85, 111 ; Luc -, hi Juvee, 442 Karcher (Hans), John, 246, 480; Nicolas--, 246, 248-50, 480 Kellesley, Gilles de, 95 Kempe, John, 92 Kempenaied, Guillaume de, 222, 225 Kempeneere, Guillaume de, 219, 225 ; Jean de-, 227 500List of Tapissiers, and Merchants, Painters, Etc. Kerchove, Van der, Andre, 409 ; An- toine-, 237, 407 ; Francis-, ! 408 ; Gilles —, 408 ; Jacques } -. 407, 408 ; Jean-, 237, 408, 457 : Josse-, 408, 409 ; Pasquier -, 237 ; Peter--, 410 Kercken, Pierre Van, 408, 477 Kessel, Jean Van, 398 Ketele, Kethele, Arnould Van den, 236, 478 ; Roos de-, 410 Kneiper, Hans, 252 Labbe,'Herman, 420. See Abbe Labourebien, Pierre, 79 Labye, Nicolas, 126 Lacke, Henri Van, 234 Lacordaire, 445 Laethen, Jean, 457 Lambert, Pierre, 241 Lambrechtssone, Pierre, 130 Lamioot, Laurent di, 231 Lamoury, Jean and Simon, 124 Lancbaert, Jean, 126 Langlois, Louis, 241 Lanmalle, Martin, 241 Lannoy, Henri de, 111 Lanlers, Renaud de, no Lapierre, Antoine, Claud and Joseph de, 421 Lareche, Jacques, 124 Larguette, Jean, in Larry, Pierre du, 240 Lattre, Bertrand and Jean de, in Laurens, J. P., 445 Laurent, 244; Antoine -, 237 ; Girard-, 422, 430 Lautius, Chretien, 237 Lavocat, 445 Lawarde, Gilles, 321 Layn, Guillaume, 89 Leclerc, Leclercq, Jan, 238 ; Stephen -. 136 Leefdael, Guillaume Van, 401 ; Jean Van-, 401, 403, 404 Leemans, George, 402, 410 Leen, Nicolas Van den, 410 Leerts, Roger, 237 Lefevre, Lefebure, or Lefebre, 229, 435, 443 ; Jean-, 412, 426, 427, 430 ; Lancelot-, 398 ; Philippe-, 412,413; Pierre--,412,413,426, 480 Legran, Henri, 62 ; Mathieu--d, 234 Lemaire, 241 Lemectre, Antoine, 124 Lemonier, 445 Lenaerts, Leonard, 130 Lenger, Antoine, 459 Lenorman de Tourneham, 441 Leo, 209, 225 Lerambert, Henri, 244, 426] Lerman, Godfrey, 408 Lermite, Henri, 111 ; Jean, no-no Lestellier, Robert, 242 Leyniers, Antoine, 476; Daniel -, 398, 400, 401, 456; Everard -, 401 ; Frangois-, 456 ; Gaspard -,401 ; Gilles-,401 ; Jacques -, 226, 228, 476; Jacques Frangois Zavi6r -, 456 ; Jean -, 401, 478 ; Nicolas -, 401, 474; Pierre-,401 ; Urbain-, 456 ; -Rydams, 401 Lieke, Georges Van (Joris Van Lieken), 227 ^iSvin de Bruges, 151, 153 Lievre, Charles de, 401 Ligi, Alessandro, 412 Linden, Gerard Van der, 404 Linthout, Jean Van, 407 Livino di Giglio, 151 Lombard, 417 ; Leonard-, 241 Lombet, Pierre, 135 Londerzeele, Jan Van, 226, 228 Loo, Amedee Van, 441, 442 Lorenzo, David, 405 Lottin, Jean, 342, 398 Louf, Jean de, or Jean Saillee, 230 Lovett, Christopher, 348 ; Frances --. 348. 349 ; John-, 348, 349 Lowes, Philip, 157 Loysier, Jean, 231 Lubin, Jean, 79 Lyons, Jacques, 343 Magon, Clement le, 63 Maecht or Maegt, Henrick de, 295 ; Hubert de-, 226, 228, 477 ; Jan de -, 295 ; Laurence de -, 295 ; Philip de--, 294, 304, 307, 481 Maelsack, Frangois Van, 400, 477 ; Pierre de-, 226 Maes, Thierry, 228, 237 Maestre, Alard de, 126 ; Pierre le-, 126 Mahieus, Gilles, 236, 478 Mailly, Daniel, 408 ; Pasquier -, 243 Mandekins, John, 251 Manloe, Jean, 111 Mansart, Jules Harduin, 435, 439 Mantegna, Andrea del, 150, 224, 245, 313. 319. 433 Manzi, Andrea and Bernardino, 412 Marchay, Jean, 243 Maxchionese de Fivezzano, Giovanni di, 250 Marigny, Marquis de, 441 Maroten, Ghislain, 237 Marquais, Gilles de, 85 Marsillac, Simon, 41 f 501List of Tapissiers, and Merchants, Painters, Etc. Martin, Jean, 229 ;--de Paris, 81 ; -or Yvart, 429 Martini, Ascanio, 404 Mary, Jean, 419 Marzappini, Jacopo de Lorenzo, 250 Masi, Angiola and Bernardino, 412 Masson, 429 Mattens, Henry, 400 Maulone, Jean, 111 May or Metz, Philip du, 411 Mazure, Leonardo de la, 417 Meaux, Jehan de, 62 Meginwart, 52 Melandere, Jacques de, 227, 237 Melissi, 413 Melter, Jean de, 402, 418, 448 Memlinc, 125 Menou, De, 446, 447 Menageot, 442 Mer, Levan de la, 90 Mercier, Pierre, 436, 458 Meren, Jean Van der, 401 Merhage, Jean Van, 227 Merou, Noel Antoine, 445, 446 Merre, Guillaume Van, 321 Mersch, J. Van der, 408 Mestre, Loys le, 226 Mescoten, Conrad, 237 Mettechoven, Philippe Van, 228 Meulen, Van der, 399, 429, 433 Meullebruock, Pierre Van, 237 Meurtz, Francis, 226 Meusse, Adrien de, 450 Mey, Pierre de, 237 Meyere, Jean de, 130 Michael, 414 Mignard, Pierre, 433, 434 Miredekins, Jean, 227 Modekind orModekins,Adrien,235,237 Moens, Francis, 407 Molle, Jean de, 130 Momper, Josse de, 398 Monchy, Andre de, 85 Monmerque, 443 Monoyer, Jean Baptiste, 429 Mons, Jean Joseph du, 446, 448 Montezert, Pierre, 448 Moor, Caesar de, 409; Franfois de -, 408, 409 ; Gaspard de--, 237 ; Jacques de -, 237, 404 ; Jean de-, 407 Moreel, Guillaume, 126 ; Gilles--s, 236, 478 Morris, William, 468-70 Mortaigne, Nicolas, 240; Pasquier -, 240-1 Mostinck. See Mustan Mosin, 430 Mosnier, Gilles de, 128 Moten, Jean Van der, 227, 237 ; Pierre Van der -, 227, 237 ; Roland Van der-, 236, 237 Motheron, Alexandre and Nicolas, 241 Motte, Hubert den, 475 Moulin, Pierre de, 230 Moustoille, Jean, 111 Muelene, Martin Van der, 236, 478 Muette, Etienne, 64 Mullot, Guillaume, 79 Mur, Jacques du, 111 Murgalet, Pierre, 419 Mussche, Roland, 228 Mustan, Mustian, John, 234, 260 ; Also Mostinct Van Edighen (Enghien), John,219 Mys, Adrian, 237 Nassaro, Matteo del, 243 Natoire, 441 Nauwelaerts, Nicolas, 403, 405 Necke, Pascal de, 400 Necken, Gerard Van der, 403, 404 Neeryncx, Jean Francois, 457 Neilson, James, 443 Neke, Lancelot de, 226 Neste, Antoine Van der, 236, 477, 478 Neuenhoven, Paul, 415 Neusport, Jehan de, 88 Neve, Fran 245, 247, 296, 299, 328, 412, 413, 433, 434. 459. 466 Rasson, Pierart, 124 1 Rast, Jean, 400 Rayskaert, Anthony, 278 Reghelbrugghe, Fran?ois Van -, 409 ; Georges Francis Van -, 4°9. 457 I Jacques Van--, 408 ; Jean Van, 409 Regnault, 444 Reims, Nicolas de, 62 Relly, Gui de, 110 Remis, Thieri de, 88 Remsdael, Jacques, 321 ; Jean -, 321 ; Joris-, 321 Renardin, Pierre, 138 Renaut, Jean, 105 Retours, Baron de, 445 Reymbouts, Franfois, 400; Martin -, 226, 400, 475. See Rombaut Riebeke, Adam Van, 231 Rigau, Jean, 226 503List of Tapissiers, and Merchants, Painters, Etc. Riviera, Jacopo del, 414 Robbins, Robbyns (or Rubens), 407 ; Antoine--, 237, 407, 410 ; Fran- ?ois-, 408 ; Gaspard-, 237 ; Jean--, 237, 404, 407 ; Philip -, 405, 408 ; Pierre-, 237 Robelin, Claude, 241 Robicquel, Henri, no Rocci, Gaspard, 414 Roche and Naylinghurst, 260 Rocher, Louis le, 243 Roelants, M., 477 Rogier, Chretien, 410 Rogiers, Franfois and Paul, 403, 404 Rogvel, Guilbert, 417 Romain, Luc, 243 Romano, Giulio, 223, 245, 328 Rombaut, Georges, 237 ; Martin-, 334; Pierre -, 237, 406, 407. See Reymbouts Roome, Jean Van, 209 Roos, Gilles, 410 Roost, Jacques Van der, 408 Roovere, Christolphe de, 238 Rose or Rousse, Cornelius, 238 Roses, Jean, 111 Rosne, Herman de, 404 Rost or Rostel, John, 248-50, 480 Rousseau, Andre, 105 ; Nicolas--, 230 Rowye, Wynante, 228 Roux, Rene le, 402 Rubens, 213, 299, 326, 398, 402, 432, 445. 452 Ruelle, Nicolas de la, 242 Rumbeslagere, Hubert, 226 Runtfles, Daniel, 228 Rycke, Paul and Pierre de, 237 Rycquart, Wilhelmine, 404 Rydams, Henri, 401, 455 Rys, Eloi de, 238 Rysbrack, Pierre, 398 Sagarro, Pere, 154 Sagrestaini, Giovanni, 450 Saint-y-laire, Aubert de, 111 Sallaerts, Antoine, 398 Salviati, Francesco, 248 Salvo, John de, 170 Sande, N. Van den, 402 Santel, Jacques, 404 Santigny, 458 Santvoort, Antoine Van, 404 Sarasin, Clement, 229 Sarto, Andrea del, 413 Saunders, P., 467 Sauvage, Gabriel, 233. See Wilde Sayor, Joseph de, 321 Scaepcoman, Pierre, 237 Schaep, David and Laurent, 404 Schellinck, Andre, 404; Schetz, Erasmus, 222, 225 Schietecale, Lidvin, 457 Schir Johne of Kilgour, 167 Schitebroucke, Jean, 231 Schoof, Dominique, 404 Schoor, Louis Van, 388 Schuere, Pierre, 226 Sconditi, Giovanni di Bastiano, 250 Scuddematte, Jean, 237 Segers, Jan and Wilhelm, 475, 479 Segon, Antoine, 231 Sellier, Philip, 126 Senectre, Antoine, 79 Sergent, Denis le, 62 Serlio, Sebastian, 242 Sewald, le Tapenyr, 60 Sheldon, William, 280, 283, 284, 331 Shuksburgh, William, 168 Sidire, F., 461 Simoens, Jean, 408 Simon, Michiel, 135 Simonet, Jean, 451 Sinay, Pierre Van, 401 Skotte, Erasmus, 260, 281 Sluik y Van der Goten, Lieven, 460 Smet, Francois de, 407 ; Jean de--, 231 Smeyerman, Jean and Pierre, 130 Smidt, Laurent de, 403, 404 Smit, Marie de, 405 Snellinck, John, 407 Sneppe, Jean, 130 Snoys, Jan, 130 Sorel, Quentin, in Souet or Souette, Jean, 430, 434, 443 ) Soufflot, 441, 443 I Souyn, Allardin de, 240; \Jean -, 243 Speldoren, Jacques, 130 Spiere, Louis Van, 227, 237 Spierinck or Spierincx, A., 480 ; Ar- mand-, 227 ; Fran5ois-, 228, 252, 284, 33x, 480 ; Pierre-, 407 Spigghe, Willem, 237 Spireletti, Ambrose, 250 Splier, Pierre, 237 Spynile, Anthony, 170 Squilli, Benedetto di Michele,*2 5o Sruddemak, Pierre, 227 Stalius, Hubert, 236, 478 Stalpaert, Jacques, 228 Stauerbout, Martin, 416 Steeman, Gilles and Pierre, 231 Steen, Franfois Van den, 228, 478 Sterlippens, Etienne, 228 Sterne, Raoul, 61 Steurbaut, Daniel, 228, 404 ; Jean, 237 Stichele, Giovanni, 250 Stichelbaut, Gilles, 235, 237 Stichelen, Franijois Van der, 409, 418 ; Jean Van der-, 408, 409 Straaten, John Van der,'250 504List of Tapissiers, and Merchants, Painters, Etc. Stradano, 250 Strate, Andre Van der, 226 Street, Cornelius Van, 255 Stricken, Gerard Van den, 401 Strinck, Jean, 231 Suardi, Bartolomeo, 246 Sueur, Eustace le, 426, 427, 444 Sustris, Frederick, 250 Sweerts, Fran5ois, 228, 400, 404 Symon, Colin, 137 Tack or Tacket, Pierre, 231 Talpaert, Jean, 236, 478 Tambelli, Sigismonde, 250 Tapescer, Thomas, 93 Tapiere, John, 90 Taravel, 422 Tauton, Antoine, 401 Tedesco, Giovanni, 250 Telu, Jehan de, 62 Teniers, 398,456 ; Abraham-, 407 ; David, 407 Termini, Giovanni Battista and Ste- fano, 412 Testard, Pierre, 111 Texier, Mathurin, 430 Thienpont, Conrad, 237 ; Daniel-, 226, 227, 479 ; Samuel--, 227 Thomae, Johannes, de Francia, 150 Thuven, Jacques, 130 Tievin, Nicolas, 241 Tilloy, Jacques de, 106 Titian, 251 Tixier, Jean, 243 Toens, Guillaume, 400 Tons, Francois, 400, 416 ; Guillaume -, 226 Toucquel, Pierre, 111 Toudouze, Edouard, 445 Tour, de la, 443 Tramblay, Jehan du, 63 Tremblai, 244 Trouve, Nicolas, 241 Troy, Fran5ois, de, 441 Truwell, Gilles, 231 Truye, Henri, Louis, and Remi, 111 T'Seraerts, Jacques, 226, 400 Tuno, Jaco, 155 Tura, Cosimo, 151 Tymmermans, Mathieu, 130 Udine, Giovanni di, 212 Ugolino, 151 Vanderbanc or Vandrebanc, John, 344 Vandyke, 299, 326 Vasoque, Jean, 430 Vasseur, Guillaume, le, 61 Vecquemans, Jean, 404 Vergines, Jacomo de, 403, 404 Vergoes or Van der Goes, Pierre, 227 Vermay or Vermeyen, Jan, 224 Vermont, Colin de, 441 Vermote, Pierre, 231 Vermoulen, Louis, 294, 307 Vernechsq, 421 Verren, Francis Van, 409 ; Francois Guillaume Van-, 457 ; Jean Van -, 404, 408, 409, 457 ; Paul Van -, 408 ; Peter-Van, 407, 457 Verrier, Jean Vette, 321 Verrio, 315 Veucht, Josse Van der, 231 Veuve, Joseph le, 417 Vicenza, Gerardo de, 151 Vigne, Charles, 459 Vilain, 225 Villars, Jean, 122 Vincent, 444 ; Grau Saint-, 447 Vinchent, Simon de, 124 Vingne, Philippe de la, 85 Visch, Chretien de, 219, 226; -er, 228 Visschere, Fran5ois de, 237 Vlierdin, Balthazar Van, 225, 227 Voet, Jean, 407 Voider, Henri de, 130 Vos, de, 342 ; Daniel de -, 457 ; Jacques de-, 237 ; Jean de-, 409 ; Fran5ois de-, 456 ; Josse de -, 399, 455 ; Mark de -, 227, 402 ; Michel de-, 226, 227 Vouet, Simon, 426, 427 Vrancx, Armant, 228 ; Henri-, 407 Vriese, Gilles de, 409 ; J. F. de-, 409, 457 ; Jacques de-, 237, 409 ; Jean de -, 409 ; Josse de -, 237, 408 Vroede, Martin de, 237 Vroelick, Adrian de, 406, 407 Vroom, Henry Cornelius Van, 252, 284, 285 Vyvere, Jacques Van, 404 Wackens, Adrian, 408 Waghenere, Jean de, 236, 477, 478 ; Pierre de ——, 237 Walave, Josse, 236, 478 Wal, Wall, Walle, Peter Van der, 222, 225, 260 Walois, Hugues or Huwart, 84, 106 Jean-, 105, 107 Walter de Tapener, 59 Waten, Adolph Van der, 23 r Wauters, Christian, 409 ; Pierre-, 403. 40S Vaddere, Louis de, 398 Vael, Henry, 228 Vaert, Philippe Van den, 404 Valck, Laurent, 408 Valgendris, Pierre, 219, 226 Vanderborght, 342 505List of Tapissiers, and Merchants, Painters, Etc. Webb, Philip, 469 Wechter, Francis de, 124, 125 ; Mel- chior de-, 125 Wede, Melchior de, 127 Weelden or Welden, Adrian .Van, 404 ; Jean Van -, 404 ; Widow Jean Van-, 404 Wellen, Jean Van, 402, 404 Wellinc, Wilhelm, 230 Welteren, Jean Van, 227 ; Leonard Van-, 404 Wendere, Gilles, de, 237 Werniers, 449 ; Guillaume ——, 402, 448 ; Widow-, 479 Werren, Jean Van, 405 Westyne, Gaspar Van der, 408 Wetteren, Louis Van, 227 Weyden, Roger Van der, 125, 186 Weynes, Hector, 227 Weytes, Pierre^ 227 Weytius, Josse, 237 Wilde or Sauvage, Jean, 231, 232 Willebroet, Hans, 237 William, Tapiser, 57 Willemets, Pierre, 236, 478 Wion or Wyon, Jacques, 111 ; Jean -, in Witspaen, Fran5ois, 228 Witte, Gaspard de, 407 ; Simon de -, 404 Wittenbrost, Hans, 227 Wyce, Corneille, 404 Wych, Jean de, 416 Wyckmans, Joos, 404 Wytens, Jean, 237 Wuez, Arnold, 449 Wulf, Louis de, 235 Ypere, Yperen, Ypre, Adrien Van, 237 ; Andre Van-, 227, 237 Zanoli, Bartholomew, 228 Zeunen, Jacques Van, 401 Zoetecruit or Zuetecruut, Jacques, Jean and Ryckaert, 130 Zuccharelli, Francesco, 466 Zurich, Caspar Van, 227 Butler and Tanner, The Selwood Printing Works, Frome, and. London 506 BRUSSELS TAPESTRY : SHEPHERD AND MILKMAID SUBJECT, BY DAVID TENIERS. " LES GOBEfclNS." Le Brun's Miniature Kingdom. . M. Pierre Marcel, professor at the Ecole des Beaux-Arts,, .delivered * a lecture on "Lee Gobelins » at the Institut Francis on Thursday pight. Sir Cecil Harcourt Smith presided. ^One of the many social results of the Crusades, said the lecturer, was a revolution m tho decorative arts throughout Europe Emgs and Barons returne