TAPESTRIES OF THE GOTHIC-RENAISSANCE TRANSITION
The fifteenth century saw Gothic tapestries carried to their highest
point of perfection. Bruges had become a centre of pictorial art next
only to Italy. Memling, the Van Eycks, and Bernard Van Orley were giving
life, freedom, and originality to the old stilted Gothic forms in
painting, and it was to them that the art of tapestry weaving owed its
greatest debt.
But to the Flemish weavers themselves no small part of the artistic
merit of the Gothic tapestries is to be ascribed. The master-weaver was
an artist, not a craftsman. To him the designer left many details of
design; he was at liberty to alter cartoons that could not be
satisfactorily translated into tapestry, to choose colourings, even to
introduce new figures into the picture. In the fifteenth century the
_tapissiers_ were still conscientious, refusing to hurry their work to
the detriment of its quality. Artist and _tapissier_ alike, now perfect
masters of the art, spent their time perfecting the methods that had
made the name of Flemish tapestry in the preceding century. The
tapestries described in the following pages belong to this period, just
before the spirit of the Italian Renaissance completely banished the old
native forms of art from the north of Europe. The first cartoons of
Raphael were still to come to the Flemish workshops, but already men
were talking of the wonders of Italy, and certain signs of transition
are strongly marked in the tapestries with which we are dealing. In many
the Gothic architecture of the background has given way to Renaissance,
and the sky-line has been lowered. Or sometimes while the background
remains under the Gothic inspiration, the treatment of the figures, more
especially of the robes, shows the Renaissance influence. The chief
characteristics that distinguish these tapestries from the earlier
Gothic are the greater freedom in the attitudes of the figures, the
perfection of detail, and the absence of exaggeration, particularly in
the patterns of fabrics and of dress ornaments.
GROUP 4. _The Story of St. John the Baptist_
Date and origin uncertain, but evidently belong to the transition
period. The figures show the realism and elegance of the Italian
painters, while the buildings in the background are Gothic. The
tapestries show different episodes in the life of the Saint. The
similarity of their exquisitely woven borders suggests that they belong
to the same series. They are woven in fine wool, silk, gold, and silver.
The subjects are as follows:
(1) Visit of the Holy Virgin to her cousin Elizabeth. Zaccharius
recovers his speech.
(2) The child John asks permission to devote himself to God.
(3) St. John, asked by the Pharisee if he is the Christ, replies:
“Behold the Lamb of God.”
(4) He baptizes Jesus and many others. End of the reign of the Jews.
GROUP 5. _The Passion of Our Lord_ (2 Episodes)
These two tapestries, richly woven in gold, silk, and wool, were made by
command of Princess Margaret of Austria, the Regent of the Netherlands.
These were inherited by her nephew Charles V. They are mentioned in an
inventory that Margaret caused to be made in 1525, five years before her
death.
The designer of the cartoons is unknown. The background is Gothic, but
the figures show Italian influence.
_Tapestry No. 1._ Christ bearing the Cross on His way to Calvary meets
St. Veronica, who receives the sacred imprint on her handkerchief.
_Tapestry No. 2._ The Descent from the Cross.
GROUP 6. _Moralities_ (4 Tapestries)
These belong to the end of the fifteenth or the beginning of the
sixteenth century, and were inspired by the preaching of the Reformers.
The first three tapestries of the group are the sole remaining pieces
from an older series executed during the transition from the older
Gothic style to the new style of the Italian Renaissance. Their exact
date is unknown. They were bought by the Princess Marie of Portugal as
part of her dowry on her marriage with Philip II. They are enriched by
gold threads.
The fourth tapestry in this group is the only surviving specimen of
another older series.
_St. Jerome_
Dates from the middle of the sixteenth century. Woven in gold, silk, and
wool on high warp. In possession of Philip II of Spain when inventory
was made in 1598. The plate represents the penance of St. Jerome.
GROUP 7. _Dais of Emperor Charles V_ (3 Tapestries)
These tapestries of silk, gold, and wool were made by command of the
Regent Margaret of Austria, at Brussels, under the direction of Pierre
Pannemaker, the most famous _tapissier_ of the time. The cartoons were
probably by the aged painter Quintin Metoys. The tapestries were begun
in 1523, and passed to the Emperor on the death of Margaret.
_Tapestry No. 1._ The bed canopy represents the Eternal Father and the
Holy Ghost surrounded by Seraphim.
_Tapestry No. 2._ The Redemption of mankind from the taint of original
sin.
_Tapestry No. 3._ Formed the lower part of the dais, and depicts St.
Luke xxiv. 50, 51.
GROUP 8. _The Passion of Our Lord_ (4 Tapestries)
These four tapestries were woven by Pierre Pannemaker from the designs
of Quintin Metoys at the command of Margaret of Austria. They are good
examples of the transition style, and some fine effects of tinting have
been obtained by means of hatching (i.e. the use of vertical lines to
give thickness to the figures). The influence of Roger Van der Weyden is
plain.
These tapestries were inherited by Charles V from Margaret of Austria,
and have been much used for State functions.
_Tapestry No. 1._ Represents the prayer on the Mount of Olives.
_Tapestry No. 2._ Meeting between Our Lord and the Virgin on the road to
Calvary.
_Tapestry No. 3._ The Crucifixion.
_Tapestry No. 4._ The Descent from the Cross.
GROUP 9. _Vices and Virtues_ (9 Tapestries)
These tapestries were probably executed at Brussels in the first half of
the sixteenth century. They are woven in silk, gold thread, and wool,
cover a surface of 400 square metres, and include a thousand figures.
Though much in the style of Bernard van Orley, the absence of the rich
Renaissance architecture in which that painter delighted suggests that
either Jean Gossaert or Quintin Metoys was more likely the designer.
There is no weaver’s mark on the tapestry. A reproduction must have been
made in wool and silk, as one piece representing the Punishment of Vice
was exhibited in Bruges by the Prince of Aremberg. The series is
mentioned in the inventory of Charles V, dated Brussels, 1544, and was
alleged to have been purchased in Seville.
The excellence of the tapestries is mostly due to the _tapissiers_. The
overcrowded canvases, the painfully didactic and tortuous morals, do not
rank the designs very high. That labelled “Infamy” gives a key to the
complicated moral problem. The beholder is urged in a pompous and wordy
harangue to follow reason and the philosophers, so shall no evil befall
him. The different pieces represent respectively, Faith, Honour, Renown,
Nobility, Fortune, Infancy, Prudence, Vice, and Justice.
GROUP 10. _The Foundation of Rome_ (6 Tapestries)
A fine example of Flemish tapestry probably executed from cartoons by
Bernard van Orley, the pupil of Raphael. The Italian influence is
strong, yet the tapestry is hardly pure Renaissance. There is no
weaver’s mark, so the series must date prior to 1528. The tapestries are
remarkable for their fine landscapes, the magnificence of the buildings,
and the elegance of the costumes. The borders are of beautiful design
and workmanship.
_Tapestry No. 1._ Shows Romulus and Remus thrown into the Tiber. They
are suckled by a she-wolf and grow up to be clever hunters and cunning
thieves.
_Tapestry No. 2._ Remus, taken captive, is presented to Amielius, who is
killed by the brothers. Numitor is placed on the throne.
_Tapestry No. 3._ The brothers trace out the foundations of Rome with a
plough. Romulus becomes king, gives his name to the city, and kills his
brother.
_Tapestry No. 4._ Romulus proclaims a fête to Neptune, to attract young
girls from neighbouring districts.
_Tapestry No. 5._ The rape of the Sabine women. Hersilia is presented to
Romulus. The Sabine parents retire disconsolate.
_Tapestry No. 6._ Romulus gives laws to the people. He establishes the
twelve lictors, summons the Senate, and builds a temple.
GROUP II. _The Conquest of Tunis_ (12 Tapestries)
This series of tapestries, besides being of peculiar historical
importance, is one of the very finest examples of the perfected
Gothic-Renaissance school, and is worth noticing in much fuller detail
than any others of the collection. Designed by Jan Vermay, or Vermeyen,
and woven by Wilhelm Pannemaker, it was directly inspired by Charles
himself, who determined to leave to posterity this magnificent record of
an expedition of the success of which he can have felt no doubt.
Vermeyen was commanded to accompany the Emperor, so that on the actual
battlefield he might reproduce in pencil the stirring scenes that passed
before his eyes.
Detailed instructions were given to the artist as to the manner in which
his cartoons were to be designed. He bound himself to submit small
sketches for Charles’ approval, to carry out any alterations and
suggestions made by his patron, and finally to reproduce them “in the
best and most vivid colours,” in the size that was required for the
actual tapestries. The Emperor agreed to pay for them the sum of 1800
florins, a considerable amount according to the standards of the time.
To Wilhelm Pannemaker, the famous Flemish weaver, was entrusted the
weaving of the tapestries. Determined that neither poverty of material
nor careless workmanship should spoil the precious webs, Charles and his
sister Mary of Hungary bound Pannemaker by a stringent contract, wherein
the amount and quality of silk, and the number and value of the gold and
silver threads were distinctly specified. The gold was to come from
Milan, the silk from Granada. The finest wool was also commanded and the
richest dyes. In order that the slow process of tapestry weaving might
be expedited as much as possible, Pannemaker was to have seven men
working at each tapestry. Each piece as it was finished was to be
scrutinized by experts, whose corrections Pannemaker bound himself to
follow, even if it should necessitate remaking the whole piece. The
dyeing of the silk and wool required was specially undertaken in an
unusual range of colours. We find a certain Louis Chausset, complaining
that he had lost 160 pounds of fine silk that were spoilt while being
tinted blue.
After the last alterations had been made the tapestries were declared
definitely to be completed on April 21, 1554. They were sent to England
to be exhibited at the wedding of Philip and Mary, and afterwards
conducted with the utmost care back to Spain. For some time they were
shown constantly at all great Court functions till the Emperor, fearful
of the result of such constant wear, ordered a smaller set to be
prepared. In 1740 Philip V had another reproduction made of the same
size as the originals. Yet another copy exists in the Museum at Vienna.
This was made by the Austrians who, when they succeeded the Spaniards,
discovered the first ten cartoons and purchased them. Another tapestry
was woven by Pannemaker that combined the subjects of Nos. 7 and 8 in
this series. This was found by the Maréchal de Contades in a castle near
Mechlin during the Seven Years’ War between France and Germany.
THE EXPEDITION AGAINST TUNIS
On the death of Mohammed the Hafsite in 1525, Khain-ad-Din Barbarossa
took advantage of a dispute over the succession, to occupy Algiers in
the name of the Sultan of Constantinople. The wars in Italy gave him the
opportunity of consolidating his territories in the north of Africa,
where he succeeded in establishing his dominion firmly, making Algiers
his capital. At the end of the second Italian war Barbarossa swooped
down on a small island in the possession of the Spaniards, and connected
it with the mainland. From this stronghold he planned a series of
brilliant coups that made him a serious menace to the kingdom of Naples
and Sicily. He attacked and overthrew the native Tunisian dynasty under
the pretence of restoring the rightful ruler, made himself master of
this city as he had done of Algiers, and pushed his successes far into
the interior. The menace was not lost upon Charles V. Availing himself
of the plea for help urged by Al-Hasan, the son of Mohammed, the Emperor
decided upon the conquest of Tunis and set sail from Barcelona on May
30, 1535.
Never was any expedition more popular. The Spanish people swarmed into
Barcelona to bid God-speed to the departing fleet. At Cagliari Charles
was joined by Doria with a company of German and Italian troops, galleys
from Sicily and southern Italy, and a number of Knights Hospitallers
enrolled to attack the infidel.
Goletta was selected as the first point of attack, so that the way might
be cleared to Tunis. After a desperate siege the fortress fell into
Charles’s hands, together with the whole corsair fleet of eighty-two
galleys. Still the attack on Tunis seemed fraught with too much danger,
and much against his will Charles decided to re-embark. At the last
moment, however, bolder counsels prevailed. The army was hastily formed
into advance-guard and rear-guard and started on its twelve-mile march
to Tunis.
Charles’s army certainly laboured under grave disadvantages. Their guns
had all to be dragged by hand; there were provisions for only five days.
Between olive groves and the lagoons they moved with a front of but one
thousand paces. The groves gave cover to the corsair chief as he moved
to outflank the Emperor’s troops. But in appalling heat the Spaniards
marched steadily forward. Barbarossa made two desperate attacks, but the
Spanish troops stood their ground. The second encounter resulted in
total defeat for the Moors and Turks, who recoiled before the deadly
fire of the Christians. Turning to re-enter the fortress of Tunis,
Barbarossa found it held by the Christian slaves who had risen against
him. Tunis was captured, and a heavy blow struck at the power and
prestige of the Turk.
A projected attack on Algiers had to be abandoned owing to the advancing
season. Bona and Biserta, however, were secured, and these together with
Goletta were retained by the Spaniards. Tunis itself Charles restored to
its one-time ruler, Al-Hassan, who had joined his army in time for the
march to the capital.
The result of this expedition was peculiarly fortunate for Charles. His
reputation as a daring and successful soldier was established; Naples
and Sicily looked on him as their saviour. All Europe admired the skill
with which he had disposed of the natural ally of the French and
checkmated Francis before that astute sovereign’s plans of attack had
matured.
Jan Vermay, or Vermeyen, the Flemish painter, chosen by Charles to
accompany him on his expedition to Tunis, was one of the best-known
artists of the first half of the sixteenth century. As Court painter
under Margaret of Austria he executed portraits of the Emperor and of
every one of importance at the Court, which were sent as gifts to the
different sovereigns of Europe. Later he became the special protégé of
Mary of Hungary, and afterwards of Charles himself.
THE TAPESTRIES
Each tapestry has an explanatory legend in Spanish at the top, and a
supplementary legend in Latin underneath. Translations of these have
been made for the first time by the Conde Valencia de Don Juan.
_Tapestry No. 1._ Shows a map of the shore of the Mediterranean, where
Charles embarked his army, and the opposite coasts of Africa. The
translation of the upper legend reads: “The Conqueror, wishing to
overcome the infidel armies of the Turk and the warrior who, obeying the
orders of Soliman, raises cruel wars against the realms of Spain,
Charles, the fifth of that name, with the blessing of heaven, gathers
together the armies and fleets of Spain and Italy to threaten the
African troops. He who knows not the meaning of delay, sails with his
loyal companions.” On the right the figure of Vermeyen upholds a chart
bearing the following curious inscription: “The conquest of Charles,
Emperor of the Romans, the fifth of that name, and first of the kings
of Spain, in Africa in 1535 had serious causes that the chronicles of
the time recount more fully in their histories. These causes being left
on one side, to this work is represented as exactly as possible the
course of events.” Since for a clear understanding it is necessary to
know the country where the events took place and what preparations had
been made, the action is treated in this tapestry according to nature
(all that concerns the cosmography leaving nothing to be desired). In
the distance the coasts of Africa (like those of Europe and its
boundaries) are seen with their chief ports, their broad gulfs, their
islands, their winds at exactly the same distances at which they really
lie (the author having taken much more care over their precise situation
than over the accuracy of the painting). As all has been done--as also
with the countries--in strict accordance with cosmography, and the
painter has observed the canons of his art, considering that the
spectator views it from Barcelona, where the embarkation for Tunis
began. This last town lies between the spectator and the Midi, leaving
the north behind, above the right shoulder. Accuracy being thus
established, the peculiarities of the other tapestries can be better
understood.
_Tapestry No. 2._ The upper legend declares that this piece represents
“the arrival of the Emperor at Barcelona with his army: the magnificence
of his brilliant body-guard, formed of gentlemen of his household and of
his Court, who accompanied him to share the dangers of the campaign:
included in his company are the Infante Louis, his half-brother, and
many other Portuguese gentlemen who formed part of the troops for the
expedition.”
The lower scroll bears the following inscription: “The Conqueror leaves
the outskirts of Madrid and the dwelling of his ancestors, and halts in
the smiling county of Barcelona. He reviews the army and singles out the
noblemen and knights. He vows at the moment of embarkation that in
crossing the ocean (leaving behind him the waves of the Balearic and
Sardinian Seas) that the fleet can come together in the place commanded.
He embarks with him the Germans, the Italian army, and the battalions of
Spanish veterans, and lands them on the African coast.”
_Tapestry No. 3._ According to the upper scroll this tapestry treats of
“the arrival of the Emperor and his galleys at old Carthage, and the
reconnaissance of Goletta (where several cannon shots were fired). On
June 16 the Conqueror disembarks with his body-guard and 12,000
infantry, and takes three positions. He attacks the towers of Water and
of Salt; the Spanish arquebusiers, under the order of the Marquis del
Vasto, draw on the enemy, who lose several men.”
The lower inscription reads: “Here they enter the port of Utica; ancient
Carthage receives them in her ruins. The fleet sails along the coast.
Thence the Conqueror goes with a small body-guard to explore Goletta and
to spy out its fortifications and situation. After having given the
order to the troops to disembark they light-heartedly attack the enemy,
who retreat. They pitch the camp beside the walls of what was once
Carthage the illustrious, and is to-day a village of poor cottages.” A
further inscription in the border reads: “This third piece must be
looked at from the place where the fleet is cruising along the coasts
from Porto Farina to the head of the promontory of Carthage; the north
is to the left side above the right shoulder.”
_Tapestry No. 4._ The upper inscription explains that “during the
landing of the rest of the army several skirmishes take place until the
Emperor orders the body of the army to descend into the plain to besiege
Goletta.” The Marquis del Vasto sends reinforcements with which they try
(without success) to surprise the enemy. The whole army being reunited,
the Turks, a few days after, try to gain an advantage from a violent
wind which arose, throwing sand with shovels and other instruments to
blind their enemies. But the wind suddenly falling, the Turks surrounded
by our arquebusiers were obliged to fall back to Goletta.
The Latin inscription at the foot reads: “Charles strikes the camp, and
when the army is already on the march the enemy attack the rear-guard
and harass their movements. The army faces round, and the enemy nearly
surrounded in a dangerous place, retreat. A violent wind arises, raising
whirlwinds of sand; our men are blinded by the dust. The enemy, full of
craft, appear again, throwing sand at our soldiers, and thus fighting as
much with dust as with arms; but when the wind falls they are repulsed.”
The inscription in the right-hand border instructs us to look from the
promontory to the camp and stop at the Water Tower, leaving the lagoon
on the right-hand and taking the north, on the same side.
_Tapestry No. 5._ The upper inscription describes “a sortie of Turks
from Goletta, and the killing of several Italian soldiers; a new sortie
of the Turks killing the Marquis de Final, an Italian colonel: the
arrival of Muley Hassan, King of Tunis, with 400 cavalry: the serious
skirmish in which the Marquis de Mondejas receives a blow from a lance:
the help brought by the Emperor: the flight of the enemy, losing part of
their artillery.”
The lower inscription reads: “The Turks make a sortie and repulse the
Italian advance-guard, whose leader is made prisoner; they take the
_tranchées_, but repulsed by the Spanish, they retire. Finally, counting
on the darkness of the night, they attack the Spaniards and force them
to abandon their _tranchées_; attacked in their turn, they are forced to
retire again. The king Hassan arrives, followed by a small body-guard.
The Marquis Louis, wounded, retires from the combat. Charles V arrives
with help when the soldiers are already in distress; he repulses the
enemy and takes their artillery.”
We are instructed to look at this tapestry “as though we were at the
towers of Water and of Salt opposite Goletta, having the sea and the
north on the left-hand, and the lagoon on the right.”
_Tapestry No. 7._ Represents the taking of Goletta: “Twenty thousand
Turks charge to take the tower of the promontory of Carthage, defended
by 26,000 Spaniards, protected by the Emperor with the Germans and new
Spanish troops. On land Goletta fights with 11 cannons; by sea 9
galleys, commanded by the Prince Doria, are supported by the galleon and
the carabels of the Portuguese, commanded by the Infante Louis. Goletta
is defended by 6000 Turks and 2000 Moors, with more than 400 guns. At
the attack, directed from the sea, there are 4000 soldiers of the
battalions of Spanish veterans, and in that, directed from the coast of
the lagoon, as many Italians and 2000 Germans. At the assault of
Goletta, 2000 Turks and Moors are killed, and about 100 of our men, dead
or wounded, are put out of action. The fleet commanded by Barbarossa is
taken also.”
The Latin text relates that “the garrison defending the Cape finds
itself threatened by an attack of the Africans. The Conqueror comes to
the rescue and repulses the assailants. Goletta is attacked by land and
sea; the enemy fights with arrows. Part of the wall, already undermined,
falls where the fight is fiercest. The Spanish troops enter first into
the breach; this being taken, they slay or put to flight the defenders,
while Charles deals with another section of the enemy.”
This piece is to be regarded “from the lagoon, with Tunis on the left
hand, the promontory of Carthage on the right, and the north behind to
the right.”
_Tapestry No. 8._ The original of this tapestry was lost during the
eighteenth century, shortly after the reproduction of the Tunis series
was undertaken at the command of Philip V. This represented the march
against Tunis of the Emperor and his troops, and the victory gained at
Los over Barbarossa, where 600 of the enemy were slain.
_Tapestry No. 9._ The upper inscription of this tapestry reads: “After
having scattered the enemy’s army and put to flight the captain,
Barbarossa, the Emperor, with his troops, advances on Tunis and occupies
the outskirts of the town. The Christians, held captive in the fortress,
rise and demand aid from the Marquis de Vasto. The place is taken and
the Emperor allows it to be sacked.” The Latin legend adds the following
details about the slaves: “Undermining the walls and breaking down the
doors, they have, with God’s help, abandoned their prison. Having
defeated the garrison they make themselves masters of the citadel and
implore help from the avenger, Charles. Haradin flies the town.”
The inscription in the border directs us that “we are looking towards
the lagoon, with Tunis in front, Goletta and the north behind.”
_Tapestry No. 10._ This represents “the sack of Tunis, hostilities
against those who offer resistance, and the imprisonment of a great
number of the enemy. The Conqueror delivers over the town to the King of
Tunis, who remains a vassal of the Emperor.”
The Latin text reads: “The troops sent against the outskirts of the town
lay siege to and take them, slaughter the enemy’s army, take the houses
and spare the inhabitants; as to the remainder, they use the rights of
conquest. More than 20,000 captives recover their liberty and salute,
with cries of gratitude, Charles the avenger. The Conqueror
re-establishes on the throne of his ancestors the unfortunate Hassan,
though he hardly merited this, since he had promised much and performed
little.”
_Tapestry No. 11._ This tapestry shared the fate of No. 8, being lost
during the eighteenth century. From the reproduction we find that it
represented the return of the army to Rada after the occupation of
Tunis, which lasted eight days. “The Emperor orders the Moors to bring
back their wives and children, and to bring the clothes taken by the
soldiers during the sack. In order to be recognized they are to carry on
their heads branches of olive. He also orders them to furnish the
Christians with the recovered vessels, so that they may return to their
respective countries.”
_Tapestry No. 12._ According to the upper inscription this deals with
“the return of the Emperor from Rada to Goletta: the encamping of the
army in the old place: the arrival of the King of Tunis to sign the
capitulation forcing him to be a tributary of the Emperor and his
successors: Goletta which he wishes to fortify, over which he sets
Bernardin de Mendoza as ruler, with 1000 Spaniards: the embarking of the
army towards the middle of the month of August: the departure of the
Infante Louis with the Portuguese fleet: that of the Marquis de
Mondejer: the vessels that accompanied him: departure of Don Alvano de
Bazan with the Spanish galleys: that of the Germans and the Italians for
their respective countries, and finally that of the Emperor with the
galleys of the Prince Doria.”
The Latin inscription is merely a résumé of the Spanish one.
This tapestry is to be looked at with Goletta and the Cape of Carthage
in front, Tunis on the left hand, the sea and the north to the right.
GROUP 12. _The Last Supper_ (1 Tapestry)
Woven from a design almost certainly of Bernard van Orley, the pupil of
Raphael, by Pierre Pannemaker at Brussels, in wool, silk, gold, and
silver. Purchased by Charles V at 38 florins--a higher price than that
generally paid for the same class of work. The tapestry was given by the
Emperor to his wife, and is considered one of the finest religious
pieces in the royal collection. It is used on Holy Thursdays to decorate
the famous Hall of Columns in the Palace, when the ceremony of the
Washing of Feet and the dinner to the poor take place.
GROUP 13. _The Descent of the Holy Ghost_ (1 Tapestry)
This tapestry is woven in silk and wool enriched with gold and silver
threads. Neither the designer nor the _tapissier_ are known, but from
the type of features represented, Count Valencia de Don Juan conjectures
that the artist was of Flemish blood. It is first mentioned in the
inventory made on the death of Charles II. The subject of the piece is
taken from Acts ii. 1-4
GROUP 14. _The Adoration of the Kings_ (1 Tapestry)
This is one of the finest of the religious tapestries in the collection
and was a particular favourite of the Emperor Charles V, who took it
with him on his retirement to Yuste. Both the design and workmanship are
Flemish, but the influence of the Italian school is perceptible. The
usual materials are employed--silk, wool, gold, and silver threads.
The border is particularly fine with its wealth of flowers, birds, and
fruits. At each corner is shown a medallion representing a scene from
the life of Christ.
GROUP 15. _The Story of Abraham_ (7 Tapestries)
These tapestries are attributed by Wauters to Wilhelm Pannemaker. Though
modified by Italian ideas the design is in the Flemish style. Woven in
silk and wool they were the property of the Princess Juana, the daughter
of Charles V. They show the characteristic determination of Gothic
_tapissiers_ to “tell the story” from beginning to end, from the time
that Abraham first leaves his country to journey into the land of
Canaan, to his death.
GROUP 16. _The Apocalypse_ (8 Tapestries)
The Revelations of St. John were a favourite subject with the mediæval
_tapissier_, yet strange to say there are few complete series remaining.
In the Cathedral at Angers is a series of sixty-seven pieces made in
1377 by Nicolas Bataille for Louis I of Anjou. A little later two other
series on the same subject were executed at Arras, one being destined
for Philip the Good. In time this came into the possession of Charles V,
and is mentioned in the Inventory of 1536. No further mention, however,
is made of this tapestry in any Spanish documents, and Pinchart
conjectures that it was probably lost in the fire that destroyed the
Palace of Brussels in 1731.
The series included in this collection was made by Wilhelm Pannemaker,
and purchased by Philip II. We find the following paragraph in the
discharge of the Treasurer-General in the year 1562:
“To Wilhelm Pannemaker, tapestry maker, who came from Flanders to bring
the Tapestry of the Apocalypse made for the service of H.M., sixty
thousand _maravedi_ which H.M. pays him all at once for the expenses of
his journey (from his own country whither he returns), as witness the
command of H.M., the 31st December, 1561. The said tapestry maker has
received the money the 31st of the said month.”
The tapestries are fine specimens woven in silk, wool, and gold thread.
M. Ouiffrey attributes the cartoons to Albert Dürer, but the Count
Valencia de Don Juan prefers to regard them as by an unknown artist
working under the influence of Dürer and Jean de Bruges. The designs are
very beautiful, more especially the borders, which are little
masterpieces of grace and elegance. The plates are explained by short
Latin legends in the middle of the upper border.
_Tapestry No. 1._ “St. John writes a true description of his vision to
the Bishop of the Seven Churches of Asia. He moralizes and instructs
them.”
_Tapestry No. 2._ “This great mystery illuminated by Divine Grace and
manifested in Christ the Saviour of Mankind. Those who have been made
pure by His Blood shall remain strong and shall not be turned from the
Holy way by the whirlwind.”
_Tapestry No. 3._ “The Gospel spreads through the world as to the sound
of trumpets. The Apostolic dogma and holy doctrine resounds in the
Temple, drives back sin, and plants a true love of the faith in every
spirit.”
_Tapestry No. 4._ “The fruits of virtue, precious for their works,
encourage the multitude of the elect; that which is watched over by the
jealous enemy is destroyed by the help of angels.”
_Tapestry No. 5._ “Jealousy never attains the peace of virtue;
nevertheless the latter shall be oppressed till the end of the world.
Certain hope and the faith of the strong never fail, though the ungodly
mock those who live in the fear of God.”
_Tapestry No. 6._ “Anger shall be turned against the reproved, and the
anger of God shall oppress sinners. Those who repent not shall suffer
death and eternal fire as a punishment for their wickedness.”
_Tapestry No. 7._ “The day of Antichrist shall come and shall provoke
the last war against faith. Babylon shall be conquered and destroyed,
and her lost sons shall suffer eternal punishment with her.”
_Tapestry No. 8._ “On the day of the Last Judgment, the devil shall be
shut up in the abyss, and the choir of saints shall sing praises unto
God. The victorious Church shall receive her just reward, and filled
with gladness shall enjoy for ever the Kingdom of Heaven.”
GROUP 17. _The Seven Deadly Sins_ (2 Series)
This favourite mediæval subject is depicted in two series of tapestries
in the possession of Philip II of Spain. Both series are woven in silk
and wool, picked out with gold and silver threads. Neither, however,
remains complete. The name of the designer of the cartoons is not known.
It may probably have been Bernard van Orley. The general design is
markedly Flemish, but the Renaissance influence is evident in the
treatment of some of the figures, and more particularly in the borders.
These show delicate imagination, exquisite workmanship, and exuberance
of detail, and are adorned with a wealth of flowers and fruits, and tiny
elves.
_1st Series_ (6 Tapestries)
This series was probably made either for Margaret of Austria or Mary of
Hungary. It was used to decorate the monastery of Guadelupe, at the
interview in 1575 between Philip II and Sebastian of Portugal. Each
tapestry is explained by a Latin text on the upper border. The sins
represented are Avarice, Luxury, Anger, Greed, Envy, and Laziness.
_2nd Series_ (4 Tapestries)
These tapestries are attributed to Pannemaker. Pinchart states that they
were taken from the Count of Egmont’s collection and sent to the Spanish
Court by the Duke of Alba, when the first-mentioned nobleman was
sentenced to death as a rebel in 1567.
The pieces now remaining represent Pride, Luxury, Greed, and Laziness.
The other three tapestries were still in existence in 1660 and were used
at the marriage of the Infanta Maria-Theresa and Louis XIV.