[Sidenote:
_Wool and Silk._
H. 12 _ft._ 8 _in._
W. 8 _ft._
]
TRIUMPH OF DIANA: _The goddess in a blue robe, bearing her bow and arrows,
drives a pale-blue chariot on which a nymph is tied prisoner. Love,
whose wings are beautifully multicolored, also is a prisoner. Diana's
attendants, garbed in blue and red tunics, follow on foot, one in the
foreground in a green tunic leading a large grey-hound. In the border
shells alternate with crescents on a blue ground and in the corners above
are crescents and rams' heads. The mottoes "Non Frusta Jupiter Am Bas" and
"Sic Immota Manet" are in the upper and lower borders respectively._[27]
The tapestry was evidently made for Diane de Poitiers, mistress of Henry
II, the subject being chosen as a personal tribute.
[Sidenote: Formerly in the Collection of Edouard Kann, Paris.]
Aside from its evident beauty, the piece is important because it is one
of the few remaining examples of the work of the Fontainebleau looms,
which adapted to tapestry the characteristic Italian-French Renaissance
decoration that was formulated in the frescoes of Fontainebleau. There
are few documents left on these looms, but it is known that le Primatice
made designs for tapestries woven there, and, judging from the drawing
of the figures with the long limbs and heavily marked muscles that reflect
the influence of Michael Angelo, and the contour of the small heads
with the hair flowing back and the classical features, together with
such other details as the long flexible fingers, this piece would seem
to be an example of his work. If not by le Primatice, it was certainly
done directly under his influence; but it could scarcely be by Baudouin,
judging from the recently discovered set in the Viennese exhibition,[28]
for it has more poise and clarity of space than any of those tapestries.
[Illustration:
_The Crucifixion_ No. 35
]
[Illustration: Grotesques No. 36]
For grace and charm, without any loss of strength, this surpasses most
French work of the period. It is an unusually typical illustration of
the French Renaissance which took the technique of the Italian revival
of the antique and refashioned it to her own spirit, giving the classic
goddesses, even in their dignity, youthful and feminine appeal, and
refining the Italian opulence. The floreation in the foreground is as
delicate as in a XVIth-century millefleurs, and the colors are unusually
luminous.
[Sidenote: Lent by _Wildenstein & Company_.]
Francesco Primaticcio (1504-1570) studied under a disciple of
Raphael and worked with Giulio Romano on the decorations of the
Palace de Te, Mantua. In 1532 he went from Italy to Fontainebleau
to work on the decorations there. In 1540 he returned to Italy
to collect works of art for the king. He returned to France and
continued to create decorations at Fontainebleau with a large staff
of Italian painters as his collaborators. Under Francis II he became
Superintendent of the Building.
[Sidenote: 38]