[Sidenote:
_Wool, Silk, Gold._
H. 9 _ft._ 1 _in._
W. 7 _ft._ 8 _in._
]
THE RESURRECTION: _The risen Christ discovered by Peter. Upper left, the
Agony in Gethsemane; upper right, Christ appearing to Mary in the garden.
In the background, the angel appearing to the three women. Border of
fruits and flowers, grapes, roses, and iris interspersed with finches and
a paroquet._
This tapestry, the last of a series illustrating the _Passion_ of Our
Lord, was designed in the studio of Bernard Van Orley, and may be the work
of Van Orley himself, though there were some of his students and followers
who in purity of conception and elevation and sensitiveness of feeling
were superior at times to the master himself. The weaving, unsurpassable
in technical perfection, may be the work of the Pannemaker looms. The
quality of the design and weaving and the lavish use of gold all indicate
that this series was made for a great church or a noble family.
[Sidenote: Formerly in the Collection of the Duc d'Albe.]
The weavers at this period had attained complete mastery of the shuttle.
This absolute technical control made possible the exact translation into
tapestry of the intricate Renaissance patterns. The finish and elegance of
the goldsmith's art which characterized so much of Renaissance design is
perfectly rendered.
However, while the weaving was fitted to the requirements of the
Renaissance at this time, it had not yet sacrificed any of its qualities
as tapestry. Nor did the designs of Bernard Van Orley force the weavers
out of their proper limitations. For though he was Italian trained and
saturated with Renaissance influences, he was still close to the technical
problems of the weaver's art and he adjusted the new manner in painting
to them. So this piece is rich in jewel-like detail that enriches without
crowding the whole surface. The drawing of the flowers and the birds is
exquisite. The figures also, in spite of their dramatic force, keep the
aloof poise that decorative art demands. Finally, by means of a dispersion
of substantial tones, the brilliant suffusion of golden light which the
Renaissance loved is fully achieved.
Such a scene as this is, in short, one of the last great monuments of
the perfection of Gothic tapestry, reinspired by the new insights of the
Renaissance before the ostentation and mistaken conventions of Raphael
misguided the entire art.
[Sidenote: Lent by _Mrs. William H. Crocker_.]
Nor is it merely a technical triumph. It is the direct expression of a
profound religious emotion which shines through the material beauty,
elevates it above earthly things, and sets it apart in glory. Easter has
scarce had a lovelier celebration.
[Sidenote: 76]