1 1 <1 • • r V * 
 
 hxhibition or (jI UJh jj 
 Tapestries 
 
 
 The Buffalo Fine Arts Academy 
 Albright Art Gallery 
 
PLAN OF THE ALBRIGHT ART GALLERY 
 

 
 
 
 
ALBRIGHT ART GALLERY-EAST FRONT 
 
CATALOGUE 
 
 OF A LOAN EXHIBITION OF 
 
 GOTHIC, RENAISSANCE, BAROQUE, 
 EIGHTEENTH CENTURY AND 
 MODERN AMERICAN 
 TAPESTRIES 
 
 ASSEMBLED AND ARRANGED 
 BY 
 
 GEORGE LELAND HUNTER 
 
 THE BUFFALO FINE ARTS ACADEMY 
 ALBRIGHT ART GALLERY 
 BUFFALO, N.Y. 
 
 OCTOBER 24 TO NOVEMBER 9, 1914 
 
The Buffalo Fine Arts Academy c. \ 
 
 OFFICERS FOR 1914 
 
 President 
 
 Vice-President 
 
 Secretary 
 
 Treasurer 
 
 Assistant Treasurer 
 
 WILLIAM A. DOUGLAS 
 EDWARD B. GREEN 
 WILLIAM G. JUSTICE 
 DUDLEY M. IRWIN 
 GEORGE P. SAWYER 
 
 DIRECTORS 
 
 (To serve until January, 1915.) 
 
 J. J. ALBRIGHT CHAUNCEY J. HAMLIN 
 
 GEORGE CARY EDMUND HAYES 
 
 WILLIS O. CHAPIN ROBERT W. POMEROY 
 
 A. C. GOODYEAR CHARLES B. SEARS 
 
 CARLETON SPRAGUE 
 
 (To serve until January. 1916.) 
 
 GEORGE K. BIRGE EDWARD B. GREEN 
 
 WALTER P. COOKE WILLIAM B. HOYT 
 
 WILLIAM A. DOUGLAS HUGH KENNEDY 
 
 JOSEPH G. DUDLEY JOHN D. LARKIN, Jr. 
 
 CARLTON M. SMITH 
 
 (To serve until January, 1917.) 
 
 CHARLES CLIFTON WILLIAM G. JUSTICE 
 
 JAMES CAREY EVANS SEYMOUR H. KNOX 
 
 GEORGE HIBBARD WILLIAM A. ROGERS 
 
 DUDLEY M. IRWIN GEORGE P. SAWYER 
 
 HENRY W. SPRAGUE 
 
 Ex-Officio 
 
 The Honorable LOUIS P. FUHRMANN, as Mayor 
 The Honorable JOHN F. COCHRANE, as Comptroller 
 
 ART DIRECTOR 
 
 CORNELIA B. SAGE 
 
THE ALBRIGHT ART GALLERY IS OPEN 
 EVERY DAY FROM TEN O’CLOCK A. M. 
 TO FIVE O'CLOCK P. M. EXCEPTING ON 
 SUNDAYS AND MONDAYS, WHEN IT IS OPEN 
 FROM ONE TO FIVE P. M. 
 
 FREE DAYS: TUESDAYS, THURSDAYS, 
 SATURDAYS AND SUNDAYS; OTHER DAYS, 
 ADMISSION IS TWENTY-FIVE CENTS. 
 
 A LIMITED NUMBER OF THESE 
 TAPESTRIES ARE FOR SALE 
 FOR PRICES APPLY AT 
 THE DESK 
 IN GALLERY XIII 
 
Introduction 
 
 1 | ’HE importance of this exhibition of tapes- 
 A tries at the Albright Art Gallery is great. 
 It marks an epoch in the artistic history of Buffalo, 
 and gives all of her citizens an opportunity to 
 see for themselves tapestries of distinguished merit. 
 It enables them to get here, without coSt, knowl- 
 edge that even in Europe can be acquired only 
 with difficulty and at much expense. 
 
 The story interest of tapeStries appeals to every- 
 one. In tapeStries were pictured for the ancient 
 Greeks, the romantic events of the Iliad and 
 Odyssey; for the ancient Romans, the Aenid 
 and the Metamorphoses ; for the Europeans of 
 the fourteenth, fifteenth, sixteenth and seventeenth 
 centuries, not only ancient classic history and 
 mythology, but also the Stories of the Bible and 
 the Saints, Medieval Romance and Chivalry, 
 and of contemporary history. 
 
 Helen of Troy wove tapeStry. As Homer 
 says when Iris was sent in search of her: 
 
 Her in the palace at her loom she found. 
 
 The golden web her own sad Story crowned. 
 
 The Trojan wars she wove, herself the prize, 
 
 And the dire triumphs of her fatal eyes. 
 
 TapeStry was also woven by Penelope and 
 by Andromache. 
 

 
 Unfortunately no pndure tapestries survive to 
 us from the days of ancient Greece and Rome. 
 Nearly all of the pitfure tapedries that make rich 
 our museums and private colledions date from the 
 fifteenth century and after. Of pieces attributed 
 to the fourteenth century and to the thirteenth 
 century, there are only a few, small and frayed 
 by the hand of Time. The one great excep- 
 tion is the splendid set of the Apocalypse, at 
 the Cathedral of Angers in France. 
 
 Mod of the world’s great tapedries can be 
 grouped under the heads of Gothic, Renaissance 
 and Baroque. Gothic of the fifteenth century, 
 Renaissance of the sixteenth century, Baroque 
 of the seventeenth century, with Gothic running 
 over 1 5 or 20 years into the sixteenth century, 
 and Renaissance running over 15 or 20 years 
 into the seventeenth century. While many tap- 
 edries of the eighteenth century — notably those 
 designed by Boucher for the Beauvais Tapedry 
 Works, and by Charles Coypel for the Gobelins 
 
 are exquisite creations, they are much less 
 important from the tapedry point of view than 
 the maderpieces of the preceding centuries. 
 
 Tapedries are a form of art exceedingly easy 
 to underdand. T heir large size, and the large 
 size of the personages in them, makes it unneces- 
 sary to re-scale them as we regard them. Their 
 soft and agreeable surface makes it unnecessary 
 
 6 
 
to seek a special point of view from which they 
 can be seen to advantage. Their extraordinary 
 £tory interest makes it unnecessary to develop a 
 special esoteric sense in order to grasp their artistic 
 significance. 
 
 Among the moSt important tapeStries exhibited 
 here are several owned in Buffalo, that for years 
 have adorned the residences of citizens of Buffalo. 
 TapeStries like the two splendid Renaissance 
 "Isaac and Rebecca" panels of Mrs. Albright, 
 as well as her seventeenth century "Diana" that 
 was woven at the early Gobelin ; or like Mrs. 
 Pratts brilliant "FeaSt of Bacchus" woven at 
 Brussels during the reign and in the Style of 
 Louis XIV ; or like Mrs. Goodyear’s "Goya" 
 woven in Spain in the last half of the eighteenth 
 century; or like Mrs. McGraw’s that has the 
 proud distinction of having come from the famous 
 Italian palace of San Donato ; or like Mrs. Joseph 
 T. Jones’ Ancient Gobelin; or like Mrs. Van 
 Bergen s pidture in the eighteenth century needle- 
 work tapestries like these are worthy of exhi- 
 bition in any city in the world and reflect great 
 credit upon the artistic taste and judgment of 
 their possessors. 
 
 A noteworthy feature of the present exhibi- 
 tion is the number of splendid Gothic tapestries 
 shown. The four pieces, "Andromache’s La- 
 ment", "Hainauer Crucifixion", "Prophesy of 
 
 7 
 
Nathan", and "Bathsheba at the Bath" , are 
 among the finest pi&ure cloths ever produced. 
 Decoratively they are unexcelled. 
 
 Certainly not a finer set of Baroque tapes- 
 tries could be secured than the "Judith and 
 Holophernes" series. This is the set the Bel- 
 gium government borrowed for its exhibition of 
 seventeenth century Belgian art a few years ago, 
 bringing it back from America in order to dis- 
 play it for a short time in Brussels where it was 
 woven. 
 
 Interesting too are the examples shown from 
 modern American looms. While they cannot 
 be favorably compared with the great pieces of 
 old, they do show that intelligent efforts are being 
 directed towards the American revival of the moft 
 mysteriously complex and beautiful of all the arts. 
 
 It is to be hoped that the citizens of Buffalo 
 will be interested to visit the exhibition over and 
 over again. The best way to acquire a knowl- 
 edge and understanding of tapestries is to study 
 them with one s own eyes. The descriptive cat- 
 alogue can do much and the ledure promenades 
 can do more to help towards proper appreci- 
 ation ; but nothing can take the place of repeated 
 observation and familiarity. 
 
 George Leland Hunter. 
 
 8 
 
Catalogue. 
 
 I -8. A set of eight tapestries woven in Brussels in the 
 seventeenth century. For two hundred and fifty years, 
 it was the property of the Barberini family of Rome. 
 In the inventory dated October 25, 1695, of Cardinal 
 Carlo Barberini, nephew of Pope Urban VIII, it was 
 described as: “Series woven in silk and wool, repre- 
 
 senting the history of Judith— eight tapestries.” The 
 average height is 1 3 feet 6 inches, the combined widths 
 120 feet. All of the tapestries are signed in the bottom 
 salvage with the Brussels mark, a shield between two 
 B s, and four of them with the signature E. Leyniers, 
 and the other four H. Rydams. Everard Leyniers was 
 the most famous tapestry manufacturer of his time. In a 
 competitive exposition held in Brussels in 1650, he won 
 the first prize. Henry Rydams began his career as a 
 maker of tapestries in 1629 and was succeeded in 
 1671 by his son of the same name. Both Leyniers 
 
 and Rydams served as deans of the Brussels tapestry 
 guild. 
 
 All the eight tapestries have the same border, adapted 
 at top and bottom to fit the different widths. The car- 
 touche in the middle of the top borders, with dolphins 
 below and the head of a satyr above, carries a Latin 
 inscription telling the story of the tapestry. On the right 
 and the left of the cartouche in the wider tapestries are 
 eagles with outspread wings, and festoons of leaves and 
 fruit. The sizes of the tapestries from 1 to 8, con- 
 secutively, are : 
 
 9 
 
1 3 feet 9 by 1 2 feet 3, 1 3 feet 3 by I 3 feet 9, 
 1 3 feet 1 0 by 16 feet 3, 1 3 feet 4 by 1 2 feet 1 , 
 1 3 feet 9 by 1 3 feet 3, 1 3 feet 6 by 1 3 feet 2, 1 3 
 feet 5 by 1 7 feet 8, 1 3 feet 6 by 1 9 feet 7. 
 
 The Story of Judith and Holofemes is found in the 
 Book of Judith in the Apocrypha. On it Thomas Bailey 
 Aldrich bases his poem “Judith and Holofemes,” which 
 he afterwards dramatized but with changes of plot, under 
 the title of “Judith and Bethulia," for Miss Nance O’Neill. 
 The following descriptions of the different tapestries are 
 abbreviated from those made by the late Charles M. 
 Ffoulke, who in 1 889 purchased and brought to America 
 the entire Barberini collection of tapestries, one hundred 
 and thirty-five in all. 
 
 I, NABVCHODONOSOR REX HOLOFER- 
 NEM PRINC1PEM MILITIAE SVAE ADVER- 
 SVS ISRAELEM M1TTIT. (King Nebuchadnez- 
 zar, sends Holofemes, the Commander of his army 
 against Israel.) 
 
 Nebuchadnezzar, seated on his throne, extends his 
 sceptre over the head of Holofemes, who kneels as he 
 receives the edict which bears the monarch’s portrait on 
 its seal, and which commands him, upon forfeit of his 
 life, to kill all those who disobey the kings orders, and 
 to destroy their towns and cities and lay waste their 
 lands. Nebuchadnezzer wears a turban, a crown, a 
 collar of precious stones, a delicately toned tunic with 
 golden lights, and a richly embroidered mantle lined with 
 ermine and which has a wide collar of the same fur. 
 Holofemes wears a helmet adorned with ostrich plumes, 
 a coat of armor decorated with human masks and a 
 mantle of almost the same color as the tunic of the King. 
 (Lent by P. W. French & Co.) 
 
 10 
 
2. ACHIOR DVX AMONITARV ENAR- 
 RANS DEI ISAELIS POTENTIAM IVSSV 
 HOLOFERNIS CAPITVR. (Achior, leader of the 
 Ammonites, while expounding the power of the God 
 of Israel, is arrested by order of Holofernes.) 
 
 Achior, stands behind a table of the entrance of a 
 tent, answering the demands of Holofernes for informa- 
 tion concerning the Jews. He points out upon a map 
 the wanderings of his people, recites their history and 
 declares with an arm uplifted to give greater emphasis 
 to his words, that they cannot be conquered so long as 
 they obey the commandments of their Lord. Holofernes, 
 wild with rage at this daring and unexpected declara- 
 tion, turns his back to the table, points at Achior and 
 orders that he be seized, bound and thrown into Beth- 
 ulia to perish with its inhabitants. (Lent by P. W. 
 French & Co.) 
 
 3. IVDITH VIDVA PONDERAT POPVLI 
 VIRTVTES ET VITIA HIS SVPERANTIBVS 
 ISRAEL PVNITVR. (The widow Judith, weighs 
 the virtues and the vices of the people; when the latter 
 are heavier, Israel is punished.) 
 
 Judith, metaphorically weighs the virtues and vices of 
 the Jews, at the entrance of a synagogue and before 
 the Governors of Bethulia. The scales are apparently 
 held by a hand descending from a cloud. The arrogant 
 attitude of Ozias, the chief Governor, gives way, as 
 Judith continues her arraignment, to his surprise and dis- 
 comfiture. His pose, his strong and determined features, 
 his heavy beard and his large and bulky frame enveloped 
 in what may be called a salmon-pink robe give him an 
 imposing and self-sufficient appearance. 
 
 Judith is dressed in the sombre garments of widow- 
 
 11 
 
hood and her solemn words are emphasized by the 
 attitude of Marah, who stands behind her with hands 
 clasped in supplication. 
 
 In the heavier scale, peacock feathers represent vanity; 
 the ram’s head, obstinacy; the mask deceitfulness; the 
 serpent, biting a heart, envy; the bag of money, avarice, 
 and the toad corruption. 
 
 In the lighter scale the anchor represents faith; the 
 sword and balance, justice; the lamb’s head, innocence; 
 the roses, purity; the flaming heart, smcenty; the clasped 
 hands, brotherly unity, and the altar-fire, reliance upon 
 God. ( Lent by P. W. French & Co.) 
 
 4. IVDITH PVLCHERRIMA INDVIT SE 
 VESTIBVS IVCVNDITATIS SVAE VT BETH- 
 VLIAM AB EXCIDIO LIBERET. (The most 
 
 beautiful Judith arrays herself in garments of gladness, in 
 order that she may free Bethulia from destruction.) 
 
 Judith, assisted by her maids, completes a bewitching 
 toilet, in which she aims to dazzle and enthrall Holo- 
 femes. She stands in front of a table near the middle 
 of her boudoir and looks into a small mirror. A kneeling 
 maid fastens a bracelet upon her wrist, another spreads 
 a rich mantle over her shoulders, a third takes a brown 
 dress out of a chest, and Marah, who accompanied her 
 to the camp of the Assyrian general, carries a salver 
 and ewer. On the floor is a brazier containing curling 
 tongs. The table cloth looks like a veritable piece of 
 embroidery of unique and oriental pattern. It was an 
 admirable scheme to stretch drapery across the comer of 
 the bondoir, since it throws out in exquisite relief the 
 vase of flowers, the black jewel case and its open drawer 
 (from which hangs a necklace of pearls) the mirror and 
 the whole toilet scene. (Lent by P. W. French & Co.) 
 
 12 
 
5. IVDITH FVGITIVA HOLOFERNEM AS- 
 TUTE DECIPIT, ET SPECIOSAM VICTORI- 
 AM PROMITTIT. (Judith as a fugitive, cunningly 
 deceives Holofemes, and promises him a specious 
 victory.) 
 
 Holofernes is seated upon a dais at the entrance to 
 his tent, propped round in Oriental fashion with cushions. 
 Judith kneels at his feet with downcast eyes and both 
 hands clasped upon her breast, while Marah kneels be- 
 hind her and holds up the tram of her mantle. The 
 Assyrian leans forward and proffers a hand as if to assist 
 her to her feet. On the left of the dais are, his plumed 
 helmet, sword and belt and . coat of armor. The two 
 soldiers who have conducted Judith to the tent, help her 
 to rise at the command of their chief. Their swarthy 
 features, stalwart frames and picturesque military coStumes 
 have been admirably interpreted. ( Lent by P. W. 
 French & Co.) 
 
 6. HOLOFERNES EBRIVS A IVDITH CAP- 
 ITE TRVNCATVR QVAE ITA ISRAELEM 
 
 SERVAT. (Holofernes, while drunk, has his head 
 cut off by Judith, who thus saves Israel.) 
 
 The banquet offered to Judith by Holofernes. He 
 holds a large crystal and bronze goblet of wine in his 
 right hand and clasps the forearm of the Jewess with his 
 left while she, with a far-away look in her eyes, takes no 
 notice of the a<ft nor of the look with which he insults 
 her. Old Bagoas, his lictor’s axe behind him, puts upon 
 the table the viands, cake and fruits handed him by a 
 waiter, while a page in the foreground fills a pitcher 
 with wine. Marah has given Judith a crystal cup of the 
 wine they brought with them, as Judith refused to eat 
 or drink anything furnished by Holofernes. The table 
 
 13 
 
is decorated with a Stuffed peacock placed between two 
 tall wax candles, the light from which brilliantly illum- 
 inates the rear wall of the tent. Behind the table is seen 
 the casqued head of a soldier. The enamored Holo- 
 femes, the indifferent Bagoas, the Stolid soldier, the heavy- 
 witted waiter and the busy boy, all speak to us in one 
 direction, while the alarm of Marah and the serenity of 
 Judith in the face of her danger trouble us as would the 
 sight of a Iamb in the jaws of a tiger. It is a pathetic 
 subject superbly illustrated. One remarks with pleasure 
 that the creators of the tapeStry represent the adual 
 tragedy in miniature only and inconspicuously. ( Lent 
 by P. W. French & Co.) 
 
 7. IVDITH VICTRIX HOLOFERNIS CAP- 
 VT POPVLO EXHIBET QVI DEVM ISRA- 
 ELIS LAVDAT. (Judith victorious displays the head 
 of Holofernes, to the people, who praise the God of 
 Israel.) 
 
 Judith exhibits the head of Holofernes, at the entrance 
 of a synagogue, to the Governors and people of Bethulia. 
 She holds it aloft in her right hand and points at it with 
 the forefinger of her left, as she utters the words, “Be- 
 hold the head of Holofernes, the Chief Captain of the 
 army of Assur; the Lord has smitten him by the hand 
 of a woman.” Ozias Stands a step below the heroine 
 facing the spectator and with his right arm upraised, cries 
 aloud, “ O daughter, blessed art thou of the moSt high 
 God above all women upon earth.” Charmis stands 
 behind Ozias and with hands raised in astonishment 
 gazes at the head of the dreaded Assyrian. Achior has 
 doffed his plumed helmet, and kneeling at the feet of 
 Judith, looks up at her with reverence. Marah stands 
 behind her holding the bag in which the head was car- 
 
 14 
 
ried, while another maid holds aloft a closed sun umbrella, 
 and a third holds a bit of drapery beneath the severed 
 head. 
 
 The people of Bethulia are wild with joy over their 
 deliverance. One of the two men upon the step behind 
 Ozias blows a horn and the other holds up a branch and 
 crown of laurel. On the ground near the base of the 
 steps several men and women express their joy by 
 dancing while a band of others play upon different kinds 
 of musical instruments, among which are a tambourine, 
 a trumpet and several styles of horns. Others carry war- 
 like banners and flaming torches. ( Lent by P. W. 
 
 French & Co.) 
 
 / 
 
 8. DEVS ISRAELIS EXERCITVM HOLO- 
 FERNIS FVNDIT, ET MVNERA IVDITH 
 
 DANTVR. ( The God of Israel routs the army of 
 Holofemes, and rewards are given to Judith.) 
 
 Judith attended by four maids stands upon a platform 
 outside the walls of Bethulia with Ozias, Charmis, 
 Chabris, and their body guard on her right, and Achior 
 with his bodyguard on her left. Marah stands behind 
 her and looks over her shoulder. The maid nearest the 
 spectator stoops at the side of her mistress, holds a small 
 trunk, which is evidently of considerable weight, and with 
 half-turned face looks upward. The next nearest stands 
 behind Judith and leans toward Achior with both arms 
 extended in a gesture of astonishment. At the feet of 
 Judith are piled some of the treasures of Holofernes 
 consisting of plate, precious stones and vessels of gold 
 and silver of various kinds and sizes. In the defile of the 
 mountains on the right, the Jewish army pursue the panic 
 stricken Assyrians. Nearer the front a caravan brings 
 more treasures from the camp, while the men leading it 
 
 15 
 
stagger under the weight of their loads of loot, as they 
 climb the hill upon which stand Judith and what may 
 be termed her court. The dark walls and towers of 
 Bethulia form an admirable back-ground to the main 
 scene. The figure of Judith naturally holds the eye 
 longer than that of any of the others. Her look, her 
 mien, and her gestures attest that her heart is so full of 
 thankfulness to the Almighty for the wit and courage 
 vouchsafed her to save her country from destruction that 
 she can pay scant heed to the treasures piled at her 
 feet. ( Lent by P. W. French & Co.) 
 
 9. ELIEZER BEFORE BETHUEL, 1 2 feet 7 by 
 
 1 3 feet 9, one of the finest early Renaissance tapestries 
 in the world. It bears a close resemblance to tapestries 
 designed by Barend van Orley such as the “ Hunts of 
 Maximilian,” the “ David and Goliath” now on exhibi- 
 tion at the Avery Library of Columbia University, the 
 Battle of Pavia in the Naples Museum, and the 
 “ Dollfus Crucifixion” in the Morgan Loan Collection at 
 the Metropolitan Museum. It is delightfully rich with 
 decorative details both of costume and interior architec- 
 ture. While it is definitely Renaissance, there are a 
 number of Gothic details. I would call the especial at- 
 tention of makers of lighting fixtures to the chandelier 
 and the wall bracket, and of opticians to the spectacles 
 on the aged man busy at his books. The spectacles 
 closely resemble those on St. Peter in the splendid large 
 Gothic tapestry presented to the Boston Museum of Fine 
 Arts by Mrs. J. H. Wright. The scene shows Abra- 
 ham's servant Eliezer asking Bethuel for his daughter 
 Rebecca as wife to Isaac. (Lent by Mrs. John J. 
 Albright.) 
 
 16 
 
10. ABRAHAM AND ISAAC WELCOMING 
 REBECCA, 1 2 feet 4 by 1 8 feet 8, companion piece 
 to 1 I ; but surpasses 1 1 in grandeur of conception and 
 vigor of composition. Again we have costumes of ex- 
 traordinary richness that contain many suggestions for the 
 tailors and the dressmakers of today. Also noteworthy 
 from the decorative point of view are the trappings of 
 the horses and the rich carriage of Rebecca, with its 
 single Renaissance chair. A touch of humor is intro- 
 duced into the scene by the page who teases the 
 monkey on top of the carriage. The page who in 1 1 
 was playing with the falcon is seen again in 12 on 
 horseback with the falcon perched on his right hand. 
 The landscape that backgrounds the tapestry is one of 
 extraordinary beauty and superb composition. (Lent 
 by Mrs. John J. Albright.) 
 
 11, 12. Two small tapestries, 10 feet 3 by 5 feet 8, 
 and 9 feet 8 by 5 feet 6 respectively, designed by 
 Teniers in the seventeenth century, and woven in Brussels 
 in the eighteenth century, by Pieter Van der Borgt 
 who has signed them. An especial interest attaches to 
 these two tapestries because they are part of a remark- 
 able set of ten that formerly adorned a single room in the 
 Netherlands. The set is still complete, the panels rang- 
 ing in width from 4 to 20 feet. (Lent by Messrs. 
 Duveen Bros.) 
 
 1 3. THE LION AND THE MOUSE, 8 feet by 
 
 6 feet 10, with attached border on light yellow ground; 
 woven at Aubusson in the eighteenth century. (Lent 
 by Mrs. Frank H. Goodyear.) 
 
 14. A Tapestry, 7 feet 6 by 5 feet 9, of unusual 
 merit from a decorative point of view; has been attrib- 
 uted to the famous J. B. Oudry, who as artistic dec- 
 
 17 
 
orator of the Beauvais Tapestry Works, is said to have 
 made more money out of tapestry than anybody else in 
 the eighteenth century, having been given a generous 
 share of the profits without any responsibility for the 
 losses. His success at Beauvais was such that he after- 
 wards was made artistic decorator at Gobelins also. 
 The tapestry before us was woven before the middle 
 of the eighteenth century, and pictures Actaeon trans- 
 formed into a stag by Diana (see No. 38 in this ex- 
 hibition), being torn to pieces by his own dogs. The 
 architectural background to the scene helps to give value 
 to the nature character of the trees and of the verd- 
 ure, and to the living activity of the animals. (Lent by 
 P. W. French & Co.) 
 
 1 5. Companion Piece to 1 4, 7 feet 7 by 9 feet. As is 
 made clear by the eagle of Jupiter in the upper left 
 corner. It suggests the story of "The Rape of Europa." 
 The garlanded bull in the foreground is, of course, Jupiter 
 who has transformed himself for the purpose of deceiv- 
 ing the maiden. In the lower right corner of the tap- 
 estry is seen the caduceus of Mercury. In this tapestry 
 also the architecture ennobles and dignifies the whole 
 scene. (Lent by P. W. French & Co.) 
 
 1 6. THE FLUTE PLAYER, 7 feet 7 by 9 feet 2, 
 a modern American reproduction of part of a Beauvais- 
 Boucher tapestry, one of the Noble Pastorale series of 
 which there is a notable example in the Whitney col- 
 lection. This tapestry excels both in coloring and weave, 
 and equals in quality the best work of the Gobelins and 
 Beauvais today. Many other notable Boucher repro- 
 ductions made on the same American looms hang in 
 some of our finest American residences. (Lent by Wm. 
 Baumgarten & Co.) 
 
 18 
 
17. THE RECEPTION OF PARIS BY 
 HELEN, 9 feet 2 by 1 I feet 3. A fascinating eight- 
 eenth century tapestry woven in Aubusson; one of a set 
 of five that has been in a private residence in Greece 
 for over a century. There are furniture coverings and 
 a rug to match. The effect of the drapery that frames 
 the top like a lambrequin is exceedingly good. (Lent 
 by P. W. French & Co.) 
 
 18. DEATH OF PHAETHON, 9 feet 4 by 10 
 feet 9, a companion piece to 1 7. It will be remembered 
 that Phaethon, having persuaded his father, the Sun God, 
 
 (as told in a series of Phaethon tapestries owned by 
 Mr. Morgan), to allow him for one day to drive the 
 chariot of the sun, was unable to restrain his excitable 
 steeds in their fiery course, and swerving from the right 
 path threatened to burn and destroy the entire world, 
 when Jupiter hastened to the rescue, saved the universe 
 at the sacrifice of the life of Phaethon. (Lent by P. 
 
 W. French & Co.) 
 
 19. 20. Two portieres with borders, one all modem, 
 
 the other partially modern, inspired by and developed 
 at the Gobelins from Charles Lebrun’s “Child Garden- 
 ers.” The sizes are 10 feet 3 by 7, and 9 feet 7 ' ( /. 
 
 by 6 feet 1 0 respectively. < . , ' 
 
 21. THE PROPHECY OF NATHAN, a Late 
 Gothic tapestry 1 1 feet 1 0 by 2 1 feet 5, woven in Brus- 
 sels at the beginning of the sixteenth century, picturing in 
 three scenes the events in the Story of David and Baths- f V '*T 
 heba that are described in II Samuel chapters 1 1 and 12 ^ ,. 
 
 —in the upper left corner David giving to Bathsheba’s * * 
 
 husband Uriah the letter that instructed Joab to place 
 Uriah in the forefront of the battle, and then retire from 
 him that he “ may be smitten and die ; ” in the upper 
 
 19 
 
 
right comer, Uriah delivering the letter to Joab; in the 
 body of the tapestry David and Bathsheba standing on 
 a platform before a throne, penitently with folded hands, 
 while Nathan below with right hand warnmgly upraised, 
 prophesies : “The sword shall never depart from thine 
 house ; because thou hast despised me, and has taken 
 the wife of Uriah the Hittite to be thy wife.” Very 
 interesting is this splendid tapestry to compare with the 
 set of ten picturing the Story of David and Bathsheba, 
 in the Cluny Museum, said to have been woven for 
 the French King, which afterward belonged to the 
 Duke of York, to Marquis Spinola, and to the Serra 
 family of Genoa. The Cluny tapestries are three feet 
 higher than the one before us but in no way superior 
 as regards weave, composition or design. Indeed were 
 it not for the difference in height and the fact that the 
 events of the tapestry are already covered in the Cluny 
 set, one might almost at first sight suspect it to be part 
 of the set. But while the faces and evidently the models 
 for the personages are similar and similarly treated, the 
 garments particularly of David are different and there 
 are numerous other minor differences that I shall treat 
 more fully in a special monograph on the subject. The 
 Renaissance influence is stronger in the throne of the 
 tapestry before us than in any of the Cluny set save 
 one. Better drapery weaving I never saw. The tapes- 
 try is said to have been formerly in the Royal Spanish 
 Collection, and after that in the Chateau de Vierville 
 m Calvados. (Lent by Messrs. Lewis & Simmons.) 
 
 22. THE HAINAUER CRUCIFIXION, 6 feet 8 
 
 by 9 feet 4, is one of the moSt remarkable tapestries in the 
 world, composed with extraordinary skill of wool, gold, 
 silver and silk weft threads that interlock and conceal the 
 
 20 
 
linen warps. It was part of the collection of the late Herr 
 Oscar Hainauer, and has been attributed, in a descrip- 
 tive monograph, to the looms of Arras, the period of 
 Philip the Good, and the design of the Flemish painter 
 Jaquet. However that may be, the style of the archi- 
 tectural border at the sides and top, is definitely Ren- 
 aissance, and the plan and composition of the panel are 
 more Italian than Flemish. But the weave, the floriated 
 foreground, and numerous details, recall us to the home 
 of tapestry weaving. In the words of the monograph 
 mentioned above. 
 
 “In a landscape distinctly characteristic of the Italian 
 manner, are the three crosses with the body of Christ 
 nailed to His, and the two thieves tied to theirs, sur- 
 rounded by a large throng of men on horseback and 
 on foot. A feature in the composition is that it shows 
 only few attempts at keeping up the traditional charac- 
 ter of the personages usually connected with the Cru- 
 cifixion, one armoured soldier on horseback and a hel- 
 meted man on the left, a fact which suggests that many 
 of the figures in the picture are probably portraits of 
 members of the family whose coat of arms appears in 
 the upper right and left corners. n On the left of the 
 cross is the Mater Dolorosa attended by the holy women, 
 and on the extreme left Christ crowned with thorns be- 
 ing roughly and cruelly driven towards Calvary. On 
 the extreme right is the Deposition in the background 
 with the Entombment in the foreground. In the middle 
 foreground, three men are beating a fourth, and on the 
 ground in plain view is a die, showing that the scene 
 is in sequence to the one described by St. John XIX, 
 23, 24: n Then the soldiers, when they had crucified 
 
 Jesus, took his garments and made four parts, to every 
 
 21 
 
soldier a part; and also his coat: now the coat was with- 
 out seam, woven from the top throughout. They said, 
 therefore, among themselves, Let us not rend it, but cast 
 lots for it, whose it shall be: that the scripture might be 
 fulfilled, which saith. They parted my raiment among 
 them, and for my vesture did they cast lots." Note- 
 worthy is the representation of the soul of the crucified 
 thief on the left being borne aloft to Heaven by an angel, 
 and the soul of the thief on the right being taken down 
 to Hell by the devil. The landscapes and the views 
 of Jerusalem in the distance, on the left and on the right, 
 are fascinatingly portrayed. (Lent by Messrs. Duveen 
 Bros.) 
 
 23. BATHSHEBA AT THE BATH, 10 feet 8 
 
 by 1 3 feet 6, one of the most wonderful late Gothic 
 tapestries in the world. It compares favorably with the 
 best in the Spanish collection, one of which is almost 
 an exact duplicate, the principal difference being that 
 the Spanish one has a Latin caption in the top border 
 that tells the story. It reads as follows: 
 
 Bersabee. corpus, lavit. 
 
 Quam. ex. adverso. vidit. David. 
 
 Pro. ilia. suos. destinavit. 
 which translated is: 
 
 Bathsheba took a bath. 
 
 Her David saw face to face. 
 
 He sent his men for her. 
 
 This tapestry is an example of the extreme modesty 
 with which Gothic tapestries treat nude episodes. We 
 all know how Giulio Romano or Francois Boucher 
 would have represented "Bathsheba at the Bath." Here 
 we see her daintily laving her fingers without a sug- 
 gestion of nudity above her wrist, and not at all decollete 
 
 22 
 
as compared with the evening costumes of ladies of to- 
 day. The decorative details of the tapestry are unusu- 
 ally important, especially the Gothic architecture of the 
 fountain and of the pavilion at the entrance of which 
 stands King David, sceptre in hand, looking avidly at 
 Bathsheba. The fine linen towel carried by Bathsheba’s 
 maid behind her has a macrame fringe, and apparently 
 a lace border. The costumes are exquisitely rich, and 
 the border of the tapestry is a most delighful com- 
 position of leaves and fruit. In the general plan of 
 the tapestry the influence of the Renaissance begins 
 to appear in the opening up of the landscape to 
 the rear; but in weave and texture the tapestry is 
 a wholly and delightful Gothic, and one of the most 
 perfect accomplishments of the Golden Age of Tapestry. 
 This is a prize that would make any museum a 
 tapestry museum, and attract the attention of lovers 
 of art to any city. There is also a "Bathsheba at 
 the Bath " in the Brussels Museum, which came from 
 the Somzee collection in 1901, woven from the same 
 design but greatly extended, and gracefully extended, 
 on the right and on the left. In the Cluny Museum 
 there is a set of ten David tapestries, one of which 
 pictures Bathsheba at the Bath, all much higher and 
 larger than that described above and enriched with 
 gold. (Lent by P. W. French & Co.) 
 
 24. THE PRINCE’S AUDIENCE, 10 feet 2 by 
 
 I 5 feet 8, woven at Beauvais in the early part of the eight- 
 eenth century. One of the Chinese set of six, designed 
 by Vernalsal, Blin de Fontenay, and Dumons. There 
 were only two sets woven at Beauvais, one of which is 
 in the French National Chateau de Compiegne. A 
 duplicate of the piece before us is in the " Music Room 
 
 23 
 
of Marie-Louise and Eugenie," there and is shown clearly 
 even on the pidture post cards that came to this country 
 from there. ( See page 1 92 of Hunter's book on tapes- 
 tries.) ( Lent by P. W. French & Co.) 
 
 25, 26, 27. MILLE FLEUR seats and backs wo- 
 ven in New York. The sofa seat is an original com- 
 position evidently inspired by the “Lady with the Unicorn” 
 set at the Cluny Museum. There is a back to match. 
 The chair seat and back are based on Mr. Drake’s 
 fascinating Mille Fleur, which is No. 30 in this exhibition. 
 (Lent by Wm. Baumgarten & Co.) 
 
 28. FATHER TIME, 1 1 feet 2 by 1 3 feet 1 1 . A 
 Renaissance tapestry of extremely interesting composition, 
 apparently inspired by Pertrach’s “ Triumphs.” Father 
 Time, crutch in hand, is seated in an aerial chariot 
 drawn by four antlered and winged deer. In the dis- 
 tance behind him appears the chariot of the Sun God. 
 Prostrate on the ground is the figure of Fame with her 
 trumpet, while on the left of the tapestry are seen hand- 
 cuffed prisoners and on the right two joyous hunters one 
 with falcon and two aged men with book and pen. The 
 border is crowded with animal life, and closely resembles 
 that of the Colosseum in the Metropolitan Museum, 
 with fish in the bottom border, birds in the top border 
 and beasts of the field in the side borders. In the centre 
 of the tapestry is the figure of Death, which of course is 
 what Time brings to all. (Lent by Dikran G. Kelekian.) 
 
 29. BIRTH OF THE VIRGIN, a Renaissance 
 tapestry 1 1 feet 7 by 12 feet 2, with many Gothic 
 details. Interesting to compare with it is the same scene 
 pictured in the “Life of the Virgin” at Rheims. On the 
 left and on the right appear Saints Gratus and Jocundus, 
 
 24 
 
with their identity made certain by the captions in Gothic 
 letters above them. An interesting element of humor is 
 introduced by the two monkeys on top of the tent that 
 houses Saint Anna. ( Lent by Dikran G. Kelekian.) 
 
 30. GOTHIC M1LLE FLEUR WITH ANI- 
 MALS, 7 feet by 7 feet, primitive in design and 
 composition, but wonderfully decorative and beautifully 
 woven. It compares very favorably with the piece pur- 
 chased at the Robb sale for the Metropolitan Museum. 
 It was probably woven on a very small loom in narrow 
 widths that were assembled after weaving. The strong 
 and primitive silhouetting of the animal figures against 
 the floral ground is especially interesting from the design 
 point of view. (Lent by Mr. A. W. Drake.) 
 
 3 1 . ANDROMACHE’S LAMENT, a Gothic tapes- 
 try of extraordinary interest, wonderfully well preserved, 
 with colors still rich and strong. From the famous Trojan 
 War series of which three fragments 13 feet high with 
 a united width of 2 1 feet are in the Victoria and Albert 
 Museum at South Kensington. (See page 59 of Hunter’s 
 Tapestries for illustration and description of one of 
 them, and pages 256, 301, 364 about the original eight 
 small color sketches ( petits patrous) now in the Louvre, 
 they were illustrated and described in Schumann’s 
 Trojanische Kneg. ’) The tapestry before us is 15 feet 
 3 by 9 feet 2, and has not only a Latin inscription at 
 the bottom, but also a French inscription at the top, 
 both in Gothic letters, describing the scene. The Latin 
 inscription reads : 
 
 Andromalha deflens cecidium hectoris, qd’ vidit 
 dormiendo. 
 
 Affert prolem huic in remedium. Priamus hunc 
 vocat retinendo. 
 
 25 
 
and translated: 
 
 Andromache bewailing the killing of Hector that she 
 saw in her sleep. 
 
 Brings her children in order to prevent it. Priam calls 
 and detains him. 
 
 In the upper half of the tapestry, Hector is seen 
 putting on his armor, while Andromache with her chil- 
 dren looks on weeping. Behind Andromache stand 
 Helen, Polixenes and Hecuba. In the lower half of 
 the tapestry King Priam ( roy pream ) detains Hector 
 who in full armor is about to mount his horse. The 
 identity of the various personages is made clear by the 
 names woven on their garments, or in the case of Hector 
 in the lower scene, on the scabbard of his sword (hector 
 de troie.) The French inscription at the top of the 
 tapestry is in four lines instead of two, and somewhat 
 mutilated especially the last half of the first line. Trans- 
 lated it reads: "Andromache apprehending the death 
 of Hector (that she saw in her dream) began to weep 
 and with great lamentations brought her children, begging 
 him not to go forth (on that day.) Nevertheless Hector 
 had himself armed for battle, and mounted his horse. 
 King Priam constrained him to return because of the 
 pity that he felt for Andromache." There is also a 
 curved row of Roman letters under the French inscrip- 
 tion, which I have not yet made out, but which probably 
 indicates the location of the scene. (Lent by Messrs. 
 Gimpel & Wildenstein.) 
 
 32. THE WOLF, no. 7 in the famous Renaissance 
 Gombaut and Mace set depicting the joys and sorrows of 
 shepherd life, a seventeenth century reproduction 1 1 feet 
 5 by I 1 feet 2. In the upper left quarter is seen the 
 
 26 
 
wolf running away with a sheep, while below is the 
 shepherd caught in the trap. The inscriptions in French 
 verse tell the story very quaintly. Eight wood engrav- 
 ings of the sixteenth century, each with several scenes, 
 are preserved in the Bureau d’Estampes at Paris ; and in 
 the Museum of Saint-Lo there are five Gombaut and 
 Mace tapestries. (Lent by Mr. James L. Breese.) 
 
 33. THE DRAGON, a Renaissance tapestry 14 feet 
 I 1 by 1 0 feet 3, signed in the right selvage with the mon- 
 ogram of a famous weaver. The vandal who cut out 
 half of the horizontal length of the panel of this tapestry 
 ought to be sent to the penitentiary for life. The bor- 
 der is very beautiful, and resembles that on the Doll- 
 fus “Crucifixion” lent by Mr. Morgan to the Metro- 
 politan Museum ; but as is of course obvious, it has been 
 applied on the right and sewn together at three places. 
 Immensely interesting is the dragon eating eggs on the 
 left, and the brilliantly colored griffin in what was orig- 
 inally the center, but is now the right of the tapestry. 
 Plant life and swamp life in the woods is richly lux- 
 uriant, and the soft greens have been most successfully 
 interpreted in silk. (Lent by Dikran G. Kelekian.) 
 
 34. SALAMANDER tapestry, 9 feet 1 1 by 9 feet 8, 
 in style Gothic and Renaissance mixed, woven early in 
 the sixteenth century, with texture that is delightfully 
 Gothic of an earlier type. Perhaps the salamander is 
 that of Francis I, and perhaps the Queen Mother is 
 looking over his armor before his being knighted or later 
 when he is in captivity; but that is mere speculation. 
 The tiles with fleurs-de-lis and other symbols afford in- 
 teresting opportunity for interpretation. (Lent by P. W. 
 French & Co.) 
 
 27 
 
35. COMBINATION tapestry, which I so desig- 
 nated because it is not all woven tapestry, but part needle 
 work. This does not detract at all from the interest. In- 
 deed, it adds to it greatly because the result of the com- 
 bination is an almost unique work of art. While I feel 
 and know that the texture of tapestry has sufficient strength 
 and character and variety to picture any story adequately 
 and beautifully, yet I must admit that in the tapestry be- 
 fore us the contrasts of needle work and bobbin work 
 are exceedingly effective and not at all forced. It 
 is thoroughly Renaissance in style and dates from 
 the last half of the sixteenth century. The only similar 
 piece that I know worthy to compare with it, is the one 
 picturing "Virtue and Pleasure" in the wonderful Jacque- 
 mart-Andre Museum recently opened to the public in 
 Paris. The story in the tapestry before us is obvious. 
 
 The King and Queen are of course Pluto and Pros- 
 erpine; Charon is seated at his oar, with numerous naked 
 mortals in the distance ready to attempt the passage of 
 the Styx ; Other scenes show Orpheus twanging his lyre, 
 three-headed dog of Cerberus, the three Fates, Ixion on 
 his wheel. The birds and animals in the trees and in 
 the foreground, particularly the rabbit and the turkey are 
 quaintly delightful. Evidently the composition of this piece 
 was a labor of love for designer and maker. (Lent by 
 P. W. French & Co.) 
 
 36. GODDESS FLORA, 1 0 feet 1 0 by 22 feet 2, 
 a rarely beautiful and perfect Brussels tapestry of the (V 
 period of Louis XIV. The pyramid in the middle 
 background is splendidly effective giving boldness to the 
 design. High in the air, aiming his shaft at the not 
 unwilling goddess whom Zephyr courts, is Cupid. It 
 is interesting to compare this tapestry with 45 that 
 
 28 
 
belongs to Mrs. Pratt, and is of the same style and 
 weave. (Lent by P. W. French & Co.) 
 
 37. HECTOR BATTERING DOWN THE 
 
 GATE, 1 1 feet 6 by 14 feet 1 0, a Renaissance 
 tapestry with much Gothic spirit and some Gothic details, 
 which presents one of the most picturesque events of the 
 Trojan War as described in Homer’s Iliad. The vigor 
 of the action is notable, and the trick of showing persons 
 on both sides of the gate appeals strongly to one’s illus- 
 trative sense. The border is wide and rich, of the 
 Flemish Renaissance type that was derived from the 
 wide compartment Grotesque borders originated in the 
 studio of Raphael, but much modified in the tapestry 
 direction under the influence of Flemish designers and 
 weavers. (Lent by Wm. Baumgarten & Co.) 
 
 38. DIANA AT THE BATH, 1 1 feet 8 by 1 7 
 
 feet 1 , a Renaissance tapestry agreeable in coloring 
 and rich m flonation. I have often said in my lectures 
 and in my book on tapestries that Gothic was a "clothed 
 art" and that Renaissance art was a "nude art." This 
 is particularly true of tapestries. Those of the Gothic 
 period show personages clad in the richest and most 
 wonderfully embroidered and brocaded cloths of gold, 
 while those of the Renaissance period, especially those 
 of immediate Italian inspiration, substitute rather unin- 
 teresting expanses of flesh for interesting textures. While 
 the tapestry before us dates from the sixteenth century 
 and is entirely and completely Flemish Renaissance in 
 character, it retains the modesty of the Gothic period. 
 Surely nothing can be more proper and demure than 
 this way of showing Diana at the Bath. Of course 
 the hunters in the distance are Actaeon and his friends. 
 It will be remembered that as penalty for having 
 
 29 
 
surprised Diana while thus confidentially engaged, he 
 was transformed by her into a stag and torn to pieces 
 by his own dogs. For illustration of the manner in 
 which he met his death, see tapestry No. 1 5 in this 
 exhibition. (Lent by P. W. French & Co.) 
 
 39. JANUARY AND FEBRUARY, a highly 
 
 interesting early seventeenth century tapestry, 9 feet 6 
 by 1 2 feet 1 , of the type that illustrates the occupations 
 of the different months of the year. Among famous sets 
 are the Renaissance “ Months of Lucas ” and “ Ffunts of 
 Maximilian,” and the Louis XIV Gobelin “ Royal Resi- 
 dences.” The tapestry before us evidently owes some- 
 thing also the inspiration of the famous “ Gombaut and 
 Mace ’ series. The wolf with lamb in the foreground 
 on the right at once suggests No. 32 in this exhibi- 
 tion. In the center foreground a fox has started two 
 fowls into activity. Behind the wolf come peasants in 
 pursuit, armed with weapons nearest at hand. The ice 
 in the background is thronged with skaters and sledges. 
 Before the bam on the right are indolent pigs and a 
 sturdy youth chopping wood. The landscape and arch- 
 itecture backgrounding the whole is admirably conceived 
 and executed, and the whole tapestry is alive with the 
 spirit of the Renaissance. (Lent by the Messrs. Hayden 
 Co.) 
 
 40. MARCH AND APRIL, 9 feet 3 by 10 feet 
 1 0, companion piece to No. 4 1 , and like it of fine weave 
 with much silk especially in the border. I should like also 
 to have exhibited the third piece of the three of the set 
 still preserved together, had space permitted. It illus- 
 trates “ September and October,” and is 1 4 feet 2 
 inches wide. (Lent by the Messrs. Hayden Co.) 
 
 30 
 

 ■I 
 
 ■HI iMHflto 
 
 4 1 . STAG HUNT, 9 feet 9 by 1 5 feet 9, one of 
 the seventeenth century reproductions from the famous 
 set entitled “ Hunts of Maximilian," designed by Barend 
 van Orley. The original color sketches are in the Louvre ; 
 as is also the first set of tapestries woven from them by 
 Willem Geubels in the first third of the sixteenth cen- 
 tury. Half tone illustrations of many of Van Orley ’s 
 sketches are shown in Baillie-Grohman’s splendid book 
 “ Sport in Art.” Reproductions of the set were made 
 in 1682; in 1 692, at the large cost of 33,170 livres; 
 by Leblond in 1705, the set now in Chantilly; by 
 Oudry and Montmerque in 1 741-7, the set now in La 
 Musette, Louis XIV’S hunting box in the woods of St. 
 Germam-en-Laye. The building that appears in the 
 tapestry before us is the famous Chateau Boitsfort, near 
 which stands a column bearing a bronze heron, that 
 commemorates the successful shooting of a heron there 
 by the Emperor Charles V. (Lent by Messrs. Duveen 
 Bros.) 
 
 42, 43. GOLD CHAIR BACKS, woven at Wil- 
 liamsbridge, New York City, at my suggestion and under 
 my direction. Both are enriched with gold, and in one 
 the gold is in basket weaving, like the gold ground of the 
 borders of Mr. Blumenthal’s two "Mercury and Herse" 
 tapestries after Giiilio Romano ; and the famous "Acts of 
 the Apostles" in the Vatican and in the Spanish Royal 
 collection after Raphael. Indeed, these two chair backs 
 are based on, and inspired by, these rich Renaissance 
 borders, repeating the figures of the composition but 
 modified in some details. (Lent by Messrs. Wm. Baum- 
 garten & Co.) 
 
 44. ABUNDANCE, a Louis XIV tapestry designed 
 by Louis V an Schoor of Antwerp, whose signature in the 
 
 31 
 
panel reads L. VAN. SCHOOR. INVT. PINIXT 
 (L. V an Schoor designed and painted), and woven in 
 Brussels at the beginning of the seventeenth century by 
 Albert Auwercx, whose signature A. AVWERC ap- 
 pears in the bottom selvage at the right. Van Schoor 
 designed many tapestries on Abundance and on other 
 allegorical and mythological subjects, among them two 
 sets in the Imperial Austrian collection, one of which 
 was woven by Albert Auwercx, the other by Jan Van 
 Der Borght also of Brussels. Van Schoor used the 
 same models over and over again so that to identify his 
 work is easy. Two of Van Schoor’s designs woven by 
 Van Borght were also illustrated in Guichard and 
 Darcel s folio volume on the French Garde Meuble. 
 In an New York shop there is a very interesting set 
 of four without borders picturing the four Latin God- 
 desses of Abundance: Flora, Ceres, Pomona, Ops. 
 (Lent by Messrs. Lewis & Simmons). 
 
 45. THE FEAST OF BACCHUS, 1 1 feet 7 by 
 I 3 feet 6, a Louis XIV tapestry woven in Brussels of 
 surpassing merit both of design and weave. The fact 
 that such tapestries have been claimed by the French 
 until recently as the work of their own Gobelins, is evi- 
 dence of their extraordinary merit. VTile a tapestry like 
 this differs radically from the famous panels of the fif- 
 teenth and sixteenth centuries, it has qualities of its own 
 that win the lasting admiration of all who know. (Lent 
 by Mrs. Frederick Pratt.) 
 
 46. SCENE FROM ANCIENT HISTORY, 1 1 
 
 feet 7 by 8 feet 10, perhaps an event of the Trojan 
 War, cut down from a larger tapestry with a wide 
 Renaissance border that is especially rich and pleasing. 
 (Lent by Mrs. John J. Albright.) 
 
 32 
 
K6 
 
 47. SOLOMON AND QUEEN OF SHEBA, 
 
 a Renaissance tapestry, 1 1 feet I I by 1 3 feet 2, with 
 typical Renaissance border. It has been cut down 
 some, but the composition still remains interesting and is 
 interestingly backgrounded by the landscape and build- 
 ings. (Lent by Mrs. John J. Albright.) 
 
 48. THE TRIUMPH, a tapestry 9 feet 1 by 8 feet 
 
 7 that shows how worn and mutilated a tapestry can be, 
 and still please. It probably comes from the early Gobe- 
 lins, and is a composition of distinguished excellence. 
 (Lent by Mr. James L. Breese.) 
 
 49. SCIPIO AND MASENESSA, 1 0 feet i 1 by 
 
 8 feet 6, a Renaissance tapestry of especially pleasing 
 color, soft with golden yellows, and rich with Flemish 
 floriation. It is one of the many tapestries inspired by 
 Giulio Romano’s famous " Scipio " series of 22. The 
 tent in the background shows Sophonisba waiting to re- 
 ceive the fatal potion that was to make her funeral oc- 
 cur on the same day as her wedding. (Lent by Mr. 
 Willoughby H. Stuart.) 
 
 50. BLOWING BUBBLES, a Louis XIV tapestry, 
 
 9 feet 9 by 6 feet 3, woven perhaps at Beauvais. 
 (Lent by Messrs. Duveen Bros.) 
 
 51. A Renaissance animal tapestry resembling some 
 of those woven in Enghien. (Lent by Mr. James L. 
 Breese.) 
 
 52. SPANISH TAPESTRY, 8 feet 4 by 1 3 feet 
 
 6, of the last half of the eighteenth century. It suggests 
 the style of Goya, but was probably designed by his 
 father-in-law F rancisco Bayeu, who as a painter was 
 vastly inferior but whose designs for tapestries possessed 
 unusual decorative value. The monogram that appears 
 
 W Jk^M. j\ , /Sy tfe 
 
 
five times on five different trees has yet to be identified. 
 This is one of the best Spanish tapestries that I have 
 seen. (Lent by Mrs. Frank H. Goodyear.) 
 
 53. A charming bit of English eighteenth century 
 needlework, 1 7 inches by 20 inches, introduced to illus- 
 trate by comparison the difference between bobbin tex- 
 ture and needle texture. It is one of a set of five. 
 (Lent by Mrs. Charles Van Bergen.) 
 
 54. SPANISH TAPESTRY, 6 feet 2 by 3 feet 
 7, dating from the seventeenth century and enriched 
 with gold. (Lent by P. W. French & Co.) 
 
 55. SEMIRAMIS, a Renaissance tapestry without 
 border, 8 feet by 7 feet 3. This lady was the Queen 
 of Babylon and appears to have been one of the most 
 pronounced suffragettes of her time. The engraving 
 exhibited with the tapestry bears the name of Martin 
 de Vos (1532-1603) as designer and of Crispin de 
 Pass (1565-1637) as engraver. The designer was one 
 of the most prominent painters of the sixteenth century, 
 having been bom in Antwerp, educated in Venice, Flor- 
 ence and Rome, and afterwards made Dean of the Ant- 
 werp Guild of Painters. At the top of the engraving 
 appears the phrase “ Bayloni Muri ” (Walls of Babylon) 
 and at the bottom a Latin quatrain telling the story. The 
 quatrain reads as follows : 
 
 Imperiosa sui secta cervice Mariti. 
 
 Jussit coctilibus Babyloni Semiramis altam. 
 
 Moenibus incingi, lentoque bitumine Portas. 
 
 Adjecit centums, et super his sibi nobile bustum. 
 
 The translation is : 
 
 Imperious Semiramis, having cut off her husband’s 
 head, ordered Babylon to be girt with walls of brick 
 and sticky asphalt. Then she added one hundred gates 
 
 34 
 
and above all a noble monument to herself. (Lent by 
 Wm. Baumgarten & Co.) 
 
 56. Companion piece to 1 1 and 12, size 9 feet I I 
 by 4 feet. (Lent by Messrs. Duveen Bros.) 
 
 I 57. ARMORIAL TAPESTRY of the seventeenth 
 century, signed in the bottom border with the Brussels 
 mark, and the weaver’s name RAET and in the right 
 selvage with the same weaver’s monogram. (Lent by 
 Dikran G. Kelekian.) 
 
 58. A PERUVIAN TAPESTRY of the sixteenth 
 
 century, showing the influence of Spanish design and of 
 Oriental rug composition. The four trumpeters are par- 
 ticularly interesting. (Lent by Dikran G. Kelekian.) 
 
 59. A LOUIS XIV Tapestry, 8 feet by 5 feet 3, 
 woven probably in Brussels. It is said to have been 
 in the United States for over two hundred years, having 
 been brought across the Atlantic by members of the 
 Mannigault family who migrated from France to Charles- 
 ton, S. C., just after the Revocation of the Edict of 
 Nantes. This tapestry shows as a background in the 
 portrait of Governor Mannigault seated in his library, 
 painted about the time of the Revolution. The paint- 
 ing is still in the Mannigault family. The Governor named, 
 is Gabriel Mannigault who was the most illustrious mem- 
 ber of the Mannigault family, and perhaps then the richest 
 man in the United States, having lent or given $800,000. 
 to the Revolutionary cause. (Lent by Mr. J. J. Seibels.) 
 
 Note — Readers of this catalogue will confer a favor 
 upon Mr. Hunter if they will bring to his knowledge 
 any pieces of tapestry that may have been in the United 
 States or any part of America over 100 years. 
 
 35 
 
60. DIANA ENCOURAGING MELEAGER 
 TO PRESENT THE BOAR’S HEAD TO AT- 
 ALANTA, 12 feet 4 by 13 feet 5, woven in Paris 
 in the first half of the seventeenth century, in the shops 
 established at the Gobelin, in 1 60 1 under the protec- 
 tion of Henry IV, by two Flemish merchant weavers, 
 Comans and Planche ; or in the independent works es- 
 tablished after his father s death in another part of the 
 city by Raphael de la Planche whose monogram R ap- 
 pears on other tapestries woven by him. Possibly the 
 R in the right selvage of the tapestry before us is his 
 signature, although it is confused by another letter that 
 cuts into it. The story of "Diana" designed by Tous- 
 saint and Dubreuil is one of the most famous sets of tap- 
 estries ever woven, and with "Artemisia" series did much 
 to establish the high reputation of the early Gobelin. 
 The set in the National French Collection rich with gold, 
 and the set in the Imperial Austrian Collection, as well 
 as the set in the Royal Spanish Collections, are admired 
 by all who see them. In the United States there are 
 at least two sets, one of them a set of five rich with 
 gold lent to the Hartford Museum by Mr. Morgan. 
 The border of the tapestry before us is characteristic of 
 the period. (Lent by Mrs. John J. Albright.) 
 
 61. A MODERN TAPESTRY PORTIERE, 9 
 
 feet 6 by 3 feet 1 I , not of fine texture but excellent 
 in weave and coloring, especially the peacock. Of 
 course it had its inspiration in the period of Louis N I V . 
 (Lent by Wm. Baumgarten & Co.) 
 
 62, 63, 64. Screen panels of tapestry woven in New 
 York. They are of good design well executed, but 
 perhaps a little low in tone. (Lent by Messrs. Pottier 
 and Stymus.) 
 
 36 
 
65. A MODERN PORTIERE, 8 feet 3 by 3 
 
 feet 1 1 , one of the first tapestries woven in America 
 (excluding of course the primitive tapestries of the 
 Navajo, Mexican and Peruvian type.) This portiere 
 based on one of the series of child gardeners design 
 by Louis XIV’S director of the Gobelins, Charles 
 Lebrun. It is noticeably inferior to later work of the 
 same shop. (Lent by Wm. Baumgarten & Co.) 
 
 66. A LOUIS XIV VERDURE, 1 0 feet 2 by 7 
 
 feet 9, of fine and interesting texture, and with warm and 
 agreeable border. (Lent by Wm. Baumgarten & Co.) 
 
 67, 68. A PAIR OF MODERN AMERICAN 
 TAPESTRY PORTIERS, each 8 feet 6 by 4 feet 
 5, in the style of Louis XIV ; verdure landscapes rich 
 with color and with rich borders. The parrot on the 
 ladder is interesting. (Lent by Wm. Baumgarten & Co.) 
 
 69. A LARGE AND INTERESTING LOUIS 
 XIV BRUSSELS TAPESTRY, 1 1 feet 4 by 1 7 
 
 feet 1 , illustrating the famous story of Meleager pre- 
 senting the Boar s Head to Atalanta (compare tapestry 
 60 in this exhibition.) The story of Meleager was a 
 favorite one with designers of tapestry and is to be 
 found beautifully elaborated in an Antwerp late seven- 
 teenth century set that adorns the Tapestry Room in 
 Mrs. Cyrus McCormick home of Chicago. There is 
 special interest in Mrs. McCormick’s set because we 
 have the original documents about cost and size executed 
 by the factor in Amsterdam who placed the order, 
 and also because the set is in splendid condition having 
 been preserved by the mild and dustless climate of the 
 Island of Majorca off the east coast of Spain, where 
 
 37 
 
 
 
it hung until recently. The tapestry before us is the 
 largest of a set of four. (Lent by Messrs. Duveen 
 Bros.) 
 
 70. A MODERN AMERICAN TAPESTRY 
 ( CANTONNIERE, the inside measurement of which 
 
 is I 2 feet 3 by 3 feet 4, copied directly from an antique 
 one of the period of Louis XIV. The texture and 
 tone of this copy are of unusual excellence, the good 
 qualities of age being retained without the bad ones. 
 From the texture point of view this is one of the best 
 modem tapestry reproductions I have seen. (Lent by 
 Wm. Baumgarten & Co.) 
 
 71. A RICH AND SPLENDID RENAIS- 
 SANCE COMPARTMENT CANTONNIERE, 
 
 9 feet 4 by 7 feet 4, that once helped frame some 
 splendid picture panel. Much as I regret the sacrilege 
 that mutilates a tapestry in order to frame a window 
 or a doorway, the result is often so beautifully dec- 
 orative that I cannot but applaud it. (Lent by Wm. 
 Baumgarten & Co.) 
 
 72. GERMAN ESPALIER, 1 foot 10 by 16 feet 
 
 7, a rare and wonderfully beautiful German tapestry 
 of the sixteenth century, woven narrow to hang above 
 the choir stalls of some German church. It is rich with 
 silver and silk, and the texture and the design show the 
 Gothic influence strongly retained. The stories pictured, 
 beginning on the left are : Abraham’s Sacrifice, Jacob’s 
 
 Flocks, Jacob’s Ladder, Jacob Wrestling With the Angel, 
 Joseph in the Pit, Potipher’s wife, Potipher and Joseph. 
 The arms of Munich shine through the architecture near 
 the right of the tapestry, and it is strange that a piece 
 like this was ever allowed to cross the water. Indeed, I 
 
am informed that the Crown Prince of Germany is keenly 
 interested in acquiring it whenever the end of the war 
 
 civilization. (Lent by P. W. French & Co.) 
 
 . 73. THE BLINDING OF ELYMAS, 12 feet 5 
 
 century reproduction, with seventeenth century border, 
 of one of the famous Acts of the Apostles set designed 
 by Raphael for Pope Leo X, and woven in Brussels 
 from 1515 to 1519 by Pieter Van Aelst, under the 
 direction, it is said, of Barene Van Orley. The Latin 
 inscription of the original design has in the reproduction 
 been replaced by a coat of arms, perhaps that of the 
 owner of the tapestry. (Lent by Wm. Baumgarten 
 & Co.) 
 
 74. FURNITURE COVER WITH ANCIENT 
 TAPESTRY. (Lent by P. W. French & Co.) 
 
 75. MODERN AUBUSSON TAPESTRY 
 RUG, 12 feet by 15 feet. (Lent by Mrs. Charles 
 Van Bergen.) 
 
 76. RENAISSANCE PANEL, 5 feet 1 1 by 3 
 
 feet 1 0, showing an elaborate vase that overflows with 
 rich and beautiful flowers. The colors of this tapestry 
 have descended in tone delightfully. (Lent by Wm. 
 Baumgarten & Co.) 
 
 77. MEDICI TAPESTRY, 1 2 feet 7 by 1 5 feet 8, A 
 
 woven in Florence in the sixteenth century and bearing the 
 Medici arms halved with those probably of the wife of 
 the noble for whom the panel was made. The scene 
 strongly suggests what is happening in Belgium today, the 
 paying of tribute to a victorious army. ( Lent by Mr. 
 
 James L. Breese.) 
 
 allows the thoughts of men to return to the arts of 
 
 by 13 feet 2, a coarse and rather crude seventeenth 
 
 39 
 
78. CHAIR BACK, woven in New York City, the 
 very first piece of tapestry produced in America, with the 
 exception of the primitive ones woven by the Navajo 
 and the Mexican Indians, and the Peruvians. (Lent by 
 Wm. Baumgarten & Co.) 
 
 79. MODELS OF A WILLIAMSBRIDGE “ high 
 
 warp ” loom and of Willlamsbridge “low warp” loom. 
 (Lent by Wm. Baumgarten & Co.) 
 
 80. CHIGI BANNER. A royal piece of applique 
 needlework on velvet 1 1 feet by 9 feet. It was made 
 for Cardinal Chigi when he was Cardinal Minister of 
 State prior to his election to the papacy in 1655, as 
 Alexander VII. The Chigis were a family of bankers, 
 and in 1510 Pope Julius II of the Della Rovera family 
 had allowed them to quarter his arms. The tree quarters 
 of the coat of arms on the banner are for Chigi, and the 
 others for Della Rovera. For centuries the Chigis were 
 famous as patrons of art, and the famous Famese Palace 
 in Rome, containing marvelous frescos by Raphael, 
 was their residence. From this palace came one of the 
 great Madonnas in the Mrs. Gardner’s collection, as 
 well as the damask wall covering in Mr. Morgan’s library. 
 It is a rare privilege to see such a wonderful textile as 
 this, and particularly to study tapestry texture by contrast 
 with it. 
 
 81. ANCIENT GOBELIN TAPESTRY, 1 1 feet 
 
 by 13 feet. (Lent by Mrs. Joseph T. Jones.) 
 
 \U-vtL tv WajMsA 
 
 
Books on Tapestries 
 
 The Buffalo Public Library and The Grosvenor Li- 
 brary have generously lent to The Buffalo Fine Arts 
 Academy the following books and magazines containing 
 articles on Tapestries which will be on file for reference 
 in the Albright Art Gallery during the period of the 
 Tapestry Exhibition. 
 
 Lent by The Buffalo Public Library. 
 Addison, Julia D. W. 
 
 Arts and crafts in the middle ages, p. 154-178. 745-59 
 
 Candee, Helen C. 
 
 The tapestry book. 677- 1 1 C 
 
 Dilke, Lady. 
 
 Fre " c , h f“ r r niture an d decoration in the 18th century, 
 
 p. 102-125. 
 
 Fowke, F. F. 
 
 Bayeux tapestry. 
 
 Guiffrey, Jules. 
 
 Histoire de la lapisserie de puis le moyer age 
 jusqu a nos jour. 
 
 Labarte, Jules. 
 
 Arts of the middle ages and renaissance, p. 86. 
 
 Muntz, Eugene. 
 
 Short history of tapestry. 
 
 Rock, Daniel. 
 
 Textile fabrics, p. CX-CXIV and p. 294-3 I I. 
 
 Vallance, Aymer. 
 
 William, Morris, p. 111-122. 
 
 645-B-15 
 
 677-42 
 
 677-B-13 
 
 747-1 
 
 677-27 
 
 677-B-I 
 
 928.2-B-M 83v. 
 
Lent by The Grosvenor Library. 
 
 Lessing, J. 
 
 Die Wandteppiche aus dem Leben des Erzvaters Jacob, {In 
 Vorbilder-hefte aus dem Kgl. Kunstgewerbe-museum. Heft 25.) 
 
 Strange, T. A. 
 
 Gobelins and Beauvais. {In his Historical guide to French 
 interiors.) Williams, L. 
 
 Thomson, W. G. 
 
 A history of tapeSlry. 4to. N. Y. 1906. 
 
 Williams, L. 
 
 Tapestry. {In his Arts and crafts of older Spain, Vol. 3.) 
 
 Further books and articles on Tapestries not men- 
 tioned above can be had by applying at The Buffalo 
 Public Library and The Grosvenor Library. 
 
 The Ulbnch Company, Buffalo, have also generously 
 lent to The Buffalo Fine Arts Academy, for reference, 
 during the period of the TapeStry Exhibition, several 
 volumes of the important work : “TapeStries, Their Ori- 
 gin, Phstory and Renaissance,” by Mr. George Leland 
 Hunter. 
 
 42 
 
GETTY CENTER LIBRARY 
 
 3 3125 00128 3304 
 
A New and Important Membership 
 
 The membership recently instituted by The Buffalo 
 Fine Arts Academy, called “The Friends of the Albright 
 Art Gallery,” should command the support of those 
 Buffalonians who are interested not only in matters of 
 art but in the advancement of the city towards its 
 aesthetic and cultural ideal. Inasmuch as the income 
 from these five-dollar memberships is to be used for the 
 purchase of works of art for the Gallery’s permanent 
 collection, civic pride ought to be a compelling factor in 
 the desired increase in this membership. Several thou- 
 sand personal invitations have been sent out, but it is 
 obviously impossible to secure in this way all the neces- 
 sary cooperation. In spite of all the examples of the 
 work of contemporary artists here and abroad to be 
 found on its walls, the pictures of many painters are 
 missing, pictures which ought to grace our own walls 
 but are finding homes in other museums more fortunate 
 than ours in having ample funds for making purchases, 
 or else are being eagerly bought by discriminating 
 collectors. 
 
 It has been decided to endeavor to interest the 
 general public in this branch of the Gallery’s activity, 
 and there ought to be little trouble in establishing a 
 membership of from one to two thousand. Besides 
 the sense of cooperation in the work, there are, however, 
 material benefits to be secured, and all “Friends” will 
 have the same privileges as formerly were granted Asso- 
 ciate members, for the new membership takes the place 
 of the old Associate membership. Invitation blanks and 
 circulars will be sent on application, or may be had at 
 the office of the Gallery.