4 years ago

The Tapestry Book, by Helen... - Yesterday Image

The Tapestry Book, by Helen... - Yesterday Image


The Tapestry Book, by Helen Churchill Candee. 64 of 196 03/03/2009 19:16 See larger image VERTUMNUS AND POMONA First half of Sixteenth Century. Royal Collection of Madrid It must not be supposed the Flemish artists were content to let the Italians entirely usurp them in the drawing of cartoons. The lovely refinement of the Bruges school having been thrust aside, the Fleming tried his hand at the freer method, not imitating its classicism but giving his themes a broader treatment. The Northern temperament failed to grasp the spirit of the South, and figures grew gross and loose in the exaggerated drawing. Borders, however, show no such deterioration; the attention to detail to which the old school was accustomed was here continued and with good effect. No stronger evidence is needed than some of these half savage portrayals of life in the Sixteenth Century to declare the classic method an exotic in Flanders. But with the passing of the old Gothic method, there was little need for other cartoonists than the Italian, so infinitely able and prolific were they. Andrea del Sarto, Titian, Paolo Veronese, Giulio Romano, these are among the artists whose work went up to Brussels workshops and to other able looms of the day. We can fancy the fair face of Andrea’s wife being lovingly caressed by the weaver’s fingers in his work; we can imagine the beauties of Titian, the sumptuousness of Veronese’s feasts, and the fat materialism of Giulio Romano’s heavy cherubs, all contributing to the most beautiful of textile arts. Still earlier, Mantegna supplied a series of idealised Pompeian figures exquisitely composed, set in a lacy fancy of airy architectural detail, in which he idealised all the gods of Olympus. Each fair young goddess, each strong and perfect god, stood in its particular niche and indicated its penchant by a tripod, a peacock, an apple or a caduceus, as clue to the proper name. Such airy beauty, such dainty conception, makes of the gods rulers of æsthetics, if not of fate. This series of Mantegna was the inspiration two centuries later of the Triumphs of the Gods, and similar hangings of the newly-formed Gobelins. Giulio Romano drew, among other cartoons, a set of Children Playing, which were the

The Tapestry Book, by Helen Churchill Candee. 65 of 196 03/03/2009 19:16 inspiration later at the Gobelins for Lebrun’s Enfants Jardiniers. As classic treatment was the mode in the Sixteenth Century, so classic subject most appealed. The loves and adventures of gods and heroes gave stories for an infinite number of sets. As it was the fashion to fill a room with a series, not with miscellaneous and contrasting bits, several tapestries similar in subject and treatment were a necessity. The gods were carried through their adventures in varying composition, but the borders in all the set were uniform in style and measurement. In those prolific days, when ideas were crowding fast for expression, the border gave just the outlet necessary for the superfluous designs of the artist. He was wont to plot it off into squares with such architectonic fineness as Mina da Fiesole might have used, and to make of each of these a picture or a figure so perfect that in itself it would have sufficient composition for an entire tapestry. All honour to such artists, but let us never once forget that without the skill and talent of the master-weaver these beauties would never have come down to us. See larger image VERTUMNUS AND POMONA First half of Sixteenth Century. Royal Collection of Madrid

Tapestries After - The Metropolitan Museum of Art
Download a PDF of the Tapestries for Sale, including images
Multicultural Family Adoption Issues - Tapestry Books
Discussion Questions for Adopted: The Ultimate ... - Tapestry Books