The Franco-British exhibition of textiles 1921

vicTORiA^ AND josmr MusEim^mm

THE FRAHCO-BEIT

EXHIBITION OF T

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CORNELL

UNIVERSITY

LIBRARY

BOUGHT WITH THE INCOME
OF THE SAGE ENDQ-WMENT
FUND GIVEN IN 189I BY

HENRY WILLIAMS SAGE

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Cornell University
Library

The original of this book is in
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Cornell University Library
NK8801.L84 V6 1921

The Franco-British exhibition of textile

3 1924 030 683 274

olin Overs

VICTORIA AND ALBERT MUSEUM

THE FRANCO-BRITISH

EXHIBITION OF TEXTILES

192 I

LONDON: PUBLISHED UNDER THE AUTHORITY
OF HIS MAJESTY'S STATIONERY OFFICE, 1922

The edition has been Hmited to 300
copies, of which this is No. ..l-^'^.

Crown Copyright Reserved

FRENCH COMMITTEE.

President du Comite d'Honneur: M. Briand, President du Conseil, Ministre des
Affaires Etrangeres.

Comite d'Honneur: MM. Francois Carnot, President de I'Union des Arts
Decoratifs ; Olivier Sainserre.

President d'Honneur : M. Berard, Ministre de I'lnstruction Publique et des
Beaux-Arts.

President : M. Paul L^on, Directeur des Beaux-Arts.

M. DuMONTHiER, delegue du Gouvernement Fran^ais, Administrateur du Mobilier
National.

Commissaire general du Gouvernement Franyais : M. Georges Saville Seligman.

GENERAL COMMITTEE.

MM. Henry Lapauze, Conservateur du Petit Palais.

Raymond Koechlin, President des Amis du Louvre.

Jean Robiquet, Conservateur du Musee Carnavalet.

Metman, Conservateur du Musee des Arts Decoratifs.

Edmond Jaloux, Chef de la Section artistique et litteraire (Service des
CEuvres fran^aises a I'etranger) au Ministere des Affaires Etrangeres.

Adrien Fauchier-Magnan.

Hennequin, Directeur Honoraire au Ministere de I'lnterieur, Vice-
President de la Societe du Costume.

Robert Brussel, Chef du Service d'Etudes au Ministere des Beaux-Arts.

Maurice Leloir, Artiste peintre, President de la Societe du Costume.

Toudouze, Homme de Lettres.

De Farcy (d'Angers), Archeologue.

BRITISH COMMITTEE.

The Right Hon. David Lloyd George, O.M., M.P., Prime Minister.

The Right Hon. H. A. L. Fisher, M.P., President of the Board of Education.

The Right Hon. J. Herbert Lewis, M.P., Parliamentary Secretary.

GENERAL COMMITTEE.

His Grace The Duke of Buccleuch, K.T.

The Right Hon. Viscount Burnham, C.B.

The Right Hon. The Earl of Crawford and Balcarres, K.T.

The Right Hon. The Lord Carmichael of Skirling, G.C.S.L, G.C.I.E., &c.

The Most Hon. The Marquess of Granby.

The Right Hon. A^iscount Harcourt.

Sir Frederic G. Kenyon, K.C.B., Litt.D.

The Right Hon. The Earl of Lytton, P.C.

His Grace The Duke of Portland, K.G., G.C.V.O.

J. W. Simpson, Esq., P.R.LB.A.

A. A. Campbell Swinton, Esq., F.R.S., &c.

Sir Isidore Spielmann, C.M.G.

Sir Charles Walston.

Sir Frank Warner, K.B.E.

Sir Aston Webb, K.C.V.O., C.B., P.R.A.

LIST OF ILLUSTRATIONS

^LATE Catalogue

No. Xo.

I. Tapestry. Death of Hercules on Mount Oeta. Flemish ; early

1 6th century .... His Majesty the King. 58

II. Tapestry. " The Virgin in the Temple; her perfections." Be-
tween 1509 and 1 53 1 . . The Cathedral of Rheims. 217

III. Tapestry. " Une Danse de Bergers et de Bergeres." Gobelins;

between 1693 and 1705. . . Mobilier National. 2

IV, Tapestry. "La Chaste Susanne." Gobelins; between 171 5 and

1731 . . . . . . Mobilier National. 7

V, Tapestry. The Wrath of Achilles. Gobelins; between 1722 and

1733 . . . . . . Mobilier National. 10

VI. Tapestry. Summer. Gobelins; between 1686 and 1691 . 12

Mobilier National.

VII. Carpet. Woven at the Savonnerie factory in the reign of

Louis XIV ..... Mobilier National. 24

VIII. Tapestry. A School for Boys and Girls. Flemish; 17th century 28

M. Perdreau.

IX. Tapestry. The Last Judgement. Flemish; early 1 6th century . 32

M. Demotte.

X. Tapestry. The Adoration of the Magi. Flemish; early i6th

century ...... M. Demotte. 3 3

XI. Tapestry. Falconry. Franco-Flemish; early 15th century . 35

Musk des Arts Decoratifs, Paris.

XII. Tapestry. Rhetoric. Franco-Flemish; early i6th century . 38

Musee des Arts Decoratifs, Paris.

XIII. Tapestry. Vertumnus and Pomona. After Fran9ois Boucher.

Beauvais; middle of 1 8th century . . M.Reinach. 39

XIV. Tapestry. Amphitrite and Ceres. French; about 1700 . .42,43

M. Larcade.

XV. Tapestry. "Le Depart pour la Peche." After Fran9ois Boucher.

Beauvais; middle of 1 8th century . . M.Stettiner. 49

V

Plate Catalogue

No. No.

XV'I. Tapestry. "LaTente du Vivandier." After Fran9ois Casanova.

Beauvais; late 1 8th century . . • M. Wildenste'm. 51

XVII. Woollen Pile Carpet. English; 17th century. • -52

T'he Countess of Ports?notith.

XVIII. Woollen Pile Carpet. Persian; 1 6th century . . . 53

The Earl of Ilchester.

XIX. Silk Pile Carpet (portion), on a ground of gold and silver

thread. Chinese Lady Cunliffe. 54

XX. Woollen Pile Carpet. Persian; 17th century • • • 55

R. H. Benson, Esq.

XXI. Woollen Pile Carpei (portion). English (Moorfields) ; 1769. 57

'The Duke of Northumberland, M.V.O.

XXII. Tapestry. History of Charlemagne. Flemish ; second half ot

15 th centurv . . . Major the Hon. J. J. Astor. 59

XXIII. Tapestry. "La Fausse Dulcinee." By Cozette. Gobelins;

1770 ..... The Duke of Rutland, K.G. 60

XXIV. Tapestry. The Tonsure. Flemish ; middle of 15th century . 61

Miss Enid Du Cane.

XXV. Pair of Tapestry Panels. The Virtues and Vices. Franco-
Flemish ; 1 6th century . Major the Hon. J . J. Astor. 63

XXVI. Tapestry. " Les Tentures de Franyois Boucher." By James

Neilson. Gobelins; 1783 The Duke of Portland, K.G. 65

XXVII. Settee and Three Fire-Screens, covered with Tapestry. The

tapestry, Gobelins of the late 1 8th century ... 72

The Duke of Portland, K.G.

XXVIII. Tapestry. " The Naked Boys." Mortlake ; 17th century . 73

The Duke of Rutland, K. G.
XXIX. Tapestry. History of Moses. Brussels; 17th century . . -yy

y. Pierpont Morgan, Esq.
XXX. Tapestry. Europa and the Bull. Gobelins; first half of 1 8th

century .... Captain Geoffrey Darley. 79

XXXI. Woollen Pile Carpet. Persian; 17th century ... 80

G. Mounsey, Esq.
XXXII. Woollen Pile Carpet. Persian; 17th century . . -83

Sir Isidore Spiehnan, C.M.G.
XXXIII. Eight Gloves of Embroidered Leather. English; late i6th

to early 1 8th century . . . Robert Spence, Esq. %'i,'i()

vi

^LATE Catalogue

No. No.

XXXIV. Embroidered Glove. English; early 17th century . . 90

JV. J. Mac knight, Esq.
Bible (London, 1648) and Metrical Psalms (Edinburgh,

1652), with embroidered binding. The Misses Urqiihart. 100
NoTE-BooK, with embroidered binding. English; early 17th

century . . . . . F. A. Raix'hvice, Esq. 229

XXXV. Embroidered Linen Tunic. English; early 17th century . 91

Sir William Lawrence, Bart.

Embroidered Linen Cap. English; early 17th century 92

Sir William Lawrence, Bart.
Embroidered Linen Cap. English; late i6th or early 17th

century .... Sir William Lawrence, Bart. 95

XXXVL Embroidered Panel, with monogram of Mary, Queen of
Scots ; applique-work velvet panel, with the initials of
Elizabeth, Countess of Shrewsbury. i6th century 203,204

The Duke of Devonshire, K. G.

XXXVIL Two Square Panels of Embroidered Velvet; Two Octa-
gonal Panels of Embroidered Canvas, with Latin
mottoes. English; late i6th century . 10 1, 102, 105, 106

The Duke of Devonshire, K.G.

XXXVIIL Screen of Beauvais Tapestry, after J. B. Oudry. Middle of

1 8th century ..... M. Larcade. 122

XXXIX. Fire-Screen of Tapestry. French; middle of i 8th century 123

M. Lehman.
Fire-Screen of Silk Embroidery. Napoleon I in a car of

triumph. French; early 19th century .... 246

Sir Isidore Spiel man n, C.M.G.
Fire-Screen of Tapestry. French; middle of i8th century 247

The Viscountess Har court, G.B.E.

XL. Screen, with four Savonnerie panels, knotted in woollen pile.

Period of Louis XV .... M. Larcade. 124

XLI. Two Tapestry Panels, with figure subjects. Beauvais; second

half of I 8th century .... M. Guerault. 127, 128

XLII. Chasuble (front) of Embroidered Velvet. Spanish; i6th

century ...... M. Delore. 138

Chasuble (back) of Velvet Brocade, with embroidered

orphrey. English embroidery; early i6th century. . 139

M. Saville Seligman.

vii

Plm'e Caialogue

No. Np-

XLIII. Brocade Jacket. Worn by Charles, Comte de Blois, at the

Battle of Auray in 1364 . . • M. Chappee. 152

XLIV. Four Panels of "Velours Grjegoire": (156) the Holy Family;
(157) the Virgin and Child; (158) a Nymph; (159)
General Buonaparte. French; late i8th or early 19th
century .... M. Saville Seligtnan. 156-159

XLV. Embroidered Panel. The Adoration of the Magi. Flemish ;

first half of 1 6th century . . M. Saville Seligman. 161

Embroidered Panel. The Garden of the Hesperides (.?). French;

1 6th century M. Saville Seliginan. 174

XLVI. Woollen Pile Carpet, of the Legion of Honour. Woven at

Tournai. Period of Napoleon I . Mobiliej- National. 200

XLVII. Tapestry. The Pasture. After Teniers. Woven by J. van der

Borght. Flemish ; late 17th century . . . .211

'The ItLarl of Crawford and Balcarres, K.T.

XLVII I. Tapestry. The Vintage. After Teniers. Woven by Jacques

van der Borght. Flemish; i8th century . . 216

The Earl of Crawford and Balcarres, K. T.

XLIX. Tapestry Screen. French ; middle of i8th century . . 249

The Earl of Crawford and Balcarres, K. T.

Settee, upholstered w^ith Tapestry. French; middle of 18th

century . The Earl of Crawford and Balcarres, K.T. 250

L. Screen of Tapestry and Two Chairs, upholstered with Tapestry.

French; late 1 8th century . . The Earl of fersey. 248

Settee and Two Chairs, upholstered with Tapestry. French ;

late 18th century . . . . L. Lowenstein, Esq. 259

Vlll

THE FRANCO-BRITISH EXHIBITION

OF TEXTILES

THE project of which this exhibition was the outcome had its
origin in almost the darkest times of the war. Even in 1 9 1 6
there were those in France, not to speak of England, who discerned
far away the glimmerings which foretold the brighter days to come,
and felt that the close union fostered by the war could not be allowed
to lapse with the advent of peace. Of the many forms in which this
feeling was destined to find expression, none more graceful and
appropriate could be devised than that of a united exhibition of some
of the great works of art possessed by the two countries.

From the time of its first inception the scheme was held steadily
in view. After the advent of peace French and British Committees
were appointed and the plan was pressed forward both in Paris and
London. Its happy realization must be held to be due entirely to
the generosity of the French Government, supported by the goodwill
and enthusiasm of the members of the French Committee and of
all the distinguished officials concerned. The untiring labours of
M. Saville Seligman, the Commissaire gene'ral appointed by the French
Government, were indispensable to success from the beginning.

The exhibition was opened on the 12 th February. Among
those present on the occasion were H.E. the French Ambassador,
Mr. H. A. L. Fisher, Minister of Education, M. Paul Leon, Directeur
des Beaux-Arts, and members of the French and British Committees.
It remained on view until the ryth April.

B I

The vast treasure-house of the MobiHer National was largely
drawn upon. Under the supervision of M. Dumonthier, its distin-
guished administrator, assisted by members of his staff, the North
Court of the Museum was transformed into a Salon d'Honneur by
means of a remarkable series of Gobelins tapestries and Savonnerie
carpets from the collection under his charge. Other valuable loans
from well-known French Collections occupied the South Court
adjoining. The loans obtained in England occupied a much smaller
space, but efforts were not spared to make this section worthy of the
remarkable collection sent from France.

HIS MAJESTY THE KING graciously lent a Flemish tapes-
try panel of the i 6th century.

"LES SUJETS DE LA FABLE." Adapted from cartoons by A.
Monnier and A. Corneille Le jeune, after designs usually attributed
to Giulio Romano and Raphael. Woven by Jean le Febvre (1662-
1700J and Jean Jans fils ( 1668-1 723 j. Gobelins; woven between
1693 3.nd 1705. From a set of eight panels.

1. "UNE MUSIQUE OU JOUEURS d'iNSTRUMENTS, DE LA DROITE."

2. "UNE DANSE DE BERGERS ET DE BERGERES, DE LA DROITE." By le

Febvre. (Plate III)

3. "UNE DANSE DES NYMPHES, DE LA GAUCHE." By janS.

4. "uNE MUSIQUE OU JOUEURS d'iNSTRUMENTS, DE LA GAUCHE." By JaUS.

"THE OLD TESTAMENT." After designs by Antoine and Charles
Coypel. Woven by Jean jans his (1668-1723J and Jean le Febvre
ills (1699-1736^ Gobelins ; woven between i 7 i 5 and 1 7 3 i . From
a set of eight panels.

5. THE SACRIFICE OF JEPHTHAh's DAUGHTER. By jaUS.

6. THE FAINTING OF ESTHER. By janS.

7. SUSANN A AND THE ELDERS ("la CHASTE SUSANNe"). ByJailS. (Plate IV)

8. JOSEPH REVEALING HIMSELF TO HIS BROTHERS. By Ic FebvrC.

"THE ILIAD." After designs by Antoine and Charles Coypel and
Charles Herault. Woven by jean Jans iils(i 668—1 7 2 3), Jean le Febvre
fils (1699-1736) and Audran. Gobelins; woven between 1722
and 1733. From a set of five panels.

9. DIDO AND AENEAS. By JailS.

10. THE WRATH OF ACHILLES. By Jans. (Plate Vj

11. THE SACRIFICE OF iPHiGENiA. By Audran; 1733.

"LA GALERIE DE SAINT-CLOUD." From cartoons by Simon
Dequoy, Remondon and Bourguignon, after Pierre Mignard (1610-
1695). Woven by Jean Jans fils (1668-17 2 3). Gobelins; woven
between 1686 and 1691. From a set of six panels.

12. SUMMER ("sacrifice IN HONOUR OF CEREs). By Jaus. (Plate VI)

13. AUTUMN (triumph OF BACCHUS AND ariadne). By Jans.

14. WINTER (CYBELE, SATURN, AND VULCAn) . By JanS.

15. PARNASSUS (aPOLLO AND THE MUSES j. By JanS.

B2 3

"ENTRE-FENETRES DES TERMES/' After dcsii^iis by Charles
Le Brun, hrst Director of the Gobehns [(/. 1690). Woven by the
De Laeroix, pere et his, and by |. Sonet. From three different sets:
Nos. 16 and 17 from the hfth set, woven between 1729 and 1732;
18 from the hrst set, woven between 1704. and 1708; 19 from the
third set, woven between 1704 and 171 i.

16. TERME SIMPLE. Sio;ned "-Laeroix'' (^hls).

17. TERMK siNu^LE. Signed "Laeroix" (his).

18. TERAH': DOUBLE. Sio;ned "D. Laeroix, P'' (pere).

19. TERME DOUBLE. Signed "-L So\'et'\

20- 26. SEVEN CARPETS, knotted m woollen pile at the Savon-
nerie fietory in the time of Louis XIV. The designs, which are
similar, though varied, include borders and bands simulating gilt
mouldings, floral scrolls, royal arms and devices, and panels contain-
ing allegorical hgures or landscapes. The hrst traces of the making
ot pile carpets in France are found at the beginning of the 17th
century, when Pierre Dupont was granted a lodging and workshop
in the Louvre for the purpose of making carpets in the manner of
Turkey and the Levant. The origin of the famous Sa\ onnerie works
dates from a few years later when, in 1626, Simon Lourdet, a pupil
of Dupont, set up carpet-looms on the banks of the Seine at Chaillot,
a suburb of Paris, in buildings originally used as soap-works and
aft:erwards as a hospice for poor children, bearing the name of the
" hospice de la Savonnerie". In 1825, ^^ft<-'i' existing at the Savonnerie
for 200 years, the factory was united with the tapestry works of the
Gobelins. (Plate VII)

27. A BANQUET SCENE, known as " Le Repas de Scipion'\ In
the middle of the upper border is an o\'al cartouche, enclosing
a representation of Ganymede being borne aloft by the eagle of
Jupiter. The panel bears the mark of the weaver, Henri Reydams.
In the middle of the lower border are the arms and motto of Luis
de Benavides Carillo de Toledo, second marquis of Caracena^ fifth
marquis of Fromesta (d. 1 668), successively viceroy of Milan (i 6^1,)

+

and governor of the Spanish Netherlands from 1659 to 1664.
Brussels; third quarter ot 17th century. Madame yume/k.

28. A SCHOOL FOR BOYS AND GIRLS. The Girls' school on
the left, showing girls engaged in needlework, and the Boys' school
on the right, showing boys practising geometry. Flemish; 17th
century, from a i6th century cartoon. (Plate VIII)

M. Perdreaii.

29. THE ANNUNCIATION, the Nativity, and the Adoration of
the Magi. On the right of the second subject is St. John the Evangelist,
and on the left is the Prophet Isaiah ; each has an inscribed scroll.
On the left of the tapestry is St. Andrew the Apostle; he is writing
on a scroll a clause from the Apostles' Creed, "Ft lesum Christum
Filium Suum Vnicum Dominum Nostrum." He belongs to a group,
part of which is missing. Flemish ; early 1 6th century. M. Demotte.

30. THE RESURRECTION, Christ appearing to his disciples,
the Ascension, and the Trinity. On the left of the last subject is
the Prophet Amos, with a scroll inscribed "Ipse (for 'Qui') Aedi-
licat Ascensionem Suam in Caelo" (Amos ix. 6), and on the right
is St. James the Apostle, with a scroll bearing a clause from the
Apostles' Creed, "Ascendit Ad Celos Sedet Ad Dextera(m) Dei
Patris 0(mn)ipoten(ti)s." On the left of the tapestry is St. Thomas
with a scroll bearing a clause from the Apostles' Creed, " Descendit
Ad Inferna T(er)cia Die Resur(r]exit." He belongs to a group, part
of which is missing. Flemish ; early 1 6th century. M. Demotte.

31. THE CREATION. On the right, the Trinity; on the left,
Adam and Eve in the Garden. In the first subject appear five female
figures supporting a globe showing the days of Creation ; one of the
figures represents Power ; above is the Eternal Father, enthroned ;
below them is the Prophet Jeremiah, on the left, with a scroll in-
scribed, "Patre(m) Invocabimus Qui", and, on the right, St. Peter
with a scroll bearing a clause from the Apostles' Creed, "Credo In
Deu(m) P(at)rem Om(nip)ote(njte(m) Creat(orem) Ca(e)li Ft
(Terrae)." To the left of the main group is the Eternal Father be-

5

tween two angels, with Adam and Eve below, and, lower still, three
crowned and sceptred female figures, two of whom represent Be-
nignity and Power. In the upper left-hand corner are Adam and
Eve, accompanied by "Co(n)servacio" and another female figure, in
the presence of the Trinity. In the upper right-hand corner is the
Trinity, while below are three female figures, "Gubernacio", "Re-
dempcio", and "Caritas", which form part of a subject now missing.
Flemish; early i6th century. M. Dejitotte.

32. THE LAST JUDGEMENT. The figure m the lower left-hand
corner is the Prophet Isaiah; he holds a scroll inscribed "ludicabit
G(ente)s Et Arguet P(opjulos Multos" (Is. ii. 4). The figure in the
lower right-hand corner holds a scroll which also bears a verse from
the book of Isaiah, "Dfominjus Ad Iudica(n)du(m) Veniet" (iii.14),
but has reference to a clause in the Apostles' Creed of the same pur-
port ; this figure is meant for the Apostle St. Philip or the Apostle
St. Thomas. Flemish; early i6th century. (Plate IX)

M, De7notte.
3 3 . THE ADORATION OF THE MAGI, the Magi before Herod,
the Presentation in the Temple, the Holy Family, and Christ with
the Doctors in the Temple. Among the figures of the first subject
are Chastity, Humility, and Devotion. In the lower right-hand
corner is the Prophet Hosea, with a scroll inscribed, "Ex Egypto
Vocavi Filiu(m) Meufm) " (Hosea xi. i ). Flemish; early 1 6th century.
(Plate X) M. Demotte.

34. THE EMPEROR AUGUSTUS and the Tiburtine Sibyl, and
St. Simeon's Prophecy. In the lower left-hand corner is the Prophet
Micah, with a scroll resting on his knee. Flemish; early i6th cen-
tury. M. Demotte.

35. FALCONRY. Figures on the banks of a stream in a wooded
landscape. Franco-Flemish; early 15th century. (Plate XI)

Musee des Arts Decoi'atifs^ Paj^is.

36. BEAR HUNTING. A lady and a gentleman in a landscape;
in the foreground is a dog in armour attacking a bear. French; first
half of the 15 th century. M. Demotte.

6

3 7. A HUNTING PARTY. The principal figure has been iden-
tified as Charles VI of France, stopped by his jester in the forest of
Le Mans. Flemish; about 1500. M. Deniotte.

38. RHETORIC. "Dame Rethoricque " is seated on a throne,
holding in one hand a sceptre surmounted by a crown, and in the
other a jewelled coronet. Around her are a group of scholars. Franco-
Flemish ; early 1 6th century. (Plate XII)

Musee des Arts Decoratifs^ Paris.

39. VERTUMNUS AND POMONA. One of a set entitled
" Fragments d'Opera", woven after designs by Francois Boucher.
Beauvais; middle of the i8th century. (Plate XIII)

M. Theodore Reinach.

40. VULCAN AND VENUS. One of a set entitled "Les Amours
des Dieux", woven after designs by Francois Boucher. Beauvais ;
middle of the i8th century. M. Meiiier.

41. "LA LAITli^RE." One of a set entitled "Les jeux Russiens",
woven after designs by Le Prince. Beauvais ; second half of the
1 8th century. M. Theodore Reinach.

42-45. FOUR TAPESTRIES representing the Four Elements,
Jupiter for Fire, Juno for Air, Ceres for Earth, and Amphitrite for
Water. French; about 1700. (Plate XIV j

M. Larcade.

46-49. FOUR TAPESTRIES belonging to a set entitled "La
Tenture Chinoise", woven between 1743 and 1767 fi^om designs
by Dumont, after sketches by Fran9ois Boucher — "Foire Chinoise",
"La Danse", "Le Depart pour la Peche", and "Le Retour de la
Peche". Beauvais; middle of the 1 8 th century. (Plate XV)

M. Stettmer.

50-51. TWO TAPESTRIES belonging to a set entitled "Les
Convois Militaires", woven after designs by Francois Casanova —
"La Bataille" and "La Tente du Vivandier". Beauvais; late i8th
century. (Plate XVI) M. lViide?istein.

7

5 2. CARPET, knotted in woollen pile, with a pattern of feathers,
birds, and floral devices on a pale-green ground. English; 17th
century, (Plate XVII) "The Countess of Portsmouth.

53. CARPET, knotted in woollen pile, with animals and floral
devices on a dark-blue ground. Persian ; 1 6th century. (Plate XVIII)

The Earl of lichester.

54. CARPET, knotted in silk pile on a ground woven with gold
and silver thread. The pattern consists of a row of eleven niches
containing floral patterns. Chinese. (Plate XIXj

Lady Cunliffe.

55. CARPET, knotted in woollen pile, with a floral pattern on a
dark crimson ground. Persian; 17th century. (Plate XXj

R. H. Benson^ Esq.

56. CARPET, knotted in woollen pile, with large centre medallion
and wide border fllled with festoons of flowers. English ; early 19th
century. The Duke of Devo7tshire^ K.G.

57. CARPET, knotted in woollen pile. It is divided into three
square panels containing large medallions and classical ornament.
English (Moorfields) ; 1769. An inscription reads "by Thomas
xMoore, 1769". (Plate XXI)

The Duke of Northu,?7iberland^ M.V.O.

58. HERCULES, clad in the poisoned tunic of Nessus, consumes
himself by fire on Mount Oeta. Lichas, who brought the tunic from
Deianira, lies bleeding on the left. On the right stands Philoctetes,
to whom Hercules gave his bow and arrows before throwing himself
on his ftineral pyre. The inscription at the top is as follows :

Dianira pour li oster de oeuvre imunde
La chemise lui transmist par Licas
Quil mist a mort et le plus preux du mond
Fina les jours par ce malheureux cas.
Flemish; early 1 6th century. (Plate I)

H.M. The King.

59- HISTORY OF CHARLEMAGNE. Two scenes are repre-
sented ; they are divided by a large stone column. The scene on the left
shows Charlemagne in bed, guarded by his forty knights ("quarante
chevalliers"), who hold lighted torches or drawn swords j among these
Turpin, Archbishop of Rheims, and Ogier the Dane can be made
out by the names inscribed on their robes. The Apostle St. James
("S.Iaque") appears to Charlemagne, and urges him to go to Spain
and take Galicia (the tapestry follows the story given in the Pseudo-
Turpin, a work believed to date from the 12th century). The scene
on the right shows Charlemagne and his knights issuing from the
gate of a city ; two of them, Roland and Ogier the Dane, have their
names inscribed on their armour. There is an inscription in French
along the upper end of the panel; in the second line one can read
the words "Lors Saint Jaques vint et lui dit qu'il allait au paiis
d'Espaingne". Flemish; second half of i 5th century. (Plate XXII)

Major the Ho?i. J. J. Asto?\

60. "LA FAUSSE DULCINEE." One of a set of nine tapestries
representing The History of Don Quixote, woven at the Gobelins
between 1768 and 1770, after designs by Charles Coypel, Belin de
Fontenay, and Claude Audran. Woven by Cozette; 1770.
(Plate XXIII j The Duke of Rutland, K.G.

61. THE TONSURE. One of a set of fourteen tapestries, showing
The Origin and Celebration of the Seven Sacraments. Flemish ;
middle of the 15 th century. fPlate XXIV)

Miss Rnid du Cafie.

62. A KING and His Retinue. Narrow border of flowers and fruit,
Brussels ; first quarter of 1 6th century. Lady Binning.

63. PAIR OF TAPESTRY PANELS, with figures emblematic
of the Virtues and Vices. Franco-Flemish ; i 6th century.
(Plate XXV) Major the Hon. J. J. Astor.

A. A scene in a flowery meadow. A male figure, amour de soi,
is shown riding in a car over the prostrate body of vice; he is holding
a heart and a large star ; in front walk two female figures, nature

c 9

and BONE AFECTiON, aiid behind follow two male figures, zele de bien
and espoir de^u.

B. A scene in a flowery meadow, amour charnel as Cupid, blind-
fold and about to shoot his arrow, is shown riding in a car over
the prostrate body of pudicite ; in front walk two female figures,
se[n]sualite and volupte, and one male figure, corporeil ; behind
follows a female figure, cupidite.

64. SOLOMON and the Queen of Sheba (?). Narrow border of
flowers and fruit. Brussels ; first quarter of 1 6th century.

Lady Binning.

(65-72.) "LES TENTURES DE FRANgOIS BOUCHER."

After designs by Francois Boucher, Maurice Jacques, and Louis
Tessier. Woven at the Gobelins by James Neilson in 1783. The
subjects are taken from Tasso's poem " Aminta " and Classical
Mythology. (Plate XXVI)

The Duke of Portland^ K.G.

65. SYLVIA set free by Amintus ; and Sylvia fleeing from the wolf
she has wounded.

66. LOVE reviving Amintus in the arms of Sylvia ; and Sylvia curing
Philis of a bee's sting with a kiss.

67. THE FORTUNE-TELLER.

68-7 I . FOUR PANELS, " Dessus de porte," with vases of flowers.

72. SETTEE, eight Chairs and two Screens, covered with tapestry.
Woven at the Gobelins at the same time as the large hangings.
Another Screen from another set. (Plate XXVII)

The Duke of Portland^ K. G.

73. "THE NAKED BOYS." A Fruit Gathering. Mortlake; 17th
century (before 1670). (Plate XXVIII)

The Duke of Rut/and, K.G.
Sir Sackviile Crow in a letter to the Countess of Rutland, dated 1670,
mentions a set of "The Naked Boys" and another of The Acts of
the Apostles as existing at Haddon Hall.

10

74-75- TWO TAPESTRIES belonging to a set entitled "The
Acts of the Apostles", woven after designs by Raphael — " The Death
of Ananias" and "The Blinding of Elymas the Sorcerer". Mortlake;
17th century (before 1670). 'The Duke of Riulmtd^ K.G.

76-78. THREE TAPESTRIES belonging to a set entitled "The
History of Moses", woven at Brussels in the 17th century^ — "The
Spoiling of the Egyptians", "The Gathering of the Manna", and
"Moses and the Israelites praising God". In the borders are repre-
sented objects associated with Jewish ritual and history. The names
on the lower edging are of later date. (Plate XXIX)

y. Pierp07U Mo?'gan^ Esq.

79. EUROPA AND THE BULL. Gobelins; first half of 1 8th
century. (Plate XXX) Captain Geoffrey Dar/ey.

80. CARPET, in woollen pile, with floral and arabesque pattern
on a red ground and green border. Persian; 17th century.
(Plate XXXI) G. Moimsey, Esq.

8 I. CARPET, in woollen pile, with vermiculations in red and blue.
Turcoman ("Beshire"); 19th century. E. Hart^ Esq.

82. CARPET, in woollen pile, with palmettes on a deep crimson
ground, and a panelled border. Persian; 17th century.

The Duke of Biiccleuch^ K.T.

83. CARPET, in woollen pile, with a floral pattern and vases on
a dark crimson ground. Persian; 17th century. (Plate XXXII)

Sir Isidore Spiehna?m^ C.M.G.

84. CARPET, in woollen pile, with a floral pattern on a crimson
ground. Persian; 17th century. R. H. Be?json., Esq.

85. FOUR APPLIQU^-WORK PANELS with figures of the
Sciences under arches, and Five Panels of crimson velvet with gold
strap-work design, initials, shields or crest and floral details in gold,
silver, and coloured silks mounted on black velvet. The panels
English; late i6th century. The Duke of Devonshire.^ K.G.

02 II

86. HANGING of silk embroidery. Eliezer and Rebekah at the
well Italian; 17th century. Frank Gree?i^ Esq.

87. PALL, the centre of velvet brocade; the sides, of velvet, bear
the arms and crest of the Worshipful Company of Parish Clerks,
London. 1 6th century ; repaired in 1 6 8 6. Parish Clerks' Company.

88. 89. COLLECTION OF GLOVES, illustrating the principal
types found in England from Elizabethan times to the early 19th
century, including specimens knitted in silk; embroidered on silk
and leather with coloured silks, ribbons, metal thread, bullion, and
pearls; and also those printed on leather. (Plate XXXIII)

Robert Spe?ice^ Esq.

90. PAIR OF EMBROIDERED GLOVES. English; early 17th
century. (Plate XXXIV) JV. A. Macknight, Esq,

9 I . LINEN TUNIC, embroidered in silver-gilt thread and spangles.
Enghsh; early 17th century. (Plate XXXV)

Sir William Lawrence., Bart.

92. LINEN CAP, embroidered in gold thread and black silk; floral
pattern. English; early 17th century. (Plate XXXV)

Sir Williajn Lawrence., Bart.

93. LINEN CAP-PIECE, embroidered in gold thread and black
silk; floral pattern. English; early 17th century.

Sir William Lawrence^ Bart.

94. LINEN CAP, embroidered in gold thread and coloured silks;
flowers, birds, and insects. English ; late 1 6th or early i 7th century.

Sir William Lawrence., Bart.

95. LINEN CAP, embroidered in gold thread and coloured silks;
floral pattern. English; late i6th or early 17th century.

(Plate XXXV) Sir William Lawrence., Bart.

96. PANEL, embroidered in coloured silks and gold thread on linen
with a symmetrical pattern of flowers, fruit, birds, and insects. English ;
late I 6th century. Sir William Lawrence., Bart.

12

97. LINEN HANDKERCHIEF, embroidered, round the border,
with a honeysuckle pattern in red silk. EngHsh; late i6th or early
17th century. Sir JVilliani Lawrence^ Bart,

98, 99. TWO "GARLANDS" or Head-bands of red velvet, em-
broidered with silver-gilt thread and coloured silks. They bear the
arms and the crest ot the Worshipful Company of Parish Clerks,
London, and upon the lining, the initials H.W. and the date 1601.
Formerly worn at the election of the Master and Wardens.

Parish Clerks Company.

100. BIBLE (London, 1648) and Metrical Psalms (Edinburgh,
1652), with contemporary binding embroidered with figures of Hope
and Faith in silk and silver on a white satin ground. (Plate XXXIV]

The Misses Urquhart.

1 01-104. FOUR SQUARE PANELS of red velvet with gold and
coloured-silk raised embroidery; lloral forms and initials, and the stag
tripping (the crest of Hardwick). English; late i6th century.
(Plate XXXVII) The Duke of Devonshire, K.G.

105-108. FOUR OCTAGONAL PANELS, embroidered in cross-
stitch in colours on canvas. Each has in the centre a complete plant
(gourd, clover, &c.), bearing monogram E.S. (Elizabeth, Countess
of Shrewsbury, "Bess of Hardwick," 1520-1607J surrounded by a
motto. EngHsh; late 1 6th century. (Plate XXXVII j

The Duke oj Devonshire, K. G.
109,110. TWO EMBROIDERED PANELS of velvet originally
blue, bearing simple outline foliated design in silver-gilt and pale gold
silk; initials E.S. (Elizabeth, Countess of Shrewsbury) on centre of
one, scales on the other. English; late i6th century.

The Duke 0/' Devonshire, K.G.
Ill, 112. TWO SMALL PANELS of pale brownish velvet em-
broidered with foliated design in outline, the enclosed pattern being
tinted darker. The Duke of Devonshire, K.G.

113. "THE HOLY BIBLE." Printed in London, 1629. The
binding of cream-coloured satin, embroidered, in silver thread

13

and coloured silks, with flowers, fruit, and birds; there are silk
ties. Pe?xivai Griffiths^ Esq.

114. MITRE, embroidered in coloured silks and gold thread with
figures of Saints and Angels. Italian; 14th century.

Major the H071. J. J. As tor.

115. DOGE'S CAP of brocade. Venetian; 17th century.

Major the Hon. J. J. Astor.

116. VALANCE of black velvet on which original coloured cross-
stitch embroidery is couched ; floral sprays and conventional border.
EngHsh ; late i6th century (the velvet modern).

The Duke of Devo77 shire ^ K.G.

117. VALANCE. Similar to the above, but on modern blue damask.

The Duke of Devo?ishire^ K.G.

118. SCALLOPED VALANCE, similar to the above.

The Duke of Devo7i shire., K.G.

119. VALANCE of original dark greenish velvet : plants and animal
life embroidered in coloured silks, padded. English; late i6th
century. The Duke of Devo7i shire., K.G.

120. PANEL of crimson velvet, with applied pattern in silk brocade
and embroidery. Strapwork and floral stems ; in the midst a coat-
of-arms, surmounted by an earl's coronet and flanked by the initials
E.S. (Elizabeth, Countess of Shrewsbury). English; late 1 6th
century. The Duke of Devo7ishire., K.G.

121. SQUARE PANEL of "petit-point" embroidery. An astrolabe
surrounded by sun, moon, rainbow, and stars connected by clouds.
English; late i6th century. The Duke of Devonshire., K.G.

122. SCREEN with six panels of Beauvais Tapestry, with country
scenes after J. B. Oudry. Middle of 1 8th century. (Plate XXXVIII)

M. Larcacie.

123. FIRE-SCREEN, with panel of Tapestry. Rococo pattern,
with a group of three mythological figures under a canopy, between

14

two parrots and two vases with plants. French; second half of i8th
century. (Plate XXXIX) M. Lehman.

124. SCREEN, with four "Savonnerie" Panels, knotted in woollen
pile. French; period of Louis XV. (Plate XL)

M. Larcade.

125. TAPESTRY PANEL. A Sibyl, after Domenichino. Woven
by Cozette. Gobelins; 1782, M. Larcacie.

126. TAPESTRY PANEL. Two girls seated. Part of a subject
*'L'Automne", after j. B. Oudry. Beauvais; middle of i 8th century.

M. Larcade.

127. TAPESTRY PANEL. A Little Shepherdess with three Sheep.
Beauvais; second half of i8th century. (Plate XLI)

M. Guerault.

128. TAPESTRY PANEL. Boy and Dog at Play. Beauvais;
second half of i8th century. (Plate XLI)

M. Gueraiclt,
i2(). TAPESTRY PICTURE in silk and gold. St. Mary Magda-
lene. French; 17th century. M. Saville Selig?nan.

130. COTTON VELVET. Winged Female Figure with Swan.
Painted and printed by Vauchelet et C'% Paris, about 18 10.

Mobilier National.

131. COTTON VELVET. Cupid. Painted and printed by Vau-
chelet et C'^, Paris, about 18 10. Mobilier National.

132. COTTON VELVET. Cupid testing his Arrow. Painted and
printed by Vauchelet et C'^, Paris, about i 8 10. Mobilier National.

133. COTTON VELVET. Venus and Cupid. Painted and printed
by Vauchelet et C% Paris, about 18 10. Mobilier Natioiial.

134. COTTON VELVET. A Lyre within a wreath. Painted and
printed by Vauchelet et C"", Paris, about i 8 i o. Mobilier National.

135. CHASUBLE of purple silk velvet; with orphreys of gold
and silk embroidery representing : — (front) the Annunciation, the

15

Nativity, the Adoration of the Magi, the Circumcision, the
Assumption of the Virgin, and the Crucifixion; (back) a Tree of
Jesse. EngHsh embroidery ; early 1 4th century. M. Saviile Seligman.

136. STOLE, embroidered in gold and silver thread and coloured
silks on Hnen with shields of arms of Enghsh families. English;
early 1 4th century. Formerly in the collection of Lord Willoughby
de Broke (Burlington Fine Arts Club, Catalogue of Exhibition of
Eiiglish Embf^oicieries^ 1 9 o 5 > Plate VII, p. 5 4) . M. Saviile Seligman.

137. DALMATIC of silk brocade, with four apparels embroidered
in silk and gold on velvet. Each apparel has a roundel, enclosing
respectively — SS. Joachim and Anna, with the Virgin, and, above,
the Holy Spirit as a dove ; St. James, St. Paul, and St. John the
Evangelist. Spanish ; i 6th century. M. Delore.

138. CHASUBLE of red silk velvet, embroidered with silks and
gold thread ; orphreys of silk and gold thread embroidery, worked
on the front with the Meeting of Joachim and Anna, and the
Assumption of the Virgin ; on the back are the Visitation, the
Annunciation, and the Nativity. Spanish; 1 6th century.

(Plate XLII) M. Delore.

139. CHASUBLE of velvet brocade, in gold and red, with orphreys
of silk and gold thread embroidery on linen. The orphreys are
worked with the Crucifixion and figures of Saints and Prophets under
canopies. English embroidery; early i6th century. (Plate XLII)

M. Saviile Seligjnan.

140. CHASUBLE of crimson velvet, embroidered with silks and
gold thread. The Trinity, figures of angels, fleurs-de-lys and a two-
handled vase containing a lily. English; about 1500.

NI. Saviile Seligman.

141. BACK OF CHASUBLE, of velvet brocade, in gold and crim-
son, with orphrey of silk and gold thread embroidery worked with
the Nativity, within a barbed quatrefoil, the Visitation, and the
Annunciation, Flemish embroidery; late 15th century.

M. Saviile Seligma7t.
16

142. COPE of white silk, heavily embroidered in gold and silver
thread and silks with floral stems, foliations, and two-handled vases.
On the hood, a friar with a crucifix. Portuguese; 17th century.

M. Savilie Se/igman.

143. ORPHREY of a Chasuble, cross-shaped, embroidered in silks
and gold thread with the Annunciation, the Adoration of the Magi,
and the Circumcision. German (Westphalian); late 15 th century.

M. Savilie Seligma7i.

144. ORPHREYS of embroidery, in silk and gold thread on red
silk. The Virgin and Child, Christ blessing, and Saints. Greek.

M. Savilie SeligT7ia7i.

145. CROSS-SHAPED ORPHREY of a Chasuble, of silk and gold
embroidery on linen, with the Crucifixion; SS. Peter and Paul on
the arms of the Cross ; the Virgin and St. John at its foot, and before
the Cross St. Mary Magdalene. German (Westphalian); late 15th
century. M. Savilie Seligfnan.

146. STOLE of crimson velvet, embroidered with silks and gold
thread; the Virgin and Child, angels swinging censers, and stars.
Flemish; late 15th century. M. Savilie Seligman.

147-149. THREE ORPHREYS, woven in silk and gold. German
(Cologne); 15th century. M.Chappee.

150. SILK MITRE, embroidered with conventional ornament in
silks and gold thread. 17th century. M. Chappee.

151. SILK MITRE, embroidered with floral ornament in gold
thread and spangles. 17th century. M. Chappee.

152. JACKET ("Pourpoint") of silk and gold brocade. Diaper of
octagons, enclosing lions and eagles in alternation. Worn by Charles,
Comte de Blois [b. 13 19), at the Battle of Auray, in 13 64, when he
was mortally wounded. This garment was formerly kept in the Con-
vent of Notre-Dame, belonging to the Carmelites of Angers (^see
Louis de Fargy, "Le pourpoint de Charles de Blois", Angers, 191 1;
published in Memoires de la Societe nationale d'Agriaclture^ Sciences
et Arts d' Angers). (Plate XLIII) M. Chappee.

D 17

15 3- BROCADE, in silk and silver thread on a gold ground, border
of gold braid. Floral stems and foliations. Italian; 17th century.

M. Saville Seligjna?!.

154. BROCADE, woven in silk and silver and gold thread, on
a gold ground. French; second quarter of i8th century.

M. Savii/e Seligman.

155. BROCADE, woven in silk and silver thread on a gold ground.
Vertical bands enwreathed with garlands and bunches of flowers.
French ; third quarter of i 8th century. M. Saville Selig7ncm.

156. "VELOURS GRfiGOIRE." The Holy Family. French
(Lyons); late i8th or early 19th century. M. Saville Seligman.
The process of tinting, preparatory to weaving, the warp threads that
were to form the pile was invented by Gaspard Gregoire (1751-1846).
(^See H. Algoud, Gaspard Gregoire et ses Velours (f/'^r/jParis, 1908.)

(Plate XLIV)

157. "VELOURS GREGOIRE." The Virgin and Child, with
St. Joseph. French (Lyons J ; late i8th or early 19th century.
(Plate XLIV) M. Saville Seligman.

158. "VELOURS GREGOIRE." A Nymph. French (Lyons);
late I 8th or early 19th century. (Plate XLIVj

M. Saville Seligman.

159. "VELOURS GREGOIRE." Napoleon as General Buonaparte.
French (Lyons); late i 8 th century. (Plate XLIV)

M . Saville Seligman.

160. TRIPTYCH OF EMBROIDERY, in silk and gold thread.
The Resurrection, and SS. Peter and Paul. French; 15th century.

M. Saville Selig7nan.

161. EMBROIDERED PANEL, in silk and gold thread. The
Adoration of the Magi. Flemish ; first half of 1 6th century.
(Plate XLVj M. Saville Seligman.

162. PANEL OF SILK EMBROIDERY. The Virgin with the
Dead Body of Christ at the foot of the Cross. Flemish ; 1 6th century.

M. Saville Seligma?!.

163. PANEL OF SILK EMBROIDERY. The Descent from the
Cross. French or ItaHan ; 1 6th century. M. Saville Seligman.

164. PANEL OF SILK EMBROIDERY on Velvet. The Marriage
of the Virgin. Flemish; 15th century. M. Saville Seligman.

165. EMBROIDERED PANEL, in silk and gold thread. St. John
the Baptist. Spanish or Italian ; i 6th century. M. Saville Seligmajj.

166. EMBROIDERED VELVET PANEL. St. John the Evan-
gelist, within a roundel, on a ground of floral scrolls. Spanish;
1 6th century. M. Saville Seligman.

167. EMBROIDERED VELVET PANEL. St. Mark, within
a roundel, on a ground of floral scrolls. Spanish; i 6th century.

M. Saville Seligman.

168. EMBROIDERED VELVET PANEL. St. Luke, within a
roundel, on a ground of floral scrolls. Spanish; i6th century.

M.. Saville Seligmaii.

169. EMBROIDERED VELVET PANEL. St. Matthew, within
a roundel, on a ground of floral scrolls. Spanish; i6th century.

M. Saville Seligman.

170. EMBROIDERED PANEL, in silk and gold thread, with vel-
vet border. Christ receiving SS. Philip and Nathaniel. Spanish or
Italian; i6th century. M. Saville Seligman.

171 and 172. TWO HALF-LENGTH PORTRAITS, within
ovals, of a king and a queen, surmounted by royal crowns, in silk
embroiderv, in a gold thread and tinsel setting of rococo and leaf
ornament. Middle of i8th century. M. Saville Seligman.

173. PANEL OF SILK EMBROIDERY. A serpent at the foot of
a tree; with scalloped edging of gold lace. French; late i6th cen-
tury. M, Saville Selig?nan.

I 74. EMBROIDERED PANEL, in silk and gold thread, with red
bead decoration. The Garden of the Hesperides (?j ; serpents in the
corners. French; 1 6th century. (Plate XLV)

M. Saville Seligma7i.
D 2 19

17 5- BAND of blue linen, embroidered with white linen thread.
Scenes from the myth of Arion. Portuguese; about 1600.

M. Saville Seligman.
176. LINEN BAND, partly covered with yellow silk embroidery,
leaving the pattern in reserve, outlined with blue silk thread. Foliated
scroll-work terminating in dragons' heads, and enclosing Cupids
boars and dogs. Italian; 16th century. M. Saville Seligman

I 77-1 80. FOUR LINEN BANDS, with red silk embroidery, leaving
the pattern in reserve. Scenes from the History of Moses. Italian
1 6th century. M. Saville Seligman

181. LINEN BAND, with red silk embroidery, leaving the pattern
in reserve. Scenes from the History of David. Itahan; 16th century

M. Saville Seligfnan
182-184. THREE LINEN BANDS, with red silk embroidery
leaving the pattern in reserve. Scenes from the History of Joseph
Italian; i6th century. M. Saville Seligman

185. BOX for a Corporal, covered with gold thread embroidery on
silk. The Sacred Heart enclosing the Sacred Trigram IHS, encircled
by the Crown of Thorns. French; i6th century. M. Chappie.

186. BOX for a Corporal, covered with silk and gold thread em-
broidery on velvet. The Annunciation; on the reverse side, a cross
pattee from which spring floral stems. From the Abbaye de Troan,
near Caen. French; 15th century. M. Chappee.

187. PURSE of silk tapestry, with tassels. French; Renaissance.

M. Chappee.

188. PORTIERE of brocade, and other silk fabrics, woven at Lyons
for imperial use in the time of Napoleon I. Mobilier National.

189. HANGING of embroidered satin, designed by Philippe de
Lassale (i 723-1 805), and worked for the use of Queen Marie-
Antoinette; a silk brocade designed by the same artist, and woven,
about 1 787, by Camille Pernon at Lyons, also for the Queen; and
other Lyonese silk fabrics, of the periods of Louis XVI and the
Empire. Mobilier Natio7ial.

20

190-199- SILK FABRICS (Brocades, Damasks, Velvets, &c.
woven by several firms of Lyonese weavers (Camille Pernon, Grand
Freres, Chuard et C'% Bissardon, Bony et 0% &c.) for the use of
Napoleon I, his family, and his household, including the Empresses
Josephine and Marie Louise, and the King of Rome. In addition
there are a few silks woven after the Restoration (i 8 14). The whole
period covers the first quarter of the 19th century, and perhaps a
little longer. Mobilier Natio?ial.

200. WOOLLEN PILE CARPET, woven, in wool, with the Cross
of the Legion of Honour (created 1802), surrounded by the eagles
of the sixteen Cohorts of the Legion. Woven at Tournai. Period of
the Emperor Napoleon I. (Plate XLVI)

Mobilier National.

201. MAN'S CAP, dome-shaped, of purple satin, embroidered, in
silver-gilt and silver thread, spangles and coloured silks, with sym-
metrical floral patterns. English; early 17th century,

Percival Griffiths^ Esq.

202. PAIR OF LADY'S SLIPPERS ("Mules"), of linen closely
embroidered, in silver-gilt and silver thread and coloured silks with
rose-stems, and trimmed with pink silk ribbon and metal lace.
English; first half of 17th century. Percival Griffiths^ Esq.

203. EMBROIDERED PANEL. The central medallion bears the
crowned monogram of Mary, Queen of Scots (1542-1587J, sur-
rounded by roses, thistles, and lilies. Second half of i6th century.
(Plate XXXVI.) The Duke of Devonshire, K.G.

204. PANEL of crimson velvet, with applied pattern in silk brocade
and embroidery. The initials E.S. (Elizabeth, Countess of Shrews-
bury, 1520-1607). English; late 1 6th century. (Plate XXXVI)

The Duke of Devonshire, K.G.

205. PANEL of crimson velvet, with applied pattern in silk brocade
and embroidery. In the middle a stag tripping (the Hardwick crest),
surrounded by floral forms. English; late i6th century.

The Duke of Devo7ishire, K.G.

21

2o6-209- FOUR PANELS of embroidered velvet, originally blue.
The initials E.S. (Elizabeth, Countess of Shrewsbury, 15 20-1 60 7),
the date i 590, a pair of scales, and an astrolabe, with foliated design
in outHne. EngHsh \ late 1 6th century.

The Duke of Devo?ishire^ K.G.

210. TAPESTRY. Fishing f Spring). After Teniers. By J. van
der Borght. Flemish; late 17th century.

The Earl oj Crawford and Balcarres^ K. T.

211. TAPESTRY. The Pasture (Summer). After Teniers. By J.
van der Borght. Flemish; late 17th century. (Plate XLVII)

The Earl of Crawford and Baicarres^ K. T.

212. TAPESTRY. Hunting (Autumn). After Teniers. By J. van
der Borght. Flemish; late 17th century.

The Earl of Crawford and Balcarres^ K. T.

213. TAPESTRY. Pig killing (Winter) . After Teniers. By J. van
der Borght. Flemish; late 17th century.

The Earl of Crawford and Balcarres^ K. T.

On each of the above tapestries (2 1 0-2 i 3) are the arms and quarter-
ings of the Archinto family of Milan.

214. TAPESTRY. Fishing. Woven by Jacques van der Borght.
Brussels; i 8th century. The Earl of Crawford and Balcarres^K.T.

215. TAPESTRY. Fish market. Woven by Jacques van der Borght.
Brussels; i 8th century. The Earl of Crawford and Balcarres^K.T.

216. TAPESTRY. The Vintage. Woven by Jacques van der
Borght. Brussels; i 8th century. (Plate XLVIII)

The Earl of Crawford a7td Balcarres^ K. T.
217-219. THE RHEIMS TAPESTRIES.

The series of tapestries of the Life of the Virgin belonging to Rheims
Cathedral are among the most famous in the world. Their association
with the church in which the French kings for a period of ten
centuries were crowned — the Westminster Abbey of France — gives
them an unusual claim to attention. This interest has been deepened
in our own day by those tragical sufferings of cathedral and city which

22

are a matter of recent history. But their appeal is not merely a sen-
timental one. Although begun some ten years after the opening of
the 1 6th century^ and not finished for more than twenty years after
that, they may yet be placed among the great sets of mediaeval
tapestries. Whether studied from the point of view of conception,
design, or colour, they betray none of the insincerity which at times
marks the early renaissance art of the north.

The donor was Robert de Lenoncourt, elected archbishop of
Rheims in 1509. The set was presumably begun shortly after that
event, and one of the panels bears the date 153 i — the year before the
archbishop's death. The history of the Patron Saint of the cathedral
was chosen for representation. Fourteen panels, out of seventeen
originally, have come down to modern days. Their abnormal height,
exceeding 17 teet, is explained by the vast dimensions of the cathedral
in which they were destined to be hung. The simple colouring and
pleasant straightforward design give them a wonderful freshness
and charm.

During the war the tapestries were removed to Toulouse for
security.

The three panels which by an act of extraordinary generosity
were shown in the Exhibition are the 6th, the 12th, and the 13th of
the series, representing the "Virgin in the Temple ; her perfections",
the Adoration of the Magi, and the Presentation of Christ in the
Temple. (Plate II)

The Cathedral of Rheims.

220. SILK RIBBON. Stuart relic. " The glorious at last triumphant
Prince Charles." TJie Misses Urqu/iart.

221. "THE HOLY BIBLE." Printed in London, 1699. The
binding embroidered, in silver-gilt thread and coloured silks on silver
thread ground, with a stag, leopard, and flowers.

Percival Griffiths^ Esq.

222. "RELIQUIvE SACRiE CAROLINiE." Printed at the Hague,
1 65 I . The binding embroidered, in metal thread and coloured silks,
with two female figures carrying cornucopia and palm ; also houses,
plants, rabbit, squirrel, butterfly, &c. Percival GiHffiths., Esq.

23

223- "THE HOLY BIBLE." Printed in London, 1660. The
binding of cream-coloured satin embroidered, in metal thread and
coloured silks, with portraits of King Charles II and his Queen
Catherine of Braganza, llowers, and scrollwork. The fore-edge is
painted with a floral design and the date 1662. There is a velvet
carrying-bag of the Royal Tartan. Percival Griffiths^ Esq.

224. "THE WHOLE BOOKE OF PSALMES." Printed in
London, 1643. The binding of white satin, embroidered, in silver-
gilt thread and coloured silks, with two female portraits and blossoms.

Percival Griffiths^ Esq.

225. "THE THIRD PART OF THE BIBLE." Printed in
London, 1 6 14. The binding of cream-coloured satin, embroidered,
in silver-gilt and silver thread, seed pearls and coloured silks, with
rose and vine stems, blossoms, animals, birds, and insects.

Pe7xival Griffiths^ Esq.

226. "THE HOLY BIBLE." Printed in London, 1638. The
binding embroidered, on both sides, in coloured silks on a silver thread
ground, with the Adoration of the Magi. Percival Griffiths^ F.sq.

227. "SUPPLICATIONS OF SAINTS." Printed in London,
1630. The binding embroidered, in silver-gilt thread and coloured
silks on a silver thread ground, with flowering plants and blossoms.

Percival Griffiths^ Esq.
22^. "THE WHOLE BOOK OF DAVID'S PSALMES." Printed
in London, 1635. The binding, embroidered in silver-gilt and silver
thread and coloured silks on a silver thread ground.

Percival Griffiths^ Esq.

229. NOTE-BOOK, with embroidered binding and engraved silver
clasps. Figures of the Evangehsts, SS. Matthew and Mark, within
ovals; the clasps engraved with the Four EvangeHsts. Enghsh ; early
17th century. (^Plate XXXIVj

F. A. Rawle7ice^ Esq.

230. MAT, woollen pile. Asia Minor; 17th century.

G. Mounsey^ Esq.
24

231. COVERLET of linen, embroidered with red silk. Phoenix,
in the middle, surrounded by figures of horsemen, animals, birds, and
foliated ornament. Portuguese (probably embroidered in the East) ;
early 17th century. Ladyjekyll, D.B.E.

232. CARPET, woollen pile. Palmette pattern. Indo- Persian ;
early 17th century. G. Moimsey^ Esq.

233. COVER of velvet brocade. Turkish; 1 6th century.

G. Mounsey^ Esq.

234. CARPET, woollen pile. Floral pattern. Turkish; i6th or
17th century. G. Moimsey., Esq.

235. HANGING, silk, embroidered with chenille. Spanish or
Portuguese; about 170c. Lady Horner., O.B.E.

236-241. VELVET BROCADES. Turkish; 1 6th century.

G. Moimsey., Esq.

242-244. THREE TAPESTRY PANELS for Upholstering, with
bunches of flowers on a rose-damask ground. These belong to the
set described earlier in this catalogue (65-72). Gobelins; late 18th
century. The Duke of Portland., K.G.

245. WOOLLEN TAPESTRY RUG, woven at Aubusson in
1833. Birds drinking from a vase. The Dicke of Portland., K.G.

246. FIRE-SCREEN, with panel of silk embroidery. Napoleon I
in a car of triumph. From the Palace of the Tuileries. French ; early
19th century. (Plate XXXIX)

Sir Isidore Spiel7na7in., C.M.G.

247. FIRE-SCREEN, with panel of Tapestry. An oval enclosing
a figure of Cupid, in a setting of birds, baskets of flowers, leafy scrolls,
and festoons of roses and tasselled cords. French; middle of i8th
century. (Plate XXXIX)

The Viscountess Marcourt., G.B.E.

248. FOLDING-SCREEN of Tapestry, and two Chairs, upholstered
with Tapestry. On the former is a figure of Cupid ; the backs of the

E 25

chairs show respectively a boy and a girl in a landscape. French ;
late I 8th century. (Plate L) The Earl of Jersey.

249. FOLDING-SCREEN, with panels of Tapestry. Figures in
landscapes and pairs of birds. French; middle of i8th century.
(Plate XLIX] The Eari of Crawford and Bakarres^ K.T.

250--258. THREE SETTEES and six Chairs, upholstered with
Tapestry. Figures of children in landscapes. French ; middle of
I 8th century. (Plate XLIXj

The Earl of Crawford aiid Balcarres^ K. T.

259. SETTEE and eight Chairs, upholstered with Tapestry. Vases
of flowers and floral festoons. French; late 1 8th century. (Plate L)

L. Lowenstei?^^ Esq.

26

Plate I

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Plate II

217. Tapestry. " The Virgin in the Temple ; her perfections."

Between 1509 and 1531.

The Cathedral of Rheims.

Plate III

2. Tapestry. "Une Danse de Bergers et de Bergeres." Gobelins;

between 1693 and 1705.
Mobtlier National.

Plate IV

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^^^^»j^iaurii^jiaaiBI

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Plate XIII

39. Tapestry. Vertumnus and Pomona. After Francois

Boucher. Beauvais; middle of i8th century.

M. Reinach.

Plate XIV

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Plate XV

49. Tapestry. " Le Depart pour la Peche." After Francois Boucher.
Beauvais; middle of i8th century.

M. Stettiiier.

Plate XVI

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Plate XVII

52. Woollen Pile Carpet. English; 17th century.

The Countess of Portsmouth.

Plate XVIII

53-

Woollen Pile Carpet. I
1 6th century.

The E,arl of Ilchester.

ersian ;

Plate XIX

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55. Woollen Pile Carpet. Persian; 17th century.
R. H. Bens072^ Esq.

Plate XXI

57. Woollen Pile Carpet (portion). English

(Moorfields) ; 1769.

The Duke of Northumberland J M.V.O.

Plate XXII

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6i. Tapestry. The Tonsure. Flemish; middle of 15th century.

Miss Enid Du Cane.

Plate XXV

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72. Settee and Fire-Screens covered with Tapestry. The tapestry,
Gobehns of the late i8th century.

T/ie Dicke of Portland^ K.G.

Plate XXVIII

73. Tapestry. "The Naked Boys." Mortlake; 17th century.

The Duke of Rutland^ K.G.

Plate XXIX

77. Tapestry. History of Moses. Brussels; 17th century.
y. Pierpont Morgan^ Esq.

Plate XXX

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80. Woollen Pile Carpet. Persian; i 7th century.

G. Moimsey^ Esq.

Plate XXXII

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83. Woollen Pile Carpet. Persian; 17th century.
Sir Isidore Spielmann^ C.M.G.

Plate XXXIII

8 8, 89. Embroidered Leather Gloves. English; late i 6th to early

I 8th century.

Robert Spence^ Esq.

Plate XXXIV

lOO. Bible (London, 1648) and Metrical Psalms (Edinburgh,
1652) with embroidered binding.
The Misses Uf^quhm^t.
90. Embroidered Glove, EngHsh; 229. Note-Book, with embroidered binding,
early 17th century. English; early 17th century.

W. A. Macknight, Esq. F. A. Rawlence, Esq.

Plate XXXV

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Plate XXXVI

203, 204. Embroidered Panel, with monogram of Mary, Queen

of Scots. Appliqu^ Work Velvet Panel, with the initials of

Elizabeth, Countess of Shrewsbury; i6th century.

The Duke of Devonshire^ K.G.

Plate XXXVII

loi, 102, 105, 106. Panels of Embroidered Velvet; Panels of
Embroidered Canvas with Latin mottoes. English ; late

1 6th century.

The Duke of Devonshire^ K.G.

Plate XXXVIII

12 2. Screen of Beauvais Tapestry, after [. B. Oudry.
Middle of i8th century.

M. Larcade.

Plate XXXIX

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Plate XLIII

152. Brocade Jacket. Worn by Charles, Comte de
Blois, at the battle of Auray in 1364.

M. Chappie.

Plate XLIV

156-159. Panels of "Velours Gregoire": (156) the Holy Family ;
157) the Virgin and Child; (i 5 8 j a Nymph ; (159) General Buona-
parte. French; late i8th or early 19th century.

M. Saville Seligman.

Plate XLV

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Plate XLVI

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200. Woollen Pile Carpet, of the Legion of Honour. Woven at

Tournai. Period of Napoleon I.

Mobilier National.

Plate XLVII

2 11. Tapestry. The Pasture. After Teniers. Woven by J. van der
Borght. Flemish; late 17th century.

The Earl of Crawford a?id Balcarres^ K. T.

Plate XLVIII

216. Tapestry. The Vintage. After Teniers. Woven by Jacques
van der Borght. Flemish; i8th century.

The Earl of Crawford and Balcarres^ K. T.

Plate XLIX

p., :;;.■.,.

249. Tapestry Screen. French ; middle of i 8th century.
The Earl of Crawford arid Balcarres^ K. T.

250. Settee, upholstered with Tapestry. French;

middle of i 8th century.

The Earl of Crawford a7id Balcarres^ K. T.

Plate L

248. Screen of Tapestry and Two Chairs, upholstered with

Tapestry. French; late i8th century.

The Karl of yersey.

259. Settee and Two Chairs, upholstered with Tapestry.

French; late 18th century.

L,. Lowenstein^ Esq.

PRINTED IN ENGLAND

AT THE OXFORD UNIVERSITY PRESS

BY FREDERICK HALL

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