This section is from the book "Tapestries; Their Origin, History And Renaissance", by George Leland Hunter. Also available from Amazon: Tapestries; Their Origin, History, And Renaissance.
Martin Le Roy contains 14 large photographic illustrations of tapestries, with most elaborate and learned descriptions by J. J. Marquet de Wesselot. Kann Collection 1907. Description and photographic illustrations are alike excellent in the superb two-volume folio catalogue of the collection of Rodolphe Kann. Nos. 236 to 241 are Beauvais tapestries, splendid examples and all illustrated - three picturing scenes from Molière's Comedies after designs by Oudry, five belonging to the series the Noble Pastorale after designs by Boucher. Inventories often contain valuable information about tapestries. Among the most important ones are the Charles I Inventory 1649, in no. 4898 of the Harleian Manuscripts at the British Museum, the tapestry part of which is printed by Thomson on pages 351 to 395; the Mazarin Inventory 1653, published with additions and some prices that bring it partially up to 1661, in London, 1861, by the Duke d'Aumale; the Louis XIV Inventory 1715, edited by Jules Guiffrey and published in two volumes in Paris, 1885, of which pages 293 to 374 are devoted to tapestries. Many other important tapestry inventories are to be found in whole or in part in the Histoire Generate and in Thomson.
Museum Guides and periodical publications give some but not enough information about the tapestries the museums contain. Considerable printed matter about the tapestries of the Metropolitan Museum is distributed through the various numbers of the Bulletin of that institution. The only important magazine articles about the tapestries of this Museum are mine on the Burgundian Tapestries, in the December, 1907, number of the Burlington Magazine, and on Tapestries at the Metropolitan Museum, in the February, 1912, number of the International Studio.
Plate no. 349. Crossing the Red Sea, a Late Gothic tapestry in the Boston Museum of Fine Arts, one of the best examples of the weavers' art this side of the Atlantic. Interesting to compare with it are the tapestries on the same subject in the Imperial Austrian Collection, the David and Bathsheba set at the Cluny Museum, the Creation at the Alba Sale, 1877. all illustrated in this book.
Cole South Kensington, Law Hampton Court, Hampton Court Catalogue, Sommérard Cluny, Hampe Nuremberg, Champeaux Decoratifs, Munich Guide, Munich Neubau. Alan S. Cole's Descriptive Catalogue of the Collections of Tapestry and Embroidery in the South Kensington Museum, London, 1888, with supplements in 1891 and 1896, contains some serious errors, but many valuable descriptions, and has an index. Pages 87 to 114 of the original volume are devoted to tapestries, and pages 21 to 86 to the very important collection of Egyptian (Coptic) textiles, many of which are in tapestry weave. Ernest Law, in chapter V (Mortlake, Merton, And Other English Looms), of volume I of his three-volume book entitled the History of Hampton Court Palace, second edition, London, 1903, gives much interesting information about Cardinal Wolsey's tapestries, some of which are now a part of the British National Collection at Hampton Court. Volume III of Mr. Law's book contains an index, and also between pages 170 and 171 a line illustration of the Cartoon Gallery of Hampton Court as it looked in the time of Queen Anne, when it still held the seven famous Raphael tapestry cartoons for whose display it was designed and built by Sir Christopher Wren. The Hampton
Plate no. 351. The Triumph of David after slaying the giant Goliath. An Early Renaissance tapestry, 13 feet 10 by 30 feet 3, in the Ffoulke Collection, presented by Louis XIII to Cardinal Barberini about 1625, and attributed to the design of Barend Van Orley. Note the introductory scene in the upper left corner where David returns home to report to the king, bearing the head of Goliath aloft on the giant's own sword.
Court Catalogue of the Pictures and Tapestries at that palace, London, 1905, also by Ernest Law, contains inadequate descriptions of the tapestries and of the famous Mantegna cartoons, and small illustrations in line and in half-tones of some of them. E. du Sommérard's Catalogue du Musée des Thermes et de l'Hotel de Cluny, Paris, 1883, devotes pages 494-505 and 678-681 to tapestries (nos. 6284-6339 and 10316-10351) giving the sizes of most. Dr. Theodor Hampe's Katalog of the Gewebesammlung des Germanischen National Museums of Nuremberg contains excellent descriptions of tapestries in that museum with photographic illustrations of seven (one of them attributed to the year 1400), and line illustrations of signatures. Munich Guide, otherwise the Führer durch das Bayerische National-Museum in München is arranged by rooms and gives brief descriptions of the tapestries they contain, together with valuable information on the subject of tapestry-weaving in Munich and in Lauingen in past centuries, of which the museum shows numerous examples.
Munich Neubau means the folio volume Der Neubau des Bayerischen National-Museum in München, published in Munich in 1902. The illustrations are in half-tone and show the tapestries not separately but as part of the rooms in which they hang.
Laking Windsor, Florence Tapestries, Naples Museum. Guy Francis Laking in his superb volume, the Furniture of Windsor Castle, describes 28 and gives large photographic illustrations of 3 tapestries. He also prints on pages 179-199 the Windsor part of the Henry VIII Inventory, in which tapestry "Hangyngs " lead. Florence Tapestries is the guide to the Gallery of Tapestries in Florence published by D. Appleton & Co. in New York in 1891. It contains very brief descriptions of 123 tapestries and a short introduction. It is volume XXVII of Miscellaneous Pamphlets at the Metropolitan Museum. Pages 146-148 of the Illustrated Guide to the National Museum in Naples are devoted to an excellent description of the set of seven tapestries designed by Barend Van Orley and picturing the defeat and capture of Francis I by Charles V at Pavia. Farcy Angers, Angers Apocalypse. A very valuable book is the Histoire et Description des Tapisserie de l'Église Cathedrale d'Angers by L. de Farcy, director of the Musée Diocésain, Angers, 1897. Founded upon the Abbé Barbier de Montaults's Tapisseries du Sacre d'Angers, 1858, it gives much additional information. It describes in detail the wonderful XIV century set that pictures the Apocalypse, and also other sets belonging to the Cathedral of Angers, among them the Passion in four pieces, the Discovery of the True Cross, the Story of St. Martin, Mary Magdalen, the Story of St. Saturnin, the Instruments of the Passion, Trojan War Episode, Pierre de Rohan and the Organ, John the Baptist, the Story of St. Maurille, the Story of Joseph. Angers Apocalypse. Les