Helen Churchill Candee

“ WANTING to see the wheels go ’round is a desire not limited to babes. We, with our minds stocked with the history and romance of tapestry, yet want to know just how it is made in every particular, just how the loom works, how the threads are placed.
It seems that there must be some obscure and occult secret hidden within the looms that work such magic, and we want to pluck it out, lay it in the sunlight and dissect its intricacies. Well, then, let us enter a tapestry factory and see what is there. ”

“ The colouring is that of ancient stained glass, simple, rich, the gamut of colours limited, but the manner of their combining is infinite in its power to please. The conscientiousness of the ancient dyer lives after him through the centuries, and the fresh ruby-colour, the golden yellow of the large-figured brocades, glow almost as richly now as they did when the Burgundian dukes were marching up and down the land from the Mediterranean, east of France, to the coast of Flanders, carrying with them the woven pictures of their ideals, their religion and their conquests. ”

“ That great usurper, the Renaissance, came creeping up to the North where the tapestry looms were weaving fairy webs. Pope Pius X wanted tapestries, those of the marvellous Flemish weave. But he wanted those of the new style of drawing, not the sweet restraint and finished refinement of the Gothic. Raphael’s cartoons were sent to Brussels’ workshops, and thus was the North inoculated with the Renaissance, and thus began the second phase of the supreme excellency of Flemish tapestries. It was the Renaissance expressing itself in the wondrous textile art. ”

“ Always, in studying a Gothic tapestry, we find flowers. The flowers of nature, they are, a simple nature at that, and never to be thought of in the same day as the gorgeous, expansive, proud flowers of the Seventeenth and Eighteenth Century decoration. Those splendid later blossoms flaunt their richness with assured swagger and demand of man his homage, quite forgetting it is the flower’s best part to give. ”

“ With such flowery guides to mark the way the path to slumberland is followed. Once within the bedroom, the poppies of the hangings spread drowsy influence, and the happy sleeper passes into unconsciousness, passes through the flowered border of the ancient square, into the scene beyond, becomes one of those storied persons in the enchanted land and lives with them in jousts and tourneys or in fêtes champêtres at lovely châteaux. The magic spell of the house of tapestries has fallen like the dew from heaven to bless the striver in our modern life of exigency and fatigue. ”

“ A stroll in the Metropolitan Museum of Art, New York, shows us better than words the perfection of design at this grandiose era. There one sees Antony and Cleopatra of Rubens—probably. On these hangings the border has all the evidences of genius. If there were no picture at all to enclose, if there were but this decorative frame, a superb inspiration would be flaunted. From substantial urns at right and left, springs the design at the sides which mounts higher and higher, design on design, but always with probability. ”

“ Wonderful weaver, magic hands, infinite pains, were those to produce such an effect on our sated modern vision, all with a few threads of silk and wool and gold.
Then there is the human face—it takes an artist to describe the various faces with their beauty of modelling, their infinite variety of type, their subtlety of expression. You can almost see the flushing of the capillaries under the translucent skin, so fine are the mediums of silk and wool under the magic handling of the talented weavers in brilliant epochs. ”

“ Scarce a Gothic tapestry is complete without them, happily for those bent on identification, for rarely can one discover them without the same thrill that accompanies the discovery of the first violets and snowdrops in the awakening woods.
The old weavers set them low in the picture, used them as space-fillers wherever space lay happily before them, and they never exaggerated their size, a virtue of which the full Renaissance cannot boast. ”

“ It was about the end of the last Crusade when Italy began to produce the inspired artists who broke the bonds of Byzantine traditions and turned back to the inspiration of all art, which is Nature. Giotto, tending his sheep, began to draw pictures of things as he saw them, Savonarola awoke the conscience, Dante, Petrarch, Boccaccio—a string of names to conjure with—all roused the intellect. The dawn of the Renaissance flushed Europe with the life of civilisation. ”

“ It was at Foucquet’s estate of Vaux near Maincy that this tapestry factory of short duration was established and soon destroyed. The powerful Superintendent of Finance, with his eye for the beautiful and desire for the luxury of kings, built for himself such a château as only the magnificence of that time produced. It was situated far enough from Paris to escape any sort of ennui, and was surrounded by gardens most marvellous, within a beauteous park. It lay, when finished, like a jewel on the fair bosom of France. ”

“ As the early worker in wools could not forget the beauties of earth, the foreground of many Gothic tapestries is sprinkled with the loved common flowers of every day, of the field and wood. This is one of the charming touches in early tapestry, these little flowers that thrust themselves with captivating inappropriateness into every sort of scene. The grave and awesome figures in the Apocalypse find them at their feet, and in scenes of battle they adorn the sanguinary sod and twinkle between fierce combatants. ”

“ The Gobelins factory being the last one to make a permanent contribution to art, the impulse is to ask what it is doing now. That is easily answered, but there is no man so optimistic that he can find therein matter for hope.
France is commendably determined not to let the great industry die. It would seem a loss of ancient glory to shut down the Gobelins. Yet why does it live? It lives because a body of men have the patriotic pride to keep it alive. But as for its products, they are without inspiration, without beauty to the eye trained to higher expressions of art. ”

“ To the lives of the Prophets and Saints we can always turn; from the romance of men and women we can never turn away. And so when a Gothic tapestry is found that frankly omits Biblical folk and gives us a true picture of men and women of the almost impenetrable time back of the fifteen hundreds, tells us what they wore, in what manner they comported themselves, that tapestry has a sure and peculiar value. The surviving art of the Middle Ages smacks strong of saints, paints at full length the people of Moses’ time, but unhappily gives only a bust of their contemporaries. ”

“ The bending verdure invites, the animated figures welcome, and at once the atmosphere of elegance and cordiality envelopes the happy visitor.
To live in a house abundantly hung with old tapestries, to live there day by day, makes of labour a pleasure and of leisure a delight. It is no small satisfaction in our work-a-day life to live amidst beauty, to be sure that every time the eyes are raised from the labour of writing or sewing—or of bridge whist, if you like—they encounter something worthy and lovely. ”

“ CHAPTER XXI TAPESTRY MARKS
REGARDLESS of what a man’s longing for fame may have been in the Middle Ages, he let his works pass into the world without a sign upon them that portrayed their author. This is as true of the lesser arts as of the greater. It was not the fashion in the days of Giotto, nor of Raphael, to sign a painting in vermillion with a flourished underscore. The artist was content to sink individuality in the general good, to work for art’s sake, not for personal fame. ”

“ It is the charming naïveté of its drawing that delights. Border there is none, but its lack is never felt, for the pictures are of such interest that the eye needs no barrier to keep it from wandering. Whatever border is found is a varying structure of architecture and of lettering and of the happy flowers of Gothic times which thrust their charm into all possible and impossible places.
The dress, in the suite of ideals, is created by the imagining of the artist, admixed with the fashion of the day ”

“ It is not easy to know how long after a design is adopted its use continues, but it is entirely a simple matter to know that a tapestry bearing a capital designed in 1500 could not have been made prior to that time.
The columns, later on, took on a different character. They lifted slender shafts more ornamented. It is as though the restless men of Europe had come up from the South and had brought with them reminiscences of those tender models which shadowed the art of the Saracens, the art which flavoured so much the art of Southern Europe. ”

“ Later yet, all the antique eccentricities passed away, and the laws of perspective and balance were fully developed in an art which has an unspeakable charm. All the things that modern art has decreed as crude or childish has passed away, and the sweet flower of the Gothic perfection unfolded its exquisite beauty. This Gothic perfection was the Golden Age of tapestry. ”

“ The inscrutable mystery of those folk of other days is like the inscrutable mystery of that childhood time, the Mediæval time of the imagination, and those of us who remember its joys gaze silent and happy in the tapestry room of the Ducal Palace at Nancy, or in Mary’s Chamber at Holyrood, or in any place whatever where hang the magic pictured cloths. ”

“ This evidence of talented invention must be observed, for it set the fashion for many a later tapestry, notably the Grotesque Months of the Seventeenth Century. Mingled with verdure and fruit, it is seen in work of the Eighteenth Century. But in its original expression is it the most talented. There we find that intellectual plan of design, that building of a perfect whole from a subtle combination of absolutely irreconcilable and even fabulous objects. Yet all is done with such beguiling art that both mind and eye are piqued and pleased with the impossible blending of realism and imagination. ”

“ It is by this handling of the fabric that he acquires a skill in determining the make of many a tapestry. There is an indefinable quality about certain wools, and about the manner of their weaving that is only revealed by the touch. Not all hands are wise to detect, but only those of the sympathetic lover of the materials they handle—and I have found many such among the merchant collector. But even he finds identification a task as difficult as it is interesting, and spends hours of thought and research before arriving at a conclusion—and even then will retract on new evidence. ”

“ Pity it is, the time had not been long enough for more remains of it to have come to us than those that scantily supply museums. After the Gothic perfection came the great change made in Flanders by the introduction of the Renaissance.
It came through the excellence of the weavers. It was not the worth of the artists that brought Brussels its greatest fame, but the humbler work of its tapissiers. Their lives, their endeavours counted more in textile art than did the Flemish school of painting. No such weavers existed in all the world. ”

“ Babylon the great, Egypt under the Pharaohs, Greece in its heroic times, Rome under the Emperors—not omitting China and India of the Far East—these countries of ancient peoples all knew the arts of dyeing and weaving, of using the materials that we employ, and of introducing figures symbolic, geometric, or realistic into the weaving. Beyond a doubt the high loom has been known to man since prehistoric times. It may be discouraging to those who like to feel that tapestry properly belongs to Europe only,—Europe of the last six centuries—to find that the art has been sifted down through the ages ”

“ It was the delight of the great Raphael himself to expend his talent on the border of his cartoons. From this [Pg 190] artist others took their cue with varying skill, but with fine effect, and with unlimited interest to us. Those who run have time to remark only the great central picture in a hanging; but, to those who live with it, this added line of exquisite panorama is an unceasing delight for the contemplative hours of solitude. From this rich departure from Gothic simplicity the artists grew into the same fulness of design that ended in decadence. ”

“ This little book has as its aim the gentle purpose of pointing the way to a knowledge that shall be a guide in knowing gold from—not from dross, that is too simple, but gold from gold-plating let us say, for the mad lover of tapestries will not admit that any hand-woven tapestry is on the low level of dross. Any work which human hands have touched and lingered on in execution is deserving of the respect of the modern whose life must of necessity be lived in hasty execution. ”

“ His designs broke from the limit of the Gobelins, and were woven at Beauvais with the care and skill required for proper interpretation of his land of mythology. Such flushed skies of light, such clean, soft trees waving against them and such human elegance and beauty grouped beneath, have seldom been reproduced in tapestry, and almost make one wonder if, after all, the weavers of the Eighteenth Century were not right in copying a finished painting rather than in interpreting a decorative cartoon. ”