1683.
Tapestry Wall-hanging; subject, Venus appearing to Æneas in a wood.
The second book of the Æneid has furnished the designer with the materials for this piece. Just as Æneas had uplifted his hand to slay Helen, Venus appears, stays his arms, and reasons with him. So says Virgil; but here we merely see Mercury coming down from the clouds, and Venus revealing herself to her son. The admirers of the beautiful in form and face will not find much to please them in the lady’s person. This piece closes the history of Æneas as given in these tapestries, which came from the palace, or, as it used to be called, the King’s House at Newmarket. All through, Dido is made to appear in the same kind of costume; but the dresses in general are purely imagined by the artist, without the slightest authority from the monuments of either Greek or Roman antiquity: and the architectural parts are quite in the debased classic style of the 17th century, as followed in Flanders. All these tapestries are framed in a red border, wrought at the sides with scrolls and shields, and below, with winged boys holding labels once showing inscriptions (now faded) all shot with gold, but tarnished black. Many of the female figures are slip-shod, like St. Mary Magdalen in Rubens’s “Taking down from the Cross,” at Antwerp.