CHAPTER III
THE GOTHIC TAPESTRIES—SACRED PIECES
IT is a notable fact that the earlier Gothic tapestries—those of the thirteenth and fourteenth centuries and earlier—nearly all deal with religious subjects. From this we are apt to acquire an exaggerated idea of the part played by religion in mediæval life. The true explanation is that in the cockpit of Europe during these fierce and warlike times art in any form found itself unable to exist. Only in the monasteries could it find refuge, and these became the centres, not only of the fine arts, but also of textile arts like tapestry-weaving. The effects of this monopoly were unfortunate. The imagination of the designers of cartoons was stunted. They came to believe that the duty of tapestry was not to delight the eye, but to preach trite little sermons. Hence the endless series of pictures extolling the practice of vices. The chief beauty of the earlier Gothic tapestries lay in the brilliance and richness of the dyes. But as the times became less barbarous, and art began to flourish outside the monastery and the cathedral close, the Gothic tapestries gained a new vigour and beauty. The religious inspiration remained, giving, indeed, an atmosphere of chastened restraint that to many people denotes the high-water mark of the art. But the incursions of the outer world could no longer be restrained, and we get the delightful posies of spring flowers, the bluebells, daisies, lilies, and primroses—the millefleurs—all utterly irrelevant and charming, that intrude into fierce battle scenes and into the mystic visions of the Apocalypse.
All the Gothic tapestries in the Spanish royal collection are of Flemish workmanship.
Group 1, including The Birth of Christ and The Mass of St. Gregory the Great
The Birth of Christ is probably one of the oldest pieces of the whole collection. It is mentioned for the first time as forming part of the collection left by Juana the Mad, who died at Tordesillas in 1555. Neither the designer nor the weaver can be identified. “The Gothic architecture of the buildings in the background,” says the Count Valencia de Don Juan, “the attitude of the persons, the singularity and richness of their costumes, and, above all, the drawing, recalls the tapestries which were made at Arras in the fifteenth century.”
The tapestry represents the birth of Christ in fulfilment of the prophecies of the Prophets Isaiah and Micah, and of Aaron the High Priest of the Israelites. The scroll to the left by the figure of Micah bears the legend (translated into English), “And thou, Bethlehem Ephrata, art small among the cities of Judah, nevertheless out of thee shall come forth He that is to be the Ruler in Israel” (Micah v. 2). That to the right bears the (translated) inscription, “For a child is born to us, and a Son is given to us, and the Government is upon His shoulder; and His name shall be called Wonderful, Counsellor, God ...” etc. (Isaiah ix. 6).
This tapestry is made of silk and wool interwoven with gold threads. It was probably used as an altar piece. Two pieces of red and gold brocade, of much later workmanship, have been added.
The Mass of St. Gregory the Great. Neither the designer of the cartoon nor the town where this tapestry was woven is known. It is of Flemish origin, and the Gothic arches, each enclosing a scene in the life of Christ, point to Bruges as its place of origin. It is mentioned by Ferdinand V of Aragon in the Act of Discharge of Juan Valazquez (1555) as a gift from the Princess Juana to her mother, Queen Isabel the Catholic.
The tapestry shows the celebration of Mass by St. Gregory the Great in the presence of King David and St. Augustine. The scroll to the left bears the (translated) inscription, “Man shall eat the bread of angels.” That on the right reads, “The sacrament is the outward visible form of the invisible Grace.”
This tapestry is woven in silks and wool enriched by threads of gold and silver.