Within a rather broad panelled arch, wine-red in its tone, is figured the young Bacchus with a couple of thyrsus-staves, crossed saltire-wise above him: below, is a fountain with an animal’s face, from the mouth of which runs red wine, and by it two little satyrs playing with tigers, into whose open maws they are squeezing the juice of the purple grape. Within a tablet in the higher part are figured two letters M. M. seemingly the ciphers of the individual for whom this piece was woven.
Tapestry Wall-hanging; ground, white; subject, Venus surrounded by her emblems. French, or Gobelin, 18th century.
This is a fellow-piece to the foregoing one, and arranged in the same manner. Riding on a cloud, Venus holds a small dart, and leans upon a swan, with a Cupid by her feet. Like the other piece, it has the cipher M. M.
Tapestry Wall-hanging; ground, mostly white; subject, shepherds and shepherdesses sacrificing to Pan. French, or Gobelin, 18th century.
This large fine piece has a very cheerful tone, and the background is so managed as to be very lightsome in its skies, and hills, and water. In many parts of the costumes, and the vegetation, the colouring is warm without being dauby or garish.
Tapestry Wall-hanging; subject, Melchizedek bringing bread and wine to Abram after his victory. Flemish, late 17th century.
On a tablet at the top of the piece is this inscription:—“Sodomâ expugnatâ Lot capitur. Abram illum recepit. Rex Melchizedek victori Abram offert panem et vinum.” As the reader will easily bring to mind, the subject as well as the inscription are borrowed from the fourteenth chapter of Genesis. Supposing that Sodom, after the overthrow by Abram’s night attack of the four kings, had been retaken, and his nephew Lot and his substance freed from the hands of the four conquered princes, the artist has chosen that point of time in the story, when Melchizedek, the King of Salem and the Priest of the Most High, went out to meet Abram as he was coming from the slaughter; and bringing forth bread and wine, blessed him.