First half of Sixteenth Century. Royal Collection of Madrid
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VERTUMNUS AND POMONA
First half of Sixteenth Century. Royal Collection of Madrid
The collection of George Blumenthal, Esquire, of New York, contains as beautiful examples of Sixteenth Century composition and weaving as could be imagined. Two of these were found in Spain—the country which has ever hoarded her stores of marvellous tapestries. They represent the story of Mercury. ([Frontispiece.]) The cartoon is Italian, and so perfect is its drawing, so rich in invention is the exquisite border, that the name of Raphael is half-breathed by the thrilled observer. But if the artist is not yet certainly identified, the name of the weaver is certain, for on the galloon he has left his sign. It is none other than the celebrated Wilhelm de Pannemaker.
In addition to this is the shield and double B of the Brussels workshop, which after 1528 was a requirement on all tapestries beyond a certain small size. In 1544 the Emperor Charles V made a law that the mark or name of the weaver and the mark of his town must be put in the border. It was this same Pannemaker of the Blumenthal tapestries who wove in Spain the Conquest of Tunis for Charles V. (Plate facing page [62].)
Mr. Blumenthal’s tapestries must have carried with them some such contract for fine materials as that which attended the execution of the Tunis set, so superb are they in quality. Indeed, gold is so lavishly used that the border seems entirely made of it, except for the delicate figures resting thereon. It is used, too, in an unusual manner, four threads being thrown together to make more resplendent the weave.
The beauty of the cartoon as a picture, the decorative value of the broad surfaces of figured stuffs, the marvellous execution of the weaver, all make the value of these tapestries incalculable to the student and the lover of decorative art. Mr. Blumenthal has graciously placed them on exhibition in the Metropolitan Museum of Art, New York. Fortunate they who can absorb their beauty.