Virgil Appearing to Dante, Tapestry. Florentine, Middle of XVI Century
These two tapestries in the Charles Jairus Martin Memorial Collection are remarkably fine examples of Renaissance tapestry weaving in Italy and Flanders during the XVI century. The Dante tapestry was woven about the middle of the century in Florence at the Medici atelier—the Arazzeria-Medici—founded by Cosimo I in 1537. It bears in the selvage the mark of the Florentine manufactory and of the master weaver, John Rost, who with another Fleming, Nicholas Karcher, conducted (from 1546) the work of the Arazzeria. His mark, in the lower left-hand corner of the tapestry, is a punning device, a roast of meat upon a spit. The tapestry was woven for some member of the Salviati family, whose arms appear in the upper border. The design has been attributed on evidence of style to Francesco Rossi de' Salviati (1510-1563), who, with Bronzino and other well-known artists of the High Renaissance, provided many cartoons for the Medici weavers. The scene represented is taken from the opening canto of Dante's Divine Comedy; Virgil, the type of Human Philosophy, sent to guide the poet through Hell and Purgatory, appears to Dante who has lost his way in “the wood of error,” where he is menaced by three symbolical animals, the panther, the lion and the she-wolf, who would prevent him from ascending the “Holy Hill.” The border designs in the grotesque style are particularly interesting and typical of Renaissance ornament. The tapestry is unusually large, measuring 16 ft. 7 in. in height by 15 ft. 4 in. in width. Italian tapestries of the High Renaissance are not common; the Dante tapestry, formerly in the J. P. Morgan Collection, is far and away the most important example of its kind in the country.
Joseph Ruler Over Egypt, Tapestry. Brussels, Second Quarter of XVI Century
The extraordinary success which attended the weaving at Brussels in the early part of the XVI century of the tapestries from Raphael's [pg 57] famous cartoons brought the Italian Renaissance style into great favor among the tapestry weavers of Flanders. Evidence of this is clear in our tapestry from a set illustrating the history of Joseph. Behind the seated woman in the foreground stands a lady in the rich costume of the XVI century; it is not improbable that this is the portrait of some noblewoman at whose expense the tapestries were woven. In the lower left-hand corner of the border occurs the Brussels mark, a red shield with a capital letter “B” on either side. From 1528 on, the Brussels weavers were required by law to add the mark of the city, together with their own mark, to all tapestries of more than six ells. The weaver's monogram, at the right in the lower border of our tapestry, as not yet been identified. The tapestry dates from about the second quarter of the XVI century. It was formerly in the Rospigliosi and Ffoulke Collections.
Lectern, Walnut. Italian, Umbrian, XVI Century
The architectural design of this large lectern is typical of Italian Renaissance furniture, as is also the use of such classical decorative motives as the egg-and-dart pattern, rosettes, swags, etc. The lectern, from some Umbrian church, served to support the large choir-books, oftentimes beautifully illuminated, that were in use during this period.
Cassone, with Gilded Decoration. Florentine, Third Quarter of XV Century