TAPESTRY AT THE CATHEDRAL OF GERONA; REPRESENTING THE CREATION, &C.—SPANISH, 11TH CENTURY. To face p. 267.
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This tapestry is about 4½ yards wide by 4 yards high. The composition represents the Genesis. In the centre is a geometrical figure formed by two concentric circles. In the lesser circle is a figure of Christ holding an open book, on which appear the words, Sanctus Deus, and on each side Rex fortis, surrounded by the inscription, Dixit quoque Deus, Fiat lux, Et facta est lux. In the larger circle are the words, In principio creavit Deus coelum et terram, mare et omnia quæ in eis sunt, et vidit Deus cuncta quæ egerat et erant valde bona.

The space between the two circles is divided by radiating lines into eight portions, in which are represented the Mystic Dove, the angels of light and darkness: the division of land from water, the creation of sun, moon, and stars, of birds, fishes, and beasts, and of Adam and Eve. In the angles outside the larger circle are the four winds, and the whole is surrounded by a border, imperfect in parts, containing representations of the months, and apparently of certain scriptural incidents, too much defaced to be clearly made out. The accompanying engraving, though imperfect and inaccurate in some of its details, gives a general idea of this work.

Although this tapestry is embroidered with crewels on linen, it appears advisable to include it in the description of Spanish tapestries, owing to its similarity and general aspect to other tapestries. It is easy for students of Spanish works of art of the Middle Ages to fix the period and style to which this example belongs. Several remarkable illuminations exist in Spain representing the Apocalypse which were painted in the X. XI. and XIIth. centuries, which have already been alluded to in other articles of this work. The figures of the tapestry of Gerona are disposed in a precisely similar manner to the miniatures of the 12th century. They are in the same style as the paintings on the ceiling of the chapel of St. Catalina, at St. Isidoro of Leon, which were painted at that period. There can be therefore no doubt that they belong to that period and style. Several MSS. may be mentioned to further illustrate the subject. An excellent specimen is at the cathedral of Gerona, those at the National Library, Museo Arqueologico, and Academia de la Historia, Madrid, Escorial, Bibliotheque Nationale, Paris—and especially the fine MS. at the British Museum (Add. II. 695),—dated A. D. 1109, referred to in the chapter on Arms, page 90. The illuminations of this volume are extremely similar to the design of this tapestry. Plate 83, twelve inches by eight, within a circle, representing Christ holding a book in his hand, may be given as an example.

I do not find any information of a later date which suggests the existence of the manufacture of tapestries in Spain during the Middle Ages. There are constant allusions to the splendid tapestries which were brought from Flanders, many of which are at the Royal palace of Madrid. The earliest mention I find is a memorial printed without date, in which Pedro Gutierrez, tapestry maker of Salamanca, asks Philip II. to protect this industry. He evidently gained his object, for in the documents published by Sr. Cruzada in his "Tapices de Goya," [Madrid, 1870,] it appears that in 1578 Queen Doña Ana appointed him to work in her Camara as tapestry maker to make reposteros[B] and Philip II. in 1582 confirms this appointment. Gutierrez worked at this period, at Salamanca and Madrid. He was succeeded in his charge in 1625 by Antonio Ceron, who established this industry definitively in the Calle de Santa Isabel at Madrid. The fine picture by Velasquez, at the Madrid Gallery, "The Weavers," which represents the interior of the tapestry manufactory, belongs to this time. We find this industry soon fell into decay. In 1694 a Belgian named Juan Metier tried to revive it, but without success; the same thing occurred with Nicolas Hernandez, a tapestry maker of Salamanca, in 1707.

[B] Reposteros is the ancient name given to the hangings which are placed outside the balconies on state occasions in Spain. Several splendid examples of the sixteenth and seventeenth centuries may still be seen at the houses of Spanish grandees, of which those belonging to the Conde de Oñate and Marques de Alcañices at Madrid are the most remarkable for their artistic design.

The tapestry manufactory of Santa Barbara at Madrid was founded soon after; it was the most important of all, and continues to produce excellent work in the present day. It appears that Jacobo Vandergoten of Antwerp was engaged expressly by the king; he began to work in 1720, and continued there until his death in 1724. He was succeeded by his sons, Francisco, Jacobo, Cornelius, and Adrian, who worked in basse lisse looms until 1729, when a Frenchman, Antonio Lenger mounted a haute lisse one.

On the occasion of the temporary removal of the court to Seville, the king established a tapestry manufactory there in 1730; Jacobo Vandergoten was put at the head of it, and the painter, Andres Procaccini, helped him in the direction of the manufactory. It only lasted three years, at the end of which the artists returned with their implements to establish themselves in the old tapestry manufactory of the Calle de Santa Isabel: and continued to work there until 1744, at that time they again joined the works at Santa Barbara.