The sensitive feeling for decorative fitness and the reserve that are evident in French designs from the Gothic period on differentiate such a cartoon as this from the contemporary Flemish productions, usually so violent and exaggerated in scale, in drawing, and in emotional expression. For, though dramatic, the scene is restrained and the figures have an almost sculptural detachment. This quality is sustained by the fine architectural border, which is very typical of the Paris looms of this period.
Toussaint du Breuil (1561-1602) painted decorations in the Pavilions des Poêles at Fontainebleau, and also in the Galerie des Rois in the Louvre. Most of his work has perished.
39, 40 GOBELINS, XVI CENTURY
Wool and Silk.
No. 39:
H. 7 ft. 9 in.
W. 13 ft. 6 in.
No. 40:
H. 7 ft. 9 in.
W. 11 ft.
TWO SCENES FROM THE HISTORY OF CLEOPATRA: In the first (No. 39) Cleopatra attended by two maidens greets a young prince who is being introduced to her by a general. In the harbor the young stranger's ship is seen.
In the second (No. 40) Cleopatra welcomes a young man. An attendant holds a heavy canopy of silk. Beyond, a Greek temple is seen.
Side borders, only, of classic decorations on a red ground with inset medallions showing the Judgment of Paris.
Formerly in the Collection of Lord Lovelace.
Lent by William Baumgarten & Company.
The pieces both signed in the lower right corner—Lefébvre, with the fleur-de-lis and G. They do not, however, appear on the records of the Gobelins, so they must have been done by Lefébvre outside of the official work.