IT is a notable fact that the earlier Gothic tapestries—those of the thirteenth and fourteenth centuries and earlier—nearly all deal with religious subjects. From this we are apt to acquire an exaggerated idea of the part played by religion in mediÆval life. The true explanation is that in the cockpit of Europe during these fierce and warlike times art in any form found itself unable to exist. Only in the monasteries could it find refuge, and these became the centres, not only of the fine arts, but also of textile arts like tapestry-weaving. The effects of this monopoly were unfortunate. The imagination of the designers of cartoons was stunted. They came to believe that the duty of tapestry was not to delight the eye, but to preach trite little sermons. Hence the endless series of pictures extolling the practice of vices. The chief beauty of the earlier Gothic tapestries lay in the brilliance and richness of the dyes. But as the times became less barbarous, and art began to flourish outside the monastery and the cathedral close, the Gothic tapestries gained a new vigour and beauty. The religious inspiration remained, giving, indeed, an atmosphere of chastened restraint that to many people denotes the high-water mark of the art. But the incursions of the outer world could no longer be restrained, and we get the delightful posies of spring flowers, the bluebells, daisies, lilies, and primroses—the millefleurs—all utterly irrelevant and charming, that intrude into fierce battle scenes and into the mystic visions of the Apocalypse.

All the Gothic tapestries in the Spanish royal collection are of Flemish workmanship.

Group 1, including The Birth of Christ and The Mass of St. Gregory the Great

The Birth of Christ is probably one of the oldest pieces of the whole collection. It is mentioned for the first time as forming part of the collection left by Juana the Mad, who died at Tordesillas in 1555. Neither the designer nor the weaver can be identified. “The Gothic architecture of the buildings in the background,” says the Count Valencia de Don Juan, “the attitude of the persons, the singularity and richness of their costumes, and, above all, the drawing, recalls the tapestries which were made at Arras in the fifteenth century.”

The tapestry represents the birth of Christ in fulfilment of the prophecies of the Prophets Isaiah and Micah, and of Aaron the High Priest of the Israelites. The scroll to the left by the figure of Micah bears the legend (translated into English), “And thou, Bethlehem Ephrata, art small among the cities of Judah, nevertheless out of thee shall come forth He that is to be the Ruler in Israel” (Micah v. 2). That to the right bears the (translated) inscription, “For a child is born to us, and a Son is given to us, and the Government is upon His shoulder; and His name shall be called Wonderful, Counsellor, God ...” etc. (Isaiah ix. 6).

This tapestry is made of silk and wool interwoven with gold threads. It was probably used as an altar piece. Two pieces of red and gold brocade, of much later workmanship, have been added.

The Mass of St. Gregory the Great. Neither the designer of the cartoon nor the town where this tapestry was woven is known. It is of Flemish origin, and the Gothic arches, each enclosing a scene in the life of Christ, point to Bruges as its place of origin. It is mentioned by Ferdinand V of Aragon in the Act of Discharge of Juan Valazquez (1555) as a gift from the Princess Juana to her mother, Queen Isabel the Catholic.

The tapestry shows the celebration of Mass by St. Gregory the Great in the presence of King David and St. Augustine. The scroll to the left bears the (translated) inscription, “Man shall eat the bread of angels.” That on the right reads, “The sacrament is the outward visible form of the invisible Grace.”

This tapestry is woven in silks and wool enriched by threads of gold and silver.

Group 2. The Story of the Holy Virgin

1st Series. Consists of four pieces which once bore in the corner as a heraldic mark a small lion embroidered in gold on a black ground. Cartoons said to be by Van Eyck. Of Flemish origin, probably belonging to the Bruges atelier.

These tapestries belonged to Philip the Handsome and Juana the Mad. Transferred by Charles V to the monastery of Yuste, and again removed by Philip II to the monastery of the Escorial, they were in constant use for the religious ceremonies attended by the Royal Household owing to their unusual beauty.

The first piece represents God commanding the Archangel Gabriel to announce her destiny to the Virgin Mary.

The second piece represents the Annunciation.

The third piece represents the Birth of Christ.

The fourth piece represents the Coronation of the Holy Virgin.

2nd Series. In spite of the similarity of the borders the two tapestries here treated do not form a continuous series with those previously described. They probably came from workrooms of Brussels. Designer and weaver unknown, but resemblance has been noted between the figures of Adam and Eve and similar figures on a triptych designed by the brothers Van Eyck.

The subjects of these two tapestries are obscure. They appear, however, to refer—

First, to the fulfilment of the prophecies as to the birth of the Son of God;

Secondly, to the presentation of Jesus in the Temple.

All these tapestries are of extraordinary beauty. They are woven of silk and wool enriched with gold and silver threads.

Group 3. The Story of David and Bathsheba (10 Tapestries)

Three of these tapestries are mentioned in the Inventaire des Rois Catholiques under the heading “Bed,” having evidently formed part of the draperies of a bed belonging to some royal personage. These are of Flemish origin and date from the end of the fifteenth century. They are woven in silk, wool, and gold thread.

To these were later added seven bed canopies of Gothic design. The subjects of the tapestries are as follows:

(1) David surprises Bathsheba in her bath and falls in love with her beauty. For the sake of modesty, however, the artist has represented Bathsheba fully clothed, washing her hands at a small fountain.

(2) The Marriage of David and Bathsheba. David, from being a smooth-faced boy, has become a bearded man.

(3) The prophet Nathan reproaches David with his evil ways.

The remaining seven tapestries apparently represent some sylvan festival in which courtiers make offerings of fruit and flowers to ladies. The playing-cards are worth noticing.