THE commercial fact that tapestries have immeasurably increased in value within the last five years, would have little interest were it not that this increase is the direct result of America’s awakened appreciation of this form of art. It has come about in these latter days that tapestries are considered a necessity in the luxurious and elegant homes which are multiplying all over our land. And the enormous demand thus made on the supply, has sent the prices for rare bits into a dizzy altitude, and has made even the less perfect pieces seem scarce and desirable.

The opinion of two shrewd men of different types is interesting as bearing on the subject of tapestries. One with tastes fully cultivated says impressively, “Buy good old tapestries whenever you see them, for there are no more.” The other says bluffly, “Tapestries? You can’t touch ’em. The prices have gone way out of sight, and are going higher every day.” The latter knows but one view, the commercial, yet both are right, and these two views are at the bottom of the present keen interest in tapestries in our country. Outside of this, Europe has collections which we never can equal, and that thought alone is enough to make us snatch eagerly at any opportunity to secure a piece. We may begin with our ambition set on museum treasures, but we can come happily down to the friendly fragments that fit our private purses and the wall-space by the inglenook.

Tapestries are not to be bought lightly, as one buys a summer coat, to throw aside at the change of taste or circumstance. They demand more of the buyer than mere money; they demand that loving understanding and intimate appreciation that exists between human friends. A profound knowledge of tapestries benefits in two ways, by giving the keenest pleasure, and by providing the collector—or the purchaser of a single piece—with a self-protection that is proof against fraud, unconscious or deliberate.

The first step toward buying must be a bit of pleasant study which shall serve in the nature of self-defence. Not by books alone, however, shall this subject be approached, but by happy jaunts to sympathetic museums, both at home and abroad, by moments snatched from the touch-and-go talk of afternoon tea in some friend’s salon or library, or by strolling visits to dealers. These object lessons supplement the book, as a study of entomology is enlivened by a chase for butterflies in the flowery meads of June, or as botany is made endurable by lying on a bank of violets. All work and no play not only makes Jack a dull boy, but makes dull reading the book he has in hand.

The tale of tapestry itself carries us back to the unfathomable East which has a trick at dates, making the Christian Era a modern epoch, and making of us but a newly-sprung civilisation in the history of the old grey world. After showing us that the East pre-empted originality for all time, the history of tapestry lightly lifts us over a few centuries and throws us into the romance of Gothic days, then trails us along through increasing European civilisation up to the great awakening, the Renaissance. Then it loiters in the pleasant ways of the kings of France during the Seventeenth and Eighteenth Centuries, and finally falls upon modern effort, not limited to Europe now, but nesting also in the New World which is especially our own.

Tapestry, according to the interpretation of the word used in this book, is a pictured cloth, woven by an artist or a talented craftsman, in which the design is an integral part of the fabric, and not an embroidery stitched on a basic tissue. With this flat statement the review of tapestries from antiquity until our time may be read without fear of mistaking the term.

THE LOOM

The looms on which tapestries are made are such as have been known as long as the history of man is known, but we have come to call them high-warp and low-warp, or as the French have it, haute lisse and basse lisse. In the celebrated periods of weaving the high loom has been the one in use, and to it is accredited a power almost mysterious; yet the work of the two styles of loom are not distinguishable by the weave alone, and it is true that the low-warp looms were used in France when the manufacture of tapestries was permanently established by the Crown about 1600. So difficult is it to determine the work of the two looms that weavers themselves could not distinguish without the aid of a red thread which they at one time wove in the border. Yet because the years of the highest perfection in tapestries have been when the high loom was in vogue, some peculiar power is supposed to reside within it. That the high movements of the fine arts have been contemporary with perfection in tapestries, seems not to be taken into consideration.

NECESSARY FRENCH TERMS

French terms belong so much to the art of tapestry weaving that it is hard to find their English equivalent. Tapestries of verdure and of personnages describe the two general classes, the former being any charming mass of greenery, from the Gothic millefleurs, and curling leaves with animals beneath, to the lovely landscapes of sophisticated park and garden which made Beauvais famous in the Eighteenth Century. Tapisseries des personnages have, as the name implies, the human figure as the prominent part of the design. The shuttle or bobbin of the high loom is called a broche, and that of the low loom a flute. Weavers throughout Europe, whether in the Low Countries or in France, were called tapissiers, and this term was so liberal as to need explaining.

WORKERS’ FUNCTIONS

The tapestry factory was under the guidance of a director; under him were the various persons required for the work. Each tapestry woven had a directing artist, as the design was of primary importance. This man had the power to select the silks and wools for the work, that they might suit his eye as to colour. But there was also a chef d’atelier who was an artist weaver, and he directed this matter and all others when the artist of the cartoons was not present. Under him were the tapissiers who did the actual weaving, and under these, again, were the apprentices, who began as boys and served three years before being allowed to try their hands at a “’prentice job” or essay at finished work.

WEAVERS

The word weaver means so little in these days that it is necessary to consider what were the conditions exacted of the weavers of tapestries in the time of tapestry’s highest perfection. A tapissier was an artist with whom a loom took place of an easel, and whose brush was a shuttle, and whose colour-medium was thread instead of paints. This places him on a higher plane than that of mere weaver, and makes the term tapissier seem fitter. Much liberty was given him in copying designs and choosing colours. In the Middle Ages, when the Gothic style prevailed, the master-weaver needed often no other cartoon for his work than his own sketches enlarged from the miniatures found in the luxurious missals of the day. These historic books were the luxuries of kings, were kept with the plate and jewels, so precious were considered their exquisitely painted scenes in miniature. From them the master-weaver drew largely for such designs as The Seven Deadly Sins and other “morality” subjects.

Master-weavers were many in the best years of tapestry weaving; indeed, a man must have attained the dignity and ability of that position before being able to produce those marvels of skill which were woven between 1475 and 1575 in Flanders, France and Italy. Their aids, the apprentices, pique the fancy, as Puck harnessed to labour might do. They were probably as mischievous, as shirking, as exasperating as boys have ever known how to be, but those little unwilling slaves of art in the Middle Ages make an appeal to the imagination more vivid than that of the shabby lunch-box boy of to-day.

DYERS

Accessory to the weavers, and almost as important, were the dyers who prepared the thread for use. The conscientiousness of their work cries out for recognition when the threads they dyed are almost unaltered in colour after five hundred years of exposure to their enemies, light and air. Dye stuffs were precious in those days, and so costly that even threads of gold and silver (which in general were supplied by the client ordering the tapestry) hardly exceeded in value certain dyed wools and silk. All of these workers, from director down to apprenticed lad, were bound by the guild to do or not do, according to its infinite code, to the end that the art of tapestry-making be held to the highest standards. The laws of the guilds make interesting reading. The guild prevailed all over Europe and regulated all crafts. In Florence even to-day evidences of its power are on every side, and the Guildhall in London attests its existence there. Moreover, the greatest artists belonged to the guilds, uniting themselves usually by work of the goldsmith, as Benvenuto Cellini so quaintly describes in his naÏve autobiography.

GUILDS

It was these same protective laws of the guilds that in the end crippled the hand of the weaver. The laws grew too many to comply with, in justice to talent, and talent with clipped wings could no longer soar. At the most brilliant period of tapestry production Flanders was to the fore. All Europe was appreciating and demanding the unequalled products of her ateliers. It was but human to want to keep the excellence, to build a wall of restrictions around her especial craft that would prevent rivals, and at the same time to press the ateliers to execute all the orders that piled in toward the middle of the Sixteenth Century.

But although the guilds could make wise laws and enforce them, it could not execute in haste and retain the standard of excellence. And thus came the gradual decay of the art in Brussels, a decay which guild-laws had no power to arrest.

GOTHIC PERIOD

The first period in tapestries which interests—except the remnants of Egyptian and aboriginal work—is that of the Middle Ages, the early Gothic, because that is when the art became a considerable one in Europe. It is a time of romance, of chivalry, of deep religious feeling, and yet seems like the childhood of modernity. Is it the fault of crudity in pictorial art, or the fault of romances that we look upon those distant people as more elemental than we, and thus feel for them the indulgent compassion that a child excites? However it is, theirs is to us a simple time of primitive emotion and romance, and the tapestries they have left us encourage the whim.

The time of Gothic perfection in tapestry-making is included in the few years lying between 1475 and 1520. Life was at that time getting less difficult, and art had time to develop. It was no longer left to monks and lonely ladies, in convent and castle, but was the serious consideration of royalty and nobility. No need to dwell on the story of modern art, except as it affects the art of tapestry weaving. With the improvement of drawing that came in these years, a greater excellence of weave was required to translate properly the meaning of the artist. The human face which had hitherto been either blank or distorted in expression, now required a treatment that should convey its subtlest shades of expression. Gifted weavers rose to the task, became almost inspired in the use of their medium, and produced such works of their art as have never been equalled in any age. These are the tapestries that grip the heart, that cause a frisson of joy to the beholder. And these are the tapestries we buy, if kind chance allows. If they cannot be ours to live with, then away to the museum in all haste and often, to feast upon their beauties.

RENAISSANCE

That great usurper, the Renaissance, came creeping up to the North where the tapestry looms were weaving fairy webs. Pope Pius X wanted tapestries, those of the marvellous Flemish weave. But he wanted those of the new style of drawing, not the sweet restraint and finished refinement of the Gothic. Raphael’s cartoons were sent to Brussels’ workshops, and thus was the North inoculated with the Renaissance, and thus began the second phase of the supreme excellency of Flemish tapestries. It was the Renaissance expressing itself in the wondrous textile art. The weavers were already perfect in their work, no change of drawing could perplex them. But to their deftness with their medium was now added the rich invention of the Italian artists of the Renaissance, at the period of perfection when restraint and delicacy were still dominant notes.

It was the overworking of the craft that led to its decadence. Toward the end of the Sixteenth Century the extraordinary period of Brussels perfection had passed.

But tapestry played too important a part in the life and luxury of those far-away centuries for its production to be allowed to languish. The magnificence of every great man, whether pope, king or dilettante, was ill-expressed before his fellows if he were not constantly surrounded by the storied cloths that were the indispensable accessories of wealth and glory. Palaces and castles were hung with them, the tents of military encampments were made gorgeous with their richness, and no joust nor city procession was conceivable without their colours flaunting in the sun as background to plumed knights and fair ladies. Venice looked to them to brighten her historic stones on days of carnival, and Paris spread them to welcome kings.

FRANCE

When, therefore, Brussels no longer supplied the tissues of her former excellence, opportunity came for some other centre to rise. The next important producer was Paris, and in Paris the art has consistently stayed. Other brief periods of perfection have been attained elsewhere, but Paris once establishing the art, has never let it drop, not even in our own day—but that is not to be considered at this moment.

Divers reigns of divers kings, notably that of Henri IV, fostered the weaving of tapestry and brought it to an interesting stage of development, after which Louis XIV established the Gobelins. From that time on for a hundred years France was without a rival, for the decadent work of Brussels could not be counted as such. Although the work of Italy in the Seventeenth Century has its admirers, it is guilty of the faults of all of Italy’s art during the dominance of Bernini’s ideals.

AMERICAN INTEREST

America is too late on the field to enter the game of antiquity. We have no history of this wonderful textile art to tell. But ours is the power to acquire the lovely examples of the marvellous historied hangings of other times and of those nations which were our forebears before the New World was discovered. And we are acquiring them from every corner of Europe where they may have been hiding in old chÂteau or forgotten chest. To the museums go the most marvellous examples given or lent by those altruistic collectors who wish to share their treasures with a hungry public. But to the mellow atmosphere of private homes come the greater part of the tapestries. To buy them wisely, a smattering of their history is a requisite. Within the brief compass of this book is to be found the points important for the amateur, but for a profounder study he must turn to those huge volumes in French which omit no details.

Not entirely by books can he learn. Association with the objects loved, counts infinitely more in coming to an understanding. Happy he who can make of tapestries the raison d’Être for a few months’ loitering in Europe, and can ravish the eye and intoxicate the imagination with the storied cloths found hanging in England, in France, in Spain, in Italy, in Sweden, and learn from them the fascinating tales of other men’s lives in other men’s times.

Then, when the tour is finished and a modest tapestry is hung at home, it represents to its instructed owner the concentrated tale of all he has seen and learned. In the weave he sees the ancient craftsman sitting at his loom. In the pattern is the drawing of the artist of the day, in the colours, the dyes most rare and costly; in the metal, the gold and silver of a duke or prince; and in the tale told by the figures he reads a romance of chivalry or history, which has the glamour given by the haze of distant time to human action.

To enter a house where tapestries abound, is to feel oneself welcomed even before the host appears. The bending verdure invites, the animated figures welcome, and at once the atmosphere of elegance and cordiality envelopes the happy visitor.

To live in a house abundantly hung with old tapestries, to live there day by day, makes of labour a pleasure and of leisure a delight. It is no small satisfaction in our work-a-day life to live amidst beauty, to be sure that every time the eyes are raised from the labour of writing or sewing—or of bridge whist, if you like—they encounter something worthy and lovely. In the big living-room of the home, when the hours come in which the family gathers, on a rainy morning, or on any afternoon when the shadows grow grim outside and the afternoon tea-tray is brought in whispering its discreet tune of friendly communion, the tapestries on the walls seem to gather closer, to enfold in loving embrace the sheltered group, to promise protection and to augment brotherly love.

In the dining-room the glorious company assembles, so that he who eats therein, attends a feast on Olympus, even though the dyspeptic’s fast be his lot. If the eyes gaze on Coypel’s gracious ladies, under fruit and roses, with adolescent gods adoring, what matters if the palate is chastised? In a dining-room soft-hung with piquant scenes, even buttermilk and dog-biscuit, burnt canvasback and cold Burgundy lose half their bitterness.

When night is well started in its flight, perhaps one only, one lover of the silence and the solitude, loath to give away to soft sleep the quiet hours, this one remains behind when all the others have flown bedward, and to him the neighbouring tapestries speak a various language. From the easy chair he sees the firelight play on the verdure with the effect of a summer breeze, the gracious foliage all astir. The figures in this enchanted wood are set in motion and imagination brings them into the life of the moment, makes of them sympathetic playmates coaxing one to love, as they do, the land of romance. Before their imperturbable jocundity what bad humour can exist? All the old songs of mock pastoral times come singing in the ears, “It happened on a day, in the merry month of May,” “Shepherds all and maidens fair,” “It was a lover and his lass,” “Phoebus arise, and paint the skies,” et cetera. Animated by the fire, in the silence of the winter night the loving horde gathers and ministers to the mind afflicted with much hard practicality and the strain of keeping up with modern inexorable times. This sweet procession on the walls, thanks be to lovely art, needs no keeping up with, merely asks to scatter joy and to soften the asperities of a too arduous day.

All the way up the staircase in the house of tapestries are dainty bits of millefleurs, that Gothic invention for transferring a block of the spring woods from under the trees into a man-made edifice. It may have a deep indigo background or a dull red—like the shades of moss or like last year’s fallen leaves—but over it all is abundantly sprinkled dainty bluebells, anemones, daisies, all the spring beauties in joyous self-assertion and happy mingling. With such flowery guides to mark the way the path to slumberland is followed. Once within the bedroom, the poppies of the hangings spread drowsy influence, and the happy sleeper passes into unconsciousness, passes through the flowered border of the ancient square, into the scene beyond, becomes one of those storied persons in the enchanted land and lives with them in jousts and tourneys or in fÊtes champÊtres at lovely chÂteaux. The magic spell of the house of tapestries has fallen like the dew from heaven to bless the striver in our modern life of exigency and fatigue.

CHINESE TAPESTRY

Chien Lung Period

COPTIC TAPESTRY

About 300 A. D.