The Tapestry Book Part 17

Then there is the human face--it takes an artist to describe the various faces with their beauty of modelling, their infinite variety of type, their subtlety of expression. You can almost see the flus.h.i.+ng of the capillaries under the translucent skin, so fine are the mediums of silk and wool under the magic handling of the talented weavers in brilliant epochs. Not a detail in one of these older canvases of the highest Gothic development has been neglected.

The modern places his point of interest, and, knowing the observer's eye is to obediently linger there, he splashes the rest of his drawing into careless subserviency. But these careful older drawings showed in every inch of their execution a conscience that might put the Puritan to shame. Note, even, the ring that is being handed to the lady in the Mazarin tapestry of Mr. Morgan's (if yours is the happy chance to see it). It was not sufficient for the weaver that it be a ring, but it must be a ring set with a jewel, and that jewel must be the one celebrated ever for its value; so in the canvas glows a carefully rounded spot of pigeon-blood.

This exquisitely fine weaving of the period which trembled between the Gothic and the Renaissance made possible the execution of the later work--and yet, and yet, who shall say that the later is the superior work? Vaunted as it is, one turns to it because one must, but with entire fidelity of heart for the preceding manner.

In the high period of Brussels production, when the Renaissance was well established there, through the cartoons of the Italian artists, it is interesting to note the richness given to surfaces solidly filled in with gold by throwing the thread in groups of four. The light is thus caught and reflected, almost as though from a heap of cut topaz. This characterises the tapestries of the _Mercury_ series in the Blumenthal collection.

Naturally, the evenness of the weaving has much to do with the value of the piece--otherwise the pains of the old weavers would have been futile. The surface smooth, free from lumps or ridges, strong with the even strength of well-matched threads, this is the beauty that characterises the best work this side of the Fifteenth Century.

It is the especial prerogative of the merchant to touch with his own hands a great number of tapestries. It is by this handling of the fabric that he acquires a skill in determining the make of many a tapestry. There is an indefinable quality about certain wools, and about the manner of their weaving that is only revealed by the touch.

Not all hands are wise to detect, but only those of the sympathetic lover of the materials they handle--and I have found many such among the merchant collector. But even he finds identification a task as difficult as it is interesting, and spends hours of thought and research before arriving at a conclusion--and even then will retract on new evidence.

COPIES

There are certain pitfalls into which one may so easily fall that they must never be out of mind. The worst of these, the pit which has the most engaging and innocent entrance, is that of the copy, the modern tapestry copied from the old a few decades ago.

It is easy to find by reference to the huge volumes of French writers on tapestry just when certain sets of cartoons were first woven. Take, for example, the _Acts of the Apostles_ by Raphael; Brussels, 1519, is the authentic date. But after that the Mortlake factory in England wove a set, and others followed. This instance is too historic to be entirely typical, but there are others less known. It was the habit of factories that possessed a valuable set of cartoons to repeat the production of these in their own factory, and also to make some arrangement whereby other factories could also produce the same set of hangings.

In the evil days that fell upon Brussels after her apogee, copying her own works took the place of new matters. Also, in the French factories in their prime, the same set was repeated on the same looms and on different ones, _vide_ _The Months_, _The Royal Residences_, _History of Alexander_, etc., and the gorgeous _Life of Marie de Medici_. If these notable examples were copied it is safe to conclude that many others were.

The study of marks is left for another chapter, for, by this time, even the enthusiast is wearying. There seems so much to learn in this matter of investigating and identifying, and, after all, everything is uncertain. One looks about at identified pieces in museums and private collections, even among the dealers, and the discouraging thought comes that other people can tell at a glance. But this is very far from being true.

Even the savant studies long and investigates much before he gives a positive cla.s.sification of a piece that is not "pedigreed." Here is a Flemish piece, here is a French, he will declare, and for the life of you you cannot see the ear-marks that tell the ancestry. And so in all humility you ask, "How can you tell with a glance of the eye?" But he does not. No one can do that in every case. He must spend days at it, reflecting, reading, handling, if the piece is evidently one of value.

He will show you, perhaps, as an honest dealer-collector showed me, a set of five fine pieces which he could not identify at all. "The weave," said he, "is Mortlake, the design in part German, these are Italian _putti_--yet when all is told, I put down the work as an Eighteenth Century copy of decadent Renaissance. But I am far from sure."

If a dealer, surrounded by experienced helpers, can thus be nonplussed, there is little cause for humiliation on the part of the amateur who hesitates. It is not expected that one can know at a glance whether a piece of work was executed in France, or in Flanders at a given epoch. But the more difficult the work of identification, the keener the zest of the hunt. It is then that one calls into requisition all the knowledge of art that the individual has been unconsciously acc.u.mulating all the years of his life. The applied arts reflect the art feeling of the age to which they belong, and the diluted influence of the great artists directs them. This is true of drawing and of colour.

History has ever its reflection on arts and crafts, but perhaps it has in tapestry its most intentional record. It is a forced and deliberate piece of egoism when a monarch or a conqueror has a huge picture drawn exhibiting his grandeur in battle or his elegance at home. In some hangings modesty limits to the border of an imaginary and decorative scene the monogram of the heroine of history for whose apartments the tapestry was woven. And so history is given a grace, a delicate meaning, a warm interest, which is one of the side-gardens of delight that show from the long path of identification study.

This little book has as its aim the gentle purpose of pointing the way to a knowledge that shall be a guide in knowing gold from--not from dross, that is too simple, but gold from gold-plating let us say, for the mad lover of tapestries will not admit that any hand-woven tapestry is on the low level of dross. Any work which human hands have touched and lingered on in execution is deserving of the respect of the modern whose life must of necessity be lived in hasty execution.

Every chapter, then, is but a caution or a counsel, and this one but a briefer statement of the same matter. If onto the fringe of the main thought hangs much of history, it is history inseparable from it, for history of nations gives the history of great men, and these regulate the doings of all the lesser ones below them.

Identification, pure and simple, is for the rapt lover of art who pursues his game in museums and has his quiet delights that others little dream of. But in general, to the practical yet cultivated American, it is a means to expend wisely the derided dollars that we impress upon other nations to the artistic enrichment of our own country.

CHAPTER XX

BORDERS

If the artists of tapestries had never drawn nor ever woven anything but the borders that frame them, we would have in that department alone sufficient matter for happy investigation and acutely refined pleasure. I even go so far as to think that in certain epochs the border is the whole matter, and the main design is but an enlargement of one of the many motives of which it is composed. But that is in one particularly rich era, and in good time we shall arrive at its joys.

First then--for the orderly mind grows stubborn and confused at any beginning that begins in the middle--we must hark back to the earliest tapestries. Tracing the growth of the border is a pleasant pastime, a game of history in which amorini, grotesques and nymphs are the personages, and garlands of flowers their perpetual accessories, but first comes the time when there were no borders, the Middle Ages.

There were none, according to modern parlance, but it was usual to edge each hanging with a tape of monotone, a woven galloon of quiet hue, which had two purposes; one, to finish neatly the work, as the housewife hems a napkin; the other, to provide s.p.a.ce of simple material for hanging on rude hooks the big pictured surface.

This latter consideration was one of no small importance, as we can readily see by sending the thought back to the time when tapestries led a very different life (so human they seem in their a.s.sociation with men that the expression must be allowed) from that of to-day, when they are secured to stretchers, or lined, or even framed behind gla.s.s like an easel painting.

In those other times of romance and chivalry a great man's tapestries were always en route. Like their owner, they were continually going on long marches, nor were they allowed to rest long in one place. From the familiar castle walls they were taken down to line the next habitat of their owner, and that might be the castle of some other lord, or it might be the tent of an encampment. Again, it might be that an open-air exposition for a pageant, was the temporary use.

The tapestries thus bundled about, forever hung and unhung on hooks well or ill-s.p.a.ced, handled roughly by unknowing varlets or dull soldiers, these tapestries suffered much, even to the point of dilapidation, and thus arose the need for a tape border, and thus it happens also that the relics of that time are found mainly among the religious pieces. These last found safe asylum within convent walls or in the sombre quiet of cathedral shades, and like all who dwell within such precincts were protected from contact with a rude world.

One day, sitting solitary at his wools, it occurred to the weaver of the early Fifteenth Century to spill some of his flowers out upon the dark galloon that edged his work. The effect was charming. He experimented further, went into the enchanted wood of such a design as that of _The Lady and the Unicorn_ to pluck more flowers, and of them wove a solid garland, symmetrical, strong, with which to frame the picture. To keep from confounding this with the airy bells and starry corollas of the tender inspiring blossoms of the work, he made them bolder, trained them to their service in solid symmetric ma.s.s, and edged the whole, both sides, with the accustomed two-inch line of solid rich maroon or blue.

It is easy to see the process of mind. For a long time there had been gropings, the feeling that some sort of border was needed, a division line between the world of reality and the world of fable. Examine the Arras work and see to what tricks the artist had recourse. The architectural resource of columns, for example; where he could do so, the artist decoyed one to the margin. Thus he slipped in a frame, and broke none of the canons of his art, and no more beautiful frame could have been devised, as we see by following up the development and use of the column. Once out from its position in the edge of the picture into its post in the border, it never stops in its beauty of growth until it reaches such perfection as is seen in the twisted and garlanded columns which flank the Rubens series, and those superb shafts in _The Royal Residences_ of Lebrun at the Gobelins under Louis XIV.

The other trick of framing in his subject which was open to the Arras weaver whom we call Gothic, was to set verses, long lines of print in French or Latin at top or bottom.

But his first real legitimate border was made of the same flowers and leaves that made graceful the finials and capitals of Gothic carving.

Small cl.u.s.tered fruit, like grapes or berries, came naturally mixed with these, as Nature herself gives both fruit and flowers upon the earth in one fair month.

Simplicity was the thing, and a continued turning to Nature, not as to a cult like a latter-day nature-student, but as a child to its mother, or a hart to the water brook. As even in a border, stayed between two lines of solid-coloured galloon, flowers and fruit do not stand forever upright without help, the weaver gave probability to his abundant ma.s.s by tying it here and there with a knot of ribbon and letting the ribbon flaunt itself as ribbons have ever done to the delight of the eye that loves a truant.

By this time--crawling over the top of the Fourteen Hundreds--the border had grown wider, had left its meagre allowance of three or four inches, and was fast acquiring a foot in width. This meant more detail, a broader design, coa.r.s.er flowers, bigger fruit, and these spraying over the galloon, and all but invading the picture. It was all in the way of development. The simplicity of former times was lost, but design was groping for the great change, the change of the Renaissance.

The border tells quickly when it dawned, and when its light put out all candles like a glorious sun--not forgetting that some of those candles would better have been left burning. By this time Brussels was the centre of manufacture and the cartoonist had come to influence all weavings. Just as carpenters and masons, who were the planners and builders of our forefathers' homes, have now to submit to the domination of the _ecole des Beaux Arts_ graduates, so the man at the loom came under the direction of Italian artists. And even the border was not left to the mind of the weaver, but was carefully and consistently planned by the artist to accompany his greater work, if greater it was.

Raphael himself set that fas.h.i.+on. He was a born decorator, and in laying out the borders of his tapestries unbridled his wonderful invention and let it produce as many harmonies as could be crowded into miniature. He set the fas.h.i.+on of dividing the border into as many sections as symmetry would allow, dividing them so daintily that the eye scarce notes the division, so purely is it of the intellect. In the border for the _Acts of the Apostles_, this style of treatment is the one he preferred. This set has no copy in America, but an almost unrivalled example of this style of border is in the private collection of George Blumenthal, Esq., the _Herse and Mercury_.[16]

Here picture follows picture in charming succession, in that purity and perfection of design with which the early Renaissance delights us.

The cla.s.sic note set by the subject of the hanging is never forgotten, but on this key is played a varied harmony of line and colour. For dainty invention, this sort of border reaches a very high expression of art.

If Raphael set the fas.h.i.+on, others at least were not slow in seizing the new idea and from that time on, until a period much later--that of the Gobelins under Louis XV--it was the fas.h.i.+on to introduce great and distracting interest into the border. Even the little galloon became a twist of two ribbons around a repeated flower, or a small reciprocal pattern, so covetous was design of all plain s.p.a.ces.

Lesser artists than Raphael also divided the border into squares and oblongs, and with charming effect. The sides were built up after the same fas.h.i.+on, but instead of the delicate architectural divisions he affected, part.i.tions were made with ma.s.sed fruit and flowers, vines and trellises. The scenes were surprisingly dramatic, Flemish artists showing a preference for such Biblical reminders as Samson with his head being shorn in Delilah's lap, while Philistines just beyond waited the enervating result of the barber's work; or, any of the loves and conflicts of the Greek myths was used.

The colouring--too much cannot be seen of the warm, delicate blendings. There is always the look of a flowerbed at dawn, before Chanticleer's second call has brought the sun to sharpen outlines, before dreams and night-mist have altogether quitted the place. Plenty of warm wood colours are there, of lake blues, of smothered reds.

Precious they are to the eye, these scenes, but hard to find now except in bits which some dealer has preserved by framing in a screen or in the carved enclosure of some nut-wood chair.

For a time borders continued thus, all marked off without conscious effort, into countless delicious scenes. Then a change begins. After perfection, must come something less until the wave rises again. If in Raphael's time the border claimed a two-foot strip for its imaginings, it was slow in coming narrower again, and need required that it be filled. But here is where the variance lay: Raphael had so much to say that he begged s.p.a.ce in which to portray it; his imitators had so much s.p.a.ce to fill that their heavy imagination bungled clumsily in the effort. They filled it, then, with a heterogeneous ma.s.s of foliage, fruit and flowers, trained occasionally to make a bower for a woman, a stand for a warrior, but all out of scale, never keeping to any standard, and lost absolutely in unintelligent confusion.

The Flemings in their decadence did this, and the Italians in the Seventeenth Century did more, they introduced all manner of cartouche.

The cartouche plays an important part in the boasting of great families and the sycophancy of those who cater to men of high estate, for it served as a field whereon to blazon the arms of the patron, who doubtless felt as man has from all time, that he must indeed be great whose symbols or initials are permanently affixed to art or architecture. The cartouche came to divide the border into medallions, to apportion s.p.a.ce for the various motives; but with a far less subtle art than that of the older men who traced their airy arbours and trailed their dainty vines and set their delicate grotesques, in a manner half playful and wholly charming.

But when the cartouche appeared, what is the effect? It is as though a boxful of old brooches had been at hand and these were set, symmetrically balanced, around the frame, and the s.p.a.ces between filled with miscellaneous ornament on a scale of sumptuous size.

Confusing, this, and a far cry from harmony. Yet, such are the seductions of tapestry in colour and texture, and so caressing is the hand of time, that these borders of the Seventeenth Century given us by Italy and Flanders, are full of interest and beauty.

The very bombast of them gives joy. Who can stand before the Barberini set, _The Mysteries of the Life and Death of Jesus Christ_, bequeathed to the Cathedral of St. John, the Divine, in New York, by Mrs. Clarke, without being more than pleased to recognise in the border the indefatigable Barberini bee? We are human enough to glance at the pictures of sacred scenes as on a tale that is told, but that potent insect makes us at once acquainted with a family of renown, puts us on a friendly footing with a great cardinal of the house, reminds us of sundry wanderings of our own in Rome; and then, suddenly flashes from its wings a memory of the great conqueror of Europe, who after the Italian campaign, set this bee among his own personal symbols and called it Napoleonic. Yes, these things interest us enormously, personally, for they pique imagination and help memory to fit together neatly the wandering bits of history's jigsaw puzzle. Besides this, they help the work of identifying old tapestries, a pleasure so keen that every sense is enlivened thereby.

When decorative design deserts the Greek example, it strays on dangerous ground, unless Nature is the model. The Italians of the Seventeenth Century, tired of forever imitating and copying, lost all their refinement in the effort to originate. Grossness, sensuality took the place of fine purity in border designs. Inflation, so to speak, replaced inspiration.

Amorini--the word can hardly be used without suggesting the gay babes who tumble deliciously among Correggio's clouds or who s.n.a.t.c.h flowers in ways of grace, on every sort of decoration. In these later drawings, these tapestry borders of say 1650, they are monsters of distortion, and resemble not at all the rosy child we know in the flesh. They are overfed, self-indulgent, steeped in the wisdom of a corrupt and licentious experience. I cannot feel that anyone should like them, except as curiosities of a past century.

Heavy swags of fruit, searching for larger things, changed to pumpkins, melons, in the gross fas.h.i.+on of enlarged designs for borders. Almost they fell of their own weight. Cornucopias spilled out, each one, the harvest of an acre. And thus paucity of imagination was replaced by increase in the size of each object used in filling up the border's allotted s.p.a.ce.

After this riot had continued long enough in its inebriety, the corrective came through the influence of Rubens in the North and of Lebrun in France. These two geniuses knew how to gather into their control the art strength of their age, and to train it into intellectual results. Mere bulk, mere s.p.a.ce-filling, had to give way under the mind force of these two men, who by their superb invention gave new standards to decorative art in Flanders and in France.

Drawings were made in scale again, and designs were built in harmony, constructed not merely to catch the eye, but to gratify the logical mind.