The Battle of Zama, tenth piece from The Story of Scipion,
adapted from Jules Romain, c. 1688-1690.

Wool tapestry, 435 x 740. Musée du Louvre, Paris.

 

 

Under the direction of Charles Le Brun, from 1663 until his death in 1690, the manufactory, which employed about 250 workmen, executed 19 high-warp tapestries, measuring 4,110 square yards, and 34 low-warp pieces of 4,294 square yards. These were: the Acts of the Apostles copied from Raphael, Elements and the Seasons, Months, and l’Histoire du Roy after Le Brun, Van der Meulen’s Battles of Alexander, the models of which Le Brun had painted at the Gobelins; the History of Moses after Poussin and Le Brun, the paintings of the Houses of the Vatican by Raphael, and the pictures of the Galerie de Saint Cloud from Pierre Mignard. Until 1792, the work was mainly given to contractors who nearly always signed the tapestries executed under their direction. The most admired series of all others, for the perfection of its design and workmanship and the great value of its material, is the l’Histoire du Roy. Then follows the audience granted on 29 July 1664 by King Louis XIV in Fontainebleau to Cardinal Chigi, nephew and legate a latere of Pope Alexander VII, to obtain satisfaction for the insult offered to his ambassador in Rome. This piece of tapestry was executed from 1665 to 1672.

In this rapid sketch, we could not even attempt to give a history of the works of the Gobelins. There is no ceremony or public exhibition in which national stores send practically unknown tapestries, such as the arabesques of Raphael, arranged by Noel Coypel, and another series of arabesques, figures and grotesques, in the style of Berain, worked on a tawny background, of which such wonderful examples were seen in Leopold Double’s salon. We should also mention a piece belonging to an amateur, which has a twofold interest; executed on the occasion of the marriage of Louis-Auguste Duke of Maine, legitimate son of Louis XIV and Madame de Montespan, with Anne-Louise-Bénédicte de Conde. It shows us, together with the ciphers and armorial bearings of the bride and bridegroom, the reproduction of a tapestry of the 16th century representing the Duke of Guise hunting on the banks of the pond of the Sainte-Badegonde convent, in the forest of Montmorency. Additionally, two reproductions executed by Chastelin and Yvard, after the cartoons of Lucas of Leyden, the seasons Spring and Summer with a framework of rich borders of gold flowers, bouquets, fruits, and cornucopias, which characterise the royal establishment.

Tapestries, whatever may be said of them, should be ornamental, but they can never rival paintings. The delicate shades necessary for creation turned out to be fleeting. A tapestry in Boucher’s style, which was perfect at the time of its creation, now exhibits mere faded surfaces, amongst which, only certain parts retain their primitive colours; it has lost the harmony which provided its charm.

 

Beauvais

 

Two years after the foundation of the Gobelins, in 1664, Colbert founded a royal manufactory at Beauvais. Low-warp looms were especially used there and produced some very remarkable tapestries; they sought to make it a centre for the manufactory of valances, curtains, and chair-seats rather than a branch establishment or repetition of the great royal manufactory.

One of the oldest and most brilliant specimens, once belonging to Sir Richard Wallace, displayed the arms of France on a red background, surmounted by the royal crown and a radiant sun, all under the sceptre and hand of justice. Two tapestries in a series of the hunting parties of Louis XIV, executed for the Marquis de Villacerf (Colbert) and his wife, Mademoiselle de la Ferté-Sennecterre, were executed from 1696 to 1736. They form part of the cabinet of Baron Jérome Pichon.

Under Louis XV during the time of Oudry’s directorship, we find door-hangings with pastoral trophies on a white background with farm animals and fowls at the bottom. A beautiful red border frames these brilliant tapestries, which were also part of the splendid furniture of Sir Richard Wallace. Another tapestry, signed by Jean-Baptiste Oudry shows Mars standing with his hand resting on the armorial crest of the Duke of Boufflers, which is placed on a pedestal, and Minerva, seated on the opposite side, is surrounded by trophies of arms and groups of flowers. The name of the Manufactory of Beauvais is often seen inscribed on these productions, but the works are more frequently anonymous, or bearing a simple mark and initials.

Amongst the most remarkable tapestries are the four pieces in the Musée de Cluny representing the Labours and the Pleasures of the Fields, by Teniers. The celebrated tinnières of Flanders are certainly not more perfect in the delicacy of expression and harmony of ensemble. These hangings were preserved in the chateau de Rosny and stayed there until the furniture sale of the Duchesse de Berry. Good traditions of art have been preserved at Beauvais, and it is impossible to carry the perfection of effect, the charm of execution, and the grace and taste of the compositions to a greater extent than this manufactory.