The Tapestry Book. Helen Churchill Candee
thus gaining in decorative value and elegance. This practice had an important effect on the design, and also gave an appearance of movement to human figures and to foliage, as each swayed in light folds.
When considering tapestries of the Thirteenth Century we are only contemplating the stones of history, for the actual products of the looms of that time are not for us; they are all gathered into museums, public or ecclesiastic. The same might be said of tapestries of the Fourteenth Century, and almost of the Fifteenth. But those old times are so full of romance, that their history is worth our toying with. It adds infinite joy to the possessing of old tapestries, and converts museum visits into a keen chase for the elusive but fascinating figures of the past.
Let us then absorb willingly one or two dry facts. High-warp tapestry we have traced lightly from Egypt through Greece and Rome and, almost losing the thread in the Middle Ages, have seen it rising a virile industry, nursed in monasteries. It was when the stirrings of artistic life were commencing under the Van Eycks in the North and under Giotto and the Tuscans in the South that the weaving of tapestries reached a high standard of production and from that time until the Nineteenth Century has been an important artistic craft. The Thirteenth Century saw it started, the Fourteenth saw the beginnings of important factories, and the Fifteenth bloomed into full productions and beauty of the style we call Gothic.
In these early times of the close of the Thirteenth Century and the beginning of the Fourteenth, the best known high-warp factories were centred in northern and midland provinces of France and Flanders, Paris and Arras being the towns most famed for their productions. As these were able to supply the rest of Europe, the skilled technique was lost otherwheres, so that later, when Italy, Germany and England wished to catch up again their ancient work, they were obliged to ask instruction of the Franco-Flemish high-warp workers.[5]
It is not possible in the light of history for either Paris or Arras to claim the invention of so nearly a prehistoric art as that of high-warp tapestry, and there is much discussion as to which of these cities should be given the honour of superiority and priority in the work of the Twelfth and Thirteenth Centuries.
Factories existed at both places and each had its rules of manufacture which regulated the workman and stimulated its excellence. The factories at Paris, however, were more given to producing copies of carpets brought from the East by returning crusaders, and these were intended for floors. The craftsmen were sometimes alluded to as tapissiers Sarrazinois, named, as is easily seen, after the Saracens who played so large a part in the adventurous voyages of the day. But in Paris in 1302, by instigation of the Provost Pierre le Jumeau, there were associated with these tapissiers or workmen, ten others, for the purpose of making high-warp tapestry, and these were bound with all sorts of oaths not to depart from the strict manner of proceeding in this valued handicraft.
Indeed, the Articles of Faith, nor the Vows of the Rosicrucians, could not be more inviolable than the promises demanded of the early tapestry workers. In some cases—notably a factory of Brussels, Brabant, in the Sixteenth Century—there were frightful penalties attendant upon the breaking of these vows, like the loss of an ear or even of a hand.
The records of the undertaking of the Provost Pierre le Jumeau in introducing the high-warp (haute lisse) workers into the factory where Sarrazinois and other fabrics were produced, means only that the improvement had begun, but not that Paris had never before practised an art so ancient.
The name of Nicolas Bataille is one of the earliest which we can surround with those props of records that please the searcher for exact detail.[6] He was both manufacturer and merchant and was a man of Paris in the reign of Charles VI, a king who patronised him so well that the workshops of Paris benefited largely. The king’s brother becoming envious, tried to equal him in personal magnificence and gave orders almost as large as those of the king. Philip the Hardy, uncle of the king, also employed this designer whose importance has not lessened in the descent of the centuries.
What makes Bataille of special interest to us is that we cannot only read of him in fascinating chronicles as well as dry histories, but we can ourselves see his wondrous works. In the cathedral at Angers hangs a tapestry executed by him; it is a part of the Apocalypse (favourite subject) drawn by Dourdin, who was artist of the cartoons as well as artist to Charles V.
In those days the weaver occupied much the same place in relation to the cartoonist as the etcher does now to the painter. That is to say, that because the drawing was his inspiration, the weaver was none the less an artist of originality and talent.
These celebrated hangings at Angers, although commenced in 1376 for Louis of Anjou, were not completed in all the series until 1490, therefore Bataille’s work was on the first ones, finished on Christmas, 1379. The design includes imposing figures, each seated on a Gothic throne reading and meditating. The larger scenes are topped with charming figures of angels in primitive skies of the “twisted ribbon” style of cloud, angels whose duty and whose joy is to trump eternally and float in defiance of natural laws of gravitation.
The museum at the Gobelins factory in Paris shows to wondering eyes the other authentic example of late Fourteenth Century high-warp tapestry, as woven in the early Paris workshops. It portrays with a lovely naïve simplicity The Presentation in the Temple. This with the pieces of the Apocalypse at Angers are all that are positively known to have come from the Paris workshops of the late Fourteenth Century.
History steps in with an event that crushed the industry in Paris. Just when design and execution were at their highest excellence, and production was prolific, political events began to annihilate the trade. The English King, Henry V, crossed the Channel and occupied Paris in 1422. Thus, under the oppression of the invaders, the art of tapestry was discouraged and fell by the way, not to rise lustily again in Paris for two hundred years.
FOOTNOTES:
[5] Eugene Müntz, “La Tapisserie.”
[6] For extensive reading see Guiffrey, “Nicolas Bataille, tapissier parisien,” and “L’Histoire General de la Tapisserie,” the section called “Les Tapisseries Francaises.”
CHAPTER IV
FIFTEENTH CENTURY IN FRANCE AND FLANDERS
WHETHER Arras began as early as Paris is a question better left unsettled if only for the sake of furnishing a subject of happy controversy between the champions of the two opinions. But certain it is that with fewer distractions to disturb her craftsmen, and under the stimulus of certain ducal and royal patrons, Arras succeeded in advancing the art more than did her celebrated neighbour. It was Arras, too, that gave the name to the fabric, a name which appears in England as arras and in Italy as arazzo, as though there was no other parent-region for the much-needed and much-prized stuffs than the busy Flemish town.
Among the early records is found proof that in 1311, a countess of the province of Artois, of which Arras was the capital, bought a figured cloth in that city, and two years later ordered various works in high warp.[7] It is she who became ruler of the province. To patronise the busy town of her own domains, Arras, she ordered from there the hangings that were its specialty. Paris also shared her patronage. She took as husband Otho, Count of