Gobelins weaving, France, 18th century, (1898). Creator: Unknown
Gobelins weaving, France, 18th century, (1898). 'Fig 1: Chair-seat by Louis Tessier, Louis XV [c1715-1774]. Fig 2: Basket of fruit by the same Artist, Louis XV. Fig 3: Garland of fruit by the same Artist (Louis XV.). Fig 4: Chair-Back by Jacques, Louis XVI [c1774-1792]. Fig 5: Doorpanel by this Artist, Louis XVI. Drawn by W. Vivien, Paris...It is no wonder, therefore, that in the ensuing period under Louis XV and XVI Artists such as Watteau, Boucher, Tessier, Jacques and others should have taken up the work, or that they were certain of a triumph in the pursuit of a special department of art. For instance, if we observe the tasteful manner in which Tessier, the king's-flower painter, could group his flowers and fruit in characteristic garlands, and bouquets, we shall not hesitate to reckon him one of the finest flower-painters of the French school. The details here represented, from important works by this master, give some idea of his marked ability'. Plate 82b from "The Historic Styles of Ornament" translated from the German of H. Dolmetsch. [B.T. Batford, London, 1898]
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Time (From Chateau de Chaumont Set), 1512-1515. Creator: Unknown
Time (From Chateau de Chaumont Set), 1512-1515. Pierre Sala, who likely commissioned the set, is portrayed as the richly attired central figure offering a bouquet, a symbol of knowledge, to Eleonore, his daughter. Eleonore is pregnant, revealed by her upturned skirt and the persimmon in her husband Hector's hand. Hector's mother, Marguerite, in dark attire, will wed the widowed Sala in 1519. They appear in front of the royal chateau of Blois. The figures at the right convey Sala's advice to his children. Time (the old man with the staff) with Clio, the Muse of History, standing on his shoulders, is being attacked by a Herculean youth wielding a stick. With this allegory, Sala is explaining that youth is ignorant of the complexities of life and time. The small unicorn at the far right represents the soul. The verse in Old French at the top refers to changing time: One sees Time adorned with green foliage, Sometimes as pleasant as an angel, Then suddenly change and become quite strange. Never does Time persist in one state.
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Millefleurs Tapestry with Medici Coat of Arms, 1520s. Creator: Unknown
Millefleurs Tapestry with Medici Coat of Arms, 1520s. Many identifiable flowering plants provide the French name, millefleur, for this pattern, which became fashionable around 1450. Each plant may have symbolized either religion, courtship, or morals. However, many millefleur tapestries, made for about 100 years, were probably not symbolic. Large quantities were woven only with flowers; some also incorporated birds and animals or, in this case, coats of arms. Here, the original coat of arms has been replaced by that of the Medicis, a prominent family in Renaissance Florence.
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