Tapestries: Their Origin, History & Renaissance

This is the moat perfect Beauvais-Boucher tapestry I have ever seen, and the illustration is singularly fortunate in sugges~ ing-though not in reproducing-the exquisite tones of the original. It is 10 feet, 2 by 8 feet 6, comes from the Casimir-P~rier collection, having been acquired about 80 years ago by the grandfather of the late President of France, was designed by Fran,;oili Boucher, whose reveraed signature (F. Boucher 1757) appears on the edge of the marble table, and was woven at Beauvais by A. C. Charron, who in 1753 became manager of the works on the death of Nicolas Bes11ier. It is valued at $120,000 and was in America only just long enough last winter for me to have the colour plates made.

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Table of Contents:

COVER

PREFACE

TABLE OF CONTENTS

LIST OF ILLUSTRATIONS

CHAPTER I - THE REANISSANCE OF TAPESTRIES

CHAPTER II - GOTHIC TAPESTRIES

CHAPTER III - RENAISSANCE TAPESTRIES

CHAPTER IV - FLEMISH AND BURGUNDIAN LOOMS

CHAPTER V - MORTLAKE, MERTON, AND OTHER ENGLISH LOOMS

CHAPTER VI - FRENCH LOOMS

CHAPTER VII - OTHER LOOMS

CHAPTER VIII - THE TEXTURE OF TAPESTRIES

CHAPTER IX - DESIGNS AND CARTOONS

CHAPTER X - TAPESTRY SIGNATURES AND MAKERS

CHAPTER XI - THE BIBLE IN TAPESTRIES

CHAPTER XII - HISTORY AND ROMANCE IN TAPESTRIES

CHAPTER XIII - THE TAPESTRY POINT OF VIEW

CHAPTER XIV - THE CARE OF TAPESTRIES

CHAPTER XV - TAPESTRY MUSEUMS, COLLECTIONS, EXPOSITIONS,INVENTORIES, SALES, BOOKS

CHAPTER XVI - TAPESTRIES AT THE METROPOLITAN MUSEUM

GENERAL INDEX

INDEX