At top, on a blue ground, is a large N in yellow, indicative of the first Napoleon, who, in the year 1807 presented this fine specimen of the far-famed Gobelin tapestry to his brother Jerome, at the time King of Westphalia, as a marriage gift. By the late Prince Jerome it was sent, through his son, the present Prince Napoleon, for presentation to this Museum.
2442.
Tapestry Wall-hanging; design, groups of richly-dressed ladies and gentlemen around a queen. Flemish, early 16th century.
Apparently the crowded scene before us is meant to illustrate some
symbolic subject. In the midst of them all stands a queen, whose hands
are clasped. Before her kneels a man who respectfully bares his head the
while he outstretches to the princess a written paper. Behind stands a
magnificent chair. Further back is a nicely-shown interior of a room
having its cupboard loaded with vases standing on the shelves; there sit
three ladies in earnest talk. All about are groups of richly-clothed men
and women, each of whose dresses is worthy of notice.
2443.
Tapestry; subject, a landscape, the foreground strewed with human and animals' bones, and a living figure sitting among rocks. French, early 17th century.
This is one of a short series of tapestries setting forth, but sometimes
laughing at, the ideas of the ancient cynics. Before us here we
have a wild dell clothed in trees on one side, on the other piled with
rocks capped, in some places, by ruins. Seated on a stone, with a book
held in his hand, is Diogenes in meditation, with human bones, animal
skulls, and monster things about him. The work is well done, and
shows how perfect was the loom that wrought it. On a blue tablet
at top runs this inscription,—"Diogenes derisor omnium in fine
defigitur."
