Originalveröffentlichung in: Campbell, Thomas P. ; Cleland, Elizabeth A. H. (Hrsgg.): Tapestry in the Baroque : new aspects of production and patronage [Kongressband], New York 2010, S. 104-133

Hanns Hubach

most of their German peers, they had begun Tales from the to summon master weavers to work in Heidelberg in the 1430s.' This explains the enthusiasm with which the size and the Tapestry Collection richness of the Palatine tapestry collection were praised by Antoine de Lalaing, count of Hoogstraten and Culemborg, chamber­ of Elector Palatine lain to the court of Duke Philip the Hand­ some, the son of Holy Roman Emperor Maximilian I. De Lalaing was thus very Frederick V and well acquainted with the current standards of Burgundian court culture, against which all other forms of princely display were Elizabeth Stuart, measured. On the occasion of the duke's visit to the Palatinate to meet with Elector Philip in the fall of 1503, de Lalaing the Winter King acknowledged in his diary that Heidelberg Castle and its furnishings completely matched the requirements of splendor, even and Queen royal splendor, a judgment based primarily on the fact that he found all apartments and halls lavishly hung with expensive tapes­ tries.3 During the first half of the sixteenth century, the Counts Palatine kept buying Following the destruction of Heidelberg complete tapestry sets of biblical and mytho­ Castle and the pillaging of its furnishings by logical stories directly from the Netherlands. troops of King Louis XIV of France in 1689 The acquisitions of Electors Frederick II and 1693, during the Palatine War of Suc­ and Otto Henry, both great admirers and cession, the fact that the Counts Palatine passionate collectors of every kind of woven and Electors of the Rhine had assembled splendor, added considerably to what their in their residence one of the most splendid predecessors had brought together since the collections of tapestries in Germany fell into reign of King Rupert I at the beginning of oblivion.' The counts' self­image, derived the fifteenth century.4 from their royal lineage, did not mean The collection was further augmented that they were exempt from permanent when, in the early 1560s, Elector Frederick III competition for status, rank, and prestige succeeded in encouraging refugees from with other princely families, such as the religious persecution in the southern Habsburgs and their rival Wittelsbach Netherlands to settle in Frankenthal, a cousins, the dukes of Bavaria. Therefore, small town halfway between Heidelberg the Counts Palatine could not neglect the and Worms/ Among them came numbers use of the richest and most prestigious pic­ of artists and craftsmen: famous painters torial medium of the time and the preferred such as Gillis van Coninxloo and Pieter means of princely propaganda to further Schoubroeck, goldsmiths, jewelers, and tap­ promote their family reputation. Unlike estry weavers, most of the last coming

104 directly from Oudenaarde or having close the young Pfalsgrave accommodated his ties to that city. Those weavers quickly beloved "Englisch cleinod und Perlein" installed new workshops in Frankenthal, (English jewel and pearl) in a newly erected which for about half a century made the palace, the "Englische Bau," which included town the most important center of tapestry a spectacular theater and ballroom on top of production in Germany.'' Under the guid­ the "Dicker Turm" (giant tower), and he ance of master weaver Paulus Rubentz, these assigned Salomon de Caus to add an expan­ local workshops were soon, and at an sive terrace garden, the famous Hortus increasing rate, able to supply the Heidelberg Palatinus (fig. 1)." When she arrived, Eliza­ court with new, high­quality tapestries.7 In beth found that the interior of Heidelberg an inventory of 1584, there are listed almost Castle "was superb beyond description: 450 figurative wall hangings, 263 of which the ceiling was painted al fresco, the walls are explicitely described as tapetzerey (tapes­ were hung with tapestry; and a suite of ten try) and 183 called Rucktucher (dossals).* It is rooms, including the knight's hall, the royal a fair guess that thirty years later, in 1613, saloon, the silver chamber, and ante rooms, when Frederick V took his wife, Elizabeth formed a complete Gothic palace."1­ Her Stuart, to Heidelberg,'­1 the tapestry stock of own apartment was lavishly furnished; it is the Counts Palatine well exceeded 500 pieces. said that "two Rubens glowed upon her To satisfy his indulged wife's expecta­ walls. Turkey carpets were strewn upon the tions, to enable her to continue the royal floors of rooms hung with red and brown lifestyle to which she was accustomed,10 gilded leather. She was surrounded by

Fig. 1. Jacques Fouquieres, View of the Hortus Palatinus and Heidelberg Castle, ca. 1620. Oil on canvas, 178.5 x 263 cm. Kurpfalzisches Museum der Stadt Heidelberg (G 1822) wrought-iron work from Nurnberg, heavily tered most—tapestry—the texts become carved furniture covered with velvets and more satisfactory. silks or elaborately inlaid and many exqui­ In public opinion today, tapestry qualifies site bibelots of ivory and goldsmith's work. as a minor or an applied art, inferior in sta­ Her table was adorned with massive silver tus to the fine arts of painting, sculpture, plate and Munich and Bohemian glass. . . . and architecture, an attitude that is out of The figures in the tapestries and on the step with the opinions prevailing in the six­ plate and furniture were not like those dis­ teenth and seventeenth centuries. To better played in her father's palaces."'3 Those were understand the phenomenon, it is necessary the happy, lighthearted days of a dawning to look at sociohistorical, artistic, and cul­ new golden age, when art, literature, music, tural developments of the period. In the and science flourished in Heidelberg,'4 first place, tapestries were not hung for art's which unfortunately did not last even for sake, not even if they were designed by a decade. Frederick's finally agreeing to famous artists and woven in top­quality accept the crown of Bohemia in 1618 led workshops. Instead, they were symbols of straight into the outbreak of the Thirty power and wealth, of the most virtuous Years' War. It was during this short period princely magnificenza, as well as a means of of lavish extravagance that the Heidelberg education and, as will be argued here, as tapestry collection reached its peak. At this sophisticated statecraft and shrewd diplo­ time, too, our story begins but with a pro­ macy.17 For centuries, tapestries were con­ logue, staged in London on Saint Valen­ sidered to be the most cherished possessions tine's Day, Sunday, February 14, 1613: the of the nobility. They represented the richest wedding day of Frederick and Elizabeth. and most prestigious pictorial medium of the time, and consequently they developed THE PALATINE WEDDING OF 1613 into the artifacts most fit to exemplify the The marriage of the handsome Frederick V, prevailing princely self­images. Therefore, future elector of the Rhine and presumed the display of carefully chosen narrative sets leader of the Protestant Union, and Eliza­ was a serious and well­planned visual state­ beth Stuart, the beautiful daughter of King ment by their owners, a strong and widely James I of England and Ireland (James VI of recognized act of selective propaganda that Scotland), in London in 1613, was a spec­ had to be taken seriously by the audiences. tacular event,'' and it was treated as such by In fact, it is precisely because of their gener­ the press. Publishing houses immediately ally acknowledged public character that the covered the story in great detail, spreading chroniclers of the Palatine wedding told it across all Europe in several languages, just their readers about the tapestry decorations. the way the international networks would It goes without saying that such a note­ do today."'To scholars of cultural history, worthy royal ceremony required the use these texts together with their illustrations of a vast number of tapestries to embellish offer an almost inexhaustible body of infor­ both the private lodgings and the official mation about early seventeenth­century sites related to the event."1 Right from the princely life and court ceremonies. To art start, when Frederick paid an informal call historians interested primarily in paintings on Elizabeth the day after his arrival and and sculpture, however, the reports are a reception in London, the princess and her bit of a disappointment because even the parents received him at Whitehall Palace, famous examples that once decorated the where Elizabeth's "apartments had been palaces and chapels went uncommented on remodeled in honour of his coming, and in these accounts. If, on the other hand, we hung with fresh tapestries of the history of shift our attention to the alternative picto­ Abel" especially for the occasion.'9 On Feb­ rial medium that at the time actually mat­ ruary 7, 1613, the day of Frederick's investi­

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fe^l^Sl Fig. 2. Gerrit van Honthorst, Frederick V as King of Bohemia, Fig. 3. Gerrit van Honthorst, Elizabeth Stuart as Queen of 1634. Oil on canvas, 212 x 143 cm. Kurpfalzisches Museum Bohemia, 1634. Oil on canvas, 212 x 143 cm. Kurpfalzisches der Stadt Heidelberg (L 156) Museum der Stadt Heidelberg (L 157)

ture in the Order of the Garter, Elizabeth in the workshop of the master weaver and took up residence at Saint James's Palace in entrepreneur Pieter van Aelst. Later the car­ the apartments last occupied by her brother toons were sold, most likely to the work­ the late Prince Henry Frederick, which shop run by the Dermoyen family, although were also fitted with tapestries especially for one of them was bought by a private collec­ her.20 For the wedding, Whitehall Chapel tor from Venice and was subsequently lost.~ was decorated with at least two, possibly During the course of the sixteenth century, three, pieces from the famous Acts of the several more sets were woven from the Apostle tapestries,-1 a series originally Raphael cartoons—or from meticulous designed by Raphael in 1515 for Pope Leo X copies of them—in different Brussels work­ for the Sistine Chapel. The full-size car­ shops, including the set purchased by toons were initially woven in Brussels, the King Henry VIII of England in 1542;2' part renowned center of tapestry production, of this set was hung in Whitehall Chapel on

Tales from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart 107 Fig. 4. The Healing of the Lame Man from Henry VIII's set of the Acts of the Apostles. Tapestry design by Raphael, woven in an unidentified Brussels workshop, ca. 1540-42. r Wool, silk, and gilt- metal-wrapped thread, 386 x 566 cm (after • removal of outer borders). Formerly Kaiser Friedrich MJM Museum, Berlin; present dN whereabouts unknown. Photograph: ©J. Paul Getty Trust J

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Fig. 5. Christ's Charge to Peter from Henry VIII's set of the Acts of the Apostles. Tapestry design by Raphael, woven in an unidenti­ Mi fied Brussels workshop, ca. 1540­42. Wool, m silk, and gilt­metal­ rw wrapped thread, 386 x fi 566 cm (after removal of outer borders). For­ i merly Kaiser Friedrich % M ' • Museum, Berlin; present whereabouts 5 unknown. Photograph: ©J. Paul Getty Trust

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108 Tapestry in the Baroque Fig. 6. G. Davis, The House of Lords, ca. 1830. Engraving. Photograph: after Margarita Russell, Visions of the Vroom and the Origins of Dutch Marine Painting (Leiden, 1983), p. 135, fig. 120b

the day of the Palatine wedding. From Frederick and Elizabeth probably learned the rather ambiguous description of the even more about the clever use of figurative furnishings by an anonymous chronicler tapestries as means of sophisticated statecraft from the Palatinate, two scenes can be from the decoration of the new banqueting identified: the Healing of the Lame Man hall, an ephemeral structure built to host (fig. 4), with Saints Peter and John promi­ the state dinners that were part of the cel­ nently in the center, was behind the altar; to ebration of the betrothal as well as the wed­ the right was Christ's Charge to Peter (fig. 5), ding itself. There the throne canopy was which, probably because of the flock of lavishly adorned with golden tapestries, and sheep behind Christ, was misinterpreted the benches were covered with precious car­ as the "Good Shepherd." The tapestry to pets. In addition, the master of ceremonies, the left, called the "Wedding at Cana," Sir Lewis Lewkenor, ordered the display of a cannot be linked beyond doubt to any of magnificent set of ten tapestries of the Defeat the remaining pieces in the Acts of the of the Spanish Armada, which represented one Apostles series.24 of England's greatest victories at sea.25

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Fig. 7. Augustine Ryther, Sir Francis Drake Takes de Valdez's Galleon, and the Bear and Mary Rose Pursue the Enemy. Engraving after a chart drawing by Robert Adams, 1588, published in A Discourse Concerning the Spanish Fleete itwadinge Englande in the year 1588 (London, 1590). National Maritime Museum, Greenwich, London

These highly praised tapestries did not Wardrobe in the Tower of London. On belong to the English monarch. They behalf of Oliver Cromwell, the set was were made for Lord Charles Howard of hung permanently in the House of Lords, Effingham, Lord High Admiral and com­ and it was lost in the Westminster Palace mander of the English naval forces against fire of 1834.2* The impression of the 1613 2 the Armada. '' Queen Elizabeth I dearly interior decoration of the improvised admired the set, and, attending a feast at banqueting hall with its lavishly carpeted Lord Howard's residence, wished to have it, floor and benches, throne canopy, and the 27 but he was unwilling to share. The court Armada tapestries hung closely around the officials who organized the wedding festivi­ walls must not have differed much from ties now borrowed the Armada tapestries what is known of the furnishing of the and had them taken to Whitehall Palace House of Lords shortly before its destruc­ for the occasion. Three years later, in 1616, tion (fig. 6). Lord Howard, who had fallen into adverse The Armada set illustrated with great care financial circumstances, sold the set to and accuracy the successive engagements King James, who transferred it to the Royal and tactical maneuvers of the two fleets in

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Fig. 8. Sir Francis Drake Takes de Valdez's Galleon, and the Bear and Mary Rose Pursue the Enemy. Engraving after a Delft tapestry from a set of the Story of the Spanish Armada, in John Pine's The Tapestry Hangings of the House of Lords . . . (London, 1739). The Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1963 (63.608.1). Photograph: The Photograph Studio, The Metropolitan Museum of Art, New York

the English Channel, from the first appear­ large enough for the inclusion of detailed ance of the Spanish ships thirty miles south­ events. As a guideline for his designs, Vroom east of The Lizard in Cornwall to their received chart drawings by Robert Adams, defeat off the coast of Gravelines near Calais Supervisor of the Queen's Buildings and and their disastrous retreat around Scotland renowned painter­cartographer, who had and Ireland and back to Spain. The tapes­ sailed with the English fleet and witnessed tries were designed by the Dutch draftsman its epic victory. His records are probably Hendrick Cornelisz Vroom, who also the best contemporary evidence of the two painted the cartoons, and they were woven fleets' sailing orders. Two years later, over a period of four years, 1592­95, in the Adams's charts were published by Augustine studio of the master weaver Francois Spier­ Ryther to illustrate the English translation ing of Delft. They cost the enormous sum of Petruccio Ubaldini's treatise Expeditonis of 1,582 pounds.29 The focus of Vroom's Hispaniorutn in Angliam Vera Descriptio Anno compositions was the sailing formation of Domini MDLXXXVUI (fig. 7).30 the ships, which were depicted from the Thanks to John Pine's engravings in his open sea in a panoramic view and at a scale 1739 monograph The Tapestry Hangings of the

Tales from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart 111 House of Lords, we know the appearance of pieces, some of which had been designed each individual tapestry in the set. Pine explicitly to suit the size and needs of the showed almost prophetic insight into the old Banqueting Hall." Although the collec­ fate of the set in the preface to this ambi­ tion may have been depleted over the past tious publication when he wrote, "because decades,34 it definitely was not for a lack of Time, or Accident, or Moth may deface choice that led to the king's borrowing of these valuable Shadows, we have endeav­ the Armada set. So why would the master oured to preserve their likeness."3' of ceremonies, Sir Lewis Lewkenor, and his Juxtaposing Pine's engraving of the tapes­ officer of assistance, Sir John Finet, have try Sir Francis Drake Takes de Valdez's Gal­ proposed to James I to pick such a martial leon, and the Bear and Mary Rose Pursue the theme to frame a happy party gathered to Enemy (fig. 8) with Ryther's engraving of enjoy the king's only daughter's wedding Adams's chart of the same episode (fig. 7), banquet? The answer is brief: The decision one admires the skill and ingenuity of to display the Armada tapestries resulted Vroom's translation of his models into from the highly stylized customs of diplo­ large­scale tapestry cartoons. Although macy and its common code of conduct; it faithful to Adams's minute cartographic was meant and understood as a means of records of the military strategies of attack sophisticated statecraft. and retreat, Vroom's designs succeeded When word started to spread that Frederick magnificently in converting Adams's bird's­ and Elizabeth, both representing powerful eye layouts into vividly descriptive pan­ Protestant countries, were about to marry, oramic scenes. Most of the charts depicted Spain and the Habsburgs, and behind them two consecutive actions on one map, and the pope, became allies in trying to prevent Vroom followed that pattern. Occasionally, the wedding. They ordered their respective however, he emulated coastal scenes in his ambassadors at the English court—Don cartoons, pictured the ships as observed Alonso de Velasco (May 1610­August 1613) from open shore, and added picturesque and ambassador extraordinary Don Pedro topographical details of the distant coastline de Ziiniga (July 1612­July 1613) from Spain, along the horizon. In addition, each tapes­ and Ferdinand de Boischot (January 1610­ try was surrounded by a wide decorative December 1615) from the Spanish Nether­ border containing lifesize portraits of the lands35—to sabotage the negotiations. commanders of the English fleet, each set in Surprisingly, they were supported not only a medallion inscribed with the officer's by the king's favorite and privy councillor name and that of his ship; on each piece, Robert Carr, but also by Queen Anne, the English coat of arms and the device who would rather have had Elizabeth DIEU ET MON DROIT hover above the convert to Catholicism and marry a Spanish battle scenes.32 prince than see her daughter become The idea of commemorating a military Goddewife Palsgrave, forced to live at a victory in the tapestry medium was not shabby court "without enough tapestry to new, but one might wonder why the display cover the bare walls."3'' of the Armada tapestries during a wedding After these machinations failed, the ceremony was so important that the king ambassadors were not very well liked by the would agree to borrow tapestries from the Protestant party supporting the match of Lord High Admiral. Everybody knew that Frederick and Elizabeth, and their partici­ they were not the property of the crown. pation in the wedding ceremonies probably Further, we must remember that at the lessened.37 On the other hand, as accredited death of King Henry VIII in 1547 the stock diplomatic representatives of important of pictorial tapestry administered by the European states, they could not simply not Royal Wardrobe contained more than 2,700 be invited, so they were asked, along with

Tapestry in the Baroque other ambassadors in London at the time— fit to fool anybody. Everybody at court Samuel Spifame, Seigneur de Bisseaux et immediately recognized this shallow excuse Passy from France;3* Antonio Foscarini to be sheer rhetoric. Indeed the ambassadors from Venice (July 1611-December i6i5);"J of the doge of Venice were always very well and Noel Caron from the States-General40— received and respected at every princely to join the party at Whitehall on two con­ court in Europe and beyond, and that secutive days. In the new banqueting hall, included Habsburg territories such as Spain, 44 the ambassadors had to sit together in a spe­ Austria, and the southern Netherlands. cial loge closest to the royal couple and One could even say that the demeanor of therefore right underneath the Armada tap­ the Venetian ambassadors belonged among estries. There is no doubt that everybody the most splendid performances at any stately who experienced the feasting in this envi­ court ceremony. Evidently, the subliminal ronment laden with meaning, Protestants message of the Armada tapestries lent for the and Catholics alike, clearly understood the Palatine wedding was well understood by its underlying message of the Palatine wedding: first and foremost addressees, Don Alonso the marriage of Frederick and Elizabeth was de Velasco and Ferdinand de Boischot, and not only an affair of personal affection, it acted on properly by their absence. As a also confirmed the alliance of two powerful result, appearances were formally kept up Protestant states as part of a political strat­ and both sides saved face, avoiding all seri­ egy meant to secure the supremacy of the ous misunderstandings that might easily Protestant cause in central and northern have ended in a diplomatic disaster. Europe, of which at the time the defeat of the Spanish Armada had become the most FREDERICK V AND ELIZABETH proudly cherished turning point in history. STUART AS COLLECTORS OF Since neither Don Velasco nor de Boischot TAPESTRIES was keen to confess to his sovereign that With Frederick and Elizabeth, the prospects he had participated in an official royal event of increasing the tapestry collection of the at which the most shameful and disgraceful Counts Palatine were most favorable. Des­ defeat of his home country and its ruling ignated among the entourage to accompany family was celebrated in such a prominent the princess to her new home in Heidelberg way, both stayed home voluntarily. The were two "Bett­ und Tapetzerey verwalter" Spanish ambassador excused himself (bed and tapestry curators) as well as "zwey because of sudden illness, a tactic that had diener so Tapetzerey uffhengen" (two valets worked for him before. But word spread specializing in the hanging of tapestries).4' early that "the Spanish was, or would be There was no shortage of work for these sick," and that the ambassador of Archduke specialists, given that on the occasion of Albert of Austria, who governed the south­ Elizabeth's wedding, the Dutch States­ ern Netherlands,4' had also made a "sullen General had lavishly bestowed her with excuse."42 To Sir John Finet, the apparently tapestries from the workshop of Francois furious de Boischot produced a rather strange Spiering of Delft: a ten­piece set of the and embarrassing excuse: that he, being Deeds of Scipio (see Ebeltje Hartkamp­ ambassador of a sovereign monarch— Jonxis, "Mannerist, Baroque, and Classi­ which, by the way, was not true—would cist," fig. 2)46 and a six­piece set of the Story not accept that the representative of Venice, of Diana (fig. 9). The designs for the Deeds of "a meane Republique, governed by a sort Scipio are attributed to Karel van Mander II. of Burghers, who had but an handful] of The Diana set is most likely to be identified Territory," had also been asked to the fes­ with the editio princeps of Spiering's so­ tivities.41 This was not a very compelling called small Diana series, which might have argument, but rather an obvious pretext not been designed by David Vinckboons.47

Tales from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart These tapestries were soon augmented by when he was visiting the Grand Marshal of a set often panels of the Story of Samson that Bohemia, Baronet Bertold Bohobud of Frederick purchased from Dutch dealers Leipa (Ceska Lipa), he reported how richly who had come to the Palatinate: Daniel his host's palace was decorated with tapes­ Steurbout, who had relatives in Franken- tries: "I visited the house of the Baron of thal,4" and Bartolommeo Balbani,4'-' both Leipa, which is certainly very beautiful from Antwerp. It turned out that they had with a good number of tapestries, and none deceived the elector by overstating the qual­ more beautiful. I can truly say that except ity and inflating the price.50 The Story of for Heidelberg and Munich I know of few Samson set was one of several reeditions houses that have so many."5'' From Wolten­ (see Nello Forti Grazzini, "On the Tapes­ biittel, Frederick wrote dully to his wife, that tries in Seventeenth­Century Milan," Duke Friedrich Ulrich of Braunschweig­ fig. i) of a series first woven in 1610 by the Wolfenbiittel possessed fine paintings but master weaver Jan Raes II in Brussels for no tapestries at all,57 an odd observation Cardinal Scipione Borghese, nephew of since his host's ancestors had long ago estab­ Pope Paul V. The cartoons had been com­ lished at their court a professional workshop missioned a half century earlier by Henry II run by Flemish master weavers that was still of France but were left unfinished when operating under the direction of Boldewin the king died in 1559. They remained in of Brussels during the first decade of the Brussels until the early seventeenth century, seventeenth century.58 when they came to the attention of the A particular highlight in the history of papal nuncio Guido Bentivoglio, who was the electorial tapestry collection is indi­ acting as Cardinal Borghese's agent in cated by two letters sent to Heidelberg by Flanders and brokered the deal.51 Steurbout Frans Sweerts in the summer of 1618. In and Balbani had bought their set from Frans them Sweerts requested that his personal Sweerts in Antwerp, a frequent business friend Jan Gruter, the learned librarian of partner of the Raes family workshop, and the Bibliotheca Palatina, assist him in his they later resold it to Frederick V. This set efforts to broker tapestries for the elector.59 matched in height and quality the Story of Sweerts was in possession of tempting Samson tapestries now in the Philadelphia pieces, among them reweavings of a new Museum of Art (figs. 10, n).sa series designed by Peter Paul Rubens, the To maintain their growing inventory, in Story of Decius Mus, as well as yet another 1616 Frederick and Elizabeth named the reedition of Raphael's Acts of the Apostles."0 master weaver Justus Fankans (Josse van While we do not know whether Frederick Kaens), from nearby Frankenthal, to be and Elizabeth were interested in Sweerts's tapissier de cour at Heidelberg," and three offer, it is certain that no such transaction years later one Pierre Bonjour assumed was ever carried out. The troubles rising the same position, similarly holding the from the gathering storm of the Thirty post of court tailor, which also put him Years' War were to alter substantially in charge of the administration and and permanently the young elector's pre­ preservation of the tapestry stock in the occupations. 54 Tapezerey­Gewolb. When Frederick was proclaimed king by The prince and princess shared a great the Protestant estates of Bohemia in 1619, personal interest in tapestries and their use the court relocated from Heidelberg to 5 as meaningful room decorations? We can Prague. The new royal status was memori­ infer this from letters that Frederick wrote alized by a rectangular armorial tapestry to his wife when he traveled without her, and two table carpets, on both of which the to keep her informed about his trips and Palatine and Bohemian coats of arms were related occurrences. For example, in 1620, combined with the Order of the Garter/"

Tapestry in the Baroque Fig. 9. The Story of Diana and Callislo from the so-called small set of the Story of Diana. Tapestry design attributed to David Vinckboons, woven in the workshop of Francois Spiering, Delft, ca. 1613-20. Wool and silk, 260 x 390 cm. Present whereabouts unknown. Photograph: after sale cat., Sotheby's, Amsterdam, December 3, 2002, no. 12

which King James I had bestowed person­ dignity, they had sent from Heidelberg the ally on his son­in­law. When Frederick most valuable tapestry sets of the Palatine accepted the Bohemian crown, he led his collection—valuable in the sense both of country straight into the Thirty Years' War. monetary worth and of historical and emo­ After his troops lost the decisive Battle at tional significance because of their subjects, White Mountain in 1620, the unfortunate which were taken from the history of the Winter King and his family had to leave ruling Wittelsbach family.''4 The tapestries Prague and flee to exile in the Netherlands, that remained in Heidelberg were com­ where his uncle Frederick Henry, Prince of pletely lost in the ensuing three decades Orange, was the stadtholder." At first, the of wartime chaos. The latest biographical couple, now royal but nearly broke, lived in account of a Heidelberg tapestry weaver a town house in The Hague called the Was­ from this period deals with the tapissier de senaer Hof, and later they moved during com: soon after the capital of the Palatinate the summers to a small, newly built castle at was conquered by Imperial and Bavarian Rhenen on the river Rhine.'" To decorate troops in 1622, Justus Fankans returned these lodgings with at least some degree of to Frankenthal.65

Talcs from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart 115 Fig. 10. Samson Offers Honey to His Parents from a set of the Story of Samson. Tapestry design by Gillisz Mechelaon, woven in the workshop ofjan Raes, Brussels, ca. 1625. Wool and silk, 396.2 x 467 cm. Philadelphia Museum of Art (1945-82-1)

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Fig. 11. Delilali Cutting Samson's Hair from a set of the Story of Samson. Tapestry design by Gillisz Mechelaon, woven in the workshop of Jan Raes, Brussels, ca. 1625. Wool and silk, 396.2 x 670.6 cm. Philadelphia Museum of Art, Gift of Clifford Lewis Jr. (1946-81-1). Photograph: Rich Echelmeyer

116 Tapestry in the Baroque Yet neither financial hardship nor the embellished the rooms of Rhenen Castle tribulations that inevitably arose from exile in 1633.71 And even after Frederick's prema­ could prevent the Winter King and Queen ture death in 1632, when the family's already from the purchase of new tapestries on a precarious financial situation deteriorated large scale. The painter and master weaver further, Elizabeth continued to buy tapes­ Karel van Mander II, who, together with tries. At least three expensive sets, which in his knighted partner Nicolaas Snouckaert 1661 qualified as "newe tapezerey," most von Schraplau, had run a tapestry workshop likely were recent acquisitions and should in the former Saint Anna monastery in Delft therefore be associated with the patronage of since 1615, died in February 1623. Probably the Winter Queen: nine hangings portrayed 72 soon thereafter, Frederick V bought a set landscapes with hunting scenes, a set of 73 of cartoons of the Story of Alexander tin- eight represented the Story of Tobias, and an Great from Van Mander's estate for the sum eight­piece set of the Story of Cleopatra hung 74 of 2,000 guilders. The set consisted of nine in Elizabeth's private dining room (fig. 12). pieces adding up to a total of more than The last was bought in The Hague, likely 190 square ells for the main narrative scenes from Pieter de Cracht, a tapestry dealer from and another 67'A square ells for two differ­ Amsterdam, who ran workshops in Gouda ent designs for the borders; it had already and nearby Schoonhoven. In 1646 De been used four times as a weaving model.6'' Cracht had taken over the tapestry work­ Unfortunately, the Alexander series turned shop that belonged to his father­in­law, out to be a classic shelf warmer, and when, Jacques Nauwincx, who long had owned the in 1624, the firm was finally taken over by cartoons of the Cleopatra series. But it was the Spiering family, they found three com­ again Karel van Mander II, who had initi­ plete sets still unsold."7 Today Van Mander's ated the design of the set to be woven in his Alexander tapestries are best known from a own studio in Delft; yet the project failed complete set of nine signed pieces woven because of Karel's death in 1623. His car­ between 1617 and 1619 that once hung in the toons passed into the ownership of the Villa San Donato, near Florence, as part of Spiering workshop, where they were adapted the collection of Prince Anatole Demidoff by an unknown painter, who extended the until it was auctioned in 1880 and subse­ series to a total of eight pieces. In 1631 the quently spread among various museums and whole set of cartoons was owned by institutions in Europe and the United the Nauwincx studio, whence, shortly after States."8 We do not know why Frederick 1645, Pieter de Cracht started to produce preferred acquiring the cartoons rather than the Cleopatra series not only for the Winter the already finished and easily available tap­ Queen but also for many other customers.75 estries from the Van Mander workshop, especially since he evidently never presented RAPHAEL'S ACTS OF THE them to any other weaver for execution. APOSTLES AND RUBENS'S STORY In addition, there was a very rich canopy OF DECIUS MUS: AN OFFER ONE draped over a bedstead, which Frederick COULD NOT REFUSE? presented as a gift to his uncle the stadt­ To date, more than fifty individual tapes­ holder."9 On special occasions, the alliance tries can be identified in the Palatine between the two princes, both leaders of inventories and linked beyond doubt to major Protestant states, was further displayed acquisitions made by Frederick V and Eliza­ by the use of two table carpets that showed beth Stuart. However, even though the pur­ the coats of arms of both families.7" An chase of Raphael's Acts of the Apostles and anonymous dealer from Leiden delivered a Rubens's Story of Decius Mus never material­ six­piece set of the Story of Joseph for the ized, the 1618 offer by Frans Sweerts to substantial sum of 8,000 talers, which deliver to Heidelberg complete sets of those

Talcs from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart tapestries marks the zenith of the history erick wished to draw level, and Sweerts of of the Palatine tapestry collection. Praise for course hoped he would, the dealer would be Raphael's series was boundless at the time, happy to deliver exactly the same high qual­ particularly at the English court. For the ity for the breathtaking price of 66 guilders poet Henry Peacham, who had had a great per square ell.79 affection for painting and the arts since he Second, and more important, Sweerts was a young boy,76 the Acts of the Apostles claimed that he owned the cartoons of set that was purchased by Henry VIII and Raphael's Acts of the Apostles series: "Ick heb hung in Whitehall Palace was the work tot Brussel eenen patroon de Actis Apos­ most likely to ensure the fame of that artist tolorum geschildert van Raphael Urbin." It for eternity: "The fame of Raphael Vrbine is hard to decide whether he was referring at this time [1518] was so great, that he was to the original cartoons or to copies that sought for and employed by the greatest had been used in the production of various Princes of Europe, as namely, the Popes, later editions of the set. The phrasing, Adrian and Leo: Francis the first, King "geschildert" (painted) by Raphael of of France: Henry the eight, King of England; Urbino, should probably not be taken liter­ the Dukes of Florence, Vrbine, Mantua, and ally. In 1573, the original cartoons were divers others. Those stately hangings of described in a letter written to Cardinal Arras, containing the Histoire of Saint Paul Granvelle, archbishop of Mechelen and out of the Acts (than which, eye never adviser to the Spanish Crown, as still in beheld more absolute Art, and which long Brussels but as far too damaged to be used since you might have seen in the banquet- any longer for weaving. Leaving Sweerts's ting house at White-hall) were wholly of letter aside, the next documentary evidence his invention, bought (if I bee not deceived) reveals that in 1623 the cartoons were in by King Henry the eight of the State of Genoa, probably in the possession of the Venice, where Raphaell Vrbine died; I have nobleman Andrea Imperiale,80 and were sold no certainty: but sure I am, his memory and to Prince Charles, the younger brother of immortall Fame are like to live in the world Elizabeth Stuart, to be further used in the for ever."77 newly founded Royal Tapestry Manufactory Sweerts's letters to Jan Gruter concerning at Mortlake.81 Interestingly, in the very the Acts and Decius Mus sets are also of same letter ofjuly 18, 1618, Sweerts reported interest as sources of factual material con­ back to Gruter about his intention to sell cerning tapestry production. First, Sweerts, the first two editions of Rubens's Decius Mus in uncovering the swindlers Steurbout tapestries to customers in Genoa.82 and Balbani, who had sold the Samson tap­ The agreement for the weaving of the estries to the elector, revealed the pricing Decius Mus series was drawn up in Antwerp system of the Antwerp tapestry merchants:78 in November 1616 by Frans Sweerts and one square ell, roughly 70 by 70 centimeters, Jan Raes II on the one hand, and Franco could be woven for 18, 20, or 24 guilders, Cattaneo, a merchant from Genoa, on the depending on the quality of the weaving other. The contract covered the making and the materials used. At the end of of two sets of tapestries representing the Sweerts's second letter, there is an extraor­ "History of the Roman Consul Decius dinary detail. He wrote of a set of some Mus," who voluntarily lay down his life for "gouwden tapissereyen" (golden tapestries) the sake of his troops and his home coun­ that Archduke Albert of Austria had try."3 The theme, borrowed from the Roman recently bestowed on Archbishop Johann historian Livy and interpreted by Rubens as Schweikhard von Kronberg, the elector of an exemplary act of patriotism,84 was not a Mainz, neighboring the Palatinate. If Fred­ common one in art. But when Sweerts first

Tapestry in the Baroque Fig. 12. The Banquet of Cleopatra from a set of the Story of Cleopatra. Tapestry cartoon by an unidentified 17th- century Flemish artist after a design by Karel van Mander II, woven in the workshop ofjacques Nauwincx or Pieter de Cracht, Gouda or Schoonhoven, ca. 1625-50. Wool and silk, 351 x 434 cm. Museu Nacional de Arte Antiga, Lisbon

took the initiative for having it designed, he scenic episodes of the narrative action and might well have been inspired by his friend two entrcfenetres. The cartoons would later Gruter, who recently had published a criti­ become one of the greatest glories of the cal edition of Livy.*5 The Decius Mus cycle Princely Collections of Liechtenstein.88 marks Rubens's successful debut into tapes­ One might ask whether it is so unlikely try design. The preparatory work lasted for an assumption that Sweerts could have sold almost two years but finally resulted in eight the Acts of the Apostles cartoons along with monumental cartoons, all painted exquisitely sets of Rubens's Decius Mus to his Genoese in oil on fine canvas by the artist and his customers as part of the same deal. If he workshop: six models for big hangings with had done so, it would have meant that his

Tales from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart 119 statement given to Gruter was correct and Charles Louis, the eldest surviving son of that he did indeed own the originals of the the Winter King and Queen and heir of the Acts cartoons in 1618. This is an issue not of electorate of the Rhine, finally returned to mere academic interest but of major signifi­ Heidelberg from The Hague. He took with cance, especially for its consequences con­ him the major portion of what was left of cerning the oeuvre of Rubens. Jeremy his ancestors' exiled tapestry collection, Wood has recently sketched the benefits to along with many paintings, the library, our understanding of Rubens's stylistic the renowned collection of antique coins development as a draftsman if he had had and medals, and part of the Kunst­ und the opportunity to study Raphael's original Wunderkammer. The first shipment was cartoons in Brussels before 1600 and before sent to Frankfurt in September 1649.ss A his own travels in Italy.87 perfectly preserved shipping note reveals the Whatever the eventual results of this meticulous accuracy with which the trans­ unexplored area might be, in retrospect the port was planned (fig. 13). Eleven huge fact that neither Raphael's Acts of the Apostles chests were packed with textile furnishings nor Rubens's Decius Mus tapestries became (see appendix): eight with tapestry, two part of the Palatine collection is sadly felt as with throne and bed canopies, and one with a great opportunity lost. "tiirckische tappich" (Turkish tapestries), a term that in the inventories of the Palatine TROUBLED FINALE collection refers to technique rather than After the treaties of Miinster and Osnabriick, to provenance. It was usually applied not to which ended the Thirty Years' War in 1648, Oriental rugs but to all sorts of knotted

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Fig. 13. Shipping note concerning the first transport of tapestries and other household stuff of the Elector Palatine Charles Louis from The Hague to Frankfurt in September 1649. Bayerisches Hauptstaatsarchiv, Munich, Abt. Ill, Geheimes Hausarchiv, Schatzakten, S 601, fols. I35v­I36r

Tapestry in the Baroque hangings, carpets, and tablecloths. Yet, as some paintings to Heidelberg.1'" In the end, a result of the Palatine War of Succession however, the Winter Queen's headstrong in 1693, most of these pieces would be persistence prevailed. She had "her" tapes­ destroyed, pillaged, or simply sold at an tries sent to London to furnish Exeter improvised auction by the trustees of the House, where she was to reside after her French king Louis XIV before the turn of return to England in 1661.97 Among them the century.8'' The loss of the collection is were all the sets that she had acquired per­ almost complete. Today only about twenty sonally during exile and also the Story of pieces exist that can be traced back to the Scipio set, the prestigious wedding present once great Palatine collection, that is, less that she and her husband had received from than 4 percent of the hangings listed in the the States­General in 1613.98 To her son preserved inventories. she explained haughtily, "If I had as much For her part, Elizabeth, even though she meanes to buy hangings as my Lo[rd] had to fight hard with her son Charles Louis Crauen has, I shoulde not haue bene so over this issue, held back more than 140 rigorous as to take what is my right."'" individual tapestries in the Wassenaer Hof Obviously, even toward the end of her life, in The Hague and in Rhenen Castle to the ever status­conscious Queen of Bohemia meet her representational needs as a queen.';0 was still keen on buying expensive tapestries In the letters to her son, who urged her to of the highest quality, even though she send these tapestries to Heidelberg as well, could no longer afford them. William the Winter Queen stated very clearly that Craven was long a friend of Frederick and she would not back off.';l When Elizabeth Elizabeth, and he remained a staunch sup­ gave a ten-piece set of the Story of Abraham porter of the Palatine cause throughout as a wedding present to one of her younger his life. When King Charles II failed to sons, Prince Edward, who converted to provide an adequate residence for the Catholicism and married Anna Gonzaga, queen of Bohemia after her arrival in Lon­ Charles Louis sullenly complained about his don, Elizabeth lived in Craven's house in mother's depriving him of his rightful heri­ Drury Lane.100 tage.92 Indeed, his anger seemed justified by The following year, Elizabeth died in the the fact that the Abraham set, a reweaving of arms of her son Prince Rupert the Cavalier, the famous series originally designed by who inherited the precious tapestries as part Pieter Coecke van Aelst and woven in the of his mother's bequeathed "Meubles.",0' workshop of Willem de Kempeneer on After Rupert's death in 1682, they were behalf of King Henry VIII," had been pur­ owned by his mistress Margaret Hughes,102 a chased shortly after 1556 by Elector Otto renowned stage beauty, who vies with Anne Henry to decorate his new palace at Heidel­ Marshall over the privilege of being the first berg Castle. In his will, Otto Henry speci­ woman to perform publicly on stage in the fied explicitly that all tapestries acquired role of Desdemona in William Shakespeare's during his reign were to be part of the play Othello.'0> Prince Rupert and the actress inalienable assets of the electorate in perpe­ had an illegitimate daughter, Ruperta, tuity.'" Therefore, Elizabeth had no right to born in 1671, who later married Lieutenant give away the Abraham set. The queen's General Emanuel Scrope Howe. In the end, response was to accuse the new elector of it was from their household that what was stinginess, arguing that he would make a left of Ruperta's royal grandmother's inheri­ fool of himself if anybody realized how tance irretrievably vanished.104 poorly he treated his mother.''' A second To date, not a single tapestry of the attempt by Charles Louis to recover tapes­ Winter King and Queen's collection has tries was more successful: in 1655 Elizabeth surfaced again. agreed to send five "suits of hangings" and

Talcs from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart Many friends and colleagues have provided insight ence, Mechelen, October 2­3, 2000 (Louvain, and thoughtful comment throughout the genesis of 2002), p. 85; Hubach, "Tapisserien im Heidel­ this article. I must begin by thanking Wolfgang berger Schloss 1400­1700," pp. 99­101; Hanns Metzger and Karin Zimmermann (Heidelberg), Hubach, " '. . . mit golt, silber und seyd who alerted me to the letters of Frans Sweerts in the kostlichst, erhaben, feyn unnd lustig gmacht': Universitatsbibliothek Heidelberg, while Krista De Pfalzgraf Ottheinrich und die Bildteppich­ Jonge (Leuven), Harald Dros (Heidelberg), and Daniel produktion in Neuburg 1539­1544/45," in Lievois (Ghent) shared in the difficulty of their accu­ Suzanne Baumler, Evamaria Brockhoff, and rate transcription and interpretation. Maureen M. Michael Henker, eds., Von Kaisers Gnaden: 500 Meikle (Sunderland) kindly provided the information fahre Pfalz-Neuburg, Veroffentlichungen zur about the tapestries from the Royal Scottish Wardrobe Bayerischen Geschichte und Kultur 50/2005, at Dunfermline and Linlithgow. Further I am grateful exh. cat., Schloss Neuburg (Augsburg, 2005), to Guy Delmarcel and Koenraad Brosens (Leuven), pp. 174­78. Tom Campbell and Elizabeth Cleland (New York), 5. The cultural development of Frankenthal as a Ebeltje Hartkamp­Jonxis (Amsterdam), Wendy whole is best addressed in Edgar J. Hiirkey, ed., Hefford (London), Jean Vittet (Paris), and Dean Kunst—Kommerz—Glaubenskampf: Frankenthal urn Walker (Philadelphia) for their generosity in sharing 1600, exh. cat., Erkenbert­Museum Frankenthal their knowledge and experience in tapestry research (Worms, 1995). and conservation. 6. Johann Kraus, "Die Wandteppich­Fabrikation in 1. Hanns Hubach, "Tapisserien im Heidelberger Frankenthal im 16. und 17. Jahrhundert," Monats- Schloss 1400­1700: Grundziige einer Geschichte schrift des Frankenthaler Altertumsvereins 16 (1908), der ehemaligen Sammlung der Pfalzer Kufursten," pt. 4 pp. 13­14, pt. 5 p. 21, pt. 6 pp. 25­26, pt. 8 in Tapisserien: Wandteppiche mis den slaatlichen PP­ 33­34. pt­ 9­10 pp. 37­38. pt. 11­12 Schlbsscrn Baien-WUrttembergs, Schatze aus unseren pp. 45­46; Ernst Merkel, "Maler und Teppich­ Schlossern 6, ed. Staatliche Schlosser und Garten macher in Frankenthal," Frankenthal einst undjetzt, Baden­Wiirttemberg / Landesmedienzentrum •977. PP­ 47_5°; E""ik Duverger, "Bildwirkerei in Baden­Wiirttemberg (Weinheim, 2002), Oudenaarde und Frankenthal," in Hiirkey, ed., pp. 98­103. Kunst—Kommerz—Glaubenskampf, pp. 86­96.; 2. Friedrich Schneider, "Bildwirkerei zu Heidelberg Bauer, "Flamische Teppichweber im im 15. Jahrhundert," Anzeigcrfiir Kunde der deutschsprachigen Raum," pp. 83­84. deutschen Vorzeit, n.s. 44 (1877), cols. 13­14.; 7. Hubach, "Tapisserien im Heidelberger Schloss Karl Christ, "Bildwirkerei zu Heidelberg im 1400—1700," p. 101. 15. Jahrhundert," Zeitschriftfiir die Geschichte des 8. See Hans Rott, "Ott Heinrich und die Kunst," Oberrheins 32 (1880), pp. 325­30; Christina Mittheilungen zur Geschichte des Heidelberger Cantzler, Bildteppiche der Spdtgotik am Mittel- Schlosses 5 (1905), pp. 204­6, no. 9b. rhein 1400-1550 (Tubingen, 1990), pp. 162­82; 9. For biographies of Frederick and Elizabeth, see, Hubach, "Tapisserien im Heidelberger Schloss among others, Jessica Gorst­Williams, Elizabeth 1400­1700," p. 98. the Winter Queen (London, 1977); Josephine Ross, 3. De Lalaing reported that Heidelberg Castle had The Winter Queen: The Story of Elizabeth Stuart "quattre corps de maisons, ouvrees de pierres de (New York, 1979); Lib Fehrle­Burger, Konigliche taille et couvertes d'ardoises. Chacune maison Frauenschicksale zwischen England und Kurpfalz polroit loger ung roy, et est chacune furnie de (Heidelberg, 1997); Carola Oman, The Winter bonnes tapisseries, de licts de parment, et de tout Queen: Elizabeth of Bohemia (London, 1938; rev. ce qui duit a servir ung grand prince"; Maximilian ed., London, 2000); Brennan C. Pursell, The Hutfschmid, "Zur Geschichte des Heidelberger Winter King: Frederick V of the Palatinate and the Schlosses," Neues Archivfiir die Geschichte der Coming of the Thirty Years' War (Aldershot, Bur­ Stadt Heidelberg und der rheinischen Pfalz 3 (1898), lington, 2003); Peter Wolf et al., eds., Der Win- pp. 81­82; Hubach, "Tapisserien im Heidelberger terkdnig: Friedrich von der Pfalz; Bayern und Europa Schloss 1400­1700," p. 99. im Zeitalterdes Dreissigjdhrigcn Krieges, exh. cat., 4. Annelise Stemper, "Die Wandteppiche," in Stadtmuseum Amberg; Haus der Bayerischen Georg Poensgen, ed., Ottheinrich: Gedenkschrift Geschichte, Augsburg (Stuttgart, 2003); Peter zur vierhundertjahrigen Wiederkehr seiner Kurfursten- Bilhofer, Nicht gegen Ehre und Gewissen: Friedrich zeit in der Pfalz 1556-1550 (Heidelberg, 1956), V., Kurfurst von der Pfalz—der Winterkonig von pp. 141­71; Rotraud Bauer, "Flamische Teppich­ Bohmen (Heidelberg, 2004). weber im deutschsprachigen Raum," in Guy 10. For the cultural standards of the English court, Delmarcel, ed., Flemish Tapestry Weavers Abroad: see Graham Parry, The Golden Age Rcstor'd: The Emigration and the Founding of Manufactories in Culture of the Stuart Court, 1603-42 (Manchester, Europe, Proceedings of the International Confer­ 1981); Linda Levy Peck, Consuming Splendor:

122 Tapestry in the Baroque Society and Culture in Seventeenth-Century England "Die Hochzeit des Winterkonigs (1613)," in (Cambridge, 2005). Aufsdtze und Vortrdge zurfrdnkischen, deutschen und 11. Sigrid Gensichen, "Das Heidelberger Schloss: allgemeinen Geschichte (Leipzig, 1939), pp. 128­44; Fiirstliche Reprasentation in Architektur und Parry, The Golden Age Restor'd, pp. 95—107; Bil­ Ausstattung," in Elmar Mittler, ed., Heidelberg: hofer, Nicht gegen Ehre und Gewissen, pp. 41­47. Gcschichte und Gestalt (Heidelberg, 1996), 16. Gotz Schmitz, "Die Hochzeit von Themse und pp. 148-53; Hans Hubach, "Parnassus Palatinus: Rhein: Gelegenheitsschriften zur Brautfahrt des Der Heidelberger Schlossberg als neuer Parnass Kurfiirsten Friedrich V. von der Pfalz," Daphnis und Musenhort," in Hans Gercke, ed., Der Berg 22 (1993), pp. 265­309; George Gomori, "'A (Heidelberg, 2002), pp. 84-101. Memorable Wedding': The Literary Reception 12. Elisabeth Benger, Memoirs o f Elizabeth Stuart, of the Wedding of the Princess Elizabeth and Queen of Bohemia (London, 1825), vol. [, p. 197. Frederick of Pfalz," Journal of European Studies 34 13- Oman, The Winter Queen, p. 120, but without (2004), pp. 215­24; Magnus Rude, "The Marriage archival or bibliographical references to back her of Thames and Rhine: Reflections on the description. Of the two Rubens paintings, we English­Palatine Relations 1608­32 and the know beyond a doubt that they could not have Culture of Diplomacy in Early Modern Europe," hung in Heidelberg Castle in 1613. The first one, in Jessica C. E. Gienow­Hecht, ed., Decentering representing Abraham and Hagar, was bestowed America (New York, 2007), pp. 315­44. on Elizabeth as a present for her twenty-third 17. Wolfgang Brassat, Tapisserien und Politik: Fuuk- birthday in 1619 by Sir Dudley Carleton, then tionen, Kontexte und Rezeption eines reprasentativen English ambassador to the States-General in The Mediums (Berlin, 1992). Hague. The second, a depiction of the lovers 18. About the continuing use of historic tapestries Venus and Adonis, was first mentioned hanging under Kingsjames I and Charles I, see Thomas above the mantlepiece in Elizabeth's small draw­ P. Campbell, Henry VIII and the Art of Majesty: ing room at Rhenen Castle in 1633. Willemjan Tapestries at the Tudor Court (New Haven, 2007), Hoogsteder, "Die Gemaldesammlung von PP­ 353—55­ Friedrich V. und Elizabeth im Konigshaus in 19. Mary Anne Everett Green, Elizabeth, Electress Pala- Rhenen/Niederlande," in Wolf et al., eds., Der tine and Queen of Bohemia (London, 1909), p. 39, Winterkbnig, p. 200. with reference to the accounts of the Master of 14­ Claus­Peter Clasen, The Palatinate in European Works 1612­13; Oman, The Winter Queen, p. 63. History 1550-1660 (Oxford, 1963). PP­ 33~46; 20. Green, Elizabeth, Electress Palatine and Queen of Frances A. Yates 1997, Aufklarung im Zeichen des Bohemia, p. 49, with reference to Lord Harrington's Roscnkreuzes, trans, by Eva Zahn of The Rosicrucian accounts: "Paid for the sweeping and cleansing of Enlightenment, 1972 (2nd ed., Stuttgart, 1997). the prince's lodgings, upon her highness's remove pp. 13­50; Richard Patterson, "The 'Hortus thither the 7th February, for bedsteads, locks for Palatinus' at Heidelberg and the Reformation of doors, rewards given to sundry of his majesty's the World,">Hrna/ of Garden History 1 (1981): servants that hanged and furnished the lodgings, pt. 1, "The Iconography," pp. 07­104, pt. 2, and for other services and necessaries, 81. 4s. 8d." "Culture as Science," pp. 179­202; J. R. Mulryne, 21. Oman, The Winter Queen, p. 82. "Marriage Entertainments in the Palatinate for 22. John Shearman, Raphael's Cartoons in the Collection Princess Elizabeth Stuart and the Elector Pala­ of Her Majesty the Queen, and the Tapestries for the tine," in J. R. Mulryne and Margaret Shewring, Sistine Chapel (London, 1972); Sharon Fermor, eds., Italian Renaissance Festivals and Their European The Raphael Tapestry Cartoons: Narrative—Decora- Influence (Lewiston, N.Y., 1992), pp. 173­206; tion—Design (London, 1996); Tristan Weddigen, Peter Bilhofer, "Instrumentalisierung der Antike "Tapisseriekunst unter Leo X.: Raffaels Apostelge- in der Herrscherreprasentation am Beispiel des schichte fur die Sixtinische Kapelle," in Hochrenais- 'Winterkonigs' Friedrich von der Pfalz," Thetis 7 sance im Vatikan 1503-1534: Kunst und Kultur im (2000), pp. 117­30; Hubach, "Parnassus Palatinus"; Rome der Pdpste, exh. cat., Kunst­ und Ausstel­ Annette Frese, "Zwischen Lustbarkeit und lungshalle der Bundesrepublik Deutschland, Reprasentation: Die Heidelberger Residenz Bonn; Vatican Museums and Biblioteca Apostolica 1613­1619," in Annette Frese, Frieder Hepp, and Vaticana (Ostfildern­Ruit, 1999), pp. 268­84; Cuy Renate Ludwig, eds., Der Winterkbnig: Heidelberg Delmarcel, Flemish Tapestry, trans. Alastair Weir zwischen hbfischer Pracht und Dreissigjahrigem Krieg, (London, 1999; New York, 2000), pp. 142­46; exh. cat., Kurpfalzisches Museum Heidelberg Thomas P. Campbell, "The Acts of the Apostles (Remshalden, 2004), pp. 13­27. Tapestries and Raphael's Cartoons" and 15. Wolfram Waldschmidt, Althcidelberg und sein cats. 18­22, 25, Lorraine Karafel, cat. 23, and Schloss: Kulturbilder aus dent Leben der Pfalzgrafen bei Campbell and Karafel, cat. 24, in Thomas P. Rhein (Jena, 1909), pp. 187­221; Anton Chroust, Campbell, with contributions by Maryan W.

Tales from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart 123 Ainsworth et aL, Tapestry in the Renaissance: Art gewesen, die Victoriam wider die Spannische Schiff and Magnificence, exh. cat.. The Metropolitan Armada repraesentirende, bekleidet gewesen. . . ." Museum of Art (New York, 2002), pp. 187-224. 26. G. T. van Ysselsteyn, Geschiedenis der tapijtweverijen 23. Thomas P. Campbell, "School of Raphael Tapes­ in de noordelijkc Nederlandcn: Bijdrage tot degeschie- tries in the Collection of Henry VIII," Burlington denis der kunstnijverhcid (Leiden, 1936), vol. 1, Magazine 13S (February 1996), pp. 69­78; Camp­ pp. 244­45, vol. 2, pp. 75­91, no. 165; Margarita bell, Henry VIII and the Art of Majesty, pp. 261­67. Russell, Visions of the Sea: Hendrick C. Vroom and 24. Beschreibung der Reiss, Emphangung dess ritterlichen the Origins of Dutch Marine Painting (Leiden, 1983), Ordens, Volbringung des Heyraths undgliicklicher pp. 116­40; Brassat, Tapisscrien und Politik, pp. 175­ Heimfithrung . . . (Heidelberg, 1613), p. 46: "In der 76; Phillis Rogers, "The Armada Tapestries in the Capellen 1st der Altar . . . umbher mit drey Sciick House of Lords," RSA Journal: The Royal Society Tapezereyen [geziert]: in der mitten 'Petri und for the Encouragement of Arts, Manufactures and Com­ Johannis AuBgang auB dem Tempel und heilung merce 136 (September 1988), pp. 731­35; Thomas der Krancken': uffder Rechten 'Ich bin ein guter P. Campbell, "Disruption and Diaspora: Tapestry hirt': und uff der Lincken die 'Historia von der Weaving 111 Northern Europe, 1570­1600," in Hochzeit in Cana.' . . ." Thomas P. Campbell, ed., Tapestry in the Baroque: Nevertheless, the author of Beschreibung der Threads of Splendor, exh. cat., The Metropolitan Reiss might well be right in his observation. The Museum of Art (New York, 2007), pp. 17­27­ hanging of a tapestry depicting the Wedding at 27. John Chamberlain to an anonymous friend, Lon­ Cana would have made perfect sense, because don, December 23, 1602, in John Nichols, Progress Dr. James Montague, bishop of Bath and Wells and Public Processions ec. of Elizabeth (London, and dean of the Chapel Royal, had chosen the 1823), vol. 3, pp. 601­3: "At the Lord Admiral's very topic to preach upon in his sermon as part of feasting the Queen had nothing extraordinary, the wedding ceremonies; John Nichols, Progresses, neither were his presents so precious as was Processions, and Magnificent Festivities, of King James expected, being only a whole suit of apparel, the First, His Royal Consort, Family, and Court whereas it was thought he would have bestowed (London, 1828), vol. 2, pp. 546—47. his rich hangings of all the fights with the Spanish 25. Green, Elizabeth, Electress Palatine and Queen of Armada in eighty eight. . . ." Bohemia, p. 53, with reference to the accounts 28. Russell, Visions of the Sea, p. 121. Because of its of the Master of Works 1612­13 (Audit Office); removal in 1831 to make way for the construction Beschreibung der Reiss, pp. 29, 45: "und daruf von of the Strangers' Gallery, one of the Armada tap­ den Koniglichen Officiern der Grosse Audientz estries probably survived the fire, but its current Saal in gemeldtem Pallast mit einem Koniglichen depository is unknown; Rogers, "The Armada Thron, drey Staffeln erhaben und mit Tiirckischen Tapestries in the House of Lords," p. 735. Teppichen belegt: Oben uffist der himmel mit 29. Russell, Visions of the Sea, pp. 116­21; Brassat, giildenen gewiirckten Stricken umbhengt, der Tapisscrien und Politik, pp. 175—76. Stuhl aber mit sehr kostlichen und kiinstlichen, 30. Ubaldini's manuscript is preserved in the British von Seiden, Gold und Silber gewiirckten Museum, London, O.R. 14. AX. For Ryther's Tapezereien bekleidet worden. In welchen die engravings, see Arthur M. Hind, Engraving in Victoria Navalis und in dem Meer erhaltene England in the Sixteenth and Seventeenth Centuries, Schlacht und Sieg, welche in Anno 1588 vorgan­ vol. 1, The Tudor Period (Cambridge, 1952), p. 142; gen, da die Spannischen mit Ihrer starcken Schiff Russell, Visions of the Sea, pp. 116­21; Brassat, Armada die in Gott ruhende Konigin Elisabeth, Tapisscrien und Politik, pp. 175­76. Christseligsten Andenckens, und gantz Engelland 31. John Pine, The Tapestry Hangings of the House of zu uberfallen vogehabt, gantz artig und in voller Lords: Representing the Several Engagements between Ordnung ihres gehaltenen Zuges, darauf erfolgtes the English and Spanish Fleets, in the Ever Memorable Treffen und schendliche Flucht kunstreich Year MDLXXXVIII (London, 1739). For photo­ repraesentirt und abgebildt, auch die BildnuB der graphs of the complete set of Pine's engravings, Konigin und aller Landsherrn, General Obristen see Russell, Visions of the Sea, pp. 122­33. und vornehmen Capitainen an den Leisten 32. Russell, Visions of the Sea, pp. 116­21; Brassat, gedachter Tapezerey nach dem leben zierlich Tapisscrien und Politik, pp. 175—76. eingewiirckt zu sehen gewesen sind. . . . Und ist 33. Campbell, Henry VIII and the Art of Majesty, erstlichen im HofT und uff der Mawern, so den P­ 3'7­ Vor­ und Mittel­Hoff underscheiden, ein grosser 34. Ibid., pp. 347­55­ Saal von holtzwerck, ungefehrlichen 140 schuch 35. Roberta Anderson, "Diplomatic Representatives lang und 40 schuch breit, ufgebawet, welcher from the Hapsburg Monarchy to the Court of inwendig stattlich mit Tapezereyen und eben James VI and I," in Alexander Samson, ed., The denselben, so bey der VerldbnuB im grossen Saal Spanish Match: Prince Charles's Journey to Madrid,

124 Tapestry in the Baroque 162J (Burlington, 2006), pp. 213, 217-18. For the officiousness proceedeth from his concurrency relationship between England and the Spanish with the Venetian, fearing that Foscarini may be Netherlands, see Pauline Croft, "Brussels and invited, and he left out. But as yet it is resolved to London: The Archdukes, Robert Cecil and James invite none, though if the Spanish Ambassador I," in Werner Thomas and Luc Duerloo, eds., continue sick, as he is at this present, perhaps Albert & Isabella ljgS-l6»v. Essays (Turnhout, another resolution may be taken, and the French IP98), pp. 79-86. may be there, when there will be no strife for 36. Chroust, "Die Hochzeit des Winterkbnigs," place. . . ." p. 139; Oman, The Winter Queen, p. 62; Bilhofer, 43. Not without irony, John Finet later published an Nicht gegen Hbre und Geurissen, pp. 42—47. accurate report about this farce of international 37- The ambassador extraordinary Don Pedro de diplomacy: Sir John Finett, Knight and Master of the Zuniga was not welcome at court right from the Ceremonies to the two last Kings, Touching the Recep­ beginning and was later even attacked and robbed tion, and Precedence, the Treatment and Audience, the in his carriage; see the letter from George Calvert Puntillios and Contests ofForren Ambassadors in to Thomas Edmondes, Charing Cross, August [, England (London, 1656); for the complete text, all 1612, in Thomas Birch, comp., and Robert Wil­ in English, see Nichols, Progresses, Processions, and liams, ed.. The Court and Times of James the First Magnificent Festivities, vol. 2, pp. 603—6. (London, 1849), vol. 1, pp. iyo—92. 44. For the continuous presence of Venetian ambas­ 38. Spifame is mentioned by name in a letter from sadors at German courts, see Stefan Matthias Richard Orontes (Smith) to Thomas More, London Zucchi, Deutschland und die Deutschen im Spiegel (?), March 13, 1612; see Michael C. Questier, ed.. venezianischer Berichte des 16. Jahrhunderts (Berlin, Newsletters from the Archpresbyterate of George Birkhead 2003), pp. 515-17- (London, 1998), pp. 139-42, no. 23. And on April 45. Palladis Posaun vom Triumph Jascmis: Beneben dem 15, 1614, he attended a session of parliament; Maija dazu gehbrigen Cartel und Reimen . . . (Heidelberg, Jansson, ed., Proceedings in Parliament 1614 (House of 1613), p. 62. Green (Elizabeth, Electress Palatine and Commons) (Philadelphia, iy88), p. 10, n. 017. Queen of Bohemia, p. 416) lists some "Gentilhommes 39- Roberto Zago, "Foscarini, Antonio," in Dizio- servants a la chambre de lict." nario biografico degli italiani, vol. 49 (Rome, 1997), 46. Nichols, Progresses, Processions, and Magnificent pp. 363-64- Festivities, vol. 2, p. 615. For the documents, see 40. Caron is mentioned by name in a letter from John Van Ysselsteyn, Geschiedcnis der tapijtweverijen in de no 2 Chamberlain to Dudley Carlton, London, Febru­ noordelijke Nederlanden, vol. 2, pp. 110—15 - 98, ary 25, 1613; see Birch, comp., and Williams, ed.. 139-40 nos. 222, 224-27, 229, 233-38; Max Eisler, The Court and Times of James the First, vol. 1, "Die Delfter Gobelinfabrik," Oud Holland 39 pp. 229-31. And on April 15, 1614, he attended a (1921), pp. 188-232; M. I. E. van Zijl, "De Delftse session of Parliament; Jansson, ed., Proceedings in Wandtapijten," in Cultuur en maatschappij van i$j2 Parliament 1614, p. 10, n. 617. tot 1667, vol. 2, De stad Delft [vol. 2], exh. cat., 41. Werner Thomas, "The Reign of Albert & Isabella Stedelijk Museum Het Prinsenhof, Delft (Delft, in the Southern Netherlands, 1598-1621," in 1981), pp. 202-9; A. M. Louise E. Erkelens, "Een Thomas and Duerloo, eds., Albert & Isabella Hollands Scipio­tapijt 'De overgave van Carthago' 1398—1621, pp. 1 —14. anno 1609," Nederlands kunsthistorisch jaarbock 31 42. Letter from John Chamberlain to Dudley Carle­ (1981), pp. 36-49; Wouter Kloek, "Northern ton, London, February 25, 1613; Nichols, Pro­ Netherlandish Art 1580-1620," in Ger Luijten, gresses, Processions, and Magnificent Festivities, vol. 2, Ariane van Suchtelen, et al., eds., Dawn of the pp. 601-5; "The Ambassadors that were at the Golden Age: Northern Netherlandish Art 1580­1620 Wedding and Shews were the French, Venetian, (Zwolle, 1993), pp. 45-46; Ebeltje Hartkamp­ Count Henry, and [Sir Noel] Caron for the Jonxis and Hillie Smit, European Tapestries in the States. The Spanish was, or would be, sick; and Rijksmuseum, Catalogues of the Decorative Arts in the Archduke's Ambassador being invited for the the Rijksmuseum 5 (Zwolle, Amsterdam, 2004), second day, made a sullen excuse. . . ." See also pp. 215-18, no. 53; Ebeltje Hartkamp­Jonxis, the anonymous letter, London, February 7 (?), cat. 7, in Campbell, ed., Tapestry in the Baroque, 1613; Nichols, Progresses, Processions, and Magnifi­ pp. 76-81, esp. pp. 79-80. cent Festivities, vol. 2, pp. 523-26: "The Ambas­ 47. Ebeltje Hartkamp­Jonxis, "Flemish Tapestry sadors make frequent visits at this time, both to Weavers and Designers in the Northern Nether­ the Queen and Prince, hoping to be invited to the lands: Questions of Identity," in Delmarcel, ed., Feast. On Sunday last, the Archduke's Ambassa­ Flemish Tapestry Weavers Abroad, p. 28; Hart­ dor's Lady danced before the Queen at Somerset kamp­Jonxis and Smit, European Tapestries in the House, and the day following, the Ambassador Rijksmuseum, pp. 203-5; Ebeltje Hartkamp­ himself had audience of her at Whitehall; which Jonxis, Weaving Myths: Ovid's Metamorphoses and

Tales from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart the Diana Tapestries in the Rijksmuseum (Amster­ drale: Elementi di storia e iconographia," in dam, 2009), p. 28. Dolcini, ed., Arazzi per la cattedrale di Cremona, 48. In 1574, one Anthonis Steurbout owned a house pp. 56-74; Thomas P. Campbell, "New Centers there; Stadtarchiv, Frankenthal, 1.82, Statuten­ of Production and the Recovery of the Nether­ buch 1573—1578 (January 1574). landish Tapestry Industry, 1600-1620," in Camp­ 49. He descended from an Italian family of cloth bell, ed., Tapestry in the Baroque, pp. 70-72. merchants residing in Antwerp. There is docu­ 52. Samson Offers Honey to His Parents (fig. 10), Delilah mentation for a Jan Balbani (1538-49) and a Cutting Samson's Hair (fig. 11), and two entrefenetres Ludovico Balbani (1588), the latter a representa­ (Philadelphia Museum of Art, 1947-93-1/2). tive of the trading company of Camillo and George Leland Hunter, Loan Exhibition of Tapes- Cristoforo Balbani; Jakob Strieder, Aus Antwer- tries (Philadelphia, 1915); Jean­Paul Asselberghs, pener Notariatsarchiven: Quellen zur deutschen Les tapisseriesfiamandes aux Etats-Unis d'Amerique, Wirtschaftsgeschichte des 16. Jahrhunderts (Stuttgart, Artes Belgicae 4 (Brussels, 1974). The Samson •93°). PP­ I03_4 no­ 123, 170 nos. 250-51, 230-31 tapestries were among the first portion of the no. 410, 241 no. 433, 395 no. 767. tapestry stock that went back to Heidelberg with 50. Universitatsbibliothek, Heidelberg, Codices reinstatement of the elector following the Thirty Palatini germanici (hereafter Cpg) 8, fol. 2ior­v: Years' War; Bayerisches Hauptstaatsarchiv, Frans Sweerts to Jan Gruter, Antwerp, July 18, Munich, Abt. Ill, Geheimes Hausarchiv, Schatz­ 1618, "Ick verstaen dat nu onlancx tot Heydel­ akten, S 601, fol. 137V: The Hague and Rhenen, berch geweest syn Daniel Steurbout ende Bartho­ 1661, "Zehen stiickh tapecerey, historia des lomeo Balbani; ende souden vermangelt oft Samsons, mitt seiden undt wiillen eingewiirckt." vercocht hebben an Conte Electeur Palatin sekere The set was still at Heidelberg Castle in 1685; tappisseryen, die sy n[och?] van my hebben Bayerisches Hauptstaatsarchiv, Abt. Ill, Geheimes gecocht, onder ander een earner van 10 stucken, Hausarchiv, Korrespondenzakten 1061/II, no 6 ellen hoogh, alles 432 ellen, historie van SAMP­ folios: Heidelberg, May 29, 1685, "Vorhandene SON, wtnemende fraey werck, betalende my tselve mobilien bey der hauBschneiderey im schloB xv guldens d'elle. Ende verstaen dat Palatin noch Heydelberg. / An tapisserien . . . Zehen stiickh gheern gemaeckt hadde 900 ellen van hoogeren von Samson, schon gewiirckht." prys. Soo zoude my sonderlinghe vrientschap 53. E. Duverger, "Bildwirkerei in Oudenaarde und geschieden, dat Uedele daer naer stillekens hadde Frankenthal," pp. 89-90. For the contract of Jus­ vernomen, wat daer affis, ende sal hem dienen tus Fankans, see Karl Hugo Popp, "Ein Franken­ met ongelycke meerder advantagie als met desen thaler Teppichwirker am Heidelberger Hof: Justus vogels sal connen doen. . . ."Jakob Wille, Die Fankans im Dienste Friedrichs V.," Frankenthal deutschen Pfalzer Handschriften des XVI. und XVII. einst und jetzt, 1990, pp. 68-75. Jahrhunderts, Kataloge der Handschriften der 54. Manfred Krebs, "Die kurpfalzischen Diener­ Umversitats­Bibliothek Heidelberg 2 (Heidelberg, bticher 1476-1685," Mitteilungen der Oberrheinischen 1903), pp. 3-6, no. 210; Karin Zimmermann, ed., Historischen Kommission 1 (1942), pp. 27, 47. Die Codices Palatini germanici in der Universitdtsbiblio- 55. Both Elizabeth and her late brother Prince Henry thek Heidelberg (Cod. Pal. germ. 1-181), Kataloge Frederick had become familiar with the use of der Universitatsbibliothek Heidelberg 6 (Wies­ tapestries at very young ages, when they were still baden, 2003), p. 26, no. 105. For Sweerts's letter in the care of their wardens. When their father with deletions, see Jozef Duverger, "Aante­ announced his going to Scotland in 1617, the keningen betreffende de Patronen van P. P. Rubens Scottish Privy Council ordered the king's house­ en de Tapijten met de Geschiedenis van Decius hold stuff to be assembled at Glasgow Castle. Mus," Gentse Bijdragen tot de Kunstgeschiedenis 24 Among the nobility reporting on June 18, 1616, (1976-78), p. 39. For confirmation of Sweerts's to the council about the royal tapestries in their judgment of Steurbout's unpleasing character, see possession were the Lord High Chancellor Alex­ Fernand Donnet, "Documents pour servir a ander, Earl of Dunfermline, and Alexander, Earl 1'histoire des ateliers de tapisserie de Bruxelles, of Linlithgow. Asked "yf they had onie of his Audenarde, Anvers etc., jusqu'a la fin du I7'siecle, Majesties tapestrie, moveables, or houshold stuff pt. 1," Annates de la Societe dArcheologie de Bruxelles in thair keiping, the said Alexander, Erll of Dum­ 10 (1896), pp. 302-5. fermling, granted and confessit that thair was in 51. Guy Delmarcel, "L'arazzeria antica a Bruxelles e his possessioun in Dumfermling ten pieces of auld la manifattura di Jan Raes," in Loretta Dolcini, and worne tapestrie of the storie of ytneas, the ed., Arazzi per la cattedrale di Cremona: Storie di storie of Troy, and of the storie of Mankynd, and Sansone; Storie delta Vita di Cristo, exh. cat., Santa denyt the having of any farther of his Majestie's Maria della Pieta, Cremona (Milan, 1987), tapestrie, bedding, or household stuff. The said pp. 44-53; Franco Voltini, "Arazzi per la catte­ Alexander, Erll of Lynlythqw, grantit and confes­

Tapestry in the Baroque sit that he had one piece of tapestrie and ane old 60. Universitatsbibliothek, Heidelberg, Cpg 8, sheare, and that the tapestrie was cuttit through be fol. 2ior—v, Frans Sweerts tojan Gruter, Antwerp, umquhile Andro Cokburne, foole; and declared July 18, 1618: "[Ru]benius heeft voor my geschil­ that the tapestrie that was in Lynlythqw was dert eenen patroon [faded to illegible] ende wort brocht oute of Strivling, quhen the laite Prince gemaect op [7 (?)] ellen diep voor Genua. Bone Henry, of famous memorie, come to Lynlythqw Deus wat fraey tappisserye is daer naer gemaect! for hinging of his chalmer, and that the same Cost 25 floreynen d'elle. Soo daer van gelycken tapestrie was send fra Lynlythqw to Halyrudhous yemant waer in curia, men soude hem oock een to the laite Erll of Montrois, Chancellair for the earner naer den selven patroon connen doen tyme; and declarit that during the haill tyme that maecken per advys, sed omnia in silentio, ne isti the Lady Elizabeth was in Lynlythqw hir chalmer resciscant, ende soo van noode waer soude lich­ was nevir hung with the Kingis tapestrie, bot telycken eens overvliegen ad nundinas, want ben with the deponaris awne . . ."; David Masson, ed., vast van opinie datse Electorem Palatinum dapper The Register of the Privy Council of Scotland, vol. 10. bedrogen sullen hebben. Ick heb tot Brussel eenen 1613-1616 (Edinburgh, 1891), p. 521. patroon de Actis Apostolorum geschildert van 56- "J'ay ete en la maison de Baron de Leip qui est Raphael Urbin, den welcken men lichtelycken op certes fort belle et bonne quantite de tapisseries, 7 oft 7V2 ellen hooch soude connen doen maecken. et aucunes bien belles. Je puis bien dire qu'apres Ick hebbe 800 ellen voor Due de Larma te Heydelberg et Munchen, je scais peux de mai- maecken, 7'A diep oft hooghe. Men can dyen sons, qui en ayent tant"; Karl Bruchmann, Die patroon maecken op 15, 16, 18 jae 20 gulden ende Hiildigungsfahri Konig Fricdrichs I. von Bbhmen (des oock op 24 gulden d'elle, maer dan souwt wtne­ "WinterkSnigs") nach Mahren und SchUsien (Breslau, mende fraey werck wesen. . . ." 1909), p. 9. 61. See the 1633 and 1661 inventories of Rhenen 57- Oman, The Winter Queen, p. 241. Castle injohann Kretzschmar, "Das kurpfalzische 58. Heinrich Gobel, Wandteppiche, vol. 3, Die ger- Schloss zu Rhenen, Provinz Utrecht," Mittheilun- manischen und slawischen Lander (Berlin, I933_34). gen zur Geschichte des Heidelberger Schlosses 4 (1903), vol. 1, pp. 04-08. pp. 109, 122: "Zwen Tischteppich von Tapizerei 5y. Universitatsbibliothek, Heidelberg, Cpg 834, werck, iedes 3 Ellen breit und lang, inmitten fol. 228r-v, Frans Sweerts to Jan Gruter, Ant­ eines ieden das bohmische und pfaltzische Wap­ werp, July 25, 1618: "Heb daer mede oock ver­ pen, darauf der ordre 'HONY SOIT QUI MAL Y maent dat verstaen hebbe hoe dat eenen Daniel PENSE', mit Jahrzahlen 1620 und 1621"; "30. Rth.: Steurboudt ende Bartholomeo Balbani eenen Ein tiirkischer Teppich, 3 Ellen breit und lang, coop van tappisseryen gedaen hebben metten von Tapezerei; in der Mitten das bohmisch und Compte Palatin, ende datter noch groote partyen pfalzisch Wappen, darauf der Order 'HONY SOIT souden te maecken wesen van 7 ellen hooghe oft QUI MAL Y PENSE.' " diepe. My zoude groote vrientschap geschieden, 62. Nicolette Mout, "Der Winterkonig im Exil: dat Uedele daer naer stillekens vernaempt, wat Friednch V. von der Pfalz und die niederland­ daer van is, ende soo den Palatin eenighe ischen Generalstaaten 1621­1632," Zeitschrift fiir begheert gemaeckt te hebben, sal hem soo rede­ historische Forschung 15 (1988), pp. 257­72; Marika lycken dienen, dat gheene redene en sal hebben Keblusek, "The Bohemian Court at The Hague," om hem daer van te beclaegen, ende salse doen in Marika Keblusek andjori Zijlmans, eds., maecken door deselve wercklieden, die de caemer Princely Display: The Court of Frederik Hendrich of van SAMPSON gemaeckt hebben. Ende heeft maer Orange and Amalia van Solms, exh. cat., Haags te ordonneren hoevele begheert te besteden, tsy Historisch Museum (The Hague, Zwolle, 1997), 18, 20, 24 oft meer guldens voor elcke die. Ende PP­ 47­57; Simon Groenveld, "Konig ohne Staat: gemaeckt synde worden hier gevisiteert by lieden Friedrich V. und Elizabeth als Exilierte in Den bun van tappisserye verstaende, oft den gelimi­ Haag 1621 —1632—1661," in Wolf et al., eds., Der teerden prys oock weert syn. Ende dus doende Winterkonig, pp. 162­86; Bilhofer, Nichtgegen Ehre en can men niet bedroghen worden, maer men und Gewissen, pp. 114­31. betaelt altyt 'A contant ende % als de tappisseryen 63. Keblusek, "The Bohemian Court at The Hague"; al volmaeckt syn. Maer als vorschreven laet dit in Groenveld, "Konig ohne Staat." alle stilte geschieden, op dat haerlieden nyet ter 64. This can be deduced from the individual sets ooren en come, dat ick Uedele hier op geschreven listed in the 1633 inventory of Rhenen Castle; hebbe. Ende soo dit stuck compt tot effect, non see Kretzschmar, "Das kurpfalzische Schloss zu erimus ingrati van yet excellents te maecken voor Rhenen," pp. 107­9. Uedele huysen, tsy cussens oft een fraey sargie per 65. Kraus, "Die Wandteppich­Fabrikation in Fran­ advys, alles metten eersten. . . ." Wille, Die kenthal," pt. 11­12, p. 46; Hubach, "Tapisserien deutschen Pfalzer Handschriftcn, pp. 131­33, no. 228. im Heidelberger Schloss 1400­1700," p. 103.

Tales from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart 127 66. On February 12, 1632, the notary Johan van Beest XXVIen Maart anno xvic vyer ende twintich . . . of Delft witnessed the depositions of the weavers de eersame Aert en Pieter Spierinck, zoonen van Jacques Tack and Pieter van Coppenol, who had Franchois binnen Delff, dewelcke ter requisitye worked for the Van Mander-Snouckaert tapestry van Joncheer Snouckaert, heere tot Schraplauw, business and witnessed the continuing decline of verclaerde . . . waerachtlich te wesen, dat de the firm until the very end in 1624. Among other tapitzereyen als noch op deese uyer unvercoft events they remembered the sale of the Alexander zijn, die ten tyde als hy, Aert Spierincx, de cartoons to the king of Bohemia: "ende dat sy winckel overbrachte, dye ten huyse van Maerten [Tack and Coppenol] uyt den meesterknecht Boucholt ende Carel Vermander binnen Delff |Balthasar van der Zee] van den voors. Snoeckert bevonden werden, als namenlijck drye kameren hebben verstaen, dat hy voor denselffden Snoeckert van Alexander, een met rooden, een met blauwe, hadde verveilt aen Zijn Conincklycke Majesteit een met oranie boorden, met noch een stucktye van Bohemen een der voors. patronen van den van Sint Joris, met noch eenige sitcussens ende groten Alexander, daernae wel viermalen was noch de earner van Cleopatra, daer toen ter gewrocht ende dat hy dezeltfden patroon hadde tijt noch weynich op gemaeckt was. Wyders gehouden op twee duysent gulden"; Van Yssel- niet"; Van Ysselsteyn, Gesclticdenis der tapijtweveri- steyn, Gcschiedenis der tapijtweverijen in de noordeliike jen in de noordelijke Nederlanden, vol. 2, pp. 188-89, Nederlanden, vol. 2, pp. 217-19, no. 473; Abraham no. 407; Bredius, "De tapijtfabriek van Karel van Bredius, "De tapijtfabriek van Karel van Mander Mander dejonge," p. 21. dejonge te Delft, 1616-1623," Oud Holland 3 68. Hartkamp-Jonxis, "Flemish Tapestry Weavers (1885), pp. 7-9. The Story of Alexander the Great and Designers in the Northern Netherlands," cartoons were last mentioned in the workshop on pp. 18, 29; Hartkamp-Jonxis and Smit, European January 13, 1623, when the notary Harman van Tapestries in the Rijksmuseuin, pp. 222-26, no. 55, Ceel of Delft witnessed the depositions of Bal- with references to the owners of the pieces. thasar van der Zee and Maerten van Bouckholt, 69. See the inventory of the stadtholder's quarters in who on behalf of Snouckaert, had inventoried The Hague in 1632, in Sophie Wilhelmina Alber- Van Mander's designs: "Compareerden . . . Bal- tine Drossaers and Theodoor Herman Lunsingh thasar van der Zee, gewesen meester tapytzyr Scheurleer, eds., Inventarissen van de inboedels in de ende Maerten van Bouckholt, ziydeverwer, verblijven van de Oranjcs en daarmede gelijk te stellen beyde woonende binen Delff ende hebben ten stukken 1567—1795, vol. 1, Inventarissen Nassau- versoucke van Joncheer Nicolaes Snouckaert, heer Oranje 1567-1712 (The Hague, 1974), pp. 181, 228, van Schrapplau, verclaert ... dat sy op huyden no. 1081: "Een groot compleet ledicandtbehang- hebben gemeten ende by't register gehouden, by sel . . . vereert bij den coning van Bohemen." den voors. Balthasar overgeslagen, gesamentlijck 70. See the inventory of Rhenen Castle in 1661, de patroonen ende borden, by Karel Vermander in Kretzschmar, "Das kurpfalzische Schloss zu gemaeckt geduyrende zyne administratye, als tot Rhenen," p. 123: "Zwey Tischteppiche von den i6en July 1621 ende bevonden deselffde te Tapezerey, in der Mitten das churpfalzische zijn van de grootte als volcht: namenlijck de unndt nassauische Wappen, mit gelbgriin und rot kamer van Alexander, houdende negen stucken, seidenen Fransen, und mit blauem Schechter aen't binnenwerck, groot hondert negentich gefuttert." ellen veertyen sestiendedeelen ende de oranien 71. See the inventories of Rhenen Castle in 1633 and ende blauwe boorden tsamen seven ende tsestich 1661, in Kretzschmar, "Das kurpfalzische Schloss ende een halff ellen"; Van Ysselsteyn, Gcschiedenis zu Rhenen," pp. 107, 121: "8000 Rth.: Sechs Stuck der tapijtweverijen in de noordelijke Nederlanden, von Joseph, welche von Leiden geholet worden, 5 vol. 2, p. 173, no. 372; Bredius, "De tapijtfabriek Ellen hoch, und alle zusammen weit )6% Ellen." van Karel van Mander dejonge," p. 10. See also 72. See the inventory of Rhenen Castle in 1661, in Eisler, "Die Delfter Gobelinfabrik," pp. 203-10; Kretzschmar, "Das kurpfalzische Schloss zu Van Ysselsteyn, Gcschiedenis der tapijtweverijen in de Rhenen," p. 122: "2000 Rth.: Eine Kammer von noordelijke Nederlanden, vol. I, pp. 82-102, vol. 2, neun Stucken, neue Tapezerei, seindjagd und pp. 158-60, 188, 199-203, nos. 349, 406, 433; Landschaften, in der Hohe jedes Stuck 4-% Ellen, John Michael Montias, Artists and Artisans in Delft: zusammen weit 45V2 Ellen." A Socio-Economic Study of the Seventeenth Century 73. See the inventory of Rhenen Castle in 1661, in (Princeton, N.J., 1982), pp. 287-91. Kretzschmar, "Das kurpfalzische Schloss zu 67. Once again it was the notary Harman van Ceel, Rhenen," p. 120: "Ein Kammer von acht Stucken, who, at the request of Snouckaert, witnessed the noch new, die Historia von Tobia, jedes Stuck depositions of Aert and Pieter Spiering about hoch 4V2 Ellen, zusammen weit [?]." This set was the content of the tapestry stock from his and the obviously meant to replace the much larger suite late Van Mander's firm: "Compareerde den of "neun Stucken, von Tobiae, iedes hoch 6 Ellen,

128 Tapestry in the Baroque sindt zusanien weit 56!^ Ellen," which was sent 82. See note 60 above. back to Heidelberg in 1650. 83. J. Duverger, "Aantekeningen betreffende de 74- See the inventory of Rhenen Castle in 1661, in Patronen van P.P. Rubens en de Tapijten met de Kretzschmar, "Das kurpfalzische Schloss zu Geschiedenis van Decius Mus," pp. 15­42; Guy Rhenen," p. 121: "Acht Stiick neue Tapezerei, so Delmarcel, "De Geschiedenis van Decius Mus / von einem von Schonhovcn in dem Haag erkauft The History of Decius Mus," in Guy Delmarcel worden, in I. Mt. Tafel-Saal gehorig, Historia et al., Rubenstextiel / Rubens's Textiles, exh. cat., Pompeji et Cleopatrae." Hessenhuis, Antwerp (Antwerp, 1997), pp. 39—57; 75- Eisler, "Die Delfter Gobelinfabrik"; Van Yssel- Campbell, "New Centers of Production," in steyn, Geschiedenis der tapijtweverijen in de noorde- Campbell, ed.. Tapestry in the Baroque, pp. 73—74; lijke Nederlanden, vol. 1, pp. 91-92, 100, 253-54, Concha Herrero Carretero, Rubens, 1377—1640: vol. 2, pp. 178-79, 188, nos. 384, 406; Hartkamp- Coleccion de tapices. Obras maestras de Patrimonii) Jonxis, "Flemish Tapestry Weavers and Designers National (Madrid, 2008), pp. 27­43; Concha in the Northern Netherlands," pp. 29-34. Herrero Carretero, cats. 10, 11, in Campbell, ed., 76. Peacham's Compleat Gentleman, 1634 (London, Tapestry in the Baroque, pp. 95­105. 1634; facsimile reprint, Oxford, 1906), p. 126: 84. Peter Paul Rubens in a letter to Dudley Carleton, "1'ainting is a quality I love (I confesse) and Antwerp, May 26, 1618; Ruth Saunders Magurn, admire in others, because ever naturally from a trans, and ed., The Letters of Peter Paul Rubens child, I have beene addicted to the practice hereof: (Cambridge, Mass., 1955), pp. 64­66. yet when I was young I have beene cruelly beaten 85. Jan Gruter, ed., Tints Livius: Libri Onmes Superstites. by ill and ignorant Schoolemasters, when I have Post Aliorvm Omnium Emendationes nunc praeterea beene taking, in white and blacke, the counte­ castigati Ad Fidem Vetvstiss. Manv exaratorum Codicum nance of some one or other (which I could doe at Bibliothecae Palatinae; Accessit Index rerum & verborum thirteene and foureteene yeeres of age: beside the copiosissimus a Jano Grutero (Frankfurt, 1609). Mappe of any Towne according to Geometricall 86. Reinhold Baumstark, Peter Paul Rubens: The proportion, as I did of Cambridge when I was of Decius Mus Cycle (New York, 1985). Trinity Colledge, and a Iunior Sophister,) yet could 87. Jeremy Wood, "Rubens and Raphael: The they never beate it out of me." Designs for the Tapestries in the Sistine Chapel," 77­ Peacham's Compleat Gentleman, 1634, pp. 153—54­ in Katlijne van der Stighelen, ed., Munuscula Ami- 78. See notes 59 and 60 above. corum: Contributions on Rubens and His Colleagues in 79­ Universitatsbibliothek, Heidelberg, Cpg 834, Honour of Hans Viieghe (Turnhout, 2006), vol. 1, fol. 228r­v, Frans Sweerts to Jan Gruter, Antwerp, pp. 259­82. July 25, 1618: "Soo verre oock eenighe gouwde 88. Bayerisches Hauptstaatsarchiv, Munich, Abt. Ill, tappisseryen begheert gemaect te hebben, salse Geheimes Hausarchiv, Schatzakten, S 601, fols. doen maecken ryck van gouwde tot 66 gulden I37v­i38r; see appendix, no. 1. d'elle, oft zoo eenighe begeert te coopen, 89. Hubach, "Tapisserien im Heidelberger Schloss hier synder differente gemaeckt. Dat my maer 1400­1700," p. 103. imployere, sal maecken ende sorge dragen syn 90. Kretzschmar, "Das kurpfalzische Schloss zu gelt wel zal imployeren. Onsen Archidux Albertus Rhenen," pp. 120­32. Elizabeth's attitude might heeft over sommighe jaren eene gouwe earner have been influenced by her mother's example. geschoncken Archiepiscopo Moguntino [Johann Denmark House (better known as Somerset Schweikhard von Kronberg], deselve quam wt House), Queen Anne's foremost London resi­ mynnen winckel, aende selve soude Conies dence, was lavishly embellished with more than 1'alatinus mogen de deucht ende fynte van a hundred tapestries of different sizes and quality, d'werck sien." of which only two sets actually came from the 80. Piero Boccardo, "Prima qualita 'di seconda Royal Wardrobe—four pieces of the Story of David mano': Vicende dei Mesi di Mortlake e di altri and seven of the Story of Hercules—and one from arazzi e cartoni fra l'lnghilterra e Genoa," in the stock of Charles Brandon, Duke of Suffolk; Piero Boccardo and Clario Di Fabio, eds., Genova M. T. W. Payne, "An Inventory of Queen Anne e VEuropa atlantica: Opere, artisti, committenti, col- of Denmark's 'ornaments, furniture, householde lezionisti—Inghilterra, Fiandre, Portogallo (Cinisello stuffe, and other parcells' at Denmark House, Balsamo [Milan], 2006), p. 182. 1619," Journal of the History of Collections 13 (2001), 81. Shearman, Raphael's Cartoons in the Collection of pp. 23­44. Her Majesty the Queen, pp. 138­48; Fermor, The 91. Elizabeth Stuart to her son Charles Louis, Lon­ Raphael Tapestry Cartoons, pp. 17­21; Wendy Hef­ don, July 12/22, 1661; Anna Wendland, ed., Briefe ford, "The Mortlake Manufactory, 1619­49" and der Elisabeth Stuart, Konigin von Bbhmcn, an ihren cat. 16, in Campbell, ed., Tapestry in the Baroque, Sohn, den Kurfttrsten Carl Ludwig von der Pfalz, pp. 171­89. 1630—1662 (Tubingen, 1902), pp. 205­6, no. 138:

Tales from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart 129 "[Michel] Vanderheck has done nothing but what did promiss you to repaye them, which by the 1 commanded him, and he hath vnder my hande, grace of God I uill, it is all 1 haue giuen from the neither haue I taken all the stuff, for I haue left house and if the worlde shoulde know that you my oulde rotten black hangings and two or three take exceptions at an oulde rotten shoot of hang­ suites of oulde hangings that are in my hall anf ings given away you will be laughed at. . . ." See the courtesses chambers] and the trabants cham­ also Baker, ed., The Letters of Elizabeth, ber but if I haue need of them I uill send for them pp. I77­78­ to. I haue taken the best as good reason, I shoulde 96. Charles Louis to his mother, Elizabeth, Heidel­ it, being in my power, and my right as I uritt to berg, 1655 (?); Wendland, ed., Briefe der Elisabeth you by my last." See also Melissa Lili Baker, ed., Stuart, p. 62, no. 41: "Madame. The want we haue The Letters of Elizabeth, Queen of Bohemia (Lon­ here of hangings and other Chamber furniture don, 1953), pp. 340­47­ made me desire the last yeare Yr Mties approba­ 92. Charles Louis to his mother, Elizabeth, Heidel­ tion for the transport of what is att Rhenen hither berg, August 6/16, 1650; Wendland, ed., Briefe der because you did not make use of them, but Yr Elisabeth Stuart, pp. 5­7, no. 3: "As for the Stuffs Mty not beeng then well pleased with it, ... I am and Jewels which you let me have of my owne, confident Yr Mty will not disapproue that I have thy are mine as well as the Stuffe and plate which sent Walter to Rhenen to gett them packt up still remaines in Yr Mties hands, ... I can finde and bring them away in the ship 1 have oppointed noe ground ofjustice that you should keepe it for it here and to satisfie the Castellain for his vntill you had Yr yointure, ... or the Stuffee you arreares, upon the receit of the said furnitures and gave away to my Brother Edward but could not howshold stuffe, I beleeve Yr Mty will thinke it exspect that, though in reason you ought to have fitter that they should be made use of here for the what is for Yr daily use which 1 shall never dis­ honnour of the familie, where they will be better pute, yet you cannot pretend to keepe all from looked to, then in the hands of that drunken fel­ mee upon any ground of Law or equity." See low that keepes them now, since Yr Mty hath noe appendix 2, no. 24. use of them there, but I hope will shortly have 93. Delmarcel, Flemish Tapestry, p. 124; Thomas P. heere. . . ." Elizabeth Stuart to her son Charles Campbell, "The Story of Abraham Tapestries at Louis, The Hague, November 2/12, 1655; Wend­ Hampton Court Palace," in Koenraad Brosens, land, ed., Briefe der Elisabeth Stuart, pp. 67­68, ed., Flemish Tapestry in European and American no. 44: "I haue sent you from hence [The Hague] Collections: Studies in Honour of Guy Delmarcel two suits of hangings as 1 uritt last and pictures; (Turnhout, 2003), pp. 59­85; Campbell, Henry from Rhene, you uill receaue three suits of hang­ VIII and the Art of Majesty, pp. 281­97. ings and a bed meane, those that were at the end 94. Rott, "Ott Heinrich und die Kunst," pp. 204­6; of the dining roome, and that chamber aboue Hanns Hubach, "Kurfurst Ottheinrichs neuer staires, for the pictures, that are there, I keep them hofbaw in Heidelberg: Neue Aspekte eines alten all to sett out the emptie roomes, thus I have tru­ Themas," in Volker Rodel, ed., Mittclalter: Schloss lie sent you all I can spare, I must desire to you to Heidelberg und die Pfalzgrafschaft hei Rhcin bis zur putt out the concierge, for he is theveriest beast in Reformationszcit, Begleitpublikation zur Daueraus­ the worlde and knave besides as Walter can tell stellung der Staatlichen Schlosser und Garten you and the sooner you doe it, it uill be the bet­ Baden­Wiirttemberg (Regensburg, 2002), ter, for he spoiles all the house. The Princesse of pp. 196­97; Hubach, "'. . . mit golt, silber und Orenge tolde me, she had a minde to crie, to see seyd kostlichst, erhaben, feyn unnd lustig the house so spoiled, she dined there as she came gmacht,' " p. 177. hither. . . ." See also Baker, ed.. The Letters of 95. Elizabeth Stuart to her son Charles Louis, The Elizabeth, pp. 251­52. Hague, August 19/29, 1650; Wendland, ed., Briefe 97. Oman, The Winter Queen, pp. 446­53. der Elisabeth Stuart, pp. 7­10, no. 4: "All this I tell 98. Kretzschmar, "Das kurpfalzische Schloss zu you, not, that I meane to dispute it, but onelie to Rhenen," pp. 121. tell you that I might finde reasons enough to doe 99. Elizabeth Stuart to her son Charles Louis, Lon­ it, . . . as for the stuff, that which I haue in my don, August 2/12, 1661; Wendland, ed., Briefe der oune chambers, you haue nothing to doe uith it, Elisabeth Stuart, pp. 208­9, no­ l4°- See also having bought them myself, what is yours is onlie Baker, ed.. The Letters of Elizabeth, pp. 348­49. in the dinning roome and your Sisters chambers 100. John Gustav Weiss, "Lord Craven und die Familie and yours below, the rest are the states hang­ des Winterkbnigs," Zcitschrift fur die Geschichte des ings, ... I must have more, for Rhene, if 1 should Oberrheins, 11.s. 43 (1930), pp. 581­98; R. Malcolm say for whome the king your father has often Smuts, "Craven, William, earl of Craven," in saide it was built and furnished, you wouldc not Oxford Dictionary of National Biography, vol. 14 beleeue me; ... as for the hangings Ned had, I (Oxford, 2004), pp. 65­66.

130 Tapestry in the Baroque 101. Testament of Elizabeth of Bohemia, The Hague, pp. 146—47. Prince Rupert named Lord Craven May 8/18, 1661; Wendland, ed., Briefe der Elisabeth executor of his will and trustee to Margareth Stuart, pp. 214-15: "Nous donnons a nostre Fils le Hughes and their daughter. Craven had the right Prince Rupert tout ce qui Nous est du d'argent et to sell most of the jewels and other houshold stuff ce qui Nous est en main, touttes nos Principales and invest the money for the benefit of his proteges. Bagues et Vaiselle, et autres Meubles qui sont a For the account of the sale of Prince Rupert's Nous. . . ." inheritance, see Eliot Warburton, Memoirs of 102. Karl Hauck, Rupprecht der Kavalier, Pfalzgraf bei Prince Rupert and the Cavaliers (London, 1849), Rhein (1619-1682) (Heidelberg, 1906), pp. 110-11; vol. 3, pp. 558—60. Patrick Morrah, Prince Rupert of the Rhine (Lon­ 103. Elizabeth Howe, The First English Actresses: don, 1976), pp. 426­27; Margret Lemberg, Eine Women and Drama 1660-1700 (Cambridge, 1992), Konigin ohne Reich: Das Leben der Elisabeth Stuart p. 24; Pamela Allen Brown and Peter Parolin, und Hire Briefe nach Hcsscn (Marburg, 1996), eds., Women Players in England, 1500-1660: Beyond pp. 82­84; Robert Rebitsch, Rupert von der Pfalz the All-Male Stage (Burlington, Vt., 2005), p. 6. (1619-1682): Ein deutscher Fiirstensohn im Dienst 104. Lemberg, Eine Konigin ohne Reich, pp. 82—86; der Stuarts (Innsbruck, Vienna, Bozen, 2005), Rebitsch, Rupert von der Pfalz, p. 151.

Appendix |Mark] Ein cammer von sechli stiicken, romische unbekannte histori, hoch 4I4 ellen, 1. Inventory of the first portion of tapestries shipped to zusammen weit 22V2 ellen. Heidelberg by Charles Louis, The Hague, September 14/4, 1649; Bayerisches Hauptstaatsarchiv, Munich, |Mark] Drey schone groBe newe tiirckische Abt. Ill, Geheimes Hausarchiv, Schatzakten, S 601, teppich, davon hernacher weiter bericht fols. I37v­i38r: geschicht.

Verzeichnus der mobilien, tapecereyen undt 2. Inventory of the tapestries shipped to England by anders, so ihrer churfiirstlichen durchlaucht Elizabeth Stuart, The Hague and Rhenen, 1661; seindt nach Franckfurth gesandt worden, den Bayerisches Hauptstaatsarchiv, Munich, Abt. Ill, 14/4 Septembris 1649. Geheimes Hausarchiv, Korrespondenzakten, no. i022'/4 (2), pp. 1­4.­ [Mark] Neun stiickh tapecerey von seiden mit goldt undt silber eingewirckt, auff welcher VerzeichnuB derienigen mobilien, welche Augusti undt Pompej historia von Cleopatra. Michael Ahselier in s'Graffhenhag, und Antoni Alberts de Beer im hauB zu Rhenen, vermog |Mark| Zehen stiickh tapecerey, historia eines ieden inventary, in verwahrung gehabt, des Samsons, mitt seiden undt wiillen aber nicht nacher Heydelberg gekommen, eingewiirckt.' sondern alda verplieben, undt nachgehends in anno 1661 nach Englandt iiberbracht worden. [Mark] Ein cammer von sechs stiicken, reich von seiden, undt die historia von Atlante, Tapezereyen hoch 6 ellen, weit zusammen 57 ellen. Nota: 1 Zwey stuck von der Medora undt Ange­ Diese stiickh seindt einander alle gleich an lica, von seiden gewiirckt, welche vor diesem hohe undt breite. zu Heydelberg in der konigin cammer geweBen, davon itzund ein stiick in der [Mark] Ein cammer von sechB stiicken, von englischen kirchen. (8oo)J Bacho, mit seiden vermischt, jedes stiickh 2 Sieben stuck tapezerey in dem gemach an hoch 6 ellen, zusammen weit 54^2 ellen. der konigin ami cammer, da die trabanten stehn, historia Achabs undt Jesabel. (300) |M,uk| Ein cammer von 5 stiicken, hoch 3 Zwey fensterstiick, auB der historia 2V1 ellen, zusammen weit 28 ellen, seindt Salomonis. (200) schon undt reich von seiden, jacht undt 4 Sieben stiick rodgiilden leder, darunder gartenwerckh. // ein fensterstiick.

Talcs from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart 5 DaB gulden leder uff der langen galerie, ein fensterstiick und ein stiick iiber dem in der lengen 25 ellen, in der breitte IVA ellen. camin. // 6 Einundtzwantzig bletter gulden und silber leders, der grund colombine, wie in ihrer Zu Rhenen seind vermog deB inventarij mayestaten tafFelstuben, fiinff halbe bletter de anno 1633 geblieben und nicht nach von gleichem leder, undt vier schmale leisten, Heydelberg gekommen alB: selbigen leders. (700) 22 Sechs stiick von Joseph, welche von 7 Sechs stuck tapezereyen in einer cammer, Leiden geholet worden, 5 ellen hoch und alle von allerhandt jagten und fischereyen, uff zusammen weit 36X ellen. C. C. (8000)'' iedem stuck daB bayerisch wappen, in der 23 Eine cammer von neun stiicken bruBe­ hohe iedes 3 ellen, zusaninien weit 29/4 ellen. lische arbeit, so landtschafft und geiagt, ied­ E (1000) wedes stiick hoch 5 ellen undt alle zusammen 8 Eine cammer von zehen stiicken, weit 44 ellen. A (4000) Frantz Spirings arbeit, von groBem bild- 24 Eine cammer von zehen stiicken, die werck, reich von seiden, iedes stuck hoch historia von Abraham, iedes stiick hoch 5 4 $H ellen, zusammen weit 58K ellen. P (6000) ellen, zusammen weit 55!^ ellen, ist etwaB 9 Ein cammer von acht stiicken, noch new, schadthafft. K (Prince Edward 4000)' die historia von Tobia, iedes stuck hoch 2j Eine cammer von zwelff stiicken, ver­ 4/4 ellen, zusammen weit—. (2000) mischt mit seiden, von groBem bildwerck, 10 Em cammer von sieben stiicken, groB bild- die erschaffung der welt und des menschen werck, so etwas alt und schadhafft. hoch 4% fall, hoch 5 ellen undt zusammen weit ellen, zusammen weit 36V2 ellen. b.b. (1200) // 53/2 ellen. S (8000) 11 Zwey schone stuck von kayser Augusto, 26 Zwey stiick, uff einem stiick die historie mit seiden vermischt, hoch 5 ellen, zusam­ von Dido, Enea undt Achate, uff dem anderen men weit 7V2 ellen. F.f. (1000) ein panquet mit einem harpfenisten; sind 12 Ein stuck allein von groBem bildtwerck, an alien beiden stiicken leisten mit sonnen, die historie von der konigin von Saba, 4!^ die stiick mit goldt und seiden vermischt, ellen hoch, 3V2 ellen weit. (200) iedes hoch 4/2 ellen, zusammen breitt 8 ellen. 13 Ein stiick allein die historia von Joseph, H. h. (1000) ist mit seiden vermischt, hoch 4!^ ellen, lang 27 Vier stiick so von tournier, mit gold undt 6 ellen. (200) silber vermischt, iedes hoch 4 ellen, weit [5 14 Ein stiicklein, in der mitten Fama, und ellen. (1000) uff beiden seiten blumenpott, hoch 2 ellen, 28 Eine cammer tapezerey, die historia von lang 3 ellen. (100) Jacob, 5 ellen hoch, bestehet in 8 stiicken. 15 Ein stiick, darauff drey blumenpott, hoch (4000) I'A ellen, lang 2% ellen. (50) 29 Eine cammer von neun stiicken, newe 16 Sechs fensterstiick, von zerstohrung tapezerey, sindt jagt und landtschafften, in Troia, 2 ellen hoch undt zusammen lang 28 der hohe iedes stiick 4% ellen, zusammen ellen. (400) weit 45/2 ellen. G (2000)* 17 Ein new fensterstiick von laubwerck, 30 Blau und giilden leder zu ihrer mayestat darinnen daB pfalzische und sachsische cabinet. (400) wapen, breit 1/2 ellen, lang 5 ellen. (50) 31 Fiinff stiick grob iagtwerk. nro.: 5 mit 18 Ein stiick, so auch von Salomon und der A.a. gezeichnet, hoch s ellen. (1000) // konigin von Saba, reich von goldt und silber, breitt 3/2 ellen, hoch 2V2 ellen. (400) An tiirckischen teppichen seindt im Hag undt 19 Ein cammer von vier stiicken, so oben Rhenen zuriickgeblieben, alB: . . . jiigerey, und linden allerhandt wilde thier, 11 Ein tiirckischer teppich, 3 ellen breitt und sind alle einer hohe, nemblich 4>4 ellen, lang, von tapezerey, in mitten daB bohmisch zusammen weit 24 ellen. (600) undt pfaltzische wapen, darauf der orden 20 Acht stiick newe tapezerey, so von einem ,HONY SOU QUI MAL Y PENSE'. (30) . . . von Schonhoven in dem Hajajg erkaufft worden, in ihrer mayestaten taffelsaal All sammeten und anderen teppichen, alB . . . gehorig, historia Pompeij und Cleopatrae.* 27 Zwey tischteppiche von tapezerey, in 21 Acht stiick tapezerey, die historie von der mitten das churpfalzische unndt Elia, im vorhauB bey ihrer mayestat gemach, nassauische wappen, mitt gelb, griin und rodt und acht stiick tapezerey von griin und gelb seidenen franzen und mitt blauem schechter gewirffeltem zeug, darunder gerechnet gefiittert. (60).

Tapestry in the Baroque The set Frederick V bought from Steurbout and the newly weds received a set of not just eight but, Balbani. indeed, ten pieces. See alsojohann Kretzschmar, "Das kurpfalzische 5. The Story of Cleopatra from the workshop of Pieter Schloss zu Rhenen, Provinz Utrecht," Mitthdlungen de Cracht of Schoonhoven (formerly owned by zur Geschichle des Heidelberocr Schlosses 4 (1903). Jacques Nauwincx). The set was bought by Eliza­ pp. 120-23. beth between 1650 and 1660. The estimated value of the tapestry sets is given in 6. The set was bought by Elizabeth between 1650 and thalers (Reichsthalem). 1660. The Deeds of Scipio from the workshop of Francois 7. The Abraham set acquired by Elector Otto Henry Spieling, given to Frederick and Elizabeth in 1613 that Elizabeth wrongfully gave to her son Prince as a wedding present from the States-General. The Edward as a wedding present in 1645. dimensions (approx. 400 x 407 cm) fit with those of 8. The set was bought by Elizabeth between inso known pieces from the series; the entry proves that and 1660.

Tales from the Tapestry Collection of Elector Palatine Frederick V and Elizabeth Stuart