EXHIBITION CHECKLIST WOVEN GOLD: TAPESTRIES OF LOUIS XIV At the J. Paul Getty Museum, Getty Center December 15, 2015 – May 1, 2016 In the hierarchy of court art, tapestry was regarded, historically, as the preeminent expression of princely status, erudition, and aesthetic sophistication. Extraordinary resources of time, money, and talent were allocated to the creation of these works meticulously woven by hand with wool, silk, and precious- metal thread, after designs by the most esteemed artists. The Sun King, Louis XIV of France (born 1638; reigned 1643–1715), formed the greatest collection of tapestries in early modern Europe. By the end of his reign, the assemblage was staggering, totaling some 2,650 pieces. Though these royal hangings were subsequently dispersed, the largest, present repository of Louis’s holdings is the Mobilier National of France. With rare loans from this prestigious institution, Woven Gold: Tapestries of Louis XIV explores and celebrates this spectacular accomplishment. This exhibition was organized by the J. Paul Getty Museum in association with the Mobilier National et les Manufactures Nationales des Gobelins, de Beauvais et de la Savonnerie. We gratefully acknowledge the Hearst Foundations, Eric and Nancy Garen, and the Ernest Lieblich Foundation for their generous support. Catalogue numbers refer to Woven Gold: Tapestries of Louis XIV by Charissa Bremer-David, published by The J. Paul Getty Museum numbers refer to the GettyGuide® audio tour Louis XIV as Collector, Heir, Patron By the end of Louis XIV’s reign, the French Crown’s impressive holdings of tapestries had grown by slow accumulation over centuries and by intense phases of opportunistic acquisition and strategic patronage. The collection was notable especially for the Renaissance hangings assembled by François I (reigned 1515– 1547). This valuable inheritance was augmented later in the reign of Louis, after the mid-seventeenth-century civil wars known as the Fronde, with other magnificent antique sets of tapestries that became available on the art market. Moreover, from 1661, once Louis assumed the role of supreme patron of the arts, his administration systematically fostered French manufactories with new commissions. These treasured textiles adorned royal palaces, when the court was in residence, and lined outdoor public spaces on special occasions. The tapestries in this exhibition are arranged chronologically according to the year of the original design (rather than date of production). Thus, the display divides into three sections, aligning with the three means by which the collection evolved: antique sets of Renaissance tapestries purchased for Louis XIV in the seventeenth century; antique sets of tapestries inherited by the king; and new sets of tapestries ordered by the Crown. The three sections reveal Louis XIV as collector, heir, and patron. Louis XIV as Collector When Louis XIV (reigned 1643–1715) assumed independent rule in 1661 at the age of twenty-two, the tapestry holdings of the French Crown were literally and metaphorically rich and visually splendid. Notwithstanding this legacy, Louis’s own taste and aspirations for the monarchy prompted him to augment the collection. His agents actively pursued the remaining great sixteenth- and seventeenth-century sets, favoring those after the designs of Raphael (1483– 1520) and his pupils. Indeed, contemporary art theoreticians argued that the grandeur and rich materiality of the best weavings surpassed their painted models. These hangings carried their own intrinsic value in terms of high quality; prestigious provenances; unique borders, sometimes blazoned with famous coats of arms; well-preserved colors; and excellent condition. By this means, Louis XIV effectively brought the art of Renaissance Rome to the heart of the French realm. “You have seen those marvelous Works that are in H[is] M[ajesty]’s Furniture Warehouse and that are often displayed during major celebrations. I speak as to tapestries of the design of Raphael . .The Acts of the Apostles, do they not surprise you when you see them?” André Félibien, Discussions Concerning the Lives and Works of the Most Excellent Painters, Ancient and Modern (1666) 1. The Miraculous Draft of Fishes This episode from the New Testament, when Christ called the first disciples (Luke 5:1–10), took place at the Sea of Galilee. The fisherman Simon (called Peter) kneels before Jesus, From The Acts of the Apostles whom he believes responsible for a miraculously large catch of fish. Jesus proclaims the Design by Raphael (Italian, 1483–1520), 1516 prophetic words “Henceforth thou shalt be fishers of men.” Raphael originally designed Border design by Francis Cleyn (German, 1582– the scene in 1516 for a tapestry destined for the Sistine Chapel at the Vatican. One 1658), about 1625–36 century later, this version was created on an English loom for the uncle of Louis XIV, Charles I of England (reigned 1625–1649, when beheaded). The border bears his coat of Surrey, Mortlake Tapestry Works, under the arms and motto. Louis acquired the tapestry just after his cousin, Charles II, regained the management of Sir James Palmer (English, 1584– English throne in 1660. 1657), 1636–37 Wool, silk, and gilt metal– and silver-wrapped INSCRIPTION thread The Latin text in the central cartouche below translates as: Le Mobilier National, Paris, inv. GMTT 16/4 Who works at / sea, works hard. / [That] work [is] all futile, / unless [it is] divinely guided, / [then it becomes] skillful work. / Oh Fish who flee the nets: / Behold Christ descending Catalogue number 1a / to the sea. He put you [in the deep], / [now] he catches [you]; and the reign of Charles / EX.2015.6.2 Mortlake 1362 The Middle French motto of Charles I (1600–1649) above translates as: Shamed be he who thinks evil of it Image © Le Mobilier National. Photo by Lawrence Perquis 2. Neptune and Cupid Plead with Vulcan for the Neptune and Cupid plead with Vulcan to release the illicit lovers Mars and Venus Release of Venus and Mars (Vulcan’s wife), who have been caught in bed, snared under a net. A window above the From The Story of Vulcan Three Graces, at left, opens onto an interior space where the resolution of the affair is visualized: Vulcan unbinds the net. The Story of Vulcan was the first tapestry series Design by an unidentified Northern artist, formerly woven at the new English Mortlake Tapestry Works. It replicated an older cycle, thought attributed to Perino del Vaga (Italian, 1501–1547), to have been designed by Raphael or his pupil Perino del Vaga. Louis XIV and his court about 1530–40 especially appreciated this Mortlake version for it inspired the popular poem of 1659 The Border design by Francis Cleyn (German, 1582– Loves of Mars and Venus, by Jean de La Fontaine (1621–1695). 1658), about 1625–28 Surrey, Mortlake Tapestry Works, under the Image © Le Mobilier National. Photo by Lawrence Perquis ownership of Sir Francis Crane (English, about 1579– 1636), about 1625–36 Wool, silk, and gilt metal–wrapped thread Le Mobilier National, Paris, inv. GMTT 36/2 Catalogue number 3a EX.2015.6.3 3. The Triumph of Bacchus Giovanni da Udine, a student of Raphael, devised these tiered vignettes showing the pagan deity Bacchus, in the central arbor, presiding over a celebration of wine, wine From The Triumphs of the Gods making, and revelry. Stylistically, he was inspired by ancient Roman wall frescoes newly Design overseen by Raphael (Italian, 1483–1520), revealed in excavations then underway. The composition was designed originally around about 1518–19 1518–19 for the Vatican, the papal residence in Rome, and conveyed sophisticated Design and cartoon by Giovanni da Udine (Italian, religious symbolism. In the intellectual circle around Pope Leo X (reigned 1513–1520), 1487–1564), in collaboration with other artists from themes and images from classical mythology took on new meaning for educated the workshop of Raphael, about 1518–20 Christians. This subject may have evoked, theologically, the sacramental wine of the Catholic mass and the sacred blood of Christ. Secular monarchs, such as Louis XIV, and Brussels, workshop of Frans Geubels (Flemish, art connoisseurs greatly admired subsequent editions of The Triumphs of the Gods flourished about 1545–1585), about 1560 tapestries as supreme expressions of Renaissance art by the esteemed master Raphael. Wool, silk, and gilt metal–wrapped thread Le Mobilier National, Paris, inv. GMTT 1/3 Image © Le Mobilier National. Photo by Lawrence Perquis Catalogue number 2a EX.2015.6.4 4. The Reception of the Envoys from Carthage The victorious Roman general Scipio (236–183 BC), in his starcovered cloak, receives From The Story of Scipio representatives from Carthage after the final defeat of their commander Hannibal. From antiquity, Scipio’s tactical decisiveness and magnanimity presented a model for military Design in the style of Giulio Romano (Italian, about prowess and princely behavior. The most famous portrayal of the hero was the twenty- 1499– 1546), possibly as early as the 1530s, no later two-piece tapestry cycle, designed by Giulio Romano and others, purchased in the 1530s than 1548/55 by François I of France. Although Louis XIV inherited the grand set of his predecessor, he Border design incorporating motifs by Tommaso also acquired another, smaller edition, which contained this unique hanging. It, in turn, Vincidor (Italian, died 1534/36) had a profound effect on subsequent generations of designers. For example, Scipio Brussels, attributed to the workshop of the inspired the figure of Alexander in The Queens of Persia at the Feet of Alexander (see Dermoyen family, possibly as early as 1544, no later EX.2015.6.9). than 1548/55 Image © Hearst Castle®/CA State Parks. Photo by Victoria Garagliano Wool and silk Hearst San Simeon State Historical Monument, San 1363 Simeon, California, inv. 529-9-93 Catalogue number 4a EX.2015.6.26 Louis XIV as Heir In 1666 the royal inventory of tapestries comprised forty-four extremely valuable sets, woven with profuse quantities of precious metal–wrapped thread.