http://collections.mfa.org/collections/objectsrdf/315145;jsessionid=48965F45A83EB42278735BC1F4CCEF08AOE.Dutch and Flemish Tapestrieshttp://collections.mfa.org/internal/media/dispatcher/699548/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/988993/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08The Just Verdict of Trajan1500–25Wool warp; wool, silk, and gilt-silver wefts; tapestryThis tapestry depicts scenes from a medieval legend of the Roman Emperor, Trajan. The emperor had decreed that any convicted murderer must suffer the same fate as his victim. Trajan would not deviate from this ruling even when his own son was found guilty of drowning a playmate by accidentally pushing him in the Tiber river. Against all pleas clemency, Trajan had the crown prince thrown into the river. The miraculous resurrection and return of both boys signified Heaven's approval of Trajan's unfaltering application of justice.http://collections.mfa.org/objects/detailsrdf/66708;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/988991/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Christ Before Pilate and Herod, from the series THE PASSION OF CHRISTlate 15th centuryTapestry weave (wool warp; wool and some silk wefts)The tapestry shows six scenes from the Passion of Christ. The iconography is based on accounts in the Gospels, with variations and additions taken from mystery plays. The scenes are: Christ before Pilate, Christ before Herod, Christ returns to Pilate, the Flagellation,and Christ crowned with thorns. Predominant colors: reds, blues, greens, purples (faded), yellows, cream, brown and black. Most of the blacks have rotted away and been replaced with dark browns. Some restorations, chiefly along bottom edge which was torn.http://collections.mfa.org/objects/detailsrdf/66794;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/822003/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Coat of arms of a Knight of St. James of Compostela (possibly from a series of hangings showing the same subject)Last quarter of 17th or first quarter of 18th centuryAlbert AuwercxTapestry weave (wool warp; wool and silk wefts)This tapestry is a duplicate of 61.157. Shield of arms, quartered in center, surmounted by marquis' coronet and cypher. The points of the Cross of the Order of St. James of Compostela project from behind the shield. On the ground beneath and behind the shield are placed a cannon, powder keg, cannon balls, drums and ramrods. Lower guard band only, may not be original, has Brussels mark and initials "AA".http://collections.mfa.org/objects/detailsrdf/37443;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/1494357/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Narcissusabout 1500Wool and silk tapestryThis tapestry illustrates the tale of Narcissus, taken from Ovid's Metamorphoses. The story of Narcissus tells of a beautiful young man whom the gods caused to fall in love with his own reflection as punishment for his cold-hearted rejection of the love of others. Narcissus was a popular subject in the art and poetry associated with the medieval tradition of courtly love. In this tapestry, he is presented as a fashionably-dressed young man gazing at his reflection in the stone fountain set within a beautiful garden filled with birds and small animals. http://collections.mfa.org/objects/detailsrdf/37423;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/900924/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: "Penelope at Her Loom" a fragment from "The Story of Penelope and The Story of the Cimbri Women" (from the series, "The Stories of Virtuous Women")about 1480–83Wool tapestryIn the center foreground, a richly dressed woman (Penelope) is seated at a carpet-covered table. Only the upper half of her figure is visible. A small loom rests on the table before her. In her right hand she holds a shuttle while her left hand manipulates the harnesses of the loom. The entire composition is framed by a delicate cusped arch supported on a pair of slender columns. Across the front edge of the table is the following inscription: PENELOPE COIVNX SEPER VLIXIS ERO. The tapestry is woven using wool yarns in rich blues, greens, reds, and yellows with 5-6 warp threads per centimeter. "Multiple hand drawn objects" are woven across the lower part. This is the third tapestry in a series bearing arms of Ferry de Clugny.http://collections.mfa.org/objects/detailsrdf/67035;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/1596146/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry (possibly a fragment from an altar frontal): Adoration of the Magi1475–1500Wool warp; wool, silk and metal-wrapped wefts; tapestry weaveThe Magi, Joseph, and a donor stand on flower-covered meadow (millefleurs). The left part of tapestry on which Madonna and Child originally appeared has been cut off. The donor stands beside a white horse at right end with an unidentified armorial shield over his left shoulder. The shepherds, the angel of the Lord, and a walled city appear in background. Woven with polychrome silk and wool yarns and metallic threads. Seven warp threads to cm.http://collections.mfa.org/objects/detailsrdf/51518;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/822012/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Presentation of Cleopatra to AnthonySecond half of 17th centuryCharles PoersonTapestry weave (wool warp; wool and silk wefts)Cleopatra kneels before Anthony (?) while attendants present gifts. Buildings and ships are visible in the background. Floral border includes inscription - CLEOPATRA AUGUSTUM MUNERIBUS TENTAT ("Cleopatra tempts Augustus with gifts") Tapestry is in shades of blues, greens, beiges, red and brown. Weavers Mark - LECLERC on lower right border guard.http://collections.mfa.org/objects/detailsrdf/37442;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/712161/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Saint Paul Requesting Plautilla's Veil (possibly from a series of hangings illustrating the Life of Saint Paul)Late 15th or early 16th centuryTapestry weave (wool warp; wool wefts)The subject is taken from the account of the life of Saint Paul in The Golden Legend. According to this story, Saint Paul met the Christian woman Plautilla at the Ostai gate as he was being conducted to Nero's executioners. The woman wept and asked him to pray for her, in reply to which Saint Paul said, "Plautilla, my dear daughter, lend me the veil with which thy head is covered. I shall cover my eyes therewith, and then shou shalt take it back."http://collections.mfa.org/objects/detailsrdf/49877;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/822014/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: The Anger of Achilles Against Agamemnon (from the series The Story of Achilles)Probably third quarter of the 17th century, 1650–75Peter Paul RubensTapestry weave (wool warp; wool, silk and gilt(?) silver wefts)This is one of two tapestries in the MFA-Boston collection from the series THE STORY OF ACHILLES. The subject of this weaving derives from Homer's Iliad, Book I. Agamemnon decides that if his lovely captive Chryseis is to be sent back to her father, Chryses, then he will take Briseis, Achilles' enchanting captive. Achilles, enraged by this pronouncement, draws his sword to attack Agamemnon, but Minerva (whom Juno sent to prevent violence) restrains him. The scene in the tapestry takes place on a dais under or before a tent. In the center background, Agamemnon begins to rise from his throne but is dissuaded by the elderly Nestor and two other men who approach from the right. In the forward left corner, Achilles is about to draw his sword and turns to face the floating half-figure of Minerva, who grasps his hair. The foreground plane shows the proscenium of terminal figures-and-cornice. In this case, the terminal figure at the left represents Blind Passion, and the one at the right probably represents Envy. Two garlands of leaves, grasped at the centers by putti, decorate the cornice and flank the oval cartouche in the center which is inscribed as follows: ABSTINET A FERRO AE ACIDES RETINENTE MINERVA ("Achilles abstains from the sword because Minerva restrains him.") A great lion lies chained in the center foreground. It may be intended as a symbol of Achilles' violence being held in check or as an allusion to his been fed on the entrails of lions when he was a child.http://collections.mfa.org/objects/detailsrdf/37401;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/1036501/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: The Assumption of the Virgin (from the series, The Life of the Virgin)about 1535Tapestry weave (wool warp; wool, silk, silver, and gilt-silver wefts)The Apostles who were present at the death of the Virgin Mary are gathered around her empty tomb to witness the ascent of her body to be reunited with her soul in Heaven. Garlands of fruits and flowers, with birds, frame the picture. The colors are cream, blue, red, green, brown and yellow. The composition is thought to be copied from an engraving by the "Master of the Die" after Raphael's lost plan for the altarpiece of the Chigi Chapel in Santa Maria del Popolo in Rome.http://collections.mfa.org/objects/detailsrdf/37392;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/699426/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: The Defeat of Astyages (from the series, The Life of Cyrus)about 1771–75Maximilien de HaeseTapestry weave (wool warp; wool and silk wefts)The weaving depicts the third in series of five tapestries illustrating the story of Cyrus, founder of the Persian empire, when he defeated Astyages, King of the Median empire. The victorious young Cyrus stands in the center of the tapestry, pointing with his left hand to a group of lamenting women beneath a fringed canopy. Harpagus stands behind him and they both look at Astyages, who stands on the left, defeated and in chains. Top center has arms of Maria Theresa, Archduchess of Austria and Queen of Hungary. No borders or guard bands.http://collections.mfa.org/objects/detailsrdf/37393;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/813462/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: The First Four Articles of the Creedabout 1475–1500Wool and silk slit tapestryJeweled columns divide the tapestry into four bays. Each bay encloses a scene illustrating a text from the Old or New Testament. The theme running through all four scenes is the divine harmony between the prophets' promises and the fulfillment of them as stated in the Apostles' Creed. In the first scene, God the Father raises His hand in benediction before Eve who rises from the sleeping Adam's side. A chorus of angels stands behind the three main figures. In the foreground are a pair of seated figures, each identified by the name inscribed on the scroll held in his hand. The prophet Jeremiah (JEREMIAS) sits at the left holding a scroll inscribed as follows: PATREM INVOCABIMUS QUI TERAM FECIT ET CONDIDIT CELOS("we shall call upon the Father who made the earth and founded the heavens.") The Apostle Peter sits at the right. The scroll falling over and behind his right leg is inscribed as follows: CREDO IN DEUM PATREM OMNIPOTE TEM CREATOREM CELI ET TERRE [Apostles' Creed] ("I believe in God the Father Almighty, maker of heaven and earth.") In the next section of the tapestry, John the Baptist is shown in the act of baptizing Christ. The upper half of the figure God the Father appears in an aura between two groups: angels and men. The dove of the Holy Spirit descends from the aura toward the figure of Christ standing below. King David, identified by an inscription written accross his robe, holds in his right hand a scroll inscribed with the following words: DOMINUS DIXIT AD ME FILIUS MEUS ES TU ("The Lord said to me, Thou art my son.") Saint Andrew, The Apostle, sits in the lower right corner holding his cross and a small scroll inscribed ANDREAS. A larger scroll rising from his right hand is inscribed as follows: ET IN IHESUM XPRISTUM FILIUM EIUS UNICU DOMIUM NOSTUM [Apostles' Creed] ("And Jesus Christ, His only Son, our Lord.") The third main section of the tapestry shows the Nativity. The Christ Child lies in a pool of light in the center foreground. Joseph and Mary kneel on either side of him, in adoration. Two angels kneel in prayer in the middle distance while a third, holding a scroll inscribed GLORIA IN EXSEXLIS DEO ET IN TER ("Glory to God in the highest and on earth") appears in the sky before a group of shepherds. In the foreground at the left is the prophet Isaiah, identified by the inscription YSAYAS. His scroll reads: ECCE VIRGO CONCIPIET ET PARIET FILIUM ("Behold the virgin conceived and brought forth a son"). The Apostle James the Elder, identified by an inscription JACOPUS, sits in the lower right corner of this section and holds a scroll with these words: QUI CONCEPTUS EST DE SPIRITU SANCTO NATUS EX MARIA VIRGINE [Apostles' Creed] ("Who was conceived of the Holy Spirit, born of the Virgin Mary") The Crucifixtion is represented in the fourth and final section of the tapestry. The figure of Christ on the cross accupies the center of the space; behind it at left and right the two theives hang on their crosses. Joseph of Arimathea, in the center distance, covers the body of Christ with a cloth. In the foreground, the figures of Mary Magdalene, John the Evangelist, and the swooning Virgin occupy the space at the left of the cross. The prophet Hosea, identified by the inscription OZEAS on his scroll, sits in the lower left corner. The inscription on the major portion of his scroll reads as follows: O MORS ORO MORS TUA MORSUS TUUS ERO INFERNE ("O Death, I shall be your death; I will bite you into destruction, infernal one") Opposite Hosea, and serving as a pendant to the figure of Jeremiah at the left end of the tapestry, is the seated figure of John, labeled JOHANES. The scroll held in his right hand reads: PASSUS SUB PONCIO PYLATO CRUCIFIXUS MORTUUS ET SEPULT [Apostles' Creed] ("Suffered under Pontius Pilate, was crucified, dead and buried") The event represented in each of the four panels expresses the content of each pair of inscriptions. The narrow border shows a repeating pattern of symmetrical bunches of fruits and leaves set within the large ovoid openings of a fretwork resembling delicate stone tracery. The colors used are blues, reds, yellow and touches of green.http://collections.mfa.org/objects/detailsrdf/37377;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/699548/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: The Fish Market (fragmentary tapestry from a series of rustic genre scenes)First half of the 18th centuryDavid Teniers the YoungerTapestry weave (wool warp; wool and silk wefts)The action takes place on a quay where a fish market is in progress. The extreme foreground, showing earth, rocks, plants, rodents, and rabbits, is not part of the original composition. Beyond and above this, in what was originally the foreground of the scene, two women with market baskets are selecting fish from three fishermen who kneel by their baskets and tubs. A boy learning on a staff watches from the left, while a man smoking a pipe stands at the right edge of the group. To the right of this figure, and behind him, is a man leading a donkey. Farther to the right a man leans over a basket of fish and grasps its handles while another man stands over him and appears to direct his work.Behind the figures the quay extends into the distance diagonally from left to right. There are a number of tall buildings (some with elaborate masonry features) and figures on the quay at the left. Opposite this, at the right edge of the tapestry, is the prow of a sailing vessel. Three smaller boats appear in the water in the middle and far distance. The original borders and guards did not survive. A gray and beige guard has been sewn on.http://collections.mfa.org/objects/detailsrdf/37426;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/699446/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Thetis and Achilles Before the Oracle (from the series THE STORY OF ACHILLES)Probably third quarter of the 17th centuryJacob JordaensTapestry weave (wool warp; wool, silk and gilt(?) silver wefts)It has been suggested that the tapestry illustrates a tale recorded or invented by the sixteenth century mythographer Natale Conti. According to Conti, there was an oracle combining the prophecy that the Trojan War could not be won without Achilles with an earlier prophecy forseeing Achilles death in the war. Here, Thetis is shown entering a hall or temple from the right, her right hand resting on the head of the nude young son who walks before her. A priest stands left of center behind an altar separating him from the boy Achilles, and the gestures over the flame. Two acolytes, each holding a lamp, flank the priest. A dead lamb lies on the floor before the altar; its body is partially obscured by a ewer and basin lying on a small covered table in the extreme foreground. Behind the figures rises a wall elaborately articulated with pilasters and a shell-capped niche. A proscenium-like border encloses the entire scene. It consists of a pair of terminal figures at the sides- the one at the left representing Minerva (War) and the one at the right Hercules (Strength), the two gods to whom the child was dedicated- supporting a cornice decorated with garlands of fruit grasped by putti. The small covered table and a pair of cornucopia, spilling palm and laurel branches, continue the enframement across the bottom. An oval cartouche in the center of the cornice above bears the following inscription : ACHILLES PVER A MATRE ADDVCITVR AD ORACVLVM ("The boy Achilles is taken to the oracle by his mother")http://collections.mfa.org/objects/detailsrdf/37402;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/699340/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: The Women at the WellsFirst half of the 17th centuryTapestry weave (linen warp; wool and silk wefts)The field is divided horizontally into two roughly equal areas. The upper section shows an elaborate and symmetrical arrangement of fruits and flowers. In the center stands an urn filled with tulips, roses, lilies, and other blossoming stalks. The lower section shows an oval compartment with an elaborately carved frame. A representation of Rebecca, standing at the well and giving water to Abraham's servant, fills the oval space. Other women with vessels appear behind the two main figures, near the well or at a watering trough in the middle distance. The background opens out into a deep landscape. A circular cartouche crowns the center of the frame of the oval picture. The scene in the circle shows Christ meeting the Samaritan woman at the well. The border of the entire panel consists of a narrow band showing a row of conventionalized leaves.http://collections.mfa.org/objects/detailsrdf/37371;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/1312997/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Three Episodes in the Life of Saint Paul (from the series, The Story of Saint Paul)Second third of the 16th centuryPieter Coecke van AelstTapestry weave with wool warps and wool and silk weftsThe subject matter of the series derives from the Acts of the Apostles. In this tapestry, Saint Paul performs two actions and one miracle as recounted in the nineteenth and twentieth chapters of the Book of Acts. The main action takes place in the foreground, in an open space before a semi-circular building (intended to represent the Temple of Diana at Euphesus). Saint Paul, standing left of center, gestures toward a group of men at the right who brings piles and baskets of books which they throw on a mound of wheat stalks that have just begun to burn. A cartouche in the center of the upper border bears an inscription as follows : PLERIQVE EPHESII PER PAVLI SERMONEM CONVERSI MAGICOS/LIBROS PRECIO AERIS L M EXVRRVNT ("Many Ephesians, converted by Paul's discourse, burn books of magic worth fifty thousand copper coins.") In the upper left corner of the tapestry Saint Paul appears again with a group of men in a clearing before a building. Eleven of the men kneel before him and a twelth stands next to him. This scene illustrates Acts XIX : 1-7 in which Saint Paul, having gone to Epheusus, laid his hands upon a group of disciples who thereby received the Holy Spirit. The inscription in the cartouche above this scene reads as follows :XII VIRI EPHESII, PAVLO IMPONENTE MANVS, ACCIPIVNT SPIRITVM SANCTV ("When Paul lays his hands upon them, twelve men of Ephesus receive the Holy Spirit.") The third scene, in the upper right corner of the tapestry, illustrates a miracle that took place later in Paul's life. It is described in Acts XX:9-12. The scene is described in the cartouche above: PAVLO PROLIXIVS DISSERETE ADOLESCES EVTILICI SONO OPPRESS DECIDIT MORTV PAVL EV SVSCITAT ("And while Paul was discoursing at length, the youth Eutychus, overcome by sleep, fell to his death. Paul revives him.") A broad garland of leaves, interwined with fruits and flowers, runs the lenght of each segment of the border. Putti paly or rest among the vegetable forms, and a number of birds - among them an owl in the left border and a pheasant in the lower border-perch on the garlands or peck at food.http://collections.mfa.org/objects/detailsrdf/37439;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/789556/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Verdure with Giant Leaves, probably from a seriessecond half of 16th centuryTapestry weave; wool warp; wool and some silk weftsIn the extreme foreground, right of center, a small rose bush, flanked by a pair of rabbits, sends blossom-laden branches up into the field. A great acanthus-like plant rises immediately behind the rose bush and fills the area of the field with giant leaves. Two snails and a number of birds with brilliant plumage perch on the giant leaves or on the flower stalks. The border shows rich bouquets of fruits and flowers set into thick laurel ropes, all against a red background.http://collections.mfa.org/objects/detailsrdf/68260;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/789554/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Vertumnus as a Haymakerfirst half, 17th centuryJan RaesTapestry; wool warp, wool and silk weftsFrom series The Story of Vertumnus and Pomona, based on designs attributed to Jan Cornelisz. Vermeyen or Pieter Coecke van Aelst. Vertumnus to left, Pomona to right, meeting in arbor in foreground with two turkeys center; fromal garden in background. Rinceau border with nude figures. Colors faded, repairs in silk throughout. Brussels mark lower guard band; weaver's mark of Jan Raes right guard band. Wool and silk yarns on wool warp.http://collections.mfa.org/objects/detailsrdf/116546;jsessionid=48965F45A83EB42278735BC1F4CCEF08http://collections.mfa.org/internal/media/dispatcher/822016/resize%3Aformat%3Dfull;jsessionid=48965F45A83EB42278735BC1F4CCEF08Tapestry: Zeus and Danae (Probably from the series The Story of Perseus)about 1525–50Tapestry; wool warp; wool and silk weftsThis tapestry shows early incidents in the story of Perseus. The action takes place around and inside a building which occupies most of the upper half of the field. On the left Danae with two attendents enters the prison chamber as Acrisius and two attendants look on. In the center Zeus visits Danae in a shower of gold. On the right Acrisius with attendants puts Danae and the infant Perseus to sea in a small boat. In the foreground is a garden with six court ladies. The border shows a dense mass of flowering vines and fruits. A scroll in the center of the upper border is inscribed: ACRISIONIADES PLVVIO SATVS EX IOVIS AVRO EXILIVM PERSEVS CVM GENITRICE TVLIT ("Perseus Acrisionades, begot from Jove in a shower of gold, endured exile with his mother".)http://collections.mfa.org/objects/detailsrdf/52040;jsessionid=48965F45A83EB42278735BC1F4CCEF08