http://collections.mfa.org/collections/419734/objects/rdfTFA.Tapestrieshttp://collections.mfa.org/internal/media/dispatcher/699434/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/1536845/resize%3Aformat%3DfullLe Sanglier1955Jean LurçatWool tapestryhttp://collections.mfa.org/objects/656450/rdfhttp://collections.mfa.org/internal/media/dispatcher/1028758/resize%3Aformat%3DfullTapestry: Fünf Schwane1897Otto EckmannTapestry woven wool and cottonFunf Schwane is a notable example of German Art Nouveau, or Jugendstil, tapestry art inspired by Japanese ukiyoe prints The long, narrow composition depicting a group of five swans on a meandering brook set within an idyllic forest, is representative of the more poetic naturalism of this style. Decorative elements woven in top and bottom to suggest borders. fringed sides.http://collections.mfa.org/objects/128196/rdfhttp://collections.mfa.org/internal/media/dispatcher/1823699/resize%3Aformat%3DfullTapestry: Greenery1892John Henry DearleWool and mohair; tapestry weaveHorizontal tapestry with forest scene. Three trees are depicted across the tapestry (pear, chestnut and oak) with dense foliage below and two rabbits, a fox and a deer. In the foreground are many flowering plants including foxgloves, strawberries, hawkweed, bouncing betty, red tulips, blue daisies, and bluebells. A white convolvulus climbs the chestnut tree. Above each tree is a banner with an inscription written by William Morris in his "Verses for Pictures" published in 1891. Above the pear is the inscription, "By woodsman edge I faint and fail, by craftsman's edge I tell the tale." The chestnut tree bears the inscription: "High in the wood, high o'er the hall, aloft I rise, when low I fall." The oak tree bears the inscription: "Unmoved I stand what wind may blow, swift swift before the wind I go." The tapestry was commissioned in 1892 by Madeleine and Percy Wyndham for their country house Clouds, and woven at Merton Abbey by John Martin and William Sleath.http://collections.mfa.org/objects/497756/rdfhttp://collections.mfa.org/internal/media/dispatcher/699434/resize%3Aformat%3DfullTapestry: Le Sommeil de Renaud (from the series, Tentures des Fragments de l'Opera)About 1749–53Charles-Antoine CoypelTapestry weave (wool warp; wool and silk wefts)The tapestry depicts an episode from the 1686 opera "Armide" composed by Jean-Baptiste Lully (with a libretto by Philipe Quinault.) The opera was based on the epic poem "Gerusalemme Liberatta" by the 16th century Italian author Torquato Tasso and tells the adventures of the Christian crusader Rinaldo and the beautiful enchantress, Armida. Here Rinaldo is shown lying in a charmed sleep in Armida's bower in the Fortunate Isles. At the moment Armida is about to stab her sworn enemy, she realizes that she is in love with Rinaldo and is unable to go through with it. The tapestry interprets the story in a charming eighteenth-century style, with a romantic landscape peopled by nymphs, putti, and a river god. The tapestry retains most the vibrancy and subtle shadings of its color, cream, gold, green, blue and rose.http://collections.mfa.org/objects/37396/rdfhttp://collections.mfa.org/internal/media/dispatcher/1494357/resize%3Aformat%3DfullTapestry: 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/37423/rdfhttp://collections.mfa.org/internal/media/dispatcher/1036501/resize%3Aformat%3DfullTapestry: 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/37392/rdfhttp://collections.mfa.org/internal/media/dispatcher/1007452/resize%3Aformat%3DfullTapestry: The Emperor on a Journey (from the series THE STORY OF THE EMPEROR OF CHINA)Late 17th or first third of the 18th centuryGuy Louis VernansalTapestry weave (wool warp; wool and silk wefts)The tapestry belongs to a series of hangings showing incidents in the life of an oriental monarch. It is a fanciful European representation of the Emperor of China, K'ang Xi who reigned from 1661-1721, seated on a luxurious carpet-covered chaise, in a procession.http://collections.mfa.org/objects/155949/rdfhttp://collections.mfa.org/internal/media/dispatcher/813462/resize%3Aformat%3DfullTapestry: 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/37377/rdfhttp://collections.mfa.org/internal/media/dispatcher/817244/resize%3Aformat%3DfullTapestry: The Offering to Pan (from the series of Berain Grotesques)late 17th centuryJean-Baptiste MonnoyerTapestry weave (wool warp; wool and silk wefts)This tapestry depicts a flower-crowned herm of Pan being honored by musicians and dancers. The borders are designed with grotesques and ‘'oriental'' figures. Color of tapestry is a yellow referred to as "tobacco". Grotesques were a subject originally sketched by Jean Berain, chief designer to Louis XIV. Monnoyer's transposition of Berain's concept retains the exotic quality, while bringing a new vitality to the elements that were his specialty - flowers, garlands, baskets of fruit and vases.http://collections.mfa.org/objects/37395/rdfhttp://collections.mfa.org/internal/media/dispatcher/789554/resize%3Aformat%3DfullTapestry: 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/116546/rdfhttp://collections.mfa.org/internal/media/dispatcher/965106/resize%3Aformat%3DfullTapestry: Wild Men and Moorsabout 1440Linen and wool slit tapestrySeries of scenes (left to right), wild men attacking Moors in castle, wild men fighting with lion, dragon, and unicorn, and wild men carrying food to wild woman with two children seated at foot of rocks; stylized trees, plants, rocks; stylized trees, plants, rocks; pinkish-red background covered with roses in two shades of pinkish-red, frames by diamond lattice formed by links of chain, blue, darker blue, and white. In lower part of tapestry, right half, a shield divided horizontally, upper half yellow with two red roses with blue conters, lower half black (Blümel, Alsace), same arms appear as manteling on helmet lower center of tapestry. On far right helmet surmounted by ibex horn with mantling red with two white stars (Zorn, Strassburg). Human faces woven without features, which are painted, possibly originally embroidered, some embroidery stitches survive. Weaving finished so back and face almost identical, except for faces. Colors include very dark blue (almost black), several shades of blue, green, yellow, orange, pink, red, and grayish violet.http://collections.mfa.org/objects/106003/rdf