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قراءة كتاب The Tapestry Book
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THE
TAPESTRY
BOOK
BY
HELEN CHURCHILL CANDEE
Author of “Decorative Styles and Periods”
WITH FOUR PLATES IN COLOUR AND NINETY-NINE
ILLUSTRATIONS IN BLACK-AND-WHITE

NEW YORK
FREDERICK A. STOKES COMPANY
MCMXII
HERSE AND MERCURY
Renaissance Brussels Tapestry, Italian Cartoon. W. de Pannemaker, weaver.
Collection of George Blumenthal, Esq., New York
Copyright, 1912, by
Frederick A. Stokes Company
———
All rights reserved, including that of translation into foreign
languages, including the Scandinavian

TO
TWO CERTAIN BYZANTINE MADONNAS
AND THEIR OWNERS
AN ACKNOWLEDGMENT
Modesty so dominates the staff in art museums that I am requested not to make mention of those officers who have helped me with friendly courtesy and efficiency. To the officers and assistants at the Metropolitan Museum of Art in New York, the Art Institute of Chicago, the Museum of Fine Arts in Boston, and the Print Department in the Library of Congress in Washington, indebtedness is here publicly acknowledged with the regret that I may not speak of individuals. Photographs of tapestries are credited to Messrs. A. Giraudon, Paris; J. Laurent, Madrid; Alinari, Florence; Wm. Baumgarten, and Albert Herter, New York, and to those private collectors whose names are mentioned on the plates.
H. C. C.
CONTENTS
| CHAPTER | PAGE | |
| I | A Foreword | 1 |
| II | Antiquity | 15 |
| III | Modern Awakening | 25 |
| IV | France and Flanders, 15th Century | 32 |
| V | High Gothic | 51 |
| VI | Renaissance Influence | 64 |
| VII | Renaissance to Rubens | 72 |
| VIII | Italy, 15th through 17th Centuries | 81 |
| IX | France | 90 |
| X | The Gobelins Factory | 105 |
| XI | The Gobelins Factory (Continued) | 117 |
| XII | The Gobelins Factory (Continued) | 126 |
| XIII | The Gobelins Factory (Continued) | 135 |
| XIV | Beauvais | 145 |
| XV | Aubusson | 154 |
| XVI | Savonnerie | 159 |
| XVII | Mortlake | 163 |
| XVIII | Identifications | 172 |
| XIX | Identifications (Continued) | 186 |
| XX | Borders | 201 |
| XXI | Tapestry Marks | 216 |
| XXII | How It Is Made | |


