Lot 9
A French early 17th century mythological needlework 503cm x 225cm
Amended
9 July 2015, 14:00 BST
London, New Bond StreetSold for £20,000 inc. premium
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A French early 17th century mythological needlework
woven in wools and silks, depicting the seated nymph Arethusa in conversation with the goddess Diana standing below a pair of putti frolicking with flowers, the figure of Diana seated nearby with her bow and quiver of arrows watches the reclining figure of Arethusa as she bathes in the river Alpheus, to the centre the outstretched arms of Syrinx metamorphose into reeds as Pan is shown in progressive pursuit of Syrinx, Arethusa is borne away within a cloud above, flanked to the foreground by an attendant crowning Flora who is seated alongside Zephyr, all set amidst a verdant landscape teeming with animals, birds, flora and fauna with a classical town in the distance, within a border depicting Jupiter's eagle, Juno's peacock, Athena's owl, Diana and the stag, Pan, Venus with Cupid, grotesque masks and pairs of Tritons and Nereides among an abundance of flowers, cornucopiae, cartouches, animals, herons and birds,
503cm x 225cm
503cm x 225cm
Footnotes
Depicted on the present lot are two mythological stories championing the virtue of chastity which are being related, or somehow miraculously rendered, by Flora for the benefit of her husband Zephyr. Both figures, the goddess of flowers and god of the west wind respectively, are seated on the right. Zephyr appears engrossed by what is being literally presented to him by his wife Flora, who points out towards the action. Both Flora and Zephyr appear to act as the mythological embodiment of the flourishing Spring scene which surrounds them. The first story, which largely unfolds on the left of the tapestry, tells the tale of Arethusa, while the second, which takes place mainly in the centre, reveals the myth of Pan and Syrinx.
The first ancient narrative begins with Arethusa, a nymph who served Diana the goddess of the moon, the hunt and chastity, desperate to cool herself down on a particularly hot day. As illustrated in the tapestry, Arethusa achieves this by undressing and bathing in the River Alpheus under the shade of a nearby tree. Arethusa barely has a chance to savour the tranquil moment before the calm waters start to increasingly become more turbulent, while the voice of the river god Alpheus implores her to accept his suit. The situation deteriorates when, rather than wait for a response, the lecherous Alpheus rises up from the river and pursues the virtuous Arethusa. After being chased, and at the point of total exhaustion, Arethusa offers up a prayer to Diana and in essence calls for her assistance. The goddess, also depicted seated on the left of the composition watching over Arethusa while clutching her bow, now assists Arethusa in her dire plight by transforming her into a fountain and enveloping the victim within a cloud which finally conveys her to safety. This charitable act of Diana's occurs to the top right of the needlework.
The second narrative tells the tale of Syrinx. She was also, like Arethusa, a nymph, but one lusted after by Pan, the goat-like god of Nature. Upon seeing Syrinx, Pan frightens her by following at a distance, before giving chase and almost catching her. Whereupon Syrinx, in desperation, cries out for the goddess Gaea's protection. Even before she has had a chance to end her prayer, Syrinx is transformed into a clump of reeds by Gaea and the dramatic moment of this metamorphosis is represented in the middle of the work. The tormented figure of Syrinx is shown with outstretched arms which have already turned to reeds. Exasperated and probably also frustrated, Pan lets out a protracted sigh which in passing through the reeds, effects a pitiful yet strangely musical sound. Despite his disappointment, Pan, evidently inspired by the accidental music he has produced, ties together seven lengths of the same reeds to make a musical pipe, which he goes on to call a Syrinx in honour of the maiden. The older figure of Pan also appears in the middle distance, almost as a kind of epilogue to the story, playing his beloved instrument in a temple.
Aside from it being a mythological tour de force, an interesting aspect of this tapestry is the fact that the vast majority of the figures are dressed in extravagant and lavish contemporary 17th century attire, presumably in order to make the work seem relevant to its wealthy, although doubtless classically educated, patron. On top of this, the figures populate a semi-idealised but also semi-naturalistic landscape which is interspersed with classical ruins as well as containing distinctively Northern European architecture, like the narrow buildings with pointed roofs and windmill, visible in the distance. The concept of interweaving continuous narratives, popular at the time but initially confusing at first sight, is employed to significant effect in this work, while the crowded composition is also typical of the Mannerist vein in which it was undoubtedly produced.
In terms of their didactic purpose, such 17th century Mannerist tapestries were designed to inculcate in their noble patrons various moral values or ideals. The virtue of chastity, which appears to be the overriding message of the present lot, is relayed to the viewer in an overtly charming and elegant, albeit academically rigorous, manner. Such elements are indicative of the complicated and often challenging manner by which the majority of Northern European artists chose to depict certain moralistic stories during the early 17th century.
Literature:
H.A. Guerber, The Myths of Greece and Rome, 1993, pp.'s 164-5 and pp.'s 266-8
Hall's Dictionary of Subjects and Symbols in Art, ed. by J. Hall, 2001, p.14, pp.'s 101-2, p.232 and pp.'s 295-6.
Saleroom notices
Possibly Avignon area
