The tapestry was evidently made for Diane de Poitiers, mistress of Henry II, the subject being chosen as a personal tribute.
[Sidenote: Formerly in the Collection of Edouard Kann, Paris.]
Aside from its evident beauty, the piece is important because it is one of the few remaining examples of the work of the Fontainebleau looms, which adapted to tapestry the characteristic Italian-French Renaissance decoration that was formulated in the frescoes of Fontainebleau. There are few documents left on these looms, but it is known that le Primatice made designs for tapestries woven there, and, judging from the drawing of the figures with the long limbs and heavily marked muscles that reflect the influence of Michael Angelo, and the contour of the small heads with the hair flowing back and the classical features, together with such other details as the long flexible fingers, this piece would seem to be an example of his work. If not by le Primatice, it was certainly done directly under his influence; but it could scarcely be by Baudouin, judging from the recently discovered set in the Viennese exhibition,[28] for it has more poise and clarity of space than any of those tapestries.
For grace and charm, without any loss of strength, this surpasses most French work of the period. It is an unusually typical illustration of the French Renaissance which took the technique of the Italian revival of the antique and refashioned it to her own spirit, giving the classic goddesses, even in their dignity, youthful and feminine appeal, and refining the Italian opulence. The floreation in the foreground is as delicate as in a XVIth-century millefleurs, and the colors are unusually luminous.
[Sidenote: Lent by _Wildenstein & Company_.]
Francesco Primaticcio (1504-1570) studied under a disciple of Raphael and worked with Giulio Romano on the decorations of the Palace de Te, Mantua. In 1532 he went from Italy to Fontainebleau to work on the decorations there. In 1540 he returned to Italy to collect works of art for the king. He returned to France and continued to create decorations at Fontainebleau with a large staff of Italian painters as his collaborators. Under Francis II he became Superintendent of the Building.