The tiles in the portico, so carefully rendered, are of interest because they are very similar to the earliest-known tile floor still in position--that of the Caracciolo Chapel in Naples. Some of the same patterns are repeated, notably that of the Virgin's initial and the star, which is more crudely rendered. The colors, too, are approximately the same, the brown being a fair rendering of the manganese purple of the chapel tiles. The majolica vase is also interesting as illustrating a type of which few intact examples are left.
_Chicago Art Institute, Gothic Exhibition_, 1921.]
[Sidenote: Lent by _P. W. French & Company_.]
The piece maintains a high level of æsthetic expression. The religious emotion is intensely felt and is adequately conveyed in the wistful sadness of the Virgin's face and the expectant suspense of her poised body. The portico seems removed from reality and flooded by a direct heavenly light, in its shining whiteness contrasting with the deep blue-green background. This tapestry by virtue of its intense and elevated feeling, purified by æsthetic calm and by its exceptional decorative vividness, ranks with the very great masterpieces of the graphic arts.
_Wool and Gold._ H. 5 _ft._ 5 _in._ W. 5 _ft._ 11 _in._ ]
THE CHASE: _A man in a long dark-blue coat and high red hat and a lady in a brown brocade dress and ermine turban watch a dog in leather armor attack a bear. A landscape with trees and flowers is indicated without perspective and a castle in simple outline is projected against a blue and white striated sky._
_South Kensington Museum, French-English Retrospective Exhibition of Textiles_, 1921.]
This tapestry is an important example of a small group of hunting scenes of the early XVth century. It is closely related in style to the famous pair of large hunting tapestries in the collection of the Duke of Devonshire. It is not definitely known where any of these pieces were woven, but Arras is taken as a safe assumption, as that was the center of weaving at the time, and these tapestries are the finest production known of the period.
The very simple figures sharply silhouetted against the contrasting ground have a decidedly architectural quality, perfectly adapted to mural decoration. Yet the scene seems very natural and the persons have marked and attractive personalities.