THE CARD PLAYERS: _A group of men and women playing at cards sit about a table on which is thrown a rich brocade. One of the company sits to one side playing a lute._
This piece is one of the rather uncommon examples of the work of the Santa Barbara looms of Madrid. The skill of the weavers is remarkable in reproducing the heavy modeling of the deep shadows and the delicate modulations of the faces. For the perfect rendition of the effect of a painting in tapestry it cannot be excelled.
_The tapestries entered under this heading were received too late to be entered in their proper order in the body of the catalogue._
_Wool, Silk, Gold._ H. 9 _ft._ 1 _in._ W. 7 _ft._ 8 _in._ ]
THE RESURRECTION: _The risen Christ discovered by Peter. Upper left, the Agony in Gethsemane; upper right, Christ appearing to Mary in the garden. In the background, the angel appearing to the three women. Border of fruits and flowers, grapes, roses, and iris interspersed with finches and a paroquet._
This tapestry, the last of a series illustrating the _Passion_ of Our Lord, was designed in the studio of Bernard Van Orley, and may be the work of Van Orley himself, though there were some of his students and followers who in purity of conception and elevation and sensitiveness of feeling were superior at times to the master himself. The weaving, unsurpassable in technical perfection, may be the work of the Pannemaker looms. The quality of the design and weaving and the lavish use of gold all indicate that this series was made for a great church or a noble family.
[Sidenote: Formerly in the Collection of the Duc d'Albe.]
The weavers at this period had attained complete mastery of the shuttle. This absolute technical control made possible the exact translation into tapestry of the intricate Renaissance patterns. The finish and elegance of the goldsmith's art which characterized so much of Renaissance design is perfectly rendered.
However, while the weaving was fitted to the requirements of the Renaissance at this time, it had not yet sacrificed any of its qualities as tapestry. Nor did the designs of Bernard Van Orley force the weavers out of their proper limitations. For though he was Italian trained and saturated with Renaissance influences, he was still close to the technical problems of the weaver's art and he adjusted the new manner in painting to them. So this piece is rich in jewel-like detail that enriches without crowding the whole surface. The drawing of the flowers and the birds is exquisite. The figures also, in spite of their dramatic force, keep the aloof poise that decorative art demands. Finally, by means of a dispersion of substantial tones, the brilliant suffusion of golden light which the Renaissance loved is fully achieved.