DOI Heft:
Nr. 187 (October 1908)
DOI Artikel:Vallance, Aymer: Some examples of tapestry designed by Sir E. Burne-Jones and Mr. J. H. Dearle
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20965#0038
Tapestries designed by Sir E. Burne-Jones and J. H. Dearie
with a broad decorative border, was recently exe-
cuted for Carrow Abbey, near Norwich.
The Flora panel, here reproduced in colour
(p. 19), was originally executed in 1885, with a white-
robed figure amid a greenery of acanthus foliage,
designed by William Morris. For the present
scheme of colouring and background of flowering
plants Mr. Dearie is responsible.
Reference has already been made to the Angeli
laudantes. This and the companion subject,
Angeli ministrantes (both subjects with the
addition of a dado of trees and armorial shields,
adapted from a portion of the “ Holy Grail ”
decoration), were executed in 1904 for Eton
College Chapel, to flank the “ Star of Bethlehem ”
tapestry already there. The whole arrangement
was designed as a memorial to those Etonians
who fell in the South African war, as witness the
Latin inscription running along the top of one of
the panels :—“ Has e Mer-
tonensi textrina imagines
militum suorum memores
posuerunt Etonenses
MECCCCIIII.”
Of two reproductions
of Botticelli’s famous
Primavera, the second
is now on view at the
Franco-British Exhibition
at Shepherd’s Bush.
More important, how-
ever, than any single one
of its predecessors is the
grand tapestry hanging,
The Passing of Venus, of
which a black-and-white
illustration appeared in
the June number of The
Studio this year, the
design being that of the
late Sir Edward Burne-
Jones. The motif was not
a new one of the artist’s.
As long ago as 1878, in
Laus Veneris (a paint-
ing begun, indeed, seven-
teen years earlier still), in
the background on the
right is depicted a wall
decoration, presumably
arras, with this very sub-
ject of the goddess seated
on a car drawn by flying
, . . “ PORTION OF TAPESTRY ATTAINMENT BY DESIGNED BY SIR E. BURNE-JONES
doves. in the original sir galahad” (“holy grail” series) executed by morris & co. ltd.
16
Version the Cupid discharging his arrows is a child
standing on the front of the car itself ; whereas,
in the maturer version, a full-grown Cupid, ruddy-
winged, is superbly conspicuous in the centre of
the composition. For the treatment of this par-
ticular figure fairly complete details were forth-
coming at Sir Edward Burne-Jones’s death. But
for the rest, that ever-to-be regretted fatality had
prevented him supplying much more than the
roughest of water-colour sketches to indicate the
general grouping. This exquisite but unfinished
work was reproduced in fac-simile in the Art
Annual eight years ago, from the pen of the
present writer. The large scale and dignity of the
composition itself did not admit of anything what-
ever being left to take its chance in the course of
translation into woven arras ; not a single detail in
it but had to become the subject of most diligent
care and arrangement. And although it is not
with a broad decorative border, was recently exe-
cuted for Carrow Abbey, near Norwich.
The Flora panel, here reproduced in colour
(p. 19), was originally executed in 1885, with a white-
robed figure amid a greenery of acanthus foliage,
designed by William Morris. For the present
scheme of colouring and background of flowering
plants Mr. Dearie is responsible.
Reference has already been made to the Angeli
laudantes. This and the companion subject,
Angeli ministrantes (both subjects with the
addition of a dado of trees and armorial shields,
adapted from a portion of the “ Holy Grail ”
decoration), were executed in 1904 for Eton
College Chapel, to flank the “ Star of Bethlehem ”
tapestry already there. The whole arrangement
was designed as a memorial to those Etonians
who fell in the South African war, as witness the
Latin inscription running along the top of one of
the panels :—“ Has e Mer-
tonensi textrina imagines
militum suorum memores
posuerunt Etonenses
MECCCCIIII.”
Of two reproductions
of Botticelli’s famous
Primavera, the second
is now on view at the
Franco-British Exhibition
at Shepherd’s Bush.
More important, how-
ever, than any single one
of its predecessors is the
grand tapestry hanging,
The Passing of Venus, of
which a black-and-white
illustration appeared in
the June number of The
Studio this year, the
design being that of the
late Sir Edward Burne-
Jones. The motif was not
a new one of the artist’s.
As long ago as 1878, in
Laus Veneris (a paint-
ing begun, indeed, seven-
teen years earlier still), in
the background on the
right is depicted a wall
decoration, presumably
arras, with this very sub-
ject of the goddess seated
on a car drawn by flying
, . . “ PORTION OF TAPESTRY ATTAINMENT BY DESIGNED BY SIR E. BURNE-JONES
doves. in the original sir galahad” (“holy grail” series) executed by morris & co. ltd.
16
Version the Cupid discharging his arrows is a child
standing on the front of the car itself ; whereas,
in the maturer version, a full-grown Cupid, ruddy-
winged, is superbly conspicuous in the centre of
the composition. For the treatment of this par-
ticular figure fairly complete details were forth-
coming at Sir Edward Burne-Jones’s death. But
for the rest, that ever-to-be regretted fatality had
prevented him supplying much more than the
roughest of water-colour sketches to indicate the
general grouping. This exquisite but unfinished
work was reproduced in fac-simile in the Art
Annual eight years ago, from the pen of the
present writer. The large scale and dignity of the
composition itself did not admit of anything what-
ever being left to take its chance in the course of
translation into woven arras ; not a single detail in
it but had to become the subject of most diligent
care and arrangement. And although it is not