A Flemish Classical tapestry, Brussels, probably from the Story of Aeneas, second quarter 17th century

probably depicting `Mercury ordering Aeneas to leave' (Aeneid IV, 259-287), woven within an architectural frame border, the sides with supporting sculptural figures on plinth supports, the top border centred with a cartouche and blue cabochon and flanked by crouching putti, exuberant groupings of fruit and vegetables, the lower border bevelled style gold and blue border

The colours of this tapestry in reality are much more vibrant and colourful and the overall appearance is not as dark and is crisper and more defined. For example the sky is a more attractive pale blue and the border is bright and cheerful. The tapestry is lined with old linen lining and also has a modern cotton lining. It has narrow Velcro across the top. The grid of lines visible in the image are old folds lines and not dark lines on the tapestry, and are more obvious in the image than in reality. There are some minor splits and old repairs in areas, including the light highlights. For example a small stitched repair to the wrist of the arm holding the rope, of central figure of Aeneas, only noticeable on close inspection. A small area of weakness in corner of lower border of light colour weave. The face of the central figure of Aeneas and standing figure of Mercury on the right are clear and defined in reality with some subtle weaving. There are some repairs to light highlights of the hair of the foreground figures on the left hand ship. The lower border is in need of some attention, especially in the lower right corner. There is some surface colouration in a strip across the lower edge, which is a red powder. It does appear to brush off in areas and therefore with care and professional attention could be removed. There are some horizontal splits between the different bands of colour in the lower border inner edging, which need re-stitching, and there is a section of the outer brown selvedge towards the centre which needs re-attaching. Otherwise the tapestry is in good and stable condition. There is some charming attention to the details, such as the crescent moons on the sails and the mussel shells on the land, and the variety of flowers in the border. The folds and shadows visible in the photograph in the top left corner are from lying down and not permanent. The tapestry is particularly dynamic in composition and with bright and balanced colours overall. It is a very decorative tapestry. More photographs are available from the department.
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For a tapestry from the same series, depicting Venus showing her son Aeneas the portent of the swans indicting the return of his lost ships, woven within a very similar border type, with the lower border incorporating a lower section to the plinth support, swags of flowers held by small putti and centred by a blue cabochon flanked by griffins, see Sotheby's, Florence, 4th December 1990, lot 638. These sets are considered to have been woven in the small Brussels workshop of Jan Raet (not Raes) between 1614 and 1646. See pamphlet, Artes Textiles XI, 1986. Vereniging voor de geschiedenis van de textiele Kunsten: Wendy, Hefford, `Another Aeneas Tapestry', pp.75-87, no.3 for a Brussels version of the above cited tapestry (in a different border).

Comparative Literature:

Guy Delmarcel, Flemish Tapestries, London, 1999, pp.295-298, for discussion of an Antwerp weaving, mid 17th century, from the workshop of Michiel Wauters of the subject of Dido and Aeneas.

Paulina Junquera de Vega, Carmen Diaz Gallegos, Catàlogo de Tapices del Patrimonio Nacional, Madrid, 1986, Vol. II, Siglio XVII, serie 47, Historia de Dido y Aeneas, pp.27-61, for tapestry series of Aeneas from Brussels, which elaborated upon the border types and style of the earlier presently offered tapestry.