A FLEMISH TAPESTRY CHARLEMAGNE, PROBABLY TOURNAI, EARLY 16TH CENTURY |

figuring King Charles VIII (1470-1498) on horseback against millefleurs ground above a salamander with the motto Vivifico extingo, a phylactery inscribed Carolus invicti Ludovici filius olim Partenopem domuit saliens sicut Hanibal Alpes, within a border on red ground with putti and a motto Inquire pacem

Exhibition (Costume museum), Paris, Union Centrale des Beaux-Arts, 1874
Universal Exhibition, Paris, Palais du Trocadéro, 1878
Exhibition Les Primitifs Français, Palais du Louvre, Pavillon de Marsan, 1904

BIBLIOGRAPHY
E. Muntz, Histoire de la Tapisserie, Paris, 1878-1884, p. 82-84
H. Jouin, Notice, Paris, 1879, cat. 11
J.J. Guiffrey, Histoire de la Tapisserie, Tours, 1886, p. 152-153
H.F. Delaborde, L'Expédition de Charles VIII en Italie, Paris, 1888, p. 605 (ill.)
J.J. Guiffrey, Les Primitifs Français, exh. cat., Paris, 1904, p. 101, cat. 263
G. Migeon, Les Arts du Tissu, Paris, 1909, p. 290
A. Chastel, "French Renaissance Art in a European Context" in Sixteenth Century Journal XII, No. 4 (1981), p. 78, n.4 BIBLIOGRAPHIC REFERENCE 

J.P. Asselberghs, Les tapisseries flamandes aux Etats-Unis d'Amérique, Bruxelles, 1974

The photograph is quite accurate. The late 15th/early 16th century borders were associated to the King's effigy a long time before late 19th century restorations. As it can be seen from the late 19th century print of the tapestry, the lower border, and lower sections of vertical borders in both corners, is later reweaving with some tinting, which was done after the tapestry was acquired by Arthur Schickler circa 1875; there is also extensive reweaving in the millefleurs ground and the hooves of the horse. The face, the hat and the coat of the King were also restored at that time. Lined. This tapestry is an historical piece in more than one respect: it is in good overall condition and would benefit from a slight cleaning.
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Following his expedition to Italy and the conquest of the kingdom of Naples in 1494, Charles VIII was depicted by his contemporaries as the new Hannibal Barca. The inscription within the phylactery here specifies that "Charles, fils de l'invincible Louis [XI], soutin Partenope [Naples] naguère, en franchissant comme Annibal les Alpes" (Charles, son of the invincible Louis [XI], supported Partenope [Naples] once, crossing like Hannibal the Alps) (consult J.J. Guiffrey, op cit, p 152).  King Francis I continued the French expansion in Italy, and his emblem, the salamender, probably indicates that the tapestry's realisation was during his reign (1515-1547)

Acquired around 1875 by Arthur Schickler, this tapestry was previously featured in the fourth retrospective exhibition of the Central Union of Fine Arts in 1874 according to E. Muntz. The latter deemed it oeuvre intéressante au plus haut degré par son origine, son sujet, surtout son caractère éminemment national (an interesting work to the highest degree due to its origin, its subject, especially its eminently national character). (op. cit., 84). 

An engraving from the 1870s (rep. in H.F. Delaborde, op.cit., p.605) shows it in its state at this period when the lower border was missing. Baron Schikler had it restored and loaned it twice, for Universal Exposition of 1878  and the French Primitives at the Pavilion of Marsan in 1904. 

G. Migeon described this tapestry in 1909: "Une pièce historique, des collections du baron Arthur Schikler, nous a conservé le portrait pour ainsi dire authentique de Charles VIII [...]image inifiment précieuse, où le roi est représenté à cheval, l'épée haute" (A historical piece, from the collections of Baron Arthur Schikler, has preserved the authentic portrait of Charles VIII [...] infinitely valuable image, where the king is represented on horseback, with raised sword) (op cit, p 290). 

This tapestry's composition also recalls the cycles devoted to the legend of the Nine Worthies, extolling the chivalrous virtues through the evocation of heroes from the Bible (Joshua, David and Judas Maccabeus), Antiquity (Hector, Alexander the Great and Julius Caesar) and Christianity (King Arthur, Godfrey of Bouillon and Charlemagne). 

The Worcester Art Museum (Massachusetts) has, within the John Woodman Higgins Armory Collection, a very similar tapestry attributed to Tournai, representing Godfrey of Bouillon on horseback against a mille-fleurs ground (2014.100).