New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-09-05


means of allegory.
81 loved war too mueh," said
Louis on his deathbed. The artist
has wonderfully interpreted the rul.
ing passion Of the Grand Monarch
in composition which shows u
group of evils in the foreground,
personified, while in the distance 10
seen approaching the army Of the
King, intent on destroying them.
The ruler himself is represented as
mounted on a spirited horse, and
behind him are scenes suggesting
his former conquests. The intent
Of the artist is to convey the idea
that what the King did was for the
sake of the France which that mon-
arch loved. Although the monarch
had his faults, he was at the head
Of nation which was fired by the
pride of conquest, and, indeed, she
plucked many fruits of victory in
his time which she has never lost.
1t will be remembered, too, that
Louis XIV was more than mildly
fond of the luxuries of this life, and
that he therefore felt when yielding
to the service Of grim-visaged war
that he was making a personal sac
rifce. One Of the panels of this
Amherst group represents him amid
all the charms and delights of we'll
won peace, being crowned with
laurel bestowed by lovely goddess
while about him the ways Of dial,
lance are symbolized by sportive
cupids. A strong and graceful
composition, on the whole, which ia
filled with a decorative sense.
Mars and the King
In another tapestry the King is
! shown being summoned by Mars.
stern god Of war, to put away the
Establishments of soft peace and to
go again into the realm of circling
camps.
Aside from the human element
and the historical verities in the six
tapestries, there is much to interest
the connoisseur in the borders and
the other accessories of the group.
The borders, which are uniform,
throughout, reveal the effect Of the
French mode in decoration as devel-
cped from the Italian grotesques.
They are of warm gray ground,
on which are imposed the figurca
and designs in exquisite shades o2
sapphire, crimson and ivory.
The coat of arms on the panel
above each one serves to denote the,
original ownership, as is the case
with the famous Berberini tapestries
which hang in the Cathedral of ST.
John the Divine. The set was for,
many years in the family Of Count
Bruhl and hung in his castle at
Moritzburg, Saxony. The shield is
Quartered and shows split eagle
with a double head, alternating with
a chevron, and the whole is sur-'
mounted with the crest of the noble-
man.
In the migrations of these remark
| able examples Of textile skill is re-
corded the message Of the universal
appeal of art. The Saxon noble was
interested in them originally beA'
cause of their historic value and Of
their artistic merit. He could notT
have been much Of an admirer Of
the French King personally, but the
creations of the looms of Gobehn.
and Beauvais were in much demand
throughout the world. q.
AS a record of times and mannersI
and customs of one Of theTmost sig-a
nifcant periods of French historysU
the group is an invaluable additions
to the artistic treasures Of the cousa-
try. If at some time this notsbless
collection should find it's way TO thai
| walls Of public museum It Will:
serve to preserve for all time, bAEsss
ring accidents Of fire and hoed, aE
| memorial Of days in which the werbdE
was filled with armed camps and
war was held to be indeed glorious
trade.