Tapestry thumbnail 1
Tapestry thumbnail 2
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Not on display

Tapestry

1620-22 (made)
Artist/Maker
Place of origin

The scene is from the mythological story of Vulcan, the god of fire, and Venus, the goddess of love. The tale was told in The Odyssey by the Greek poet Homer.

Wearing a mixture of ‘antique’ dress, as depicted in the 16th century, and the then fashionable dress, the gods of Olympus assemble before the palace of Vulcan, where two tiny figures, Mars and Venus, can dimly be seen in bed, in a lower loggia. Flanked by trees, four large foreground figures react to this distant scene. Jupiter, naked except for a blue cloak, points dramatically to the bedroom. He is identified by attributes; crown, eagle and thunderbolt. The woman seated near him probably represents his wife, Juno, who as protector of marriages was likely to disapprove of the affair of Venus, wife to Vulcan. On the right a goddess in a green gown, probably Diana, is in conversation with a young god, their gestures expressing surprise and disapprobation showing that they are discussing the affair. Among the more distant inhabitants of Olympus, Ceres supports a cornucopia of flowers and corn. A young god holds a trident but does not resemble the older bearded Neptune who appears in a major role in the tapestry from the same set (Neptune obtains the release of the lovers, V&A T.170-1978), and Hercules, in the middle distance, can be identified by his club and lion's skin.

Object details

Category
Object type
Materials and techniques
silk, worsted, with silver and silver-gilt strip wound on a silk core. Thread count to the inch: 20-22 (worsted), 22-24 (silk), 20 (metal-wrapped threads)
Brief description
The gods assemble to witness the shame of Venus, 1620-1622, English, Mortlake; Vulcan and Venus set
Dimensions
  • Weight: 58kg
  • Top edge width: 570cm
  • Bottom edge width: 557cm
  • Left side height: 452cm
  • Right side height: 448cm
Weight including roller
Marks and inscriptions
PDM monogram for Philip de Maecht woven in the far right corner of the bottom border.
Credit line
Purchased for £800 from Monsieur Jules Woernitz, 5 Rue Castiglione, Paris
Historical context
This object record is based on the manuscript for the book From Mortlake to Soho: English Tapestry 1619-1782. Including a Catalogue of Tapestries in the Victoria and Albert Museum by Wendy Hefford (1938-2022)
Summary
The scene is from the mythological story of Vulcan, the god of fire, and Venus, the goddess of love. The tale was told in The Odyssey by the Greek poet Homer.

Wearing a mixture of ‘antique’ dress, as depicted in the 16th century, and the then fashionable dress, the gods of Olympus assemble before the palace of Vulcan, where two tiny figures, Mars and Venus, can dimly be seen in bed, in a lower loggia. Flanked by trees, four large foreground figures react to this distant scene. Jupiter, naked except for a blue cloak, points dramatically to the bedroom. He is identified by attributes; crown, eagle and thunderbolt. The woman seated near him probably represents his wife, Juno, who as protector of marriages was likely to disapprove of the affair of Venus, wife to Vulcan. On the right a goddess in a green gown, probably Diana, is in conversation with a young god, their gestures expressing surprise and disapprobation showing that they are discussing the affair. Among the more distant inhabitants of Olympus, Ceres supports a cornucopia of flowers and corn. A young god holds a trident but does not resemble the older bearded Neptune who appears in a major role in the tapestry from the same set (Neptune obtains the release of the lovers, V&A T.170-1978), and Hercules, in the middle distance, can be identified by his club and lion's skin.
Associated object
Bibliographic references
  • Calendar of State Papers, Domestic - Charles I, 1629-1631, John Bruce (ed), London, 1860, p. 441.
  • The design is attributed to Francesco Primaticcio (1504-1570). Histoire générale de la tapisserie, Jules Guiffrey, Eugène Müntz, Alexandre Pinchart et al, Paris, 1880, Vol. 3, pl. 96.
  • Jules Guiffrey, History of Tapestry since The Middle Ages to the Present, Tours, Alfred Mame et fils, 1886
  • The Manuscripts of His Grace the Duke of Rutland, G.C.B., preserved at Belvoir Castle, V. II, 1889, pp. 18,20.
  • George Leland Hunter, The Practical Book of Tapestries, Philadelphia, PA: J.B. Lippincott & Co, 1925
  • W.G. Thomson, A History of Tapestry. From The Earliest Times Until The Present Day, London, 1930
  • Helen Churchill Candee, The Tapestry Book, New York, Tudor, 1935
  • Ella S. Siple, A Flemish set of Venus and Vulcan tapestries. I. Their origin and design, The Burlington Magazine, November 1938, pp 212-220
  • Ella S. Siple, A Flemish set of Venus and Vulcan tapestries. II. Their Influence on English Tapestry Design, The Burlington Magazine, June 1939, pp 268-278.
  • Edith Appleton Standen, Studies in the History of Tapestry, 1520-1790. A collection of six original articles from Apollo, International Magazine of the Arts, 1981.
  • Adam von Bartsch, Suzanne Boorsch, John Spike, Italian Masters of the Sixteenth Century (The Illustrated Bartsch, 28), New York: Abaris Books, 1985
  • Edith Appleton Standen, European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art, New York, 1985
  • Wendy Hefford, 'Following the Clue…’ [suggestion for the nature of ‘double-work’ in the accounts of the first Mortlake Vulcan and Venus set], in Mary M. Brooks (ed), Textiles Revealed: Object lessons in historic textile and costume research [Essays in Honour of Karen Finch], London, 2000, pp.137-9
Collection
Accession number
1105-1898

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Record createdAugust 2, 2004
Record URL
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