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Tapestry

1758 (woven)
Artist/Maker
Place of origin

The mythological story of Jason is synonymous with adventure and great feats of heroism. This tapestry belongs to a cycle of seven works relating the story of Jason's voyage with the Argonauts; their quest to capture the golden fleece, and their subsequent return to Greece. Particular emphasis is placed on one aspect of the story that is seldom explored: Jason and Medea.The cycle was woven in the celebrated Gobelins workshop to cartoons by François de Troy.

In this dramatic scene, Medea exacts her revenge on Jason by murdering his new wife, Creusa. Jason had sworn eternal fidelity to Medea, in return for her assistance in capturing the golden fleece. However, on his return to Greece, the prince abandoned Medea and married Creusa, a Corinthian princess. Skilled in the arts of sorcery, Medea fashioned a poisoned robe, decorated with gold and rubies, which she sent to Creusa as a wedding gift.

The tapestry depicts the moment that Creusa begins to feel the effects of the poisonous garment. Struggling, in her agony, to remove the robe, Creusa begins to slip from her throne to the floor. Her father, the King of Corinth, tries to assist her and in so doing succumbs to the poison himself. Jason reacts in horror, while Creusa's attendants sob helplessly.

De Troy lends the work a moralising overtone through his inclusion of a mirror, to which Creusa is pointing with her left hand; the indication being that it was the sin of vanity that brought about the princess's untimely demise.

Object details

Category
Object type
Materials and techniques
Tapestry woven in wool and silk
Brief description
wool and silk, 1758, French; The Story of Jason, Creusa consumed by the poisoned robe, Gobelins; Audran, De Troy.
Physical description
Tapestry depicting the death of Creusa
Dimensions
  • Weight: 55kg
  • Top edge width: 5192mm
  • Bottom edge width: 5156mm
  • Proper right length: 4270mm
  • Proper left length: 4232mm
Weight including roller
Marks and inscriptions
  • Inscription in the cartouche: "Créuse est consumée par le feu de la robe fatale dont Médée lui a fait présent."
  • Signed and dated , with a fleur-de-lys: "G. Audran 1758"
Credit line
Purchased with Art Fund support and the assistance of the Murray Bequest and the Vallentin Bequest
Object history
Purchased as a complete cycle of seven tapestries (T.2 - T.8-1951) from the Wednesday 2 December 1950 sale at Christie's, London. Forming lot 322, the tapestries were consigned by the 2nd Baroness Burton, Nellie Lisa Melles. Their remarkable provenance was related in the sale catalogue as follows:


'In 1787 these seven tapestries were given by the State to the Comte de Vergennes, Minister of Foreign Affairs from 1774, on the occasion of the successful completion of a commercial treaty with England. The set was, between the years 1800 and 1820, purchased by William Murray who succeeded in 1796 as 3rd Earl of Mansfield of Caen Wood, Co. Middx. The set probably hung at his house of Caen Wood, now know as Kenwood, until its sale about 1870 by William David Murray, 4th Earl in 1840, to Mr. Michael Thomas Bass, father of the 1st Lord Burton.'


Once purchased, it was Sir Leigh Ashton's intention that the tapestries "would be utilised to form a background to the Jones collection which has hitherto had to exist in the rather chaste splendour of a bare gallery; but, equally, if the Fund are prepared to contribute and wished, for instance, to present part of the set to Ken Wood(sic), where they were originally hung, this would, I think, be worth considering.". It was Lady Burton's wish that the tapestries should at some point be shown at Kenwood, but Ashton felt the museum should have 'one great complete set of Gobelins'. (MA/1/C1401/7)

According to Fenaille, eleven cycles and several individual scenes (79 tapestries in total) were woven at the Gobelins. This does not include the cycles that constituted private commissions for the royal palaces and diplomatic gifts for foreign dignitaries. Though it was expected that tapestry cycles would be re-woven, as and when required, the popularity of de Troy's story of Jason cycle was clearly such that it led Jean-Baptiste-Marie Pierre, director of the Gobelins in 1783, to remark that the subject had been 'done to death' (letter dated 11 February 1783, cited in Leribault, 2002, p.104).

The cartoon for this tapestry is in the musée des Augustins, Toulouse.

A sketch for the cartoon is in a private collection in New York. A study for the figure of Jason is in the Jeffrey E. Horvitz Collection, Boston. A study for one of Creusa's attendants is in a private collection in Paris.
Historical context
See T.2-1951.
Subjects depicted
Place depicted
Literary referenceApollonius of Rhodes,<i>The Voyage of Argo</i>. Euripides, <i>Medea</i>. Longepierre, Hilaire Bernard de Requeleyne, Baron de, <i>Médée</i>, Paris, 1694. Ovid, <i>Metamorphoses</i>, Book VII.
Summary
The mythological story of Jason is synonymous with adventure and great feats of heroism. This tapestry belongs to a cycle of seven works relating the story of Jason's voyage with the Argonauts; their quest to capture the golden fleece, and their subsequent return to Greece. Particular emphasis is placed on one aspect of the story that is seldom explored: Jason and Medea.The cycle was woven in the celebrated Gobelins workshop to cartoons by François de Troy.

In this dramatic scene, Medea exacts her revenge on Jason by murdering his new wife, Creusa. Jason had sworn eternal fidelity to Medea, in return for her assistance in capturing the golden fleece. However, on his return to Greece, the prince abandoned Medea and married Creusa, a Corinthian princess. Skilled in the arts of sorcery, Medea fashioned a poisoned robe, decorated with gold and rubies, which she sent to Creusa as a wedding gift.

The tapestry depicts the moment that Creusa begins to feel the effects of the poisonous garment. Struggling, in her agony, to remove the robe, Creusa begins to slip from her throne to the floor. Her father, the King of Corinth, tries to assist her and in so doing succumbs to the poison himself. Jason reacts in horror, while Creusa's attendants sob helplessly.

De Troy lends the work a moralising overtone through his inclusion of a mirror, to which Creusa is pointing with her left hand; the indication being that it was the sin of vanity that brought about the princess's untimely demise.
Associated objects
Collection
Accession number
T.7-1951

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Record createdDecember 12, 2005
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