f a n u a r y, 19 2 0 
41 
in the world of painting; and 
there are other tapestries, full of 
beauty and charm, which are 
as well within the reach of the 
person of ordinary means as are 
the excellent pictures by masters 
who are not illustrious. 
Modern Makers 
And there are modem tap¬ 
estries, woven by hand exactly 
as they were woven centuries 
ago, whicli can be had at modest 
prices and in unlimited num¬ 
bers, because they can be done 
to your order. Within the last 
quarter century three tapestry 
making institutions have had 
their inception in the United 
States and each has gathered to 
itself considerable fame—the 
Herter Looms, the Edgwater 
Looms and the Baumgarten 
ateliers. Nearly every one has 
heard of the fine historical series 
done by the Herter Looms for 
the Hotel McAlpin in New 
York City, and of the beautiful 
set, designed by Albert Herter, 
for the residence of Mrs. E. H. Harriman. 
The idea that tapestries are suitable only for 
rooms of palatial size also has passed. There 
are small tapestries as well as large ones, in 
fact there are specimens of all sizes as well as 
shapes. Even in small apartments there will 
be wall spaces which tapestries will decorate 
better than anything else. They form exceed¬ 
Century French example in a 
French room with Louis XV 
furniture. 
Even small fragments of an¬ 
tique tapestry are used with 
marked decorative effect, some¬ 
times as independent bits of wall 
ornament, and at other times as 
backgrounds for plaques, bas re¬ 
lief sculptures, shield or other art 
objects. So it will be seen that 
tapestr)’ opens a field of beauti¬ 
fication for all who have homes 
to beautify. 
The Renewed Interest 
Tapestry had its triumphs in 
the past and is now enjoying a 
new era of appreciation. But it 
has had its tragedies, too. The 
19th Century, glorious in its me¬ 
chanical achievements, probably 
for this very reason saw the 
lowest ebb of art since the dawn 
oT Tlie Renaissance. Tapestry 
passed into an utter eclipse; 
worse than that, it became the 
victim of a vimdalism that is one 
of the blots on modern civiliza¬ 
tion. Much of the most beautiful art product 
of the ages was either destroyed outright or 
put to the most vulgar uses. 
Imagine a beautiful tapestrjq the product of 
the best artists and artisans of the golden age 
of art, cut up into bed-spreads and floor rugs, 
and even, as in the case of the great Gothic ser- 
{Coniiimed on page 80) 
“Village Party” by Teniers is reproduced in this V/th Century Brussels 
tapestry. The jrame is woven into the fabric of the tapestry itself. 
Courtesy of Charles of London 
ingly appropriate over-mantels, and make at¬ 
tractive backgrounds for any sort of period 
furniture, or reproductions of period pieces. 
The first illustration for this article shows how 
a tapestry of medium size can be used with an 
antique table, together with ceramics and 
chairs. The fifth illustration reveals the more 
ambitious use of a large and splendid 18th 
In modern homes of great elegance tapestries form the wall decorations. In this residence an 18th Century 
Gobelin, “Fete de Village,” after a painting by Jaurat is used with furniture of corresponding richness and 
historic value. Courtesy of Gimpel & Wildenstein 
