The Divine Art features masterpieces from the 15th through the 18th century that will cover entire walls of gallery space. Massive in scale and breathtaking in scope, these life-sized tapestries depict allegories, biblical and Christian themes, events from ancient history, and mythological scenes, as well as representations of everyday life and verdures. Included in the display are tapestries from England, Flanders, France, the Franco-Flemish region, Italy, the Netherlands, and Switzerland. A set of 14 tapestries comprises a cycle representing The Story of Ceasar and Cleopatra. Often produced in multiple suites or chambers, many of the tapestries in this exhibition are connected to related pieces found in collections around the world.

For the first time in the history of the Art Institute, nearly all of its unparalleled tapestry collection is featured in a spectacular presentation. After decades in storage, these monumental artworks were subject to one of the largest tapestry conservation projects ever undertaken by a private workshop. Freshly conserved to their full splendor, The Divine Art's 70 masterpieces will only be on view for two months and then will return to storage, so be sure to catch these majestic works at their best—dazzling the eye beyond expectation.

The Lovers, 1490/1500. Basel (present-day Switzerland). Hemp, wool and silk, slit and double interlocking tapestry weave. 105.3 x 78.9 cm (41 1/2 x 31 1/8 in.). Gift of Kate S. Buckingham, 1922.5378

This tapestry presents one of the most basic and eternal aspects of life, a pair of lovers pledging their fidelity to each other. The scene is set against a dense and colorful hedge of flowering acanthus. Within the context of lovers voicing their mutual regard, their courtship and pursuit of each other are represented metaphorically by the images of falconry and the chase, on one hand, and the taming of a wild animal into a lap pet, on the other. The style of the couple’s clothing predates the weaving of the piece, which suggests that its design was based on earlier sources. Tapestries of this type were frequently woven by women who were often, although not exclusively, of high social status. This particular example was probably part of a dowry or trousseau, serving as a testament to both its owner’s elevated social standing and her virginity.

A Falconer with Two Ladies and a Foot Soldier, c. 1500. France or Flanders, possibly Paris or Bruges. Wool and silk, slit and double interlocking tapestry weave. 362.7 x 285.8 cm (142 7/8 x 112 1/2 in.). Gift of Kate S. Buckingham, 1922.5379

Two fashionably dressed women, a man in falconer’s garb, another man in the less ornate costume of a foot soldier, and a dog occupy an island surrounded by a flat expanse covered in an overall pattern of small flowers and plants known as millefleur. The shallow, earthy cross section visible on the front edge of the island reveals that some attempt was made to create an impression of depth. It is unlikely that this image had any particular symbolic or narrative significance; rather, it was probably the decorative qualities of the figures’ stances and costumes and the fantastical millefleur setting that appealed to contemporary viewers. Such millefleur designs were extremely popular because of their accessibility, functional flexibility, and manageable scale. This particular example is of an appropriate size and subject to have hung in the home of a wealthy family.

The Annunciation, 1484/1519. After a design by an artist in the circle of Andrea Mantegna (c. 1430–1506). Italy, presumably Mantua. Wool, silk, and gilt- and silvered-metal-strip-wrapped silk, slit, dovetailed and interlocking tapestry weave. 179.4 x 113.7 cm (70 5/8 x 44 3/4 in.). Bequest of Mr. and Mrs. Martin A. Ryerson, 1937.1099

One of the very few Italian tapestries to survive from before the 1540s, The Annunciation depicts the archangel Gabriel announcing to the Virgin Mary that she will bear the son of God. This is one of the most sacred events in the Christian faith, as it is the very beginning of Christ’s life and the Incarnation of the Word. The scene is charged with symbolism: the moment of conception is represented by the dove—standing for the Holy Spirit—in the sky between Gabriel and Mary; the archangel holds a lily, a symbol of purity; and in the near foreground are a guinea fowl and a peacock, both of which signify immortality, and two doves that represent the souls of the blessed. The coats of arms at the top belong to Francesco II Gonzaga (1466–1519), marquis of Mantua, and were added at an unknown date after the initial weaving had taken place. Such personalization of tapestry acquisitions was typical among noble families.

The Holy Family with the Infant Christ Pressing the Wine of the Eucharist, 1485/1525. Southern Netherlands. Linen, wool, silk and gilt-metal-strip-wrapped silk, slit tapestry weave. 75.6 x 68.2 cm (29 3/4 x 26 7/8 in.). Bequest of Mr. and Mrs. Martin A. Ryerson, 1937.1097

This tapestry may be interpreted as a commentary on the Christ Child’s predestined fate to shed his blood to redeem mankind. It depicts the Holy Family, with Christ in the center, flanked by the Virgin Mary on the right and Joseph on the left. Christ squeezes a bunch of grapes above a chalicelike vessel and holds another sprig of grapes in his left hand, which is reflected on a rock crystal globe, where it appears to point toward the cross surmounting the orb. To the right of the infant is located a book, undoubtedly the Bible. Behind the figures, three golden cloths of honor hang from irregularly spaced coiled columns. The outermost column bears a parchment notice that references scripture. The columns, which are meant to resemble the screws of a wine press, allude to the crushed grapes that produce the wine that is transubstantiated into Christ’s blood during the Eucharist.

Pomona Surprised by Vertumnus and Other Suitors, from The Story of Vertumnus and Pomona, 1535/40. After a design by an unidentified Flemish artist. Flanders, Brussels. Wool and silk, slit and double interlocking tapestry weave. 493.9 x 430.3 cm (194 1/2 x 169 1/2 in.). Gift of Mrs. Charles H. Worcester, 1940.86

The young woman kneeling in the foreground, holding a branch with leaves and flowers, is Pomona, the Roman nymph of apples and orchards. The young man shown in profile to her immediate right is Vertumnus, the Proteus-like god who symbolized the passing of the seasons. The tapestry is part of a Story of Vertumnus and Pomona suite that is based on the mythological tale Ovid described in the Metamorphoses. According to the story, Vertumnus was in love with the beautiful Pomona, who was devoted to gardening and uninterested in courtship. He tried to woo her, at first in vain, but eventually won her heart. The tapestry is the first scene of five and depicts Pomona’s disinterest in all the various suitors shown. The series to which this piece belongs is the earliest surviving narrative ensemble illustrating the entirety of Ovid’s tale.

July, from The Medallion Months, Before 1528. After a design by an unidentified Flemish artist in the circle of Bernard van Orley (c. 1488–1541), c. 1525. Flanders, Brussels

This tapestry and its companion, February, belong to the earliest of the four Medallion Months suites known today. The 12 months of the year were an extremely popular subject for tapestry cycles. In this particular series, each hanging has a rectangular, vertical format; a central mythological figure; an oval band depicting the signs of the zodiac, personifications of the hours, and other symbols of the passage of time; as well as figural compositions outside the medallion, in the four corners of the tapestry. The zodiac sign Leo at the top of the medallion band, with the inscription JVLIVS (July) below, reveals this tapestry’s subject. The inscription RVMANA CONCINE appears on either side of the central deity, identifying her as Runcina, goddess of mowing and harvesting. The grotesque figures outside the medallion personify diseases believed to be caused by the star Sirius, which appears during the canicula, or dog days, of summer.

Large Leaf Verdure with Animals and Birds, 1525/50. Southern Netherlands, possibly Bruges. Wool, slit, single dovetailed, and double interlocking tapestry weave. 599.15 x 336.4 cm (235 7/8 x 132 3/8 in). Gift of the Antiquarian Society of the Art Institute of Chicago through the Jessie Landon Fund, 1934.4

This visually rich tapestry is filled by large leaves, vividly colored flowers, and winding shoots, a style known as large leaf verdure. Numerous real and fantastic animals—including falcons, griffins, lions, monkeys, peacocks, pheasants, and unicorns—fly, hide, and perch amidst the greenery of the purely imagined plants. Only a handful of tapestries with the same animals and composition are known, though the same large leaf motif was used for the background of several tapestries depicting religious scenes, as well as in other tapestries to represent what was thought to be a realistic jungle background. It is thus impossible to determine whether this hanging and its companion pieces served a symbolic or decorative function—although these purposes are clearly not mutually exclusive.

The Crossing of the Granicus, from The Story of Alexander the Great, 1619. After a design by, and produced at the workshop of, Karel II van Mander (1579–1632). Holland, Delft. Wool and silk, slit and double interlocking tapestry weave. 408 x 419.9 cm (160 5/8 x 165 1/2 in.). Gift of the Antiquarian Society of the Art Institute of Chicago, 1911.439

Alexander (r. 336–323 B.C.) was the son of King Philip II of Macedonia (r. 359–336 B.C.), unifier of the city-states of ancient Greece. Upon ascending the throne at age 20, Alexander crushed the rebellion of a number of Greek cities and embarked on a military campaign against the Persian Empire. The Crossing of the Granicus depicts the major battle that took place near Troy, where his adversaries had assembled to drive back his army. According to multiple accounts, Alexander was hit by an axeblow from an opposing general who, just before he could kill the king, was slain himself. Alexander won the battle, continuing on to conquer the Persian Empire. The tapestry’s complex composition, suggestion of movement, fanciful figure rendering, and bird’s-eye landscape view demonstrate Karel II van Mander’s familiarity with late-16th-century Mannerist painting.

The Massacre at Jerusalem, from The Story of Titus and Vespasian, 1650/75. After a design by Charles Poerson (1609–1667). Flanders, Brussels. Woven at the workshop of Gerard Peemans (1637/39–1725). Wool and silk, slit, dovetailed and double interlocking tapestry weave. 514 x 367.7 cm (202 3/8 x 144 3/4 in.). Gift of Marshall Field and Company, 1952.1243

This tapestry belongs to the eight-piece Story of Titus and Vespasian suite designed by Charles Poerson, who practiced the French academic-decorative manner that supplanted the dramatic and monumental Flemish High Baroque. Poerson clearly based the series on book two of Tacitus’s The Jewish War (c. A.D. 75–79). Both Vespasian and his son Titus led the Roman troops during the First Jewish-Roman War (A.D. 66–73), a major rebellion by the Jews of Judaea against the Roman Empire. This tapestry depicts the massacre that took place at Jerusalem six months after the initial siege. The Arabian and Syrian soldiers who were part of Titus’s army slaughtered the Jews who were attempting to flee, cutting open their victims’ bellies to get the gold coins some of them had swallowed before surrendering to the Romans. Titus can by seen on horseback, in the background on the right, rushing to stop the carnage.

The Offering of the Boar's Head, from The Story of Meleager and Atalanta, 1673/86. After a design by Charles Le Brun (1619–1690). Woven at the workshop of Jan II Leyniers (1630–1686). Flanders, Brussels. Wool and silk, slit, dovetailed and double interlocking tapestry weave. 355 x 344.8 cm (139 3/4 x 135 3/4 in.). Gift of Mrs. Maurice L. Rothschild, 1941.93

The Story of Meleager and Atalanta is based on the version of the legend that appears in Ovid’s Metamorphoses. Meleager was the son of Oeneus, the king of Calydon. One day the goddess Artemis, enraged by Oeneus’s failure to honor her appropriately, sent a wild boar to ravage Calydon’s fields. Meleager organized a hunting party to kill the animal. Atalanta, the daughter of the king of Arcadia, was the only woman in the group. As soon as Meleager laid eyes on her, he fell in love. Atalanta wounded the boar with an arrow and Meleager killed it with a spear. The prince honored the princess for drawing first blood, declaring her queen of the hunt and offering her the boar’s head. Meleager’s uncles were jealous, and tried to steal the trophy. Blinded by love and rage, Meleager killed them. The tapestry shows Meleager returning the boar’s head to Atalanta.

The Battle of Actium from The Story of Caesar and Cleopatra, c. 1680. After a design by Justus van Egmont (1601–1674). Woven at the workshop of Willem van Leefdael (1632–1688). Flanders, Brussels. Wool and silk, slit and double interlocking tapestry weave. 400.6 x 359.5 cm (157 3/4 x 141 1/2 in.). Gift of Mrs. Chauncey McCormick and Mrs. Richard Ely Danielson, 1944.15

During the winter of 42–41 B.C., Cleopatra became pregnant with twins. The following year, however, Antony returned to Rome and prepared a long-awaited campaign against the Parthians. Yet Octavian failed to support the endeavor. Disappointed, Antony left Italy and sailed to Alexandria, where he renewed his relationship with Cleopatra. Meanwhile, the triumvirate disintegrated, and Octavian rose to power in Rome. Eventually Antony broke off relations with Octavian, and in 31 B.C. civil war broke out again. The decisive sea battle was fought at Actium, a promontory in northern Greece. As depicted in the tapestry, the Egyptian fleet was destroyed by the Romans, and Antony fled to Egypt in Cleopatra’s boat. In 30 B.C., Octavian invaded Egypt. Rather than surrender to his enemy, Antony committed suicide. A few days later, Cleopatra followed his example. Their tragic deaths are not included in this suite.

Cleopatra and Antony Enjoying Supper, c. 1680. After a design by Justus van Egmont (1601–1674). Woven at the workshop of Gerard Peemans (1637/39–1725). Flanders, Brussels. Wool and silk, slit and double interlocking tapestry weave. 321.9 x 362.0 cm (126 3/4 x 142 5/8 in.). Gift of Mrs. Chauncey McCormick and Mrs. Richard Ely Danielson, 1944.17

To impress Antony, Cleopatra promised to organize the most lavish supper he had ever attended. The meal itself was ordinary, but at its end, Cleopatra dissolved a pearl in a cup of vinegar and drank it. This event was not recorded by Plutarch; it derives from Pliny’s Natural History (1st century A.D.).

Abundantia, from The Four Continents and Related Allegories, c. 1680–1700. After a cartoon by Lodewijk van Schoor (died 1702) and Pieter Spierinckx (1635–1711). Woven at the workshop of Albert Auwercx (1629–1709). Flanders, Brussels

In this tapestry, part of a Four Continents and Related Allegories set, Abundantia, a female personification of abundance, sits on a horn of plenty overflowing with fruit, surrounded by three female attendants, each representing a continent. The kneeling woman crowned with a circlet of blossoms, offering a basket of flowers and fruit, personifies Asia. The dark-skinned woman bearing a horn of plenty full of sheaves of grain represents Africa. The third attendant, who wears a feathered headdress and displays gold, silver, and pearls, can be identified as America. The attributes of all four figures are based on Cesare Ripa’s Iconologia (1593), and their depiction exemplifies the early style of their designer, Lodewijck van Schoor: they have elongated bodies, small heads, long noses, and broad arms and legs, and though they gesture dramatically, their poses are formulae repeated throughout the set.

The Emperor Sailing, from The Story of the Emperor of China, 1716/22. After a design by Guy-Louis Vernansal (1648–1729) and others. Produced at the Manufacture Royale de Beauvais under the direction of Pierre and Etienne Filleul (codirectors, 1711–22). France, Beauvais. Wool, silk, and silvered- and-gilt-metal-strip-wrapped silk, slit and double interlocking tapestry weave with some areas of 2:2 plain interlacings of silvered-and-gilt-metal wefts. 385.8 x 355 cm (151 3/4 x 139 3/4 in.). The Charles H. and Mary F. S. Worcester Fund, 2007.22

The Emperor Sailing originally formed part of a suite called The Story of the Emperor of China, which portrayed scenes from the lives of the Manchu Qing dynasty Shunzhi emperor (r. 1644–61) and his son, the Kangxi emperor (r. 1661–1722), who were contemporaries of Louis XIV of France (r. 1643–1715). The series was first produced in the late 17th century in response to the French court’s growing mania for all things Asian. This tapestry shows the elder emperor seated in a ceremonial dragon boat as it pulls into a river from a quay. Members of the imperial family and their attendants watch the launch from an arcaded trellis, in close proximity to a crane and a tortoise that symbolize their well-wishes to the emperor. A walled city, with a towering multistoried pagoda, is visible upriver. The coat of arms in the arch over the quay belongs to Franz Ludwig, Count Palatine von Pfalz-Neuburg (1664–1732).

The Month of June/The Sign of Cancer, from The Grotesque Months, c. 1726. After a design by Claude III Audran (1658–1734), 1708–09. Woven at the Manufacture Royale des Gobelins. France, Paris. Wool and silk, slit and double interlocking tapestry weave. 71.5 x 293.7 cm (28 1/8 x 115 5/8 in.). Bessie Bennett Endowment, 1951.260

This narrow panel and its companion belong to a suite known as The Grotesque Months, which depicts the 12 months of the year and their associated zodiac signs. A Roman deity, centrally positioned within a pergola, personifies each month. June, with the sign of Cancer—a crab—in the oval at the top of the tapestry, shows the messenger god Mercury. Above and below Mercury appear his associated attributes, including his emblematic rooster, and a miniature scene showing an episode from the tale of his sly betrayal and murder of the giant Argus. These tapestries are in the light, open style inspired by Renaissance artists’ rediscovery and reinterpretation of the Classical wall paintings found among the buried ruins of ancient buildings, called grotti, or caves. By the later 17th century, this so-called grotesque style appealed to an elite group of French aristocrats led by Louis, the Grand Dauphin (1682–1712), son and heir of Louis XIV (r. 1715–74).

November 1, 2008–January 4, 2009 - Regenstein Hall - www..artic.edu