1592984593000 1468927770000 Standard Record object-209294 1764093745862 1764073230000 1764093743361 adlib fitz-online adlib-object-209294 https://data.fitzmuseum.cam.ac.uk/id/object/209294 e8c8e2da-7b3f-3473-bc44-67d9d454d489 7 reference term-118865 adlib-term-118865 f7620a1b-e909-3868-894c-d17c69a1b5fc tapestry Applied Arts Panel for a cushion cover, woven tapestry in 'Sheldon' style, depicting the biblical story of Isaac blessing Jacob. One of a pair, the other (T.7A-1961) depicting the sacrifice of Isaac. Isaac married Rebecca and had twin sons, Esau and Jacob. As an old man Isaac became blind. When he was nearing his death, he prepared to follow the custom of blessing his oldest son over a meal, signalling that this son should inherit his father’s goods and wealth. Esau was sent out hunting for meat for the meal (visible in the background). Rebecca, however, considered that Jacob, the younger twin, should inherit. When she saw Esau go out, she realized what was about to happen. She quickly cooked simpler food which Jacob would offer his father before receiving the blessing. There was one problem. Esau was smooth-skinned but Jacob was, in the Bible’s words, 'an hairy man'. So while his mother held the bed curtain open Jacob knelt before his father with goatskin gloves on his hands and a goatskin round his neck so that his blind father, working only by feel, would not notice that he was about to bless the wrong son. In the horizontal borders the weaver depicts hunting scenes; dogs chase a stag in the upper border and a fox in the lower border. Each huntsman wears differently coloured clothes; some with silver threads in their breeches. The vertical borders, like those of T.7A-1961, are designed in three sections; top and bottom are two different arrangements of fruit and flowers separated by the small figure of an armed man within a semi-circular frame. Two birds perch above it. The corners of the arch in the centre of the tapestry were decorated with different flowers: a carnation (left) and borage (right). Biblical source: Genesis 27:1-29 T.7B-1961 1 accession number T.7B-1961 209294 priref 209294 uri https://data.fitzmuseum.cam.ac.uk/id/object/209294 https://data.fitzmuseum.cam.ac.uk/id/object/209294 reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum Bequeathed by Louis Colville Gray Clarke reference agent-149875 adlib-agent-149875 89f52d0e-b912-3dc9-8b2c-61d6aa011b16 Clarke, Louis Colville Gray 1961 1961 1961-04-27 bequeathed 1558 1558 1558 1558 1603 1 1603 1603 1603 reference agent-149652 adlib-agent-149652 0d4f90dc-b166-3d4b-b0db-25f4118b6e98 Unknown There is no maker’s mark on this panel. They were not thought necessary for small items. We can only guess therefore where this tapestry was made by comparing its style and appearance with other small works. The heartlands of the tapestry industry in the 1500s was in modern-day Belgium, in the towns of Brussels, Oudenarde, Enghien and later, Antwerp. The inhabitants tended towards the new Protestant religion but because the area was ruled by the Catholic king of Spain there was constant warfare. This, together with the fact that there were too many weavers for all of them to find employment against a disrupted commercial background, meant that many emigrated – north to Holland and west and north into the German principalities and beyond. Others came to England, especially after 1560 following the accession of the Protestant Queen, Elizabeth I. The majority settled in London; others were invited by the town councils of Sandwich, Canterbury, Maidstone, Colchester and Norwich in the hope that new industries would revive the flagging local economies. The settlement of émigrés was encouraged by the English government, aware that England lacked skilled craftsmen in the luxury trades. Some noblemen tried to set up workshops for foreign workers, usually with the obligation that they should pass on their skills to the native-born. One such man was Worcestershire nobleman, William Sheldon, who set out a scheme in his Will that would provide capital sums as loans for trained weavers, English or foreign-born, to enable them to set up independently. He also allowed a man we know as Richard Hyckes to occupy the family’s manor house at Barcheston, Warwickshire, rent-free, as long as he organised the production of tapestry and woven cloth. How successful his plans were is unknown. Nothing is documented; there is no contract for any of the weavings now called Sheldon, nor do the workshop’s accounts survive. It was not until 1919 that a local antiquary claimed five tapestries, previously ignored, at nearby Chastleton House, as Barcheston work. Thereafter almost any tapestry without known origin or any tapestry with an English coat of arms became known as ‘Sheldon’ work, from Barcheston. But there was no solid explanation why this should be so. Although the Fitzwilliam tapestries have been thought to be examples from Barcheston, there is no factual justification for this opinion. All the researchers of the 1920s – until recently the only studies of ‘Sheldon’ products – ignored the presence of émigré weavers in London. Barcheston was not the only place in England where tapestry was woven, as was previously thought. There is a strong possibility that the Fitzwilliam tapestries were woven in London where the émigré weavers established their workshops, and where there was a market. This is almost certainly a panel intended for a cushion cover and would have been part of a set of six, or even twelve, from which the others are not known to survive. On both tapestries the central scene is enclosed within an arch carrying the elongated leaf and trefoil motifs worked, unusually, on a yellow ground in white and green. At least 20 differently coloured wools were used to weave this tapestry. Previously described as 'Sheldon' work, made in Barcheston, it is now thought that this cover was probably woven in London. reference term-14197 adlib-term-14197 c26ab07d-f8fe-3513-92b0-3b414d5128d2 Elizabethan reference term-107139 adlib-term-107139 9fd5ef13-3709-388f-b925-702787340e32 literal England England country England possibly reference term-110423 adlib-term-110423 9c2a8bbb-0916-3c71-978f-95fccdb66252 silver thread reference term-110653 adlib-term-110653 180ed6b0-e8af-38d5-976c-1dd39824401d gold thread reference term-113875 adlib-term-113875 6ed4a873-49e7-3acb-9e34-77abb871b9fc wool Length cm 52.1 Width cm 48.2 reference media-200232 adlib-media-200232 0bb0ea13-7962-3d62-907b-819b1661d96b jpeg aa/aa35/large_t_7b_1961_1_201401_amt49_dc2.jpg 1 height pixels 945 width pixels 1024 1616240339529 1 image jpeg aa/aa35/mid_t_7b_1961_1_201401_amt49_dc2.jpg 1 height pixels 461 width pixels 499 1616240339529 1 image jpeg aa/aa35/t_7b_1961_1_201401_amt49_dc2.jpg 1 height pixels 946 width 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1 reference 1 term-110143 adlib-term-110143 7880ba6f-ffc7-3954-a9b0-88af32dbff6c panel

panel reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum

reference term-110143 adlib-term-110143 7880ba6f-ffc7-3954-a9b0-88af32dbff6c panel

panel reference term-29658 adlib-term-29658 296956ff-3223-3397-bce0-d3a39325724c tapestry (process) object OBJECT