. Illustrated catalogue of the very valuable art property belonging to the estate of the well-known connoisseur, the late James a. Garland, Esq. a former trustee of the Metropolitan Museum of Art [electronic resource]. Sixteenth Centurv. These grotesques are said tohave been made for the bed of Margaret of Parma, daughter ofCharles V. She was first married in 1530, at the age of fourteen,to Alessandm de Medici, Duke of Florence, who was assassinatedin the following year. Later she married (Htavio Farnese, Dukeof Parma and Piacenza. From 1550 to ld67 she was Regent ofthe Netherlands on behalf o
. Illustrated catalogue of the very valuable art property belonging to the estate of the well-known connoisseur, the late James a. Garland, Esq. a former trustee of the Metropolitan Museum of Art [electronic resource]. Sixteenth Centurv. These grotesques are said tohave been made for the bed of Margaret of Parma, daughter ofCharles V. She was first married in 1530, at the age of fourteen,to Alessandm de Medici, Duke of Florence, who was assassinatedin the following year. Later she married (Htavio Farnese, Dukeof Parma and Piacenza. From 1550 to ld67 she was Regent ofthe Netherlands on behalf of Philip 1 [., who removed her becauseof the outbreak of the revolt of the Dutch provinces. These tapestries once belonged to the Spitzer Collection andlater formed part of that of Baron Nathaniel de of them is illustrated in Fugene Muntzs La Tapisserie,fifth edition, page -Ill They are woven in silk and gold Theirborders are alike, consisting of a French-gray ground, shadingoff in parts to blue, on which is arranged a series of arabesquesthat include trophies of musical instruments, arms, ox skulls,and, at the top corners, swans. The main compositions alsocorrespond in general design and In both, the field is a dull carnation mi which is projectedB fanciful structure of gold strapwork, in ingenious perspective,that encloses certain spaces of a pinkish butter color and showsopen spaces of pale gray. They vary, however, in the designof the structure and the choice of details. In the center of No. 132, under a light canopy, hangs atrophy of figs, pomegranates and grapes, in hues of pale yellowand green and dark blue. On each side is a Hermes, surmountedby a womans head and bust. Her hands hold garlands, one ofwhich drops to the bottom of the trophy, while the other risesto the upper framework, where a bird receives the ribbon in itsbeak. Near it is fixed a flaming candle. From the bird theribbon again drops, this time supporting a canopied chair, inwhich a
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