Carpet with Fame and Fortitude Manufactory Savonnerie Manufactory dopo i disegni di Charles le Brun French dopo i disegni di Louis le Vau French 1668–85 nel suo A New Description of Paris, del 1687, Germain Brice (1652–1727) menzionò il lavoro in corso su "a Great Footcloath in the Way of Turky-work,. In un luogo costruito appositamente alla fine del Cours de la Reine, comunemente chiamato Savonnerie, che deve essere l'intera lunghezza della grande Galleria del Louvre, ma non è ancora finito." Brice si riferiva qui a un insieme di novantatré tappeti, di disegni diversi ma correlati, che venivano creati

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• ID dell’immagine: 2T2F789
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• Dimensioni: 1987 x 3933 px | 16,8 x 33,3 cm | 6,6 x 13,1 inches | 300dpi

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Carpet with Fame and Fortitude Manufactory Savonnerie Manufactory after designs by Charles Le Brun French after designs by Louis Le Vau French 1668–85 In his A New Description of Paris, of 1687, Germain Brice (1652–1727) mentioned work in progress on “a great Footcloath in the manner of Turky-work, .. in a place built on purpose at the end of the Cours de la Reine, commonly called the Savonnerie, which is to be the full length of the great Gallery of the Louvre, but is not yet finisht.” Brice referred here to a set of ninety-three carpets, of different but related designs, that was being created for the Grande Galerie of the Palais du Louvre in Paris. The Savonnerie manufactory, which received a monopoly from Louis XIII in 1627 to make knotted-pile rugs in the manner of the Levant, experienced its most creative period under Louis XIV, when the workshops were placed under the direction of the king’s First Painter, Charles Le Brun. The project to cover with carpets the entire floor of the long gallery at the Louvre, measuring more than 480 yards in length, was the most ambitious commission the Savonnerie ever received. The work space was expanded and extra-wide looms were created to accommodate this monumental task. Contrary to tradition, the size of the looms was based on the length of the carpets (which in turn was determined by the width of the long gallery ). The individual designs of the series most likely reflected in some degree the decoration of the ceiling and walls of the gallery.Set against a black ground with scrolling acanthus leaves in the corners, the main motifs of the Museum’s splendid carpet, number thirty-eight of the series, are full of references to the monarchy. The sunflower, symbol of the Sun King, is flanked by the French royal arms and by Louis XIV’s crowned monogram of interlaced Ls.A number of the carpets for the Grande Galerie have compartments at either narrow end showing simulated bas-reliefs in grisaille representing differ