Fragment from the series "The Story of the Holy Sacrament." This tapestry depicts a Jew buying a host from unfaithful Christian behind wall next to house. Below a dog is shown biting the hand of the Jew with the host on ground in front, Christians behind. Descriptive inscription below scene....
Fragment from the series "The Story of the Holy Sacrament." This tapestry depicts a Jew buying a host from unfaithful Christian behind wall next to house. Below a dog is shown biting the hand of the Jew with the host on ground in front, Christians behind. Descriptive inscription below scene. Condition: faded, areas of reweaving throughout; 8-10cm missing from left, 18-20 cm missing from right. See related tapestries: 04.76, 1974.608 and 1974.610.
Commissioned by Dame Loyse de le Roux (d. 1523) for the Abbey of Ronceray, Angers, France [see note 1]; sold by the church, possibly through the Canon Laumonier, to the Countess Walsh de Serrant, Chateau du Plessis-Macé, near Angers; September 30-October 5, 1888, Plessis-Macé sale, near Angers, lot 5, sold for 2,250 fr. to the Comte d'Estoile, Chateau de la Colletrie [see note 2]; until about 1930, remained at the Chateau de la Colletrie [see note 3]. By 1931, Olive Cecilia Paget (Mrs. Arthur Wilson-Filmer, later Lady Baillie) (b. 1899 - d. 1974), Leeds Castle; December 13, 1974, Lady Baillie sale, Sotheby's, London, lot 221, sold to the MFA. (Accession Date: December 13, 1974) NOTES:  This is one of five tapestries in the collection of the MFA (accession nos. 04.76, 65.1033, and 1974.609-1974.610) from a larger series of twenty-one scenes depicting the history and miracles of the Holy Sacrament. These were hung in the choir of the church of the Abbey of Ronceray annually, during the procession of the feast of the Holy Sacrament. According to Louis de Farcy, the tapestries were abandoned in the attic of the old abbey, were rediscovered after the French Revolution, and sold in 1848 by the occupants, the school of arts of Angers, for about 300 francs to the canon Laumonier. Laumonier gave them to the Countess Walsh de Serrant, who placed them at the Chateau du Plessis-Macé, where they remained until their dispersal in 1888. However, the catalogue of the 1888 Plessis-Macé sale, echoed by X. Barbier de Montault, states that the tapestries were moved at the time of the French Revolution to the church of the Trinity. The church trustees sold the tapestries to the Countess, who placed them first at the Chateau de Serrant, then the Chateau du Plessis-Macé. The 1888 sale catalogue states that the French had state tried to claim the tapestries as national property (since the suppression of the religious orders during the Revolution led to the nationalization of their property), but were unsuccessful as they had already been sold. For Farcy's account, see "Séance du Conseil d'Administration, Tenue à la Bibliothèque nationale le 18 mai 1897," Bulletin de la Société de l'Histoire de Paris 24 (1897), p. 125 and Louis de Farcy, Monographie de la Cathédrale d'Angers (1901), p. 151. Also see the Catalogue des Splendides Tapisseries et Objets d'Art garnissant le Chateau du Plessis-Macé (September 30-October 5, 1888), p. 8 and X. Barbier de Montault, "Les Tapisseries du Plessis-Macé," Revue de l'Anjou 18 (1889), pp. 4-5.  Part of a double panel that also represented the Birth of Christ.  W. G. Thomson, A History of Tapestry from the Earliest Times until the Present Day (London, 1930), p. 224, records the three tapestries purchased by the Comte d'Estoile (MFA accession nos. 1974.608-1974.610) as being still at the Chateau de la Colletrie.
Charles Potter Kling Fund