London tapestry, Soho workshop, early 17th century - Lot 52

London tapestry, Soho workshop, early 17th century wool and silk, 7 to 8 warp threads per cm Dimensions: Height: 205cm; Width 140cm Part of a hanging depicting wine-making and the joys associated with it. This panel is part of a series identical to the one held by the Toms Pauli Foundation in Lausanne. This series was purchased from Léonard Chabaneix around 1700, based on drawings similar to the series conserved at Boughton House 1660-1680. In England, at the end of the 17th century, several very different hangings were referred to as "Bacchanals". In fact, this title was first mentioned in invoices drawn up in 1700 and 1704 for the enlargement of a suite of hangings belonging to Ralph Montagu, and still preserved at Boughton House (Northamptonshire). The depiction of children in mythological scenes was very popular at the time. We don't know the author of this carton. We can see Bacchus, in the guise of a child, riding a goat, his guardian animal, accompanied by child musicians forming a bacchanalian procession in honor of Bacchus. Typically, in a suite of hangings on this subject, only one panel depicts Bacchus. Here, we have the main panel. The borders with oves and darts (pearls and sticks) are identical to the series of hanging panels in the Toms collection in Lausanne. Although this sketchy design is too common to provide a clue as to place or date of manufacture, it is worth noting that the 3 panels in the Toms collection are among the finest English examples of the hanging. Moreover, the Toms collection does not possess the panel we are presenting here. Note that the molletières, the goat's harness and the similar dimensions are identical to the Lausanne panels. This series was purchased from Leonard Chabaneix, 1700. Drawing copied from a tapestry similar to the one at Boughton House, circa 1660-1680. Wool and silk, 7 to 8 warp threads per cm. Little is known about Léonard Chabaneix, and even less about his activities as a supplier. Although his name does not appear on any known piece, we do know that his family was originally from Aubusson. Following the death of Queen Mary in 1696, when a declaration of loyalty to King William III, who had reigned at her side, was requested from the population, Léonard Chabaneix's signature appeared on the declaration of the residents of Spitafields Hamlet, the silk-weaving district of East London. We don't even know where he lived and worked as an upholsterer or merchant in 1700. The name of his son John (1676-1743) also appears on tapestries, and in 1702 he moved into a weaving workshop in Piccadilly. By the name Bacchanalia, the Romans meant all the religious festivals associated with the cult of Bacchus. These festivities are remembered famously in Roman history for their prohibition in 186 BC. A very detailed account given by Titus Livius provides an accurate picture of the history of Bacchus worship in Rome and the circumstances that led to its banning. A Greek of low status, a sort of itinerant priest and soothsayer, had introduced into Etruria the religious practices of the cult of Bacchus (Dionysus). These festivals were celebrated at night, and men and women were admitted indiscriminately. This promiscuity, combined with Bacchic fury, gave rise to every possible excess of debauchery. From the same source sprang false testimony, supposed wills, slanderous denunciations, even poisonings and mysterious disappearances of men and women. These mysteries, which spread from Etruria to Rome, quickly found a large number of followers, and there above all became a school for all kinds of debauchery and crime. It was by chance, such was the well-guarded secrecy of the initiates, that put the authorities on the path to discovering these practices. A freedwoman, Hispala Fecenia, had revealed to her lover, as he was preparing to initiate himself into the mysteries of Bacchus, all the turpitudes and crimes engendered by this cult. The young man, frightened, warned Sp. Postumius, consul in 186 BC, who ordered an investigation and the young man brought the freedwoman to him, despite her terror of the god's wrath and the initiates' vengeance. The sacred wood of Simila or Stimula was the center of the Bacchanalia. Originally, women