Tapestry 'Dragon Swallowing Eggs' (from 'Landscape with Animals' series)

This is part of a Brussels verdure of exceptional artistic quality. The foreground has large-scale images of grass depicted in a naturalistic manner. We can recognise clusters of Lilies of the Valley and other fine-blossomed flower motifs. The main figure in the surviving part of the textile – a winged dragon swallowing eggs lying in a hole – is visible a little higher, on the left edge of the composition. The beast՚s movements and the illustration itself are very expressive. The dragon is shown as if ready to leap, its jaws wide open. The figure of the fantasy creature allows the artist to convey numerous different textures: webbed feet, wings reminiscent of fish fins, a fur-covered body and an ornamented reptilian tail. The emotional tension in the composition is also created by the craggly tree trunks occupying the centre and right side of the composition, covered in coarse bark and moss, entwined by lush vegetation, not to mention the massive roots setting the backdrop for the animals. The shift of centre of attention to the lower part of tree trunks and roots is rather rare in verdure compositions. Part of a rooster figure is still visible in front of the dark spaces left gaping under the tree roots – its crested head turned towards the border boasts a lump patterned with a subtle ornament. A little lower we see an otter with its head raised. Fragments of figures (a tail and a muzzle) no longer existing are visible near the right border. A leopard on the prowl is depicted in the forest clearing on the left side of the background, along with a steeply-sloped stream and a glade of young trees. The composition ends at the top with the rich foliage of the crowns of trees, a hawk perched in the branches ready to fly (?).
The acquired textile is a fragment of a larger composition. It is most likely that the right-hand part of the tapestry has been lost – this is evident from the obviously cut away illustration of animal figures on this side.
The tapestry has a wide border. The central border band is decorated with a plait of vegetation in gold and various shades of ochre. The dominant border motifs are acanthus and pomegranate leaves and pomegranate flowers. Round medallions with the heads of Bacchus are composed in the corners of both upper borders, decorated with wreaths of grape leaves and grape bunches. The lower corners of the border feature round medallions with lions՚ heads. Acanthus flowers appear in the centre of all four border bands. The spatial modelling of the border ornament bears association to a carved wooden frame. The border is lined with narrow, finer ornamented bands. The lower one had the sign of the city of Brussels [B heraldic shield B] (on the left) and the sign of the Geubels workshop GA (on the right). The border was in a rather bad condition at the time of acquisition, showing signs that all four bands had been restored separately and then connected to the central part. The workshop where the tapestry was woven was founded by Jacob (Jacques I) Geubels (operated in 1585–1605). After his death, the workshop was taken over by his widow Catherine van den Eynde. It was during her period of command specifically that the series is believed to have been woven of which the acquired tapestry is a part. At the time (1613), her workshop was mentioned among the best nine tapestry weaving workshops in Brussels.
As she had numerous commissions, Catherine van den Eynde formed an alliance-agreement between Nicasius Aerts, Jacob II Geubels (1599–ca. 1630), her son, and one of the most famous workshops in Brussels, belonging to Jan Raes the First. This alliance manufactured series such as The Story of Decius Mus after cartoons by Peter Paul Rubens (1577–1640), and The Acts of the Apostles based on cartoons by Raphael (Raffaello Sanzio, 1483–1520).
Eleven textiles from this series were acquired by Cardinal Alessandro Damasceni Peretti di Montalto (1585–1623) in 1617. After his death, the series was passed on to his brother, Prince Michele Peretti Montalto (1577–1631, Montaldo), then to Cardinal Francesco Peretti di Montalto (1597–1655). After the latter՚s death in 1655, it ended up with Cardinal Paolo l (Peretti, 1622–1685), however the series was sold to pay off large debts. That time, Monsignor Farnese bought it for Pope Alexander VII from the Chigi family.