The Dukes of Burgundy had a great advantage. The most prestigious mills tapestries were in the territories under his rule. Among them, the city of Tournai was undoubtedly the most famous center of production of large tapestry, made of wool and silk in rich colors and gold and silver thread. The mastery of his craft and the richness of their creations were known throughout Europe. This explains that King Alfonso V of Portugal to celebrate their achievements in Africa, addressing a workshop in Tournai for a work that extolled his triumph. "
I played literally these paragraphs, signed by Yves Leterme, former premier of Belgium, listed in the catalog " The exploits of a king. Fifteenth-century Flemish tapestries in the Collegiate Pastrana "because I think of suitable reading before considering the series of four tapestries of this collection of six who, having been restored on the initiative of the Foundation Carlos of Antwerp, are displayed temporarily Museum of Santa Cruz de Toledo. As this exhibition ends on January 9, 2011, I strongly recommend a visit to the readers of this blog in the hope that they will not leave disappointed.
To adequately informed you go I want to tell the history of these tapestries hitherto little known and least visited in their usual place, the sacristy of the Collegiate Pastrana, Guadalajara.
Portuguese Expansion in North Africa in the fifteenth century
The four tapestries that are now exposed at the Museo de Santa Cruz de Toledo are a reminder of the Portuguese conquests in North Africa during the century XV: military takeover of the town of Asilah and peaceful occupation of the city of Tangier in 1471.
historical facts are not well known by the English have enough current to know something about the wars against the Moors of Granada, but filled with pride to the Portuguese, who by then were a great expanding military power, land and sea.
Since understanding the environment is a prerequisite for understanding what these cloths have, a quick reference to historical events narrated in them.
should know that by the treaty of Monteagudo (1261) the peninsular kingdoms (Aragon, Castile and Portugal) shared areas for action in North Africa, corresponding to Portugal Barbary area located west of Ceuta. The southward expansion of the Christian kingdoms of peninsular was not something capricious but was felt as a need for territorial, economic, political and even religious (Pope Martin V issued several Bulls encouraging the passage of the Strait and defining the company as a Crusade. ")
we care phase of Portuguese expansion in North Africa extending from 1415 to 1515 under the dynasty of Avis. In 1415, Juan I conquered Ceuta, one of the major trading centers of the time and add the title until then employee of King of Portugal and the Algarve "the" Lord of Ceuta . " Encouraged by this feat, which proved easier than expected, raised the conquest of Tangier, which ends in a resounding failure, and in time his son and successor, Edward I. This monarch was forced to sign an agreement with the Sultan of Fez whereby, in return for free re-embark his troops, promised to return Ceuta, leaving as a hostage, a pledge of compliance with this agreement, his brother the Infante Don Fernando, who died in 1443, never having regained freedom.
After the regency of Prince Don Pedro, which ended in a turbulent, the new monarch Alfonso V "the African", the crucial historical figure, will embark on a new holy war in the Maghreb with the support of the aristocracy, absent in the failure of Tangier. Taking advantage of the strife in the kingdom of Fez, Alcazarseguer conquest, and then making Square militarily occupied Tangier and Asilah, whose inhabitants fled in the presence of strong Portuguese army, all for 20 to August 29, 1471. A Alfonso V these gains will allow your child knighted the future John II and change the title of the Portuguese kings by " King of Portugal and two Algarves d'alem e quem em Tues Africa." While peace for twenty years to sign with the Sultan of Fez allows expansion to the south of Morocco.
Thereafter, Alfonso V is desentenderá African affairs to engage in the war of English succession, supporting the pretender Dona Juana "la Beltraneja", with whom will marry in Palencia in 1475, proclaiming himself king of Castile and Leon and facing the aspirations of Princess Isabel of Castile (the future "Catholic Queen"), whose armies were victorious in the battle of Toro (March 1, 1476). We note this fact because it has its importance for the future of the tapestries commemorating those victories African.
The "Tapestry Pastrana"
-called "Tapestry Pastrana " keep still many enigmas. Known to have been commissioned by Alfonso V to flamenco workshops Passchier Grenier Tournai, the most relevant time to commemorate the most important political events of his reign, the conquest of Africa but is ignored by some as they came to Spain, then we take care of it, and who was the author of the cartoons artist tapestry.
For many years it was believed that its author was the same painter of the "San Vicente panels," the great Nuno Gonçalves, on the grounds that both works-paint and upholstery, were commissioned by the same King Alfonso V 
to commemorate the most relevant facts of his reign and other less robust arguments: accurate representation Military and nautical iconography, "Portuguese character" of the heads of the characters, details of the heraldry and the realism of the figurative elements that appear in both tapestries Pastrana as Vincent panels housed in the Museum of Ancient Art Lisbon and leading to believe that the author of the latter, ie the said Nuno Gonçalves, was present in decision-Arcila and occupation of Tangier. Today this thesis is not so clear, if it paid attention to the convention are represented in the tapestries, architecture, vegetation types, faces and exotic elements and suggesting that the author cartons, whoever was not present on the facts but the read or are told.
What's certain is known is that the tapestries commissioned by the Portuguese monarch, remained a short time in power since it immediately became part of the collections of the Duke of the Infantry. At this point there are several hypotheses shuffled by historians, "some think entered the ducal collection as spoils of war from the Battle of Toro in 1476, others point to a gift of Alfonso V Cardinal Pedro Gonzalez de Mendoza, the some believe they were purchased at the auction of assets of Philip I the Fair after his death in Burgos in 1506, finally, has come to point out that were donated by Philip II to Rui Gomez de Silva, Prince of Eboli " 1 . All are guesses without knowing exactly when and in what form tapestries expensive (each equivalent to the cost tapestry of three ships) ended up in the hands of the Dukes of the Infantry.
What it is well documented is the donation of the tapestries to the Collegiate Pastrana in 1667 by Don Rodrigo de Silva y Mendoza, Duque de Pastrana IV and VIII of the Infantry (1598-1673) by his marriage to Catalina Gómez de Sandoval y Mendoza, daughter of the Duke VII. Thereafter tapestries, nine in all, were saved in the collegiate church of Pastrana in poor storage conditions. In its subsequent history in the next three centuries, is known officially commissioned in time of the Second Republic, as President Manuel Azana Council and Minister of Education, Fernando de los Rios, to restore the carpets and play with Pastrana accuracy by the then National Tapestry Factory. This play was not completed until well into the 40's and was given by Franco the dictator Oliveira Salazar, who decided to settle in the palace of Guimaraes (thankfully gave no originals).
The continued lack gathering dust and moths on ancient cloths until 2007, the Foundation Carlos 2 Antwerp, wanted to have one of these pieces for an exhibition prepared in Ghent, under the title " Flemish Tapestries for the Dukes of Burgundy Felipe I el Hermoso, Emperor Charles V and Philip II "was thirty spectacular tapestries woven together on behalf of the Habsburgs. The exhibition curator, Carlos Checa, could check their poor state of conservation thus preventing their exposure. So Carlos of Antwerp Foundation decided to undertake a restoration project, for which purpose negotiated and signed an agreement with the Collegiate Pastrana and the Bishop of Siguenza-Guadalajara, owner of the tapestry. These were fully restored thanks to financial assistance from the Fund InBev-Baillet Latour and other English institutions (Fundación Caja Madrid, Fundación Juan Azcarate Entrecanales) by the Royal manufucturer De Wit in Mechelen. The result, splendid, is that now we can see in this exhibition of Toledo, which follows the work done in Brussels, and Lisbon Guadalajara.
We can only wish, before commenting on the exhibition that we will see in Toledo, the Bishop of Siguenza-Guadalajara fulfill its part of the Convention on the adequacy of the museum's church of Pastrana 3 , now in sorry state, a museum conservation patterns and the mats now exposed back with their "brothers" of captivity to which they wish to reach the desired restoration soon also to prevent its total decline. Amen means "so be it."
exposure are not easy to understand the tapestry of Pastrana, even with prior information. Its huge size, eleven feet long, nearly four in height, the difficulty of severing the motley scenes and characters that populate each strip end up confusing the viewer to be content with living emotions that shapes, fabrics and colors.
No more claim to help in something to contemplate, let us make some comments on each of these parts. 4
Landing Arcila. From left to right, the wallpaper described the arrival of the Portuguese fleet off the coast of Asilah. In the foreground may be the flagship flying the royal banner bearing the emblem of Alfonso V, the "Rodizio" (wheel spreading drops) and other streamers. The central part of the tapestry, tells the most important action of the first day. The king and the prince with his troops are routed to the city (center, top) while the Muslims, protected by walls, prepare to defend the square, the corresponding scene photography.
Assault in Asilah. was on the morning of August 24, 1471. The tapestry is the same structure as above, with its space divided into two parts. On the right side, Alfonso V, his sword held high in attitude of attack. Christians attacked the fortress while the Moors are defended with boldness, as shown in the picture. War machines have disappeared to make way for the swords. The assaults on the walls and melee.
making Tangier. The sequence of events is told in four parts. At the top, in half of the tissue, is a city that must be identified with the newly conquered Arcila. On the left is the Portuguese army of cavalry and infantry targets in perfect formation to the city tangerine that is right, strongly fortified, and having a Christian soldier holding the royal standard of Portugal. On the right, the picture displayed in the Muslim inhabitants leave the city of Tangier into exile, bringing with everything they can carry. Unlike the previous series is not present in any character scenes real blood.
Visiting Pastrana tapestries at the Museum of Santa Cruz de Toledo, has, in my view, two added values. The first is to relate a character that appears in the tapestries, Duarte de Almeida, with the armor that is stored in one of the chapels of the Cathedral of Toledo, the second is the contemplation of other fabrics that are stored in the Museum Santa Cruz and are set out in the same plant as those of Pastrana.
Don Duarte de Almeida
Returning to the tapestry of the assault of Asilah and pay attention to character is the king, in front of his horse. This figure corresponds to Navy Ensign Mayor del Rey, Duarte de Almeida, under whose responsibility was to carry and defend the royal standard, the "rodicio" and how well you did Don Duarte, years later, in the battle of Toro (1476 ) between Castile and Portugal, defended the real teaching to the point that, cut hands, continued to defend with his arms before being taken prisoner by Castilian troops victorious. Portugal symbol of patriotism, history will know by the nickname of the "disappointing" (maimed). Despite his injuries appear to the lieutenant did not die in battle, returning to his homeland, we assume that with a more than honorable "retirement" to end his days with his family in the castle of Vilharigues .
interesting thing about this story is very near here, in the Cathedral of Toledo, you save an armor is said Duarte de Almeida corresponds to the "disappointing" 5 . The magnificent exhibition catalog says it is in the chapel of St. Eugene, although I I remember the whole life exposed in a glass case in the chapel of the Kings New and not a matter of paying it costs € 7 entry to check. According to the Inventory of the Cathedral Art 6 , such armor breastplate is made convex, sobrepeto, thorax, back, legs and hat, lower parts being false, according to González Simancas 7. I can not help wondering if this armor would not be better located at the Army Museum recently installed at the Alcazar of Toledo, in a place of prayer and worship as was traditionally the " toletana dives, now converted" O tempora, O mores ", a museum for tourists.
Another "added value" to the exhibition, which also shows several pieces of weaponry of the Army Museum related to the scenes of war told in the panels, is to contemplate the collection of carpets that holds the museum, where most of the century XVI, deposit 8 Cathedral and, as we have seen , are not in very good condition to say.
To end this story we chose these three:
"Alexander the Great receiving the surrender of a city. " One of a series of Alexander, second half of the sixteenth century, the Brussels workshops .
"Adoration of the Golden Calf." One of a series of life of Moses, XVII and XVIII centuries, the Brussels workshops.
Entry Ark of the Covenant in the city of Jerusalem. " Belonging to the series "History of David and Bathsheba" 9, first half of XVI century (1515-1525), Flemish workshops .
A third added value would be to visit the Museum's permanent collection is installed on your floor, but this, if you allow me, will be the subject of a new entry in this blog.
© Manuel Martínez Bargueño
December 2010
Manuelblas
NOTES
1. Ángel Rodríguez Rebollo " Chronicle of a war of symbols and characters tapestries Pastrana" in " The exploits of a king. Fifteenth-century Flemish tapestries in the Collegiate Pastrana. History and Armaments Carlos Foundation Antwerp, 2010.
2 . Antwerp Carlos Foundation is a foundation registered in the protectorate of the Ministry of Culture and Cultural Foundation Private non-profit, whose origins date back to 1554. It is currently governed by a board chaired by the King of Spain, which includes the ambassadors of Belgium, Netherlands and Luxembourg as well as other personalities. Its director is Miguel Angel Aguilar and is headquartered in Calle Claudio Coello 99, Madrid.
3. In October 2010 I was in Pastrana, visiting the Collegiate and I appreciated that the "museum zone" (Old Sacristy) is little more than a dark, damp cave where the remaining carpets are in terrible condition (see entry " Pastrana, ducal town" in this blog).
4. I thank the social worker exposure, name unknown, the "facilities" given to the development of this work, including the delivery of documentation.
5. The tradition stems from the description of the Cathedral of Toledo Dr. Blas Ortiz (1549), although Sixto Ramón Parro and the Conde de Cedillo doubt the attribution. The latter writes: " is only a harness power in their late fifteenth century, which has lost many parts of it leaving only the plate, bib and back, quixotic, thigh and knee, all incomplete, English and perhaps making some refinement of decoration that makes significant , but not so much concerned to impress by its placement at the entrance of the chapel inside bulky cabinet ("Monumental and Artistic catalog of the Cathedral of Toledo" written by the Count of Cedillo. Diputación Provincial de Toledo, 1991 , p.60).
6. Artistic Inventory of Toledo. Volume II. the Cathedral (vol II .) Ministry of Culture, 1989, p.16.
7. M. González Simancas. " Toledo. Its monuments and ornamental art . " Imp Regina Madrid, 1929, p.105.
8. " Toledo Cathedral, as well as other cathedrals, churches and guilds, brought from an early age a beautiful collection of fabrics that are still in hand, having disappeared some series possibly due to deterioration or sales, as performed by 1900's a series of four tapestries dela "Redemption of man • that are currently held in the Fine Arts Museum of San Francisco " (Susana Cortés Hernández. " Santa Cruz de Toledo Museum. tapestries catalog. Ministry of Culture 1982, p.60.
9. In this series specimens are preserved in the Cluny Museum in Paris and at the Palacio de Oriente.
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