Welcome to TurkoTek's Discussion Forums

Archived Salons and Selected Discussions can be accessed by clicking on those words, or you can return to the Turkotek Home Page. Our forums are easy to use, and you are welcome to read and post messages without registering. However, registration will enable a number of features that make the software more flexible and convenient for you, and you need not provide any information except your name (which is required even if you post without being registered). Please use your full name. We do not permit posting anonymously or under a pseudonym, ad hominem remarks, commercial promotion, comments bearing on the value of any item currently on the market or on the reputation of any seller. Turkotek Discussion Forums - View Single Post - What are those?

Thread: What are those?
View Single Post
Old March 18th, 2011, 05:38 PM   #20
Pierre Galafassi
Join Date: Oct 2009
Posts: 84

Hi all,

In the case of borderless, large rugs, one would often need a much closer view as the one given by the pictures published on the net or in art books, to eliminate the possibility that they are in fact tiles, reeds or textiles.
I managed to select five views close enough to show clearly a very coarse rug structure, (Is this coarseness due to multiple wefts? To thick warps? Structure experts please comment.)
See below detail views of:

FIG 1. T. Gaddi’s «Calling of St Eloi», 1360, Prado, Madrid. (shown in the essay).
Its pendant «St Eloi before King Clothaire» does also show rows of pile with the same orientation.

FIG 2. N. Buonaccorso’s «Marriage of the Virgin», 1380. National Gallery. London. (shown in the essay)

FIG 3. Sassetta’s «Virgin and Child», ca. 1433, Vatican.

FIG 4. Sano di Pietro’s «Virgin and Child», ca.1455, Duomo di Pienza.
The same rug is also featured in di Pietro’s «Coronation of the Virgin», ca.1455, Yale University.
The bird might be an eagle. Note the chintamani-like spots.

FIG 5. Sano di Pietro’s adoration of the Child, 1460-1470, Kress Collection.
Raptor, with long neck and asian swastika motif.

There is now little doubt left in my mind that most of these paintings with highly stylized, filiform or well-fed, animals inscribed in an octagon or rectangle, indeed feature (borderless) coarse rugs. A few paintings might show tiles with similar motifs.

OK, let’s assume that the painters indeed intended to show rugs, but were they fully invented? Or did the painter use true models? In the second case who wove them? These are questions we can’t answer.
I do share Filiberto’s, Yohann’s and Marvin’s opinion that they are perhaps the fruit of both European and Middle East influences. Whether they were made in Italy, El Andalus, Cilician Armenia, Byzantine Greece or Anatolia, Trebizond or other exotic places can only be a wild guess as long as no extant fragment will be found.

Best regards
Pierre Galafassi is offline   Reply With Quote