The Parable of the Labourers in the Vineyard Series (La parábola de los obreros de la viña)

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{{Imagenesvisor|serie2-zamora|01}}{{Imagenesvisor|serie2-zamora|02}}{{Imagenesvisor|serie2-zamora|03}}{{Imagenesvisor|serie2-zamora|04}}
 
{{Imagenesvisor|serie2-zamora|01}}{{Imagenesvisor|serie2-zamora|02}}{{Imagenesvisor|serie2-zamora|03}}{{Imagenesvisor|serie2-zamora|04}}
 
|introduccion=
 
|introduccion=
<p>The parable of the laborers who work in a vineyard (Matthew 20, 1-16) is one of the most famous told by Jesus Christ. However, it is barely known as a motif for works of art. Regarding representations in tapestry, two series are kept, both of them in Spain: one in the cathedral of Zamora, and another one belonging to the Patriarch College of Valencia. In either case, these series are comprised of only two cloths each: <i>The call to the laborers</i> and <i>The payment of the denarius</i>. There must not have been any more, because the evangelic parable is completely described in the different scenes represented here.</p>
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<p>The parable of the labourers in the vineyard (<i>Matthew</i> 20, 1-16) is one of the most famous told by Jesus Christ. However, it is rarely used as a motif for works of art. Regarding representations in tapestry, two series are kept, both of them in Spain: one in the Cathedral of Zamora, and another one in the Patriarch College of Valencia. In both cases, these series are comprised of just two pieces each: ‘The Call to the Labourers’ and ‘The Payment of the Denarius’. It is unlikely that there were any more, because the evangelical parable is fully described in the different scenes represented here.</p>
  
  
 
|textoficha1=
 
|textoficha1=
<p><b>The author of the cartoons is unknown</b> and his skill as painter is limited. The weaver is also unknown, although the style would point to the workshop of Pieter van Aelst, the weaver of Philip the Handsome who travelled to Spain with his lord in 1502. Although they were probably woven around 1500, and based on the same cartoons, the cloths of Valencia are slightly wider and contain a few more characters than could be fitted in Zamora’s. They feature the <i>horror vacui</i> of the late 15th c., having their entire surface plagued with characters surrounded by architectural and vegetal shapes which, rather than separate them, bring them closer together. They are framed by a border of about 25 cm, and their state of conservation is quite good as regards coloring.</p>
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<p><b>The author of the cartoons is unknown</b> and his skill as a painter was limited. The weaver is also unknown, although the style would point to the workshop of Pieter van Aelst, the weaver to Philip the Handsome who travelled to Spain with his master in 1502. Although the panels were probably woven around 1500 based on the same cartoons, the Valencia tapestries are slightly wider and contain a few more characters than could be fitted into the Zamora ones. They feature the <i>horror vacui</i> of the late 15th century, their entire surface covered with characters surrounded by architectural and vegetal shapes which, rather than separating them, bring them closer together. They are framed by a border of about 25cm, and their state of conservation is quite good as regards colouring.</p>
  
<p><b>Even though there is no doubt this is the parable of the laborers in the vineyard, </b>the source may not have been just the text of evangelist Matthew, but maybe the writings of Saint Jerome. This Father of the Church compares the different hours when the laborers were called to the different stages of human life. Man can be called to God’s service at any age without diminishing the person, and thus anyone who fulfills the task assigned will receive the same payment, Paradise. The interpretation of Saint Jerome was taken up by other Christian writers such as Bede the Venerable, being common throughout the Middle Ages.</p>
+
<p><b>Even though there is no doubt that this series refers to the parable of the labourers in the vineyard</b>, the source may not have been exclusively the evangelist Matthew; another potential source is the writings of Saint Jerome. This Church Father compares the different hours when the labourers are called to the different stages of human life. Man can be called to God’s service at any age without diminishing the person, and thus anyone who fulfils the task assigned will receive the same payment: Paradise. The interpretation of Saint Jerome was taken up by other Christian writers such as Bede the Venerable and was popular throughout the Middle Ages.</p>
  
  
 
<p><b>Other cloths</b></p>
 
<p><b>Other cloths</b></p>
<p>Two other cloths comprising a series woven from the same cartoons are kept in the Patriarch College of Valencia. There are small differences with those in the cathedral of Zamora, but the inscriptions are in better condition, which facilitates understanding of the former (whose inscriptions are sometimes lost).</p>
+
<p>Two other pieces comprising a series woven from the same cartoons are kept in the Patriarch College of Valencia. There are small differences with those in the cathedral of Zamora, but the inscriptions are in better condition in Valencia, which facilitates understanding of the former (whose inscriptions are sometimes lost).</p>
  
  

Revision as of 12:48, 1 December 2014

The Parable of the Labourers in the Vineyard Series (La parábola de los obreros de la viña)

The parable of the labourers in the vineyard (Matthew 20, 1-16) is one of the most famous told by Jesus Christ. However, it is rarely used as a motif for works of art. Regarding representations in tapestry, two series are kept, both of them in Spain: one in the Cathedral of Zamora, and another one in the Patriarch College of Valencia. In both cases, these series are comprised of just two pieces each: ‘The Call to the Labourers’ and ‘The Payment of the Denarius’. It is unlikely that there were any more, because the evangelical parable is fully described in the different scenes represented here.



The author of the cartoons is unknown and his skill as a painter was limited. The weaver is also unknown, although the style would point to the workshop of Pieter van Aelst, the weaver to Philip the Handsome who travelled to Spain with his master in 1502. Although the panels were probably woven around 1500 based on the same cartoons, the Valencia tapestries are slightly wider and contain a few more characters than could be fitted into the Zamora ones. They feature the horror vacui of the late 15th century, their entire surface covered with characters surrounded by architectural and vegetal shapes which, rather than separating them, bring them closer together. They are framed by a border of about 25cm, and their state of conservation is quite good as regards colouring.

Even though there is no doubt that this series refers to the parable of the labourers in the vineyard, the source may not have been exclusively the evangelist Matthew; another potential source is the writings of Saint Jerome. This Church Father compares the different hours when the labourers are called to the different stages of human life. Man can be called to God’s service at any age without diminishing the person, and thus anyone who fulfils the task assigned will receive the same payment: Paradise. The interpretation of Saint Jerome was taken up by other Christian writers such as Bede the Venerable and was popular throughout the Middle Ages.


Other cloths

Two other pieces comprising a series woven from the same cartoons are kept in the Patriarch College of Valencia. There are small differences with those in the cathedral of Zamora, but the inscriptions are in better condition in Valencia, which facilitates understanding of the former (whose inscriptions are sometimes lost).


Name of the series The Parable of the Labourers in the Vineyard

Manufacture Brussels, Pieter van Aelst’s workshops?, c. 1500

Fabric Silk and wool, 6 warps per cm

Origen Arrived at the cathedral before 1558

Location Cathedral of Zamora (Cathedral Museum).



MAZ



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