The piece is very close in drawing to the illustrations of the Master of the Golden Fleece,[2] whom Lindner has identified as Philip de Mazarolles. The long bony, egg-shaped heads that look as if the necks were attached as an afterthought, the shoe-button eyes, flat mouths, and peaked noses all occur in his many illustrations. Characteristic of him, too, are the crowded grouping of the scene and the great care in presenting the accessories, every gown being an individual design, whereas many of his contemporary illustrators contented themselves with rendering the general style without variations. The conventional trees are probably the weaver's interpolations. The top of the tapestry being gone, there is no possibility of knowing whether his customary architectural background was included or not. [Sidenote: Lent by _P. W. French & Company_.] The tapestry is interesting, not only because it is quaint, but because it is a vivid illustration of the spirit of the time--virile, cruel, yet self-consciously moralistic. [Sidenote: 5] FLANDERS, MIDDLE XV CENTURY [Sidenote: _Wool._ H. 10 _ft._ 9 _in._ W. 17 _ft._ 5½ _in._ ] THE VINTAGE: _This piece was probably originally one of a series of the Months, representing September. Groups of lords and ladies have strolled down from the castle in the background to watch the peasants gathering and pressing the grapes._ [Sidenote: Formerly in the Collection of Edouard Aynard, Paris.] [Sidenote: Exhibited: _Exhibition of the Middle Ages and the Renaissance, Old Palace of Sagan, Paris_, 1913.] The costumes and the drawing indicate that the piece was made in Burgundy at the time of Philip the Good. In fact, it is so close to the work of one of the most prolific of the illustrators who worked for Philip the Good that it is safe to assume that the original drawing for the cartoons was his work. In the pungency of the illustration and the vivacity of the episodes as well as in numerous details it follows closely the characteristics of Loysot Lyedet. Here are the same strong-featured faces with large prominent square mouths, the same exaggeratedly long and thin legs with suddenly bulging calves on the men, the same rapidly sketched flat hands, and the same attitudes. The very exact drawing of the bunches of grapes parallels the exactness with which he renders the household utensils in his indoor scenes, and the dogs, while they are of types familiar in all the illustrations of the time, have the decided personalities and alert manner that he seemed to take particular pleasure in giving them. [Sidenote: Reproduced: _Les Arts_, Sept., 1913; _Gazette des Beaux Arts_, 1913.] Another tapestry that seems to be from the same hand is _Le Bal de Sauvages_ in l'Eglise de Nantilly de Saumur.