The name Nicolas Bataille resonates primarily with one of the most monumental achievements in the history of textile art: the Apocalypse Tapestry of Angers. A master weaver and merchant active in Paris during the latter half of the 14th century, Bataille operated at the heart of a flourishing luxury goods industry, catering to the highest echelons of society. His life and work offer a fascinating window into the artistic, religious, and political currents of a tumultuous era, marked by the Hundred Years' War, the Papal Schism, and the enduring power of chivalric ideals.
It is important at the outset to distinguish this historical figure from others who share the name. Notably, records indicate a Nicolas Bataille born in 1782 and deceased in 1822, a worker by profession, who was unfortunately sentenced to lifelong forced labor for theft. This individual, living four centuries later, has no connection to the celebrated medieval tapestry artist. Our focus here is solely on the 14th-century artisan whose legacy is woven into the very fabric of Gothic art.
The Parisian Tapestry Scene in the 14th Century
Paris in the 14th century, despite the ravages of plague and the ongoing conflict with England, was a vibrant center for the arts. The French royal court, particularly under King Charles V (reigned 1364-1380) and his Valois brothers – Louis I, Duke of Anjou; Jean, Duke of Berry; and Philip the Bold, Duke of Burgundy – were prodigious patrons. They commissioned illuminated manuscripts, goldsmith work, panel paintings, sculptures, and, significantly, tapestries. Tapestries were not mere decorations; they were symbols of wealth, status, and power, portable murals that could transform castle halls, provide insulation, and narrate stories both sacred and secular.
The demand for these luxurious hangings fueled a thriving industry. Parisian tapissiers (tapestry weavers and merchants) were highly skilled artisans, often organized into guilds. Nicolas Bataille emerged as one of the preeminent figures in this field. While precise biographical details such as his exact birth year are elusive, as is common for artisans of this period, records confirm his activity as a prominent tapestry merchant and weaver in Paris from at least 1363. He is documented as supplying tapestries to the royal court and other noble patrons, indicating a well-established workshop and a reputation for quality. His death is generally placed around 1400, or shortly thereafter.
The Patron: Louis I, Duke of Anjou
The most significant patron associated with Nicolas Bataille is undoubtedly Louis I, Duke of Anjou (1339-1384). The second son of King John II of France and brother to King Charles V, Louis was a powerful and ambitious prince with vast territories and considerable wealth. Like his brothers, he was a discerning collector and a lavish patron of the arts. His commissions were not merely for personal pleasure but also served to assert his status and piety.
It was Louis I who commissioned the most famous work linked to Nicolas Bataille: the Tenture de l'Apocalypse, or the Apocalypse Tapestry. This colossal undertaking reflects the Duke's profound religious devotion and his desire to possess an artwork of unparalleled magnificence. The choice of the Book of Revelation as its subject was significant, offering dramatic narratives, vivid imagery, and profound theological interpretations that resonated with the anxieties and aspirations of the late medieval period.
The Genesis of the Apocalypse Tapestry
The commission for the Apocalypse Tapestry is believed to have been placed around 1373-1375. While Nicolas Bataille was the master weaver and merchant responsible for its production and delivery, the designs, or "cartoons," were provided by another artist. This was a common practice; weavers translated the vision of a painter into textile form. The painter credited with the cartoons for the Apocalypse Tapestry is Jean Bondol, also known as Hennequin de Bruges.
Jean Bondol was a Flemish artist who served as a court painter to King Charles V of France. His involvement underscores the collaborative nature of such large-scale artistic projects and the cross-cultural artistic exchanges prevalent at the time. Bondol is thought to have based his designs on an illuminated manuscript of the Apocalypse, possibly one from the royal library or the Duke of Anjou's own collection. One often-cited source of inspiration is an English Apocalypse manuscript from the mid-13th century, now in the Bodleian Library, Oxford, or a similar exemplar from a rich tradition of illustrated Apocalypses. Bondol's task was to adapt these miniature illustrations into monumental compositions suitable for the grand scale of tapestry.
The Apocalypse Tapestry: A Monumental Narrative
The Apocalypse Tapestry, as executed by Nicolas Bataille's workshop, was a work of breathtaking scale and ambition. Originally, it consisted of six large sections, each depicting a series of scenes from the Book of Revelation, totaling around 90 to 100 individual scenes. The complete set is estimated to have been over 140 meters (approximately 460 feet) long and about 6 meters (nearly 20 feet) high. Today, about 104 meters in length and comprising 71 scenes (plus fragments) survive, preserved in the Château d'Angers.
The tapestries narrate the apocalyptic visions of Saint John the Divine with dramatic intensity. Key scenes include Saint John's vision on Patmos, the Seven Seals, the Seven Trumpets, the Woman Clothed with the Sun pursued by the Dragon, the Beast from the Sea, the Fall of Babylon, and the New Jerusalem. The figures are rendered with a characteristic Gothic elegance, set against patterned backgrounds that alternate between red and blue, a common feature in tapestries of this period designed to enhance the vibrancy of the figures.
The narrative unfolds across the panels, with Saint John often depicted as an observer or participant within the scenes. The compositions are dynamic, filled with angels, demons, celestial beings, and symbolic creatures. The weaving itself is of exceptional quality, utilizing wool for the main body and, originally, silk and metallic threads for highlights, though much of the silk and metallic threads have deteriorated or were perhaps plundered over time. The color palette, though now somewhat faded, would have been rich and vibrant, employing a range of natural dyes.
Beyond its religious narrative, the Apocalypse Tapestry is also thought to carry contemporary political and social allusions. For instance, some scholars interpret certain figures or events as symbolic representations of the ongoing Hundred Years' War between France and England, or as commentary on the tribulations facing the Church during the Papal Schism. The depiction of warfare, pestilence, and famine would have resonated deeply with a 14th-century audience familiar with such harsh realities.
Artistic Style and Technique
Nicolas Bataille's workshop demonstrated mastery of the prevailing tapestry weaving techniques, likely utilizing high-warp looms (haute-lisse), which allowed for greater artistic control and finer detail. The style of the Apocalypse Tapestry is firmly rooted in the Gothic tradition, with elongated figures, expressive gestures, and a focus on linear definition. However, it also shows an awareness of emerging trends that would coalesce into the International Gothic style, characterized by a refined elegance, decorative richness, and a growing interest in naturalistic detail, albeit within a stylized framework.
The collaboration with Jean Bondol was crucial in defining the tapestry's visual language. Bondol's Flemish background may have contributed a certain robustness and observational acuity to the designs, which Bataille's weavers then translated with remarkable fidelity. The skill lay not only in accurately rendering the cartoons but also in making artistic choices regarding color blending, texture, and the interpretation of forms in the medium of wool.
The tapestries feature large, imposing figures that dominate their respective scenes. Architectural elements and landscapes are often stylized, serving as backdrops rather than fully realized environments. This approach prioritizes the narrative and the symbolic import of the figures and events. The use of alternating colored grounds, often patterned with floral or geometric motifs, is a hallmark of Parisian tapestries of this era, creating a vibrant, almost heraldic effect.
Bataille's Workshop and Other Commissions
While the Apocalypse Tapestry is his most celebrated and best-documented commission, it is highly probable that Nicolas Bataille's workshop produced numerous other tapestries for the Duke of Anjou, King Charles V, and other wealthy patrons. Records mention payments to Bataille for various sets of tapestries, though many of these works have not survived or cannot be definitively identified.
A workshop of the scale required to produce the Apocalypse Tapestry would have employed a significant number of skilled weavers. Bataille, as the marchand-tapissier, would have overseen the entire process, from acquiring raw materials (wool, silk, dyes) and managing the workforce to ensuring the quality of the final product and negotiating with patrons. His role was as much entrepreneurial as it was artistic.
The Parisian tapestry industry of this period was a network of specialized artisans. While Bataille was a leading figure, he operated within a community of weavers and merchants. Other notable Parisian tapissiers of the era, or slightly later, included figures like Jacques Dourdin, who also supplied tapestries to the royal family and nobility, and Pierre de Baumetz (or Poissonnier), who worked for Philip the Bold, Duke of Burgundy. The interactions and rivalries between these workshops would have spurred innovation and maintained high standards of craftsmanship.
The Artistic Milieu: Contemporaries and Influences
Nicolas Bataille's work should be understood within the broader artistic context of late 14th-century Europe, a period of transition and rich artistic production often referred to as the International Gothic style. This style, characterized by its elegance, sophistication, and decorative appeal, transcended national borders, with artists and artworks traveling between courts.
Painters like Jean Bondol, who provided the cartoons for the Apocalypse Tapestry, were key figures in this milieu. Other influential painters whose work reflects the spirit of the age include:
André Beauneveu: A versatile artist from Valenciennes, active as a sculptor and manuscript illuminator, who worked for King Charles V and Jean, Duke of Berry. His sculptural style influenced figurative representation.
Melchior Broederlam: A Flemish painter who worked for Philip the Bold, Duke of Burgundy. His famous Dijon Altarpiece (Crucifixion Altarpiece) showcases the refined naturalism and rich colors characteristic of the International Gothic.
Jacquemart de Hesdin: A leading manuscript illuminator active in the service of Jean, Duke of Berry. His work, such as the Grandes Heures du Duc de Berry, displays the delicate figures and intricate details typical of the period.
The Limbourg Brothers (Paul, Jean, and Herman): Perhaps the most famous exponents of International Gothic manuscript illumination, their work for Jean, Duke of Berry, notably Les Très Riches Heures du Duc de Berry, is renowned for its exquisite detail, vibrant colors, and charming depictions of courtly life and landscapes. Though their peak activity was slightly after Bataille's, their style represents the culmination of trends developing during his lifetime.
Jean Malouel: Another Netherlandish painter who became court painter to Philip the Bold, Duke of Burgundy, succeeding Jean de Beaumetz. He was the uncle of the Limbourg Brothers.
Henri Bellechose: Succeeded Jean Malouel as court painter to the Duke of Burgundy. His work, like "The Martyrdom of Saint Denis," continued the tradition of richly detailed and emotionally expressive painting.
Jean Pucelle: An earlier Parisian illuminator (active c. 1320-1350), whose workshop set a high standard for manuscript art in Paris, influencing later generations, including those who designed for tapestry. His Hours of Jeanne d'Evreux is a masterpiece of Parisian Gothic illumination.
The Master of the Parement de Narbonne: An anonymous artist active around 1375, known for a stunning altar frontal (parement) drawn in grisaille on silk, created for King Charles V. This work demonstrates the sophisticated draughtsmanship and elegant figural style prevalent in Parisian court art.
Jean de Beaumetz: Predecessor to Jean Malouel as court painter to Philip the Bold, known for devotional panels.
Colart de Laon: Another painter in the service of Louis I, Duke of Anjou, who was also involved in various decorative projects, highlighting the network of artists around these powerful patrons.
These painters and illuminators, through their compositions, figural styles, and narrative approaches, created a visual language that informed tapestry design. Tapestries, in turn, disseminated these artistic ideas on a grand scale, influencing visual culture across Europe. The relationship between panel painting, manuscript illumination, and tapestry design was often fluid, with artists sometimes working across different media or their designs being adapted from one medium to another.
The Fate and Legacy of the Apocalypse Tapestry
The Apocalypse Tapestry remained in the possession of the Anjou family and was eventually bequeathed to Angers Cathedral in the late 15th century. It was displayed on special occasions but, over time, fell into neglect. During the French Revolution, tapestries were often seen as symbols of aristocratic and ecclesiastical power, leading to their destruction or dispersal. The Apocalypse Tapestry suffered damage and was cut up, with some pieces used for practical purposes like floor mats or to protect orange trees from frost.
Fortunately, a significant portion was rediscovered in the mid-19th century by Canon Joubert, who recognized its historical and artistic importance. Efforts were undertaken to recover, repair, and conserve the surviving sections. Today, it is housed in a specially designed gallery within the Château d'Angers, where its monumental scale and artistic power continue to astound visitors.
Nicolas Bataille's legacy is inextricably linked to this masterpiece. The Apocalypse Tapestry stands as a testament to the extraordinary skill of his workshop, the ambitious vision of his patron, and the rich artistic culture of 14th-century Paris. It is one of the largest and most important surviving medieval tapestry sets, offering invaluable insights into Gothic art, medieval theology, and the cultural preoccupations of its time.
Conclusion: A Master Weaver's Enduring Imprint
Nicolas Bataille, through his entrepreneurial acumen and the exceptional skill of his Parisian workshop, played a pivotal role in the creation of one of the medieval world's most awe-inspiring textile artworks. The Apocalypse Tapestry is not merely a decorative object but a profound visual exegesis of a key biblical text, a statement of ducal power and piety, and a monument to the artistic heights achieved by Parisian weavers in the 14th century.
While the mists of time obscure many details of his personal life, Bataille's professional achievements, particularly his collaboration with Jean Bondol under the patronage of Louis I, Duke of Anjou, have secured his place in the annals of art history. He stands as a representative of a golden age of tapestry production, an era when woven narratives adorned the halls of power, communicating complex ideas and dazzling the eye with their richness and scale. The surviving portions of the Apocalypse Tapestry continue to speak to us across the centuries, a vibrant and enduring legacy of Nicolas Bataille's mastery.
