The McGriff Alumni House Tapestry: A Sewanee Mystery Unraveled
The McGriff Alumni House at the University of the South, Sewanee, holds a captivating enigma within its walls: a large, neo-Gothic tapestry depicting scenes from the Trojan War. This article explores the history of this unique textile, its journey to Sewanee, and the ongoing efforts to understand its origins, value, and potential future.
A Gift with a Question Mark
Around 1960, Charles E. Thomas, a friend of the University, gifted the tapestry to Sewanee. It was first hung in the EQB building, then moved to the chapel, and finally found its home in the McGriff Alumni House on Georgia Avenue. Little was known about the tapestry at the time, and rumors circulated that it wasn't particularly valuable. However, its intricate design and imposing size sparked curiosity, leading to a dedicated investigation decades later.
The Tapestry's Tale: From Ancient Legends to 19th-Century Craftsmanship
The scenes depicted on the tapestry are derived from the Trojan War, a legendary conflict recounted in ancient Greek literature. Specifically, the illustrations are based on a Latin text, the Chronicles of Dictys of Crete and Dares the Phrygian, which medieval readers believed to be a true account of the war.
Art History Professor Greg Clark explains that the tapestry's design can be traced back to the 15th century when an artist called the Coëtivy Master created a series of drawings (cartoons) illustrating the Trojan War. These cartoons served as the model for Pasquier Grenier (1447-1493), a renowned Flemish tapestry artist, who produced his own series on the Trojan War. These tapestries were created in panels and dispersed to royalty and other wealthy individuals. Significant sections of Grenier’s tapestries can be found at the Victoria and Albert Museum in London and the Burrell Collection in Glasgow.
The Sewanee tapestry, however, is not an original 15th-century work. Instead, it is a 19th-century printed copy, most likely based on drawings of the Grenier tapestry. This places it within the Arts and Crafts movement of the 19th century, possibly even associated with the William Morris studio, a pioneer in textile production techniques.
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Unraveling the Mystery: A Collaborative Investigation
In recent years, a group of Sewanee faculty members and students have come together to study the tapestry and address questions about its age, origin, and potential for preservation. The interdisciplinary team includes experts from various fields, including art history, classics, theatre, chemistry, and medieval studies.
Classics Professor Chris McDonough discovered that part of the original work upon which the Sewanee tapestry is based resides in the Victoria and Albert Museum in London. Chemistry Professor Rob Bachman has been conducting technical analysis of the tapestry, using infrared digital cameras and portable X-ray fluorescence instruments to determine the materials and colorants used in its creation. Theatre Professor Jennifer Matthews, an expert in costume design and technology, is contributing her knowledge of textiles and their historical context. Stephanie Batkie, a medievalist and director of Sewanee’s Writing across the Curriculum program, offers insights into the cultural and historical significance of the tapestry.
A Unique Copy of a Copy?
Textile conservator Macon St. Hilaire, hired by the University to assess the tapestry, believes she has identified the company responsible for its manufacture: the Arthur Hill Company. St. Hilaire suggests that the Sewanee tapestry could be the only surviving example of a copy of a copy of a copy produced by this company in the late 19th century.
One intriguing detail is that the Sewanee tapestry features alterations made to suit 19th-century tastes. For example, a dog with short, wiry hair in the Grenier tapestry has been transformed into a dog with feathery hair, reflecting the ideal of a 19th-century domestic animal.
The Question of Value and Preservation
The tapestry's current condition is rapidly deteriorating, prompting concerns about its long-term preservation. While its monetary value may not be substantial, its historical and cultural significance is undeniable.
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Greg Clark emphasizes that the tapestry is "the best neo-Gothic thing we have" and "one of the few works of art in our collection that has been independently published." A photo of the hanging can even be found in the catalog of the tapestries of Glasgow Museum’s Burrell Collection.
However, preserving the tapestry presents significant challenges. It is currently displayed in a location with excessive ultraviolet light, which is causing the colors to fade. Finding a suitable space with appropriate environmental controls is crucial for its long-term survival.
As Clark asks, "So, do we save it by putting it in a closet somewhere?"
More Than Just a Textile: A Provocative Site of Intellectual Engagement
Stephanie Batkie argues that the tapestry's value extends beyond its material worth. She sees it as "a provocative site of intellectual engagement," sparking questions about its history, its creators, and its place within the University's collection.
"What does this context say about the people who made this, bought it, kept it in the family for three generations, and then gave it to Sewanee? What does it say about Sewanee that we have it here in this room in a building for alumni?" she asks.
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The tapestry's story is nested, with layers of meaning and interpretation. From its origins in ancient legends to its creation as a 19th-century reproduction, it reflects changing cultural tastes and the ongoing fascination with the past.
The Future of the Tapestry
The ongoing investigation into the McGriff Alumni House tapestry represents a unique opportunity for faculty and students to collaborate on questions of value, cultural taste, material culture, and material content. As the research progresses, the University will face important decisions about the tapestry's future. Can it be conserved? Where will it be displayed? How much will it cost?
Ultimately, the tapestry's value may be reflected in the resources the University is willing to dedicate to its preservation. But for now, its value lies in its ability to inspire curiosity, spark intellectual inquiry, and connect the Sewanee community to a rich and complex history.
Additional Notes on Sewanee's Historical Context and Development
To further appreciate the context surrounding the McGriff Alumni House tapestry, it's helpful to consider the history and evolution of the University of the South.
The University's Founding and Early Years
Concerned by the Episcopal Church's lack of a successful institution of higher learning in the southern states, ten Episcopal dioceses agreed in 1856 to cooperate in creating a single university. The cornerstone was laid in 1860, but the Civil War disrupted these plans.
After the war, the bishop of Tennessee and the University’s commissioner of buildings and lands returned to the campus in 1866 to re-establish the institution formally. The first convocation was held in 1868, with nine students and four faculty present.
Periods of Growth and Transformation
The University's history can be divided into several periods, including a "second founding" in 1866 and years of uncertainty during Reconstruction. Rising expenses forced the closure of several departments in 1909, allowing it to maintain its core programs.
From 1950 to 1970, the endowment increased significantly, and the University underwent renovations and modernization. The seventies and eighties saw the construction of new facilities and a revival of religious life on campus.
The University included a preparatory school from its opening in 1868 until 1981.
Recent Developments
From 2000-2010, under the leadership of Vice-Chancellor Joel Cunningham, Sewanee experienced growth in the physical campus, expanding enrollment, and successful fundraising. In July 2010, the University welcomed its 16th vice-chancellor.
The University Domain, a 13,000-acre tract owned by the University, includes the campus, residential areas, the village of Sewanee, lakes, forests, and surrounding bluffs. Except for the campus and town, the Domain is preserved in a natural state.
Campus Buildings and Facilities
The buildings of the College of Arts and Sciences and The School of Theology are constructed of native sandstone. Many are gifts of benefactors, such as Thompson Union, Convocation Hall, Walsh-Ellett Hall, Fulford Hall, St. Luke’s Chapel, All Saints’ Chapel, Carnegie Hall, Guerry Hall, Snowden Forestry Building, Cleveland Memorial, and the Jessie Ball duPont Library.
The Jessie Ball duPont Library houses an extensive collection of print volumes, microforms, records, tapes, CDs, videocassettes, DVDs, and government publications. The library offers instructional programs, reference services, and access to electronic resources. Academic Technology Services is also located in the library building.
Other facilities include Hamilton Hall, the J. Albert Woods Laboratories, and the Bishop’s Common.
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