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TAPESTRY

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Originally appearing in Volume V26, Page 407 of the 1911 Encyclopedia Britannica.
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TAPESTRY . The Gr. ra;ri s- and See also:

Lat. tapesium, from which our word " tapestry " is descended, implied a covering to both See also:furniture and floors, as well as curtains or See also:wall hangings, and neither of them really defines the particular way in which such articles were made. The decorations on these See also:Greek and See also:Roman coverings were effected by See also:painting, See also:printing, See also:embroidery, or a method of See also:weaving with coloured threads; and specimens and other conclusive See also:evidence show that See also:early Egyptians, Babylonians, See also:Chinese, See also:Indians, Greeks and See also:Romans employed some at least of the means above-named. The purpose of this See also:article is to give some See also:account of those decorated stuffs which are produced by weaving coloured threads on to warp threads in a manner that differs from See also:shuttle-weaving, and at the See also:present See also:day is called tapestry-weaving, such for instance as is practised at the famous Gobelins and See also:Beauvais tapestry manufactories in See also:France. At the Gobelins, the warp threads are stretched in frames See also:standing vertically (high warp or haute lisse): at Beauvais in frames placed horizontally with the ground (See also:low warp or basse lisse). In the one See also:case the worker sits up to his See also:work, in the other he bends over it. In each he is supplied with the See also:design according to which he weaves, and notwithstanding the varied positions the method of weaving is the High and same. The See also:thread-See also:supply of each See also:separate See also:colour re- low warp quired in the design is See also:wound upon its appointed peg frames. or bobbin, which is a simpler See also:implement or See also:tool than a See also:loom See also:weaver's shuttle. Fig. 1 shows a Gobelins high-warp tapestry weaver of the 18th See also:century at work. With his See also:left See also:hand he is pulling above his See also:head a few of the looped strings (lices or lisses) through which the warp threads (chaine) pass, so as to bring forward the particular warp threads, in between and around which he has to See also:place the weft threads of the selected colour.

In fig. 2 the workman's left hand pulls forward See also:

groups of warp threads upon the See also:lower See also:part of which the weaving has been finished; and with a See also:comb-like implement in his right hand he presses down and compacts the weaving. In the See also:story of the competition between See also:Minerva and See also:Arachne (Metamorphoses, vi. 55-69), See also:Ovid appears to be-describing this very See also:process, and a See also:great number of specimens of 2nd to 5th century Egypto-Roman workmanship corroborate the presumption of its existence in Ovid's See also:time. The See also:absence of evidence to show that loom and shuttle weaving was capable at that See also:period of producing elaborate figured fabrics is remarkable, and supports the See also:probability that the tapestry-weaving process was that commonly known and practised for most if not all See also:woven decoration and See also:ornament. It was certainly as freely used for costumes as for hangings, See also:couch and See also:cushion covers and the like (see See also:CARPET). The frames in which the work was done varied ac-cording to See also:size from small and easily handled ones to large and substantially constructed frames. As mentioned in the article EMBROIDERY, ornament of tapestry-weaving occurs in a fragment of See also:Egyptian work 1450 B.C., and Greeks in the 3rd or 4th century B.C. also worked in this method, as is demonstrated by specimens, now in the Hermitage at St See also:Petersburg, which were found in the See also:tomb of the Seven See also:Brothers at Temriouck, formerly a Greek See also:settlement in the See also:province of Kouban on the See also:north-eastern See also:shore of the See also:Black See also:Sea). The simplicity of the process is so obvious that it is found to be widely employed in expressing a variety of See also:primitive textile decoration of which pieces from See also:Borneo, Central See also:Asia, See also:Tibet, the Red Indians of See also:America, and the See also:ancient inhabitants of See also:Peru 2 (see fig. o) are to be seen in museums. 1 See Compte rendu. See also:Corn. See also:Arch., 1878-79.

2 See Account of See also:

Graves at See also:Ancon, See also:Asher & Co.; see also specimens from Graves at See also:Lima in the See also:Victoria and See also:Albert Museum, See also:London. Process of tapestry- weaving. As regards the antiquity of the two sorts of frames (the low and high warp) the Beni See also:Hassan wall paintings (r600 s.c.) include diagrams of See also:horizontal (low warp) frames, with weavers squatting on the ground at work on them; while a See also:vertical or high warp See also:frame is represented on a Greek See also:vase of the 5th century B.C. found at See also:Chiusi (fig. 3), and corresponds with frames used in Scandinavian countries.' In both these last-named the lower ends of the warp threads are merely weighted, thus presenting some difficulty to the See also:act of weaving, and of subsequently compacting the weft upwards, the warp not being taut and fastened to a See also:beam, according to more See also:ordinary usage, as, for instance, in the high warp frame illustrated in the codex of Rabanus Maurus, 9th century A.D., preserved at See also:Monte Cassino (fig. 4). The words " de Geneceo" in this See also:illustration point to a See also:medieval survival of the earlier gunaikonites of the Greeks and the gynaecea of the Romans, which were the quarters set apart in the See also:house of the well-to-do for the See also:spinning, weaving and embroidery done by See also:women for the See also:household. From such ancient frames to similar haute and basse lisse frames of the See also:French tapissiers nostrez and tapissiers sarrasinois governed under edicts (1226–70) of See also:Louis IX., and so on to present-day Gobelins and Beauvais frames, the transition can be easily realized. The texture of all tapestry weavings presents no See also:radical difference in See also:appearance, no See also:matter when or where produced. Within reasonable limits it is not practicable to See also:sketch in a See also:complete See also:form the See also:history, from the See also:middle ages onwards, of the See also:prosecution of the See also:art by each of the many See also:European towns that have become engaged in tapestry weaving. But the foregoing remarks will suggest, what seems to have been the fact, that a continuity in the knowledge of the art was kept up so that as favourable conditions occurred it would be called Roman into practice. Artificers (male and See also:female) such as tapestry- the Roman plumarii wove tapestries with figures of weaving. Britons (See also:Virgil, Georg., iii.

25)—" Purpurea intexti tollant aulaea Brilanni,"—others with scenes from the story of See also:

Theseus and See also:Ariadne (See also:Catullus, See also:Argon., x1vi. 267), besides many more for emperors and the wealthy. The demand for such See also:production of the textrinae or See also:trade workshops, and of the more private gynaecea, as well as the organization of workmen's See also:societies, collegia opificum, are evidence of circumstances lasting for some centuries in See also:Rome that were favourable to tapestry-weaving there. Suggestive of Roman designs are the illustrations of part of a See also:curtain or wall See also:hanging (fig. 5), and of a hanging or couch See also:cover (fig. 6) ; whilst the daintiest quality of tapestry-weaving for theornamentation of a See also:tunic is displayed in fig. 7. The ornamentation in fig. 5 —a hanging 5 ft. 3 in. by 19; in.—consists of a See also:series of horizontal leafy bands or garlands and other devices: between the upper bands on a red ground is a See also:bird on a leafy twig. This is Egypto-Roman work of about the 3rd century A.D. A portion of a See also:linen See also:cloth or couch cover ornamented with tapestry woven in coloured 'See See also:modern Faroese frame figured by Worsaae.

Afbildinger fra det K. Museum for Nordiske Old Sager. See also:

Copenhagen, 1854, p. 123.wools and linen thread is shown in fig. 6. At the See also:top there is a fragment of a horizontal border of floral and See also:leaf ornament beneath which, and enclosed by festoons of leaves, are two boys floating in the See also:air and holding ducks; elsewhere are figures of boys See also:running and carrying baskets of See also:fruit, and large and small blossom forms or rosettes. This also is Egypto-Roman work, about the 4th century, and is 4 ft. 5 in. by 4 ft. 1 in. Fig. 7 presents a square (from a small tunic) of very See also:fine warp and weft tapestry-weaving, with a See also:child mounted on a See also:white See also:horse: in the border about him are ducks, See also:fish and (?) peaches. This too is Egypto-Roman work of about the 2nd or 3rd century and is about 4 inches square.

The square in fig. 8 is from a tunic or robe and is of tapestry-weaving in See also:

bright-coloured wools, with a See also:representation of See also:Hermes holding the See also:caduceus in one hand and a See also:purse in the other. About his head is a nimbus and his name in Greek characters. This again is Egypto-Roman work of about the 1st or 2nd century and is 62 inches square. The See also:panel of tapestry-weaving in fig. 9 is from a couch or See also:bed covering, and is wrought in See also:purple wools and linen threads. The design recalls the description of the toralia or couch-covering alluded to in See also:Petronius Arbiter's account of Trimalchio's banquet, " on which were depicted men in See also:ambush with See also:hunting poles.and all the apparatus of the See also:chase." This piece is also of Egypto-Roman work about the 2nd or 3rd century, about 12 in. by to in. The well-known 6th-century See also:Ravenna mosaics of the See also:Emperor Justinian and the Empress See also:Theodora are See also:rich with hangings and costumes decorated presumably with tapestry weavings similar to those just described. From the 5th century and for many centuries later, monasteries' nunneries and Tapestry. the like, under ecclesiastical See also:control or See also:influence, weaving in became centres of activity in this and cognate arts, aromas. stimulated by the patronage of the See also:Church and series, courts; and in the 8th and 9th centuries the Em- Stn to 9th peror See also:Charlemagne's See also:body of travelling inspectors, century. missi dominici, appears to have exercised for a time a helpful influence upon such centres throughout France and in parts of See also:Germany. Two centuries later, See also:free, as distinct from See also:bond, handicraftsmen were forming See also:local associations for their See also:industries, and in this See also:movement the weavers took the See also:lead throughout See also:England, See also:Flanders and See also:Brabant, France being a little later.' The See also:gilds of weavers in London and See also:Oxford were granted charters by See also:Henry I. In the 11th century gilds of See also:wool weavers existed at See also:Cologne and See also:Mainz, and in the following century there was a similar gild at See also:Spires: it is quite probable that some of their weaving would be of tapestry.' The fragment in fig. 11 is considered by authorities to be of 12th-century north European work, possibly from some Rhenish place.

At one time the whole piece 2 See Recherches sur l'usage et l'origine See also:

des tapisseries a personnages, by A. Jubinal, 1840, p. 13. ' See L. See also:Brentano's History and Development of Guilds, § IV. " The See also:Craft Guilds." ' See also:Eugene Miintz quotes a See also:deed (between 1164 and 1200) witnessed by " Meginwart of Welt in burch," a tapetiarius, as well as another (1177) in which mention is made of Fredericus, tapifex de familia ecclesiae. a ° o Gilds of weavers. belonged to the church of St. Gereon at Cologne; a large See also:bit of it Trojan See also:War, now in the Louvre. From these drawings tapestries is now in the museum at See also:Lyons; another at See also:Nuremberg; whilst a small part of the border only is in the Victoria and Albert Museum, See also:South See also:Kensington. The See also:pattern consists of repeated roundels within each of which is a chimerical bird and See also:bull (? St.

See also:

Luke), elsewhere is a small See also:eagle (? St. See also:John). The See also:style of design, strong in See also:oriental and See also:Byzantine See also:character, is frequently found in shuttle-woven silks of the period. The See also:renaissance of literature in the 12th century, infused with romantic, mystical and religious tendencies, supplied subjects for wall decoration by See also:fresco painting, the practice of Tapestries which was revived then and came into See also:vogue in See also:Italy from the and the south, whilst its analogue in the See also:northern and 13th cen- more See also:weather-wearing countries is to be found chiefly tury in decorative tapestry weavings. Much tapestry is onwards. certainly indebted for its cartoons to wall painting, but illustrations in See also:MSS. also furnished subjects from which tapestry was made by the tapissiers nostrez and tapissiers de la haute lisse in France, Germany and Flanders). The earlier tapestries usually seem to have been narrow and See also:long, e.g. the " toile a broderie " of See also:Bayeux (see EMBROIDERY) and the 12th-century tapestries of See also:Halberstadt See also:cathedral. Although the making such narrow, long tapestries survived into the 14th and 15th centuries (see fig. 16), larger shapes (see See also:figs. 14 and 15) suitable as curtains and as hangings to cover large wall-spaces became the more frequent. From this time forward the output from many European towns of big pieces, mostly woven with coloured wools, was continuous and considerable. The more sumptuous examples from the 14th to the 17th century were enriched with gleaming silks and metallic threads' The subjects of the cartoons from which tapestries were woven varied of course with the tastes of the times, the more frequent of the earlier ones being religious (see fig.

12) or illus-Variety of trative of moralities. Types of romantic, legendary designs In subjects are displayed in figs. 14 and 15 of the See also:

Siege tapestries. of See also:Troy, and fig. 23 of See also:Dido and See also:Aeneas. See also:Historical design occurs in fig. 20, which is one of a set of tapestries woven possibly at the royal factory of See also:Fontainebleau about 1540, to commemorate the fetes on the occasion of the See also:marriage of See also:Henri II. with See also:Catherine de Medicis; and again in fig. 25, of the " Glorious See also:Defence of See also:Londonderry." See also:Pastoral incidents are shown in fig. 16, and social See also:life episodes and incidents in fig. 22, which was woven at the celebrated See also:Medici factory, See also:Florence, in 1639 by a French weaver—See also:Pierre Fevre—from a design in the style of F. d'Albertino (il Bacchiaca), 16th century, entitled " L'inverno" (See also:winter). Less human in See also:interest are tapestries, mostly of the See also:late 15th century, wrought from leafy designs, usually termed " verdures," of which several were made at See also:Brussels during the 16th century. Heraldic and floral devices were also frequently used, see fig. 19, from a piece of the late 15th century in See also:Winchester See also:College, and fig.

18, which is at Haddon 1 fall and was woven early in the 16th century. It is very similar to hangings which are at See also:

Bern and are said to have been captured from See also:Charles the Bold at the See also:battle of Granson. Many curiously designed tapestries of See also:German 15th-century origin are to be seen in the museum at See also:Basel—one of them (fig. 21) displays See also:strange beasts, unicorns, stags in the midst of See also:Gothic foliage, and labels with legends. Other tapestries, worked from still later phases of ornamental design, are fantastic with schemes of abstract ornament into which are introduced as subsidiary details figure subjects set in panels and medallions. The treatment of the compositions in cartoons for tapestry follows that adopted by painters. Thus examples from the iith to the end of the 15th century are formal in the See also:drawing of the forms introduced into them, and comparatively limited in range of See also:colours, See also:lights and shades, in accordance with the mannerisms of the earlier painters whether illuminators of MSS. or wall and panel painters. It has been argued from this that the designers of such early tapestry work possessed a sense of the limitations imposed by the process and materials. But in their day the relatively small number of dyes available involved conventionality in colour, quite as much as the earlier styles of drawing involved conventionality in form. Fig. 13 is from an interesting design by Jehan See also:Foucquet (1415-1485): and is one of a set, made by him to illustrate the i Guiffrey's See also:Nicolas Bataille contains particulars of the See also:loan by Charles V. of France to his See also:brother Louis, See also:duke of See also:Anjou, of an illuminated MS. from which See also:Hennequin or See also:jean of See also:Bruges, painter in ordinary and See also:valet chambre to the See also:king, made the cartoons used by Nicolas Bataille (tapissier de See also:Paris) in weaving two hangings representing the See also:Apocalypse (1377). 2" Tapis de haute lice de fin it d'See also:arras ouvre a or de Chipre (A.D.

1395). One of the largest and most delicately wrought tapestry hangings in which See also:

gold and See also:silver threads are freely used is that of the See also:Adoration of the Eternal See also:Father: on the left of this is the story of the Emperor See also:Augustus and the Tiburtine Sibyl: on the right the story of See also:Esther and See also:Ahasuerus. It was bought by Mr Pierpont See also:Morgan. were woven at Arras probably in the middle of the 15th century. One of these hangings in the Victoria and Albert Museum (see figs. 14 and 15) is from Foucquet's design, representing the arrival of See also:Queen Penthesilea and her See also:warrior women at Troy and the part she took in a fight in which she vanquished See also:Diomedes. This See also:episode was introduced by See also:Quintus Calaber (or Smyrnaeus), a 4th-century writer, in his version of the Homeric story. A tapestry from another of Foucquet's designs displaying King See also:Priam in the midst of his See also:court is in the Palais de See also:Justice at See also:Issoire. When See also:Raphael, See also:master of a freer and more realistic style in rendering form and colour, produced his cartoons of the Acts of the Apostles for a set of hangings for See also:Pope See also:Leo X., a new See also:condition naturally came into See also:play, and practically became Introduca See also:principal source of the contrast which is observable tion of between the designs of tapestries made before his time and See also:realism in those made after the early part of the 16th century. designs for The See also:provision of a bigger See also:scale of dyes for the wools and tapestries. silks was stimulated to secure success in weaving these more realistic representations of forms and greater subtleties in colour, as well as the See also:developed effects of See also:perspective: compare, for instance, the treatment in fig. 14 with that in fig. 22. The See also:restraint or limitations of the earlier styles were thus gradually supplanted by the See also:comparative complexities of the later; and it is a point of interest to See also:note that provision for still further inventing and improving dyes and so helping tapestry to assimilate to painting is specially included in the regulations (1667) of the See also:state manufactory of the Gobelins, where under M.

See also:

Chevreul (director of the dye-See also:works for more than fifty years during the 19th century) 14,400 tones of colour have been used. A See also:chronological See also:succession of styles may also be traced in the See also:borders enclosing such varieties of design as those just referred to. As a See also:rule borders consisting of a selvage or See also:plain See also:band come first (see fig. 12), followed by those in which sizes of labels with See also:block-See also:letter legends (figs. 14 and 15 and borders fig. 17) are features; after them are narrow borders indications filled in with closely and well-arranged floral forms (see of date. lower border in fig. 17), to which succeed borders of greater width containing elaborate detail (fig. 20). Such as these date from soon after the beginning of the 16th century, and those rather wider and more extravagant in ornament follow on somewhat later (see figs. 22 and 23). In the 18th century massive See also:rococo See also:proscenium frames, as in fig. 25, are sometimes adopted.

Of the notable centres where the See also:

industry of tapestry-weaving has been in considerable practice, Arras in the 14th and 15th centuries, Brussels in the 15th and 16th, See also:Middelburg and See also:Delft in the late 16th and early 17th centuries,' Paris in the 16th Notable and 17th centuries and down to the present time, with centres See also:Mortlake in the 17th century, probably stand foremost ; of the and from them the services of experienced workmen industry. equipped with frames and implements were requisitioned and secured at most of the See also:short-lived contemporaneous centres in almost all parts of See also:Europe. Several names of tapestry-weavers working during the first See also:half of the 14th century in Arras, Paris, See also:Valenciennes, St. Omer and See also:Reims, for Burgundian, Flemish and French nobles, have been recorded.4 Throughout that century a few weavers and many tapestries came from Arras into England, where the See also:term " arras " became the generic name for woven wall-hangings. Arras tapestries also went in quantities into Italy where they were called " Arazzi," and into See also:Spain where they See also:bore the name " pannos de raz." The tapicers of London received their statutes in 1331, and See also:Edward III. caused an inquiry to be held into the mistera tapiciarorum.5 The industry at Arras began to decline soon after 1460, and was succeeded about this date by works at Bruges, See also:Ghent, See also:Tournai, See also:Lille, Oudenarde, but more especially at Brussels, at which last See also:city the industry See also:grew to an importance even greater than it had enjoyed previously at Arras or elsewhere. The regulations of the Brussels See also:corporation of tapissiers were framed in 1451. Under them tapissiers might draw for one another the stuffs of hangings or of costumes in their figure compositions, trees, animals, boats, See also:grasses, &c., in their " verdures," or leafy ' Only one or two of the tapestries representing the several engagements between the See also:English and See also:Spanish fleets in 1588 which used to hang in the House of Lords (see See also:Pine, Tapestry of the House of Lords, London, 1739) were saved from the See also:fire (1835), and are now at See also:Hampton Court. They closely correspond with a set commemorating engagements between the Dutch and Spanish fleets (1572 and 1576) which are in the great See also:Assembly See also:Hall of the Provincial States of See also:Zeeland. These latter were woven chiefly at the tapestry works at Middelburg, 1595-1629; the former were woven at See also:Francis Spiring's works (or Spierincx) at Delft. Both, it appears, were designed by H. See also:Cornelius Vroom of Harlem. For interesting details of the Middelburg works see See also:van der See also:Graft's De Tapijt-Fabrieken (Middelburg, 1869), and supplementary documents by De Waard (Oud-See also:Holland, xv., 65, 1897). ' See lists in W.

G. See also:

Thomson's History of Tapestry. Rot. Pat. 38 Ed. III., See also:Hardy's See also:Record See also:Rymer, vol. 3, part 2, P. 736. compositions, and the See also:flowers, &c., as in the ground of Fig. 18, and might complete or correct their cartoons with See also:charcoal or ehalk, but for every other style of work they were See also:bound to apply to professional painters under See also:pain of fine.' In 1528 the Brussels tapissiers and dealers in tapestries were required to See also:mark their weavings, and Charles V. ordered all tapestry makers in the Low Countries to do the same? This Tapestry practice was followed in other countries into which makers' emigrant Flemish or French weavers had carried the marks. industry, making their tapestries very often from copies they took with them of cartoons designed by noted See also:Italian and Flemish painters. Makers' marks have in so many cases been cut from tapestries that it becomes practically impossible to identify the places where they were made, and the See also:dates of their production can only be conjectured from the styles of designs, supplied for instance by such artists (or their Artists followers) as the Van Eycks, See also:Roger van der See also:Weyden, who de- See also:Mantegna, Leonardo da See also:Vinci, Raphael, See also:Bernard van signed See also:Orley, See also:Lancelot Blondeel and John van der Straaten or cartoons Stradanus; this last-named was for many years em-for tapes- ployed in connexion with the important " Arrazeria try.

Medici" founded in Florence byCc Cdsmo I., duke of Tusc (1537), which lasted until the beginning of the 18th century; Strad-anus's style of design is similar to that of episodes in the story of Dido and Aeneas shown in fig. 23 from an Oudenarde tapestry of the early 17th century. Reverting to the 16th century, reference must be made to See also:

Cardinal See also:Wolsey and Henry VIII., who possessed enormous quantities of the best Flemish tapestries of their time and earlier, and a See also:fair number of them are still preserved at Hampton Court See also:Palace.' The king had in his service not only agents especially in Brussels to buy hangings, but also a considerable See also:staff of "Arras-makers." In See also:Ireland, the See also:taste for tapestry was evidenced by a manufactory at See also:Kilkenny of " tapestry, See also:Turkey carpets and diapers," founded early in the 16th century at the instance of Piers, 8th See also:earl of See also:Ormond and his See also:lady, See also:Margaret See also:FitzGerald, and giving employment to workmen introduced by him from Flanders.' At a rather later date tapestry works were established by See also:William See also:Sheldon at See also:Weston and Barcheston in See also:Warwickshire, with a view to which he previously sent See also:Richard See also:Hickes to the Low Countries to learn tapestry-weaving. A few Flemings were probably brought over by him and set to work at Barcheston and Weston, where he was appointed " master weaver." In his will (1569) Sheldon calls Hickes, somewhat erroneously perhaps, " the only auter and be-ginner of tapestry and Arras within this See also:realm." His son, Francis Hickes, was educated at St See also:Mary Hall, Oxford (1579-83), and about 164o he caused some tapestry maps to be woven.' Made before them are a set of hangings of the " Four Seasons," now preserved at See also:Hatfield. These are most probably from designs by Francis Hickes. They were bought by the See also:marquis of See also:Salisbury very shortly before the first visit of Queen Victoria to Hatfield. The borders of these pieces with small medallions and Latin mottoes are attractively amusing and interesting. In the lower border (fig. 24) one may read " VIA. VIRTUTI. ENCYCLOPEDIA "; in the upper border a date, " 1611," occurs in one medallion. In the upper border of each hanging is an important coat of arms with several quarterings, See also:chief of which are those of Tracey of Toddington in See also:Gloucestershire impaling those of See also:Shirley of Wiston in See also:Sussex.

The designer's inventiveness and See also:

fancy in illustrating attributes, &c., of the " Seasons " are almost exuberant, however restricted and See also:quaint his graphic See also:power seems to be. See also:Philip II. is mentioned as having encouraged a manufacture of tapestry by Flemings in See also:Madrid in 1582. In 1539, Francis I. started a royal factory for tapestry at Fontainebleau (see fig. 20), and employed Primaticcio amongst other artists to furnish the necessary designs. Henry II., whilst continuing work at Fontainebleau, caused a second factory to be set going in Paris at the Hopital de la Trinite. Henry IV. continued this royal patronage in lavish See also:fashion and added yet another factory, that in the See also:Faubourg St. See also:Antoine, which in 1603 was transferred to workrooms in the Louvre. As Paris thus came to the fore, so Brussels gradually declined. Upon the See also:death 'of Henry IV. in i6io Paris tapestry-making suffered a check, which may perhaps have contributed somewhat favourably to the start made by See also:James I. to organize the Mortlake works, where several See also:foreign workmen were employed under the direction of See also:Sir Francis See also:Cranes Both James I. and Charles I. ' Bulletin des commissions royales d'art et d'archeologie. See also:Wauters, See also:Les tapissiers de haute et basse lisse d Bruxelles. 2 See See also:list of tapestry marks, pp.

472—81 in Thomson's History of Tapestry. ' See See also:

Law's Hampton Court Palace, 1885. ' See Transactions of the Kilkenny Archaeological Society, 1852, " Ancient Tapestry at Kilkenny See also:Castle," by the Rev. James Graves. See " Tapestry Maps in the Museum at See also:York " (See also:paper read before Royal See also:Geographical Society by Rev. W. K. R. See also:Bedford, printed loth Dec. 1896, and included in vol. i. of the society's Transactions for 1897), also in Bodleian Library. ' A half-length portrait by Van Dyck of Sir Francis See also:Crane worked in tapestry, and one or two small fine-warp tapestry panelssupplied considerable sums of See also:money for the Mortlake works, and tapestries were made there, as fine as any comtemporaneously at Paris or Brussels, e.g. those from Raphael's cartoons of " the Acts of the Apostles," See also:Rubens's " Story of See also:Achilles," and portraits by Van Dyck. After the See also:execution of Charles I., Mortlake declined, and new life was infused into the industry at Paris under the influence of See also:Colbert, to whose strong See also:personal interest in the arts is due the organization in 1667 of the Hotel des Gobelins under the painter Charles le Brun as the Manufacture Royale des Menbles de la Couronne, which for large hangings became the premier tapestry-weaving centre in Europe.

Three years previously Colbert had initiated a similar manufactory, chiefly with low-warp frames, at Beauvais, which is noted for See also:

sofa and See also:chair seats and backs, screens and small panels. Efforts to establish the industry in Rome were made during the 17th century, but it is only since the pontificate of See also:Clement XI. in 1702 that a papal factory has been successfully conducted and is still carried on in the Vatican. The manufactory of See also:Santa See also:Barbara in Madrid was founded by Philip V. in 1720, and although it was closed in 18o8 it re-opened in 1815 and is still at work. Tapestry-weaving' during the 18th century under private enter-prise was pursued with success and still continues at See also:Aubusson, Felletin; it was carried on for a short time only at See also:Fulham, Soho, See also:Exeter, and for rather longer periods at 18th and Lille, See also:Cambrai, See also:Gisors, See also:Nancy, See also:Naples, See also:Turin, See also:Venice, 19thcen-See also:Seville, See also:Munich, See also:Berlin, See also:Dresden, See also:Heidelberg and St tut', Petersburg, maintaining, however, no very prolonged tapestry-existence at any of these latter places. In more modern weaving. times English tapestries woven after 1878 at the Merton works from designs by William See also:Morris (see fig. 26), as well as by Sir Edward Burne-Jones8 and Mr See also:Walter Crane, have great distinction in vigorous style reminiscent of virile medieval work. In See also:mere technique of weaving with fine warp and weft they are outdone by the comparatively effeminate and delicate pairtinglike fabrics now made at the Gobelins and Aubusson. Towards the end of the 17th century as well as early in the 18th century some tapestry-weaving was carried on in Ireland. For about twenty years at Chapelizod, near See also:Dublin, tapestry frames were worked by See also:Christopher and John Lovett, the latter of whom had to leave Dublin, bringing with him into England some See also:thirty-eight pieces of tapestry of " Their Majesties'_ Manufacture of Ireland." In the See also:Bank of Ireland, in College See also:Green, Dublin, are two large hangings which were executed by See also:Robert See also:Baillie, who is said to have held the See also:appointment of See also:upholsterer to the Irish See also:government in 1716? One of them represents the Battle of the See also:Boyne, the other the " Glorious Defence of Londonderry " (see fig. 25). Lough Foyle and the See also:hill surmounted by the city of Londonderry are represented in the landscape: to the left in the foreground is James II., by whom is the See also:Commander See also:Hamilton with his See also:hat off, and near at hand See also:cavalry: on the right are mortars, See also:cannon and See also:foot soldiers.

The border of this tapestry is fantastic in design and rather in the style of an over-elaborated See also:

theatre proscenium, upon which hang medallions containing portraits of See also:Captain See also:Baker, the Rev. Dr See also:Walker and the captain of the See also:frigate " See also:Dartmouth," in which the supplies were brought to the besieged which led to the See also:relief of the city and the defeat of the in-vesting See also:army. The designs for these Dublin tapestries are credited to John Vanbeaver, a Flemish weaver, who seems to have been a moderate draughtsman. They are clearly adaptations of designs of historical events, by Le Brun and van der See also:Meulen, from which tapestries were woven at the Gobelins factory to the See also:order of Louis XIV. at the end of the 17th century. These Dublin hangings were woven about 1735, and Baillie was commissioned to make four others representing the landing of the See also:prince of See also:Orange, his army at See also:Carrickfergus, the Battle of See also:Aughrim, and the taking of See also:Cork and See also:Kinsale by See also:Marlborough.10 These, however, were not completed, and Baillie was paid £200 as See also:compensation. Tapestry-weaving as a possible cottage or See also:home industry is practised in a few places in Ireland and England. In the Far See also:East, See also:China and See also:Japan, the art, adopted presumably from western Asia, is sometimes resorted to in making silken See also:robes and intricately figured hangings. The See also:Japanese See also:call their tapestry-weaving tsuzu-re-ori. of the Virgin Mary and Jesus See also:Christ, hang at See also:Lord See also:Petre's, Thorndon Hall, See also:Brentwood. Ancestors of the late Lady Petre were related to the Crane See also:family, as well as to the See also:Markham family with which Edward Sheldon by his marriage early in the 17th century became connected. The Sheldon and Markham arms occur in the border of one of the See also:map tapestries in the Bodleian Library. ' The See also:original cartoons, the See also:property of the See also:Crown, are exhibited in the Victoria and Albert Museum.

8 A very fine set of Merton tapestries made from Burne-See also:

Jones's designs are in the Municipal Museum at See also:Birmingham. 8 References to his employment in making tapestries occur in the See also:Journal of the Irish House of Lords. 1i See See also:Gilbert's History of Dublin, vol. iii. p. 79. Fine examples of early and later European tapestries are to be seen in the cathedrals of Reims, Bruges, Tournai, See also:Angers, Beauvais, See also:Aix. See also:Sens, in the Victoria and Albert Museum, London, Places See also:Windsor Castle, Hampton Court, StMary's Hall See also:Coventry, where tine the Louvre and See also:Cluny Museums in Paris, at See also:Chantilly, tapestries See also:Chartres, See also:Amiens, See also:Dijon, See also:Orleans, See also:Auxerre, Nancy, Bern, are now Brussels, Basel, Munich, Berlin, Dresden, See also:Vienna and preserved. Nuremberg. In Italy the largest collections (mostly of 16th and 17th century work) are those of the Vatican at Rome, and the Reale Galleria degli Arazzi at Florence. Many fine pieces are in the royal palace at Turin, the Palazzo del Te at See also:Mantua, the royal palace at See also:Milan, in the cathedral of See also:Como, and the museum at Naples. The collection at the palace of Madrid is one of the largest in Europe, and comprises more than one thousand examples, the older of which, of splendid Flemish design and weaving, be-longed to See also:Ferdinand and See also:Isabella, Philippe le See also:Bel and the Emperor Charles V.1 The principal cathedrals of Spain also possess important tapestries; those preserved at the cathedral of See also:Toledo are more than enough to supply hangings for the outside and inside of that See also:building on the feast of Corpus Christi. Throughout the European See also:continent, in the See also:United States of America, and in Great See also:Britain almost uncountable tapestries are displayed or stored in mansions, castles, chateaux and palazzi, belonging to See also:noble and wealthy families. A large number- of books have been written and published on the subject generally, and many of them, containing See also:good illustrations, are of See also:recent date.

BIs1.IOGRAPxv.—The following works may be mentioned as likely to prove useful for investigating the history and character of Egypto-Roman and Coptic textiles:—J. Karabacek, See also:

Die Theodor See also:Graf'schen Fande in Aegypten (" Die Textilien-Graberfiinde "), 8vo, Vienna, 1883; Alan S. See also:Cole, See also:Catalogue of a Collection of Tapestry Woven and Embroidered Egyptian Textiles in the South Kensington Museum, London, 1887; " Egyptian Tapestry," Society of Arts, Cantor Lectures, London, 1889; A. Riegl, Die agyptischen Textilfunde See also:im K. K. Osterreich. Museum, 13 photo-lithographs, 4to, Vienna, 1889; E. Gerspach, Les tapisseries coptes, 153 (some coloured) illustrations, 4to, Paris, 189o; R. Forrer, Mein Besuch in El-Achmim, 1 phototype and 36 process illustrations, 8vo, See also:Strassburg, 1895; Remische and Byzantinische Seiden-Textilien aus dem Graberfelde von Achmim-Panopolis, 28 pp., 17 (15 coloured) plates, and illustrations in the See also:text, 4to, Strassburg, 1891; \V!adimar Bock, Coptic Art; Coptic Figured Textiles (in See also:Russian), 32 pp., 6 phototype plates, 4to, See also:Moscow, 1897; W. Lowrie, See also:Christian Art and See also:Archaeology (pp. 362-82, " Textile Art "), process illustrations, 8vo, New York and London, 1901; A. Gayet, L'art copte (pp.

317-27, " Les tissus "), process illustrations, 8vo. Paris, 1902. In respect of medieval and later tapestries the titles of the fallowing works are quoted:—Jubinal, Anciennes tapisseries, Paris, 1838-39; Ronchaud, La tapisserie dans l'antiquite; Le peplos d'Anthene, Paris, 1884; Miintz, La tapisserie, Paris, 1882; Boileau, Les metiers et corporations de la ville de Paris an xiiie siecle, Paris, 1879; See also:

Barbier de Montault, Tapisseries du sacre d'Angers, Paris, 1863; De Farcy on the same subject, 1875; Barraud, Tap. de la cath. ae Beauvais, Beauvais, 1853; Pinchart, Roger van der Weyden ... et les tapisseries de Berne, Brussels, 1864; Loriquet, Tap. de la cathedrale de Reims, Reims, 1882; Guiffrey, Pinchart and Miintz, Ilistoire genesale de la tapisserie, 1878; Miintz, Les fabriques de tapisseries de Nancy, 1883; Voisin, Tap. de la cath. de Tourney, Tournai, 1863; Van Drival, Tap. d'Arras, Arras, 1864; Gorse, Tap. du See also:chateau de See also:Pau, Paris, 1881; De la Fons-Melicoq, Hautlisseurs des xiv ''" au x-ei'"° siccles, Paris, 187o; See also:Notice sur les Tap. de Beauvais, Clermont, 1842; Deville, Statuts, etc., relatifs a la corp. des tap. de 1258 a 1275, Paris, 1875; Darcel, Les manufactures natzona.les de tapisserie des Gobelins de Paris, 1885; van de Graft, De Tapijt-Fabrieken der xvi. en xvii. Eeuw, Middelburg, 1869; De Montault, Tap. de haute lisse a Rome, Arras, 1879; See also:Conti, L'arte degli arazzi in Firenze, Florence, 1875; Campori, L'arazzeria Estense, See also:Modena, 1876; Braghirolli, Arazzi in Mantova, Mantua, 1879; Farabulini, L'arte degli arazzi, Rome, 1884; See also:Gentili, L'art des tapis, Rome, 1878; Muntz, Tap. Italiennes, Paris, 188o; Dorregaray, Museo Espanol de Antiguedades (Flemish Tapestry, vol. Vii. p. 47), Madrid, 1871-76; Darcel and See also:Guichard, Les tap. dicoratives, Paris, 1877; See also:Lacordaire, Notice sur l'origine des tapisseries des Gobelins, &'c., Paris, 1855; Guillaumot, Manufacture ... des Gobelins, Paris, 1800; Rahlenbeck, Les Tapisseries des Rois de See also:Navarre (in See also:Messager des Sciences Historiques, Gand, 1868); Perathon, Tap. d'Aubusson, de. Felletin, et de See also:Bellegarde, Paris, 1857; See also:Roy-Pierrefitte, Les tap. de Felletin, See also:Limoges, 1855; Durieux, Tap. de Cambrai, Cambrai, 1879; About and See also:Bauer, Tap. apres les cartons de Raphael, Paris, 1875; Houdoy, Tap. de la fabrication Lilloise, Lille, 1871 ; Vergnaud-Romagnesi, Tap. an Musee d'Orleans, Orleans, 1859; De St Genois, Tap. d'Oudenarde, Paris, 1864; Guiffrey, Hist. de la tapisserie, See also:Tours, 1886; Pine, Tapestry of the House of Lords, London, 1739; Valiance See also:Aymer, The Art of William Morris (see pp. 83-92) ; W. G. Thomson, A History of Tapestry from the earliest times until the present day, Londoo, 1906. (A.

S. C. ) ' See See also:

Report of Senor I. F. Riano to the Director of the South Kensington Museum, 1875.

End of Article: TAPESTRY

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