Tapestries were used in the Middle ages as much for the protection they gave against cold winds as for the decoration, covering openings and acting as canopies around beds. Kings and nobles would roll them up as they traveled from castle to castle. Cathedrals and large churches hung them to illustrate Bible stories for their illiterate congregations.

Production was centered around Paris until the Hundred Years War (1337—1453) caused the weavers to flee north via Arrar to Flanders (now Belgium and Northern France). The oldest surviving set of Medieval Tapestries is the Apocalypse of Angers, commissioned in about 1379 from a Paris weaver. The seven hangings were each 16.5 feet high and up to 80 feet long. During this period of intermittent wars, tapestries often changed hands after battles.

The victor might use them to cover larger or smaller doorways and windows so they were sometimes cut up or even joined to other tapestries. Many of the best known works, such as the “Lady with the Unicorn” series, were produced during the end of the fifteenth century in the Loire Valley. Approximately 15,000 people were employed in the manufacturing of these charming “mille fleurs” scenes of lords, ladies, and peasants set in the background of local flowers. Painters made the preliminary design (the cartoon). The weavers extracted the dyes, mostly from plants, in up to twelve colors, dyed the thread, and only then commenced weaving. Working with English or Picardy wool, Italian silk, and silver and gold thread from Cyprus, a skilled weaver took two months to complete just one square foot ! These skills were often passed on from Father to son.

In the early 1500’s, combat and hunting scenes were popular with the aristocracy. The Holy Roman Emperor Charles V was even accompanied into battle by his court painter who made sketches at the site for later weaving. Hunting scenes led to “verdure” tapestries of lush landscapes which in turn developed into romanticized pastoral designs which reflected increasing Italian influences.

A significant turning point in the history of tapestries came with the Pope’s commissioning of Raphael to produce the “Acts of the Apostles” series. His introduction of perspective and composition, together with the use of finer yarns dyed in about 300 color shades, led to tapestries imitating paintings, even to the point of having heavily woven “picture frames”. Tapestry was no longer an independent art, and creative control was now in the hands of the painter.

In 1660, during the lavish reign of Louis XIV, Les Gobelins factory was founded in Paris employing over 800 artisans. At his death , an inventory of the King’s furniture contained no less than 2,155 tapestries!

During the French revolution, ,any tapestries were burned for their gold and silver threads. The social changes of the times so decimated the tapestry market that the French Directory ordered a further 190 to be burnt in 1797 rather than retain their tapestries for their value! A positive development of this period however was the introduction of the Jacquard loom in Flanders. It enabled tapestries to become accessible to a wider market , and it still forms the basis of the techniques used today.

To view tapestries that are available today, go to www.tapestrieswp.abcguide.com . After viewing them please return to our web site and we can process your order. For more information please contact us at johanne@fromtimespast.com .

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