A tapestry wall hanging in your home brings not just interior beauty but also a sense of history. European weavers have produced these textiles for centuries, including medieval, renaissance and Arts and Crafts periods.
The tapestry has been known since at least Hellenistic times. Samples of Greek
tapestries have been found preserved in the desert of Tarim Basin dating from the 3rd-2nd century BCE.
Tapestries have been woven for hundreds of years in many diverse cultures. Both ancient Egyptians and the Incas wrapped their dead in tapestry woven clothing for burial. Important structures and buildings of the Greek Empire, including the Parthenon, had walls covered by them. However it was the French medieval weavers who brought the craft to true fruition.
In the 13th and 14th centuries the Church recognized the value of tapestries in illustrating Bible stories to its illiterate congregations. Few of these have survived. The oldest existing set is the Apocalypse of St John, six hangings 18 foot high, totalling 471 foot in length which were woven from 1375 to 1379 in Paris. This was the centre of production until the Hundred Years War (1337 - 1453) caused the weavers to flee north via Arras to Flanders (now Belgium and northern France).
Tapestries became status symbols amongst the aristocracy in the Middle Ages. They also had much practical use, providing insulation for castle walls, covering openings and giving privacy around beds. Kings and nobles took them on their travels from castle to castle for reasons of comfort and prestige. Tapestries often changed hands after battle, and since the victor's door and window openings might be a different size the acquired hangings might be cut up or even joined to other tapestries.
Many of the best known works such as the 'Lady with the Unicorn' series were woven at the turn of the 15th century in the Loire valley. It has been estimated that 15,000 people were employed in the craft at this time. Many were master weavers and passed their craft from father to son. Their charming 'mille fleurs' scenes had backgrounds of small local flowers, perhaps inspired by the practice of strewing roadways with flowers on local fete days. At this time it would take a skilled team two-three months to weave just one square foot of tapestry.
During the Medieval period weavers extracted their dyes from plants and insects in a range of less than twenty colours. For example, red came from madder, poppies or pomegranates and woad produced blue, a process that was so profitable in 16th century France that by importing it from the far East was punishable by death.
Medieval weavers used working sketches which they freely adapted with imagination and sometimes bard songs. By the Renaissance these had become full-sized working drawings which were copied by the weavers. Thus tapestries became mere copies of paintings rather than independent works of art. In 1515 Raphael was commissioned by the Pope to paint for the 'Acts of the Apostles' tapestries for the Sistine Chapel. His introduction of perspective and composition together with the use of finer yarns dyed with up to 300 colour shades led to the subservience of tapestry to painting for over 300+ years.
The most popular medieval images were Biblical stories, myths, allegories, the ever-popular unicorn represented purity, and contemporary scenes of peasants working or nobles hunting. Battles were designed by victorious monarchs after the early 1500's. 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 later became romanticized with increasing Italian influences.
In 1663, during the lavish reign of Louis XIV, Les Gobelins factory was founded in Paris employing over 800 artisans in the production of tapestries for the royal court. Other European countries followed, opening factories on behalf of their rulers. They employed Flemish weavers who by now had to complete a twelve year apprenticeship. Louis XIV's estate inventory at his death listed 2,155 Gobelins tapestries. Henry VIII's collection totalled over 2,000 in seventeen royal residences.
Rococco landscapes were popular in the 18th century typified by the designs of Francois Boucher (1703-70), director of the royal workshops at Beauvais for 30 years. His cartoons produced over 400 tapestries.
During the French Revolution the social changes of the times so decimated the tapestry market that the French Directory ordered 190 be burnt in 1797 rather than retain them for their value complete. They considered the gold and silver threads to have greater value. A positive development of this period however was the invention of the Jacquard mechanical loom in Flanders in 1804. It enabled tapestries to become accessible to a wider market and it still forms the basis of the techniques used today.
By the late 1800's the Gobelins dyeworks produced a colour range of 14,000 tones. Producing tapestries with such detailing had not surprisingly become very expensive. Furthermore little creativity existed with most pieces being based on earlier designs.
Modern tapestry weaving owes much to the vigour and freedom bought by the Arts and Crafts Movement headed by William Morris in England. He revived many old crafts; tapestry weaving being one of the beneficiaries of his fresh vision and creative energy. He visited French weavers in 1878 and described the workshops at Aubusson as 'a decaying commercial industry of ..rubbish'. A year later he had a high-warp loom built in his bedroom where he taught himself to weave from an 18th century French craft manual. With colleagues and friends he designed tapestries, like the Woodpecker, based on medieval styles and techniques. The weavers at Morris and Co. achieved commercial success and , more importantly revived the ailing craft.
Today few tapestries are hand-woven. Most are reproductions of originals in museums. Modern yarns and techniques allow us to enjoy superlative copies of works of art at affordable prices (often cheaper than a framed print). Nonetheless, much work is still required to produce these, especially in the design processes. The selected design and its colouring has to be transposed onto the cartoon with one square representing each single stitch. A series of up to 36,000 Jacquard perforated cards are prepared for each tapestry: these determine the movement of each warp yarn intertwining with the weft yarns. Fortunately some use can be made of computers to reduce the time involved but much skill and experience is still required. The weavers match the yarn colours from a selection of about 1,000 shades. The loom is threaded with about 12,000 horizontal warp threads which are placed in the correct order on the loom and passed through the eye of each of the corresponding 12,000 vertical loom heddles. Smaller tapestries utilize cotton (with rayon) for its fine detailing whilst larger ones introduce wool for greater fullness and richness. Once an acceptable trial result has been achieved the weaving can commence, supervised by a fully apprenticed weaver.
We offer hundreds of such designs, often in several sizes to choose from, from many European weavers. Some of our tapestries have matching cushion covers too. These art heirlooms of the future are a wonderful feature in any home. You won't be disappointed with the quality and uniqueness brought to your home or office's decor.
