The transition from the Gothic to the Renaissance period showed subjects in which details of the two periods were mixed. Often Gothic architectural forms were used with human figures dressed in Renaissance and classic costumes. The perspective of the pictures improved. More detailed modeling of draperies and clothing was attempted, and both Roman and Gothic letters were used.

The tapestry weaving of the Renaissance assumed its definite character when Raphael made for a series of cartoons for Pope Leo X illustrating the Acts of the Apostles. Raphael was not a weaver, and knew little of the art of weaving or of tapestry texture. The greatness of the artist as a painter misled the world, and caused the critics of his day to admire the work that was executed from these cartoons.

They are, however, more valuable as pictures than as masterpieces of tapestry window toppers (http://www.ferche.com). Though Raphael and his patrons were Italians, the tapestries were actually woven in Brussels. They are now in the Vatican, after having been stolen. They are perhaps the most famous set in the world, and have been copied many times, copies being found in most of the chief museums of Europe.

Tapestry weaving was introduced into England under James I. The Mortlake works were the earliest, and employed Flemish workmen and designs. They produced a good deal of excellent work, though much of it was copied from foreign designs, including the Raphael cartoons. The looms at Merton and Windsor are more recent, most of their work having been produced during the nineteenth century.

The Flemish looms were the most important during the early Renaissance. They produced a great quantity of work, particularly during the seventeenth century under the leadership of Rubens and Terriers. The former produced designs of great vigor, showing relief,of warlike subjects or tempestuous scenes. The tapestries that were made from them were merely woven paintings and although they had immense decorative value, they also helped to crush the art of weaving.

Teniers’ subjects were nearly all pastoral or village scenes and may easily be recognized. In addition to these two great artists, countless individual weavers sprang up in all parts of Flanders, who, although gifted with expert technical knowledge and craftsmanship, were utterly lacking in artistry of design of tapestries and picture frame molding (http://www.ferche.com).

It was these weavers who produced the thousands of tapestries of varying merit that are so often sold in the auction market, known as “Flemish Verdures” and which show human beings of strange or extraordinary shapes. Flemish workers were imported into other countries, including Spain, Germany and Italy, though the industry in these countries never assumed very great importance.

The Italian tapestries of the earlier periods were barely distinguishable from the Flemish. Later they assumed a character of their own and in the Baroque period they took on the same characteristics as other contemporary arts. Under Louis XIV and his successors, French tapestry weaving became even more important than the Flemish. This was largely due to the founding of the Gobelin works, in the outskirts of Paris, on the banks of the Bievre River. The river’s water was whose water was said to have exceptional qualities for dyeing. The Gobelin factory developed into one of the greatest producers of this class of work.

It was taken over by the French crown and is still owned by the French government, working exclusively for them. Its output during the period of Louis XIV, as contrasted with the Gothic work, is full of relief, with elaborate shadows and fine gradations of color. The tapestries imitate paintings very closely, and have lost much in the way texture and character, but are still rich and decorative, best used on a wall in a classic picture frame or in front of napoleon fireplaces.

Borders are often imitations of gilt wooden picture frames. Subjects arc usually mythological or historical, replacing the religious subjects of earlier times. Under Louis XV pastoral scenes were very popular, being executed from the designs of Watteau, Boucher, Fragonard, and other popular court painters. Tapestry was also woven in smaller pieces for use in upholstery. The Beauvais tapestry works were at first a private enterprise, but were later taken over by Louis XIV, and are still a government factory.

Their early work was mainly of the verdure type, though later they produced all types of subjects. For a time they also manufactured rugs, but this was discontinued at the time of the French Revolution. Their recent output has consisted mainly of small tapestries for furniture coverings, woven on low warp looms, in place of the high warp type formerly used. The looms of Aubusson, in central France, are said to be of very ancient origin. They manufacture both rugs and tapestries, and their work is produced commercially for the general market.

Sarah Martin is a freelance marketing writer based out of San Diego, CA. She specializes in the history of art, interior design, and architecture of napoleon fireplaces. For the best in hardwood and picture frame moulding, please visit http://www.ferche.com/.

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