The worker on a low loom does not see the right side of the work at all, unless he lifts the loom, which is a difficult undertaking.

On a high loom, it is only necessary for the worker to go around to the front in order to see exactly what he is doing. The design is put below the work, however, in a low loom, and the work is thus practically traced as the tapestry proceeds.

On account of the limitations of the human arm in reaching, the low warp tapestry requires more seams than does that made on the "haute lisse" loom, the pieces being individually smaller. One whole division of the workmen in tapestry establishments used to be known as the "fine drawers," whose whole duty was to join the different pieces together, and also to repair worn tapestries, inserting new st.i.tches for restorations. Tapestry repairing was a necessary craft; at Rheims some tapestries were restored by Jacquemire de Bergeres; these hangings had been "much damaged by dogs, rats, mice, and other beasts." It is not stated where they had been hung!

High warp looms have been known in Europe certainly since the ninth century. There is an order extant, from the Bishop of Auxerre, who died in 840, for some "carpets for his church." In 890 the monks of Saumur were manufacturing tapestries. Beautiful textiles had been used to ornament the Church of St. Denis as early as 630, but there is no proof that these were actually tapestries. There is a legend that in 732 a tapestry establishment existed in the district between Tours and Poitiers. At Beauvais, too, the weavers of arras were settled at the time of the Norman ravages.

King Dagobert was a mediaeval patron of arts in France. He had the walls of St. Denis (which he built) hung with rich tapestries set with pearls and wrought with gold. At the monastery of St. Florent, at Saumur in 985, the monks wove tapestries, using floral and animal forms in their designs. At Poitiers there was quite a flourishing factory as early as 1025. Tapestry was probably first made in France, to any considerable extent, then, in the ninth century. The historian of the monastery of Saumur tells us an interesting incident in connection with the works there. The Abbot of St. Florent had placed a magnificent order for "curtains, canopies, hangings, bench covers, and other ornaments,... and he caused to be, made two pieces of tapestry of large size and admirable quality, representing elephants." While these were about to be commenced, the aforesaid abbot was called away on a journey. The ecclesiastic who remained issued a command that the tapestries should be made with a woof different from that which they habitually used. "Well," said they, "in the absence of the good abbot we will not discontinue our employment; but as you thwart us, we shall make quite a different kind of fabric." So they deliberately set to work to make square carpets with silver lions on a red ground, with a red and white border of various animals! Abbot William was fortunately pleased with the result, and used lions interchangeably with elephants thereafter in his decorations.

At the ninth century tapestry manufactory in Poitiers, an amusing correspondence took place between the Count of Poitou and an Italian bishop, in 1025. Poitou was at that time noted for its fine breed of mules. The Italian bishop wrote to ask the count to send him one mule and one tapestry,--as he expressed it, "both equally marvellous." The count replied with spirit: "I cannot send you what you ask, because for a mule to merit the epithet _marvellous_, he would have to have horns, or three tails, or five legs, and this I should not be able to find. I shall have to content myself with sending you the best that I can procure!"

In 992 the Abbey of Croyland, in England, owned "two large foot cloths woven with lions, to be laid before the high altar on great festivals, and two shorter ones trailed all over with flowers, for the feast days of the Apostles."

Under Church auspices in the twelfth century, the tapestry industry rose to its most splendid perfection. When the secular looms were started, the original beauty of the work was retained for a considerable time; in the tenth century German craftsmen worked as individuals, independently of Guilds or organizations. In the thirteenth century the work was in a flourishing condition in France, where both looms were in use. The upright loom is still used at the Gobelin factory.

As an adjunct to the stained gla.s.s windows in churches, there never was a texture more harmonious than good mediaeval tapestry. In 1260 the best tapestries in France were made by the Church exclusively; in 1461 King Rene of Anjou bequeathed a magnificent tapestry in twenty-seven subjects representing the Apocalypse, to "the church of Monsieur St. Maurice," at Angers.

Although tapestry was made in larger quant.i.ties during the Renaissance, the mediaeval designs are better adapted to the material.

The royal chambers of the Kings of England were hung with tapestry, and it was the designated duty of the Chamberlain to see to such adornment. In 1294 there is mention of a special artist in tapestry, who lived near Winchester; his name was Sewald, and he was further known as "le tapenyr," which, according to M. G. Thomson, signifies tapestrier.

One is led to believe that tapestries were used as church adornments before they were introduced into dwellings; for it was said, when Queen Eleanor of Castile had her bedroom hung with tapestries, that "it was like a church." At Westminster, a writer of 1631 alludes to the "cloths of Arras which adorn the choir."

Sets of tapestries to hang entire apartments were known as "Hallings."

Among the tapestries which belonged to Charles V. was one "worked with towers, fallow bucks and does, to put over the King's boat."

Among early recorded tapestries are those mentioned in the inventory of Philip the Bold, in 1404, while that of Philip the Good tells of his specimens, in 1420. Nothing can well be imagined more charming than the description of a tapestried chamber in 1418; the room being finished in white was decorated with paroquets and damsels playing harps. This work was accomplished for the d.u.c.h.ess of Bavaria by the tapestry maker, Jean of Florence.

Flanders tapestry was famous in the twelfth and fourteenth centuries.

Arras particularly was the town celebrated for the beauty of its work. This famous manufactory was founded prior to 1350, as there is mention of work of that period. Before the town became known as Arras, while it still retained its original name, Nomentic.u.m, the weavers were famous who worked there. In 282 A. D. the woven cloaks of Nomentic.u.m were spoken of by Flavius Vopiscus.

The earliest record of genuine Arras tapestry occurs in an order from the Countess of Artois in 1313, when she directs her receiver "de faire faire six tapis a Arras." Among the craftsmen at Arras in 1389 was a Saracen, named Jehan de Croisetes, and in 1378 there was a worker by the name of Huwart Wallois. Several of its workmen emigrated to Lille, in the fifteenth century, among them one Simon Lamoury and another, Jehan de Rausart. In 1419 the Council Chamber of Ypres was ornamented with splendid tapestries by Francois de Wechter, who designed them, and had them executed by Arras workmen.

The Van Eycks and Memlinc also designed tapestries, and there is no doubt that the art would have continued to show a more consistent regard for the demands of the material if Raphael had never executed his brilliant cartoons. The effort to be Raphaelesque ruined the effect of many a n.o.ble piece of technique, after that.

In 1302 a body of ten craftsmen formed a Corporation in Paris.

The names of several workmen at Lille have been handed down to us. In 1318 Jehan Orghet is recorded, and in 1368, Willaume, a high-warp worker. Penalties for false work were extreme. One of the best known workers in France was Bataille, who was closely followed by one Dourdain.

[Ill.u.s.tration: FLEMISH TAPESTRY, "THE PRODIGAL SON"]

A famous Arras tapestry was made in 1386 by a weaver of the name of Michel Bernard. It measured over two hundred and eighty-five square yards, and represented the battle of Roosebecke. At this time a tapestry worker lived, named Jehanne Aghehe, one of the first attested women's names in connection with this art. In the Treasury of the church of Douai there is mention of three cushions made of high loom tapestry presented in 1386 by "la demoiselle Englise." It is not known who this young lady may have been. France and Flanders made the most desirable tapestries in the fourteenth century. In Italy the art had little vogue until the fifteenth.

Very little tapestry was made in Spain in the Middle Ages,--the earliest well known maker was named Gutierrez, in the time of Philip IV. The picture by Velasquez, known as "The Weavers," represents the interior of his manufactory.

A table cloth in mediaeval times was called a "carpett:" these were often very ornate, and it is useful to know that their use was not for floor covering, for the inventories often mention "carpetts"

worked with pearls and silver tissue, which would have been singularly inappropriate. The Arabs introduced the art of carpet weaving into Spain. An Oriental, Edrisi, writing in the twelfth century, says that such carpets were made at that time in Alicante, as could not be produced elsewhere, owing to certain qualities in both air and water which greatly benefited the wool used in their manufacture.

In the Travels of Jean Lagrange, the author says that all carpets of Smyrna and Caramania are woven by women. As soon as a girl can hold a shuttle, they stretch cords between two trees, to make a warp, and then they give her all colours of wools, and leave her to her own devices. They tell her, "It is for you to make your own dowry." Then, according to the inborn art instinct of the child, she begins her carpet. Naturally, traditions and a.s.sociation with others engaged in the same pursuit a.s.sist in the scheme and arrangement; usually the carpet is not finished until she is old enough to marry.

"Then," continues Lagrange, "two masters, two purchasers, present themselves; the one carries off a carpet, and the other a wife."

Edward II.. of England owned a tapestry probably of English make, described as "a green hanging of wool wove with figures of Kings and Earls upon it." There was a roistering Britisher called John le Tappistere, who was complained of by certain people near Oxford, as having seized Master John of Sh.o.r.editch, and a.s.saulted and imprisoned him, confiscating his goods and charging him fifty pounds for ransom.

It is not stated what the gentleman from Sh.o.r.editch had done thus to bring down upon him the wrath of John the weaver!

English weavers had rather the reputation of being fighters: in 1340 one George le Tapicier murdered John le Dextre of Leicester; while Giles de la Hyde also slew Thomas Tapicier in 1385. Possibly these rows occurred on account of a practical infringement upon the manufacturing rights of others as set down in the rules of the Company. There was a woman in Finch Lane who produced tapestry, with a cotton back, "after the manner of the works of Arras:" this was considered a dishonest business, and the work was ordered to be burnt.

Roger van der Weyden designed a set of tapestries representing the History of Herkinbald, the stern uncle who, with his own hand, beheaded his nephew for wronging a young woman. Upon his death-bed, Herkinbald refused to confess this act as a sin, claiming the murder to have been justifiable and a positive virtue. Apparently the Higher Powers were on his side, too, for, when the priest refused the Eucharist to the impertinent Herkinbald, it is related that the Host descended by a miracle and entered the lips of the dying man. A dramatic story, of which van der Weyden made the most, in designing his wonderfully decorative tapestries. The originals were lost, but similar copies remain.

As early as 1441 tapestries were executed in Oudenardes; usually these were composed of green foliage, and known as "verdures." In time the names "verdure" and "Oudenarde" became interchangeably a.s.sociated with this cla.s.s of tapestry. They represented woodland and hunting scenes, and were also called "Tapestry verde," and are alluded to by Chaucer.

Curious symbolic subjects were often used: for instance, for a set of hangings for a banquet hall, what could be more whimsically appropriate than the representation of "Dinner," giving a feast to "Good Company," while "Banquet" and "Maladies" attack the guests!

This scene is followed by the arrest of "Souper" and "Banquet" by "Experience," who condemns them both to die for their cruel treatment of the Feasters!

There is an old poem written by a monk of Chester, named Bradshaw, in which a large hall decorated with tapestries is described as follows:

"All herbs and flowers, fair and sweet, Were strawed in halls, and layd under their feet; Cloths of gold, and arras were hanged on the wall, Depainted with pictures and stories manifold Well wrought and craftely."

A set of tapestries was made by some of the monks of Troyes, who worked upon the high loom, displaying scenes from the Life of the Magdalen. This task was evidently not devoid of the lighter elements, for in the bill, the good brothers made charge for such wine as they drank "when they consulted together in regard to the life of the Saint in question!"

Among the most interesting tapestries are those representing scenes from the Wars of Troy, in South Kensington. They are crowded with detail, and in this respect exhibit most satisfactorily the beauties of the craft, which is enhanced by small intricacies, and rendered less impressive when treated in broad ma.s.ses of unrelieved woven colour. Another magnificent set, bearing similar characteristics, is the History of Clovis at Rheims.

There is a fascinating set of English tapestries representing the Seasons, at Hatfield: these were probably woven at Barcheston.

The detail of minute animal and vegetable forms--the flora and fauna, as it were in worsted--are unique for their conscientious finish. They almost amount to catalogues of plants and beasts.

The one which displays Summer is a herbal and a Noah's Ark turned loose about a full-sized Cla.s.sical Deity, who presides in the centre of the composition.

Among English makers of tapestries was a workman named John Bakes, who was paid the magnificent sum of twelve pence a day, while in an entry in another doc.u.ment he is said to have received only fourpence daily.

The Hunting Tapestries belonging to the Duke of Devonshire are as perfect specimens as any that exist of the best period of the art. They are represented in colour in W. G. Thomson's admirable work on Tapestries, and are thus available to most readers in some public collection.

Another splendidly decorative specimen is at Hampton Court, being a series of the Seven Deadly Sins. They measure about twenty-five by thirteen feet each, and are worked in heavy wools and silks.

As technical facility developed, certain weaknesses began to show themselves. Tapestry weavers had their favourite figures, which, to save themselves trouble, they would often subst.i.tute for others in the original design.

Arras tapestries were no longer made in the sixteenth century, and the best work of that time was accomplished in the Netherlands. About 1540 Brussels probably stood at the head of the list of cities famous for the production of these costly textiles.

The Raphael tapestries were made there, by Peter van Aelst, under the order of Pope Leo X. They were executed in the s.p.a.ce of four years, being finished in 1519, only a year before Raphael's death.

In the sixteenth century the Brussels workers began to make certain "short cuts" not quite legitimate in an art of the highest standing, such as touching up the faces with liquid dyes, and using the same to enhance the effect after the work was finished. A law was pa.s.sed that this must not be done on any tapestry worth more than twelve pence a yard. In spite of this trickery, the Netherlandish tapestries led all others in popularity in that century.

It was almost invariable, especially in Flemish work, to treat Scriptural subjects as dressed in the costume of the period in which the tapestry happened to be made. When one sees the Prodigal Son attired in a delightful Flemish costume of a well-appointed dandy, and Adam presented to G.o.d the Father, both being clothed in Netherlandish garments suitable for Burgomasters of the sixteenth century, then we can believe that the following description, quoted by the Countess of Wilton, is hardly overdrawn. "In a corner of the apartment stood a bed, the tapestry of which was enwrought with gaudy colours, representing Adam and Eve in the Garden of Eden.... Adam was presenting our first mother with a large yellow apple gathered from a tree which scarcely reached his knee....

To the left of Eve appeared a church, and a dark robed gentleman holding something in his hand which looked like a pin cushion, but doubtless was intended for a book; he seemed pointing to the holy edifice, as if reminding them that they were not yet married! On the ground lay the rib, out of which Eve, who stood a head higher than Adam, had been formed: both of them were very respectably clothed in the ancient Saxon costume; even the angel wore breeches, which, being blue, contrasted well with his flaming red wings."

In France, the leading tapestry works were at Tours in the early sixteenth century. A Flemish weaver, Jean Duval, started the work there in 1540. Until 1552 he and his three sons laboured together with great results, and they left a large number of craftsmen to follow in their footsteps.

In Italy the art had almost died out in the early sixteenth century, but revived in full and florid force under the Raphaelesque influence.

King Rene of Anjou collected tapestries so a.s.siduously that the care and repairing of them occupied the whole time of a staff of workers, who were employed steadily, living in the palace, and sleeping at night in the various apartments in which the hangings were especially costly.

Queen Jeanne, the mother of Henri IV., was a skilled worker in tapestry. To quote Miss Freer in the Life of Jeanne d'Albret, "During the hours which the queen allowed herself for relaxation, she worked tapestry and discoursed with some one of the learned men whom she protected." This queen was of an active mental calibre and one to whom physical repose was most repugnant. She was a regular and pious attendant at church, but sitting still was torture to her, and listening to the droning sermons put her to sleep. So, with a courage to be admired, Jeanne "demanded permission from the Synod to work tapestry during the sermon. This request was granted; from thenceforth Queen Jeanne, bending decorously over her tapestry frame, and busy with her needle, gave due attention."

The Chateau of Blois, during the reign of Louis XII. and Ann of Brittany, is described as being regally appointed with tapestries: "Those which were hung in the apartments of the king and queen,"

says the chronicler, "were all full of gold; and the tapestries and embroideries of cloth of gold and of silk had others beneath them ornamented with personages and histories as those were above.

Indeed, there was so great a number of rich tapestries, velvet carpets, and bed coverings, of gold and silk, that there was not a chamber, hall, or wardrobe, that was not full."