Tapestry

Tapestry simply means woven, weaving is one of the earliest techniques for producing cloth. Tapestry is woven on the loom which evolved with great similarity throughout the world and changed very little. Hand woven tapestries have an integral design because the warp is woven in sections of color and then compressed. This gives an unbroken surface. The closer the warp (vertical threads) the finer the detail possible.

The first tapestries came from the East where civilization flourished before western culture had emerged. The Chinese wove fine reversible silk tapestries until 700AD, the design often based on 'The Tree of Life.' It is interesting to note the repeated appearance of this pattern and it's influence on tapestry design from it's very beginnings.

In ancient Egypt tapestries exist from 2000BC of simple patterns. However Coptic weavings (dating from the Roman period) are significant because they are the earliest examples of tapestries as we know them. Produced from linen and wool the motifs were bold, simple and naively pictorial. By 4AD Christian motifs were introduced. Early Peruvian weavings were discovered in the same way as Coptic tapestries, in tombs and burials. Peruvian weavings depict the stylized figures we associate with the Incas and were woven in Camel hair. The Spanish conquest of 1532 led to the cross fertilization of design. Tribal and ethnic weaving through out the world possessed similarities in design.

The Greeks and Romans prized tapestries. They were probably the first to bring them to Europe. The Greeks are thought to have lined the walls of the Parthenon with tapestries. The Emperor Nero commissioned a large awning to be woven of Apollo. No examples of Roman tapestry exist today. The Moorish invasion of Spain reintroduced tapestries to Europe in the 8th Century. From Spain the weaving of tapestries crossed to France. Crusaders from England returned with tapestries from the Holy Land. Poitiers in France was the first production centre for tapestries.

Skilled French weavers fled religious persecution in Paris to Arras and Flanders. The Flanders soil was ideal for the growth of plants needed to produce dyes and there was plentiful water. These factors made Flanders the dominant tapestry producing area for three centuries.

Tapestries were extremely precious. They were easily transported. They became the spoils of war and often changed hands several times. As they grew in value Antwerp became tapestry market of Europe. Many an English castle was decorated with the spoils of the Hundred Years War.

When the Europeans began weaving tapestries in the middle ages dyes became of great importance. Albi in France was noted for its production of dyes. The distinctive indigo blue that is associated with Verdure tapestries was derived from woad. Cochineal and Lac both made from insects produced various colors. Madder, pomegranates and cherries all made a red dye. Gold and silver gilt threads would also sometimes be incorporated. Many early tapestries were woven in monasteries and convents. inspiration came from illuminated manuscripts and religious paintings. They were used to instruct the illiterate in the scriptures. Secular weavers worked designs around classical myths, history, ancient symbols and patterns, for example the ubiquitous 'Tree of Life.'

The Medieval tapestries are charming because the weavers skill and pleasure in his craft are reflected in their execution. Medieval castles needed tapestries for them to become habitable. They became more widely available to minor noblemen and even merchant classes. The designs were often heraldic or domestic. The first beds were hung with tapestries The nobleman and his wife would sleep in the great hall with all their servant for security. Tapestries provided warmth and privacy. This was how the four poster bed evolved.

One of the finest examples of 14th and 15th century tapestries is the 'Lady and the Unicorn' hangings discovered by George Sand rotting in a French chateaux and now in the Cluney museum, Paris. They show the five senses in the Mille Flures style, literally 'many flowers.'

Tapestries were portable and precious textiles they would be taken from castle to castle or even used as the back drop for 'mystery plays.' On military campaigns tapestries were transported ahead of armies , they would be rolled up becoming worn and muddy and constantly re-hung.

When a hanging became out dated it would be removed from public rooms to smaller private chambers where it would often be folded or cut to fit. Tapestry pieces would be removed to fit around doors or fire places. The walls were often dripping wet, even prized ceremonial tapestries were stored in damp attics and cellars. Tapestry off-cuts were often made into pillows, or cushions other simply rotted away, we are still left with many fragments in excellent condition today. One of the earliest, especially woven, pillow cover still in existence is the 15th century 'Das Kinhorn Mit Juny Frau' from the Rein, the Unicorn being a popular theme.

In the 16th and 17th centuries tapestries became increasingly based on paintings and more accessible to the middle classes. By the Renaissance working sketches known as 'cartoons' were used in designs. The Raphael cartoons 'The Acts of the Apostles' are the oldest surviving. the great painters of the day designed the tapestries this way. The Raphael cartoons were commissioned by Leo X for the Sistine Chapel in 1515. They were bought by Charles I of England and given to the weavers of Mortlake. In 1699 they were carefully pieced together and hung in Hampton Court Palace, London. The weavers would have cut the design into sections to work on. Recently restored they now hang in the Victoria and Albert museum, London.

Vast and impressive cartoons were an important influence on artists and designers. The greatest painters of the age designed priceless textiles that can be considered art rather than craft. The tapestries lost their naïve spontaneity, but became splendid works of art. The tapestries designed by Rubens and others were considered superior to the Verdure tapestries.

During the 16th century tapestries were still popular for interior design. At Hampton Court during Henry VII reign tapestries were used as screens to divide its large main room which was still the most important living area. The walls were hung with along horizontal strip or border often of heraldic design. Royal patronage meant the court had an influence on design. In the 16th century Henry Bradshaw mentions a wonderful 'Arras' with scenes from the Bible displayed at Ely Cathedral. it was not until James I that the first authenticated English tapestry was produced at Mortlake under Sir Francis Gane in 1619. It closed in 1703 and represents the only important attempt to introduce tapestry manufacture into the United Kingdom.

Tapestry production was prolific throughout Europe at this time and the Huguenot weavers produced some fine examples. The Goblains factory in France produced the most exquisite tapestries from 1663 for Louis XIV. The Beavais factory was started the following year. Beavais specialized in 'Grotesque' designs with architectural elements, inspiration came from Ephesus and ancient Greek ruins. They remained popular until the 18th century. With skilled Huguenot weavers and pure water for clear bright dyes the small French town of Aubusson had been weaving tapestries from the middle ages, It became successful weaving for the affluent middle classes in the 1740's soho workshops were founded.

By the 18th century the tapestry weavers were responding to the new vogue for Chinoiserie and Rococo. The cartoons of Francis Boucher dominated 18th century romantic idyllic scenes. Fragonard and Wateau also produced delightful idealized scenes of light golden coloring. By the 18th century there were many forms of wall covering, paintings, mirrors, wallpaper, all more suited to Rococo and neo classical interiors. Tapestries of Arabesque, pastoral or romantic designs were used in much the same way as wallpaper. Tapestries would be cut to fit a room, precious off cuts were used in lesser houses.

Smaller domestic weavings, larger than needlepoint but still 'of a size', were required. Sets of upholstery, portieres, and entre-fenetre, fire screens and pillows. Tapestries were used in the Boudoir and Dinning room as well as State rooms. Horace Walpole paid £104 12 shillings and 6 pence in 1717 for tapestry covered furniture, a considerable amount at the time. Osterly Park in England designed by Robert Adam, has a fine example of a tapestry lined room.

The French revolution of 1789 caused a decline in the fortunes of the Beauvais and Goblelin factories. Many 'decadent' tapestries were destroyed. This left Aubusson as the dominant producer of tapestry into the 19th century where they continued to weave 18th century designs for the bourgeois.

The lack of new designs led to stagnation. It appears the tapestries of the 18th century were the peak of the weavers achievements. It was not until the Arts and Crafts movement that a completely fresh approach was taken to tapestry weaving.