Tapestry - Knowledge

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straight path deeper and deeper into tapestry, through my studies in Scotland and Poland, my 8 years as a studio weaver in England and Australia and since 1987 as an independent tapestry artist. The demanding creative ethos of the tapestry department gave me the confidence, motivation and self-discipline I needed to move out into the world as a professional tapestry weaver and artist. What was most inspiring for me as a young student was that my tutors in the department were all practising, exhibiting artists engaging positively with what was then a cutting edge international Fibre Art movement.

1060: 1250: 1787: 2047: 554: 457: 35: 1830:. The Polish work submitted to the first Biennale, which opened in 1962, was quite novel. Traditional workshops in Poland had collapsed as a result of the war. Also art supplies in general were hard to acquire. Many Polish artists had learned to weave as part of their art school training and began creating highly individualistic work by using atypical materials like jute and sisal. With each Biennale the popularity of works focusing on exploring innovative constructions from a wide variety of fiber resounded around the world. 1705: 186: 1336: 829: 3996: 2131: 1889: 206: 1877: 1869:(ATA), founded in 1982, organised biennial juried exhibitions starting in 1986. The biennials were planned to coincide with the Handweavers Guild or America's "Convergence" conferences. The new potential for seeing the work of other tapestry artists and the ability to observe how one's own work might fare in such venues profoundly increased the awareness of a community of like-minded artists. Regional groups were formed for producing exhibits and sharing information. 1556: 27: 890:(d. 1404) was probably an even more extravagant spender, and presented many tapestries to other rulers around Europe. Several of the tapestry-weaving centres were in his territories, and his gifts can be seen as a rather successful attempt to spread the taste for large Flemish tapestries to other courts, as well as being part of his attempt to promote the status of his duchy. Apart from Burgundy and France, tapestries were given to several of the English 1447: 799:, by then clearly the main centre, required its weavers to mark tapestries of any size with the city's mark and that of the weaver or merchant. At any one time from 1350 to 1600 probably only one or two centres could produce the largest and finest royal orders, and groups of highly skilled weavers migrated to new centres, often driven to move by wars or the plague. At first Paris led the field, but the English occupation there after 1418 sent many to 657: 1834:

others in countries all over the world, were excited about the Polish trend towards experimental forms. Throughout the 1970s almost all weavers had explored some manner of techniques and materials in vogue at the time. What this movement contributed to the newly realized field of art weaving, termed "contemporary tapestry", was the option for working with texture, with a variety of materials and with the freedom for individuality in design

4775: 1842: 1000: 1332:, who replaced the Valois as the dominant patrons. At the start of the century Tournai was perhaps still the largest weaving centre, but after a plague it was replaced by Brussels, which as the Netherlandish administrative capital of the Valois and Habsburgs in recent decades was probably already the main centre for the highest quality weaving by 1500. But there were many other towns where tapestries were woven. 1648: 4514: 1264:

suffered more than most from colour changes as the greens of tapestries are especially prone to fade, or turn to blues. Smaller tapestries of this type remained popular until the 18th century, and had the advantage that workshops could make them without a specific order, and distribute them across Europe via a network of dealers. From about 1600 they followed the wider trends in European

1600:, and the tapestries still in the royal palaces. As with Raphael's cartoons for the Sistine Chapel tapestries, modern critics tend to prefer the cartoons. The works were privately owned by the van der Gotens and descendants until 1997, and the last member of the family resigned as chair in 2002. Apart from pauses during wars, the works has continued to produce tapestries. 157:); the artisan interlaces each coloured weft back and forth in its own small pattern area. It is a plain weft-faced weave having weft threads of different colours worked over portions of the warp to form the design. European tapestries are normally made to be seen only from one side, and often have a plain lining added on the back. However, other traditions, such as Chinese 1373:. From 1528 tapestries of larger sizes made in Brussels had to be so marked, and with the maker's or dealer's mark, making the task of the historian much easier. After an agreement between the relevant guilds in 1476, the cartoons for the main designs had to be supplied by a member of the painters' guild, while the weavers could elaborate these with detail, especially in 75:. Normally it is used to create images rather than patterns. Tapestry is relatively fragile, and difficult to make, so most historical pieces are intended to hang vertically on a wall (or sometimes in tents), or sometimes horizontally over a piece of furniture such as a table or bed. Some periods made smaller pieces, often long and narrow and used as borders for other 1885:

A primary cause for discarding the practice was the fact that only one student could use the equipment for the duration of a project whereas in most media, like painting or ceramics, the easels or potters wheels were used by several students in a day. Worldwide, people from all different cultures began adopting these forms of decor for profession and personal use.

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best pieces were now extremely large, and extremely expensive, very often made in sets, and often showed complicated narrative or allegorical scenes with large numbers of figures. They were made in large workshops concentrated in a number of cities in a relatively small region of northern France and the

241:, the earliest use in English was in a will of 1434, mentioning a "Lectum meum de tapstriwerke cum leonibus cum pelicano". They give a wide definition, covering: "A textile fabric decorated with designs of ornament or pictorial subjects, painted, embroidered, or woven in colours, used for wall hangings, 1884:

By the new millennium however, fault lines had surfaced within the field. Many universities that previously had strong weaving components in their art departments, such as San Francisco State University, no longer offered handweaving as an option as they shifted their focus to computerized equipment.

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After about 1520 the top workshops moved away from millefleur settings towards naturalistic landscape, with all the elements sized at a consistent perspective scale. Tapestries whose main content was landscape and animals are known as verdure subjects (from the French for "greenery"). This genre has

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in 1834, but are known from prints. Both sets adopted a high and distant aerial view, which continued in many later sets of land battles, often combined with a few large figures in the foreground. The French tapestries commissioned by Louis XIV of the victories early in his reign were of this type.

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It is a feature of tapestry weaving, in contrast to painting, that weaving an area of the work containing only relatively plain areas of the composition, such as sky, grass or water, still involves a relatively large amount of slow and skilled work. This, together with the client's expectation of an

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Before reaching the weaving workshop, the commissioning process typically involved a patron, an artist, and a merchant or dealer who sorted out the arrangements and contracts. Some tapestries seem to have been made for stock, before a customer had emerged. The financing of the considerable costs of

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As paintings came to be regarded as more important works of art, typically by the 17th century, tapestries in palaces were moved less, and came to be regarded as more or less permanent fittings for a particular room. It was at this point that many old tapestries were cut to allow fitting around doors

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in the 1530s for the Habsburgs, one of the most successful efforts to achieve an up-to-date Renaissance style. Technically, Brussels tapestries in the last quarter of the 15th century had already become sophisticated enough to begin to incorporate more illusionistic elements, distinguishing between

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The millefleur style was used for a range of different subjects from about 1400 to 1550, but mainly between about 1480 and 1520. In many subjects the millefleur background stretches to the top of the tapestry, eliminating any sky; the minimization of sky was already a feature of tapestry style; the

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shape, of a large long tapestry that is relatively short in height. These were apparently designed to hang around a hall or church, probably rather high; surviving examples have nearly all been preserved in churches, but may originally have been secular. The Cloth of Saint Gereon, from around 1000,

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in Northern California where, twenty years earlier, Mark Adams, an eclectic artist, had two exhibitions of his tapestry designs. He went on to design many large tapestries for local buildings. Hal Painter, another well-respected artist in the area became a prolific tapestry artist during the decade

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is a tapestry weave, normally using silk on a small scale compared to European wall-hangings. Clothing for the court was one of the main uses. The density of knots is typically very high, with a gown of the best quality perhaps involving as much work as a much larger European tapestry. Initially

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Millefleur backgrounds became very common for heraldic tapestries, which were one of the most popular relatively small types, usually more tall than wide. These usually featured the coat of arms of the patron in the centre, with a wide floral field. They would often be hung behind the patron when

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The desire of many artists for greater interaction escalated as an international tapestry symposium in Melbourne, Australia in 1988 lead to a second organization committed to tapestry, the International Tapestry Network (ITNET). Its goal was to connect American tapestry artists with the burgeoning

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A decisive shift in European tapestry history came around 1350, and in many respects set the pattern for the industry until the end of its main period of importance, in the upheavals following the French Revolution. The tapestries made for the very small number of customers able to commission the

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Many smaller pieces were made as covers for furniture or cushions, or curtains and bed hangings. Others, especially in the case of those made for patrons outside the top of the elite, were cut up and reused for such functions when they, or tapestries in general, came to seem old-fashioned. Bags,

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the threads was usually a female preserve. Apart from the design and materials, the quality of tapestries varies with the tightness of the weaving. One modern measure of this is the number of warp threads per centimetre. It is estimated that a single weaver could produce a square yard of medium

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can be used, including upright or "high-warp" looms, where the tapestry is stretched vertically in front of the weaver, or horizontal "low-warp" looms, which were usual in large medieval and Renaissance workshops, but later mostly used for smaller pieces. The weaver always works on the back of the

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In English, "tapestry" has two senses, both of which apply to most of the works discussed here. Firstly it means work using the tapestry weaving technique described above and below, and secondly it means a rather large textile wall hanging with a figurative design. Some embroidered works, like the

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500 years ago it was already extremely sophisticated in its development-- aesthetically, technically and in diversity of purpose. Today, its lack of a defined purpose, its rarity, gives me an opportunity to seek new roles, to extend its historic language and, above all, to dominate my compulsive,

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There were many weavers in pre-war United States, but there had never been a prolonged system of workshops for producing tapestries. Therefore, weavers in America were primarily self-taught and chose to design as well as weave their art. Through these Lausanne exhibitions, US artists/weavers, and

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At the same time, "fiber art" had become one of the most popular mediums in their art programmes. Young artists were interested in exploring a wider scope of processes for creating art through the materials classified as fibre. This shift to more multimedia and sculptural forms and the desire to

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Early in the 1980s many artists committed to getting more professional and often that meant travelling to attend the rare educational programmes offered by newly formed ateliers, such as the San Francisco Tapestry Workshop, or to far-away institutions they identified as fitting their needs. This

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There was always some tapestry weaving, mostly in rather smaller workshops making smaller pieces, in other towns in northern France and the Low Countries. This was also the case in other parts of Europe, especially Italy and Germany. From the mid-16th century many rulers encouraged or directly

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could fold up and transport tapestries from one residence to another. Many kings had "wardrobe" departments with their own buildings devoted to the care, repair, and movement of tapestries, which were folded into large canvas bags and carried on carts. In churches, they were displayed on special

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I came to tapestry after several years of exploring complex weaves. I became enamored with tapestry because of its simplicity — its straightforward qualities. It allowed me to investigate form or image or texture, and it had the structural integrity to hold its own form. I loved the substantial

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weaving his own designs. He was one of the main artists to "...create the atmosphere which helped give birth to the second phase of the contemporary textile movement – textiles as art – that recognition that textiles no longer had to be utilitarian, functional, to serve as interior decoration."

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In the 1980s it became clear that the process of weaving weft-faced tapestry had another benefit, that of stability. The artists who chose tapestry as their medium developed a broad range of personal expression, styles and subject matter, stimulated and nourished by an international movement to

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on was produced by a professional artist, who often had little or no further involvement in the process. The cartoon was traced onto the warp lines by the weaver, and then placed where it could still be seen, sometimes through a mirror, when it hung behind the weaver. With low-warp looms the

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My passion for tapestry arrived suddenly on the first day of my introduction to it in my first year at ECA I don't remember ever having consciously thought about tapestry before that day but I somehow knew that eventually I'd be really good at this. From that day I have been able to plough a

5719: 2110: 2108: 2105: 991:(1530s, Louvre), made in Brussels for a Habsburg patron, show an advanced Renaissance compositional style adapted to tapestries. These have a hunting scene for each month in the year, and also show specific locations around the city. Goya was still designing hunting scenes in the 1770s. 569:

Much is unclear about the early history of tapestry, as actual survivals are very rare, and literary mentions in Greek, Roman and other literature almost never give enough detail to establish that a tapestry technique is being described. From ancient Egypt, tapestry weave pieces using

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established workshops capable of high-quality work in their domains. This was most successful in France, but Tuscany, Spain, England and eventually Russia had high-quality workshops, normally beginning with the importation of a group of skilled workers from the "Flemish" centres.

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to canvas, allowing a far greater size, and began to compete seriously with tapestries. The authenticity of the master's touch that paintings allowed, but tapestry did not, became appreciated by the most sophisticated patrons, including the Habsburgs. However, Charles V and

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and weddings, they would sometimes be displayed outside. The largest and best tapestries, designed for more public spaces in palaces, were only displayed on special occasions, reducing wear and fading. Presumably the smaller personal rooms were hung permanently.

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international community. The magazines were discontinued in 1997 as communicating digitally became a more useful tool for interactions. As the world has moved into the digital age, tapestry artists around the world continue to share and inspire each other's work.

2107: 978:(1430-1450, V&A), probably made in Arras, are perhaps the largest set of 15th-century survivals, showing the hunting of bears, boars, deer, swans, otters, and falconry. Very fashionably dressed ladies and gentlemen stroll around beside the slaughter. 3321:

2 .Giselle Eberhard Cotton "The Lausanne International Tapestry Biennales (1962-1995) The Pivotal Role of a Swiss City in the 'New Tapestry' Movement' in Eastern Europe After World War II" Textile Society of America 13th Biennial Symposium, Washington DC

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disrupted all the Netherlands. Brussels had a revival in the early 17th century, but from around 1650 the French factories were increasingly overtaking it, and remained dominant until both fashion and the upheavals of the French Revolution and the

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What distinguishes the contemporary field from its pre-World War II history is the predominance of the artist as weaver in the contemporary medium. This trend has its roots in France during the 1950s, where one of the "cartoonists" for the

2013:, where he noticed that the perceived colour of a particular thread was influenced by its surrounding threads, a phenomenon he called "simultaneous contrast". Chevreul's work was a continuation of theories of colour elaborated by 1539:, using Flemish weavers at the start, and in the 1620s and 1630s were producing some of the best quality tapestry in Europe. The Medici workshop in Florence continued, and from 1630 was joined by one in Rome, started by Cardinal 695:, actually an embroidery, which is 68.38 metres long and 0.5 metres wide (224.3 ft × 1.6 ft) and would have been even longer originally. This was made in England, probably in the 1070s, and the narrative of the 898:(as part of a ransom deal for the duke's son). None of the tapestries Philip commissioned appear to survive. Philip's taste for tapestries was to continue very strongly in his descendants, including the Spanish Habsburgs. 1687:

Traditional tapestries are still made at the Gobelins factory in Paris, and the royal factory in Madrid. They and a few other old European workshops also repair and restore old tapestries; the main British workshop is at

440:, survive in versions with precious metals and other versions without. Using silk might increase the cost by four times, and adding gold thread increased the cost enormously, to perhaps fifty times that of wool alone. 2632:

is a modern series of embroidered cloths, made up of 160 hand stitched panels, depicting aspects of the history of Scotland from 8500 BC until 2013. At 143 metres (469 ft) long, it is the longest tapestry in the

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style to tapestry, and the top northern designers now attempted to adopt it, which was rather a struggle for them, although the wide distribution of prints across Europe gave them one easy route, which many took.

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had made them fight for her sake." Though the composition of the Iliad spanned a period of approximately 700 years, it is worth noting that this method of weaving was in common use in or before the eighth century

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once called tapestries "nomadic murals"). The fully hand-woven tapestry form is more suitable for creating new figurative designs than other types of woven textile, and the looms could be much larger. Kings and

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produce work more quickly had the effect of pushing contemporary tapestry artists inside and outside the academic institutions to ponder how they might keep pace in order to sustain visibility in their art form.

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effect of overpowering magnificence, and the remoteness of the main centres from Italian influence, led to northern compositions remaining crammed with figures and other details long after classicizing trends in

1998:, the repeating series of multicoloured warp and weft threads can be used to create colours that are optically blended – i.e., the human eye apprehends the threads' combination of values as a single colour. 621:, who is named in Greek letters. It is 114 x 136.5 cm (44.9 x 53.7 inches) with a rounded top, and was presumably hung in a home, showing the persistence of Greco-Roman paganism at this late date. The 2690:

Campbell and Ainsworth, 5 - "The word tapestry is now widely used to describe a range of textiles, ... but historically and technically it designates a figurative weft-faced textile woven by hand on a loom"

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is an embroidered cloth — not an actual tapestry — nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England, likely made in England — not Bayeux — in the

869:(d. 1362), whose inventories reveal they owned hundreds of tapestries between them. Almost the only clear survival from these collections, and the most famous tapestry from the 14th century, is the huge 684:, from Sweden and dated to within 70 years of 1100, have designs in which animals greatly outnumber human figures, and have been given various interpretations. One strip has geometrical motifs. The 1465:

The early part of the 17th century saw the taste for tapestry among the elite continuing, although painting was steadily gaining ground. Brussels remained much the most important weaving centre, and

2307:, four Flemish tapestries dating from the mid-fifteenth century depict men and women in fashionable dress of the early fifteenth century hunting in a forest. The tapestries formerly belonged to the 478:

occasions. Tapestries were also draped on the walls of palaces and castles for insulation during winter, as well as for decorative display. For special ceremonial processions such as coronations,

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revive and renew tapestry traditions from all over the world. Competing for commissions and expanding exhibition venues were essential factors in how artists defined and accomplished their goals.

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threads are hidden in the completed work, unlike most woven textiles, where both the warp and the weft threads may be visible. In tapestry weaving, weft yarns are typically discontinuous (unlike

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a tapestry or hanging celebrating his deeds, presumably in the style of the Bayeux Tapestry, the only surviving example of such a work. This was given immediately after his death in 991 at the

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setting up a workshop is often obscure, especially in the early period, but rulers supported some workshops, or other wealthy people. The merchants or dealers were very likely also involved.

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and windows. They also often suffered the indignity of having paintings hung on top of them. Some new tapestries were made to fit around a specific room; the design of the Gobelins set from

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creative drive. In 1967, I made a formal decision to step away from the burgeoning and exciting fiber arts movement and to refocus on woven tapestry's long-established graphic pictorial role.

353:"Tapestry" was not the common English term until near the end of the classic period for them. If not just called "hangings" or "cloths", they were known as "arras", from the period when 495:

when this became the main remaining market. In the case of tapestries with precious metal thread, they might be burned to recover the metal, as Charles V's soldiers did to some of the

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show an early stage of the style. Prominent millefleur backgrounds, as opposed to those mostly covered with figures, are especially a feature of allegorical and courtly subjects.

2009:, a French chemist responsible for developing the colour wheel of primary and intermediary hues. Chevreul worked as the director of the dye works at Les Gobelins tapestry works in 1438:

continued to spend huge sums on tapestries, apparently believing them the most magnificent form of decoration, and one that maintained continuity with their Burgundian ancestors.

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Jan Janeiro, "Northern California Textile Artists: 1939 – 1965" "The Fabric of Life: 150 years of Northern California Fiber Art History" San Francisco State University 1997 p.23

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The 16th century continued the taste for tapestry, and was arguably the finest period in the history of the medium. By now the tapestry-producing towns were mostly ruled by the

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Hunting scenes were also very popular. These were usually given no specific setting, although sometimes the commissioner and other figures might be given portraits. The four

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Campbell (2008): Campbell, Thomas P. "How Medieval and Renaissance Tapestries Were Made." 2008, Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art,

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with the inevitable imported Flemish director. Both the Mortlake and Rome workshops petered out around the end of the century. In Germany, workshops were established in

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Contemporary military subjects became rather less popular as many 16th-century wars became religious, sometimes allegorical subjects were chosen to cover these. But the

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specialized in these, but they were produced in many towns. As with paintings, the addition of a figure or two could elevate such pieces to a depiction of a story from

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There were many 15th-century sets of contemporary wars, especially celebrating Habsburg victories. Charles V commissioned a large set after his decisive victory at the

1524:, probably a continuation of earlier small workshops, continued but was to become more significant in the next century. The Gobelins works, fed designs in the latest 134:

patrons until at least the end of the 16th century, if not beyond. The European tradition continued to develop and reflect wider changes in artistic styles until the

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Around the start of the century there was increased interest in landscape subjects, some still with hunting scenes, but others showing genre subjects of rural life.

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was a smaller weaving centre that seems to have specialized in these. Earlier types of heraldic tapestries had often repeated elements of the heraldry in patterns.

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are not much different in size. Trees are usually far too small and out of scale with the flowers around them, a feature also generally found in medieval painting.

807:, until a serious plague early in the next century. Brussels had been growing in importance, and now became the most important centre, which it remained until the 533:, canopy of state or cloth of state was hung behind and over a throne as a symbol of authority. The seat under such a canopy of state would normally be raised on a 402:, or possibly another tapestry; depending on the set up, this reverses (is a mirror image of) the tapestry image. The cartoon was generally created from a smaller 182:

on European tapestries could be very large, with images containing dozens of figures. They were often made in sets, so that a whole room could be hung with them.

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is among the best and most representative French tapestries of the fifties. It is a tribute to Saint-Saens's predilection for scenes from nature and rustic life.

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Tentures des Indes is a ten-piece tapestry set made between 1708 and 1710 are the only intact collection in existence made by the famous French manufacturer the

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4 Linda Rees, "Towards a Proactive Outreach Political Strings: Tapestry Seen and Unseen", Textile Society of America 13th Biennial Symposium, Washington DC 2012

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The new style of grand tapestries that were large and often in sets mostly showed subjects with large numbers of figures representing narrative subjects. The

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spearheaded a revival of the medium by streamlining colour selection, thereby simplifying production, and by organizing a series of Biennial exhibits held in

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have adapted the computerised Jacquard process to producing fine art. Typically, tapestries are translated from the original design via a process resembling

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of similar date. Many of the small borders and patches with images with which the early Byzantine world liked to decorate their clothing were in tapestry.

3138: 545:, now in New York, has a large field with an ornamental design that could easily be adjusted in size to fit the measurements of the customer's room. 2621:

is a 267 feet long embroidery, begun in the 1980s, which depicts the colonisation of the Americas between 1583 and 1648, which was displayed at the

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by the court artists, became increasingly dominant over the rest of the century, and by 1700 was the most admired and imitated workshop in Europe.

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are also types of tapestry work, the designs of both mostly restricted to geometrical patterns similar to those of other rug weaving techniques.

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The principles articulated by Chevreul also apply to contemporary television and computer displays, which use tiny dots of red, green and blue (

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Pieces in wool, given a wide range of dates around two millennia ago, have been found in a cemetery at Sanpul (Shampula) and other sites near

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Tapestry tools on a loom: mirror, bones (wrapped with yarn), scraper (with short teeth), heavy comb (double-ended, to batten the weft), and

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in the 1620s, blending Western and Chinese styles. Most of the hangings are embroidery, but the faces and flesh parts of the figures are

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In this period repeated decorative motifs, increasingly often heraldic, and comparable to the styles of imported luxury fabrics such as

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After a probable gap since the 11th century, in the late 14th century sets of tapestries returned as the grandest medium for "official

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different textures in their subject-matter, and including portraits of individuals (now mostly unknown) rather than generic figures.

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cartoon was usually cut into strips and placed beneath the weaving, where the weaver could see it through the "web" of threads. The

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During the second half of the century, the main Brussels workshops gradually closed, the last in 1794. Tapestry suited neither

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and probably Hellenistic in origin, apparently came from a large wall-hanging, but had been reused to make a pair of trousers.

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Susan Iverson "A Brief History of Teaching Tapestry" American Tapestry Alliance Tapestry Topics, Summer 2007 Vol 33 No 2. p.17

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in 1393 to negotiate a peace treaty; Gaunt regarded the subject-matter as inappropriate for the occasion. The Portuguese

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he sat in state or dined, and were made for many nobles who could not afford the huge narrative sets bought by royalty.

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In European "industrial" tapestries the warp threads were normally wool, but in more artisanal settings, and older ones,

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in Germany around 1200, and shaped differently to fit specific spaces. These may well have been made by nuns, or the

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work, which can lead to confusion, especially with pieces such as furniture covers, where both techniques are used.

5392: 4600: 4530: 3978: 3751: 2965: 2275:. It was woven between 1373 and 1382. Originally 140 m (459 ft), the surviving 100m are displayed in the 1905: 1317: 1205: 1170:

ordered it from the workshop of Maarten Reymbouts the Younger in Brussels, to be first seen on the occasion of his

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used for small pieces, often with animal, bird and flower decoration, or dragons for imperial clothing, under the

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brought Jacob van der Goten and six of his sons to Madrid. Much the best known tapestries are those designed by

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of Poland and Lithuania. Ownership of smaller tapestries was also spreading more widely through the nobility and

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Production in Paris revived from 1608, flagging in the civil wars of the 1640s, but starting again in 1658 when

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Opportunities for entering juried tapestry exhibitions were beginning to happen by 1986, primarily because the

174:, although large pieces of embroidery with images are sometimes loosely called "tapestry", as with the famous 4803: 3810: 2335: 2304: 1224: 975: 914: 4677: 3617: 4735: 3541: 1994:

is divided into regions, each of which is assigned a solid colour based on a standard palette. However, in

982:, from after 1515, show a similar late-medieval style, although partly made with silk, so extra-expensive. 944: 4200: 1150:, by a team who also made many tapestries of Dutch naval victories. The Armada set were destroyed in the 6013: 4271: 4211: 3620:

Resplendence of the Spanish monarchy : Renaissance tapestries and armor from the Patrimonio Nacional

3270: 2786: 2733: 2195: 1952: 3443:

HENG, Michèle (1989), Marc Saint-Saens décorateur mural et peintre cartonnier de tapisserie, 1964 pages.

1084:

Many sets were produced of the lives of classical heroes that included many battle scenes. Not only the

4834: 4725: 4353: 4081: 3939: 3897: 3848: 3820: 3603: 3413: 3127: 2781: 2629: 2489:, there is 8000 metres of historical tapestry from Flanders, as well as Spanish tapestries designed by 2460: 2367: 2344: 2312: 2202:"working at a great web of purple linen, on which she was embroidering the battles between Trojans and 1880:

Medieval European loom, of a type still in use for smaller pieces. The different colours are not shown.

1866: 1736:

is one of an unusual set of seven large tapestry hangings made in China for the Portuguese governor of

115: 53: 2433:, Poland displaying various religious, natural, and royal themes. These famous tapestries, created in 1684:

of the 1890s, repeated a number of times, are the largest they made, and perhaps the most successful.

361:

is still the term for tapestry in Italian, while a number of European languages use variants based on

226:, meet the second definition but not the first. The situation is complicated by the French equivalent 2374: 1417: 1255: 987: 496: 427: 295: 238: 20: 4256: 3694: 3395: 2006: 1547:

in 1604, and some nine further cities by the end of the century, many sponsored by the local ruler.

5458: 4796: 4756: 4751: 4302: 3886: 3815: 2486: 2292: 1498: 1392: 1229: 1120: 950:

An important challenge to the northern style was the arrival in Brussels, probably in 1516, of the

3902: 2251: 894:, and the rulers of Austria, Prussia, Aragon, Milan, and at his specific request, to the Ottoman 681: 558: 5069: 4693: 4165: 4066: 3908: 3873: 3860: 3345: 2839: 2516: 2422: 2358: 2170: 1926: 1620: 1580:

in Madrid. This was started in 1720, soon after Spain lost its territories in Flanders under the

1532: 1398: 1073: 768: 622: 40: 6033: 4266: 4241: 1748:

pieces, reflecting a Chinese technique often used for Buddhist banners, and the larger forms of

6053: 5849: 4261: 4076: 3804: 3779: 3720: 2472: 1901: 1732: 1709: 1693: 1577: 1501:

took some of their market, and French competition squeezed the remaining niche for tapestries.

1380:

At the beginning of the century Late Gothic styles held sway, and both the most famous sets of

1181:

showing his victories was varied for different clients, and even sold to one of his opponents,

1128: 876: 729: 700: 106: 4708: 2989: 2276: 1497:). The Brussels workshops declined somewhat in the second half of the century, both as large 839: 617:

around 500–550, is a largely intact wool piece with many figures around the enthroned goddess

6073: 5881: 5759: 5628: 5598: 5111: 4720: 4488: 4346: 4185: 3854: 3501: 2540: 2536: 2442: 2154: 2117: 2026: 1680: 1655: 1509: 1366: 1151: 1059: 733: 669: 665: 1853:

Much of the impetus in the 1980s for working in this more traditional process came from the

381:

royal collection from 1510 onwards "arras" specifically meant tapestries using gold thread.

6043: 5998: 5547: 5116: 4307: 4139: 4099: 4051: 4041: 3924: 2528: 2520:, also known as "Les Amusements champêtres", a series of 8 Beauvais Tapestries designed by 2501: 2244: 2094: 1689: 1536: 1517: 1513: 1116: 1014: 959: 776: 488: 362: 119: 3832: 2241:

The Cloth of Saint Gereon – early 11th-century, the oldest European tapestry still extant.

491:

became rather a specialist in furniture upholstery, which enabled it to survive after the

8: 6141: 6094: 5764: 4964: 4882: 4535: 4483: 4236: 3967: 3914: 3787: 3758: 2521: 2438: 2327: 2267: 2231: 1615: 1289: 1273: 1163: 1089: 1053: 1010: 891: 871: 834: 795:

Where surviving tapestries from before around 1600 were made is often unclear; from 1528

444: 245:, covers for seats, ..." before mentioning "especially" those woven in a tapestry weave. 4170: 2022: 1846: 1786: 1608: 1592:

from 1775. These mostly show genre scenes of lovers or country people recreating. Both

1249: 5967: 4672: 4650: 4640: 3949: 3892: 3431: 2752: 2618: 2580: 2308: 2272: 2060: 2056: 1795: 1675: 1671: 1435: 1265: 1037: 780: 673: 553: 164: 5683: 2804: 1639:

brought the production of large figurative tapestries almost to a halt across Europe.

1421:(The Hunts of Maximilian) was a series of twelve huge Brussels tapestries designed by 1131:

with him, mainly to produce drawings for the set of tapestries ordered on his return.

637:

has a repeat pattern centred on medallions with a motif of a bull being attacked by a

6120: 6018: 5839: 5470: 5418: 5324: 5140: 4730: 4665: 4660: 4615: 4114: 4046: 4036: 3973: 3769: 3713: 3667: 3580: 3559: 3545: 3530: 3519: 3505: 3483: 3302: 3025: 2981: 2584: 2465: 2449: 2383: 2349: 2014: 1983: 1815: 1799: 1585: 1581: 1521: 1486: 1482: 1422: 1312:(before 1374). The first recorded tapestries were a three piece set ordered by Duke 1155:

Right at the end of the 16th century, a set (now in Madrid) was commissioned of the

1143: 1135: 1045: 866: 854: 741: 594: 492: 456: 135: 34: 4129: 3651: 737: 6146: 6003: 5876: 5861: 5633: 5591: 5552: 5490: 5413: 5357: 4715: 4630: 4583: 4493: 4276: 4251: 3919: 3675: 3593: 3569: 3245: 2843: 2557: 2550: 2415: 2203: 2191: 1995: 1596:

and the tapestries made from them mostly survive, with many of the cartoons in the

1481:

and others also designing many. In later generations important designers included

1411: 1403: 1293: 1069: 963: 951: 895: 887: 808: 718: 500: 412: 210: 127: 3599: 2955:

Campbell and Ainsworth, 6; Tapestries in the Royal Collection; Campbell (2007), xi

1704: 503:

government did in the 1790s to most of the royal collection from the Renaissance.

468:

The success of decorative tapestry can be partially explained by its portability (

6099: 5942: 5927: 5774: 5562: 5362: 5314: 5091: 4819: 4788: 4779: 4625: 4540: 4061: 4015: 3934: 3842: 3774: 3700: 3513: 3491: 2886: 2791: 2757: 2614:

panels that tell the story of Quakerism from the 17th century to the present day.

2607: 2258: 2215: 1987: 1659: 1636: 1607:

style proved very effective in tapestries, now a good deal smaller than before.

1525: 1505: 1358: 1329: 1313: 1284:

Tapestry weavers in the Netherlands had become very comfortable working with the

1112: 1101: 1077: 1029: 883: 858: 813: 696: 692: 661: 614: 610: 598: 329: 223: 185: 175: 139: 6063: 5042: 4144: 2504:. They are still hanging in their original place in the Tapestry chamber at the 1288:

by the late 15th century, and were slow to reflect the stylistic changes of the

1166:(his military career had in fact been rather unsuccessful). The city council of 6068: 6023: 5856: 5834: 5829: 5824: 5814: 5784: 5673: 5638: 5522: 5443: 5096: 4645: 4588: 4545: 4317: 4292: 4205: 4149: 4134: 4119: 2490: 2407: 2235: 1979: 1974:

had been produced using Jacquard techniques but more recently, artists such as

1667: 1635:

very well, and this together with the disruptions of the French Revolution and

1618:

as artistic director at Gobelins. Oudry's best known set was the eight-strong

1612: 1589: 1559: 1478: 1454: 1430: 1347: 1335: 1139: 1064: 955: 925:

of a high proportion of narrative tapestries goes back to written sources, the

828: 748: 725: 705: 642: 299: 150: 4438: 2130: 1862:

phenomenon was happening in Europe and Australia as well as in North America.

1819: 1461:, from an equine series, woven in wool, silk, gold and silver, Brussels, 1650s 1357:

Tapestries were commissioned in the Netherlands by rulers across Europe, from

803:, already a centre. Arras in turn was sacked in 1477, leading to the rise of 6135: 6115: 6058: 5947: 5937: 5932: 5799: 5779: 5738: 5643: 5542: 5453: 5334: 5319: 5203: 4852: 4635: 4593: 4448: 4190: 4180: 4124: 4109: 3954: 3671: 2777: 2660: 2363: 2199: 1963: 1948: 1628: 1490: 1097: 1093: 1041: 935: 862: 714: 685: 479: 378: 49: 4195: 3679: 3538:

Arras Hanging: The Textile That Determined Early Modern Literature and Drama

2728: 1888: 1048:

insisted it was changed when Philip displayed it at a diplomatic meeting in

688:, also from Sweden but probably early 14th-century, is comparable in style. 415:, which are very rare examples of surviving cartoons, were cut in this way. 205: 6048: 6028: 5962: 5912: 5891: 5703: 5648: 5510: 5448: 5428: 5344: 5228: 5198: 5160: 5155: 5106: 5059: 5047: 5007: 4867: 4844: 4369: 4246: 4175: 2426: 1775: 1725: 1025: 542: 526: 469: 111: 64: 2596: 1962:

may also be used to describe large figurative weft-faced textiles made on

1576:

Few new workshops were begun in the century, the main exception being the

1119:

in Naples. When he led an expedition to North Africa, culminating in the

632:

A number of survivals from around the year 1000 show the development of a

6038: 5993: 5988: 5957: 5688: 5537: 5500: 5495: 5387: 5304: 5261: 5243: 5233: 5175: 5145: 5130: 5101: 5017: 5012: 4942: 4912: 4857: 4322: 4218: 4104: 4071: 3837: 3525: 2562: 2396: 2219: 2079: 2002: 1975: 1971: 1827: 1632: 1370: 1171: 922: 626: 590: 579: 575: 511: 507: 426:

used in the most expensive tapestries. Some famous designs, such as the

423: 407: 231: 179: 131: 4383: 1876: 1741: 962:. These were sent from Rome and used the latest monumental classicizing 816:

brought the virtual end of the traditional demand for large tapestries.

26: 6089: 5952: 5922: 5917: 5678: 5668: 5653: 5572: 5281: 5256: 5223: 5135: 5027: 5022: 4969: 4959: 4947: 4932: 4917: 4872: 4823: 4473: 4443: 4403: 4297: 4020: 2611: 2600: 2532: 2075: 1967: 1779: 1759: 1718: 1446: 1382: 1362: 1285: 1212: 1085: 1028:", usually celebrating the victories of the person commissioning them. 593:. They appear to have been made in a variety of places, including the 461: 448:

quality tapestry in a month, but only half that of the finest quality.

437: 253: 171: 158: 4902: 4433: 2116:

A power loom in the TextielMuseum, Tilburg weaving a tapestry for the

656: 365:, after the French factory; for example both Danish and Hungarian use 6008: 5698: 5658: 5567: 5557: 5532: 5438: 5382: 5377: 5367: 5309: 5296: 5276: 5266: 5218: 5193: 5188: 5165: 5121: 5084: 5037: 4922: 4907: 4703: 4453: 3644:

Masterpieces of tapestry from the fourteenth to the sixteenth century

2247:, 11th-century, Spain. Large needlework hanging with religious scenes 2162: 1555: 1377:

designs. This ensured a high quality of design for Brussels pieces.

1308: 1269: 710: 646: 530: 443:

The weavers were usually male, as the work was physically demanding;

374: 347: 5866: 2587:. Up until the 1990s this was the world's largest vertical tapestry. 2430: 2378:(The Hunts of Maximilian) is a series of twelve tapestries woven in 2362:

is a seven piece tapestry from 1495 to 1505, currently displayed at

1892:

A commercial basse-lisse tapestry loom in the Gobelins factory, 2004

1056:(1470s) were an early example, and a rare survival from so early. 1040:, which was five metres high and totalled over 41 metres in width. 5819: 5485: 5480: 5463: 5423: 5397: 5213: 5208: 5183: 5150: 5079: 4927: 4887: 4463: 4423: 4388: 2391: 2379: 2222: 2166: 2052: 1854: 1841: 1823: 1803: 1516:

he founded for the king in 1663, which continues to this day. The

1390:" tapestries were made around 1500, perhaps to designs from Paris: 1300: 1292:; perhaps pressure from the customers for tapestries led the way. 796: 474: 344: 284: 242: 193: 5718: 3365: 1913:

quality of a tapestry woven with heavy threads—its object quality.

1535:

outside London were founded in 1619, with encouragement from King

999: 422:

was often used. The weft threads were wool, with silk, silver or

5733: 5614: 5517: 5372: 5352: 5271: 5251: 5074: 5064: 5032: 4989: 4984: 4979: 4862: 4774: 4498: 4408: 4393: 4327: 3663: 2411: 1991: 1749: 1611:

produced 45 cartoons for Beauvais, and then by 1753 followed the

1474: 1470: 1450: 1407: 1387: 1343: 1238: 1216: 1167: 1127:

depicted in the Pastrana tapestries), he took the Flemish artist

1124: 1018: 1005: 804: 650: 638: 403: 399: 390: 170:

Tapestry should be distinguished from the different technique of

154: 76: 68: 3498:

Henry VIII and the Art of Majesty: Tapestries at the Tudor Court

1938: 1670:

resurrected the art of tapestry-making in the medieval style at

1647: 328:), "carpet, rug". The earliest attested form of the word is the 267:, meaning "to cover with heavy fabric, to carpet", in turn from 213:

with mirrors, so the weaver behind the web can follow his work (

5983: 5886: 5844: 5804: 5789: 5663: 5505: 5329: 4954: 4937: 4608: 4478: 4458: 4398: 4338: 4010: 3656:

Tuhinga: Records of the Museum of New Zealand Te Papa Tongarewa

3568:

Pepper, Simon. "Battle pictures and military scenes" 2 (i), in

3128:

1704 Battle of Blenheim depicted in tapestry at Blenheim Palace

2453: 2280: 2225: 2158: 2018: 1807: 1604: 1544: 1466: 1351: 1105: 1049: 847: 843: 633: 618: 586: 518: 515: 268: 262: 256: 142:, before being revived on a smaller scale in the 19th century. 100: 88: 30:

Weaving a small tapestry on a high-warp loom, 2022, New Zealand

3572:(restricted access, refs to sections), accessed March 22, 2011 3282:

Jean Lurçat Designing Tapestry Camelot Press, London 1950 p. 7

2907:

Campbell and Ainsworth, 23; Tapestries in the Royal Collection

645:(or its Persian equivalent) but probably woven locally in the 398:

piece, and is normally following a full-size drawn or painted

91:. The weft threads are usually wool or cotton but may include 5769: 5708: 5693: 5054: 4999: 4897: 4513: 4418: 4312: 3929: 2770: 2509: 2478: 2434: 2297: 2187: 2183: 2174: 2037: 2036:) light to render colour, with each composite being called a 2010: 1755: 1745: 1737: 1597: 1567: 1147: 926: 800: 571: 522: 419: 377:). Thomas Campbell argues that in documents relating to the 354: 323: 317: 308: 302: 274: 84: 4558:

Textile manufacture during the British Industrial Revolution

2476:, one of a set of seven tapestries showing a scene from the 1316:

of Burgundy from Paris in 1399. A set made in the 1450s for

1279: 1138:

was commemorated with a Brussels set, and the defeat of the

5904: 5809: 5794: 5743: 5475: 5433: 5286: 4892: 4877: 4503: 4468: 4428: 4413: 3705: 2425:, (mid 16th century) a collection of 134 tapestries at the 2207: 930: 534: 394: 146: 96: 92: 80: 72: 19:

This article is about the textile art. For other uses, see

16:

Form of textile art, traditionally woven on a vertical loom

5583: 1970:

fabrics and reproductions of the famous tapestries of the

2497:, and others are displayed in various historic buildings. 2452:

are a cycle of 8 hangings depicting royal festivities in

2033: 1185:, after reworking the generals' faces and other details. 966:

style, which was also reaching the north through prints.

406:, which in "industrial" workshops from at least the late 2924: 2922: 2401:Église Saint-Pierre-et-Saint-Paul, Neuwiller-lès-Saverne 2143:Église Saint-Pierre-et-Saint-Paul, Neuwiller-lès-Saverne 1929:, now in his sixth decade of weaving, says of tapestry: 1410:

in 1515–16, marked the introduction of the full Italian

1100:

were commemorated, but also less likely figures such as

2650:

Tapestries in the Royal Collection; Campbell (2007), xv

721:, so had probably been hanging in his home previously. 3615: 3297:

Mathison, Fiona (2012). "Tapestry in the Modern Day".

3167:

Campbell and Ainsworth, 131, 140-141; Osborne, 757-759

2485:

The biggest collection of Flanders tapestry is in the

853:

The main weaving centres were ruled by the French and

2919: 724:

A group with narrative religious scenes in a clearly

338: 332: 2980:, ed. Jennifer Harris, 2020, John Wiley & Sons, 2880:"Jacquard Weaving and the Magnolia Tapestry Project" 2809:

Palaeolexicon. Word study tool for ancient Languages

2218:, woollen wall hanging, 3rd–2nd century BC, Sampul, 1233:

set in Paris are famous examples, from around 1500.

709:

records that the widow of the Anglo-Saxon commander

3342:"Regional Groups « American Tapestry Alliance" 3248:, James Badcock, BBC website, Madrid, 30 April 2017 2830:

Campbell (2007), xv-xviii; Campbell (2008); V&A

1429:Over the century oil paintings mostly moved from a 917:, 1430–1450, V&A. 380 x 1020 cm, weight 50 kg. 703:. This may have been an Anglo-Saxon genre, as the 4818: 2021:; in turn, his work influenced painters including 79:. Most weavers use a natural warp thread, such as 3480:Tapestry in the Renaissance: Art and Magnificence 3246:"Goya's tapestry workshop in knotty eviction row" 3194:Osborne, 757-759; Campbell and Ainsworth, 141-144 1624:made from the 1720s onwards in many repetitions. 1296:enabled Italian designs to be seen in the north. 6133: 3478:Campbell, Thomas P. and Ainsworth, Maryan Wynn, 2864:Campbell (2007), xviii; Campbell (2008); V&A 754: 487:and sometimes clothing were other re-uses. The 4563:Textile manufacturing by pre-industrial methods 3213: 3211: 3209: 3068: 3066: 3064: 1917:Another prominent artist, Joan Baxter, states: 699:of England in 1066 is very clear, explained by 3649: 3616:Ortiz, A.; Carretero, C.; et al. (1991). 2399:, total length 20 m (66 ft), in the 861:, who were extremely important patrons in the 5599: 4804: 4354: 3721: 3454:""Triumph of Peace" Tapestry Gets a Cleaning" 3176:Campbell and Ainsworth, 131; Osborne, 757-759 2493:and others. There is a special museum in the 2468:and Italian artist Pietro da Cortona in 1622. 1939:Jacquard tapestries, colour and the human eye 1072:, Gobelins copy of c. 1688, after designs by 582:(c. 1323 BC), the latter a glove and a robe. 4568:Timeline of clothing and textiles technology 3630:Tapestry in the Baroque: Threads of Splendor 3206: 3061: 2125: 1798:, 75.5 feet (23.0 m) high, designed by 1080:for a set destroyed in the French Revolution 167:, make tapestry to be seen from both sides. 3624:. New York: The Metropolitan Museum of Art. 3556:The Oxford Companion to the Decorative Arts 2331:, a tapestry made in Flanders in the 1500s. 289: 277: 5606: 5592: 4811: 4797: 4361: 4347: 3826:Great Tapestry of Scotland: People's Panel 3728: 3714: 2495:Royal Palace of La Granja de San Ildefonso 2445:, whose reigns were between 1506 and 1572. 1162:, who had just been made sovereign of the 865:period. This began with the four sons of 604: 178:, which is in fact embroidered. From the 3579:, Schiffer Publ. Ltd., Atglen, PA. 2007, 3301:. Black Dog Publishing. pp. 28, 30. 1350:in 1515–16, a later copy before 1557, in 1280:Arrival of Renaissance style and subjects 1183:Maximilian II Emanuel, Elector of Bavaria 118:, hung with made to measure 18th-century 3296: 2874: 2872: 2870: 2334: 2148: 2129: 1942: 1887: 1875: 1840: 1785: 1769: 1765: 1703: 1646: 1554: 1445: 1334: 1248: 1192: 1058: 998: 958:commission of a grand set depicting the 905: 827: 758: 655: 552: 464:seated beneath a tapestry cloth of state 455: 204: 184: 105: 33: 25: 3693:The West Dean College, Tapestry Studio 2340:Constantine's Triumphal Entry into Rome 2182:The Trojan War tapestry referred to by 1179:John Churchill, 1st Duke of Marlborough 947:had reduced the crowding in paintings. 597:. The largest fragments, known as the 6134: 3868:Hunting of Birds with a Hawk and a Bow 3577:Tapestry Handbook. The Next Generation 3496:Campbell (2007): Campbell, Thomas P., 2623:British Empire and Commonwealth Museum 1299:A distinctive Italian subject was the 691:The most famous frieze hanging is the 200: 5587: 4792: 4342: 3709: 3554:Osborne, Harold (ed), "Tapestry", in 3482:, 2002, Metropolitan Museum of Art, 3292: 3290: 3288: 2867: 2840:"The Story of Abraham Series 1540-43" 2464:, a series of tapestries designed by 2135:St Adelphus gives clothes to the poor 1208:, Paris). Probably Brussels, c. 1500. 901: 3880:The Justice of Trajan and Herkinbald 3637:Woven Gold - Tapestries of Louis XIV 3590:"Tapestries in the Royal Collection" 3024:, pp. 134–136, 1982, Manchester UP, 2323:, a tapestry dating from about 1450. 2320:The Justice of Trajan and Herkinbald 2153:Tapestry with monogram "SA" of King 1068:(202 BC), from a set of the life of 1013:(1470s), recording the victories of 357:was the leading production centre. 38:One of the tapestries in the series 2418:, or painted designs, also survive. 1508:founded a workshop. After his fall 1188: 514:, a rich tapestry panel woven with 122:, also covering the chairs. 1763-71 13: 4621:Indigenous peoples of the Americas 4512: 3945:Scottish royal tapestry collection 3646:, 1974, Metropolitan Museum of Art 3632:, 2007, Metropolitan Museum of Art 3609: 3285: 3022:Anglo-Saxon Art, A New Perspective 2726: 2254:- Viking hangings of 1040 to 1170. 2074:Tapestry bones actually made from 1900:Susan Iverson, a professor in the 790: 14: 6158: 3795:Christ in Glory in the Tetramorph 3687: 3639:, 2016, Getty Publications / Yale 2661:"Basic Tribal and Village Weaves" 2437:, were collected by Polish Kings 1699: 1017:about a decade earlier. Woven in 436:set probably first made for King 149:-faced weaving, in which all the 5717: 5393:Bronze and brass ornamental work 4773: 4368: 3994: 3979:Walsall Silver Thread Tapestries 3529:, by Grace Christie, 1912, from 3139:Example made in Pistoia in Italy 2234:, 6th century, Byzantine Egypt, 2139:Life and Miracles of St Adelphus 2102: 2086: 2067: 2045: 1951:showing information punchcards, 1906:Virginia Commonwealth University 1603:Around the mid-century, the new 1473:not far away, brought the grand 879:in Paris between 1377 and 1382. 732:of the same period was made for 574:were found in the tombs of both 548: 4057:Moravská Gobelínová Manufaktura 3985:The World Trade Center Tapestry 3526:Embroidery and Tapestry Weaving 3456:. unmultimedia. 15 October 1995 3446: 3437: 3424: 3406: 3388: 3379: 3370: 3366:https://www.mandalasbymaddie.us 3359: 3334: 3325: 3315: 3276: 3260: 3251: 3238: 3229: 3220: 3203:Campbell and Ainsworth, 134-136 3197: 3188: 3185:Campbell and Ainsworth, 133-134 3179: 3170: 3161: 3152: 3143: 3132: 3120: 3111: 3102: 3093: 3084: 3075: 3052: 3043: 3034: 3014: 3005: 2994: 2970: 2958: 2949: 2940: 2931: 2910: 2901: 2892: 2858: 2849: 2833: 2824: 2815: 2797: 2763: 2741: 2610:(1981–1989) is a modern set of 2592:The World Trade Center Tapestry 2296:), stored in l'Hôtel de Cluny, 1728:it was used to copy paintings. 1642: 1550: 1441: 1323: 2978:A Companion to Textile Culture 2753:An Elementary Latin Dictionary 2720: 2711: 2708:OED, "Tapestry: Tapestry-work" 2702: 2693: 2684: 2675: 2666: 2653: 2644: 2506:Grandmaster's Palace, Valletta 2137:, part of the tapestry of the 2001:This method can be likened to 1512:mostly merged this to the new 1306:, derived from his poem-cycle 1123:(no more lasting than that of 649:. It survived in a church in 1: 3811:Devonshire Hunting Tapestries 3765:Amnesty-Sís-Pinton Tapestries 3472: 3099:Campbell and Ainsworth, 15-17 3090:Campbell and Ainsworth, 14-17 2928:Campbell and Ainsworth, 13-14 2916:Campbell and Ainsworth, 6, 23 2305:Devonshire Hunting Tapestries 1225:Devonshire Hunting Tapestries 1115:in 1525; a set is now in the 976:Devonshire Hunting Tapestries 915:Devonshire Hunting Tapestries 755:Peak period, after about 1350 384: 6014:Thomas Ferguson & Co Ltd 4699:Conservation and restoration 3735: 3542:University of Delaware Press 3418:www.tapestrydepartment.co.uk 3400:www.tapestrydepartment.co.uk 2805:"The Linear B word ta-pe-ja" 2177:Tapestries or Wawel Arrases. 1966:. Before the 1990s tapestry 1802:and woven by Pinton Frères, 1402:(now New York). Pope Leo's 1340:The Stoning of Saint Stephen 1244: 945:Italian Renaissance painting 875:, a very large set made for 339: 324: 309: 7: 5613: 4762:Textile manufacturing terms 4082:William Baumgarten & Co 3299:Tapestry: A Woven Narrative 3271:Museum of Fine Arts of Lyon 3158:Campbell and Ainsworth, 151 2734:Online Etymology Dictionary 2595:, a large 1973 tapestry by 2567:United Nations Headquarters 2352:and Pietro da Cortona, 1622 1953:National Museum of Scotland 1845:Lady Melanie’s Bouquet, by 1206:Musée national du Moyen Âge 1146:(1591); these were made in 994: 939:being two popular choices. 625:has a comparable enthroned 451: 10: 6163: 4726:Mathematics and fiber arts 4277:Raffaello Sanzio (Raphael) 3940:Scottish Diaspora Tapestry 3898:Oseberg tapestry fragments 3849:The History of Constantine 3821:Great Tapestry of Scotland 3652:"Gordon Crook: tapestries" 3604:Victoria and Albert Museum 3117:Campbell and Ainsworth, 16 3049:Campbell and Ainsworth, 14 2771: 2630:Great Tapestry of Scotland 2569:, Delegates' lobby of the 2461:The History of Constantine 2414:in 1515–16, for which the 2368:Metropolitan Museum of Art 2345:The History of Constantine 2313:Victoria and Albert Museum 2169:, c. 1555. Part of famous 1867:American Tapestry Alliance 1477:style to the medium, with 1404:set for the Sistine Chapel 969: 823: 728:that relates to Rhineland 564: 333: 318: 303: 116:Metropolitan Museum of Art 54:Metropolitan Museum of Art 18: 6108: 6082: 5976: 5902: 5752: 5726: 5715: 5621: 5406: 5343: 5295: 5242: 5174: 4998: 4843: 4830: 4770: 4744: 4686: 4576: 4523: 4510: 4376: 4285: 4225:list of tapestry cartoons 4158: 4090: 4029: 4003: 3992: 3743: 2937:Campbell and Ainsworth, 6 2535:which tells the story of 2390:The Life and Miracles of 2375:Les Chasses de Maximilien 2126:List of famous tapestries 1499:Flemish Baroque paintings 1418:Les Chasses de Maximilien 1256:Les Chasses de Maximilien 1174:to Antwerp in late 1599. 1121:Conquest of Tunis in 1535 988:Les Chasses de Maximilien 985:But the twelve pieces in 882:Another of the brothers, 578:(d. 1391 or 1388 BC) and 497:Sistine Chapel tapestries 428:Sistine Chapel tapestries 239:Oxford English Dictionary 145:Technically, tapestry is 103:, or other alternatives. 21:Tapestry (disambiguation) 4303:Franses Tapestry Archive 3816:Game of Thrones Tapestry 3635:Bremer–David, Clarissa, 3040:Britannica; Osborne, 756 2946:Campbell (2007), 339-341 2659:V&A; Mallet, Marla. 2637: 2487:Spanish royal collection 2293:The Lady and the Unicorn 2271:depicts scenes from the 2059:tapestry loom, after an 1908:, explains her reasons: 1493:(d. 1735, the last of a 1393:The Lady and the Unicorn 1276:, or a hunting subject. 1230:The Lady and the Unicorn 1198:The Lady and the Unicorn 1157:Triumphs and battles of 765:The Return from the Hunt 5528:Painting in Hälsingland 4166:Pieter Coecke van Aelst 3874:Jagiellonian tapestries 3650:Peter Stupples (2020). 3434:. Retrieved 2013-02-13. 2787:A Greek–English Lexicon 2517:The Pastoral Amusements 2423:Jagiellonian tapestries 2406:The tapestries for the 2359:The Hunt of the Unicorn 2171:Jagiellonian tapestries 1621:The Pastoral Amusements 1533:Mortlake Tapestry Works 1399:The Hunt of the Unicorn 769:National Gallery of Art 730:illuminated manuscripts 623:Cleveland Museum of Art 605:Early and High medieval 269: 263: 257: 41:The Hunt of the Unicorn 6054:Brigitta Scherzenfeldt 4517: 4262:Jean-Baptiste Monnoyer 4232:Muriel Nezhnie Helfman 4077:Royal Tapestry Factory 3805:The Death of Polydorus 3780:Bayeux Tapestry tituli 2855:Campbell (2007), xviii 2524:between 1720 and 1730. 2473:The Death of Polydorus 2456:in the 1560s and 1570s 2353: 2178: 2146: 2007:Michel Eugène Chevreul 1955: 1936: 1924: 1915: 1893: 1881: 1850: 1810: 1783: 1733:The Death of Polydorus 1714: 1710:The Death of Polydorus 1694:Royal Collection Trust 1692:, a department of the 1663: 1578:Royal Tapestry Factory 1570: 1462: 1354: 1260: 1209: 1129:Jan Cornelisz Vermeyen 1081: 1021: 918: 877:Louis I, Duke of Anjou 850: 771: 763:Flemish 16th Century, 677: 561: 465: 393:. Various designs of 389:Tapestry is a type of 290: 278: 273:, "heavy fabric", via 218: 215:photo of low warp loom 209:High-warp loom at the 197: 123: 57: 31: 6074:Margaretha Zetterberg 5760:Barber-Colman knotter 4601:Australian Aboriginal 4531:Clothing and textiles 4516: 3903:Överhogdal tapestries 3855:Holy Grail tapestries 3752:Adoration of the Magi 3533:. Technical handbook. 3502:Yale University Press 2778:Liddell, Henry George 2750:. Charlton T. Lewis. 2565:. On display in the 2541:Battle of Prestonpans 2537:Bonnie Prince Charlie 2531:is a 104 metres long 2443:Sigismund II Augustus 2382:after the designs of 2338: 2252:Överhogdal tapestries 2194:disguises herself as 2155:Sigismund II Augustus 2152: 2133: 2118:Niewe Kerk Middelburg 2027:Georges-Pierre Seurat 1946: 1931: 1919: 1910: 1891: 1879: 1844: 1789: 1773: 1766:Contemporary tapestry 1707: 1681:Holy Grail tapestries 1666:In the 19th century, 1656:Holy Grail tapestries 1650: 1558: 1459:Creation of the Horse 1449: 1367:Sigismund II Augustus 1338: 1252: 1196: 1152:Burning of Parliament 1062: 1002: 909: 831: 762: 734:Halberstadt Cathedral 682:Överhogdal tapestries 666:Odo, Bishop of Bayeux 659: 559:Överhogdal tapestries 556: 459: 208: 188: 109: 37: 29: 6083:Employment practices 6044:Margaretha Reichardt 6034:Maria Elisabet Öberg 5999:Micheline Beauchemin 5753:Tools and techniques 5548:Pressed flower craft 4736:Units of measurement 4308:International Gothic 4201:Petronėlė Gerlikienė 4140:Margaretha Reichardt 4100:Pieter van Aelst III 3925:Ros Tapestry Project 3887:Lady and the Unicorn 3642:Souchal, Geneviève, 2988:, 9781118768907118, 2898:Campbell (2007), 3-4 2821:Campbell (2007), xiv 2529:Prestonpans Tapestry 2502:Gobelins Manufactory 2288:La Dame à la Licorne 2245:Tapestry of Creation 2173:, also known as the 1690:Hampton Court Palace 1537:Charles I of England 1518:Beauvais Manufactory 1514:Gobelins Manufactory 1495:long-lasting dynasty 1117:Museo di Capodimonte 1036:set two years after 1015:Afonso V of Portugal 960:Acts of the Apostles 777:Southern Netherlands 489:Beauvais Manufactory 128:late medieval Europe 46:The Unicorn is Found 6095:Kissing the shuttle 4965:Spinning (textiles) 4883:Friendship bracelet 4780:Clothing portal 4577:Regional and ethnic 4551:Indian subcontinent 4237:Else Marie Jakobsen 3968:The Triumph of Fame 3915:Pastrana Tapestries 3909:Pastoral Amusements 3861:Hunt of the Unicorn 3788:Hunts of Maximilian 3759:Apocalypse Tapestry 3628:Thomas P Campbell, 3600:"What is tapestry?" 3432:"Looms with a View" 3430:Sheets, Hilarie M. 2522:Jean-Baptiste Oudry 2439:Sigismund I the Old 2328:The Triumph of Fame 2311:and are now in the 2286:The six-part piece 2268:Apocalypse Tapestry 2232:The Hestia Tapestry 2186:in Book III of the 1982:, and the workshop 1616:Jean-Baptiste Oudry 1541:Francesco Barberini 1318:Giovanni de' Medici 1290:Italian Renaissance 1274:classical mythology 1177:A set produced for 1164:Spanish Netherlands 1090:Alexander the Great 1054:Pastrana Tapestries 1038:his victory in 1382 1011:Pastrana Tapestries 872:Apocalypse Tapestry 835:Apocalypse Tapestry 680:The five strips of 201:Terms and etymology 190:The Triumph of Fame 120:Gobelins tapestries 110:Tapestry Room from 48:, circa 1495–1505, 5968:Warp-weighted loom 4709:wearable fiber art 4518: 4072:Pannemaeker family 3950:Sheldon tapestries 3893:New World Tapestry 3800:Cloth of St Gereon 3699:2017-11-18 at the 3575:Russell, Carol K. 2976:Sheng, Angela, in 2885:2009-01-06 at the 2619:New World Tapestry 2581:Coventry Cathedral 2354: 2309:Duke of Devonshire 2273:Book of Revelation 2179: 2147: 2061:Ancient Greek vase 1956: 1902:School of the Arts 1894: 1882: 1851: 1811: 1796:Coventry Cathedral 1784: 1715: 1678:. The set of six 1676:Edward Burne-Jones 1664: 1571: 1469:, mostly based in 1463: 1436:Philip II of Spain 1355: 1266:landscape painting 1261: 1253:"September", from 1210: 1082: 1034:Battle of Roosbeke 1022: 919: 911:Boar and Bear Hunt 902:Subjects and style 851: 781:County of Flanders 772: 738:secular canonesses 678: 674:Battle of Hastings 672:troops during the 562: 466: 219: 198: 165:pre-Columbian Peru 124: 58: 32: 6129: 6128: 6121:Queen Street Mill 6019:Elisabeth Forsell 5581: 5580: 5471:Hardstone carving 5419:Balloon modelling 4933:Ribbon embroidery 4786: 4785: 4336: 4335: 4267:Bernard van Orley 4212:Blind Man's Bluff 4115:John Henry Dearle 3974:Valois Tapestries 3833:Grödinge tapestry 3770:Armada tapestries 3585:978-0-7643-2756-8 3531:Project Gutenberg 3510:978-0-300-12234-3 2727:Harper, Douglas. 2585:Graham Sutherland 2466:Peter Paul Rubens 2450:Valois Tapestries 2384:Bernard van Orley 2350:Peter Paul Rubens 2111: 2015:Leonardo da Vinci 1984:Magnolia Editions 1816:Aubusson tapestry 1800:Graham Sutherland 1586:Philip V of Spain 1582:Treaty of Utrecht 1522:Aubusson tapestry 1487:Ludwig van Schoor 1483:Justus van Egmont 1423:Bernard van Orley 1396:(now Paris), and 1144:Armada Tapestries 1136:Battle of Lepanto 1046:Duke of Lancaster 867:John II of France 742:Quedlinburg Abbey 660:A scene from the 595:Hellenistic world 493:French Revolution 343:, written in the 237:According to the 136:French Revolution 6154: 6004:Johanna Brunsson 5721: 5608: 5601: 5594: 5585: 5584: 5553:Qing handicrafts 5358:Chemical milling 4813: 4806: 4799: 4790: 4789: 4778: 4777: 4494:Textile printing 4363: 4356: 4349: 4340: 4339: 4272:François Quesnel 4252:Nancy Kozikowski 4171:François Boucher 4159:Tapestry artists 4062:Morris & Co. 3998: 3961:Story of Abraham 3920:Raphael Cartoons 3730: 3723: 3716: 3707: 3706: 3683: 3625: 3594:Royal Collection 3570:Grove Art Online 3536:Olson, Rebecca. 3466: 3465: 3463: 3461: 3450: 3444: 3441: 3435: 3428: 3422: 3421: 3414:"Archie Brennan" 3410: 3404: 3403: 3392: 3386: 3383: 3377: 3374: 3368: 3363: 3357: 3356: 3354: 3353: 3344:. Archived from 3338: 3332: 3329: 3323: 3319: 3313: 3312: 3294: 3283: 3280: 3274: 3264: 3258: 3255: 3249: 3242: 3236: 3235:Osborne, 762-764 3233: 3227: 3226:Osborne, 760-761 3224: 3218: 3215: 3204: 3201: 3195: 3192: 3186: 3183: 3177: 3174: 3168: 3165: 3159: 3156: 3150: 3147: 3141: 3136: 3130: 3124: 3118: 3115: 3109: 3106: 3100: 3097: 3091: 3088: 3082: 3081:Osborne, 759-760 3079: 3073: 3070: 3059: 3056: 3050: 3047: 3041: 3038: 3032: 3020:Dodwell, C. 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rallying Duke 501:French Directory 433:Story of Abraham 413:Raphael Cartoons 342: 336: 335: 327: 321: 320: 316: 312: 306: 305: 294:), which is the 293: 288: 281: 272: 266: 260: 211:Gobelins factory 67:, traditionally 6162: 6161: 6157: 6156: 6155: 6153: 6152: 6151: 6132: 6131: 6130: 6125: 6104: 6100:Piece-rate list 6078: 5972: 5943:Lancashire loom 5928:Hattersley loom 5898: 5775:Chilkat weaving 5748: 5722: 5713: 5617: 5612: 5582: 5577: 5563:Straw marquetry 5402: 5339: 5315:Enamelled glass 5291: 5238: 5170: 4994: 4839: 4826: 4820:Decorative arts 4817: 4787: 4782: 4772: 4766: 4740: 4682: 4572: 4519: 4508: 4372: 4367: 4337: 4332: 4281: 4154: 4092: 4086: 4025: 3999: 3990: 3935:Sampul tapestry 3843:Hestia Tapestry 3775:Bayeux Tapestry 3739: 3734: 3701:Wayback Machine 3690: 3612: 3610:Further reading 3475: 3470: 3469: 3459: 3457: 3452: 3451: 3447: 3442: 3438: 3429: 3425: 3412: 3411: 3407: 3394: 3393: 3389: 3384: 3380: 3375: 3371: 3364: 3360: 3351: 3349: 3340: 3339: 3335: 3330: 3326: 3320: 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1526:Style Louis XIV 1506:Nicolas Fouquet 1444: 1361:in England, to 1359:King Henry VIII 1330:Habsburg family 1326: 1314:Philip the Bold 1282: 1247: 1191: 1159:Archduke Albert 1113:Battle of Pavia 1102:Cyrus the Great 1078:Francesco Penni 1032:commissioned a 1030:Philip the Bold 997: 972: 954:for the pope's 904: 884:Philip the Bold 859:House of Valois 826: 814:Napoleonic Wars 793: 791:Weaving centres 757: 701:tituli in Latin 697:Norman Conquest 693:Bayeux Tapestry 662:Bayeux Tapestry 615:Byzantine Egypt 611:Hestia Tapestry 607: 599:Sampul tapestry 567: 551: 454: 387: 369:(and in Danish 330:Mycenaean Greek 314: 283: 224:Bayeux Tapestry 203: 176:Bayeux Tapestry 140:Napoleonic Wars 114:, moved to the 56:, New York City 24: 17: 12: 11: 5: 6160: 6150: 6149: 6144: 6127: 6126: 6124: 6123: 6118: 6112: 6110: 6106: 6105: 6103: 6102: 6097: 6092: 6086: 6084: 6080: 6079: 6077: 6076: 6071: 6069:Judocus de Vos 6066: 6061: 6056: 6051: 6046: 6041: 6036: 6031: 6026: 6024:Dorothy Liebes 6021: 6016: 6011: 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900: 825: 822: 792: 789: 756: 753: 749:Byzantine silk 706:Liber Eliensis 643:Byzantine silk 606: 603: 566: 563: 550: 547: 453: 450: 386: 383: 230:also covering 202: 199: 15: 9: 6: 4: 3: 2: 6159: 6148: 6145: 6143: 6140: 6139: 6137: 6122: 6119: 6117: 6116:Bancroft Shed 6114: 6113: 6111: 6107: 6101: 6098: 6096: 6093: 6091: 6088: 6087: 6085: 6081: 6075: 6072: 6070: 6067: 6065: 6062: 6060: 6059:Clara Sherman 6057: 6055: 6052: 6050: 6047: 6045: 6042: 6040: 6037: 6035: 6032: 6030: 6027: 6025: 6022: 6020: 6017: 6015: 6012: 6010: 6007: 6005: 6002: 6000: 5997: 5995: 5992: 5990: 5987: 5985: 5982: 5981: 5979: 5975: 5969: 5966: 5964: 5961: 5959: 5956: 5954: 5951: 5949: 5948:Northrop loom 5946: 5944: 5941: 5939: 5938:Jacquard loom 5936: 5934: 5933:Horrocks loom 5931: 5929: 5926: 5924: 5921: 5919: 5916: 5914: 5911: 5910: 5908: 5906: 5901: 5893: 5890: 5889: 5888: 5885: 5883: 5880: 5878: 5875: 5873: 5870: 5868: 5865: 5863: 5860: 5858: 5855: 5851: 5848: 5847: 5846: 5843: 5841: 5838: 5836: 5833: 5831: 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4138: 4136: 4133: 4131: 4128: 4126: 4125:Ida Kerkovius 4123: 4121: 4118: 4116: 4113: 4111: 4110:Francis Crane 4108: 4106: 4103: 4101: 4098: 4097: 4095: 4093:and designers 4089: 4083: 4080: 4078: 4075: 4073: 4070: 4068: 4065: 4063: 4060: 4058: 4055: 4053: 4050: 4048: 4045: 4043: 4040: 4038: 4035: 4034: 4032: 4028: 4022: 4019: 4017: 4014: 4012: 4009: 4008: 4006: 4002: 3997: 3987: 3986: 3982: 3980: 3977: 3975: 3972: 3970: 3969: 3965: 3963: 3962: 3958: 3956: 3955:Skog tapestry 3953: 3951: 3948: 3946: 3943: 3941: 3938: 3936: 3933: 3931: 3928: 3926: 3923: 3921: 3918: 3916: 3913: 3911: 3910: 3906: 3904: 3901: 3899: 3896: 3894: 3891: 3889: 3888: 3884: 3882: 3881: 3877: 3875: 3872: 3870: 3869: 3865: 3863: 3862: 3858: 3856: 3853: 3851: 3850: 3846: 3844: 3841: 3839: 3836: 3834: 3831: 3827: 3824: 3823: 3822: 3819: 3817: 3814: 3812: 3809: 3807: 3806: 3802: 3799: 3797: 3796: 3792: 3790: 3789: 3785: 3781: 3778: 3777: 3776: 3773: 3771: 3768: 3766: 3763: 3761: 3760: 3756: 3754: 3753: 3749: 3748: 3746: 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2952: 2943: 2934: 2925: 2923: 2913: 2904: 2895: 2888: 2884: 2881: 2878:Stone, Nick. 2875: 2873: 2871: 2861: 2852: 2845: 2841: 2836: 2827: 2818: 2810: 2806: 2800: 2793: 2789: 2788: 2783: 2782:Scott, Robert 2779: 2775: 2766: 2759: 2755: 2754: 2749: 2744: 2736: 2735: 2730: 2723: 2714: 2705: 2696: 2687: 2678: 2669: 2662: 2656: 2647: 2643: 2631: 2627: 2624: 2620: 2616: 2613: 2609: 2605: 2602: 2598: 2594: 2593: 2589: 2586: 2582: 2579:, (1962) for 2578: 2575: 2572: 2568: 2564: 2560: 2559: 2555: 2552: 2548: 2545: 2542: 2538: 2534: 2530: 2526: 2523: 2519: 2518: 2514: 2511: 2507: 2503: 2499: 2496: 2492: 2488: 2484: 2481: 2480: 2475: 2474: 2470: 2467: 2463: 2462: 2458: 2455: 2451: 2447: 2444: 2440: 2436: 2432: 2428: 2424: 2420: 2417: 2413: 2409: 2405: 2402: 2398: 2394: 2393: 2388: 2385: 2381: 2377: 2376: 2372: 2369: 2365: 2364:The Cloisters 2361: 2360: 2356: 2355: 2351: 2347: 2346: 2341: 2337: 2330: 2329: 2325: 2322: 2321: 2317: 2314: 2310: 2306: 2302: 2299: 2295: 2294: 2289: 2285: 2282: 2278: 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1629:Neoclassicism 1625: 1623: 1622: 1617: 1614: 1610: 1606: 1601: 1599: 1595: 1591: 1587: 1583: 1579: 1574: 1569: 1565: 1561: 1557: 1548: 1546: 1542: 1538: 1534: 1529: 1527: 1523: 1519: 1515: 1511: 1507: 1502: 1500: 1496: 1492: 1491:Jan van Orley 1488: 1484: 1480: 1476: 1472: 1468: 1460: 1456: 1452: 1448: 1439: 1437: 1432: 1431:panel support 1427: 1424: 1420: 1419: 1413: 1409: 1405: 1401: 1400: 1395: 1394: 1389: 1385: 1384: 1378: 1376: 1372: 1368: 1364: 1360: 1353: 1349: 1345: 1341: 1337: 1333: 1331: 1321: 1319: 1315: 1311: 1310: 1305: 1302: 1297: 1295: 1291: 1287: 1277: 1275: 1271: 1268:and prints. 1267: 1258: 1257: 1251: 1242: 1240: 1234: 1232: 1231: 1226: 1220: 1218: 1214: 1207: 1203: 1199: 1195: 1186: 1184: 1180: 1175: 1173: 1169: 1165: 1161: 1160: 1153: 1149: 1145: 1141: 1137: 1132: 1130: 1126: 1122: 1118: 1114: 1109: 1107: 1103: 1099: 1098:Constantine I 1095: 1094:Julius Caesar 1091: 1087: 1079: 1075: 1074:Giulio Romano 1071: 1067: 1066: 1061: 1057: 1055: 1051: 1047: 1043: 1042:John of Gaunt 1039: 1035: 1031: 1027: 1020: 1016: 1012: 1009:, one of the 1008: 1007: 1001: 992: 990: 989: 983: 981: 977: 967: 965: 961: 957: 953: 948: 946: 940: 938: 937: 936:Metamorphoses 932: 928: 924: 916: 913:, one of the 912: 908: 899: 897: 893: 889: 885: 880: 878: 874: 873: 868: 864: 863:Late Medieval 860: 856: 849: 845: 841: 837: 836: 830: 821: 817: 815: 810: 806: 802: 798: 788: 784: 782: 778: 770: 766: 761: 752: 750: 745: 743: 739: 735: 731: 727: 722: 720: 716: 712: 708: 707: 702: 698: 694: 689: 687: 686:Skog tapestry 683: 675: 671: 667: 663: 658: 654: 652: 648: 644: 641:, taken from 640: 635: 630: 628: 624: 620: 616: 612: 602: 600: 596: 592: 588: 583: 581: 577: 573: 560: 555: 549:Early history 546: 544: 538: 536: 532: 528: 527:coats of arms 524: 520: 517: 513: 509: 504: 502: 498: 494: 490: 484: 481: 480:royal entries 476: 471: 463: 458: 449: 446: 441: 439: 435: 434: 429: 425: 421: 416: 414: 409: 405: 401: 396: 392: 382: 380: 376: 372: 368: 364: 360: 356: 351: 349: 346: 341: 331: 326: 311: 301: 297: 292: 286: 280: 276: 271: 265: 259: 255: 252:derives from 251: 246: 244: 240: 235: 233: 229: 225: 216: 212: 207: 195: 191: 187: 183: 181: 177: 173: 168: 166: 162: 161: 156: 152: 148: 143: 141: 137: 133: 129: 121: 117: 113: 108: 104: 102: 98: 94: 90: 86: 82: 78: 74: 71:by hand on a 70: 66: 63:is a form of 62: 55: 51: 50:The Cloisters 47: 44: 42: 36: 28: 22: 6064:Gunta Stölzl 6049:John Rylands 6029:Ethel Mairet 5963:Roberts loom 5913:Air-jet loom 5871: 5649:Double weave 5511:Glass mosaic 5429:Bone carving 5229:Wood carving 5224:Wood burning 5199:Chip carving 5156:Scrapbooking 5141:Papier-mâché 5107:Papercutting 5060:Iris folding 5048:Photomontage 5043:Papier collé 5008:Altered book 4974: 4868:Cross-stitch 4757:Sewing terms 4752:Dyeing terms 4377:Fundamentals 4370:Textile arts 4247:Hans Knieper 4217: 4210: 4176:Marc Chagall 4145:Gunta Stölzl 3983: 3966: 3959: 3907: 3885: 3878: 3866: 3859: 3847: 3803: 3793: 3786: 3757: 3750: 3736: 3659: 3655: 3643: 3636: 3629: 3621: 3618: 3576: 3555: 3537: 3524: 3514:google books 3497: 3492:fully online 3479: 3458:. Retrieved 3448: 3439: 3426: 3417: 3408: 3399: 3390: 3381: 3372: 3361: 3350:. Retrieved 3346:the original 3336: 3327: 3317: 3298: 3278: 3262: 3257:Osborne, 762 3253: 3240: 3231: 3222: 3217:Osborne, 760 3199: 3190: 3181: 3172: 3163: 3154: 3149:Osborne, 757 3145: 3134: 3122: 3113: 3104: 3095: 3086: 3077: 3072:Osborne, 759 3054: 3045: 3036: 3021: 3016: 3011:Osborne, 756 3007: 2996: 2990:google books 2977: 2972: 2964:Britannica, 2960: 2951: 2942: 2933: 2912: 2903: 2894: 2860: 2851: 2835: 2826: 2817: 2808: 2799: 2785: 2765: 2751: 2743: 2732: 2722: 2713: 2704: 2695: 2686: 2681:Osborne, 755 2677: 2668: 2655: 2646: 2590: 2583:designed by 2576: 2556: 2546: 2515: 2477: 2471: 2459: 2427:Wawel Castle 2389: 2373: 2370:in New York. 2357: 2343: 2339: 2326: 2318: 2291: 2287: 2266: 2138: 2134: 2031: 2000: 1959: 1957: 1932: 1925: 1920: 1916: 1911: 1899: 1895: 1883: 1871: 1864: 1860: 1852: 1836: 1832: 1812: 1791: 1790:Tapestry of 1776:Le Corbusier 1774:Tapestry by 1754: 1731: 1730: 1726:Ming dynasty 1719: 1717:The Chinese 1716: 1708: 1686: 1679: 1672:Merton Abbey 1665: 1651: 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