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The Use of Tapestries in Ancient Times

 


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Typically large size looms have been used to weave tapestries on. Several types of threads have been used to construct laces like gold, silk and silver threads weaving a multitude of pictures of subjects as well as those of the peasant scenes after Teniers, Biblical history, mythology, etc. Tapestries have been used as wall hangings but unlike needlework, it was woven on a loom. It was also made in levels much larger than would traditionally be used in hand-stitched embroidery; tapestry panels ranging from ten or twelve feet in height and twenty feet long are pretty normal. The main medium was wool, but in special models silk was also used. In some of the most ideal works the use of gold and silver can be observed. The number one center of tapestry weaving from the year 1500 has been Brussels.

But the outputs over the years have immensely varied in quality. Biblical and Roman history, peasant, mythology and scenes ensuing Teniers were some of the subjects. Numerous seventeenth-and eighteenth-century works are let down by the reality that throughout the years a murky brownish image has faded their red dyes. Brussels tapestries mostly hold a mark with a shield with the letter ‘B’ on either side. At times weavers add their names or initials, in the work. There were two central factories in France. Both the Gobelins and Beauvais were founded in the second half of the seventeenth century. Though the former was a private worry with State support, the latter was a Royal factory and it was only in the late eighteenth century when one could buy any of its productions.

Though both did work of the utmost quality, Beauvais was primarily famous for a chain of panels centered on the Fables of La Fontaine, and for several sets of settee covers and chairs. The former was also made at Gobelins, where around 1775 they made beautiful and model sets of furniture covers and matching wall hangings. Example of these decorative harmony is to be seen in a room constructued by Robert Adam, remains at Osterley Park, near London. A set of furniture (shorn of its wall-hangings but even now intact Gobelins covers) made for Moor Park in Hertfordshire, is housed in the Museum of Art in Philadelphia.

A few of these rich ensembles are intact even now, but a collection of tapestries that had been made for a store at Croome Park in Warwickshire has been sold off for a sum of £50,000, and is now seen in the New York, Metropolitan Museum of Art. Again in France at Aubusson, tapestry panels, chair covers and also tapestry carpets were made. Most of the output belongs to the nineteenth century, although the pattern of work is similar to an earlier era. Philip and Michael Wauters, supplying to worldwide markets, they wove their tapestry in Antwerp. Works popularized by additional plants were copied here with triumph, these Flemish tapestries were also at times confused with the English productions they copied. Brussels was the center head of tapestry weaving.

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