This section is from the book "Tapestries; Their Origin, History And Renaissance", by George Leland Hunter. Also available from Amazon: Tapestries; Their Origin, History, And Renaissance.
Other Old Testament tapestries in the Imperial Austrian Collection are a Brussels XVI century set of eight, with Latin inscriptions, picturing the Story of Joshua (See plate no. 291), all illustrated in Birk Austrian; a Brussels XVII century set of eight signed I. VAN ZEUNEN, and a Brussels XVI century set of eight, most of them signed with the monogram of MARTIN REYMBOUTS, both picturing the Story of Jacob and most from the same cartoons; and numerous other XVI century tapestries picturing the events of Genesis, Exodus, Numbers, Kings, Joshua, Judges, with Latin inscriptions.
Tapestries that picture the stories of the New Testament have been described and illustrated in other chapters of this book - the Angers Apocalypse, the Reims Story of the Virgin, the La Chaise-Dieu Life of Christ, the Beaune Story of the Virgin, the Aix Life of Christ, in chapter II (Gothic Tapestries); Raphael's Acts of the Apostles in chapters III and V. Tapestries in the Royal Spanish Collection particularly worthy of notice, and illustrated in Valencia Spanish (whose numbering I copy), are No. I, a Gothic Birth of Christ (first half of the XV century), 1.93 metres by 2.50, with Latin inscription in Gothic letters; Nos. 3, 4, 5, 6, superb Late Gothic triptych tapestries enriched with gold and silver, and picturing the Story of the Virgin, that formerly belonged to Philip the Handsome and that are worthy of comparison with the Mazarin tapestry; Nos. 7, 8, even more splendid examples of the weaver's art that also picture scenes from the Life of the Virgin and that also belonged to Philip the Handsome; Nos. 14, 15, 16, 17, brilliantly beautiful Late Gothic tapestries, each about 11 feet by 13 feet, with two-line Latin captions in Gothic letters (See plate no. 373); Nos. 18, 19, Christ on the way to Calvary, and the Deposition from the Cross, two Gothic-Renaissance tapestries woven for Margaret of Austria, and included in the inventory of her property made in 1523, seven years before her death; Nos. 28, 29, 30, 31, four Early Renaissance tapestries, 11 feet 4 inches square, picturing the Passion of Our Lord, and woven by Pieter Van Pannemaker for Margaret of Austria: No. 66, a tapestry, 11 feet 4 by 11 feet 8, picturing the Last Supper, bought from Pieter Van Pannemaker by Charles V at the unusually high price of 38 florins a Flemish aune and presented to his wife: the Empress, bearing the Brussels mark and attributed by Count Valencia to the designs of Barend Var Orley; the Apocalypse, a Renaissance set of eight tapestries picturing the Revelation of St. John bought by Philip II, in 1561, from Willem Van Pannemaker, whose monogram, together with the Brussels mark, appears in the selvage.
Plate no. 291. Joshua Helped across the Jordan by Jehovah, a Renaissance tapestry in the Imperial Austrian Collection. One of a set of 8 picturing the Story of Joshua, signed with the Brussels mark and the monogram of Mark Crétif.
Plate no. 293. Above, the Adoration of the Magi. Jesus gives his blessing to the aged king who has just presented him with cup of gold coins. This tapestry containing gold and silver, but a little less than a yard square, brought $5600 at the Somzée sale 1901. Below, the Adoration of the Shepherds. Note particularly the attitude of the ox and the ass, and the mscription in the "Gloria In Excelsis Deo".
Among Lives of the Saints pictured in tapestry, and described in chapter II (Gothic Tapestries) of this book, are Saints Piat and Eleuthère at the Cathedral of Tournai, Saint Rémi at Reims, Saint Etienne at the Cluny Museum, Saint Quentin at the Louvre, Saints Gervais and Protais at Le Mans.
Important also from the religious point of view are tapestries like the Burgundian Seven Sacraments, described in chapter XVI (Tapestries At The Metropolitan Museum), the Miracles of the Eucharist in chapter II (Gothic Tapestries); and those that in their method of presentation copy more or less closely after Morality plays, though perhaps not as completely as suggested by Mr. Wood in his exceedingly interesting article in the January and February (1912) numbers of the Burlington Magazine, entitled "Tapestries of the Seven Deadly Sins".