Owing to the occupation of Flanders by the Spanish (1555-1648), the palace at Madrid contains the most extensive collection of Flemish tapestries in existence, which had been chiefly acquired during that period.

Tapestry making declined and was almost non-existent during the religious wars of the sixteenth century, but was re-established and became once more a flourishing industry in the seventeenth century, and a decree was passed in 1647 for its support by the State.

The subjects of the storied tapestry were now of a more naturalistic order: hunting scenes, landscapes, and rustic figures were woven from the designs of the Dutch and Flemish painters of the period, and many of the designs were copied from French tapestry.

The family of Pannemaker, celebrated at a former period in Brussels, set up an important atelier in Lille about 1647, which remained in full working order for about fifty years. Another well-known tapestry master named Guillaume Werniers (1701-1738) executed many compositions designed by Teniers.

Among the earliest tapestry manufactories in France was the one established at Fontainebleau in the year 1539 by Francis I. It was managed by Philibert Babou, the king's architect, and Serlio, the Italian architect and painter, designed some of the tapestries. The same manufactory existed under Henri II., with Delorme for its director and Ducerceau as the chief designer. Many tapestry weavers were attracted to France from Flanders and Italy at this period, and a colony of Flemish weavers who had settled in Paris were joined to the house of the Gobelins - a long-established family of scarlet wool dyers - in the Faubourg Saint Marcel in 1603. The house of the Gobelins had been under royal patronage for some time previous to the year 1667, when it was bought by Louis XIV. and henceforth became a royal monopoly.

Lebrun

Lebrun, the painter to the king, was appointed director. Some very heavy and inappropriate compositions of this painter were copied in the Gobelins tapestry, but besides these, many purely decorative and ornamental designs with rich borders were also produced. This was a period of great activity at the Gobelins factory, when nearly three hundred workmen and artists were employed. Mignard was the successor of Lebrun as director of the works (1690), then Mansard the architect. After him came the Due d'Antin as director (1708-36), and then M. de Marigny, under whom many large paintings were reproduced in tapestry, and smaller designs of Boucher and others. This celebrated factory, like that of the SŠvres porcelain, still remains under State care and patronage.

Several other tapestry manufactories existed in Paris from the early days of the Gobelins, and a new kind of tapestry-carpet called the Savonnerie - a kind of velvet carpet made in imitation of the Oriental Turkey-stitch, was introduced into France under the patronage of Henri IV. (1580-1610), the looms being set up in the Louvre. This carpet manufactory was united to the Gobelins factory in 1826.

At Beauvais a celebrated manufactory of low warp tapestry has been in existence from early times, and though some of the Beauvais compositions are equal to the high warp productions of the Gobelins, the work as a rule consists of a smaller and more ornamental character of design.

Rheims, Aubusson, And Felletin

Rheims, Aubusson, And Felletin have also been centres of the French tapestry industry. Aubusson carpets and tapestry have been noted for their soft and delicate textures, and have been used very much for furniture upholstery.

Italy has produced some good storied tapestry in the sixteenth century (Fig. 275), but has been more celebrated for its velvets, etc.

England has been content to import more tapestry than it has ever manufactured, although many important works have been executed at different times in this country. Probably the earliest piece of genuine English tapestry is that which still adorns the old St. Mary's Hall or Council-chamber in Coventry, and may have been made in the fourteenth, or early fifteenth, century.

In the laws of Edward IV. (1344) tapestry making is mentioned, and in the reign of Henry VIII., and the year 1509, Sheldon and Hicks set up a tapestry manufactory at Barcheston in Warwickshire.

The most important tapestry works were those set up at Mortlake, near London, in the reign of James I., by Francis Crane, and which were liberally supported by James and his son Charles I. During the reign of the latter monarch the Mortlake works furnished a great many important hangings for the royal palaces of Windsor, Hampton Court, Greenwich, and St. James's, among which were the reproductions of the celebrated cartoons of Raphael, which Charles I. had purchased from Brussels. Some of these tapestries are now preserved in the "Garde Meuble" at Paris. Mythological subjects, framed with rich borders, were designed by Francis Cheyne, a native of Saxony, who was the principal artist employed at the ortlake works. During the wars of the Commonwealth the factory was closed, but was re-opened at the Restoration of Charles II., who passed some Acts for the encouragement of English tapestry making, and put restrictions on the great importations of foreign tapestries. The latter king employed Verrio the painter to make designs for the Mortlake textiles. On the death of Francis Crane, the founder, in 1703, the works were finally closed.

Unimportant Tapestry Works

Unimportant Tapestry Works were in existence at Soho and Fulham about the middle of the eighteenth century. Another attempt at tapestry weaving was made by a French Protestant refugee named Passavant, who established a factory at Exeter about the end of the seventeenth century, and of late years there has been an attempt made to carry on tapestry weaving at Windsor under the patronage of Her Majesty.

Some excellent work, equal if not superior to some of the best Flemish tapestry, has been successfully made by William Morris from the designs of Sir Edward Burne-Jones.

England has given great attention to the manufacture of low warp carpets, in which she is only excelled by some of the best products of Oriental looms. The manufacture of printed and woven carpets now forms one of the most important factors in the national prosperity of England. Brussels carpets are now made chiefly at Kidderminster; originally they were made at Wilton. Axminster and Kidderminster carpets are made in Glasgow, Wilton, and Kilmarnock, and Wilton carpets in Yorkshire.

Turkey Carpets

Turkey Carpets are imported chiefly from Smyrna. Persia, India, and Tunis are still great centres of the Eastern carpet industry. The carpets from these places are in great request in Europe for their beauty of colour and design and for their great wearing qualities.

Carpets were originally used as portiŠres, table and couch coverings, but have gradually become coverings for floors, owing to their cheapened cost of production.