Some of the most exquisite and detailed tapestries in the world came from Flanders which is now Belgium. During the Dark Ages tapestry was mainly woven in monasteries, however the growth of skilled artists and craftsmen saw tapestry emerge as a creative genius in the fourteenth century. In Flanders tapestry weaving centres were set up in towns such as Bruges, Tournai and Brussels producing some of the most renowned work in the history of the decorative arts.



Exquisite detailed craftsmanship

A growing demand for religious tapestry to adorn church walls provided the Flemish schools with inspiration and commissions. With a growing need for more windows in the churches, this aspect of tapestry weaving declined and the trend shifted to wall hangings for castles, palaces and stately homes. This era saw immense tapestries woven and it was not unknown to commission a chamber of tapestries to fit a whole room. The significance of Brussels as a centre for exquisite tapestry was confirmed in Pope Leo IX asking the weavers to reproduce work by one of the greatest artists at the time, Raphael. A set of cartoons depicting the Acts of the Apostles was designed by Raphael and transformed into tapestry using the finest silks and wool. These formed scenes from the Acts such as the Miraculous Draught of Fishes and the Conversion of St Paul and were received in the Vatican with positive acclaim. The detail of facial expression and human emotion carried through the tapestry cartoons enabled powerful messages to be portrayed by these magnificent works of art, some of which survive today. In the Healing of the Lame Man, for example, true compassion can be seen in the eyes of the healers whilst the sick look on with hopeful expressions, reaching out for a cure.

The impact of such a positive reception in Rome of the Acts of the Apostles tapestries was felt by increased demand through Europe for tapestry work. This led to Flemish weavers being the most sought after and a steady decline in standards as techniques were introduced that were not always in line with the traditional ways of the craft. Liquid dyes were sometimes used to colour the flesh or eyes. The Flemish Authorities were driven to regulate the industry by passing a number of standards to ensure the highest quality was maintained. This included the sign of the master weaver as well as the town, signifying approval from the place of manufacture.

Royal Patronage

The support from Emperor Maximilian and Phillip of Spain during the Habsburg reign in the Southern Netherlands influenced the development of the Flemish Tapestry School. Master weavers emerged who created some of the most acclaimed tapestries of the time and at the height of the Flemish School's popularity. Francois Geubels was a much admired master weaver of Brussels and his Hunts of Maximilian is displayed in the Louvre. William Pannemaker was another master weaver famed for the scenes depicting the History of Abraham which is now in the Hampton Court Palace, having been purchased by Henry VIII. The mark of Pannemaker can be seen in the selvedges. The expressive nature of the tapestry, combined with a typical everyday scene denotes the exquisite and delicate detail of the work.

Verdure tapestries were a particular specialty of Oudenarde and Enghien and produced vast numbers of tapestries which were popular in medieval households. These included the History of David, now housed in the Austrian State Collection.

The Flemish Influence

Tapestries from Brussels and Bruges were renowned through Europe and it is not surprising that many Flemish weavers moved to France and other parts of Europe. The plague of 1513 influenced some movement as did the tight regulations and mass production seen following the appearance of the Acts of the Apostles cartoons in the Vatican. Typically with migration patterns through the ages the weavers followed employment opportunities and new beginnings. The most well known Flemish émigrés are those who went to Paris and formed the Gobelins factory, serving the French Royal Court until the demise of the works following the French Revolution. Some migrated to England to work at Royal Windsor in the nineteenth century and when that eventually folded the weavers looked to America where European migrants sought the influence of their homeland in their new homes. The exquisite detail and technique of Flemish weaving today ensures that this style of expressive and emotive design has retained its popularity and continues to capture the attention of admirers of this form of decorative arts.