Tapestry

Antique specimens of tapestry weaving include a few surviving from Egypt of 1500 BC and Coptic tapestries made from the 4th to 8th cent. AD The Incas of Peru produced beautiful specimens, some of which date back to the pre-Columbian era. Ancient Chinese tapestries, k'o ssu, were made of light, thin silks, often interwoven with gold thread. Allusions in early Greek poetry and paintings on Greek vases show that tapestry weaving was an important household industry.

The history of tapestry weaving is continuous. In the 5th cent. AD and in the centuries immediately afterward, monasteries and convents were the centers of the craft. Woolen tapestries appeared early in Europe. A few fragments woven in this material in the 10th or 11th cent. are still preserved. (The so-called Bayeux tapestry was actually embroidered.) At Arras, early in the 14th cent., the first great French weaving was done, in wool. Soon Brussels achieved prominence and remained important through the 17th cent., until the rise of the Gobelins works at Paris.

By the 15th cent., tapestry weaving had reached a high degree of perfection, and from this century date many great Gothic sets rich with gold thread. A fine specimen is the set of Burgundian Sacraments; a late 15th-century example of a verdure background is the Lady and the Unicorn set (Mus de Cluny). An example of the Renaissance period is the widely acclaimed set, the Acts of the Apostles, from the cartoons of Raphael. Fine weaving was done at Beauvais in the mid-17th cent. Weavers at Aubusson, France, began in the 16th cent. to make an inferior textile that was gradually improved. The baroque style dominated the 17th cent.; the rococo and classical styles appeared in the 18th cent. Fine examples were woven from the cartoons of Fran?ois Boucher, who worked both for the Beauvais and the Gobelins looms.

In England much tapestry, known as Arras, was used before any was manufactured there. In the 16th cent. William Sheldon set up works in Warwickshire. An establishment in imitation of the Gobelins was opened at Mortlake in 1619 and employed Flemish weavers. In 1881, William Morris began weaving at Merton; his friend Edward Burne-Jones designed some of Morris's series. In 1893 tapestry looms were set up in New York City. Some interesting 20th-century tapestries have been woven in France from cartoons by Rouault, Braque, Lur?at, Picasso, and Calder.

Important public collections in the United States that contain fine examples of tapestry weaving are those in the Metropolitan Museum (including the magnificent Hunt of the Unicorn series at the Cloisters) and in the Museum of Fine Arts, Boston.

Needle Point

The roots of needlepoint go back thousands of years to the ancient Egyptians who used small slanted stitches to sew up their canvas tents. There are also many references in the Bible to elaborate needlework on religious articles, including the tent used for worship in ancient Israel.

In the Middle Ages, there were two types of needlework that were forerunners of modern needlepoint. A kind of embroidery, in 13th century Europe, was done on coarsely woven linen fabric similar to canvas mesh. Tapestries, also popular in that era, were woven on vertical threads on a loom. In the 16th century, people began to imitate these forms on a canvas background using steel needles, invented around this time. This allowed more intricate work than the fishbone or thorn needles used previously.
During the times of Mary, Queen of Scotts (who did needlepoint during her long imprisonment), needlepoint was a pastime of the leisure class. As time went on, its appeal gradually broadened to other parts of society.

There are few examples of needlepoint from early Colonial America since American women had little time to spare for stitching that was not absolutely practical. With an increase in leisure time along with the invention of a method of printing colored charts for needlepoint designs (called "Berlin Work"), needlepoint finally took its rightful place in style.

Aubusson