What is a wall hanging tapestry called?
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An arras tapestry is one that is displayed as a decorative piece particularly one that is decorated with intricate stitched patterns.
There’s a famous reference of an arras within Shakespeare’s plays “Hamlet,” when Polonius is hidden in an alcove behind an arras, allowing him to hear the conversation. Imagine the thick tapestries that you could find in a museum when you consider an arras. The name is derived directly from the French city in which they first came into existence, Arras in northern France. The first name for the fabric was drapes of arras, or “cloths from Arras.”
ARRAS HISTORY
15th century
The finest tapestries of 15th century were created from the Flemish cities of Arras, Tournai, and Brussels. In the early part of the century, it was Arras which flourished the most thanks to the patronage and support from the Dukes of Burgundy. The Duke Philip of Burgundy, the Good (1396-1467) was the patron of an enchanted building constructed in the city in order to ensure more efficient preservation in his collection of tapestries. From 1423 to 1467, no less than 59 tapestry master weaving weavers were employed in Arras and after the French siege of the city in 1477 during Louis XI, the King. Louis XI the industry declined. In the year 1530, it stopped operating. While the significance of Arras diminished, the importance of Tournai and then Brussels became waxed, their tapestries becoming the most sought-after by the latter half of the 15th century. Local identification marks didn’t become common up until around the end of 16th century and the constant exchange between different medieval centers of tapestry production, including Arras and Tournai which adds to the challenge of identifying where the tapestries were made. While the quality is high for Arras work, it’s odd that only one piece of tapestries that dates back to 1402 bears the exact name. The large fragments of scenes of life of St. Piat and St. Eleutherius survive in the cathedral of Tournai in the purpose of which they were commissioned. The style of these tapestries is similar to those of many Gothic pieces, were linked to the painting styles prevalent in the period. Some other important examples of Arras tapestries influenced by book miniatures of the Franco-Flemish genre as well as paintings painted on wooden panels comprise the tapestry from the 15th century of The Annunciation, which was likely made after the cartoon of Melchior Bröderlam (active 1381-c. 1409) along with The Court Scenes, related to the Tres Riches Heures du duc de Berry illuminated by the Limbourg brothers (active in the early in the 15th century).
If a tapestry can be classified as an Arras and if it is not typically established by comparison to what is known as the History of St. Piat and St. Eleuthere. One of the best pieces that has been attributed to the 14th century early fragment from the set at the Museo Civico at Padua, Italy depicting what is known as the Geste of Jourdain de Blaye the medieval chivalric tale inspired by the ancient Romance of Greco-Roman. Apollonius from Tyre.
The art, which was practiced from the the 13th century in Tournai and Tournai, was so successful that in 1398, a regulation regarding production was issued. It is the oldest-known regulation governing the art of weaving tapestries. The tapestries that are still in existence in the latter half of the fifteenth century, by the courts of Burgundy were two sets made by the weaver and merchant Pasquier Grenier (died 1493) for Philip the Good. The first series, The Story of Alexander was bought in 1459. The other set, The Knight of the Swan which was purchased in 1462.
The most widely cited by scholars as an instance of mid-15th century Tournai weaving that was influenced by the work of Arras is the quartet of tapestries of The Hunts of the Dukes of Devonshire. A typical example of the evolving later Gothic Tournai design are the compressed Vertical compositions in The Story of Strong King Clovis (mid-15th century) and The Story of Caesar (c. 1465-70). The majority of the Tournai weavings have a heavy outline and are sombre in contrasts with the more imaginative style in Arras weavings. The feeling of massiveness comes from the massive dimensions of many of these alleged Tournai weavings, as well as the way that their vast surfaces are saturated with images superimposed on top of each other.
A manufacturer of tapestry from the 14th century onwards and, during the 15th century Brussels competed with Arras as well as Tournai. At the turn of the century, Brussels was noted for the high-quality reproductions of religious artworks created by Flemish masters from late Gothic realist style, as in the tapestry depicting The Adoration of the Magi. These were referred to as “altarpiece tapestries” as they were designed for private or church chapels, where they could be used for an altar cloth, an antependium, or were placed in front of the altar for use as an altarpiece or relatable. They were, in terms of scale, altarpiece tapestries. closely resembled the dimensions of the paintings they copied, and were thus, significantly smaller than mural-style wall hangings of Arras as well as Tournai. Silk was frequently employed to achieve the higher amount of naturalistic details that are crucial in replicating a painting.
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