of Guilds or organizations. In the thirteenth century
the work was in a flourishing condition in France, where both looms
were in use. The upright loom is still used at the Gobelin factory.

As an adjunct to the stained glass windows in churches, there never
was a texture more harmonious than good mediaeval tapestry. In 1260
the best tapestries in France were made by the Church exclusively;
in 1461 King Rene of Anjou bequeathed a magnificent tapestry in
twenty-seven subjects representing the Apocalypse, to "the church
of Monsieur St. Maurice," at Angers.

Although tapestry was made in larger quantities during the Renaissance,
the mediaeval designs are better adapted to the material.

The royal chambers of the Kings of England were hung with tapestry,
and it was the designated duty of the Chamberlain to see to such
adornment. In 1294 there is mention of a special artist in tapestry,
who lived near Winchester; his name was Sewald, and he was further
known as "le tapenyr," which, according to M. G. Thomson, signifies
tapestrier.

One is led to believe that tapestries were used as church adornments
before they were introduced into dwellings; for it was said, when
Queen Eleanor of Castile had her bedroom hung with tapestries, that
"it was like a church." At Westminster, a writer of 1631 alludes
to the "cloths of Arras which adorn the choir."

Sets of tapestries to hang entire apartments were known as "Hallings."
Among the tapestries which belonged to Charles V. was one "worked
with towers, fallow bucks and does, to put over the King's boat."
Among early recorded tapestries are those mentioned in the inventory
of Philip the Bold, in 1404, while that of Philip the Good tells of
his specimens, in 1420. Nothing can well be imagined more charming
than the description of a tapestried chamber in 1418; the room
being finished in white was decorated with paroquets and damsels
playing harps. This work was accomplished for the Duchess of Bavaria
by the tapestry maker, Jean of Florence.

Flanders tapestry was famous in the twelfth and fourteenth centuries.
Arras particularly was the town celebrated for the beauty of its
work. This famous manufactory was founded prior to 1350, as there
is mention of work of that period. Before the town became known as
Arras, while it still retained its original name, Nomenticum, the
weavers were famous who worked there. In 282 A. D. the woven cloaks
of Nomenticum were spoken of by Flavius Vopiscu