Editing Tapestry (section)

==16th century==
The 16th century continued the taste for tapestry, and was arguably the finest period in the history of the medium. By now the tapestry-producing towns were mostly ruled by the [[Habsburg family]], who replaced the Valois as the dominant patrons. At the start of the century Tournai was perhaps still the largest weaving centre, but after a plague it was replaced by Brussels, which as the Netherlandish administrative capital of the Valois and Habsburgs in recent decades was probably already the main centre for the highest quality weaving by 1500.  But there were many other towns where tapestries were woven.<ref>Campbell and Ainsworth, 131, 140–141; Osborne, 757–759</ref>
[[File:La lapidazione di S. Stefano.jpg|thumb|''The Stoning of Saint Stephen'', designed by [[Raphael]] for the [[Sistine Chapel]] in 1515–16, a later copy before 1557, in [[Mantua]]]]

Tapestries were commissioned in the Netherlands by rulers across Europe, from [[King Henry VIII]] in England, to [[Pope Leo X]] and [[Sigismund II Augustus]] of Poland and Lithuania. Ownership of smaller tapestries was also spreading more widely through the nobility and [[bourgeoisie]].  From 1528 tapestries of larger sizes made in Brussels had to be so marked, and with the maker's or dealer's mark, making the task of the historian much easier.<ref>Campbell and Ainsworth, 131; Osborne, 757–759</ref>  After an agreement between the relevant guilds in 1476, the cartoons for the main designs had to be supplied by a member of the painters' guild, while the weavers could elaborate these with detail, especially in ''millefeur'' designs.  This ensured a high quality of design for Brussels pieces.<ref>Campbell and Ainsworth, 133–134</ref>

At the beginning of the century Late Gothic styles held sway, and both the most famous sets of ''[[millefleur]]'' "[[unicorn]]" tapestries were made around 1500, perhaps to designs from Paris: ''[[The Lady and the Unicorn]]'' (now Paris), and ''[[The Hunt of the Unicorn]]'' (now New York).  Pope Leo's [[Raphael Cartoons|set for the Sistine Chapel]], designed by [[Raphael]] in 1515–16, marked the introduction of the full Italian [[High Renaissance]] style to tapestry, and the top northern designers now attempted to adopt it, which was rather a struggle for them, although the wide distribution of prints across Europe gave them one easy route, which many took.  ''[[Les Chasses de Maximilien]]'' (The Hunts of Maximilian) was a series of twelve huge Brussels tapestries designed by [[Bernard van Orley]] in the 1530s for the Habsburgs, one of the most successful efforts to achieve an up-to-date Renaissance style.<ref>Osborne, 757–759; Campbell and Ainsworth, 141–144</ref>  Technically, Brussels tapestries in the last quarter of the 15th century had already become sophisticated enough to begin to incorporate more illusionistic elements, distinguishing between different textures in their subject-matter, and including portraits of individuals (now mostly unknown) rather than generic figures.<ref>Campbell and Ainsworth, 134–136</ref>

Over the century oil paintings mostly moved from a [[panel painting|panel support]] to canvas, allowing a far greater size, and began to compete seriously with tapestries.  The authenticity of the master's touch that paintings allowed, but tapestry did not, became appreciated by the most sophisticated patrons, including the Habsburgs.  However, Charles V and [[Philip II of Spain]] continued to spend huge sums on tapestries, apparently believing them the most magnificent form of decoration, and one that maintained continuity with their Burgundian ancestors.