The Renaissance
sumptuous tapestries.' The walls of every palace, castle
and mansion of the day were adorned with rich hangings,
and these products of the Flemish looms were sought
by prince and prelate throughout Europe.
Although Flanders continued to produce the most'
important sets of tapestry during the sixteenth century,
and cartoons were supplied by the Flemish artists,
Bernard van Orley, Michel Coxie and Peter of Campana,
and the French artists, Primaticcio, Matteo del Nassaro,
Caron and Lerambert, by far the greater number of
designs came from Italy. Paul Veronese, Titian,
Pordenone, Salviati, A. del Sarto, Bronzino, Giovanni
da Udine, Giulio Romano and Raphael are among
the most prolific designers ; and in the tapestries after
their cartoons, the grouping and distribution of the
figures as well as the colouring (that requires much more
shading) differ greatly from the works of the past. The
borders are also more varied ; instead of being decorated
only with fruits and flowers tied with ribbons, other
motives are introduced—birds, nude children, fishes,
crustaceans, vegetables, emblems, quivers, masks, gro-
tesques, etc., etc.
Most of these fine sets were made in Brussels to order ;
but many tapestries were made there and sold in Antwerp.
If Brussels was the workshop of Europe, Antwerp
was the mart. In this city, where all kinds of mer-
chandise abounded, Guicciardini informs us that more
than a thousand foreign merchants had established
themselves and exhibited for sale to the eyes of pur-
chasers the fine tapestries made in Brussels. There
was a special place" " Le Pand, halle aux tapisseries,
73