Thanks to their unusual appearance and texture, tapestries often attract the attention of designers and customers. Some knowledge about it will help you understand all the intricacies of creating an interior and caring for such a product.
What is it?
A tapestry, or tapestry, is the result of one of the types of applied art. The finished product has both utilitarian and decorative properties. In modern design, a tapestry is treated as a work of art, picturesque picture. No brushes or paints are used to create the canvas; the material is purely woven.
Thanks to the various weaves of colored threads, it is created unique work, which is made on a specific theme, for example, a love story or one of the moments of a summer hunt, or can also have an abstract meaning.
History of origin
The origins of the creation of trellises are very difficult to trace. This is due to the fact that many peoples independently engaged in and developed weaving within their own ethnic group. The most ancient tapestries come from Egypt. In the tomb of Thutmose IV (XV BC) a linen cloth with images of scarabs and lotuses was found, and in the tomb of Tutankhamun (XIV BC) - a dress and gloves created in the likeness of a trellis. But even such compelling reasons to claim that these are the very first tapestries do not prove this.
Historians claim that the Egyptians adopted this type of weaving from the peoples of Mesopotamia, as evidenced by the records of ancient authors.
In Homer's poem "The Odyssey" there is a mention of burial objects made using the tapestry technique. This fact indicates the existence of weaving in Ancient Greece and Rome.
On the other side of the world, in pre-Columbian America, mainly in ancient Peru, during excavations, elements of tapestries were found, most of all in their application corresponding to modern ideas about tapestries. The Peruvians not only decorated their walls with woven paintings, but also used them to hide from drafts.
The ancient trellises from China were distinguished by their sophistication and special subtlety. To create such decorative elements and clothing, Chinese craftsmen used motifs taken from nature: unusually beautiful and exotic flowers, intertwined stems, sophisticated landscapes. Japan adopted the art of this type of weaving from the Chinese peoples.
Tapestries became widely known in Europe in the Middle Ages thanks to the massive campaigns of the Crusaders. Tapestries were especially valuable trophies and were highly prized.
Each nation had its own name for trellises: among the Greeks - “tapes”, in Italy - “arezzi”, in Latin - “tapetum”. The word “tapestry” itself comes from France. In the 17th century, the royal Gobelin manufactory opened, giving its name to its products.
Moreover, experts claim that only the products of this factory can rightfully be called “tapestry”, the rest are tapestries.
It is worth noting that the scope of woven art is large and diverse. In addition to their utilitarian and decorative properties, tapestries are used to this day as upholstery for upholstered furniture, as elements of clothing or clothing in general (to create traditional outfits), as a replacement for classical icon painting, in the heraldic sense, and so on.
Manufacturing technique
Traditionally, tapestries are created by hand. The process is reminiscent of weaving lint-free carpets, but it is more labor-intensive and painstaking, since the threads are much thinner and the pattern is very detailed.
Initially, the main tool for creating a product was an ordinary frame onto which warp threads were stretched. To achieve the required tension, they used nails driven into the frame or evenly made special holes on the inside of the frame itself. A weft thread, wound on a spool or simply wound into a ball, is thrown between the warp threads, and after completing the row, it is nailed with fingers or using a special mallet.
The process using a machine is considered more technical. Its peculiarity is that the machine can be placed both horizontally and vertically.
The master works according to a sketch drawn on cardboard, and the size of the design and color completely coincides with the size and colors of the future trellis. But despite the fact that the weaver has to copy another work, he must have artistic inclinations, be able to preserve color rendition, understand the intricacies of light and shade, and imagine what the finished woven work will look like in order to select the right thread in a given row.
Large manufactories producing products on a global scale even set up art schools at their factories, which improved the quality of the finished product.
Since the process of creating this canvas is very labor-intensive and time-consuming, up to 5-6 people can work on one trellis. Thus, one work is divided into several parts, which are then sewn together with silk thread. This could be understood by looking at the reverse side: there were seams on it.
Thanks to a large number It is possible for a technician to achieve a variety of effects when making a trellis. If in the classic form the warp threads remain invisible, then in modern design masters can deliberately leave them on the front side of the picture. This technique is called rep, because the fabric takes on a certain ribbed relief, which translated into French sounds like “reps”.
The modern tapestry as a decorative element has undergone great changes over the past decades. This type of decoration of walls and various surfaces has become so popular in recent years, which simply had to become more accessible to the masses.
A fully woven product is an expensive pleasure; few can afford such a luxury. But the non-woven tapestry is very simple to make, and in appearance it is almost indistinguishable from the original.
Such a product is created using a special layout of the pattern with colored fibers or threads on the base. It is difficult to call the product a tapestry in the traditional sense of the word, because a “tapestry” is, first of all, a woven fabric. However, the laid out pattern has a woven texture and a very detailed and dynamic pattern.
Chinese masters have come up with another type of non-woven trellis. The panels are made without the use of knitting needles or hooks. All elements are made of cardboard, onto which yarn is subsequently wound. The master glues ready-made parts onto the fully wrapped base and frame, creating a composition.
Advantages and Disadvantages
Tapestry has many advantages as a decorative element. Such a picture looks very elegant, you want to look at it, remember every element, it magically attracts attention, creates comfort and warm atmosphere in the house.
In a practical sense, such an acquisition will also be useful. The canvas has antistatic properties and does not attract dust, the fabric holds its shape well, does not warp or deform, and is easy to care for. Tapestries are suitable for any style in the interior, the main thing is to choose the right design.
The disadvantages include the relatively large weight, which does not allow the technology to be used in everyday clothing. At home, it is better not to wash or iron the product, as this may affect its appearance.
Main Features
Each nation had its own way of weaving tapestries. They differ in texture and material used. Currently, to create a certain relief, the master selects any necessary manufacturing method.
- Plain weaving is considered the most common and is more widely used by craftsmen. To create the product, the weft thread is passed through the warp threads in a checkerboard pattern. Thus, the first throw covers the even warp threads, and the second one covers the odd ones.
- Egyptian weaving creates a semblance of an ordinary braid from weft threads. This effect is achieved due to the fact that the thread creating the pattern is braided around the warp thread in a knot and tightened. This process is one of the most labor-intensive. Often only certain elements are woven in this way.
- Greek weaving forms a loose, loose surface. To knit a row, 2 or 3 weft threads are required, which are intertwined with each other with warp threads like a regular braid.
More complex weaving methods: knitting, sumac weaving, twill, gyordes, hay. Each differs in density, relief, and the ability to manufacture elements of varying complexity. Each method has its own material.
Woolen, cotton, and silk threads can either emphasize the relief or, conversely, create a perfectly smooth surface.
Types of fabric
In modern understanding, tapestry as a material is a type of jacquard fabric. Jacquard is a large-patterned fabric of complex or simple weave of more than 24 threads, which is characterized by high density, strength, complexity of the pattern, versatility of textures, colors and patterns. The warp is usually linen, but the weft threads are silk, wool or synthetic.
Thin, elegant, detailed tapestries are made from silk threads. Clothes, curtains, and bedspreads are made from this material.
For utilitarian purposes, such as protection from drafts, wool products are suitable. Wool threads are the most convenient and less labor-intensive material for weaving, but they are very heavy. It makes carpets for walls and floors. Upholstery of upholstered furniture is best made from cotton materials. And tablecloths and bed linen are made of linen. Metal threads are used for decorative purposes; they add shine and shimmer in the light.
Fashionable patterns and colors
Since these products have a centuries-old history and are considered an attribute of antiquity, in our time it is considered fashionable to emphasize this particular property. Based on this, the theme of the tapestry drawing reflects moments not related to modern life- these are illustrations for a medieval book or a woven reproduction of a Renaissance work, an image of a hunting scene in Rus'.
Such canvases, even those made in modern factories, will make you think that perhaps this particular tapestry once hung in the palace of the King of France. The interior will immediately acquire a “history”.
Another “classic” in the execution of tapestries is the depiction of nature on canvases. Tapestries with deer, bears, horses and simply gorgeous landscapes are a more democratic option than, for example, classic battle scenes.
For romantic people who prefer styles such as shabby chic, flowers on tapestries will perfectly complement the interior design. Chic peonies, roses, hibiscus - the main attributes of the antique style. More infantile subjects are stills from anime films or images of cute cats and puppies on canvases. Woven calendars are an original way to find out the date and emphasize the stylistic direction of the interior.
In a historical sense, tapestries do not have too bright colors. Previously, there were no pigments that could create, for example, a juicy lime color or sky blue; all shades were muted, soft, but deep. Based on this, choose a tapestry for classic and minimalist interiors in these colors. In bright pop art designs you can experiment with paints. There will definitely be food for thought here for the plot.
Areas of use
IN modern world The area of use of tapestries has narrowed somewhat. Because of their heaviness, trellises are not suitable for full-scale production of clothing, although in ancient times traditional clothes in Japan and China, woven robes and dresses were considered. Designers in the world of high fashion continue to create couture outfits using this technique, but such models are unlikely to make it to ready-to-wear collections.
But the elements - finishing the edge of a sleeve or lapel on a jacket - can be found in everyday life.
In interiors, their scope is wider. Jacquard fabric is used to make upholstery for furniture, pillowcases, and bedspreads. If we talk about the ancient areas of application of tapestries, then it is enough to recall Homer’s “Odyssey”, in which Penelope wove a shroud for her father-in-law, since housing construction technologies were at a low level, and woolen carpets were woven for shelter from drafts and cold. Entire tents made of tapestries were prepared for kings during their travels and military campaigns.
The best manufacturers
There are many weaving factories specializing in the production of tapestries or having one of the directions related to them, both in Russia and around the world.
The city of Ivanovo is famous for producing a wide variety of fabrics. Ivanovo trellises are used to make pillowcases, paintings, panels, curtains, bedspreads, napkins, bags, and calendars. Factories employ designers, artists, design specialists and workers responsible for the smooth operation of machines. All equipment is mainly manufactured abroad, and the experience in creating drawings was adopted from masters from China, Turkey and Italy.
You can purchase Ivanovo tapestries at exhibitions of Ivanovo products, at retail sales points, and also through online stores.
Starting from the end of the 15th century, Flanders took the lead for three centuries in the workshop production of trellises of the highest class. The main centers were the cities of Belgium - Bruges and Antwerp, and a little earlier Arras. The main difference between Belgian tapestries is the introduction of “Cypriot gold” threads into the fabric - twisted silk or linen was wrapped with gold or silver wire. The product includes precious metals, which gives the canvas a special price.
To this day, Belgian tapestries are unique and are considered an expensive acquisition.
Along with them, French and Italian products have incorporated traditional aspects of weaving, compatible with the latest technologies. European factories offer panels with medieval motifs, and are also ready to create reproductions by contemporary artists.
From ancient times to this day, France, Belgium and Italy are considered classic producers of tapestries.
For unique and colorful solutions, it is recommended to turn your attention to the East. Here, handicrafts are presented by Indian, Chinese and Japanese craftsmen. The themes of tapestries from India include traditional patterns, images of elephants, the god Shivva and other deities.
Chinese tapestries also reflect elements of history and tradition. Many motifs are dedicated to the depiction of nature, amazing and beautiful flowers, and significant events.
Japanese products amaze with their colorfulness. A frequent theme is Japanese women in national costumes with all kinds of cultural paraphernalia, cherry blossom branches, landscapes, and architectural elements.
When visiting elite art exhibitions or original gift shops, the first thing that catches your eye, despite the huge rich assortment, is, of course, the sophistication and beauty of tapestry paintings.
The professional execution and variety of subjects of these works delight both art aesthetes and ordinary people who are indifferent to interior decoration elements. Today, tapestry paintings are extremely popular, since they are presented in various stylistic directions.
On them you can see colorful landscapes, religious scenes, realistic still lifes, reproductions of paintings famous artists– from classic themes to modern design trends.
If you are going to buy a tapestry painting, then do right choice, because with the purchase of this wonderful product, your interior will be distinguished by special sophistication and individuality. The painting will be the finishing touch to the decor. But in order for it to be combined with the interior, you should take into account its content and the characteristics of the room in which it will be located. For example, cityscapes are neutral, so they can be placed in any room. With still lifes the situation is different: it is more appropriate to place them in the kitchen or dining room rather than in the bedrooms. Portraits, reproductions of paintings by artists and religious subjects are ideal for decorating the interior of hallways, living rooms and bedrooms.
Paintings made from tapestry fabric pleasantly surprise with their variety of sizes. Thanks to this, you can choose a painting of the size that is ideal for placement in your room. For such complex areas of walls as niches and narrow partitions, which are problematic to decorate, vertical tapestry paintings are perfect. IN free space Long and narrow horizontal paintings will fit perfectly above the sofa.
Tapestry without frames (without baguette)
Paintings made from tapestry fabric can be purchased in a baguette or without a frame. A tapestry without a baguette is also called “coupon”. What are its advantages? The finished frame may not suit your taste or interior design. Therefore, the coupon does not limit you, since you can purchase absolutely any baguette or use your imagination and frame the picture yourself. To do this, you just need to contact a framing workshop, where they will help you choose from hundreds of framing options exactly the one whose frame will best suit the plot of the picture, interior design and your financial capabilities.
The tapestry coupon is also very convenient for transportation or forwarding. It can be easily rolled and wrapped, so sending such a tapestry to your destination or taking it with you on a trip as a gift will not be difficult. But transporting a framed painting is much more difficult and somewhat problematic.
Tapestry for ribbon embroidery
A frameless tapestry has another advantage: it is very convenient for creative activities, for example, ribbon embroidery. You will be able to create a unique work of art yourself, or reproduce scenes from domestic and foreign artists such as Goryachev, Dandorf, Weber, Kruger and many others.
With a tapestry for ribbon embroidery you will spend useful time free time, realizing your creativity and revealing the secret corners of your imagination. And the product created by your hands will decorate the interior of your home, causing the admiration of family members and guests. Be sure to try this handicraft; perhaps you have a huge talent that you were not aware of before.
Where to buy tapestry paintings in Moscow?
The Literi online store offers a wide selection of paintings made from tapestry fabric, which are perfect not only as an exquisite interior decoration detail, but also as original gift family members, relatives, friends, work colleagues and managers. It is much more profitable to buy tapestry paintings in Moscow from us, unlike many other stores, since we set reasonable prices for these exclusive products.
You can find out the information you are interested in and place an order by calling: 8 495 212 13 80.
As you know, life is made up of little things. And little things very often decorate our life, make our home cozy and even special, unique. Everything from clothing and women's jewelry to trends in design and art are subject to fashion. It’s hard to say that the fashion for tapestries arose only now, because this type of decorative art has been known since the Middle Ages, although it probably arose earlier. But fashion is changeable and repeated over time in a new quality. So it is with tapestries, definitely, the fashion for them has returned and is gaining momentum.
How to distinguish a genuine valuable tapestry from a machine copy
It’s not often that in people’s apartments you can find an artistic, at the same time decorative, woven product that is used as a wall carpet. But it can serve as a panel, or furniture upholstery, even as a curtain. And it's called a tapestry. Tapestries are a kind of work of art. This is without any pretense or discounts. The best tapestries are worthy of museums and are exhibited there with pleasure.
They come in handmade (truly authentic) and machine copies. Tapestries differ in the method of production, materials for embroidery, appearance and artistic value. The most expensive gold-woven tapestries. Real tapestries have knots on the reverse side, the free ends of the threads, which are not cut short so that the product retains its strength.
Machine-made tapestries are also valuable for interior design and design experiments. You don’t have to chase authenticity if you’re not a snob, but remember, you can forget about exclusivity. It is likely that you will come across a tapestry drawing similar to yours copied in some shabby hotel.
History of tapestry - care for them and examples of use in the interior
Tapestries came to us from France in the 17th century. The first French tapestries reflected historical events, religious, and mythological. Then she entered the tapestry daily life. Magnificent tapestries were on everyday themes, landscapes, portraits, their cost was truly enormous and by the beginning of the 20th century the production of tapestries was discontinued.
Genuine tapestries, even those not embroidered with gold and silver, have museum value and only very wealthy people can afford to have them at home. As a rule, these are small wall panels that look very impressive on the walls. Tapestries require careful handling, as they are heavy and can tear under their own weight. Tapestries must be carefully, and most importantly, systematically cleaned from dust, ventilated for a long time and reliably dried in the sun.
Machine tapestries are created for mass consumption. They are not of museum value, but still not cheap. They, like their more prestigious counterparts, are very great for decorating an apartment in the form of panels. Furniture covered with tapestry has a very expensive look, lasts much longer than that covered with any other fabric, and such furniture itself is a decoration in the apartment.
Infertility treatment in a sanatorium in the city of Saki.
During our great French trip, we were able to get acquainted with two extraordinary works of ancient weaving and embroidery. The first is in Angers, the second is the Bayeux tapestry. You should come to this city just to see with your own eyes the grandiose creation of embroiderers (or embroiderers?), which is almost 1000 years old! Of course, no online source can replace the impression of the real thing. But it can give an idea of the grandiose work of ancient masters. And at the same time, it will refresh your memory the most important episode Medieval history England - its conquest by William (Guillaume) the Conqueror in 1066.
Let's start with a brief historical background - this way it will be clearer to understand the events of the tapestry.
1051 The lands of the Anglo-Saxons are ruled by King Edward the Confessor, nephew of the Norman Duke Richard II. The Lord did not give him children (there is a legend that he did not love his wife and remained a virgin), he proclaimed as his heir the young Norman Duke Guillaume (in England he is called William), his cousin.
1064-1065. Another contender for the throne, Harold was the brother of Queen Edith, wife of Edward the Confessor. In 1064-1065, Harold was captured by Guy I de Pontier. William the Conqueror ransomed him from captivity and Harold was forced to recognize the savior as heir to the throne, swore allegiance and promised him his support.
1066 Death of King Edward the Confessor. The English council "Witengamot" recognized Harold as king. They did not need William, because the stranger would begin to oppress the local nobility, take away their lands and titles and give gifts to his Norman associates. Harold took the throne. William immediately accused him of perjury, assembled a squadron, defeated the English troops at Hastings and reigned on the English throne. Harold died during the battle.
We will provide technical and historical details below as we look at the many scenes in the tapestry. “Tapestry” in this case is called so conventionally. In fact, it is made using embroidery technique wool threads on linen fabric. The pictures are taken from the official website of the Bayeux Tapestry Museum.
The events of 1064-1066 depicted in the tapestry constitute an independent view of events, which differs somewhat from the surviving written sources. And if the descriptions of the main events generally coincide with written sources, then in detail they often contradict them. The laconic nature of the tapestry text does not explain the reason for the discrepancies.
It should be noted that some events are deliberately not entirely clear. For example, about the mission that Edward the Confessor entrusted to Harold at the beginning of the story or about the contents of King Edward's will. The author undoubtedly knew about different interpretations events on both sides of the English Channel.
JOURNEY TO NORMANDY
Scene 1. At the very beginning, the carpet was badly damaged, but it was carefully restored. The King of England since 1042, Edward the Confessor, speaks with his son-in-law, Earl of Wessex, Harold, probably in the Palace of Westminster. Harold was at the time the most powerful aristocrat in the country and a contender for the throne. Harold (right), hawk in hand, then sets off for the south coast to his estate Bosham in Sussex with his retinue and hunting dogs.
Scene 2. Harold and his companion enter the temple at Bosham to pray for safe sailing. They feast in one of the many palaces of Harold's estate in Bosham (note the drinking horn, such utensils were extremely common in Scandinavian circles) and set off on a peaceful campaign - none of the retinue is armed. Why - historians know nothing. Harold boards the ship and sets sail. He still holds the hawk in his hands.
Scene 3. A fair wind carries the ships and Harold crosses the English Channel. From the mast they watch the shore through the fog. This is Ponthieu, the land of the powerful Duke Guy I de Ponthieu. Harold is shown twice here. On the left, he stands on a ship, ready to step ashore. As soon as his feet touched the ground, he was seized by the Duke's men, who leads them, sitting on a horse to the right.
CAPTURED
Scene 1. Although Harold is now a prisoner, he is treated with respect. In the center of the scene he is depicted on horseback with his hawk, riding towards Beaurain. On the right, Guy I de Pontier on the throne talks with Harold.
Scene 2. In the next three parts, the sequence of events is shown in reverse order. Two envoys arrive from Lord William of Normandy to the Duke de Guy and demand Harold's release. It is known that this scene depicts Turold, the nephew of Bishop Odo of Bayeux. Turold is either the little man to the left of center stage, or one of the two messengers to the right. It is conveyed how furiously these horsemen—Wilhelm’s envoys—gallop—their hair flutters in the wind, they are full of a serious intention to announce to de Guy the will of his master.
Scene 3 This scene should actually be the first of three. William receives news that Duke Guy has captured Harold. Guy obeys the order and brings Harold to meet Wilhelm. Guy is on a blue horse, pointing to Harold riding behind him, both holding hawks.
STRANGER
Scene 1. William and Harold, accompanied by soldiers, ride to William's palace in Rouen. (The Norman is now shown with a hawk!) William is sitting as Harold speaks to him. A mysterious episode is also depicted here. Two figures appear on the tapestry: a lady, her name is Aelfgyva (she is definitely English) and a clergyman. They seem to have no connection with the event, but the event must have been well known in the 11th century. Most likely, the scene is related to a love scandal. The lower case depicts a naked man.
BROTHERS IN ARMS
Scene 1. Harold accompanies William and the Norman soldiers on a campaign against Conan of Brittany, Duke of Brittany. They pass Mount Saint-Michel, the border between Normandy and Brittany.
To get to Brittany you need to cross the river and the army barely escapes the quicksand. Warriors raise their shields above their heads to prevent them from getting wet. Several soldiers fall into quicksand and Harold saves two at once!
Scene 2. The Norman army attacks Dol and Duke Conan escapes by rappelling out of the castle - in the center there is a small man rappelling from the tower. Pursuing Conan, the Normans reach Rennes, the capital of Brittany.
Scene 3. The Normans overtook Conan in Dinan. In battle, horsemen throw spears, soldiers try to set fire to defensive fortifications. Conan gives up. At the tip of a spear, he gives William the keys to Dinan. The campaign is over. For his faithful service, William rewards Harold with weapons and knights him. This ritual was well known in France, but in England at this time such a tradition did not exist. This scene also signifies Harold's recognition of William as his overlord. From a Norman point of view this scene is extremely important.
OATH
Scene 1. William and Harold return to Normandy and arrive in Bayeux. In this episode there is an illustration of the castle in Bayeux, it was built in the 10th century and destroyed in the 18th.
This is the climactic scene, on the holy relics Harold swears an oath of allegiance to William (image in the center). In the presence of the Norman Duke, Harold places his hands on two relics and swears allegiance to the overlord. The text of the oath is not known, but, most likely, Harold gave his word in the event of the death of King Edward not to prevent William from taking the vacant English throne. But did Harold really promise support to William? This scene is key to the entire unfolding drama of the tapestry - it will be followed by the death of Harold and the collapse of his entire family. But at least the English count is free and returning to England.
RETURN
Scene 1. Harold talks with King Edward the Confessor and tells him about his adventures. The king is depicted as old, weak and sick. However, in fact, at this time he was quite healthy, although at that time he was already 62 years old.
DEATH OF A KING
Scene 1. The events of the next year are left unattended by the author of the tapestry. The story continues with the events of January 5, 1066, when King Edward the Confessor of England died. Here the chronology of the story is broken. The tapestry shows first the burial scene and then the death scene. On the left we see the funeral procession to the great new church of Westminster Abbey. Edward was very ill and was not present at the consecration of the new temple on December 28, 1065. Although the temple is his brainchild, he built the cathedral on a scale hitherto unseen on the north side of the English Channel. A palace is depicted in the center. In the Upper House, we see King Edward in bed, talking to his loyal subjects, including Harold and his wife, Queen Edith. Whether he named Harold or Wilhelm as his successor on his deathbed is unknown; each researcher offers his own version. In the lower chamber of the palace, the king is shown dead, with a priest standing next to him. On the right, two noble courtiers offer Harold a crown and an ax, symbols of royal power. Harold accepts the regalia.
LONG LIVE THE KING!
Scene 1. On the morning of January 6, 1066, the king was buried, and in the afternoon Harold's coronation ceremony takes place. The new king sits on the throne, according to him left hand those close to him are standing, on the right is Archbishop Stigand of Canterbury. The Anglo-Saxon nobles present at the coronation are easily identified by their weapons: they are armed with large battle axes. In the background, people welcome the new king. A “star with hair” appears – this is Halley’s Comet. An earlier image of her than on the Bayeux Tapestry has not yet been found.
Halley's Comet in the top row on the right above the three-domed building The people are horrified - the appearance celestial body perceived as an ominous sign. Scene left - Harold is informed about the comet and the newly-crowned king accepts the news with fear. In the lower case there are several ghostly ships depicted, this is an indication of the coming Norman invasion.
PLANNING AN INVASION
Scene 1. News reached Duke William of Normandy across the English Channel about the death of Edward and the accession of Harold: we see an English ship sailing away to warn him about what had happened. The Duke is furious - he already saw himself as an English king and considered Harold a usurper. He decides to go to war with England and gathers a fleet of ships. To his left is Bishop Odo of Bayeux, his maternal half-brother. Odo appears for the first time in this scene.
Scene 2: William's men prepare an invasion and build a fleet. Lumberjacks cut down trees and make planks out of them. Ships are built from planks and launched into the sea. These tapestry scenes are the most famous and very bright and lively. We see carpenters with axes, the fitting of boards and the appearance of a ship, in the bow it is decorated with a dragon. We know that William also requisitioned all the ships available to the Norman nobles, but this is not reflected on the trellis.
Scene 3. Food and drink are delivered to the ships by hand and on carts. They also bring weapons - chain mail, helmets, swords and spears. Wine is served in vessels made of animal skins, in barrels, in bags and in a wide variety of other containers.
CROSSING
Scene 1. William leads his army to board the ships and they set off. The author of the tapestry missed many of the events at the beginning of the campaign - the long wait for a fair wind in Dives-Sur-mer, wandering along the coast in search of a convenient pier in Saint-Valery-sur-Somme ). Only the direct crossing of the English Channel is shown - the creator shows the beginning of Normandy's march to victory.
But even better on the tapestry are the boats of the Normans - decorated with carved dragon heads, they rush forward, driven by a fair wind. Multi-colored sails and shields are clearly visible, inserted into the holes for the oars of the ships that carry warriors and, finally, a ship with horses on board.
Scene 2. There are many ships on the sea, the ships are full of soldiers and horses. William sails on Mora's ship, a gift from his wife Matilda. His ship is easy to distinguish from others - a small man blows a trumpet, a flag with a cross is visible above the mast - without a doubt, this is the “Standard of St. Peter”, awarded by Pope Alexander II who blessed the Duke for his enterprise.
BEACHHEAD
Scene 1. On September 28, William's army landed on the English coast, at Pevense, now this place is located a few miles from the sea. The ships are pulled out and dried high on the shore. The warriors gallop towards Hastings and stock up on provisions, taking the cattle from the farmers.
Scene 2. September 29, 1066, the operation begins. The necessary provisions are obtained on the shore and an unprecedented feast is prepared in the open air - chickens on skewers, meat is stewed over an open fire, dishes are taken out of the oven. Here you can appreciate how food was prepared at that time.
Bishop Odo of Bayeux blesses the food and wine. On the right is William seated at the table, feasting with his two half-brothers, seated with dignity on either side of the Duke. Servants load food onto shields and bring it to the banquet. Wadard, Odo's close associate, is depicted on the left at the table.
Scene 3. Duke William enters into an argument with his half-brothers Bishop Odo and Robert, Count of Mortain.
Bishop Odo, Robert, Count of Mortena
To strengthen the Norman base, a motte was erected in Hastings - a castle-like building. A messenger brings news of the arrival of Harold and his troops. Wilhelm clears the battlefield - he orders several houses to be burned. On the right, a woman and child are fleeing a burning house.
WILHELM RIDES TO WAR
Scene 1. The morning of the battle is depicted, October 14, 1066. William leaves Hastings and, fully equipped, is about to jump on his horse. William's Norman cavalry gallops towards Harold's English army. The meeting took place about 8 miles from the present shore where an abbey was later built.
Scene 2. Here William is depicted twice: first on a dark horse at the head of his army. Then immediately to the right, he asks one of Odo's close associates, Vital, if he has already noticed the enemy army.
Scene 3: The English side is now shown. The guard warns Harold that the Norman army is approaching. And again the Normans are shown: William, with a mace in his hand, makes a speech to encourage his warriors, he calls on them to be brave and courageous.
BATTLE OF HASTINGS
Scene 1: The Normans attack and the Battle of Hastings begins. The fast march of the French cavalry is protected by foot archers
Scene 2. The air is filled with arrows and lances, the warriors fall dead. The English side is on foot, the soldiers are armed with battle axes and pikes, they protect themselves with a wall of shields. The Normans are advancing on both sides. The lower register of the carpet is filled with paintings of the bodies of dead and wounded soldiers.
Scene 3: The violence continues as people hack and stab each other to death. Both of Harold's brothers died in this battle.
Death of Harold's brothers. 
Scene 4. The battle is shown in full swing: people and horses fall dead to the ground, the bottom row is littered with dead warriors and horses.
Bishop Odo appears with a mace in his hand, waving his weapon and encouraging his followers. Please note that the clergyman does not have a sword, but a mace; his rank prohibits the shedding of human blood.
Scene 5. Wilhelm fell from his horse. But to show that he was alive, the Duke raised the visor of his helmet and revealed his face. His soldiers must see this, he encourages the soldiers to continue the battle. Count Eustace carries a decorated banner, quite possibly the same banner that the Pope presented to William as a sign of support for his intention to invade England.
Scene 6. The Normans seem to have the upper hand in the battle, but it is still ongoing. Many soldiers were killed, one had his head cut off. On the right is the most famous scene: The Normans kill King Harold. But how was he actually killed? It seems that he was depicted twice in this scene: first he pulls the arrow out of his eye, the second time he is defeated by the Norman knight. This part of the carpet is very difficult to decipher, but researchers agree that the scene of Harold's death is shown.
Scene 7. The battle ends with the death of the king. The victors pursue the surviving Anglo-Saxons.
The final scene of the carpet has not survived. Did it depict the ceremony of William the Conqueror's coronation as King of England at Wenstminster? It is hardly possible to answer this, but this scene fit perfectly with the beginning of the story - the coronation of King Edward the Confessor, who established himself on the throne just two years before the events described.
The final scenes of the tapestry were restored in the 19th century and very crudely.
- GENERAL INFORMATION ABOUT THE BAYEUX TAPESTRY
The Bayeux Carpet is not only an amazing work of art, it is also an invaluable historical document. Historians find in it many important details. Even after two centuries of research, the meaning of many elements is not clear and scientists still have to work hard to decipher their true meaning.
Any textbook on the history of the Middle Ages must have illustrations of some part of the Bayeux carpet. There are even more of them in English, American, and Scandinavian books than in French ones. The famous tapestry attracts not hundreds, but thousands of tourists every year, many books and countless articles have been written about it, but it has never been fully studied.
The tapestry was discussed in relatively recent sources. It was first mentioned in 1476 among the treasures of Bayeux Cathedral and until the beginning of the 18th century nothing was known about it. That's why exact date its manufacture is highly controversial. It was most likely woven shortly after William of Normandy conquered England in 1066. The trellis may have appeared between 1070 and 1080. There is reason to believe that the tapestry was embroidered for the ceremonial illumination of the newly built cathedral in Bayeux.
It is certain that the work was carried out by English craftsmen, possibly from the County of Kent. Now no one can say whether women or men were engaged in embroidery. But there is no doubt that these people had a connection with the Canteberry temples. There is every reason to believe that the work was commissioned and paid for by Bishop Odo of Bayeux, half-brother of William the Conqueror, when he was first Earl of Kent. In the Middle Ages and until the French Revolution, the carpet was regularly hung in the cathedral in early July, to commemorate the events that it depicts.
During the Revolution, the city fathers managed to preserve the priceless trellis. By decree of Napoleon it was declared a national treasure and Bayeux was obliged to preserve and care for it. In the 19th century, the tapestry was restored several times. In 1982, careful research determined that the last few scenes of the carpet had been lost. Since 1983, it has been exhibited in the building of the former main diocesan seminary. The inspection of the tapestry is organized very competently - tourists are given audio guides in different languages, including Russian. The Russian text is beautifully composed - the announcer narrates the events in a lively and interesting manner, paying attention to the details, which are numbered. Tourists move in the same direction without interfering with each other. Photography and video shooting are prohibited, so no one stands in front of you with a camera and does not interfere with your study of the carpet.
- TECHNICAL ASPECT OF THE BAYEUX TAPESTRY
Let us emphasize once again that although this work is called a tapestry, it was not made by weavers, but by embroiderers. The carpet consists of eight wide linen strips of unequal length. The scenes are embroidered with wool threads. The length of the carpet is about 70 meters, the width is about 50 cm. Later, the entire work was sewn onto another linen fabric, of a coarser quality. This made it possible to number all the scenes, which was almost certainly done in the 18th century.
All scenes are embroidered with eight different colors of yarn. They protrude quite high above the biscuit-colored background. The contours of the figures are emphasized with a stem stitch; they contrast with the smooth areas of the satin stitch. Despite the fact that the tapestry is over 900 years old, the threads have retained their original color! Only a few threads were pulled from the tapestry, maybe in the Middle Ages, maybe later, but the seams and stitches are visible so clearly that you can trace the entire technique of work. The only scenes that have suffered the most from time are the scenes after Harold's death. They cannot be restored. And the scenes of the retreat of the British troops are considered a rather crude fake. No one can now say what was depicted in the final paintings, but it is absolutely clear that not much was lost.
Along almost its entire length, the tapestry is divided from top to bottom into three segments: the upper and lower parts are separated from the main central composition by an almost continuous line. They depict figures who are not related to the main narrative. It is still a mystery why they were placed on the carpet. It depicts mainly fantastic animals that are mentioned in Romanesque art (lions with raised tails, griffins, etc.), foliage patterns, and various curls. In the first half of the carpet, the lower strip is occupied by living scenes, partly taken from the plots of ancient legends, but most often without any specific meaning.
Do these images have any parallels with the main action? To this day this has not been determined. As scenes in the main narrative become more intense, the figures in the top and bottom stripes add to the story, especially noticeable in the second part of the story: archers surrounding the cavalry, scattered bodies of the dead, marauders stripping the dead of weapons and ammunition. At the top of the central stripe there is a commentary in Latin. The narrative is embroidered in capital letters, and some of the main characters are named. This brief description events is of no literary interest, but is one of the main sources of the history of the conquest and the events preceding it. The spelling of names and titles - for example, King Edward, the mystical Aelfgyva, the cities of Bayeux, Pevensey and Hastings, and finally the names of Harold's brothers, prove that the text was composed by an Englishman.
The sequence of events is shown in quite modern ways - the action develops from one scene to another. The movement is conveyed by several images of almost identical figures - when the cavalry gallops or attacks, when the fleet crosses the English Channel. Throughout the entire tapestry there is not a single image of a landscape in the background, with the only exception being Mount Saint-Michel. But contrasting colors, for example between the horses' legs, emphasize the idea of perspective.
- AUTHORS OF THE BAYEUX TAPESTRY
From the point of view of the authorship of the tapestry, three or even four levels of performers should be named.
1. The person who commissioned this work was probably Bishop Odo of Bayeux or Edo Conteville (1045-1096), half-brother of William the Conqueror. On the trellis itself he is shown at least three times: blessing food, when the Normans landed on the English coast, when the French were building a camp and, for the last time, during the climax of the battle. It is likely that he was also depicted, although not named, in the scene where William receives news of Harold's coronation. It is known that Odo was very strong personality, had a sharp mind, appreciated art. He was more attracted to politics than to serving the church.
2. The author of the tapestry drawings was without a shadow of a doubt an Englishman. He was familiar with early works in the same technique, as well as with ancient manuscripts from the early 11th century, kept in Canterbury. Different approaches to depicting these events gave him complete freedom and he did not fail to take advantage of them.
3. Whether the author of the drawings was also the author of the text is unknown, but almost certainly he was also an Englishman. This man clearly received an excellent education. Some of his figurative expressions are amazing and have a literary aspect to them, such as William the Conqueror's speech during battle.
4.And, finally, the embroiderers or embroiderers who completed the work. They spent long months doing the meticulous work entrusted to them. The artel of ancient needle masters worked so harmoniously that it is impossible to distinguish between sections made by different hands; it seems that the figures were embroidered by one person, which is impossible to even imagine.
It should be added that in the 18th century a legend appeared about the involvement of William the Conqueror’s wife, Queen Matilda, in the creation of the trellis. The legend has no basis, Queen Matilda has no basis. the slightest attitude to an outstanding work of ancient masters.
- THE THEME OF THE BAYEUX TAPESTRY
At first glance, the main theme of the tapestry was the Battle of Hastings and the death of English king Harold. This plot was named the main one at the end of the 15th century, when the tapestry was discovered. But such a scene is absolutely unacceptable for a temple and it would never be stored or displayed in the cathedral! And if the main plot of the composition really were the victory of the Normans, then why start the story from 1064?
In fact main idea The narrative has a deep religious meaning - it is a punishment for perjury, for the fact that a person did not keep his word given on holy relics and the inevitable punishment of the perpetrator for deception, shown in the sequence of events.
That is why it was imperative to show the oath taken by Harold on the holy relics. The narrative ends with the death of the perjurer; the punishment shows the power of the Almighty. Consequently, the moral aspect of the image prevails over the military and political. All the necessary scenes that help to understand the reasons for the invasion and the details of the battle itself are left without attention. We see no reason why William has the right to claim the English throne, nor the intrigues of Harold's younger brother Tostig, nor the coronation at Wenstminster on December 25, 1066. All this is known from other sources and is not reflected in any of the scenes in the tapestry.
But there is no reason to say that the tapestry does not glorify the victory of the Normans at Hastings and their leaders - William the Conqueror himself and his half-brothers - Bishop Odo and Count Robert. But at the same time, this is done in a surprisingly restrained manner: neither in the text nor in the illustrations, the British are not humiliated by a single word or a single action. The blame for the Lord's punishment lies entirely with Harold and this in no way reflects on them human qualities, no more than the expectation of military valor in battle, which is placed on the same level with the courage of the Normans. “Here the English and French die together in battle,” says scene 53 of the tapestry. It is surprising that the winners are called “French”, and not “Normans”, as they always said north of the English Channel, and not “Normans”, as all the authors of the duchy wrote.
- THE BAYEUX TAPESTRY AS A HISTORICAL DOCUMENT
The unprecedented wealth is expressed, first of all, by many scenes - 626 figures, 202 horses, 41 ships, 37 buildings, and other details can be counted. There is also an amazing amount of detail in all aspects of life in the 11th century - weapons, clothing, horse harness, ship building, scenes of hunting and cooking. It’s impossible to even list all the details; let’s focus on the most important ones.
First of all, in most cases, the artistic ideas of the carpet are taken from the point of view of the English side of the English Channel, where its creator worked. With the exception of some scenes, the author was not interested in the difference between the English and the Normans. On the battlefield, the warriors of both sides wear the same chain mail (with trousers, very comfortable for the English infantry and completely useless for the Norman cavalry), have the same helmets on their heads, and they fight with the same swords and spears. At sea, English and Norman ships are indistinguishable. However, at least in the early scenes, the English are depicted with long hair and a mustache, and the Normans are shaven, their hair is cut to neck level. In battle, the Normans are mainly archers, and Harold's Anglo-Danish guards are armed with the famous Viking battle axes.
It should be noted that the author, most likely, was an eyewitness to what was happening. Professional cavalrymen and horse breeders, in any case, accept him as one of their own: he was a horse lover and did not ignore any possible movement of the horse. Also, the creator of the trellis had such a good understanding of ships and navigation, which has not yet been observed since the times of the ancient Greeks. He also knew a lot about reliquaries in which holy relics were kept: one of them is shown in the scene of Harold's oath, this reliquary surprisingly resembles the only Scandinavian relic of that time. In addition, the author of the tapestry is familiar with knightly traditions and the royal burial ceremony. From this we conclude that he was a man of wide interests and had an undoubted talent for conveying in a few strokes (the possibilities of embroidery are limited) the essence of the plot that he showed so vividly.
Many scenes in the tapestry, even those not directly related to the action, have been studied very carefully. Harold sets sail for Ponthieu after visiting the church in Bosham. This temple is depicted with a high and narrow arch.
This is the exact form of the arches of Saxon churches, such arches still separate the nave and choir of temples. Harold leaves the ship with a hawk on his arm - from 12th century sources it is known that he owned a book on the habits and breeding of hawks. During the siege of Dol, a fugitive rappels down from a watchtower.
A fugitive descends from a watchtower on a rope
The same method was described by the chronicler Orbderic Vital shortly after the siege of Antioch. Upon the surrender of Dinan, Duke Conan gives the keys to the city to the Normans; they seem huge.
Danish archaeologists have discovered similar keys. Here and there, buildings with arched roofs and buildings that look like an inverted hull of a ship appear - the existence of such houses is confirmed by the finds of Norwegian and English archaeologists.
Did the author convey events with chronological accuracy? I would like to ask him for clarification regarding the obvious fact - King Edward the Confessor is first shown on his deathbed, and in the next scene he is shown giving instructions to those close to him. Here the author used inversion, why is not known. However, temporal relationships are conveyed with different intensity: in some scenes time moves slowly, the action is shown in detail, in others, on the contrary, the creator jumps from one temporal event to another very quickly, for example, what happened in 1065 is not shown at all. Many modern researchers have declared the tapestry's author guilty of blatant violation of the sequence of events. But more thorough research showed that they were wrong.
- BAYEUX TAPESTRY AND MILITARY HISTORY
Only a few documents have survived to this day that present such vivid pictures of such a large-scale military operation, including weapons and combat tactics.
The carpet shows three types of ammunition: chain mail, helmets and shields. About two hundred horsemen, both English and Norman, are dressed in identical mail. They protect the body, arms up to the elbows or a little lower, the legs are covered by something like chain mail trousers (although, in fact, the riders were unlikely to wear such trousers). A removable plate is very often shown on the chest. During battle, warriors wear a so-called “chain mail cap” - a mesh that protects the neck. In a time when every ring and every joint was forged by hand, you can imagine how much a complete weapon would cost.
All helmets were conical with a plate protecting the nose, but there was no neck protection on the helmet. Most shields are oval or almond-shaped with the point down. The shields, most likely wooden, are covered with leather. The shields have different colors. Those that belong to commanders have distinctive insignia. Several English infantrymen are depicted with round shields.
The weapon on the tapestry shows a sword - long and double-edged; pike, it is placed under the arm and thus the rider can use it in a frontal attack (one of the earliest mentions of such a use of the pike in the Bayeux Tapestry) or when the arm is raised like a javelin; a Viking battle ax is also depicted, with Harold's bodyguards swinging it with both hands.
Archers are armed with fairly short bows and this is their only weapon. The quiver is attached either to the shoulder or to the belt. Several members of the nobility are shown with clubs or maces, such as Bishop Odo of Bayeux, as mentioned above, a cleric cannot shed blood, and Duke William.
The horse harness is also of interest. The horses are wearing heavy saddles, the rider sits firmly and securely in them, the body is fixed both in front and behind: stirrups descend from the saddle, they were a new invention of the West. In this position, the rider could withstand the blow of the enemy's pike without running too much risk of being knocked over from the saddle. In those days everyone wore spurs.
The English usually fought on foot, even if Harold himself was mounted. The Normans delivered the main blow with heavy cavalry. But the tactics of the beginning of the battle can hardly be called Scandinavian: a detachment of archers came out first, which retreated back immediately after the main forces entered. In battle, commanders can be recognized by their standard, which is held by the retinue surrounding him. Undoubtedly, William's banner bears the image of a cross because he received the blessing of the Pope. Harold's standard features a dragon-like beast, probably carved from a sheet of bronze, similar to those found in Norway and used as weather vanes on church roofs.
It is worth noting that the tapestry also serves as the main source of the history of fortifications of some regions and cities: Brittany, Bayeux and Hastings. Castles are built of wood and sit on mounds: they are fundamental to the Normans in the 11th century, but are unlikely to have existed in England in the time of Edward the Confessor.
- THE BAYEUX TAPESTRY AND THE HISTORY OF THE FLEET
From this point of view, the tapestry was studied most carefully. Without this, many aspects of the design and use of naves (esnèques) would remain unknown. Esnèque - (from the Scandinavian snekkja) - in the 11th - 12th centuries in Normandy, this was the name for the boats that the Vikings sailed on. Until now, archaeologists have not discovered a single beast like the dragon that adorns the bows of these ships. And although many sources mention such decorations, they can only be seen on the Bayeux Tapestry. Similarly, illustrations of sails and other equipment of ships are found only in vague images on columns in the Swedish islands of Gotland and date back to the 8th-9th centuries.
All ships in the tapestry are of the same Scandinavian type, with the exception of some variations. They are descended from the same type of Viking ships found in royal burials in Norway or found during archaeological excavations in the Danish fjords. This type of ship dominated throughout northern Europe from the 8th to the 12th centuries. They were adapted for military needs, or for transporting people and goods. They were made from wood, the boards were fitted not end-to-end, but with an overlap, the keel was empty. The ships were distinguished by a rather low bulwark with holes for oars; the last oars could be removed. Such boats had neither a deck nor a hold. Their draft was quite shallow, such ships did not need a harbor: the crew simply dragged the ship to the shore, and the mast was removed. The ships were quite large and moved using sails. There was one sail, more triangular in shape than rectangular, and was attached to the central mast at the bottom. These boats could also be propelled by rowers, but there are no rowing scenes on the tapestry.
These ships were quite reliable and served for a long time; they were distinguished by maneuverability, but were extremely inconvenient. The Bayeux Tapestry does not answer the question of how many people such a ship could accommodate, but Scandinavian sources say that 30-40 people could sit on an ordinary ship. Therefore, one can imagine that in the campaign of 1066 the entire fleet consisted of several hundred ships.
The horses were apparently loaded on wide gangways made of logs, this can be seen on the tapestry; this technology was already known to the Vikings. It was improved in Normandy during the campaign against Sicily in 1060 and became one of the decisive reasons for the success of William the Conqueror.
In conclusion, we attach a video recording of the tapestry animation. Some scenes from the tapestry are missing, but the video gives an excellent idea of the events depicted on the tapestry.
Usually the museum is open daily, but sometimes it gets closed for restoration.
In 2014 it is closed from January 6 to January 31. It is also closed from December 24 to 26, 2014.
Every year the museum closes at 12:30 on December 31st and opens at 2:00 pm on January 2nd.
On other days it is open:
From March 15 to November 15 - 9 to 17.45, from May to August - until 18.15.
From November 16 to March 14, the museum is open from 9.30 to 11.45 and from 14.00 to 17.15.
Link to the museum's opening hours page.
The authors of the article traveled around France by car, and set the destination in the navigator - the center of the city of Bayeux. Address: Musée de la Tapisserie de Bayeux Center Guillaume le Conquérant 13 bis rue Nesmond.
Attached is a link to the Google map of the museum.
On our website you can get acquainted with another extraordinary work of weaving - the Apocalypse Carpet
Literally from the moment of its invention, tapestry has been considered a luxurious and expensive fabric. After all, it was not without reason that back in the Middle Ages, wealthy people used this material to decorate furniture and create decorations for castles and palaces. In ancient times, tapestries were made by hand. It was a long and painstaking work, which resulted in luxurious woven paintings called tapestries. Although tapestry fabrics have undergone some changes over the course of their existence, they remain loved and in demand by both designers and ordinary people.
History of the tapestry
Decorative trellis, or tapestry, has been familiar to mankind for hundreds of years. Items of clothing made from this material were found in the tombs of Egyptian pharaohs. The ancient Greeks decorated their homes with woven carpets with images of gods and mythical heroes, and Peruvian craftsmen wove funeral shrouds.
All work on the production of carpets with various subjects was carried out manually. At the same time, wool and silk threads were cross-woven, and in special cases, fibers of pure gold or silver were woven into the fabric.
Creating a tapestry is a labor-intensive task that requires an incredible amount of time and patience from the weaver. In a year, one master could weave a carpet measuring 1.5 x 1.5 m, so the cost of such products was incredibly high, and only wealthy people could use tapestry fabric.
IN late XVII century, this delightful fabric began to be produced at the French Gobelin manufactory, and it was then that the modern name “tapestry” appeared. In Russia, the first trellis factory appeared under Peter I, and exclusively French craftsmen worked there.
Experts say that this name can only be given to those fabrics that are made at the manufactory in Paris, and all the rest should be called tapestries. However, nowadays this term refers to any woven fabric.
Features of the material
After in early XVIII century, the Frenchman Joseph Jacquard invented a loom for the production of complex patterned fabrics, for tapestries came new era. Now this luxurious, exquisite fabric began to be produced in large quantities.
Nowadays, tapestry fabric is made by. If the production of a regular jacquard fabric requires 2-3 threads, then to produce woven paintings you will need more than ten fibers of different colors and textures.
In tapestry fabrics, the base must meet certain requirements, only then will the picture look natural. The weft threads must be elastic and the warps must be very strong.
Most often, the following materials are used for the production of tapestries:
- Sheep wool is a strong natural fiber that can be easily dyed any color;
- linen, cotton - allow you to make light, breathable materials;
- silk - natural fibers that give the product elegance and noble shine;
- synthetic threads;
- threads with added metal (Lurex).
Tapestries usually depict paintings famous artists, flower arrangements or landscapes. IN lately New technologies have emerged that make it possible to transfer even photographs onto fabric.
Pros and cons of tapestry fabric
The advantages of tapestry fabrics are determined by the properties of the threads used to create the material and the characteristics of the jacquard weave.
- The fabric has a high density, holds its shape well, and is resistant to wear.
- Retains colors for a long time - does not fade or fade in the sun.
- It has antistatic properties - does not attract dust and small debris, does not accumulate static electricity.
- A huge variety of artistic compositions and textures ensures wide application in many areas of human activity.
- Does not require special care - special treatment protects products from contamination.
The disadvantages include the following qualities of the fabric:
- the increased rigidity and significant weight of the material do not allow sewing clothes from it;
- Products must not be washed or ironed, otherwise bends and creases may appear.
Even though the material has some disadvantages, tapestries are popular and sought-after fabrics that lift your spirits and fill your home with joy and beauty.
Types of tapestry
There are many types of tapestry. Paintings and tablecloths, napkins and pillowcases for sofa cushions, furniture upholstery, handbags, belts, gloves and even shoes are made from tapestry.
The woven picture should fit the overall design of the room and subtly convey the mood of the owner and the atmosphere in the house.
Here are some common themes that tapestry lovers often choose.
- Eastern style. An original and unique plot, full of philosophy and tranquility, distinguishes the paintings created in oriental style. Images of people taming wild animals will harmoniously fit into the interior.
- Country. For those who love and appreciate antiques, tapestries have been developed that take you back to the past. Such paintings go well with a fireplace and pottery, rare books and homemade rugs.
- Scandinavian style. Naturalness and simplicity distinguish this type of tapestries. To decorate a room in a Scandinavian style, paintings in light colors are more suitable: grayish, blue, light turquoise.
- Provence. Tapestries in the Provence style are associated with the sea and the sun. Magnificent flowers, beautiful houses on the river or seashore remind of summer holidays. Such fabrics are often made from coarse cotton or bleached linen.
How to choose a real tapestry
Today everyone can afford tapestry products. In order for them to truly become a decoration of the home and attract the attention of the owner and guests for a long time, the materials must be of high quality.
When choosing items made from tapestry fabric, you need to consider the following points.
- It is better to purchase trellises in specialized stores, where the seller probably has a quality certificate for the product.
- The color and texture of the chosen item should match the overall design of the room, furniture and curtains as best as possible.
- The woven picture should be of such dimensions that it can be seen in its entirety.
- The neat, smooth backing and frame supplied with the painting indicate that the tapestry is of high quality.
- The drawing should be clear and bright, with a clearly visible composition.
A tapestry in a home is always a strong visual symbol that can create a mood and shape the image of the owner. Therefore, the choice of woven paintings must be approached as competently as when buying furniture or clothing.
Caring for tapestry fabric
Tapestry fabric has a rough surface, on the ribs of which dust very quickly accumulates. If you do not attach importance to this, the product will soon be covered with a gray coating and its appearance will be ruined. In addition, coffee or orange juice can be spilled on furniture, a tablecloth or pillowcase made of tapestry fabric, and then the product will definitely have to be washed or cleaned. Manufacturers claim that trellises are durable, but this is only true if they are properly cared for.
- Dust can be removed using a vacuum cleaner or clothes brush. At the end of cleaning, it is advisable to walk over the surface of the material with a damp sponge so that the item takes on a fresh look.
- If a stain appears from food or street dirt, the product should be washed. A soft sponge or piece of cloth is moistened in a soap solution and the dirt is rubbed off with light stroking movements. You can dry the product outside, in a sunny place with good air circulation.
- It is not recommended to iron products made from this fabric. As a last resort, ironing from the reverse side is allowed with an iron heated to no more than 150°C.
- Tapestry items should not be machine washed. If you need to wash a tablecloth or pillowcase, it is better to do the job manually using gentle detergents.
- To wash and clean tapestry fabric, you should use only special gels and powders. Moreover, before processing the product on the reverse side, you need to check whether the chosen product does not have a negative effect on the material.
- It is better to hide woven paintings from direct sunlight. Otherwise, the tapestry may crack, the rich colors will fade and the painting will take on a grayish tint.
When buying paintings or other things made from tapestry, you should carefully study the manufacturer’s recommendations left on the product label and, if possible, follow them. Then the items will retain their original appearance for a long time.
Tapestry fabrics are a luxurious, dense material. They are always fresh, attractive and never go out of style. A huge variety of models and a magnificent appearance make this material indispensable when decorating premium-class premises. Despite the fact that modern materials are protected from dirt, they require careful handling and delicate care.