IntroductionA tapestry is a fabric woven on a loom with a warp facing the weft. Two types of looms were used in the Middle Ages: the high-warp loom (Figure 1.1) or the low-warp loom (Figure 1.2). The warps are stretched vertically or horizontally respectively. Regardless of the type of loom, the weaver stands at the back of the tapestry and uses a portable shuttle to send the colored thread through the spaces left open between the warps. Materials often used were wool, linen, silk, and metal-wrapped threads (Campbell, 2008). The development of tapestry was not active in Europe until the 14th century. Construction The construction of a tapestry was done with the use of simple mathematical calculations. Using a loom, the threads could be seen as a grid with the warp made up of the vertical threads and the weft horizontal. The warp is a single color thread and is placed first on the loom. Then, the weft, which can be a small or large number of threads, is woven over and under the warp threads. Once a good number of weft threads have been woven, the weaver beats the threads so that they are very close together and the warp can no longer be seen (Use and functions of textiles). Someone other than the weaver creates the design of the tapestry weft. The designer paints an image on paper or fabric that will be woven into the tapestry. This cardboard was placed against the back of the loom so the weaver could see which colors to place where (Mallory, 2014). However, this cardboard was not part of the finished product, so it could be reused to create more tapestries. SuiteTapestry collections that tell a story are called suites or rooms. Usually these suites were very large fabrics and were hung directly next to the last in the center of the paper......from the tapestries in their homes and at the events they attended. In the sixteenth and seventeenth centuries, weavers became larger and wealthy commoners were able to obtain cheaper tapestries for their homes. Even though these fabrics were becoming easier to own, demand continued to remain strong due to the continued use of tapestries by royalty. However, towards the eighteenth century, the desire for tapestries faded. The traditional nobility continued to purchase from the weavers at a very high price. The price increase was a result of most weavers moving to a different business and leaving only a few makers in business. More forward-thinking nobility and royalty began to take an interest in paintings and wallpapers to fill the spaces in which they spent most of their time. This led to the closure of the last ateliers in the 1780s in London and Brussels.