[398] In the San Clemente frescoes at Rome there are
hangings which show a semi-Asiatic style.

[399] "Memoires Historiques et Ecclesiastiques
d'Auxerre," par M. l'Abbe Leboeuf, i. pp. 178, 231.

[400] There are very interesting Norwegian tapestries of
the sixteenth century, which show distinctly an Eastern
origin.

[401] Jubinal, "Tapisseries," pp. 25, 26;
Viollet-le-Duc, "Dic. de Mobilier Francais," p. 269.

[402] There is much splendid tapestry--German, and
especially Bavarian,--to be seen at Munich; and, indeed,
the more one seeks, the more one finds that private
looms were constantly at work in the Middle Ages for
votive offerings. There is a tapestry altar-piece at
Coire, in the Grisons, of the Crucifixion, which is
evidently of the fourteenth century. The colours are
still brilliant, and the whole background is beautifully
composed of growing flowers. No sky is seen. There is at
Munich an altar frontal of tapestry, Gothic of the
fifteenth century, exquisitely beautiful. The weaver has
introduced a little portrait of herself at her loom,
under the folds of the virgin's cloak at her feet.

[403] M. Albert Castel ("Tapisserie," p. 53) believes
that the taking of Constantinople, when Earl Baldwin was
elected to the throne of Byzantium, had a great effect
on Flemish art, which then received a strong impulse
from Oriental designs and traditions. See M. Jubinal's
very interesting account of the tapisserie de Nancy
which lined the tents of Charles the Bold at the siege
of Nancy (p. 439). These tapestries are an allegory
against gluttony. "Tapisseries Hist.," pp. 1-5.

[404] Charles the Bold has left us records of his taste
in tent hangings of Arras at Berne, as well as at Nancy.
These are the plunder from his camp equipage after the
battle of Grandson. The whole suite, of many pieces,
represents battles and sieges, and sacred subjects also,
such as the adoration of the Magi. They are finely drawn
and splendidly executed with gold lights, and are of the
most perfect style of the fifteenth century. The
National Museum at Munich contains most valuable
specimens of very early and very fine tapestries;
amongst others, a Virgin, which was certainly designed
in the school of Duerer, and is of the greatest
perfection of its art, both as to colour