and drawing and
the general effect, which has a soft, dreamy beauty,
only to be seen in fine woollen tapestries, and
differing from pictorial design and intention.

[405] See Rock, cxii: Among the remarkable suites of
tapestry of which we find historical mention are the
following: In 1334, John de Croisette, a "Tapissier
Sarazinois, demeurant a Arras vendit au Duc de Touraine
un tapis Sarazinois a or: de l'histoire de Charlemagne"
(Voisin, p. 6). Of the many recorded as belonging to
Philip, Duke of Burgundy and Brabant, one piece, "Haulte
lice sanz or: de l'histoire du Duc de Normandie, comment
il conquit Engleterre."--"Les Ducs de Bourgogne," par le
Comte de Laborde, ii. p. 270, No. 4277.

[406] M. de Champeaux, the author of the "Handbook of
Art Tapestry" belonging to the series of the Kensington
Museum, 1878, says that the history of Arras has yet to
be written. He, however, gives a great deal of
interesting information, especially about the French
tapestries, on which subject we fancy there is little
more to tell. Their art does not come from such a
distant time as that of the Belgian manufactures. After
Louis IX. had decimated the inhabitants, and dispersed
the remainder, Arras yet made a gallant struggle to
revive her industry and compete with the rising
prosperity of Brussels; but France had decreed against
her.

[407] "Encyclopaedia Britannica" ("Art Tapestry"), pp.
17, 97.

[408] Vasari vividly describes the design for a tapestry
for the King of Portugal--the history of Adam--on which
Leonardo da Vinci, then aged twenty, was engaged. He
lingers tenderly over the picture of the flowery field
and the careful study of the bay-trees. Vasari, tom.
vii. p. 15; ed. Firenze, 1851.

[409] See M. Jubinal's "Tapisseries Historiees," p. 26;
Viollet-le-Duc, "Mobilier Francais," i. p. 269.

[410] Froissart's "Chronicles," iv., chap. 23; Johnes
ed. 1815.

[411] M. de Champeaux, "Handbook of Art Tapestry," p.
24; also Rock, "Textiles," p. 122. M. Lacordaire,
"Tapisserie des Gobelins," p. 15, tells us that under
Louis XIII. the statutes of 1625-27 contain many
regulations for the perfection of the materials employed
in weaving new as well as in restoring old tapestries.
Fines were imposed for not matching the colours
carefully.