History steps in with an event that crushed the industry in Paris. Just when design and execution were at their highest excellence, and production was prolific, political events began to annihilate the trade. The English King, Henry V, crossed the Channel and occupied Paris in 1422. Thus, under the oppression of the invaders, the art of tapestry was discouraged and fell by the way, not to rise lustily again in Paris for two hundred years.
FOOTNOTES:
[5] Eugene Müntz, “La Tapisserie.”
[6] For extensive reading see Guiffrey, “Nicolas Bataille, tapissier parisien,” and “L’Histoire General de la Tapisserie,” the section called “Les Tapisseries Francaises.”
CHAPTER IV
FIFTEENTH CENTURY IN FRANCE AND FLANDERS
WHETHER Arras began as early as Paris is a question better left unsettled if only for the sake of furnishing a subject of happy controversy between the champions of the two opinions. But certain it is that with fewer distractions to disturb her craftsmen, and under the stimulus of certain ducal and royal patrons, Arras succeeded in advancing the art more than did her celebrated neighbour. It was Arras, too, that gave the name to the fabric, a name which appears in England as arras and in Italy as arazzo, as though there was no other parent-region for the much-needed and much-prized stuffs than the busy Flemish town.
Among the early records is found proof that in 1311, a countess of the province of Artois, of which Arras was the capital, bought a figured cloth in that city, and two years later ordered various works in high warp.[7] It is she who became ruler of the province. To patronise the busy town of her own domains, Arras, she ordered from there the hangings that were its specialty. Paris also shared her patronage. She took as husband Otho, Count of Burgundy, and set his great family the fashion in the way of patronising the tapestry looms.