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Brussels tapestry
Brussels tapestry workshops produced tapestry from at least the 15th century, but the city's early production in the Late Gothic International style was eclipsed by the more prominent tapestry-weaving workshops based in Arras and Tournai. In 1477 Brussels, capital of the duchy of Brabant, was inherited by the house of Habsburg;〔The mille-fleurs panel with the arms of Charles the Bold in the Musée Historique, Berne, which is generally agreed to have been woven in Brussels, must predate his death in January 1477.〕 and in the same year Arras, the prominent center of tapestry-weaving in the Low Countries, was sacked and its tapestry manufacture never recovered, and Tournai and Brussels seem to have increased in importance.
The only millefleur tapestry to survive together with a record of its payment was a large heraldic millefleur carpet of very high quality made for Duke Charles the Bold of Burgundy in Brussels, of which part is now in the Bern Historical Museum.〔Souchal, Geneviève (ed.), ''Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century: An Exhibition at the Metropolitan Museum of Art'', p. 108, 1974, Metropolitan Museum of Art (New York, N.Y.), Galeries nationales du Grand Palais (France), ISBN 0870990861, 9780870990861, (google books )〕 Sophie Schneebalg-Perelman's attribution〔Schneebalg-Perelman, in ''Gazette des Beaux-Arts'' 70 1967, noted in H. Osborne, ed. ''The Oxford Guide to the Decorative Arts'', ''s.v.'' "Tapestry".〕 to Brussels of ''The Lady and the Unicorn'' at the Musée de Cluny may well be correct.〔Other 15th-century tapestries attributed to Brussels include the ''Allegory of the Virgin as the Source'' (Louvre), ''Virgin and Child with Donor'' ''ca'' 1600 (Musée des Tissus, Lyon), ''The Story of the Virgin (Madrid)〕
==Under the influence of Raphael==
The great period of Renaissance weaving in Brussels dates from the weaving entrusted by Pope Leo X to a consortium of its ateliers〔Pieter van Aelst, Willem de Pannemaker and Frans Geubels, among others.〕 of the ''Acts of the Apostles'' after cartoons by Raphael, between 1515 and 1519.〔R.A. Weigert, ''French Tapestry'', 1956:89f.〕 Leo must have been motivated by the already high technical quality of Brussels tapestries.〔John Fleming and Hugh Honmour, ''Dictionary of the Decorative arts'', ''s.v.'' "Brussels tapestry".〕 The conventions of a monumental pictorial representation with the effects of perspective that would be expected of a fresco or other wall decoration were applied for the first time in this prestigious set; the framing of the central subject within wide borders that proved able to be brought up to date in successive weavings, was also introduced in these 'Raphael' tapestries.〔Weigert 1956.〕
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