Hanging the tapestries

The main weaving centres such as Brussels, Oudenaarde, Mechelen, Bruges and Doornik worked side-by-side with famous painters such as Rubens, Jordaens and Raphael. The great tapestry designers such as Bernard van Orley and Michiel Coxcie were constantly in demand to supply the needs of rich clients.

Flemish tapestries were not just pretty works to decorate your castle walls and show off to your friends; they also had great practical worth, affording much-needed protection against cold and draughts. They were also symbols of power and wealth, due to the expensive material and labour-intensive production processes. Consequently, only the very rich could afford to purchase the best tapestries. The finer the collection, the higher was the standing of the owner.

Tapestries that illustrated sacred stories were often suspended between pillars in churches and monasteries. They appeared in the streets, too, as festive decorations during ceremonies or inaugurations. Their relative ease of portability meant that they also upholstered the tents of generals during their campaigns. Even here, the primary aim was to make an impression on friend and foe alike.

Moreover, on account of the large quantity of gold and silver thread, Flemish tapestries were an excellent investment. In times of need, they could be readily exchanged for hard cash. Inventories from the 1400s listed tapestries as the most expensive objects of art after jewellery. Paintings and sculptures show up much further down the scale.

The Burgundian dukes were the driving force behind the Flemish tapestry industry. From 1380, Philip the Bold commissioned no fewer than 10 series of tapestries so he could offer them as impressive state gifts. His collections were later expanded by Philip the Good and the last Burgundian duke, Charles the Bold. The Spanish and Hapsburg kings were also fanatical collectors of these spectacular textiles.

In the late 16th century, many of these vast collections passed into the hands of one man: Philip II of Spain . By the time he died in 1598, he owned 701 tapestries. Of these, 183 are in the Royal Palace of Madrid, which holds more than 3,000 tapestries in total, most of them from Flemish workshops.

Here today, gone tomorrow

Until the end of March, a collection of 34 of the best Flemish tapestries from the 15th and 16th centuries is on display in the arts centre of Sint-Pieters Abbey in Ghent. Flemish Tapestries has been put together by Professor Fernando Checa from the Complutense University in Madrid and honorary manager of the Prado museum.

The exhibition includes top tapestries lent by the Royal Palace of Madrid, various Spanish cathedrals and famous European museums. “It’s a once-in-a-lifetime chance to view the collections of important and prestigious tapestries owned by the Burgundian Court and by the Austrian and Spanish Habsburgers and their retainers,” says Checa.

Among the stars of the show are two tapestries from the series The Conquest of Tunis, designed by Jan Cornelisz Vermeyen and commissioned by Charles V in 1548. They offer a breathtaking 16 metre-wide panorama of the capture of Tunis in North Africa during one of Emperor Charles’ innumerable campaigns.

Equally astounding is “The Battle of Zama”, which depicts the victory of the Roman general Scipio Africanus over Hannibal, and which is so three-dimensional that the elephants seem like they’re about to burst out. Another magnificent example is the Apocalypse series, with “Saint Michael Vanquishing the Dragon”, inspired by a famous set of engravings by Albert Dürer.  

The works are beautifully displayed in dimmed rooms with LED lighting, which makes the tapestries appear to glow from within and brings the characters and action to life. Audio guides to the exhibition come in five languages, including English.

Until 29 March, Sint-Pieters Abbey, Sint-Pietersplein 9, Ghent

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