Roger van der Weyden designed a set of tapestries representing the History of Herkinbald, the stern uncle who, with his own hand, beheaded his nephew for wronging a young woman.  Upon his death-bed, Herkinbald refused to confess this act as a sin, claiming the murder to have been justifiable and a positive virtue.  Apparently the Higher Powers were on his side, too, for, when the priest refused the Eucharist to the impertinent Herkinbald, it is related that the Host descended by a miracle and entered the lips of the dying man.  A dramatic story, of which van der Weyden made the most, in designing his wonderfully decorative tapestries.  The originals were lost, but similar copies remain.

As early as 1441 tapestries were executed in Oudenardes; usually these were composed of green foliage, and known as “verdures.”  In time the names “verdure” and “Oudenarde” became interchangeably associated with this class of tapestry.  They represented woodland and hunting scenes, and were also called “Tapestry verde,” and are alluded to by Chaucer.

Curious symbolic subjects were often used:  for instance, for a set of hangings for a banquet hall, what could be more whimsically appropriate than the representation of “Dinner,” giving a feast to “Good Company,” while “Banquet” and “Maladies” attack the guests!  This scene is followed by the arrest of “Souper” and “Banquet” by “Experience,” who condemns them both to die for their cruel treatment of the Feasters!

There is an old poem written by a monk of Chester, named Bradshaw, in which a large hall decorated with tapestries is described as follows: 

  “All herbs and flowers, fair and sweet,
   Were strawed in halls, and layd under their feet;
   Cloths of gold, and arras were hanged on the wall,
   Depainted with pictures and stories manifold
  Well wrought and craftely.”

A set of tapestries was made by some of the monks of Troyes, who worked upon the high loom, displaying scenes from the Life of the Magdalen.  This task was evidently not devoid of the lighter elements, for in the bill, the good brothers made charge for such wine as they drank “when they consulted together in regard to the life of the Saint in question!”

Among the most interesting tapestries are those representing scenes from the Wars of Troy, in South Kensington.  They are crowded with detail, and in this respect exhibit most satisfactorily the beauties of the craft, which is enhanced by small intricacies, and rendered less impressive when treated in broad masses of unrelieved woven colour.  Another magnificent set, bearing similar characteristics, is the History of Clovis at Rheims.

There is a fascinating set of English tapestries representing the Seasons, at Hatfield:  these were probably woven at Barcheston.  The detail of minute animal and vegetable forms—­the flora and fauna, as it were in worsted—­are unique for their conscientious finish.  They almost amount to catalogues of plants and beasts.  The one which displays Summer is a herbal and a Noah’s Ark turned loose about a full-sized Classical Deity, who presides in the centre of the composition.