| Countries like England encouraged the establishment | | | | tapestry was adequate for normal use in both country |
| of tapestry factories in different areas. Few of these | | | | and town. |
| countries have produced some of the finest tapestries, | | | | Like all woolen fabrics, a common enemy, the moth, |
| which have survived for long periods establishing their | | | | damages tapestry. Apart from this, its size and weight |
| mastery in the world of tapestries. | | | | often lead to its deterioration over a period of time. |
| One may assume that tapestry has been woven in | | | | The effects of the humidity, sun and heat and smoke |
| England since early days; a Royal decree of 1364 talks | | | | from fires tend to destroy the beauty of the tapestry. |
| about the corporation of Tapissers, yet nothing about | | | | It is possible to do patch work, but this is expensive as |
| their work has been revealed. Some definite English | | | | there are very few experts who can do justice to |
| style surviving pieces date back to about 1580 and | | | | such work. |
| 1600. The pieces were made in looms put up in | | | | Most tapestries were complete with a border by the |
| Barcheston, Warwickshire, by William Sheldon. Certain | | | | time they left the factory. They varied in pattern from |
| fragments of tapestry maps of English counties, and | | | | one factory to another and over the years, in the way |
| other panels, remain till date proving that Sheldon | | | | of a picture frame. With time, these borders have at |
| indeed sponsored these works of art. | | | | times become mutilated or replaced; the present |
| The factory started at Mortlake in 1620 was also | | | | collector should know that the original border greatly |
| important. Under the patronage of Charles I (both as | | | | reflects the value of the panel by its presence. |
| Prince of Wales and as King), and run successfully till | | | | Moths, action of the sun, heat and damp air may |
| the Civil War, which resulted in a decline in orders. | | | | damage Tapestries and smolder from fire tends to |
| From 1670 onwards little work was done at Mortlake, | | | | destroy the old fabric and getting it repaired it is costly. |
| and the factory shifted to Soho, London, where work | | | | Attentive care is the best method of preservation. You |
| continued throughout the first part of the eighteenth | | | | can get some tips on the embroidery, lace, and |
| century. Though, the later outcome was not as | | | | tapestry itself from books. |
| outstanding in quality as the earlier ones. Mortlake | | | | |