Bruges and its surrounding towns — Oudenaarde, Tournai, Brussels — were the tapestry capital of the medieval world. From the 14th to the 17th century, Flemish tapestries decorated the palaces and churches of Europe.

Tapestries weren't just decoration — they were insulation (hanging on stone walls to keep out cold), portable wealth (they could be rolled up and moved), and status symbols (only the richest could afford them). A large tapestry could take a team of weavers years to complete.

The Gruuthuse Museum in Bruges has several excellent examples. Look for the rich colours — many were dyed with expensive pigments, including indigo (blue), madder (red), and weld (yellow). The detail in the best tapestries rivals painting.

The technique is deceptively complex. Weavers worked from the back of the tapestry, following a painted cartoon (full-size design) placed behind the warp threads. They couldn't see the front of their work until it was finished.

Bruges' tapestry industry declined with the city's economy in the 16th century. Production shifted to Brussels and eventually to France (the Gobelins factory). Today, there's no commercial tapestry production in Bruges, though occasional workshops teach the techniques.

If you're interested in seeing the finest Flemish tapestries, the best collections are in Brussels (Royal Museums) and New York (The Cloisters). But understanding where they came from starts here.