Lowlands--Bruges, Tournai, Arras, and many more. The German Gothic tapestry is quite different from both of these. It was developed almost entirely independently, under quite other conditions. While the French and Flemish shops grew up under the patronage of the great and wealthy nobles, and worked primarily for these lavish art-patrons, in Germany the nobles were impoverished and almost outcast; there was scarcely a real court, and all the wealth lay in the hand of the burghers, solid, practical folk who did not see much sense in art. So while in France and in the Lowlands the workshops were highly organized under great _entrepreneurs_, and the profits were liberal, in Germany the workshops were very small, and many of the pieces were not made professionally at all, but were the work of nuns in the convents or of ladies in their many idle hours. Thus the industry that in France and Flanders was definitely centered in the great cities such as Paris and Brussels, in Germany was scattered through many towns, primarily, however, those of south Germany and Switzerland. And, too, while the designs for the French and Flemish pieces were specially made by manuscript illuminators, painters, or professional cartoon designers, some of whom, like Maître Philippe (cf. Nos. 17-19), conducted great studios, for the German pieces the weavers themselves adapted the figures from one of the woodcuts that were the popular art of the German people or from some book illustration. So while the French and Flemish tapestries reached great heights of skill and luxury, and really were a great art, the German tapestry remained naïve and simple and most of its artistic value is the product of that very naïveté. Toward the close of the XVth century a change begins to appear in the character of tapestry design. More and more often paintings are exactly reproduced down to the last detail. At first sporadic products, the reproductions of the work of such masters as Roger Van der Weyden and Bernard Van Orley become more and more frequent until by the end of the first quarter of the XVIth century they are a commonplace. Yet even though tapestry is no longer entirely true to itself, these tapestry paintings are nevertheless beautiful and fit. A woven painting has not yet become an anomaly because painting in Northern Europe is still narrative and decorative. There are still poise and restraint and clear flat silhouette and rich detail.