Agnes Sorel owned a superb specimen at her _Château de Beauté_ in 1350. It is described as “a large piece of Arras, on which are pictured the deeds and battles of Judas Maccabaeus and Antiochus, and stretches from one of the gables of the gallery of Beauté to the other, and is the same height as the said gallery.” During the troublous times in France under Charles VI, the Paris looms ceased to work, and Flanders supplied all the tapestry that came to France. In 1395, the Duke of Orleans orders his treasurer to deliver to Jaquet Dordin, “merchant and bourgeois of Paris,” 1,800 francs for “three pieces of high-warp tapestry of fine Arras thread.” Leather was also extensively used during the Middle Ages for interior decoration: it was hung upon the walls and beds; it was spread upon the floors; and it covered the seats and backs of chairs, coffers, cabinets, shelves, folding stools, frames, frames for mirrors, and all kinds of boxes both large and small. In 1420, we hear of a piece of Cordovan called _cuirace vermeil_ “to put on the floor around a bed,” and also a “chamber hanging” of “silvered _cuir de mouton_, ornamented with red figures.” Charles V of France had “fifteen _cuirs d’Arragon_ to put on the floor in summer,” and the Duke of Burgundy’s inventory of 1427 mentions “leathers to spread in the chamber in summer time.” The Duke of Berry had twenty-nine great _cuirs_ among his possessions, which were used to cover the walls, beds and chairs. Leather made a very sumptuous, durable and decorative wall-hanging. The patterns of flowers, foliage, arms, devices and other figures were richly gilded, and stood out in high relief from the brilliant backgrounds of red, blue, green, orange, violet, brown or silver. Although the use of gilded leather (_cuirs dorés_) did not become general until the fourteenth and fifteenth centuries, the art of gilding, silvering, painting and goffering leather had long been known. It is more than probable that the First Crusaders brought home specimens; but it is certain that Cordova was making beautiful gilded leathers in the eleventh century. The most beautiful, as well as the most beautifully worked, leathers came from Spain, where they were often called _Guadameciles_, from Ghadames in Africa where they were prepared for many years, and from which town the Moors carried the art into Cordova. Ebn’ Abd el Noûr el Hamîri el Toûnsi (of Tunis), in his geographical work written in the twelfth century, thinks it worth while to mention that the _djild el Ghadâmosi_ comes from Ghadames. The monk, Theophilus, in his _Diversarum artium Schedula_ shows how well Arabian leather was known, and describes the methods of preparing it for decoration; but from what he says it appears that leather was used at that period only for the coverings of chairs, stalls, benches, stools, etc., and not for wall-hangings.