Every subject lent itself to reproduction. The inventory of a princely but small collector in 1406–7 mentions: _A Stag in a Wood_, _Story of Pyramus and Thisbe_, _History of the God of Love_, _History of King Pepin_, _Hawking_, _A Lord and Lady playing at Chess_, _A Trapped Hare_, _Monkeys_, _Castles_, _Parrots_, and _Verdures_. The latter shows how early the beautiful landscapes were valued. Throughout this century the tapestries show charming backgrounds of daisies, violets, strawberries, jessamine, primroses, bellflowers and lovely leaves often scattered in artistic disorder. The influence of Memling and the Van Eycks and their school was insistent, although comparatively few of their pictures were translated into tapestry. One of the pupils of the Van Eycks, Roger van der Weyden, designed many cartoons, among which were the _Legend of Trajan_ and _Story of Heckenbald_ for the Town Hall of Brussels. The great impetus to the Flemish looms was given by the Dukes of Burgundy. Philip the Bold (1384–1404) encouraged the weavers of Arras by giving orders and large payments in advance. Finally, he owned such a superb collection that he had a special officer, a _garde de la tapisserie_, to take charge of it. Philip the Good (1419–1467) inherited this taste for beautiful tapestry and gave numerous orders to the tapestry-makers of Flanders. The inventory of his treasury made in Dijon in 1420, shows that he possessed at the beginning of his reign five _chambres_ of tapestry, each comprising several pieces, and more than seventy high warp “storied” tapestries to ornament the halls and the chapel. Among them was a set of eleven pieces containing portraits of “the late Duke Jehan and Madame his wife on foot and on horseback,” hawking, with birds on their wrists and birds flying all around them. The same prince also had: “A red room of high-warp tapestry woven with gold, on which were represented ladies, pheasants, persons of distinction and rank, nobles, simple folk, and others, with a canopy ornamented with falcons.” Then there was a rich “chamber,” “with high-warp tapestry of Arras thread, called the _chambre_ of the little children, furnished with the canopy, head-board, and coverlet of a bed, worked with gold and silk, the head-board and coverlet being strewn with trees, grasses, and little children, and the canopy representing trails of flowering rose-trees on a red background.” Another set of “high-warp tapestry, worked in Arras thread and gold” was called “The Chamber of the Coronation of Our Lady.” It was furnished with “a canopy, a head-board, a bed coverlet, and six curtains two of which were worked with gold, and the remaining four without gold. On each of these were two figures, the late Duke Anthony of Brabant and his wife and their children, screened with a small _dosser_; the whole was of Brabant work.”