In addition to these superb sets, there were sixty “saloon tapestries” in which the hangings woven with gold depicted scenes from famous romances, stories from Grecian mythology, pastoral scenes, and contemporary events. There were thirty-six _dossers, banquiers_ and thirty-six hassocks, and nineteen long-pile carpets. Then there were thirteen “chapel hangings,” with religious subjects, an altar-cloth “entirely of gold and silk,” besides high-warp tapestries “of gold and Arras thread.” Philip the Good was also a collector of embroidery. In his inventory (1420) are mentioned many “_chambres_” of velvet and silk, embroidered with gold and silks. More than thirty famous embroiderers were employed regularly at the Court of Burgundy. There was no more valuable possession in the Middle Ages than tapestry. When Mary of Burgundy was married to the Duke of Cleves in 1415, one prized item in her dowry was a “superb bed of tapestry representing a deer hunt.” Tapestry was considered one of the most complimentary gifts that could be offered to a royal personage, or diplomatist; and when it is remembered that every nobleman of wealth was a collector, a present of this nature had to be of rare quality and exceptional beauty. The Dukes of Burgundy were fond of making gifts from the looms they patronized. For example, Philip the Bold sent several pieces to Richard II in 1394 and 1395, and superb sets to the Dukes of Lancaster and York. John the Fearless gave the Earl of Pembroke, ambassador of Henry IV, three handsome pieces, and to the Earl of Warwick, ambassador of Henry V, in 1416, “a rich hanging covered with various figures and numerous birds.” In 1414, a “_chambre de tapisserie_” was sent as a present to Robert, Duke of Albany, who then governed Scotland. The weavers of Liège boasted as high an antiquity as those of Louvain. The _Chronicle of St. Trond_ says that the weavers in 1133 at St. Trond and Tongres, and they were more independent and high-spirited, or, to quote more exactly, “more forward and proud than other artisans.” Brussels, which in after years eclipsed both Paris and Arras in the manufacture of tapestries, possessed one corporation only of tapestry-workers (_tapitewevers_) in 1340. In 1448, these were reorganized under the name of _Legwerckers Ambacht_ (tapestry-weavers trade), but there was no great interest in the Brussels looms until 1466, when Philip the Good, Duke of Burgundy, bought in that city _The History of Hannibal_ in six pieces and a set of eight landscapes.