Clarence Cook says: "There was a kind of tapestry made in Europe in the fifteenth century--in Flanders, probably--in which there were represented gentlemen and ladies, the chatelaine and her suite walking in the park of the chateau. The figures, the size of life, seem to be following the course of a slender stream. The park in which these noble folk are stiffly disporting is represented by a wide expanse of meadow, guiltless of perspective, stretching up to the top of the piece of stuff itself, a meadow composed of leaves and flowers--bluebells, daisies, and flowers without a name--giving the effect of a close mosaic of green, mottled with colored spots. On the meadow are scattered various figures of animals and birds--the lion, the unicorn, the stag, and the rabbit. Here, too, are hawks and parrots; in the upper part is a heron, which has been brought down by a hawk and is struggling with the victor, some highly ornamental drops of blood on the heron's breast showing that he is done for. And to return to the brook which winds along the bottom of the tapestry, it is curious to note that this part of the work is more real and directly natural in its treatment than the rest. The water is blue, and is varied by shading and by lines that show the movement of the stream; the plants and bushes growing along its borders are drawn with at least a conventional look of life, some violets and fleur-de-lis being particularly well done; and in the stream itself are sailing several ducks, some pushing straight ahead, others nibbling the grass along the bank, and one, at least, diving to the bottom, with tail and feet in the air." The best authority on tapestries in many lands is the exhaustive work by Muntz, published in Paris, 1878-1884, by the Société anonyme de Publication Périodique--three luxuriously bound and generously illustrated volumes, entitled _Histoire Générale de la Tapisserie en Italie, en Allemagne, en Angleterre, en Espagne_. We learn here that in 1630 Le François, of Rouen, incited by the Chinese colored papers imported by the missionaries, tried to imitate the silk tapestries of the wealthy in a cheaper substance. He spread powdered wool of different colors on a drawing covered with a sticky substance on the proper parts. This _papier velouté_, called _tontisse_ by Le François, was exported to England, where it became known as "flock paper." The English claim a previous invention by Jeremy Lanyer, who, in 1634, had used Chinese and Japanese processes. At any rate, the manufacture of flock papers spread in England and was given up in France. Only toward the middle of the eighteenth century was the making of real colored papers (_papier peints_) begun in France and England. The first factory was set up in 1746, but the work was not extended further until 1780, when it was taken up by the brothers George and Frederic Echardt.