Jacob Jordaens also designed tapestry cartoons, but the most popular artist among the weavers at the end of the seventeenth and in the eighteenth centuries was David Teniers. He did not himself make designs, but the manufacturers, especially at Oudenarde, borrowed his subjects, which were drawn largely from peasant and village life. One reason why we have so few of the really antique tapestries is that in 1797 the market for them was so dead--owing to the increasing use of wall-papers and canvases painted in oils--that the French decided it would be better to burn them for the gold and silver they contained. Accordingly, "One hundred and ninety were burned. During the French Revolution, a number of tapestries that bore feudal emblems were also burned at the foot of the Tree of Liberty." At this time, when they were not in fashion, many rare old hangings were cut up by the inartistic or the ignorant and used as rugs and curtains. But in recent years, we are told, the Brothers Braquenié have set up a workshop at Malines, where they have produced a fine series for the Hôtel de Ville in Brussels, called "Les Serments et les Métiers de Bruxelles." The cartoons for this set were made by Willem Geefs, the painter. As to the material, there is a great difference. Gothic tapestries are composed of woolen weft on linen, or woolen on hemp warp, and are often enriched with gold and silver thread. These are not used today, as they are considered too expensive. Since the sixteenth century, Brussels, Gobelins, and Mortlake have used a great deal of silk. In the fifteenth century fifteen or twenty colours were employed, in the Renaissance period, twenty or thirty. "Both high warp and low warp antedated the shuttle. In other words, they use bobbins that travel only part way across instead of shuttles that travel all the way across." The high warp loom was also in use before the treadle. "In the low warp loom the odd threads of the warp are attached to a treadle worked with the left foot, the even threads of the warp to a treadle worked with the right foot, thus making possible the manipulation of the warp with the feet and leaving both hands free to pass the bobbins. In the high warp loom, that has no treadle, the warps are manipulated with the left hand while the right hand passes the bobbins back and forth. The term high warp means that the warp is strung vertically, low warp horizontally."