Let us then absorb willingly one or two dry facts. High-warp tapestry we have traced lightly from Egypt through Greece and Rome and, almost losing the thread in the Middle Ages, have seen it rising a virile industry, nursed in monasteries. It was when the stirrings of artistic life were commencing under the Van Eycks in the North and under Giotto and the Tuscans in the South that the weaving of tapestries reached a high standard of production and from that time until the Nineteenth Century has been an important artistic craft. The Thirteenth Century saw it started, the Fourteenth saw the beginnings of important factories, and the Fifteenth bloomed into full productions and beauty of the style we call Gothic. In these early times of the close of the Thirteenth Century and the beginning of the Fourteenth, the best known high-warp factories were centred in northern and midland provinces of France and Flanders, Paris and Arras being the towns most famed for their productions. As these were able to supply the rest of Europe, the skilled technique was lost otherwheres, so that later, when Italy, Germany and England wished to catch up again their ancient work, they were obliged to ask instruction of the Franco-Flemish high-warp workers.[5] It is not possible in the light of history for either Paris or Arras to claim the invention of so nearly a prehistoric art as that of high-warp tapestry, and there is much discussion as to which of these cities should be given the honour of superiority and priority in the work of the Twelfth and Thirteenth Centuries. Factories existed at both places and each had its rules of manufacture which regulated the workman and stimulated its excellence. The factories at Paris, however, were more given to producing copies of carpets brought from the East by returning crusaders, and these were intended for floors. The craftsmen were sometimes alluded to as _tapissiers Sarrazinois_, named, as is easily seen, after the Saracens who played so large a part in the adventurous voyages of the day. But in Paris in 1302, by instigation of the Provost Pierre le Jumeau, there were associated with these tapissiers or workmen, ten others, for the purpose of making high-warp tapestry, and these were bound with all sorts of oaths not to depart from the strict manner of proceeding in this valued handicraft. Indeed, the Articles of Faith, nor the Vows of the Rosicrucians, could not be more inviolable than the promises demanded of the early tapestry workers. In some cases--notably a factory of Brussels, Brabant, in the Sixteenth Century--there were frightful penalties attendant upon the breaking of these vows, like the loss of an ear or even of a hand.