Known for the regularity and distinctness of its tapestries, the royal French tapestry factory in Paris known as the Gobelins used 15 to 18 threads per inch (6 to 7 per centimetre) in the 17th century and 18 to 20 (7 to 8) in the 18th century.Another royal factory of the French monarchy at Beauvais had as many as 25 or even 40 threads per inch (10 to 16 per centimetre) in the 19th century.These excessively fine grains make the fabric very flat and regular, tending to imitate the canvas of a painting.The grain of 20th-century tapestry approximated that used in 14th- and 15th-century tapestry.The sheen of silk thread was often used for highlights or to give a luminous effect when contrasted to the dull and darkly coloured heavier woolen threads.In 18th-century European tapestries, silk was increasingly used, especially at the Beauvais factory in France, to achieve subtle tonal effects.
The weft threads so outnumber the warps that they conceal them completely.
The designing of sets was especially common in Henri-Georges Adam, is a triptych (three panels).
Until the 19th century, tapestries were often ordered in Europe by the “room” rather than by the single panel.
In Europe during the Middle Ages, the thickness of the wool tapestry fabric in such works as the 14th-century tapestry was about 10 to 12 threads to the inch (5 to the centimetre).
By the 16th century the tapestry grain had gradually become finer as tapestry more closely imitated painting.