tapestry. The commission by Pope Leo X in the early sixteenth century of The Acts of the Apostles by Raphael, to be woven in the Brussels workshops is thought be the turning point whereby tapestry was to, from that point on, be fashioned after designs supplied by painters. The relationship of painting to tapestry in fact began in 1476 where the first counts of tapestry weaving were in Belgium, and painters had ostracized weavers for creating their own cartoons. Thus indicating that tapestries were originally made in the likeness of paintings, and is where traditional techniques were formed. Furthermore, in the 1500s, painters (with paint) and later designated specialized glazers (with only ink, wild-grain colour or chalk) were commissioned to touch up and create defined lines around the shapes on the surface of woven tapestry. The need for this integration of painting on tapestry has been observed as being the result of poor tapestry cartoons. Jean Lurçat himself began as a painter and tapestry weaver in 1915. He became intrigued by tapestry weaving when he was learned of its history. Lurçat was especially influenced by Apocalypse of Angiers (14C) which he viewed in 1937. He came away from this experience more sure that emotional content and reduction of means, or "scale of pre-arranged colour" were of ultimate importance to tapestry design. Lurçat was already practicing these values and was pleased to see them validated by such an illustrious and historically powerful piece. Consequently, his convictions about how tapestry should be designed, regarded and used became stronger. The opening statement of Lurcat's Designing Tapestry, distinguishes tapestry and easel paintings by their location: tapestries custom made for a specific, large wall. Lurçat later refers to tapestry as a medium whose most authentic form is: 1) embedded with content; 2) is invariably large scale (15 meters X 15 meters), and; 3) is designed and thought of as being forever connected to architecture. The artist asserts: "I want to remind you that Tapestry knew its proudest moments in a time when a style of extremely grandiose architecture reigned supreme". There are many things about tapestry that Lurçat is sure of, e.g. the emphasis of content in relation to economy; the importance for tapestry to continue to thrive as a partner to architecture. The most recurring theme in his book, Designing Tapestry, is that of the strict design guidelines of which should be followed in