Caesar in the Gallic Wars from The Story of Caesar and Cleopatra c. 1680

Editor: So, here we have *Caesar in the Gallic Wars from The Story of Caesar and Cleopatra*, a tapestry woven around 1680 by Guilliam van Leefdael. The craftsmanship is astounding; seeing this made from wool and other textiles just blows my mind. How did the creation of these Baroque tapestries function? Curator: Notice how a historical narrative painting typically found in oils is rendered here, through this weaving. The labor of tapestry creation often went unacknowledged. Think of the countless hours and hands involved in turning raw materials like wool into a complex, pictorial scene like this one. We often forget these pieces of "fine art" relied on many artisans. Editor: So it's a blurring of lines? "High Art" relying on what we consider "craft?" Did the people who created tapestries view it that way too? Curator: Exactly. We're challenged to consider these materials as deliberately chosen signifiers – wool becoming image, craft becoming history painting, all reflecting patronage. The choice of textile over painting carries social weight. Tapestries offered warmth, portability and luxury but simultaneously demonstrated economic standing in ways paintings simply could not. They also demanded greater cooperation and division of labor. Editor: Interesting, so the medium becomes the message, displaying both artistic skill but wealth at the same time! Is that maybe why the artist seems to all but disappear in these weavings? Curator: That's astute. The focus shifts from individual "genius" to a collective enterprise of skilled craftspeople and aristocratic patrons. What does that say about who *actually* holds the power in the story? It is much bigger than Caesar... it is a reflection of labor and the economics that propelled it. Editor: Wow, I'll never look at a tapestry the same way again. Thanks! Curator: My pleasure. It is nice to be reminded of the power of textiles.