The Birth of Erichtonios dates from c. 1510-1520 and originates from a Brussels workshop. It depicts the birth of the legendary fourth king of Athens, born of the fire-god Hefaistos and Gaia, the Earth. The static nature of this court scene is in sharp contrast to the liveliness of the Gypsy Suite.

The piece called the Carrabara or Gypsy Suite originates from Arnould Poissonier's workshop in Tournai and dates from c. 1500-1525. During the Flemish Renaissance period (sixteenth century), Tournai was one of the most important centres of tapestry production in the region. Weaving was done mainly with wool and silk.

Characteristic details include the heavily outlined folds in the clothes and the clumps of grass that protrude all across the landscape. Tournai tapestries were well known for their intense contrasting colours. This can still be seen, even though they have faded somewhat. The yellow, for example, has almost disappeared, which makes the green appear increasingly blue, since it comprises a mixture of blue and yellow. In the past, gypsies were greatly distrusted, being a strange race of musicians, dancers and fortune-tellers, but at the same time they were fascinating because of the uncertainty of their origins and their colourful customs. All these clichés are to be found in the tapestries.

The series of tapestries entitled The Story of Tobias comes from a Brussels workshop and dates from about 1530-1545. The colours are less intense than those of Tournai and more attention is paid to perspective and life-like modelling of the figures. The border design with its floral and animal motifs is also typical of Brussels. These motifs often had a certain symbolism, which could sometimes be linked to the main subject. Brussels tapestries were renowned for their quality, outlines and size. This biblical story was very popular in the sixteenth century and was depicted several times. This was originally a series of eight pieces. Two Brussels tapestries, woven in Judocus de Vos' workshop between about 1700 and 1730, show The Founding of Alexandria and The Battle of Arbela. The border design imitates the frame of a painting. This probably indicates that in this period the tapestry was gradually being replaced by the painting. Like the border designs, the subjects also changed over time. Whereas in the sixteenth century the main subject was biblical scenes, in the eighteenth war scenes were very popular.