A Flemish Old Testament Biblical Narrative Tapestry, Brussels, depicting `Solomon building the Temple', second half 16th century

with a figure carrying dividers in his apron, greeting Solomon, with a crowned turban carrying a sceptre which is an emblem of authority and an insignia of Royalty, instructing the building of the temple, with further figures surrounding them on the steps of a classical portico and marbled step, and foreground plants and strawberries, with additional figures in the background in the process of carrying, carving and measuring stone work for building purposes, and fighting figures in distance, woven with in an elaborate four-sided border with strapwork binding the narrow inner and outer borders together and encasing various elements including vases of flowers and foliage and crouching figures in each top corner, interspersed with allegorical figures, the lower corners with chariots containing pairs of figures and each side border with a standing allegorical figures, the upper and lower border with a central medallions flanked by seated profile figures, rewoven in several places and stained

This Brussels tapestry with the large figures in a confined space with receding figures beyond is an imposing design which is associated with Brussels in the 16th century. The depicting of Classical and Biblical heroes and heroines were particularly popular commissions for narrative series of tapestries, serving as role models in their ruling and military actions to those that looked upon them. Solomon for example, the third King of Israel, like King David, was considered a heroic figure. Solomon's court was magnificent and his lifestyle luxurious. His famous judgement meant that he in turn became a symbol of Justice.  In addition this tapestry' border has typical design elements associated with the period, using strapwork worked around alternating figures and flowering and fruiting vases.

Joining the inner border to the outer borders, are encasing figures acting as strong bonds between the borders and the main tapestry. The classical motifs of medallions, and allegorical figures with attributes and in chariots allude to the literary and Biblical sources used for the subject of the main tapestries. In this tapestry the large figures in the centre of the side borders, possibly representing Sculpture and Architecture, are particularly striking. The inclusion of a background of strapwork belongs to the traditional ornament of the Antwerp school, as it was conceived by Cornelis Floris (Compendium published in Antwerp in 1556 Veelderleij Veranderinghe van Grotissen ende Compertimenten with multiple variations of grotesques and compartments) and others from 1548 onwards. It became a recurring and distinctive motif in Flemish tapestries. Examples of Classical 16th century Brussels tapestries depicting The Story of Cyrus, exist with borders with similar gold border medallions and motifs, and Delmarcel, Flemish Tapestries, London, 1999, The golden days of the Flemish Renaissance in Brussels Tapestries, pp.119-163, figs.5.1-5.8, records a set of eight tapestries depicting the Story of Rome, with similar design elements and inclusion of golden medallions and term figures in the borders.