The wedding procession, a Flemish tapestry, Bruges, second half 17th century from the series Gombaut and Macée | Le Cortège Nuptial, tapisserie des Flandres, Bruges, seconde moitié du XVIIe siècle, provenant de la Tenture des Amours de Gombaut et Macée

A tapestry of the same episode is kept at the museum of the château de Moulin, Burgundy. Two other episodes "The Dance" and "the Ceremony" are kept in Bruges in the Gruuthuse Museum.

The series of these pastoral narrative tapestries from the popular Story of Gombaut and Macée, depicts the events through the life of a shepherd and shepherdess, and are a social comment on the stages of life. Some of the designs were inspired by the engravings of Jean Leclerc. They were woven in Bruges, Brussels and France, and French archives record tapestries from this series in 1532 (with two surviving in the Montal château, France). Later series were inspired by a set of woodcuts printed in Paris by Jean Leclerc in 1596, which were on the looms in Paris workshops of Comans and van der Plancken before 1627. The Bruges weavings are documented by an early set in 1613. Incorporating text within the scenes is inspired by the tapestries of the Medieval period, and despite the use of French text they are Bruges weavings, and panels with the Bruges town marks exist. In this series it is the names of Gombaut and Macée that appear the most, hence the name. It was particularly popular in Flanders and on the French market until the end of the 17^thcentury.

The series includes panels depicting La Chasse aux papillon (Chasing butterflies), Femme mangeant sa soupe (Woman eating soup), Le Jue de tiquet (The Ball game), La Danse (The Dance), Le repas Champêtre (Rural picnic), Les Fiançailles (The Engagement), La Vieillesse (Old Age) and Le Cortège Nuptial (Wedding Procession). G. Delmarcel & E. Duverger, Bruges et la Tapisserie, Bruges, 1987, No.19-26, pp.249-285, comprehensively discusses Bruges woven pieces of this series, located in the Bruges, Municipal Museums collection and the Musée d’Art, Saint-Lo, dating from the early 17^th century, some bearing the Bruges town mark, woven within differing border types. The tapestries have distinctive four-sided borders and inner borders, some with the border style present on the offered fragment. The foreground of the main fields all have distinctive depictions of foliage and various animals, inclusion of narrative Old French scrolls within the composition. The tapestry of Le Cortège Nuptial, (ibid. pp.276-277: Musées Communaux, Bruges: Inv.0.13.XVII) depicts a large group of people including musicians.

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Cette série de tapisserie tirée de l’Histoire de Gombaut et Macée, tissée aussi bien en France, à Bruxelles ou à Bruges, décrit les différents épisodes de la live du berger et de la bergère. Les archives françaises recensent huit tapisseries de cette série en 1532 et des gravures sur bois en furent déclinées par Jean Leclerc en 1596. Les archives aussi précisent que d’autres exemplaires étaient tissés dans les ateliers parisiens de Comans avant 1627 et à Bruges en 1613.

Delmarcel & E. Duverger, Bruges et la Tapisserie, Bruges, 1987, pp.249-285, analysent en détail une suite de sept datant du XVIIe siècle, porant les marques de Bruges et conservées au Musée d'Art de Saint-Lo et au Musée Municipal de Bruges. Ces tapisseries ont une bordure complete reconnaissable ornée d’animaux divers et d’anciens rinceaux français. La série comprend ‘le jeu de balle’ et ‘le mariage’.

Le musée du château de Moulin conserve une tapisserie du même épisode. Deux autres tapisseries, "La Danse" et "La Noce" se trouvent à Bruges, au Gruuthuse Museum.