De Cracht, originally from Oudenaarde had workshops in Gouda and Schoonhoven, and not only traded weavings of the series but also had them woven in his own workshop. He worked with the designer Salomon de Braij (1597-1664), and the painters that worked in the Oranjezaal. Of the number of Iphigenia sets known, commissioned for the German and Swedish nobility there is a set of five in the Rijksmuseum, Amsterdam, including a weaving of the present subject, (Inv.BK-19550-100-E). The series are woven within a distinctive Solomonic columned architectural border type, originally designed by Peter Paul Rubens in his Apotheosis of the Eucharist (1625-1628), and which was interpreted with variations by the Dutch weavers, and which is lacking on the present weaving.
For comprehensive discussion of the Greek and Roman series woven in the Northern Netherlands, including the series of The Story of Iphigenia and Orestes’ (Story of Atrides), and the influence of Karel van Mander II, see Ebeltje Hartkamp-Jonxis and Hillie Smith, European Tapestries in the Rijksmuseum, Amsterdam, 2004, pp.175-180, & 62a-e, pp.241-250.