As far back as the ancient Greeks, hand-woven tapestry art was believed to be an important means for decorating affluent homes and important buildings. Tapestry art was even thought to have covered the walls of the Parthenon.
During the Middle Ages and through the Hundred Years war, France was considered the world’s most important producer of tapestry, with Paris being the tapestry capital of the western world. Unfortunately, during Hundred years War, with pillaging and unrest, many woven tapestry pieces were lost or burned for their precious metal content. Eventually tapestry artists, skilled dyers and tapestry craftsmen moved north towards Flanders into what today is called Holland and Belgium.
Today, most surviving pieces of original hand-woven tapestry art are from the 16th to the 19th century. During that time construction consisted mainly of Picardy wool, Italian silk, and gold and silver threads imported from Cyprus.
Renaissance tapestry, on the other hand evolved later on with completely opposite views.
Woven tapestry art is one of the most effective forms of literary expression the world has ever known. 
This is the technique used most frequently for the flat-woven rugs and hangings called “kilims”. This technique is also used for 
Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could be easily transported. In addition, the process of tapestry weaving, where every stitch is placed by hand, enabled the creation of complex images on an enormous scale. 
Most weavers prefer to design and weave on commission and it is in the commissioning that the real excitement lies. A good deal of bespoke weaving is for large architectural spaces, often planned by a team made up of the architect or art consultant and the tapestry artist. Commissioned work does not have to be for large corporate or civic buildings however, and commissioning for a specific area in the home can be particularly satisfying.
Today’s 
One of the best known and most successful community projects was set up during the 1950s in Egypt by the architect Ramses Wissa Wassef. He opened a workshop in the village of Harrania specially to teach peasant girls and boys aged eight years and over to weave 
Artists have different formulas for pricing their tapestries. The most exact, worked out by an accountant that I found in “Weaving for Worship”, by Joyce Harter and Lucy Brusic was as follows: Take the material cost and the hourly cost of the labor and add them together. Multiply the resulting sum by 20% to account for overhead. Add these two figures together and multiply the resulting number by 10% to allow for profit. Add the 10% to the first figure to determine cost.
Different techniques work for different types of designs. For example, the technique called vertical slit (where the weft threads meet and separate in opposite directions) is useful for shading, while slit tapestry technique (where weft threads do not share a warp thread as they turn) will give a sharp line of color change. Diagonal slit tapestry (where the slit caused by meeting weft threads is on an angle) is useful for building shapes.