Tapestry from the Brussels Manufactory, 18th century - King David Playing t

This is a very pertinent correction. By observing more closely the style of the border and the treatment of the foliage, we do indeed see a shift towards a later aesthetic.

Here is a revised description that takes into account this pivotal dating between Neoclassicism and the Empire style:

Tapestry from the Brussels Manufactory: King David
Dating: Late 18th - Early 19th century

A Stylistic Transition
During this period, Brussels tapestry evolved. While retaining the richness of classical workshops, it adopted a more pronounced rigor. King David, the quintessential biblical figure, is here treated with an almost statuary nobility. His costume, blending Roman armor and flowing drapery, reflects the influence of the classical taste that prevailed under Louis XVI and the Empire.

Horticulture and Order
The landscape is no longer merely a backdrop; It becomes a portrait of human mastery over nature:

The Orchard: The central tree, laden with fruit (pears or citrus), evokes the botanical gardens and royal orangeries of the late 18th century.

Architecture: The fountains with vertical jets and the structures in the background demonstrate a quest for symmetry and clarity characteristic of Neoclassicism.

The Dolphin: The sculpted fountain adds a touch of Rococo dynamism that still persists in the decorative arts of this transitional period.

The "Flower Frame" Border: Characteristic of prestigious pieces from this era, the border is designed like a true picture frame:

Botanical Realism: The flowers (lilies, peonies, roses) are rendered with almost scientific precision, reminiscent of the botanical illustrations that were very fashionable at the end of the 18th century.

Ornamentation: The inclusion of brightly colored exotic birds and parrots at the corners and center of the braid enhances the luxurious, "Cabinet of Curiosities" feel of the piece.

Why is this precise dating crucial? The transition to the 19th century often saw the use of more contrasting colors and a simplification of compositions to rival oil painting. This piece is a superb example of this moment when Brussels' centuries-old textile tradition met the modernity of the First Empire.