In the inter-war period, the art of kilim making was at its prime. The achievements of Polish artists gained recognition at the Paris International Decorative Art Show in 1925. On the one hand, it was widely believed that it was necessary to draw on folk culture and, on the other, creatively process the patterns.

The homespun sukmana coat is traditionally believed to belong to Tadeusz Kościuszko, sewn of ashen cloth, with long sleeves lined at the end with red fabric, widening from the waist down. The upright collar is sewn with a red fabric inset. On the collar, along the hook-and-eye clasp, at the waist and the coat tail cut, there are brown braids of woollen string. At the bottom of the right coat tail there are four horizontal zones of blue and yellow embroidered with wool.

The custom of hanging a parochet on the Aron Kodesh door (the Torah Ark in the synagogue, in which the Torah scrolls are kept) goes back to Biblical times. In the Temple of Jerusalem there was a similar curtain separating the Holy place from the Holy of Holies...

The interwar period wast the heyday for many fields of art and the economy, including Polish industrial design. The trends in contemporary design were initiated by the cooperative “Ład”, founded in 1926 by the lecturers of the School of Fine Arts in Warsaw as a continuation of the concept of Krakow Workshops.

An apron to match the Kraków costume made of two gores of white thin woollen fabric with motifs of green twigs, roses and other pink and red flowers, and blue and pink tiny flowers and buds printed over it.

The horse tack shown is a part of the almost typical horse-riding equipment used in the Republic of Poland by rich noblemen and magnates in the 17^th and 18^th centuries.
The tack consists of a saddle, a girth, stirrups and a bridle with szkofia and a breastplate. The shabrack with a pair of tassets also originates from Adam Sapieha's collection, though the previous owner is unknown.

The Confusion of Tongues is the third tapestry of the Story of the Tower of Babel series. Unable to comunicate, the people begin to disperse leaving the construction unfinished. Two men in the foreground attempt to interact by using gestures, but it seems that this is in vain. Next to them, two women and a man are sitting in a boat. The man is loading a large package wrapped with string onto the boat. Behind them, resigned people are leaving the construction site; workers with pack animals are going in different directions. The tower itself looks as if it had been abandoned long ago; trees are growing on its lower storeys. God hovers above the tower.

In the 16^th century, Rome attracted artists from the North with a series of discoveries of ancient works, as well as with works of the Renaissance masters – Raphael, Michelangelo and Leonardo. This fascination brought a trend in paintings known as the Netherlandish Romanesque. Its sources were of two kinds.
 

A kimono is one of the first things that comes to mind when we think of Japan. We always see those traditional dresses exquisitely decorated with painted or embroidered designs. Each of them is decorated with the most beautiful and elegant patterns. However, there are also everyday kimonos with repeating, small patterns of flowers, birds, fans and other motifs. They are made using stencils such as the Ise-katagami, which the Japanese have been creating for centuries.

The complete novelty was an animal and plant landscape, no longer treated as a background or complement to the scene, but as a separate subject matter. This type of textile was called a verdure (French: verdure) from the word verdir, or “to paint in green”, because of the predominance of this colour. It is sometimes claimed that one of inspirations for this kind of woven depictions was the hunting preferences of clients , as they are often also described as tapestries “to admire hunting” (ad venationem spectantia peristromata) or “fighting animals” (pugnae ferarum). The plant and animal landscape as a separate subject matter initially appeared in tapestries, later in paintings (for example paintings by Roelant Savery, 1576–1639). Verdures created between 1553 and 1560 that are part of the collection of tapestries of Sigismund II Augustus are probably among the first examples of this subject matter in tapestry art.