This is the only surviving tapestry with the workshop mark for Mazarind, together with the England mark (cross of St George). Thus it is the only physical evidence of Mazarind's tapestry workshop in London, which we know from rate books was on the south side of Portugal Street (now Piccadilly) between 1696 and 1702.The substantial influence of Mazarind’s work on one of the most popular styles of English tapestry ever woven, known as ‘Indian Manner’ and usually associated with the work of another London tapestry weaver, John Vanderbank, is starting to become understood.
‘After the Indian manner’ was the 17th-century term used for a particular decorative style with Indian, Chinese, Japanese, and other non-European elements. Indian Manner tapestries exist in a number of variations, reflecting their popularity in late 17th and early 18th-century England and Scotland. Their subjects were partly imaginary and partly based on the text and illustrations of travels books like Arnoldus Montanus’s Atlas Japannensis (1669) and Atlas Chinensis (1671), and The Embassy to China of Johan Nieuhof (1665), which were translated into English by John Ogilby soon after their first publication. The overall effect intended by the tapestries seems to have been an imitation of Chinese and Japanese lacquer (called ‘Japan’ or ‘India Japan’) which was imported into Europe in large quantities in the late 17th century for use as screens and wall-panels. The scattered disposition of the tapestries' motifs allowed them to be easily increased or decreased in size and made them well suited to be adapted to different clients' needs.