[1][2][3] It is organized in concentric circles surrounded by a border depicting a series of theological scenes related with the Christian creation myth as well as a description of the yearly calendar.

[1][2][3] The righthand border and bottom third of the fabric is lost, but it is believed that the missing sections held a continuation of the months as well as a space describing the discovery of the True Cross.

[2] The surface embroidery contains wool and linen threads of red, green, yellow, white, blue, and earth tones which are outlined in black to replicate the mural paintings of the period.

[2] The exact date, patronage, and workshop producing the Creation Tapestry is unknown, however it is widely agreed that the work can be accredited to the late 11th or early 12th century in or near Catalonia.

[2] Enrique C. Gerbal, perhaps the first modern scholar to publish studies of the Creation Tapestry, points out in his work that comparable artifacts from this region and time may have been destroyed due to the political unrest in Girona through the ages which contributes to the difficulty in dating the textile.

[4] Levey notes the similarity of the Girona Tapestry's style of embroidery in textiles from 14th century Scandinavia; however Hansueli Etter argues that the geometry in its design and maximalist use of pattern and detail could be the result of cross cultural Islamic influences from the Ottoman Empire.

[2] The border is formed by a frame, rather deteriorated, containing small square pictures which, according to some scholars, could have been added later to the central sector, due to their different, Byzantine-like style and themes.

There is a general consensus that the space below the creation circle told the story of Discovering the Holy Cross, the remaining months of the year along the border, as well as the other sacred rivers on each of the corners.

[1][2] There was a theory that the Holy Cross was a late contribution to the overall piece, possibly from another wall hanging, because the design of the segment appears to be inconsistent with the rest of the tapestry.

[1][2][3] There is not yet consensus regarding the initial function of the Tapestry of Girona, but theories include its use relating to a curtain, an altar cloth, a wall hanging, a carpet, and even a catafalque.

[3] Castiñeiras instead points to the missing panel describing the Discovery of the True Cross as evidence that the Tapestry was made as a tapeta for the altar floor on Easter.

[3] The remaining space in the rectangle including the central disk, houses at the corner four representation of Winds, depicted by four young winged men in Roman-like dresses, driving vessels and blowing air into horns.

[2] Castiñeiras speculates that the remaining portion of the tapestry may have concluded the story with images of Judas Cyriacus' baptism, or perhaps Constantine receiving the True Cross' nails from his mother.