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Lest in speaking of borders, too much reference might be made to the history of tapestry in general, I have left out Simon Vouet and Henri Lerambert as inspired composers of the frame which enclosed their cartoons; but it is well to say briefly that these men at least had not followed false gods, and were not guilty of the flagrant offence to taste that put a smirch on Italian art.
Animated at best it was with the spirit and the modest facts of our family life, among which I number the cold finality of M. Lerambert, reflected in still other testimonies that is till the date of our definite but respectful rupture with him, followed as the spring came on by our ineluctable phase at the Institution Fezandié in the Rue Balzac; of which latter there will be even more to say than I shall take freedom for.
To this History French writers accord the important place of inspirer of a distinctively French Renaissance. The weaver being Maurice du Bourg, the chief of the factory of La Trinité, the artists were Henri Lerambert and Antoine Carron, but the set has been many times copied in various factories, and Artemisia has symbolised in turn two other widowed queens of France.
It was to the big square villa of the Rue Balzac that we turned, as pupils not unacquainted with vicissitudes, from a scene swept bare of M. Lerambert, an establishment that strikes me, at this distance of time, as of the oddest and most indescribable or as describable at best in some of the finer turns and touches of Daudet's best method.
It was a recreational, or at least a social, rather than a tuitional house; which fact had, I really believe, weighed favourably with our parents, when, bereft of M. Lerambert, they asked themselves, with their considerable practice, how next to bestow us. I like to think of the Institution as all but phalansteric it so corrects any fear that such places might be dreary.
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