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Updated: June 5, 2025
But the latter is not to be spoken of disparagingly, for in the admirable time of French production about the time of the formation of the Gobelins, low-warp work was almost as well executed as high-warp, and as much valued.
In low-warp the worker has the privilege of laying his flutes on top the work, the flutes not at the moment in use, and there they lie in convenient mass ready to resume for the figure abandoned for another. If the right hand thrusts the flute, it is the duty of the left to see that the alternate and the limiting threads of the warp are properly lifted.
The sequence to this small beginning was the establishment of tapestry ateliers at Williamsbridge, a suburb of New York. Like the Gobelins factory, this was located in an old building on the banks of a little stream, the Bronx. Workmen were imported, some from Aubusson, who knew the craft; these took apprentices, as of old, and trained them for the work. The looms were all of the low-warp pattern.
Laws were made to stop one fault after another, until in the end the weavers were so hampered by regulations that work was robbed of all enthusiasm or originality. It was at this time that Brussels adopted the low-warp loom. In other words, after a brilliant period of prolific and beautiful production, Brussels began to show signs of deterioration. Her hour of triumph was past.
Beauvais with her high- and low-warp looms, her artists from Paris and her privilege to sell in the open market, lured from Aubusson the patronage that might have kept her strong. Thus things went on to the end of the Seventeenth Century and the first quarter of the Eighteenth.
The pieces in the set of the Life of the King numbered forty; with the addition of the later ones, forty-three. They were repeated many times in the succeeding years, but on low-warp, reduced in size, and without the superb decorative border which was composed by Lebrun's own hand for the original series. François de la Meulen was Lebrun's able coadjutor in the direction of this famous set.
They are extended flat against the wall, or even framed, that not one stroke of the artist's pencil or one flash of the weaver's shuttle be hid. But, many were their uses and grand were their purposes in the days when high-warp and low-warp weaving was the important industry of whole provinces.
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