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Updated: May 16, 2025
It was as early as 1885 that he began; was cartoonist, dyer, tapissier, all, for the experiment, which was a small square of verdure after the manner of the Gothic, curling big acanthus leaves about a softened rose, a mingling of greens of ocean and shady reds. Perhaps it was no great matter in the way of tapestry, but it was to Morris like the discovery of a new continent to the navigator.
His great dramatic scenes required to be copied directly from the canvas, no liberty of line or colour could be allowed the weaver. In times past, the tapissier with talent almost as great as that of the cartoonist altered at his discretion. Even he to whom the Raphael cartoons were entrusted changed here and there the work of the master.
This places him on a higher plane than that of mere weaver, and makes the term tapissier seem fitter. Much liberty was given him in copying designs and choosing colours. In the Middle Ages, when the Gothic style prevailed, the master-weaver needed often no other cartoon for his work than his own sketches enlarged from the miniatures found in the luxurious missals of the day.
When the Raphael cartoons first came to Brussels the new method was a little difficult for the tapissier. His hand had been accustomed to another manner. He had, too, been allowed much liberty in his translations if one may so call the art of reproducing a painted model on the loom.
Molière has shown that the most successful reformer of the manners of a people is a great comic poet. The youth Pocquelin this was his family name was designed by the tapissier, his father, to be the heir of the hereditary honours of an ancient standing, which had maintained the Pocquelins through four or five generations by the articles of a furnishing upholsterer.
The word weaver means so little in these days that it is necessary to consider what were the conditions exacted of the weavers of tapestries in the time of tapestry's highest perfection. A tapissier was an artist with whom a loom took place of an easel, and whose brush was a shuttle, and whose colour-medium was thread instead of paints.
If it is to be the tapissier, then to him all credit, for in this and similar work he has reached a care in execution and a talent in translation that are inspired. Such quantity of detail, so many human faces with their varying expressions, could only be woven by the most adroit tapissier. The drawing shows, first, one scene of many groups but a sole interest, with none but probable divisions.
Each thread of the warp is caught by a loop, which in turn is fastened to a movable bar, and by means of this the worker is able to advance or withdraw the alternate threads for the casting of the broche or flute, which is the shuttle. Behind the veil of the warp sits the weaver tissier or tapissier with his supply of coloured thread; back of him is the cartoon he is copying.
The result was a driving haste. The director of the ateliers forced his weavers to quick production. This could mean but one thing, the lessening of care in every department. Gradually it came about that expedition in a tapissier, the ability to weave quickly, was as great a desideratum as fine work.
But M. Desbarreaux gave but a mere patronizing nod to young Corneille, who was talking in a corner with a foreigner, and with a young man whom he presented to the mistress of the house by the name of M. Poquelin, son of the 'valet-de-chambre tapissier du roi'. The foreigner was Milton; the young man was Moliere.
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