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Updated: June 4, 2025
And if the art of tapestry weaving is almost a lost one to-day, at least the weavers can find in history much matter for pride. It is no mean ambition to follow the profession of conscientious Nicolas Bataille, of the able Pannemaker, of La Planche and Comans, of Tessier, Cozette, and a hundred others of family and fame. Much preparation is necessary before the loom can be set going.
Another example of this peculiar assumption of superiority occurred not long after at a dinner given by Werdet in honour of a young author, Jules Bergounioux, whose novels were being much read. Among the guests were Gustave Planche, Jules Sandeau, and Balzac.
As soon as he entered upon this great office he made himself remarkable by the marvellous ability he showed in restraining within bounds "the Lorraines themselves, whose servant he was," says the Protestant chronicler Regnier de la Planche; "to those who had the public weal at heart he gave hope that all would at last turn out well, provided that he were let alone; and, to tell the truth, it would be impossible to adequately describe the prudence he displayed; for, assuredly, although if he had taken a shorter road towards manfully opposing the mischief he would have deserved more praise, and God would perhaps have blessed his constancy, yet, so far as one can judge, he alone, by his moderate behavior, was the instrument made use of by God for keeping back many an impetuous flood under which every Frenchman would have been submerged.
But more to our purpose, it was here that, in 1607, Henri IV cast his kingly eye when establishing a certain tapestry factory. It was here he placed as directors the celebrated Comans and De la Planche. It happened in time, that the looms of Les Tournelles were moved to the Faubourg St. Marceau and these two men came in time to direct these and all other looms under royal patronage.
Violently denounced by M. Capo de Feuillide, of the Europe littéraire, it was warmly defended by M. Gustave Planche, in the Revue des Deux Mondes. The war of words grew so hot between them that a challenge and encounter were the result surely unique in the annals of duelling. The swords of the critics fortunately proved more harmless than their words.
To this weekly periodical, which henceforth appeared twice a week, Balzac summoned a brilliant editorial staff he always disdained to supervise any other than shining lights including Gustave Planche, Nodier, Theophile Gautier, Charles de Bernard, while the illustrations were furnished by Gavarni and Daumier.
Flemish workers in Paris were at this same time, about 1601, encouraged by the king and under protection of his steward. These Flemings were the nucleus of a great industry, for it was over them that two famous masters governed, namely, François de la Planche and Marc Comans or Coomans. In 1607 Henri IV established the looms which these men were called upon to direct.
Beverley, the scene painter for Madame Vestris, half a century ago, brought fairy, or Pantomime, scenes to great perfection. Leopold Wagner, speaking of them, says: "We have it upon the authority of Mr. Planché that these were almost entirely due to the skilled efforts and successes of Mr.
Another inscription takes a great leap in time, skips over the centuries when France was not in the lead in this art, and recommences with the awakening strength under the wise care of Henri IV. It reads: "April 1601. Marc Comans and François de la Planche, Flemish tapestry weavers, installed their ateliers on the banks of the Bièvre."
In addition to scholarly knowledge, he had a naturally refined taste and the power of selecting the right man to help him. Planché, the great authority on historical costumes, was one of his ablest coadjutors, and Mr. Bradshaw designed all the properties.
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