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Updated: June 15, 2025
But with all the facility afforded for the expression of minutely modulated form the straight lines and sharp angles are still present. The traditions of the art were favorable to great geometricity, and the tendencies of the warp and woof and the shape of the spaces to be filled were decidedly in that direction. Human figure in Peruvian gobelins, showing characteristic textile convention.
The Figaro states that the artist Courbet was captured at the house of one of his friends, a pianoforte maker in the Rue St. Gilles. He was concealed behind a bedstead, and, upon being threatened with a revolver, gave himself up without attempting resistance. The destruction at the Gobelins has not been so extensive as had been apprehended.
Marcel, takes its name from two famous Flemish dyers, who settled in Paris under Francis I. In 1662, COLBERT purchased part of the old premises where the Gobelins had carried on their business, and there opened an establishment under the direction of LE BRUN. It was not confined to the manufacture of tapestry only, but was composed of painters, sculptors, engravers, goldsmiths, watch-makers, lapidaries, and other artists and workmen of almost every description, whose pupils and apprentices here acquired their freedom.
Nowhere is the life of the weaver so nearly like that of his prototype in the golden age of tapestry. The colony on the Bronx is like a bit of old Europe set intact on American soil. It is odd that New York should have more tapestry looms at work than has Paris. The Baumgarten looms exceed in number the present Gobelins, and the Herter looms add many more.
So Aubusson was forgot. Wars and pleasures both ravaged the royal purse, and no money was left for indulgences to a tapestry factory lying leagues distant from Paris and the satisfying Gobelins.
The famous English Mortlake tapestry manufactory was not established until the seventeenth century, and that is rather late for us. The progress of craftsmanship has been steady, especially at the Gobelins in France. Many other centres of industry developed, however, in various countries. The study of modern tapestry is a branch by itself with which we are unable to concern ourselves now.
A few cabinet pictures are seen upon the walls, and one or two large hall-like apartments are hung with tapestry, which, although centuries old, is perfect in texture and the freshness of the colors. It might have come from the Gobelins' factory during this present year of our Lord, and it could not be brighter or more perfect.
In a word, they take the place of frescoes. The pleasure of touching a mobile fabric is lost. A fold in such a dainty piece would break its beauty. Almost must a woven panel of our day fit the panel it fills as exactly as the wood-work of a room fits its dimensions. The Nineteenth Century at the Gobelins was finished by mistakenly copying Ghirlandajo, Correggio, others of their time.
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.
It is the tapestry in this set that is called Visit of Louis XIV to the Gobelins that interests us strongly, as being delightfully pertinent to our subject. The picture shows the king in chary indulgence standing just within the court of the Royal Factory, while eager masters of arts and crafts strenuously heap before him their masterpieces.
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