PERIOD OF LOUIS XIII

Henri also housed the weavers Lorent and Dubourg in theLouvre; and a number of Flemish weavers, under the direction ofMarco de Commans and Frangois de la Planche, produced tapestryin the old workshops at Paris formed by Jean Gobelin in the 15 thcentury.

In Lyons the industry was carried on by the weavers and theirfamilies in their own homes, the finished fabric being returned to themaster who supplied the materials and the design. Such conditionsof production also prevailed at Spitalfields, where many of the finestsilken brocades of the 18th century were produced.

But few patterned fabrics of French origin can be traced to thelater Gothic period, or the early days of the Renaissance; doubtlessmany were produced, but as most of the skilled weavers had receivedtheir training in Northern Italy, the early Lyonese figured fabricsnaturally followed the Italian traditional designs and technique ofweaving, hence it is frequently difficult to differentiate between theearly French and the contemporary Italian fabrics.

On plate 56 are two representative examples of the period ofFrancis I., showing the same dignified massing and distribution ofpattern that is so characteristic a feature of the early Florentinefabrics.

In the time of Louis XIII. (1610-43) the French patternedfabrics began to be distinguished by symmetrical ornamental forms,frequently with some indication of lace effects, doubtless suggestedby the early laces of Milan, Venice, and Genoa, which had attainedconsiderable renown during the 16th century, and had exercisedsome influence upon the north Italian woven fabrics of the early 17thcentury; but in France, after the middle of the 17th century, theproduction of such beautiful laces as Point d’Alengon, Argentan,Chantilly, and Valenciennes, with their magnificent technical andartistic qualities, necessarily exercised a further and more lastinginfluence upon the silken brocades of Lyons.

During the long reign of Louis XIV. (1643-1715), with itsprincely patronage of the arts, the Lyons weaving industry doubt-less received considerable attention and financial support from theminister Colbert, and possibly many suggestions or designs fromCharles le Brun, a talented painter and designer, who had control ofthe decorations of the Royal palaces, and was also the director of the“Gobelins.” Jean Marot (died 1677) and Jean le Pautre(died 1682)designed much for the Court of Louis XIV., and these artists doubt-less contributed many designs for the velvets and brocades of Lyons.

The examples on plates 56 and 59, with their symmetricalplanning and lace-like details, are characteristic examples of the

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