THE INDUSTRY OF ALL NATIONS.

composed of from seventeen to eighteen teeth, separated from each other by nar-row intervals, through which the threads of the warp pass. Its thickness at thebase of the teeth is about 2 1-2 centimetres, and from thence it is bevelled off toa fine edge. The two outside teeth are thicker than those of the interior, as inthe case of the ordinary comb.

The time necessary for the execution of a piece of tapestry is of course pro-portionate to the dimensions and difficulties of the picture. It is impossible tocalculate exactly the quantity of work that an artist can execute; it is estimatedon an average at about a square metre in the year. The value set upon a metreof this tapestry is about 3,000 francs.

There are six ateliers of tapestry in the Gobelins, and the number of work-men employed is about 120. The annual expenditure amounts to nearly 300,000francs, and is charged on the civil list.

To this establishment was annexed in 1826, the celebrated manufactory of foot-carpets, called la Savonnerie, which was created a royal establishment in thebeginning of the seventeenth century, by Marie de Medicis, in favor of PierreDupont, who invented the process for finishing the carpets, and who was placedat its head with the title of director. The ateliers , which were originally estab-lished in the chateau of the Louvre, were transferred in 1615 to a soap manufac-tory at Chaillot, from whence it derives its name of la Savonnerie. In thismanufacture, as in tapestry, the artists themselves prepare all that is necessaryfor the execution of the work. The looms, with the exception that they aremuch larger, are identical with the high loom which we have described. Themounting and warping are also the same, with this difference, that when thewarp is prepared, care is taken to arrange the threads so that one thread out ofeach row of ten, shall be of a different color from the rest. These tenth threadscorrespond with black dots made on the picture, placed at regular distances likethe colored threads, and disposed so as to form squares which have the width ofthe ten threads. This serves as a substitute for the tracings required in tapestryweaving. The model thus divided in bands and placed before the workmen abovethe level of his head, is attached to the lisses , so that the dots in the picture cor-respond with the colored threads in the warp, and the artist sees at once what hehas to execute.

After bringing towards him with his left hand the thread on which he isabout to commence, he passes the worsted with his right behind the thread ofthe warp. He then draws from its side the succeeding thread, on which he makesa running knot which he ties firmly ; but this knot on the thread would not makethe pile, if before securing it he did not take care to insert the rounded extremityof the thread cutter (a steel instrument hooked at one end and terminating in asharp blade at the other) into the wool, which thus forms itself into rings whichhe cuts in drawing them. The stitches made in the width of the carpet are unitedby a hemp thread passing from one end of the web to the other through theopening left by the heddle. The workman then recommences his range ofstitches, and passes a fresh thread through the opening left between the backthreads of the warp as they are drawn forward and the front threads when letgo. By this means the stitches are as it were set in. The artist next combs theends of the worsted and the hemp thread. When cut by the instrument abovedescribed, the rings leave ends of wool of an unequal length and consequently ofan uneven appearance. These ends are cut with scissors with hooked blades,and thus is formed the velvet pile on the carpet. The worsted employed inthe manufacture of carpets, no matter what may be its prevailing tint, is com-posed of five, six, and in fruits, of nine or ten different shades, combined so asto imitate exactly the model.

A special atelier is set apart for the purpose of uniting and fine drawing thedifferent parts of large pieces of tapestry or carpeting, made separately on theloom, and for repairing with the needle parts that have been accidentally torn or,eaten by moths.

The dyes of the Gobelins are as renowned as its tapestry. The beauty and(delicate gradation of its colors justify this reputation. The dyeing department ofithg .establishment is placed under the direction of M. Chevrenl, a distinguished.chemist, and a member of the Institute, who gives public lectures in the theatre,of the establishment on the chemistry of dyeing. An erroneous notion pre-vails, that the beauty of the colors produced at the Gobelins is principallyowing to the peculiar properties of the water of the Bievre. So far is this frombeing the fact that it is totally unfitted for the purpose, and the water of theSeine is that which is generally used. A rumor equally unfounded has obtainedcurrency regarding the process by which the beautiful scarlet for which thisestablishment 'has been so long noted, is produced. Ignorance alone could haveinvented and credited the fable that a certain number of the employes are fed onroast meats and deluged with claret, in order to contribute to the virtues of thedye. The truth is, that the superiority of its colors is principally due to the skilland experience of the persons employed in this branch of the establishment.

There is a school of design in the building conducted by competent persons, inwhich the pupils draw from the antique and from living models. Several dis-tinguished artists have issued from it, and amongst others we may mention M.Deyrolle, junior, to whom was confided the execution of the oil paintings intended

to serve as models for the carpets designed by M. de Saint Ange, architect of thecrown, under Louis Philippe.

The productions of the manufactory of the Gobelins, together with those ofBeauvais and Sevres, are exhibited every two years at the Louvre. The establish-ment itself, however, is open to the public every Wednesday and Saturday.

Amongst the most remarkable subjects which have been executed in thisestablishment, we may cite “ The Battles of Alexander,” “ The Four Seasons,”“ The Four Elements,” “ The Koyal Palaces,” and a series of the principalevents of the life of Louis XIV., from the time of his marriage to the conquestof Franche-Comtd, alter the designs of Le Brun. These admirable worksare surpassed by the “ Massacre of the Mamelukes,” after the celebrated pictureof Horace Vernet. This superb tableau was commenced under the direc-torship of M. Lavocat, and was completed in about six years (we believe in1844). M. Ean§on, an artist of great merit, executed all the most difficult partsof it, and was assisted in the remainder by MM. Bloquerre, Manigant, Hupd andMartin. It is kept in the exhibition room of the Gobelins as one of the greatestmarvels of this beautiful art, in order that it may serve as an incentive to theambition of the talented men who sustain so worthily the reputation of theestablishment. It was forwarded to London in time for the opening of theGreat Exhibition, and attracted universal admiration from the lifelike fidelitywith which all the details of this thrilling scene are rendered.

Although the specimens that have been contributed to our own exhibitioncannot be compared, either in size or in historical interest, with that whichwe have just noticed, they are nevertheless charming productions, theirsubjects being taken from the works of some of the best painters of the modernFrench school, such as Bouchet, Lancret, and Desporte, and the tableaux them-selves executed by some of the most skilful artists of the Gobelins, and Beauvais.In the “ Subject taken from the Chase and Still Life” for instance, nothing can excelthe softness, the delicacy, and the brilliancy with which all the minute traits ofboth animal and vegetable life are rendered in these colored wools, in someinstances, even surpassing the most elaborate efforts of the pencil. To ourminds this is by far the best picture in the collection. The selection of the sub-ject was a happy one, from the strong contrasts which it afforded, and the oppor-tunity it thereby gave the artist of employing bold and effective coloring. In ta-pestry pictures, where the surface is not protected by varnish, as in the case of oil-paintings, and where the natural tendency to fade or collect dust must more or lessaffect the tints in the progress of time, it seems to us that subjects, in which the tonesare subdued to that point which would be considered a beauty in oils, are not ex-actly those which are suited to the peculiarity of the material by which they areto be rendered. We may cite, as an illustration of this, the tableau entitled“The Wolf and the Lamb,” which was executed in 1842 by M. Thiers aftera picture by Desporte. Here, although the subject is unquestionably one of greatmerit, and has been done full justice to in the copy, the general effect is somewhatsombre. The truth is, that as transparency cannot be imparted to themhy glazing and varnish, as in the case of oil-paintings, the predominance of theseneutral tones ought to be avoided as much as possible in the choice of subjects fortapestry. In the beautiful tableau after Lancret, entitled “ Autumn,” we find as muchto admire in the accessories, which have been grouped beneath it, as in the pictureitself. The fruit and flowers are exquisitely rendered, and in fact the whole com-position may be reckoned as one of the happiest efforts of that charming painter.

In “ The Skaters,” by Chevalier, nothing can exceed the grace, elegance,and spirituality of this beautiful little composition. The female figure is a perfectstudy in itself, and the general grouping is quaint and effective. The best tableau,however, from this manufactory, both as regards the spirited treatment of theincident that gives it its title, and the quiet beauty of the landscape which formsits background, is “ The Combat of the Two Goats.” “ The Beading Les-son,” from Bouchet, is also a chef d'oemre in its way.

We subjoin a list of the tableaux, both from Beauvais and the Gobelins, thatcompose this little collection, together with the names of the artists, and the pricesat which they are valued.

GOBELINS.

“Autumn,” after Lancret; executed in 1849 by M. Maloisel, . ' 14,000 francs.“ The Wolf and the Lamb,” after Desporte; executed in 1842 by

M. Thiers; and “The Hound and Her Companion,” also after

Desporte; executed in 1842 by M. Prevotet, . . . 8,500 “

“ Subject taken from the Chase and Still Life,” after Desporte ; ex-ecuted by M. Hypolite Lucas,. 20,000 “

Two seats and backs of chairs in carpet work; executed by MM.

Benard and Gouthier, from designs by M. Godefroy, . . 2,500 “

BAUVAIS.

“ Combat of the Two Goats,” after Audrey, by Chevalier, . 4,000 “

“ The Skaters,” after Lancret, by Chevalier, .... 6,000 “

Landscape, after Desgoffes, by Auguste Melisse, . . . 8,000 “

Three leaves for a screen, after Audrey, by Chevalier, . . 20,000 “

The Beading Lesson,” after Bouchet, by Chevalier, . . 2,500 “