The attention of Francis was also turned much to Spain through envy of that extraordinary man of luck and ability, the Emperor Charles V, and from whom he made abortive and sullen efforts to wrest Germany, Italy, anything he could get. In his imprisonment in Madrid, Francis had time in plenty on which to think of many things, and why not on the wonderful tapestries of which Spain has always had a collection to make envious the rest of Europe. He might forget his two poor little boys who were left as hostages on his release, but he forgot not whatever contributes to the pleasure of life. That peculiarity was one which was yielding luscious fruit, however, for Francis was the bearer of the torch of the Renaissance which was to illumine France with the same fire that flashed and glowed over Italy. This is a fact to remember in regard to the cla.s.s of designs of his own and succeeding periods in France.
How he got his ideas we can reasonably trace, and the result of them was that he established a royal tapestry factory in beautiful Fontainebleau, which lies hid in grateful shade, stretching to flowered fields but a reasonable distance from the distractions of Paris.
It pleased Francis--and perhaps the beautiful Diane de Poitiers and d.u.c.h.esse d"etampes--to critique plays in that tiny gem of a theatre at the palace, or to feed the carp in the pool; but also it gave him pleasure to wander into the rooms where the high-warp looms lifted their utilitarian lengths and artists played at magic with the wools.
Alas, one cannot dress this patronage of art with too much of disinterestedness, for these marvellous weavings were for the adornment of the apartments of the very persons who caused their productions.
The grand idea of state ateliers had not yet come to bless the industry. For this reason the factory at Fontainebleau outlasted the reign of its founder, Francis I, but a short time.
Nevertheless, examples of its works are still to be seen and are of great beauty, notably those at the Museum of the Gobelins in Paris.
That a series called the _History of Diana_ was produced is but natural, considering the puissance at court of the famous Diane de Poitiers.
When Francis" son, Henri II, enfeebled in const.i.tution by the Spanish confinement, inherited the throne, it was but natural that he should neglect the indulgences of his father and prefer those of his own. The Fontainebleau factory strung its looms and copied its cartoons and produced, too, certain hangings for Henri"s wife, the terrible Catherine de Medici, on which her vicious eyes rested in forming her horrid plots; but Henri had ambitions of his own, small ambitions beside those which had to do with jealousy of Charles Quint. He let the factory of Francis I languish, but carried on the art under his own name and fame.
To give his infant industry a home he looked about Paris and decided upon the Hopital de la Trinite, an inst.i.tution where asylum was found for the orphans of the city who seem, in the light of the general brutality of the time, to have been even in more need of a home than the parentless child of modern civilisation. A part of the scheme was to employ in the works such children as were sufficiently mature and clever to work and to learn at least the auxiliary details of a craft that is also an art.
In this way the sixty or so of the orphans of La Trinite were given a means of earning a livelihood. Among them was one whose name became renowned. This was Maurice du Bourg, whose tapestries surpa.s.sed all others of his time in this factory--an important factory, as being one of the group that later was merged into the Gobelins.
It must be remembered in identifying French tapestries of this kind that things Gothic had been vanquished by the new fashion of things Renaissance, and that all models were Italian. Giulio Romano and his school of followers were the mode in France, not only in drawing, but in the revival of cla.s.sic subject. This condition in the art world found expression in a set of tapestries from the factory of La Trinite that are sufficiently celebrated to be set down in the memory with an underscoring. This set was composed of fifteen pieces ill.u.s.trating in sweeping design and gorgeous colouring the _History of Mausolus and Artemisia_. Intense local and personal interest was given to the set by making an open secret of the fact that by Artemisia, the Queen of Halicarna.s.sus, was meant the widowed Queen of France, Catherine de Medici, who adored posing as the most famous of widows and adding ancient glory to her living importance. To this _History_ French writers accord the important place of inspirer of a distinctively French Renaissance.
The weaver being Maurice du Bourg, the chief of the factory of La Trinite, the artists were Henri Lerambert and Antoine Carron, but the set has been many times copied in various factories, and Artemisia has symbolised in turn two other widowed queens of France.
Into the throne of France climbed wearily a feeble youth always under the influence of his mother, Catherine de Medici; and then it was filled by two other incapable and final Orleans monarchs, until at last by virtue of inheritance and sword, it became the seat of that grand and faulty Henri IV, King of Navarre. By fighting he got his place, and the habit being strong upon him, he was in eternal conflict. Some there be who are developed by sympathy, but Henri IV was developed by opposition, and thus it was that although opposed in the matter by his Prime Minister, Sully, he established factories for the weaving of tapestries in both high and low warps.
With the desire to see the arts of peace instead of evidences of war throughout his kingdom just rescued from conflict, he took all means to set his people in the ways of pleasing industry. The indefatigable Sully was plucking the royal sleeve to follow the path of the plough, to see man"s salvation, material and moral, in the ways of agriculture. But Henri favoured townspeople as well as country people, and with the Edict of Nantes, releasing from the bondage of terror a large number of workers, he showed much industry in encouraging tapestry factories in and near Paris, and as these all lead to Gobelins we will consider them.
[Ill.u.s.tration: TRIUMPH OF THE G.o.dS (DETAIL)
Gobelins, Seventeenth Century]
[Ill.u.s.tration: TRIUMPH OF THE G.o.dS (DETAIL)
Gobelins Tapestry]
Henri IV, notwithstanding his Prime Minister Sully"s opposition to what he considered a favouring of vicious luxury, began to occupy himself in tapestry factories as early in his reign as his people could rise from the wounds of war. Taking his movements chronologically we will begin with his establishment in 1597 (eight years after this first Bourbon took the throne) of a high-warp industry in the house of the Jesuits in the Faubourg St. Antoine, a.s.sociating here Du Bourg of La Trinite and Laurent, equally renowned, and the composer of the St. Merri tapestries.[14]
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, Francois de la Planche and Marc Comans or Coomans. In 1607 Henri IV established the looms which these men were called upon to direct.
These two Flemings, great in their art, were men of family and of some means, for their first venture in the manufacture of tapestry was a private enterprise like any of to-day. They looked to themselves to produce the money for the support of the industry. Combining qualities of both the artist and the business man, they took on apprentices and also established looms in the provinces (notably Tours and Amiens) where commercialism was as prominent as in modern methods; that is to say, that by turning off a lot of cheaper work for smaller purses, a quick and ready market was found which supplied the money necessary for the production of those finer works of art which are left to delight us to-day.
This manner of procedure of De la Planche and Comans has an interest far deeper than the mere financial venture of the men of the early Seventeenth Century, because it forces upon us the fact that at that time, and earlier, no state ateliers existed. It was Henri IV who first saw the wisdom of using the public purse in advancing this industry. He established Du Bourg in the Louvre. With Henri Laurent he was placed in the Tuileries, in 1607, and that atelier lasted until the ministry of Colbert in the reign of Louis XIV.
In about 1627 the great De la Planche died and his son, Raphael, established ateliers of his own in the Faubourg St. Germain, turning out from his looms productions which were of sufficient excellence to be confused with those of his father"s most profitable factory.
Chronologically this fact belongs later, so we return to the influence of Henri IV and the master gentleman tap.i.s.siers, De la Planche and Comans.
The very name of the old palace, Les Tournelles, calls up a crowd of pictures: the death of Henri II at the tournament in honour of the marriage of his son with Marie Stuart, the subsequent razing of this ancient home of kings by Catherine de Medici, and its reconstruction in its present form by Henri IV. It is here that Richelieu honoured the brief reign of Louis XIII by a statue, and it is here that Madame de Sevigne was born. 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.
Examples are not wanting in museums of French work of this time, showing the development of the art and the progress that France was making under Henri IV, whose energy without limit, and whose interests without number, would to-day have given him the epithet of strenuous.
Under his reign we see the activity that so easily led France up to the point where all that was needed was the a.s.sembling of the factories under the direction of one great master. The factories flourishing under Henri IV were La Trinite, the Louvre, the Savonnerie, the Faubourg St. Marceau and one in the Tuileries. But it needed the power of Louis XIV to tie all together in the strength of unity.
The a.s.sa.s.sin Ravaillac, fanatically muttering through the streets of Paris, alternately hiding and swaggering throughout the loveliest month of May, when he thrust his murderous dagger through the royal coach, not only gave a death blow to Henri IV, but to many of these industries that the king had cherished for his people against the opposition of his prime minister. The tale of tapestry is like a vine hanging on a frame of history, and frequent allusion therefore must be made to the tales of kings and their ministers.
As it is not always a monarch, but often the power behind the throne that rules, we see the force of Richelieu surging behind the reign of the suppressed Louis XIII, whose rule followed that of the regretted Henri IV. The master of the then new Palais-Royal had minor interests of his own, apart from his generous plots of ruin for the Protestants, for all the French n.o.bility, and for the House of Austria to which the queen belonged. Luxurious surroundings were a necessity to this man, refined in the arts of cruelty and of living. It was no wonder that under him tapestry weaving was not allowed to die, but was fostered until that day when the Grand Monarch would organise and perfect.
In 1643, Louis XIV came to the throne under the guidance of Anne of Austria, but it was many years before he was able to make his influence appreciable. Meanwhile, however, others were fostering the elegant industry. It was as early as 1647 that two celebrated tapestry weavers came to Paris from Italy. They were Pierre Lefevre or Lefebvre and his son Jean. The first of these was the chief of a factory in Florence, whither he presently returned. Jean Lefebvre stayed in Paris, won his way all the better for being released from parental rule, and in time received the great honour of being appointed one of the directors of the Gobelins, when that factory was finally organised as an inst.i.tution of the state.
[Ill.u.s.tration: GOBELINS BORDER (DETAIL) SEVENTEENTH CENTURY]
[Ill.u.s.tration: CHILDREN GARDENING
After Charles Lebrun. Gobelins, Seventeenth Century. Chateau Henri Quatre, Pau]
During the regency of Louis XIV there were also factories outside of Paris. The high-warp looms of Tours were of such notable importance that the great Richelieu placed here an order for tapestries of great splendour with which to soften his hours of ease. Rheims Cathedral still harbours the fine hangings which were woven for the place they now adorn, an unusual circ.u.mstance in the world of tapestry. These hangings (_The Story of Christ_) were woven at Rheims, where the factory existed well known throughout the first half of the Seventeenth Century. The church had previously ordered tapestries from another town executed by one Daniel Pepersack, and so highly approved was his work that he was made director of the Rheims factory.[15]
A factory which lasted but a few years, yet has for us a special interest, is that of Maincy, founded in 1658. It is here that we hear of the great Colbert and of Lebrun, whose names are synonymous with prosperity of the Gobelins. For the factory at Maincy, Lebrun made cartoons of great beauty, notably that of _The Hunt of Meleager_, which now hangs in the Gobelins Museum in Paris. Louis Blamard was the director of the workmen, who were Flemish, and who were afterwards called to Paris to operate the looms of the newly-formed Gobelins, and the reason of the transference forms a part of the history of the great people of that day.
Richelieu in dying had pa.s.sed over his power to Mazarin, who had used it with every cruelty possible to the day. He had coveted riches and elegance and had possessed himself of them; had collected in his palace the most beautiful works of art of his day or those of a previous time. After Mazarin came Foucquet, the great, the iconoclastic, the unfortunate.
It was at Foucquet"s estate of Vaux near Maincy that this tapestry factory of short duration was established and soon destroyed. The powerful Superintendent of Finance, with his eye for the beautiful and desire for the luxury of kings, built for himself such a chateau as only the magnificence of that time produced. It was situated far enough from Paris to escape any sort of ennui, and was surrounded by gardens most marvellous, within a beauteous park. It lay, when finished, like a jewel on the fair bosom of France. The great superintendent conceived the idea of pleasing the young king, Louis XIV, by inviting the court for a wondrous fete in its lovely enclosure.
Foucquet was a man of the world, and of the court, knew how to please man"s lighter side, and how to use social position for his own ends.
France calls him a "dilapidateur," but when his power and incidentally the revenues of state, were laid out to produce a day of pleasure for king and court, his taste and ability showed such a fete as could scarce be surpa.s.sed even in those days of artistic fetes champetres.
The great gardens were brought into use in all the beauty of flower and vine, of lawn and bosquet, of terrace and fountain. When the guests arrived, weary of town life, they were turned loose in the enchanting place like birds uncaged, and to the beauty of Nature was added that of folk as gaily dressed as the flowers. The king was invited to inspect it all for his pleasure, asked to feast in the gardens, and to repose in the splendid chateau.
He was young then, in the early twenties, and luxury was younger then than now, so he was pleased to spend the time in almost childish enjoyments. A play _al fresco_ was almost a necessity to a royal garden party, which was no affair of an hour like ours in the busy to-day, but extended the livelong day and evening. Moliere was ready with his sparkling satires at the king"s caprice, and into the garden danced the players before an audience to whom vaudeville and _cafe chantant_ were exclusively a royal novelty arranged for their delectation.
It is easy to see the elegant young king and his court in the setting of a sophisticated out-of-doors, wandering on gra.s.sy paths, lingering under arches of roses, plucking a flower to nest beside a smiling face, stopping where servants--obsequious adepts, they were then--supplied dainty things to eat and drink. Madame de Sevigne was there, she of the observant eye, an eye much occupied at this time with the figure of Superintendent Foucquet, the host of this glorious occasion. This gracious lady lacked none of the appearance of frivolity, coiffed in curls, draped in lace and soft silks, but her mind was deeply occupied with the signs of the times. All the elegance of the chateau, all the seductive beauty of terrace, garden, and bosquet, all the piquant surprises of play and pyrotechnics, what were they? Simply the disinterested effort of a subject to give pleasure to His Majesty, the King.
There were those present who had long envied Foucquet, with his ever-increasing power and wealth, his ability to patronise the arts, to collect, and even to establish his tapestry looms like a king, for his own palace and for gifts. This grand fete in the lovely month of June did more than shower pleasure, more than gratify the l.u.s.t of the eye. In effect, it was a gathering of exquisite beauties and charming men, lost in light-hearted play; in reality, it proved to be an incitive to envy and malice, and a means to ruin.
Among the observant guests at this wondrous fete champetre was Colbert, young, ambitious, keen. He was not slow to see the holes in Foucquet"s fabric, nor were others. And so, whispers came to the king.
Foucquet"s downfall is the old story of envy, man trying to climb by ruining his superiors, hating those whose magnificence approaches their own. Foucquet"s unequalled entertainment of the king was made to count as naught. Louis, even before leaving for Paris, had begun to ask whence came the money that purchased this wide fertile estate stretching to the vision"s limit, the money that built the chateau of regal splendour, the money that paid for the prodigal pleasures of that day of delights? Foucquet thought to have gained the confidence and admiration of the king. But, on leaving, Louis said coldly, "We shall scarce dare ask you to our poor palace, seeing the superior luxury to which you are accustomed." A fearful cut, but only a straw to the fate which followed, the investigations into the affairs of Superintendent Foucquet. His arrest and his conviction followed and then the eighteen dreary years of imprisonment terminating only with the superintendent"s life. Madame de Sevigne saw him in the beginning, wept for her hero, but after a while she, too, fell away from his weary years.
[Ill.u.s.tration: CHILDREN GARDENING
After Charles Lebrun. Gobelins, Seventeenth Century. Chateau Henri Quatre, Pau]
[Ill.u.s.tration: GOBELINS GROTESQUE
Musee des Arts Decoratifs, Paris]
With his arrest came the end of the glories of the Chateau of Vaux near Maincy, and so, too, came an end to the factory where so fine results had been obtained in tapestry weaving. Yet the effort was not in vain, for some of the tapestries remain and the factory was the school where certain celebrated men were trained.
It may easily have been that Louis XIV discovered on that day at Vaux the excellence of Lebrun whom he made director at the Gobelins in Paris when they were but newly formed. Foucquet, wasting in prison, had many hours in which to think on this and on the advancement of the very man who had been keenest in running him to cover, the great Colbert. It was well for France, it was well for the artistic industry whose history occupies our attention, that these things happened; but we, nevertheless, feel a weakness towards the man of genius and energy caged and fretted by prison bars, for he had shown initiative and daring, qualities of which the world has ever need.
Foucquet"s factory lasted three years. It was directed by Louis Blamard or Blammaert of Oudenarde, and employed a weaver named Jean Zegre, who came from the works at Enghien, works sufficiently known to be remarked. Lebrun composed here and fell under the influence of Rubens, an influence that pervaded the grandiose art of the day. The earliest works of Lebrun, three pieces, were later used to complete a set of Rubens" _History of Constantine_. _The Muses_ was a set by Lebrun, also composed for the Chateau of Vaux. The charm of this set is a matter for admiration even now when, alas, all is destroyed but a few fragments.