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 tapissiers, 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