The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1897-03-29
ALMOST IMPOSSIBLE FOR OUT
SIDERS TO GET A CHANGE TO
LEARN THE ART,
PROCESS SLOW AND LABoRroUs
Single Square Yard i'm a
Year.


contains, says the Washington Post.
1t is the Gobelins, an institution famous
in every corner of the art world for it's
tapestries. Centuries ago it was fam
Gus, and its fame will endure as long as
the world lasts
A picturesque group of buildings
ferns the home of this industry-old-
time structures that have passed
through mad blood-red periods in the
turbulent history of Paris. Revolutions
and riots have passed all around with
out soaring them. Kings, emperors,
demagogues and presidents have
arisen and fallen, but the weavers of
Gobelins had little thought for any
thing but the art handed down by their
forefathers
Tapestry weaving is heritage with
nine-tenths of the workmen in the
historic place. Many of them are di-
rect descendants of the first Flemish
weavers brought to Paris by Henry w.
in the last years Of the sixteenth CEN
fury. Each generation
TEACHES IT'S SONS THE ART,
and the admission of an outsider as a
weaver. is jealousy guarded against
Indeed, it is just as difficult for the
enterprising Paris youth to push his
way into the ranks of the Gobelins
Workmen as it is for the great men to
crowd into the ranks of the immortals
These weaYers are an independent
lot, and they were that at the first,
when the great Henry had to almost
get on his knees to induce them to set
tie in Paris. But the concessions offer
ed by that astute monarch have been
fully repaid, as since then Paris has
been the center of the world as far as
tapestry weaving is concerned.
AS a bait to bring the Gobelins to
Paris, Henry w. offered to make them
noblemen and members of the Kings
household. In addition to this, it was
agreed that they were to be free from
taxes and also relieved of the common
expense of having troops quartered
upon them. Moreover, the Importation
OF Flemish weavings which might
compete with their products was pro-
hibited, and for all time the factory
was to be under the protection Of the
state.
PREFERRED BEER TO DRINK.
This satisfied the Gobelins, but when
the institution was at last started in
Paris a new difficulty arose which
threatened to upset all the fine plans Of
the art-loving king. The Flemish
Weavers and artists did not fancy th9
wines of France, and declared that I'M
less they could have their accustomed
pots Of beer they would leave Paris.
SO, to please the Workmen Flemish
breweries were established and beer
was furnished to them free Of tax.
The particular GObelin who was at
the head of the concern at this time
was named Jean or Jehan. He was not
q weaver, but dyer. In fact, none Of
the Gobelins ever sat at loom. They
were dyers by trade from time imme-
mortal, and this Jehan Gobelin was the
greatest dyer of them all. 1t was he
who prepared the wonderful blues and
reds which have made the GobeIin tap
estries famous.
Modern dyers have never reached the
degree Of perfection which he attained
particularly in red or scarlet coIors
And about this scarlet dye hangs a
tale of tragedy and superstition This
Jehan was so proud of his scarlet dye
that one day he exclaimed that not
even the devil himself could surpass
him at dyeing scarlet. Soon after this
he went to one of the wells in the fac
tory and never returned. Very PROB
ably he fell into the well and was
drowned, but the superstitiOus folk de-
clared that
DEVIL HAD CARRIED HIM OFF
to make his famous scarlet dive in tne
internal regions. At any rate, that
was the earthly end of the great Jehan
Gobelln, but the institution he founded
promises to live for all time.
The few apprentices who succeed IN
gaining admission to the factory now
adays know that it will be many years
before they are recognized as Weavers
OF the first class. The newcomer is. an
prenticed for two years but it requires
seven or eight years to fully master
the many intricacies Of the art. An art
school is, attached to the factory, where
the pupils study from antiques ana
from life models. Flower painting rs
one OF the specialties taught, and as a
result OF this schooling every weaver
IN the place Is something Of an artIs1.
Many Of them have made regulations
as artists, and have given up their
places in the factory to follow the more
remunerative calling.
Many of the weaVers. after working
for five or six years, receive only $3.50
year. The artist weavers receive $500
year, and the foremen weayers re-
ceive from $500 to LOO a year. These
latter have the actual charge of the
work being done, a position of much
responsibility, as a small error might
seriously
MAR THE WORK OF YEARS.
There are consi derations other than
that OF salary which attract applicants
for admission to the place. Each
weaver is given a charming little COZ
tage, rent free, on the factory grounds.
and when old age incapacitates him for
work he is retired on pension.
To stimulate the work. the e,7-o.a+
rooms where stand the looms are hung
with exquisite specimens of both old
and new tapestry, and to the lay mind
the modern work is more pleasing to
the eye than the generality Of the an
tique. The coloring is magnificent.
grander than the possibilities of oil |
painting, and the figure work in the |
new is more symmetrical and natural
than in the old
The cost of the new tapestry Is,
in many cases, as great as that Of the |
old, although there are several rare
pieces of sixteenth century make in
famous collections which are practI- |
cally without price. The cost, Of course
is due to the
IMMENSE AMOUNT OF LABOR.
In the year Of constant work an az.
pert weaver can make a square ward
of tapestry, but when the design is ex-
cesstvely ornate 1t may take two years
to produce that quantity.
If only one man were employed on q
large piece he might begin in his youth |
and extreme old age would interfere |
with the completion of the task. Usu |
ally from two to six men are employed |
at the same loom, and the tapestry is |
completed in from two to four years.
The workers use a piece OF yarn or
wool three inches long, and a tiny frac-