cartoons were usually traditional and expressed the culture of France.The Gobelins had borders. The borders began in the 16th century. The border was usually decorative. Then in the 17th century the borders were more ornamental and in the 18th century were “by woven representations of carved and gilded frames(Weigert 21).” This gave the wall-hanging and illusion of being a picture. The Gobelins were also given special marks and inscriptions. The marks were called “esgards or revards(21).” They were placed on the wall-hanging by the inspector. These marks “consisted of a lead seal bearing the arms of the town, and served as a guarantee of the quality of the raw materials and of the weaving(21).” The inscriptions were poems, an d explained the picture.The Gobelin tapestries had a great impact on the world of art lovers. “The influence of the XVIIth century is discernible in this tapestry designed by Parrocel which represents ‘The Turkish Ambassador Mohammed Effendi Entering the Tuileries Gardens.’ It was woven in 1734(Faniel 161).” The ornamental tapestries established the style of the 18th century(Weigert 128). It also ensured that the Beauvais factory would always be second to the Gobelins. There were other wall-hangings such as “Flora and Zephyr and The Loves of Neptune and Amymone(Faniel 161).” Flora and Zephyr is a perfect example of the new technique they used to make the tapestry look exactly like a painting. This was extremely controversial between the painters and the directors of the factories. The other tapestry was a “typical Louis XVI ornamental(161).” This was when the weavers began to stop imitating pictures and began to weave original works of art.Versaille also gave a name to the Gobelin industry. Due to exquisite taste and craftsmanship the rest of Europe began to imitate them. People were especially impressed with the...
