These same Flemish workmen were called to different countries in Europe to establish local looms. So Italy had several small temporary ateliers at this period, as did England also (cf. No. 32). But though these shops were in Italy and England, they were still predominantly Flemish. The character of local decoration and local demand influenced the design somewhat, but fundamentally the products both in cartoon and in weave were still those of the mother country. In France, however, the Flemish workmen were made the tools of the beginning of a new national revival of the art. A group of weavers was called to Fontainebleau, where, under the extravagant patronage of Francis I, the French Renaissance was taking form. These Flemings, weaving designs made by Italians, nevertheless created decorative textiles that are typically French in spirit (cf. No. 37). France alone had a strong enough artistic character to refashion the conventions of Italy and the technique of Flanders to a national idiom. In the next century this revival of the art which survived at Fontainebleau barely fifty years was carried on in several ateliers at Paris. The workmen were still predominantly Flemish, but again their work was unmistakably French (cf. No. 38). In Trinity Hospital looms had been maintained since the middle of the XVIth century. In the gallery of the Louvre looms were set up about 1607. And the third and most important shop was established by Marc de Comans and François de la Planche at the invitation of the king. This was most important, because it later was moved to the Bièvre River, where the Gobelins family had its old dye-works, and it eventually became the great state manufactory. Thereafter for the next two centuries the looms of Flanders and France worked in competition. Now one, now the other took precedence, but France had a slowly increasing superiority that by the middle of the XVIIIth century put her two royal looms, the Gobelin and Beauvais, definitely in the forefront of the industry. For cartoons the looms of the two countries called on the great painters of the time, often requisitioning the work of the same painters, and sometimes even using the very same designs. Thus Van der Meulen worked both for Brussels manufacturers (cf. Nos. 53-56) and for the French state looms (cf. No. 52), and the Gobelin adapted to its uses the old Lucas _Months_ that had originated in Flanders (cf. Nos. 57, 58.)