To give his infant industry a home he looked about Paris and decided upon the Hopital de la Trinite, an institution 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 surpassed 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 classic 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 illustrating 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 Halicarnassus, 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.