With the desire to see the arts of peace instead of evidences of war throughout his kingdom just rescued from conflict, he took all means to set his people in the ways of pleasing industry. The indefatigable Sully was plucking the royal sleeve to follow the path of the plough, to see man's salvation, material and moral, in the ways of agriculture. But Henri favoured townspeople as well as country people, and with the Edict of Nantes, releasing from the bondage of terror a large number of workers, he showed much industry in encouraging tapestry factories in and near Paris, and as these all lead to Gobelins we will consider them. [Illustration: TRIUMPH OF THE GODS (DETAIL) Gobelins, Seventeenth Century] [Illustration: TRIUMPH OF THE GODS (DETAIL) Gobelins Tapestry] Henri IV, notwithstanding his Prime Minister Sully's opposition to what he considered a favouring of vicious luxury, began to occupy himself in tapestry factories as early in his reign as his people could rise from the wounds of war. Taking his movements chronologically we will begin with his establishment in 1597 (eight years after this first Bourbon took the throne) of a high-warp industry in the house of the Jesuits in the Faubourg St. Antoine, associating here Du Bourg of La Trinite and Laurent, equally renowned, and the composer of the St. Merri tapestries.[14] Flemish workers in Paris were at this same time, about 1601, encouraged by the king and under protection of his steward. These Flemings were the nucleus of a great industry, for it was over them that two famous masters governed, namely, Francois de la Planche and Marc Comans or Coomans. In 1607 Henri IV established the looms which these men were called upon to direct. These two Flemings, great in their art, were men 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.