Kings must have credit, even though others do the work. It was the labour of the able Colbert to organise this factory. He was in favour then. It was after his acuteness had helped in deposing the splendid brigand Foucquet, and his power was serving France well, so well that he brought about his head the inevitable jealousy which finally threw him, too, into unmerited disgrace. Colbert, then, although a Minister of State, head of the Army of France, and a few other things, had the fate of the Gobelins in his hand. As the ablest is he who chooses best his aids, Colbert looked among his countrymen for the proper director of the newly-organised institution. He selected Charles Lebrun. The very name seems enough, in itself. It is the concrete expression of ability, not only as an artist, but as a leader of artists, a director, an assembler, a blender. He called to the Gobelins, as addition to those already there, the apprentices from La Trinite, the weavers from the Faubourg St. Germain, and from the Louvre. He established three ateliers of high-warp under Jean Jans, Jean Lefebvre and Henri Laurent; also two ateliers of low-warp under Jean Delacroix and Jean-Baptiste Mozin. When charged with the decoration of Versailles he had under his direction fifty artists of differing scopes, which alone would show his power of assembling and leading, of blending and ordering. Workers at the Gobelins numbered as many as two hundred fifty, and apprentices were legion. Ten or twelve important artists composed the designs for tapestries, yet the mind of Lebrun is seen to dominate all; his genius was their inspiration. It was he whose influence pervaded the decorative art of the day. More than any others in that grand age he influenced the tone of the artistic work. We may say it was the king, we may have styles named for the king, but it was Lebrun who made them what they were. The spirit of the time was there, monarch and man made that, but it was Lebrun who had the talent to express it in art. It was a time when France was fully awake, more fully awake than Italy who had, in fact, commenced the somnolence of her art; she was strong with that brutal force that is recently up from savagery, and she took her grandeur seriously. At least that was the attitude of the king. No lightness, no effervescing cynical humour ever disturbed the heavy splendour of his pose. And this grand pose of the king, Lebrun expressed in the heavy sumptuousness of decoration. The tapestries of that time show the mood of the day in subject, in border and in colour. All is superb, grandiose.