This was very well for her role, as her influence over the king lay deep-rooted in her pose of heavy virtue; but at the Gobelins, the tapestry-makers must have laughed long and loud at the prudery which they were set to further by actually weaving pictured garments and setting them into the hangings where the lithe limbs of Apollo, and Venus' lovely curves, had been cut away. The hanging called _The Judgment of Paris_ is one of those altered to suit the refinement of the times. Louvois' dominance lasted as long as Lebrun, so the genius of the latter never reasserted itself in the factory. Two methods of supply for designs came in vogue, and mark the time. One was to turn to the old masters of Italy's high Renaissance for drawings. This brought a quantity of drawings of fables and myths into use, so that palace walls were decorated with Greek gods instead of modern ones. Raphael, as a master in decoration, was carefully copied, also other men of his school. The second source of cartoons was chosen by Louvois, who searched among previous works for the most celebrated tapestries and had them copied without change. Thus came the Gobelins to reproduce hangings that had not originated in their ateliers. All this traces the change that came from the clipping of Lebrun's wings of genius. Identification marks they are, when old tapestries come our way. Pierre Mignard succeeded Lebrun as director of the Gobelins after the death of the greatest genius of decoration in modern times. Lebrun had seen such prosperity of tapestry weaving that eight hundred workers had scarcely been enough to supply the tapestries ordered. When Mignard came for his five years of direction, things had mightily changed, and he did nothing to revive or encourage the work. He owed his appointment entirely to Louvois, whose protege he had long been. The same year, 1691, saw the death of them both. Until 1688 the factory was at its best time of productiveness, reaching the perfection of modern drawing in its cartoons, and, in its weaving, equalling the manner of Brussels in the early Sixteenth Century. From then on began the decline, for the reasons so forcibly written on pages of history. The French king's ambition to conquer, his animosity--jealousy, if you will--toward Holland, his unceasing conflict with England, added to his fierce attacks on religionists, especially in the Palatinate--all these things required the most stupendous expenditures. The Mississippi was now discovered, the English colonists were in conflict with the French, here in America, and the New World was becoming too desirable a possession for Louis to be willing to cede his share without a struggle; and thus came the expense of fighting the English in that far land which was at least thirty days' sail away.